Pub Date : 2021-09-30DOI: 10.1080/01971360.2021.1927653
S. J. S. Sobeck, Victor J. Chen, G. Smith
ABSTRACT The vivid colors and luminosity of daylight fluorescent pigments have secured them a spot on the artists’ palette since their inception in the 1930s. However, these colorants pose unique challenges to conservators due to their complex formulations consisting of a mixture of dyes and optical brighteners impregnated in a formaldehyde-rich polymer resin. Furthermore, these pigments are often intended for display under blacklights, which accelerate fading and polymer degradation reactions and pose demanding inpainting requirements of conservators. This research provides a comprehensive report on the dye composition of pigments made by the major European and American manufacturers, as well as those sold as artists’ dry pigments. Differences in the dyes and additives were identified for the first time using liquid chromatography with mass spectrometry, while subtle variations in the resin matrix were revealed using infrared spectroscopy. Specific identification of the dye and matrix components can differentiate the pigment sources and be taken advantage of in conservation treatments. This is demonstrated in the analysis of Stefano Castronovo’s fluorescent Mona Lisa painting on a Stephen Sprouse designed silver leather motorcycle jacket. Analysis of a mid-twentieth century designer’s manual produced by the Day-Glo Corporation revealed how the pigments’ dye components have shifted over time.
{"title":"Shedding Light on Daylight Fluorescent Artists’ Pigments, Part 1: Composition","authors":"S. J. S. Sobeck, Victor J. Chen, G. Smith","doi":"10.1080/01971360.2021.1927653","DOIUrl":"https://doi.org/10.1080/01971360.2021.1927653","url":null,"abstract":"ABSTRACT The vivid colors and luminosity of daylight fluorescent pigments have secured them a spot on the artists’ palette since their inception in the 1930s. However, these colorants pose unique challenges to conservators due to their complex formulations consisting of a mixture of dyes and optical brighteners impregnated in a formaldehyde-rich polymer resin. Furthermore, these pigments are often intended for display under blacklights, which accelerate fading and polymer degradation reactions and pose demanding inpainting requirements of conservators. This research provides a comprehensive report on the dye composition of pigments made by the major European and American manufacturers, as well as those sold as artists’ dry pigments. Differences in the dyes and additives were identified for the first time using liquid chromatography with mass spectrometry, while subtle variations in the resin matrix were revealed using infrared spectroscopy. Specific identification of the dye and matrix components can differentiate the pigment sources and be taken advantage of in conservation treatments. This is demonstrated in the analysis of Stefano Castronovo’s fluorescent Mona Lisa painting on a Stephen Sprouse designed silver leather motorcycle jacket. Analysis of a mid-twentieth century designer’s manual produced by the Day-Glo Corporation revealed how the pigments’ dye components have shifted over time.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"61 1","pages":"218 - 236"},"PeriodicalIF":0.5,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42162590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-23DOI: 10.1080/01971360.2021.1927654
L. McCann, Chantal Stein, Jessica Pace, Andy Wolf, Katherine Parks
ABSTRACT Works of art created by children under the care of art therapy pioneer Edith Kramer at the Wiltwyck School for Boys in the 1950s are presented as a case study to examine the practical, legal, and ethical challenges of conserving art produced in the course of therapy. The artworks, deposited in the New York University Libraries Special Collections in 2011, are five drawings and forty-two paintings on paper. Multidisciplinary research into the fields of art therapy, archival management, health care law, and the history of Wiltwyck revealed a broad spectrum of value categories associated with the artworks. A values-based decision-making process, together with information garnered through materials testing and analysis, informed conservation actions, including the retention of post-custodial interventions and redaction of private health information.
摘要20世纪50年代，在艺术治疗先驱伊迪丝·克莱默（Edith Kramer）的照顾下，威尔特威克男孩学校（Wiltwyck School for Boys）的儿童创作了艺术作品，作为一个案例研究，探讨了保护治疗过程中产生的艺术在实践、法律和伦理方面的挑战。这些艺术品于2011年存放在纽约大学图书馆特别收藏馆，共有五幅画和四十二幅画。对艺术治疗、档案管理、医疗保健法和威尔特威克历史等领域的多学科研究揭示了与艺术品相关的广泛价值类别。基于价值观的决策过程，以及通过材料测试和分析获得的信息，知情的保护行动，包括保留拘留后干预措施和编辑私人健康信息。
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Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1951550
Zoe Miller
ABSTRACT This article explores the role and position of the conservator of contemporary art and proposes the concept of invisibility as a way of thinking about ideas and practices of authorship, agency, and knowledge in the field of conservation. The invisibility of the practitioner is a concept drawn from the field of translation, and the work of translation theorist Lawrence Venuti. Venuti describes the translator’s traditional position of invisibility, exploring how it manifests both in relation to the translated text, as well as in wider epistemic, professional, and social senses. Sparked by Venuti’s 1995 book The Translator’s Invisibility: A History of Translation, invisibility has been the subject of significant study and debate in translation and can also be identified as a common concern across several disciplines. This article explores how the concept of invisibility applies to the conservator of contemporary art, and its effect in respect of understandings of the work, the nature of conservation practice, and the recognition of practitioner knowledge.
{"title":"Practitioner (In)visibility in the Conservation of Contemporary Art","authors":"Zoe Miller","doi":"10.1080/01971360.2021.1951550","DOIUrl":"https://doi.org/10.1080/01971360.2021.1951550","url":null,"abstract":"ABSTRACT This article explores the role and position of the conservator of contemporary art and proposes the concept of invisibility as a way of thinking about ideas and practices of authorship, agency, and knowledge in the field of conservation. The invisibility of the practitioner is a concept drawn from the field of translation, and the work of translation theorist Lawrence Venuti. Venuti describes the translator’s traditional position of invisibility, exploring how it manifests both in relation to the translated text, as well as in wider epistemic, professional, and social senses. Sparked by Venuti’s 1995 book The Translator’s Invisibility: A History of Translation, invisibility has been the subject of significant study and debate in translation and can also be identified as a common concern across several disciplines. This article explores how the concept of invisibility applies to the conservator of contemporary art, and its effect in respect of understandings of the work, the nature of conservation practice, and the recognition of practitioner knowledge.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"197 - 209"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46957559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1919372
Amy Brost
ABSTRACT Perhaps because the visual arts predominate in museum collections, conservation documentation methods for audio in time-based media installation art are less developed than those for video. However, the aural elements are equally complex, both technically and creatively. This paper proposes a framework for documenting sound in time-based media installations, from the artist's vision for the listener experience of the artwork to its realization in the exhibition space. This documentation framework was applied to one artwork, The Visitors (2012) by Ragnar Kjartansson, as a case study. The framework and excerpts from the case study show how documentation focused on sound elements can yield unique insights about an artwork. For time-based media works that foreground sound, conservators must be conversant with sound physics, acoustics, audio engineering, and sound design so that they can have productive conversations with artists, sound professionals, and other stakeholders in order to create meaningful documentation of the significant aural properties of an artwork for the future. In this way, conservators can approach time-based media installations not only attending to how they look, but also to how they sound.
{"title":"A Documentation Framework for Sound in Time-based Media Installation Art","authors":"Amy Brost","doi":"10.1080/01971360.2021.1919372","DOIUrl":"https://doi.org/10.1080/01971360.2021.1919372","url":null,"abstract":"ABSTRACT Perhaps because the visual arts predominate in museum collections, conservation documentation methods for audio in time-based media installation art are less developed than those for video. However, the aural elements are equally complex, both technically and creatively. This paper proposes a framework for documenting sound in time-based media installations, from the artist's vision for the listener experience of the artwork to its realization in the exhibition space. This documentation framework was applied to one artwork, The Visitors (2012) by Ragnar Kjartansson, as a case study. The framework and excerpts from the case study show how documentation focused on sound elements can yield unique insights about an artwork. For time-based media works that foreground sound, conservators must be conversant with sound physics, acoustics, audio engineering, and sound design so that they can have productive conversations with artists, sound professionals, and other stakeholders in order to create meaningful documentation of the significant aural properties of an artwork for the future. In this way, conservators can approach time-based media installations not only attending to how they look, but also to how they sound.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"210 - 224"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2021.1919372","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41974934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1977058
Brian Castriota
ABSTRACT Over the last two decades, the conservation field has developed new frameworks for works that recur in multiple manifestations, such as many time-based media, installation, and performance artworks. Within these frameworks, authenticity is gauged primarily on a manifestation’s perceived compliance with the artist’s directives or specifications for the work. Such models have proven difficult to apply in practice when faced with artworks in protracted states of creation, that have an existence outside the walls of the collecting institution, and whose manifestations are dispersed and distributed in space and over time. This article examines how Future Library (2014–2114) – a century-long public artwork by the Scottish artist Katie Paterson – confounds the two-stage model of an artwork’s creation, and the conventional understanding of the artwork instantiated and made present in discrete, physical objects or events. Drawing upon Deleuze's philosophical writings, I characterize the varied ways in which an artwork or object of cultural heritage may be made present and may undergo change, while forever remaining partial, deferred, and absent. This article considers how the scope of what falls within the conservator’s gaze might be widened, and how an artwork’s conservation and creation might be understood as interdependent and concurrent acts of safeguarding and continuation.
{"title":"Instantiation, Actualization, and Absence: The Continuation and Safeguarding of Katie Paterson’s Future Library (2014–2114)","authors":"Brian Castriota","doi":"10.1080/01971360.2021.1977058","DOIUrl":"https://doi.org/10.1080/01971360.2021.1977058","url":null,"abstract":"ABSTRACT Over the last two decades, the conservation field has developed new frameworks for works that recur in multiple manifestations, such as many time-based media, installation, and performance artworks. Within these frameworks, authenticity is gauged primarily on a manifestation’s perceived compliance with the artist’s directives or specifications for the work. Such models have proven difficult to apply in practice when faced with artworks in protracted states of creation, that have an existence outside the walls of the collecting institution, and whose manifestations are dispersed and distributed in space and over time. This article examines how Future Library (2014–2114) – a century-long public artwork by the Scottish artist Katie Paterson – confounds the two-stage model of an artwork’s creation, and the conventional understanding of the artwork instantiated and made present in discrete, physical objects or events. Drawing upon Deleuze's philosophical writings, I characterize the varied ways in which an artwork or object of cultural heritage may be made present and may undergo change, while forever remaining partial, deferred, and absent. This article considers how the scope of what falls within the conservator’s gaze might be widened, and how an artwork’s conservation and creation might be understood as interdependent and concurrent acts of safeguarding and continuation.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"145 - 160"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48097350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1980695
Marta García Celma
ABSTRACT Authenticity in flux and value-led approaches are crucial elements in the conservation of contemporary art. Both depend on stakeholders: those involved in the artwork's historiography, who can promote value attribution and knowledge production towards the works, and those who could be affected by the conservation process. Identifying relevant stakeholders for contemporary art conservation becomes an imperative. This article introduces a model for identifying and categorizing relevant stakeholders for contemporary art conservation and preservation and attempts to support questions such as: Who are the stakeholders involved in the conservation process? What should be their involvement? How do they impact the conservation process? Who should identify them? How could it be done? In the suggested model, identification of relevant stakeholders is led by (1) the conservator as an analyst or an agent of change and (2) by a set of twelve “boundary questions” used to provoke and define situational framings. The categorization of relevant stakeholders is presented according to (1) their nature (human and non-human) and (2) their relevance and impact on/from the conservation and presentation process. Thereby, four groups of stakeholders are identified: human actors actively involved, human actors passively involved, non-human actors actively involved, and non-human actors passively involved.
{"title":"Supporting Decision-Making when Conserving Contemporary Art: A Model for Identification and Categorization of Stakeholders","authors":"Marta García Celma","doi":"10.1080/01971360.2021.1980695","DOIUrl":"https://doi.org/10.1080/01971360.2021.1980695","url":null,"abstract":"ABSTRACT\u0000 Authenticity in flux and value-led approaches are crucial elements in the conservation of contemporary art. Both depend on stakeholders: those involved in the artwork's historiography, who can promote value attribution and knowledge production towards the works, and those who could be affected by the conservation process. Identifying relevant stakeholders for contemporary art conservation becomes an imperative. This article introduces a model for identifying and categorizing relevant stakeholders for contemporary art conservation and preservation and attempts to support questions such as: Who are the stakeholders involved in the conservation process? What should be their involvement? How do they impact the conservation process? Who should identify them? How could it be done? In the suggested model, identification of relevant stakeholders is led by (1) the conservator as an analyst or an agent of change and (2) by a set of twelve “boundary questions” used to provoke and define situational framings. The categorization of relevant stakeholders is presented according to (1) their nature (human and non-human) and (2) their relevance and impact on/from the conservation and presentation process. Thereby, four groups of stakeholders are identified: human actors actively involved, human actors passively involved, non-human actors actively involved, and non-human actors passively involved.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"161 - 174"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49518940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1988528
Mareike Opeña, Martha C. Singer, Delia Müller-Wüsten
The American Institute for Conservation (AIC)’s Contemporary Art Network, or CAN!, aims to embrace and explore the influence by and the influences on the conservator in our daily practice. The articles within this JAIC Special Issue on Contemporary Art Conservation stem from our network’s inaugural sessions at AIC’s 47th Annual Meeting in Connecticut. The May 2019 concurrent general session on “The Evolving Role of the Conservator” and the panel “The Evolving Influence of the Conservator” highlighted changes in the field, particularly when dealing with experimental art, materials, and concepts. We welcomed contributions for this issue that further describe the complex nature of contemporary art conservation, including typical (or atypical, in many cases) challenges they have learned to navigate to extend the expected life of contemporary art – or even investigate the underlying expectations of conservation altogether. This special issue reflects the mission of the newly established Contemporary Art Network, which was formed as part of AIC in 2018/2019 by conservators Luca Ackerman, Kate Moomaw, Giuliana Moretto, Delia Müller-Wüsten, Mareike Opeña, and Martha Singer. We believe discussing the care of contemporary art provides an interesting addition to the American Institute of Conservation, as it is distinct from historic artifacts in several ways. Underlying all forms of contemporary art conservation are intellectual issues, material instabilities, and conceptual complexities – all which have received international attention for the past three decades. CAN! sees the need for providing a platform within AIC for addressing such challenges. We want to explore how contemporary art requires and inspires us to go beyond standard conservation procedures on a practical level, which in turn enables us to rethink these standards and professional guidelines. Contemporary art is typically known for the oftenexperimental character of artwork materials and concepts, or of its rapidly developing new forms beyond sculpture and painting (e.g., time-based media, performance, street art, or internet web art). Unlike most of our cultural heritage, it is the only section that is still growing exponentially. What effect does that have on conservation decisions? Additionally, because it is so vast, it exists outside institutions at least as much as inside museums and established collections. Practicing conservators have long responded to contemporary art’s need of care “outside the museum realm,” as one can see by the flourishing private practice conservation studios in New York City, Los Angeles, Miami, and many metropolitan cities around the globe, where this type of art is commonly produced, exhibited, and marketed. More than half of CAN!’s founding members are from this sector of private practice conservation. CAN! hopes to encourage active participation from conservators in private practice in the future, as it is a vastly underrepresented area of the conservatio
{"title":"Introduction to the Special Issue on Contemporary Art Conservation","authors":"Mareike Opeña, Martha C. Singer, Delia Müller-Wüsten","doi":"10.1080/01971360.2021.1988528","DOIUrl":"https://doi.org/10.1080/01971360.2021.1988528","url":null,"abstract":"The American Institute for Conservation (AIC)’s Contemporary Art Network, or CAN!, aims to embrace and explore the influence by and the influences on the conservator in our daily practice. The articles within this JAIC Special Issue on Contemporary Art Conservation stem from our network’s inaugural sessions at AIC’s 47th Annual Meeting in Connecticut. The May 2019 concurrent general session on “The Evolving Role of the Conservator” and the panel “The Evolving Influence of the Conservator” highlighted changes in the field, particularly when dealing with experimental art, materials, and concepts. We welcomed contributions for this issue that further describe the complex nature of contemporary art conservation, including typical (or atypical, in many cases) challenges they have learned to navigate to extend the expected life of contemporary art – or even investigate the underlying expectations of conservation altogether. This special issue reflects the mission of the newly established Contemporary Art Network, which was formed as part of AIC in 2018/2019 by conservators Luca Ackerman, Kate Moomaw, Giuliana Moretto, Delia Müller-Wüsten, Mareike Opeña, and Martha Singer. We believe discussing the care of contemporary art provides an interesting addition to the American Institute of Conservation, as it is distinct from historic artifacts in several ways. Underlying all forms of contemporary art conservation are intellectual issues, material instabilities, and conceptual complexities – all which have received international attention for the past three decades. CAN! sees the need for providing a platform within AIC for addressing such challenges. We want to explore how contemporary art requires and inspires us to go beyond standard conservation procedures on a practical level, which in turn enables us to rethink these standards and professional guidelines. Contemporary art is typically known for the oftenexperimental character of artwork materials and concepts, or of its rapidly developing new forms beyond sculpture and painting (e.g., time-based media, performance, street art, or internet web art). Unlike most of our cultural heritage, it is the only section that is still growing exponentially. What effect does that have on conservation decisions? Additionally, because it is so vast, it exists outside institutions at least as much as inside museums and established collections. Practicing conservators have long responded to contemporary art’s need of care “outside the museum realm,” as one can see by the flourishing private practice conservation studios in New York City, Los Angeles, Miami, and many metropolitan cities around the globe, where this type of art is commonly produced, exhibited, and marketed. More than half of CAN!’s founding members are from this sector of private practice conservation. CAN! hopes to encourage active participation from conservators in private practice in the future, as it is a vastly underrepresented area of the conservatio","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"67 - 68"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47292160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1913542
Ellen Davis
ABSTRACT Long shrouded by a history of material change, Mark Rothko’s Harvard Murals are reassessed as a work of installation art, using the logic of the documentation model for time-based media art developed and published by Joanna Phillips in 2015. The documentation model and its theoretical framework aid in clarifying both the core identity of the work and its viability for future iterations. By applying the documentation model’s logic to this set of paintings, the model’s broad applicability is demonstrated.
{"title":"Version Control: Mark Rothko’s Harvard Murals through the Lens of the Documentation Model for Time-Based Media Art","authors":"Ellen Davis","doi":"10.1080/01971360.2021.1913542","DOIUrl":"https://doi.org/10.1080/01971360.2021.1913542","url":null,"abstract":"ABSTRACT Long shrouded by a history of material change, Mark Rothko’s Harvard Murals are reassessed as a work of installation art, using the logic of the documentation model for time-based media art developed and published by Joanna Phillips in 2015. The documentation model and its theoretical framework aid in clarifying both the core identity of the work and its viability for future iterations. By applying the documentation model’s logic to this set of paintings, the model’s broad applicability is demonstrated.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"92 - 104"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2021.1913542","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47544884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/01971360.2021.1968594
Muriel Verbeeck
ABSTRACT Artist’s intention is not an unambiguous concept in conservation. It is used to focus on the aesthetic function of the work and its intentional effect. To understand the artwork in order to transmit its meaning, the conservator must therefore become a “receptor” and “read” the stimuli created by the artist as objectively and sensitively as possible. This article includes a draft methodology ranging from taking inventory of the effects to documenting their nomenclature. Artist’s intention can be seen as a prism, but for a complex artwork, conservators also need to use a kaleidoscope of perceptions.
{"title":"From Prism to Kaleidoscope: Effect Versus Intention in the Conservation of Contemporary Art","authors":"Muriel Verbeeck","doi":"10.1080/01971360.2021.1968594","DOIUrl":"https://doi.org/10.1080/01971360.2021.1968594","url":null,"abstract":"ABSTRACT Artist’s intention is not an unambiguous concept in conservation. It is used to focus on the aesthetic function of the work and its intentional effect. To understand the artwork in order to transmit its meaning, the conservator must therefore become a “receptor” and “read” the stimuli created by the artist as objectively and sensitively as possible. This article includes a draft methodology ranging from taking inventory of the effects to documenting their nomenclature. Artist’s intention can be seen as a prism, but for a complex artwork, conservators also need to use a kaleidoscope of perceptions.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"105 - 114"},"PeriodicalIF":0.5,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45987580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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