Founded in 1701, Yale University ranks among the original nine colleges established before the American Revolution. It was named for Elihu Yale, who donated money, books, and a portrait of King George I to the college in 1718. Among the legacies of Yale and other early American universities, is the interconnected history of trade, politics, and higher education. Slavery, both native and African, is an undeniable part of that history. Indeed, early American academies sought to educate people t...
{"title":"Responding to White Supremacy: Public Images and Legacies at Yale University","authors":"C. Snow, Alan J. Dworsky","doi":"10.4000/ceroart.5682","DOIUrl":"https://doi.org/10.4000/ceroart.5682","url":null,"abstract":"Founded in 1701, Yale University ranks among the original nine colleges established before the American Revolution. It was named for Elihu Yale, who donated money, books, and a portrait of King George I to the college in 1718. Among the legacies of Yale and other early American universities, is the interconnected history of trade, politics, and higher education. Slavery, both native and African, is an undeniable part of that history. Indeed, early American academies sought to educate people t...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87288307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vandalism over vandalism is something we see very often today. Ultimately, it is seen in contradistinctive forms of expression. All sentient life is concerned with ownership either instinctively or rationally while having varied demands to express in relation to property. Graffiti is increasingly transforming into a cultural practice in Turkey in the sense that the urban space is artistically re-defined. This study aims to debate/discuss the issue of urban space and new cultural methods in t...
{"title":"Vandalism over Vandalism","authors":"Begum Gucuk","doi":"10.4000/ceroart.5752","DOIUrl":"https://doi.org/10.4000/ceroart.5752","url":null,"abstract":"Vandalism over vandalism is something we see very often today. Ultimately, it is seen in contradistinctive forms of expression. All sentient life is concerned with ownership either instinctively or rationally while having varied demands to express in relation to property. Graffiti is increasingly transforming into a cultural practice in Turkey in the sense that the urban space is artistically re-defined. This study aims to debate/discuss the issue of urban space and new cultural methods in t...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"2012 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73686996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Winston Churchill memorial applique glass screen (Fig 1) was created by the artist Edward Bainbridge Copnall in the mid 1960s for an exterior location in a shopping precinct in Dudley in the West Midlands of England. Applique glass art involves the bonding of coloured glass to a support of clear plate glass and this magnificent creation consisted of 17 glass panels with a total width of c. 12 metres illustrating the life of Churchill, including the Houses of Parliament, St Paul’s Cathedra...
{"title":"Vandalism of the Winston Churchill appliqué glass screen: a story without an ending?","authors":"N. Tennent, Stephen Field","doi":"10.4000/ceroart.5669","DOIUrl":"https://doi.org/10.4000/ceroart.5669","url":null,"abstract":"The Winston Churchill memorial applique glass screen (Fig 1) was created by the artist Edward Bainbridge Copnall in the mid 1960s for an exterior location in a shopping precinct in Dudley in the West Midlands of England. Applique glass art involves the bonding of coloured glass to a support of clear plate glass and this magnificent creation consisted of 17 glass panels with a total width of c. 12 metres illustrating the life of Churchill, including the Houses of Parliament, St Paul’s Cathedra...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74584146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Comment concilier les regles du droit d’auteur avec les principes de la restauration et, plus precisement, comment articuler les droits de l’artiste et de ses ayants droit avec ceux du musee qui a acquis l’œuvre ? L’objectif est d’instaurer des l’acquisition de l’œuvre un dialogue ou, a tout le moins, retablir une bonne communication une fois la question des modalites de conservation-restauration posee. Il faut anticiper en amont les conflits entre l’artiste ou ses ayants droit d’une part, et l’acquereur de l’œuvre d’autre part, par la voie contractuelle et, en tout etat de cause, concilier les interets en presence une fois le conflit ouvert. Le colloque a permis d’explorer quelques pistes de reflexion a partir d’exemples concrets d’œuvres a caractere technologique.
{"title":"Droit d’auteur et restauration des œuvres à caractère technologique","authors":"Anne-Laure Moya-Plana","doi":"10.4000/CEROART.5987","DOIUrl":"https://doi.org/10.4000/CEROART.5987","url":null,"abstract":"Comment concilier les regles du droit d’auteur avec les principes de la restauration et, plus precisement, comment articuler les droits de l’artiste et de ses ayants droit avec ceux du musee qui a acquis l’œuvre ? L’objectif est d’instaurer des l’acquisition de l’œuvre un dialogue ou, a tout le moins, retablir une bonne communication une fois la question des modalites de conservation-restauration posee. Il faut anticiper en amont les conflits entre l’artiste ou ses ayants droit d’une part, et l’acquereur de l’œuvre d’autre part, par la voie contractuelle et, en tout etat de cause, concilier les interets en presence une fois le conflit ouvert. Le colloque a permis d’explorer quelques pistes de reflexion a partir d’exemples concrets d’œuvres a caractere technologique.","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78397263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L’œuvre Erlauf de Jenny Holzer est un panneau lumineux faisant partie d’une serie, realisee en 1998. Une etude prealable a ete menee en vue de sa restauration, qui a souleve les difficultes relatives a ce type d’objet. Ce cas a permis une collaboration internationale entre l’atelier de l’artiste, des techniciens et des musees, dont le Conservateur-Restaurateur a la charge de la coordination et de la gestion des points de vue parfois opposes de chacun.
{"title":"The problematic restoration of a conceptual light artwork","authors":"Olivier Steib","doi":"10.4000/ceroart.5969","DOIUrl":"https://doi.org/10.4000/ceroart.5969","url":null,"abstract":"L’œuvre Erlauf de Jenny Holzer est un panneau lumineux faisant partie d’une serie, realisee en 1998. Une etude prealable a ete menee en vue de sa restauration, qui a souleve les difficultes relatives a ce type d’objet. Ce cas a permis une collaboration internationale entre l’atelier de l’artiste, des techniciens et des musees, dont le Conservateur-Restaurateur a la charge de la coordination et de la gestion des points de vue parfois opposes de chacun.","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"94 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83567284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the past, the Rijksmuseum collection has recurrently been a victim of vandalism. Notable examples are a knife attack on Rembrandt’s Night Watch in January 1911 and an axe attack on the fragment of Rembrandt’s The Anatomy Lesson of Dr. Deyman in February 1931. However, this presentation focusses on three cases from the 1970s. In the Netherlands conservation history, this decade marks the beginning of the end of the wax-resin lining, also known as the “Dutch method”, a method that was previo...
{"title":"Vandalism and the Rijksmuseum: three vandalized paintings restored by Luitsen Kuiper in the nineteen seventies","authors":"E. V. Duijn","doi":"10.4000/ceroart.5573","DOIUrl":"https://doi.org/10.4000/ceroart.5573","url":null,"abstract":"In the past, the Rijksmuseum collection has recurrently been a victim of vandalism. Notable examples are a knife attack on Rembrandt’s Night Watch in January 1911 and an axe attack on the fragment of Rembrandt’s The Anatomy Lesson of Dr. Deyman in February 1931. However, this presentation focusses on three cases from the 1970s. In the Netherlands conservation history, this decade marks the beginning of the end of the wax-resin lining, also known as the “Dutch method”, a method that was previo...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74979382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The preservation of contemporary outdoor murals is confronted with very special challenges. There is a vast amount of murals, the need for conservation is great and the technical challenges are enormous. It does not require much time for deterioration processes to commence on contemporary outdoor murals, which are often exposed to harsh climatic conditions. Lifespans can also be short due to urban expansion and development. Compounding these problems are conflicting attitudes dealing with phi...
{"title":"The problem of vandalism on contemporary outdoor murals and street art","authors":"I. Brajer","doi":"10.4000/ceroart.5761","DOIUrl":"https://doi.org/10.4000/ceroart.5761","url":null,"abstract":"The preservation of contemporary outdoor murals is confronted with very special challenges. There is a vast amount of murals, the need for conservation is great and the technical challenges are enormous. It does not require much time for deterioration processes to commence on contemporary outdoor murals, which are often exposed to harsh climatic conditions. Lifespans can also be short due to urban expansion and development. Compounding these problems are conflicting attitudes dealing with phi...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"150 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75157448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Introduction Works of art have always been exposed to anthropogenic changes and iconoclastic interventions. On April 10, 1524, the Reformation movement reached a pinnacle in Stralsund, a town of the Hanseatic League, when a mob raided the town’s parish church of St. Nikolai. [Michalski 2000] Even five hundred years later, the traces of this eventful day are to be seen on the doors of the choir screen. Today, the faces of the saints are scratched, and numerous scores and other marks are visibl...
{"title":"Deliberate damage to polychrome church interiors","authors":"Tino Simon","doi":"10.4000/ceroart.5622","DOIUrl":"https://doi.org/10.4000/ceroart.5622","url":null,"abstract":"Introduction Works of art have always been exposed to anthropogenic changes and iconoclastic interventions. On April 10, 1524, the Reformation movement reached a pinnacle in Stralsund, a town of the Hanseatic League, when a mob raided the town’s parish church of St. Nikolai. [Michalski 2000] Even five hundred years later, the traces of this eventful day are to be seen on the doors of the choir screen. Today, the faces of the saints are scratched, and numerous scores and other marks are visibl...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79984471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ce texte reprend la transcription de l’intervention de Santiago Torres lors de la premiere journee d’etude, le 3 novembre 2016 a la Villa des Arts (Paris). Il est accompagne de la video de la presentation qui illustre notamment les exemples cites. Santiago Torres y presente ses reflexions issues de son experience en tant qu’assistant d’artiste aupres de Julio Le Parc et de Nicolas Schoffer. Il detaille sa vision de la notion de langage en tant qu’element cle pour la comprehension et la restauration de ces œuvres cinetiques et cybernetiques ; et il s’interroge sur le devenir de ses propres œuvres numeriques.
本文是圣地亚哥·托雷斯(Santiago Torres) 2016年11月3日在巴黎艺术别墅(Villa des Arts)学习的第一天的演讲。它附有演示视频，特别说明了引用的例子。圣地亚哥·托雷斯(Santiago Torres)在胡里奥·勒·帕克(Julio Le Parc)和尼古拉斯·舍弗(Nicolas Schoffer)的指导下，展示了他作为艺术家助理的经历。他详细阐述了他对语言概念的看法，认为语言是理解和恢复这些电影和控制论作品的关键因素;他想知道自己的数字作品的未来。
{"title":"Point de vue de l'artiste et assistant d'artiste : problématiques et expériences","authors":"S. Torres","doi":"10.4000/CEROART.6061","DOIUrl":"https://doi.org/10.4000/CEROART.6061","url":null,"abstract":"Ce texte reprend la transcription de l’intervention de Santiago Torres lors de la premiere journee d’etude, le 3 novembre 2016 a la Villa des Arts (Paris). Il est accompagne de la video de la presentation qui illustre notamment les exemples cites. Santiago Torres y presente ses reflexions issues de son experience en tant qu’assistant d’artiste aupres de Julio Le Parc et de Nicolas Schoffer. Il detaille sa vision de la notion de langage en tant qu’element cle pour la comprehension et la restauration de ces œuvres cinetiques et cybernetiques ; et il s’interroge sur le devenir de ses propres œuvres numeriques.","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73627036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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