{"title":"Autour de Nicolas Schöffer, conserver/restaurer des œuvres à caractère technologique","authors":"","doi":"10.4000/ceroart.5794","DOIUrl":"https://doi.org/10.4000/ceroart.5794","url":null,"abstract":"","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82867463","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":"La restauration problématique d’une œuvre lumineuse conceptuelle","authors":"Olivier Steib","doi":"10.4000/ceroart.5942","DOIUrl":"https://doi.org/10.4000/ceroart.5942","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":"113 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79416522","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}
S. Weerdenburg, Netta Krumperman, Rebecca Timmermans, Tessa Rietveld
The term ‘vandalism‘ is a broad concept, and includes many kinds of behaviour in a museum of modern art. According to the precise definition, it concerns the deliberate damaging of objects. Unfortunately, the Stedelijk Museum Amsterdam has had to deal with this at various times. However, in practice, much damage occurs during exhibitions by the public touching objects with no real intention to cause damage. Apart from the specific motives and behaviour of individual persons, various more gen...
{"title":"The many forms of ‘vandalism’ in relation to modern art","authors":"S. Weerdenburg, Netta Krumperman, Rebecca Timmermans, Tessa Rietveld","doi":"10.4000/ceroart.5646","DOIUrl":"https://doi.org/10.4000/ceroart.5646","url":null,"abstract":"The term ‘vandalism‘ is a broad concept, and includes many kinds of behaviour in a museum of modern art. According to the precise definition, it concerns the deliberate damaging of objects. Unfortunately, the Stedelijk Museum Amsterdam has had to deal with this at various times. However, in practice, much damage occurs during exhibitions by the public touching objects with no real intention to cause damage. Apart from the specific motives and behaviour of individual persons, various more gen...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79494036","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 at National Gallery Like many public museums, the National Gallery, London, has sustained acts of vandalism to its collection. Archival records dating back to 1863 reveal that patterns of damage mostly involve mechanical damage with fewer non-corrosive substance attacks. In 2011, a further two paintings were defaced with canned spray paint. In total 21 works of art have been damaged. Emergency procedures In response to this most recent assault and awareness of the need to update...
{"title":"Protecting Paintings from Vandalism: updating rapid response procedures at the National Gallery, London","authors":"Morwenna Blewett, Lynne Harrison, D. Peggie","doi":"10.4000/ceroart.5629","DOIUrl":"https://doi.org/10.4000/ceroart.5629","url":null,"abstract":"Vandalism at National Gallery Like many public museums, the National Gallery, London, has sustained acts of vandalism to its collection. Archival records dating back to 1863 reveal that patterns of damage mostly involve mechanical damage with fewer non-corrosive substance attacks. In 2011, a further two paintings were defaced with canned spray paint. In total 21 works of art have been damaged. Emergency procedures In response to this most recent assault and awareness of the need to update...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88855018","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 Graffiti is found in many societies with different cultural contexts and has become a witness and an ethnographic source of information on urban art development (Waclawek, 2011). Modes of expression are mainly related to visibility, notoriety, choice of venue, transgression, and are often a mean to react and protest while remaining anonymous, by illegally introducing messages in the public space. Contemporary graffiti is also described by its controversial issues between social, ...
{"title":"The duality of Graffiti: is it vandalism or art?","authors":"A. Colombini","doi":"10.4000/ceroart.5745","DOIUrl":"https://doi.org/10.4000/ceroart.5745","url":null,"abstract":"Introduction Graffiti is found in many societies with different cultural contexts and has become a witness and an ethnographic source of information on urban art development (Waclawek, 2011). Modes of expression are mainly related to visibility, notoriety, choice of venue, transgression, and are often a mean to react and protest while remaining anonymous, by illegally introducing messages in the public space. Contemporary graffiti is also described by its controversial issues between social, ...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"89 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78547351","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'idee d’une absence de materialite de l’œuvre numerique peut constituer un ecueil pour la conservation. Elle occulte une forme de materialite specifique et sur laquelle il est possible d’agir pour les restaurateurs et les acteurs de la conservation. A travers l’etude de plusieurs cas d’œuvres audiovisuelles numeriques aujourd’hui technologiquement obsoletes, nous tenterons de montrer de quelle maniere les mecanismes d’alteration de ces œuvres sont intimement lies a une forme de materialite tout autant assujettie au passage du temps que celle des œuvres issues d'autres domaines de creation.
{"title":"Conservation et matérialité des œuvres numériques","authors":"Alexandre Michaan","doi":"10.4000/CEROART.5974","DOIUrl":"https://doi.org/10.4000/CEROART.5974","url":null,"abstract":"L'idee d’une absence de materialite de l’œuvre numerique peut constituer un ecueil pour la conservation. Elle occulte une forme de materialite specifique et sur laquelle il est possible d’agir pour les restaurateurs et les acteurs de la conservation. A travers l’etude de plusieurs cas d’œuvres audiovisuelles numeriques aujourd’hui technologiquement obsoletes, nous tenterons de montrer de quelle maniere les mecanismes d’alteration de ces œuvres sont intimement lies a une forme de materialite tout autant assujettie au passage du temps que celle des œuvres issues d'autres domaines de creation.","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"17 2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72694876","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 d’Eleonore de Lavandeyra Schoffer 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 communication. Apres avoir presente les œuvres et l’atelier de Nicolas Schoffer au public, Eleonore Schoffer y presente ses experiences et reflexions liees aux restaurations des œuvres de son mari a travers le temps. Elle passe en revue les differentes categories d’œuvres de l’artiste et quelques cles de comprehension sur leurs evolutions.
本文引用了eleonore de Lavandeyra Schoffer于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。它还附有一段交流视频。在向公众展示了Nicolas Schoffer的作品和工作室之后，Eleonore Schoffer展示了她对丈夫作品修复的经验和反思。它回顾了艺术家作品的不同类别，以及理解它们演变的一些关键。
{"title":"Historique et variations de la restauration des œuvres de Nicolas Schöffer","authors":"Éléonore de Lavandeyra Schöffer","doi":"10.4000/ceroart.6076","DOIUrl":"https://doi.org/10.4000/ceroart.6076","url":null,"abstract":"Ce texte reprend la transcription de l’intervention d’Eleonore de Lavandeyra Schoffer 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 communication. Apres avoir presente les œuvres et l’atelier de Nicolas Schoffer au public, Eleonore Schoffer y presente ses experiences et reflexions liees aux restaurations des œuvres de son mari a travers le temps. Elle passe en revue les differentes categories d’œuvres de l’artiste et quelques cles de comprehension sur leurs evolutions.","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79885113","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}
Rachel Barker, B. Ormsby, Melissa M. Keefe, S. Wills
Rothko’s ‘Untitled, Black on Maroon’ 1958 was vandalised on the 7th October 2012. A moment later a Tate visitor posted an image of the vandalised painting on Twitter. "We heard the sound of a pen, but by the time we turned around he was pretty much finished with his tag," said Tim Wright, who was with his girlfriend on a weekend visit to London from Bristol. "The pen ink then just dripped down the painting. Once we realised what had happened, we went to find a member of staff. They were reall...
{"title":"Mark Rothko: Untitled (Black on Maroon).","authors":"Rachel Barker, B. Ormsby, Melissa M. Keefe, S. Wills","doi":"10.4000/ceroart.5697","DOIUrl":"https://doi.org/10.4000/ceroart.5697","url":null,"abstract":"Rothko’s ‘Untitled, Black on Maroon’ 1958 was vandalised on the 7th October 2012. A moment later a Tate visitor posted an image of the vandalised painting on Twitter. \"We heard the sound of a pen, but by the time we turned around he was pretty much finished with his tag,\" said Tim Wright, who was with his girlfriend on a weekend visit to London from Bristol. \"The pen ink then just dripped down the painting. Once we realised what had happened, we went to find a member of staff. They were reall...","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89635494","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}
Cette communication propose une reflexion sur l’interpretation des œuvres de Nicolas Schoffer a partir de cas pratiques. Elle se base sur la definition de la conservation-restauration comme interpretation en tant que processus de decision en vue de la transmission des œuvres d’art. Les notions d’authenticite, intentionnalite et extrapolation sont remises en perspective a partir d’exemples caracteristiques de l’art contemporain.
{"title":"Entre authenticité et extrapolation : l’interprétation des œuvres de Nicolas Schöffer","authors":"Manon D'haenens","doi":"10.4000/CEROART.6137","DOIUrl":"https://doi.org/10.4000/CEROART.6137","url":null,"abstract":"Cette communication propose une reflexion sur l’interpretation des œuvres de Nicolas Schoffer a partir de cas pratiques. Elle se base sur la definition de la conservation-restauration comme interpretation en tant que processus de decision en vue de la transmission des œuvres d’art. Les notions d’authenticite, intentionnalite et extrapolation sont remises en perspective a partir d’exemples caracteristiques de l’art contemporain.","PeriodicalId":30124,"journal":{"name":"CeROArt Conservation Exposition Restauration dObjets dArt","volume":"116 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75979498","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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