Pub Date : 2021-07-03DOI: 10.1080/10344233.2022.2058245
Karen M Thompson, P. Nel
Concerns around the degradation of plastics have been part of conservation discourse for decades. The spotlight is usually on art and objects, and conservation and display materials, however it could be argued that a significant volume of the plastics in museums is associated with storage bags. This study asked whether the condition of plastic storage bags might be influenced by what is stored inside them. If specific materials can be identified as more likely to affect plastic degradation, museums may have a lead-indicator for efficiently monitoring storage risks. This case study developed a methodology for applying multivariate analysis to collected data to answer this question. A subset of polyethylene self-seal bags used to pack archaeological material from the ‘Casselden Place’ assemblage at Museums Victoria was evaluated. Objective data were combined with subjective assessment of bag degradation features gathered during a collection survey and interrogated using multivariate statistical analysis. Results indicate (1) different levels of yellowing are associated with particular plastic bag stocks and (2) ceramic, slate and tile finds are more likely than other materials to be contained within yellower bags. The research points to future enquiry and demonstrates this methodology shows promise for extension to other large cultural datasets.
{"title":"A preliminary investigation into the influence of archaeological material on the yellowing of polyethylene storage bags","authors":"Karen M Thompson, P. Nel","doi":"10.1080/10344233.2022.2058245","DOIUrl":"https://doi.org/10.1080/10344233.2022.2058245","url":null,"abstract":"Concerns around the degradation of plastics have been part of conservation discourse for decades. The spotlight is usually on art and objects, and conservation and display materials, however it could be argued that a significant volume of the plastics in museums is associated with storage bags. This study asked whether the condition of plastic storage bags might be influenced by what is stored inside them. If specific materials can be identified as more likely to affect plastic degradation, museums may have a lead-indicator for efficiently monitoring storage risks. This case study developed a methodology for applying multivariate analysis to collected data to answer this question. A subset of polyethylene self-seal bags used to pack archaeological material from the ‘Casselden Place’ assemblage at Museums Victoria was evaluated. Objective data were combined with subjective assessment of bag degradation features gathered during a collection survey and interrogated using multivariate statistical analysis. Results indicate (1) different levels of yellowing are associated with particular plastic bag stocks and (2) ceramic, slate and tile finds are more likely than other materials to be contained within yellower bags. The research points to future enquiry and demonstrates this methodology shows promise for extension to other large cultural datasets.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"104 - 117"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45334686","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}
Pub Date : 2021-07-03DOI: 10.1080/10344233.2022.2131197
Yang Huan, Li Jizhen, T. Eckfeld, Yang Junchang
Since the discovery of two bronze chariots at Qin Shihuang’s mausoleum in 1978, the technical methods used by skilled artisans to construct them has remained a question of scholarly interest. While the parts and joints of the chariots have been studied, the complex metal technologies used to assemble the chariots has not been analysed in detail. This article examines the high-temperature connection technologies used to assemble the around 5500 metal parts of the two chariots and divides them into two major types: cast joints and welded joints. It categorises the cast joints, including embedded-casting and package-casting, and the welded joints as three types based on different methods. Through examination of the bronze chariots, this study demonstrates that the Qin Dynasty (221-206 BCE) built on Bronze Age technologies to reach new heights of excellence in a post-Bronze Age.
{"title":"Making the First Emperor’s Chariots—High-temperature Bronze Connection Technologies in Qin Dynasty China","authors":"Yang Huan, Li Jizhen, T. Eckfeld, Yang Junchang","doi":"10.1080/10344233.2022.2131197","DOIUrl":"https://doi.org/10.1080/10344233.2022.2131197","url":null,"abstract":"Since the discovery of two bronze chariots at Qin Shihuang’s mausoleum in 1978, the technical methods used by skilled artisans to construct them has remained a question of scholarly interest. While the parts and joints of the chariots have been studied, the complex metal technologies used to assemble the chariots has not been analysed in detail. This article examines the high-temperature connection technologies used to assemble the around 5500 metal parts of the two chariots and divides them into two major types: cast joints and welded joints. It categorises the cast joints, including embedded-casting and package-casting, and the welded joints as three types based on different methods. Through examination of the bronze chariots, this study demonstrates that the Qin Dynasty (221-206 BCE) built on Bronze Age technologies to reach new heights of excellence in a post-Bronze Age.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"91 - 103"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48712003","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.2008202
Catherine Collyer
Time-based art (TBA) in the Queensland Art Gallery | Gallery of Modern Art's (QAGOMA) Collection has expanded in conjunction with the development of the Asia Pacific Triennial (APT) exhibition series. A survey of TBA acquired following the 1st to 9th APT exhibitions collected data on the status of this group of works. Coinciding with the development of a cross-disciplinary TBA working group and the beginning of the Gallery's Digital Transformation Initiative (DTI), the survey findings have helped to inform how collection management practices for TBA at QAGOMA can be improved to meet the unique conservation needs of this group of works of art. Using information gathered, conservators dedicated to the preservation of TBA have been adapting traditional conservation processes and developing new approaches for the active management of TBA within the Collection. The survey is a small but enlightening step in the ongoing process of TBA conservation and collection management development at QAGOMA.
{"title":"Tracking the Invisible: Collection Management and Conservation of Time-Based Art at Qagoma","authors":"Catherine Collyer","doi":"10.1080/10344233.2021.2008202","DOIUrl":"https://doi.org/10.1080/10344233.2021.2008202","url":null,"abstract":"Time-based art (TBA) in the Queensland Art Gallery | Gallery of Modern Art's (QAGOMA) Collection has expanded in conjunction with the development of the Asia Pacific Triennial (APT) exhibition series. A survey of TBA acquired following the 1st to 9th APT exhibitions collected data on the status of this group of works. Coinciding with the development of a cross-disciplinary TBA working group and the beginning of the Gallery's Digital Transformation Initiative (DTI), the survey findings have helped to inform how collection management practices for TBA at QAGOMA can be improved to meet the unique conservation needs of this group of works of art. Using information gathered, conservators dedicated to the preservation of TBA have been adapting traditional conservation processes and developing new approaches for the active management of TBA within the Collection. The survey is a small but enlightening step in the ongoing process of TBA conservation and collection management development at QAGOMA.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"53 - 67"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43076935","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.2014647
Asti Sherring, A. Pagliarino
This AICCM Bulletin special edition on time-based media art (TBMA) conservation is the first publication in of its kind dedicated to presenting new research which explores the progress made within the Australian conservation profession as it grapples with, adapts and evolves to the preservation-needs of works of art that are durational, performative, ephemeral in nature and have finite dependencies on technology. This distinct conservation specialisation has been expanding its sphere of influence since its establishment in the late ’s across North American and European institutions such as SFMOMA () and Tate (). While it would take another two decades before TBMA conservators were formally employed within the Australia profession, the practice of TBMA conservation can be traced back to the early s. Formative work includes research undertaken by conservator Vanessa Griffiths in . Griffiths’ paper, ‘Record, Play, Fast Forward: Developing Strategies for the Care of Electronic Media Art at the Art Gallery of Western Australia’ appears to be the first Australian-based TBMA case study and was presented at the international symposium, Preservation of Electronic Records: New Knowledge and Decisionmaking—Ottawa, Canada, - September . In the following year, a national TBMA discussion group was established. This coalition brought together conservators working with analogue and digital art in national and state art galleries and provided a platform to exchange resources, share experiences and advance collaboration as a fundamental approach to the conservation of TBMA. TBMA conservation in Australia has matured through a process of critical assessment, self-refection and multi-disciplinary participation, bringing the combined elements of practice, research and training into balance. The new knowledge presented in this volume expands on the body of international and national research by responding to the current cultural landscape through a selection of case studies that address key issues relating to collection management, preservation, education and activation of TBMA. Importantly, each paper presents research that reflects on current approaches and seeks to ‘promote wider critical thinking and thoughtful practice’ (Wharton , p. ) across the conservation sector. Opeña, Singer & Müller-Wüsten state (, p. ), ‘we all navigate in the same moment, no matter how old the art, and that is today—in today’s social understanding around our cultural heritage’. TBMA conservators are working at this interface researching conservation ethics, establishing partnerships, creating new decision-making models and recasting interventive treatment from static to continuous. TBMA conservation practice encompasses the fundamentals of consultation, collaboration and transformation; with an awareness and responsiveness to the shifting cultural landscape that acknowledges post-colonial museological philosophies and consistently asks the question
{"title":"Don’t You Think it’s Time? Reflecting on Time-Based Media Art Conservation Practices in Australia","authors":"Asti Sherring, A. Pagliarino","doi":"10.1080/10344233.2021.2014647","DOIUrl":"https://doi.org/10.1080/10344233.2021.2014647","url":null,"abstract":"This AICCM Bulletin special edition on time-based media art (TBMA) conservation is the first publication in of its kind dedicated to presenting new research which explores the progress made within the Australian conservation profession as it grapples with, adapts and evolves to the preservation-needs of works of art that are durational, performative, ephemeral in nature and have finite dependencies on technology. This distinct conservation specialisation has been expanding its sphere of influence since its establishment in the late ’s across North American and European institutions such as SFMOMA () and Tate (). While it would take another two decades before TBMA conservators were formally employed within the Australia profession, the practice of TBMA conservation can be traced back to the early s. Formative work includes research undertaken by conservator Vanessa Griffiths in . Griffiths’ paper, ‘Record, Play, Fast Forward: Developing Strategies for the Care of Electronic Media Art at the Art Gallery of Western Australia’ appears to be the first Australian-based TBMA case study and was presented at the international symposium, Preservation of Electronic Records: New Knowledge and Decisionmaking—Ottawa, Canada, - September . In the following year, a national TBMA discussion group was established. This coalition brought together conservators working with analogue and digital art in national and state art galleries and provided a platform to exchange resources, share experiences and advance collaboration as a fundamental approach to the conservation of TBMA. TBMA conservation in Australia has matured through a process of critical assessment, self-refection and multi-disciplinary participation, bringing the combined elements of practice, research and training into balance. The new knowledge presented in this volume expands on the body of international and national research by responding to the current cultural landscape through a selection of case studies that address key issues relating to collection management, preservation, education and activation of TBMA. Importantly, each paper presents research that reflects on current approaches and seeks to ‘promote wider critical thinking and thoughtful practice’ (Wharton , p. ) across the conservation sector. Opeña, Singer & Müller-Wüsten state (, p. ), ‘we all navigate in the same moment, no matter how old the art, and that is today—in today’s social understanding around our cultural heritage’. TBMA conservators are working at this interface researching conservation ethics, establishing partnerships, creating new decision-making models and recasting interventive treatment from static to continuous. TBMA conservation practice encompasses the fundamentals of consultation, collaboration and transformation; with an awareness and responsiveness to the shifting cultural landscape that acknowledges post-colonial museological philosophies and consistently asks the question","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"1 - 3"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41822171","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.2000177
Paul Coleman
Internet-based art is deeply embedded in the online behaviours, customs and traditions that are constantly emerging through user interaction and engagement. As such, user experience should be considered a fundamental aspect of the artwork in need of considered documentation. This paper provides a historical overview of Internet-based art, that presents the broader socio-cultural aspects of Internet-based art, as experienced by the user. This paper argues that Internet-based art requires the same conservation considerations as more accepted aspects of time-based media art documentation: source-code analysis, materials and equipment lists, variability and artists’ intent. By documenting user experience, it enables opportunities to navigate the culturally-embedded principles of Internet culture and contemporary technological standards that may be lost if preservation strategies utilise a more material/code specific preservation strategy. Highlighting experience as a necessary pillar of the identity of Internet-based art, in conjunction with other widely accepted aspects of time-based media art documentation approaches, allows for a richer picture and understanding of defining qualities of works, whilst providing further evidentiary activation into preservation approaches.
{"title":"The Case for Documenting User Experience as Part Preservation Strategy for Internet-Based Art","authors":"Paul Coleman","doi":"10.1080/10344233.2021.2000177","DOIUrl":"https://doi.org/10.1080/10344233.2021.2000177","url":null,"abstract":"Internet-based art is deeply embedded in the online behaviours, customs and traditions that are constantly emerging through user interaction and engagement. As such, user experience should be considered a fundamental aspect of the artwork in need of considered documentation. This paper provides a historical overview of Internet-based art, that presents the broader socio-cultural aspects of Internet-based art, as experienced by the user. This paper argues that Internet-based art requires the same conservation considerations as more accepted aspects of time-based media art documentation: source-code analysis, materials and equipment lists, variability and artists’ intent. By documenting user experience, it enables opportunities to navigate the culturally-embedded principles of Internet culture and contemporary technological standards that may be lost if preservation strategies utilise a more material/code specific preservation strategy. Highlighting experience as a necessary pillar of the identity of Internet-based art, in conjunction with other widely accepted aspects of time-based media art documentation approaches, allows for a richer picture and understanding of defining qualities of works, whilst providing further evidentiary activation into preservation approaches.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"43 - 52"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42501229","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.1993631
Asti Sherring, Rebecca Barnott-Clement
The Art Gallery of New South Wales (AGNSW) has been engaged in a collaborative and interdepartmental approach to the development and implementation of time-based art (TBA) collection management over the last six years. During this time the TBA conservation department has overseen, contributed to and composed documentation formats, such as questionnaires, artwork Pro Forma, iteration and iteration history reports, touring and artwork loan guides and analogue/digital media condition reports to support the conservation of non-traditional and changeable artworks from the Gallery’s collection. This paper provides practical TBA resources developed by the Art Gallery of New South Wales with the goal to support staff at other institutions and organisations working with TBA collections. The purpose, formation, practical application and value of the resources are discussed in the paper, along with sample templates provided as supplemental materials, for further use by museum professionals who manage and care for TBA works.
{"title":"Art Gallery of New South Wales Time-based Art Tool Kit: practical resources for the documentation and preservation of time-based artworks","authors":"Asti Sherring, Rebecca Barnott-Clement","doi":"10.1080/10344233.2021.1993631","DOIUrl":"https://doi.org/10.1080/10344233.2021.1993631","url":null,"abstract":"The Art Gallery of New South Wales (AGNSW) has been engaged in a collaborative and interdepartmental approach to the development and implementation of time-based art (TBA) collection management over the last six years. During this time the TBA conservation department has overseen, contributed to and composed documentation formats, such as questionnaires, artwork Pro Forma, iteration and iteration history reports, touring and artwork loan guides and analogue/digital media condition reports to support the conservation of non-traditional and changeable artworks from the Gallery’s collection. This paper provides practical TBA resources developed by the Art Gallery of New South Wales with the goal to support staff at other institutions and organisations working with TBA collections. The purpose, formation, practical application and value of the resources are discussed in the paper, along with sample templates provided as supplemental materials, for further use by museum professionals who manage and care for TBA works.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"68 - 79"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44520362","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.1982540
Asti Sherring, Marcangelo S Cruz, N. Tse
The artwork by David Haines and Joyce Hinterding, The outlands, 2011 is a time-based art installation composed of sculptural, software and gaming technology exhibited in a gallery space. The work was acquired by the Art Gallery of New South Wales after being awarded the 2011 Anne Landa Award Unguided Tours exhibition prize but has not been installed since. As such, any future iterations will be challenging due to its condition, functionality and machine dependency. This paper explores the value of installing Haines’ and Hinterding’s time-based art installation to chart the conservation assessment processes of documentation, functionality testing and the install itself. It discusses how in-situ artist interview affords artistic agency and contributes knowledge on the materials, conceptual and technical elements of the work, functional limitations and its future conservation management. The outcomes of the conservation interactions have allowed for a deeper understanding of conservation as a reiterative process as issues of software and hardware dependencies, and the situated and spatial relationships between various elements became more salient. This has assisted conservators in preparing for object obsolescence and aims to support future re-activations of The outlands, 2011.
{"title":"Exploring the Outlands: A Case-Study on the Conservation Installation and Artist Interview of David Haines’ and Joyce Hinterding’s Time-Based Art Installation","authors":"Asti Sherring, Marcangelo S Cruz, N. Tse","doi":"10.1080/10344233.2021.1982540","DOIUrl":"https://doi.org/10.1080/10344233.2021.1982540","url":null,"abstract":"The artwork by David Haines and Joyce Hinterding, The outlands, 2011 is a time-based art installation composed of sculptural, software and gaming technology exhibited in a gallery space. The work was acquired by the Art Gallery of New South Wales after being awarded the 2011 Anne Landa Award Unguided Tours exhibition prize but has not been installed since. As such, any future iterations will be challenging due to its condition, functionality and machine dependency. This paper explores the value of installing Haines’ and Hinterding’s time-based art installation to chart the conservation assessment processes of documentation, functionality testing and the install itself. It discusses how in-situ artist interview affords artistic agency and contributes knowledge on the materials, conceptual and technical elements of the work, functional limitations and its future conservation management. The outcomes of the conservation interactions have allowed for a deeper understanding of conservation as a reiterative process as issues of software and hardware dependencies, and the situated and spatial relationships between various elements became more salient. This has assisted conservators in preparing for object obsolescence and aims to support future re-activations of The outlands, 2011.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"13 - 25"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42992962","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.2009662
Robert Lazarus Lane
Time-based media art challenges conventional conservation methodologies. Can the disruption caused by new modes of practice contribute to disciplinary development? This paper reflects on teaching cultural material conservation through time-based media art. In particular, it focuses on how producing documentation engages conservation students and collecting institutions in a learning partnership. The outcomes generated by documenting time-based media art foregrounds twenty-first century conservation practices. Reflexive analysis reveals the way persistent practices and critical situations order these new modes of practice, renewing core approaches to conservation education. This paper argues that time-based media subject design can integrate emergent and established knowledge, and the exchange created enables important disciplinary updates to occur.
{"title":"Updated? Teaching Conservation Through Time-Based Media Art","authors":"Robert Lazarus Lane","doi":"10.1080/10344233.2021.2009662","DOIUrl":"https://doi.org/10.1080/10344233.2021.2009662","url":null,"abstract":"Time-based media art challenges conventional conservation methodologies. Can the disruption caused by new modes of practice contribute to disciplinary development? This paper reflects on teaching cultural material conservation through time-based media art. In particular, it focuses on how producing documentation engages conservation students and collecting institutions in a learning partnership. The outcomes generated by documenting time-based media art foregrounds twenty-first century conservation practices. Reflexive analysis reveals the way persistent practices and critical situations order these new modes of practice, renewing core approaches to conservation education. This paper argues that time-based media subject design can integrate emergent and established knowledge, and the exchange created enables important disciplinary updates to occur.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"4 - 12"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41594093","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}
Pub Date : 2021-01-02DOI: 10.1080/10344233.2021.1989257
A. Pagliarino
The deployment of living creatures for the purposes of contemporary art installations can be controversial. The debate centres on the unsettling convergence of freedom of artistic expression and the rights of other non-human animals—two moral principles that have high social value. This paper examines the legislative and formalised frameworks in Australia that relate to the use and welfare of live animals on display in contemporary art presentations, with a particular focus on the display of live birds and a case study of the contemporary art installation, Céleste Boursier-Mougenot, from here to ear (vol. 13) 2010. Examples of recent contemporary art installations and presentations that use live animals and the subsequent public reactions and host organisation responses are used to illustrate this controversial artform. The paper contends that there is an imperative for host organisations to build defensible positions on the use of live animals in art, via ethical frameworks supported by research and due diligence, to ensure good animal welfare and care. This process also helps to clarify what could be considered justifiable use of live animals, demonstrating the ethics and moral value of artistic endeavours.
{"title":"A Measure of Happiness—The Use of Live Animals in Contemporary Art Installations","authors":"A. Pagliarino","doi":"10.1080/10344233.2021.1989257","DOIUrl":"https://doi.org/10.1080/10344233.2021.1989257","url":null,"abstract":"The deployment of living creatures for the purposes of contemporary art installations can be controversial. The debate centres on the unsettling convergence of freedom of artistic expression and the rights of other non-human animals—two moral principles that have high social value. This paper examines the legislative and formalised frameworks in Australia that relate to the use and welfare of live animals on display in contemporary art presentations, with a particular focus on the display of live birds and a case study of the contemporary art installation, Céleste Boursier-Mougenot, from here to ear (vol. 13) 2010. Examples of recent contemporary art installations and presentations that use live animals and the subsequent public reactions and host organisation responses are used to illustrate this controversial artform. The paper contends that there is an imperative for host organisations to build defensible positions on the use of live animals in art, via ethical frameworks supported by research and due diligence, to ensure good animal welfare and care. This process also helps to clarify what could be considered justifiable use of live animals, demonstrating the ethics and moral value of artistic endeavours.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"42 1","pages":"26 - 42"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42899124","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}
Pub Date : 2020-12-17DOI: 10.1080/10344233.2020.1812181
Susan Reynolds Oam, Trevor Matthews
Small museum collections reflect the vast history of their communities and are vital in maintaining that ongoing history. The imperative of continuing to collect contemporary history to fulfil thei...
{"title":"Small museums — more tango than foxtrot (the salsa gets you nowhere!)","authors":"Susan Reynolds Oam, Trevor Matthews","doi":"10.1080/10344233.2020.1812181","DOIUrl":"https://doi.org/10.1080/10344233.2020.1812181","url":null,"abstract":"Small museum collections reflect the vast history of their communities and are vital in maintaining that ongoing history. The imperative of continuing to collect contemporary history to fulfil thei...","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"41 1","pages":"83-91"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2020.1812181","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47083945","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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