Installation Art and the Museum

Installation Art and the Museum: Presentation and Conservation of Changing Artworks

VIVIAN VAN SAAZE
Copyright Date: 2013
Pages: 226
https://www.jstor.org/stable/j.ctt46n18r
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  • Book Info
    Installation Art and the Museum
    Book Description:

    Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks implies that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials and other issues concerning care and management of these artworks. By analysing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation (authenticity, artist's intention, and the notion of ownership) while exploring how these concepts apply in contemporary art conservation. Based on original empirical research and cross-case analysis, this ground-breaking study offers a re-examination of traditional conservation values and ethics, and argues for a reassessment of the role of the conservator of contemporary art. This title is available in the OAPEN Library - http://www.oapen.org.

    eISBN: 978-90-485-1751-0
    Subjects: Art & Art History

Table of Contents

  1. Front Matter
    (pp. 1-6)
  2. Table of Contents
    (pp. 7-8)
  3. Acknowledgments
    (pp. 9-10)
  4. INTRODUCTION: Challenges of Installation Art
    (pp. 11-34)

    This black-and-white picture was taken during an exhibition in 1980 at Salon O, a former exhibition centre in Leiden, the Netherlands. [figure 1] It is a picture of the work25 Caramboles and Variations: A Birthday Present for a 25 Year Old(1979) by Miguel-Ángel Cárdenas. We see three rather big monitors on a wooden construction suggesting a billiard table. The films on the monitors show billiard balls rolling from one screen to the next. Originally, in 1979, the images of the billiard balls were shot on black-and-white film and these images were shown on monitors placed on a real billiard...

  5. CHAPTER 1 Key Concepts and Developments in Conservation Theory and Practice
    (pp. 35-60)

    In the introductory chapter, it was stated that for many contemporary artworks the notion of art as a ‘fixed’ material object has become highly problematic. These contemporary artistic practices not only upset the foundations on which art and the art world are built, but they also challenge the underlying concepts and values of fine art conservation. As a result, the existing confidence is crumbling.

    This chapter explores the origins and history of these ‘certainties’, by analysing those concepts, which belong to what Laurenson (2001a and 2006) calls ‘traditional conservation’, or, in the words of Muñoz Viñas (2005) ‘classical conservation’. The...

  6. CHAPTER 2 From Singularity to Multiplicity: Authenticity in Practice
    (pp. 61-108)

    This small routine is repeated every morning at the Museum für Moderne Kunst in Frankfurt am Main (hereafter referred to as MMK). Before visitors enter the museum,One Candleis prepared for its display. The cathode ray projectors are turned on and the candle is lit.One Candleby Korean artist Nam June Paik (1932–2006) is a closed-circuit installation consisting of a burning candle filmed by a video camera and projected on the walls by several divergent cathode ray projectors. The work was first installed in 1988 at Portikus, a gallery space devoted to contemporary art in Frankfurt. In...

  7. CHAPTER 3 From Intention to Interaction: Artist’s Intention Reconsidered
    (pp. 109-142)

    It is May 2004 when I am introduced to Joëlle Tuerlinckx (b. Brussels, 1958), a Belgian artist who at the time was installing her work at the Bonnefantenmuseum in Maastricht (the Netherlands). The artist looked focused while working on the room-filling installation, which she later calledA Stretch Museum Scale 1:1, een voorstel voor het Bonnefantenmuseum (Groene zaal).¹ This green room, installed by the artist, her assistant and two museum workers, was the last in a series of three room-filling installations that were acquired by the museum between 2002 and 2003. [figures 13, 14, 15, 16] The acquisition of these...

  8. CHAPTER 4 From Object to Collective, from Artists to Actants: Ownership Reframed
    (pp. 143-180)

    This excerpt is taken from the museum brochure accompanying a presentation of the projectNo Ghost Just a Shellin 2005 at the Van Abbemuseum in Eindhoven, the Netherlands.¹ The brochure, available in the gallery space, reflected the curator of collection’s questions evoked by the ownership ofNo Ghost Just a Shell(1999–2002). This seminal project initiated by French-based artists Philippe Parreno (b. 1962) and Pierre Huyghe (b. 1964) was acquired by the Van Abbemuseum on the occasion of the opening of the new museum building in 2003 and consists of about twenty-five artworks by over a dozen artists...

  9. CONCLUSION: Challenges and Potentialities of Installation Art
    (pp. 181-188)

    In March 2007, after a period of three years, the European research project Inside Installations came to an end. The project participants (mainly conservators, conservation researchers, curators and registrars) finalised the case study research they had been carrying out, and the results of their research were disseminated through the project’s website.¹ Some of the project participants had found answers to the questions they formulated at the beginning of the project; others had discovered new questions along the way. On the occasion of the project’s closing meeting, hosted by Tate Modern in London, all participants were invited to gather around in...

  10. List of Illustrations
    (pp. 189-192)
  11. References
    (pp. 193-212)
  12. Interviews
    (pp. 213-216)
  13. Index
    (pp. 217-225)