From Sharks to Sugar: Addressing Conservation Issues of ... - incca

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ACKNOWLEDGEMENTS I am grateful to the museum professionals and artists who took time away from their busy schedules to participate in this project by speaking with me. I particularly wish to thank Michelle Barger, Jill Sterrett, and Glenn Wharton who took extra time and interest in assisting me with my research, and many thanks to Monica Tucker and Lisa Eriksen, who have both been wonderful mentors. Thank you also to my friends and fellow students, and to Marjorie Schwarzer and John Zarobell for their guidance, encouragement, and enthusiasm throughout this process. On a personal note, I am grateful to my parents, Joan and Gary Levy, and my grandmother Marion Mendel for their constant help and support of my ongoing education throughout the years. Lastly, I would like to thank my husband, Joseph B. Cowart, for his endless patience, love, and support. i
TABLE OF CONTENTS LIST OF ILLUSTRATIONS……………………………………………..vi CHAPTER 1: EXECUTIVE SUMMARY………………………………..1 CHAPTER 2: METHODOLOGIES.…………………………….………..9 Literature Review………………………………………………………...10 Conference……………………………………………………………….10 Expert Interviews………………………………………………………...11 Case Studies/Interviews…………………………........…….……………13 Training Workshop………………………………………………………15 CHAPTER 3: LIMITATIONS…………………..………………………16 CHAPTER 4: LITERATURE REVIEW...………………………………20 The Art – Making and Collecting…………………………………..........21 Contemporary Art, Nontraditional Ephemeral Materials- Definition & History……………………………………...……...21 Collecting Contemporary Art & The Inherent Dilemma………...22 Artists’ Points of View.………………………………………….25 Legal Issues: Artists’ Rights & Copyrights……………………...27 Art Conservation…………………………………………………………28 Evolution of Art Conservation…………………………………...28 Conservation Field Addresses Artist Intent……………………...29 Newer Conservation Philosophies……………………………….30 ii
Page 1: From Sharks to Sugar: Addressing Co
Page 5 and 6: Case Study #2: Untitled, 2006, Rosa
Page 7 and 8: LIST OF ILLUSTRATIONS Figure No. Su
Page 9 and 10: preventative conservation measure,
Page 11 and 12: staff (in addition to conservators
Page 13 and 14: for this unusual artwork. Although
Page 15 and 16: artwork, quotes from the artists an
Page 17 and 18: conference to learn how conservator
Page 19 and 20: I interviewed Dr. Wharton, Conserva
Page 21 and 22: For SJMA, I focused on the artwork
Page 23 and 24: Chapter 3: LIMITATIONS There are ma
Page 25 and 26: of this artwork. For instance, wher
Page 27 and 28: CHAPTER 4: LITERATURE REVIEW In the
Page 29 and 30: only in what he did but in what he
Page 31 and 32: In his article “In a Pickle,” M
Page 33 and 34: Other artists defer to the buyer to
Page 35 and 36: Art Conservation Evolution of Art C
Page 37 and 38: context, the author enfolds the fie
Page 39 and 40: contemporary art. Collaboration wit
Page 41 and 42: Often, the collections manager sets
Page 43 and 44: Sterrett investigated the challenge
Page 45 and 46: and employ solutions for caring for
Page 47 and 48: understands how the materials were
Page 49 and 50: Whether or not there is a professio
Page 51 and 52: her art without consulting the arti
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has been a need to access this info
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three- determination of meaning. Th
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that collections managers are not u
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Past Efforts to Address the Issue S
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department at Stedelijk Museum Aktu
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Chapter 5: FINDINGS “The Object i
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historian pointed out that the docu
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challenges the authenticity of the
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INCCA-NA Database Entry Training Se
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Even conservators who feel that the
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Wharton sees the database as the co
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And the works are deemed so importa
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Case Studies Case Study #1: Untitle
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interviewed, it is no surprise that
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Pennuto is a conservator who has be
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oles in the museum, which echoes th
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Case Study #2: Untitled, 2006, Rosa
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sees the piece is completely relian
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Are we willing to spend this much m
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person transporting the work to tip
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have with this piece, and different
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Conservation images of Untitled, 20
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Artist interview: Carlos Mollura. M
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We talked about his decisions to ma
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much about the concept, could be re
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so that’s the beginning of your c
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these particular artists happen to
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All staff members at museums are ov
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things in a certain way and develop
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parties in order to use the documen
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Chapter 6: CONCLUSIONS AND RECOMMEN
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3. Museum professionals should cons
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necessarily intercept change. This
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7. Collections managers need access
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individual pieces. But if they have
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someone with training in collection
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artists with the artwork are ideal,
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Jennifer Levy cosmodandy@yahoo.com
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Chapter 9: BIBLIOGRAPHY AND APPENDI
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conservation for modern materials.
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Díaz, March 2005. Elise S. Haas Co
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Artists’ Installations and the Mu
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. If not, would you be willing to a
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Appendix B Interview Questions for
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Appendix C Interview Questions for
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Appendix D Interview Questions for
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