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

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large amount of art made of nontraditional media is owned privately and therefore, there is no real obligation for the owners to ensure that it is cared for and treated by professional conservators. It would be interesting to find out what the relationship is between private collectors, independent conservators, and the artists whose work is collected and preserved. This project does not address museums that do not hold collections- Kunsthalle-type museums, nor does it include galleries. Many institutions show the type of artwork I investigated on a temporary basis and do not necessarily have a stake in the long-term preservation of the artwork. I did not address art organizations that invite artists to create sitespecific artworks that are temporarily held by the institution. Traveling exhibitions and traveling exhibition services are not included in this project. Organizations such as Smithsonian Institution Traveling Exhibition Service (SITES) and California Exhibition Resources Alliance (CERA) send artwork and other artifacts to various museums and exhibition spaces. It could be interesting to investigate the conservation practices and policies of these traveling exhibition services for a separate project. I did not focus on issues in registration documentation of this type of work. It occurs to me that it would be difficult to physically tag much 17
of this artwork. For instance, where would one put an accession number onto a brittle chocolate sculpture without breaking it? Curators were not approached for this project because I needed to restrict the amount of people I interviewed and wished to focus on conservation and collections staff. However, it would be interesting to learn curators’ perspectives and to discuss artist interviews with them. Curators may be in communication with artists, but with different goals in mind. Some of them may already be conducting their own oral histories and collections professionals could collaborate with them in planning artist interviews. This subject is not included in my project but would be fascinating to explore at another time. I also limited this project in terms of geography. I did not focus on artists or museum professionals working outside the United States, as it was not practical given time constraints and availability at this time. I further limited my methodology to the San Francisco Bay Area in California. There is much interesting artwork being made in other parts of the world that fall under the category of nontraditional materials, especially in Asia and Europe. However, it was not practical for the purposes of this project to include them. There were some professionals I interviewed who declined to allow me to quote them because of the sensitivity of this topic and its 18
Page 1 and 2: From Sharks to Sugar: Addressing Co
Page 3 and 4: TABLE OF CONTENTS LIST OF ILLUSTRAT
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: Chapter 3: LIMITATIONS There are ma
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
Page 53 and 54: has been a need to access this info
Page 55 and 56: three- determination of meaning. Th
Page 57 and 58: that collections managers are not u
Page 59 and 60: Past Efforts to Address the Issue S
Page 61 and 62: department at Stedelijk Museum Aktu
Page 63 and 64: Chapter 5: FINDINGS “The Object i
Page 65 and 66: historian pointed out that the docu
Page 67 and 68: challenges the authenticity of the
Page 69 and 70: INCCA-NA Database Entry Training Se
Page 71 and 72: Even conservators who feel that the
Page 73 and 74: Wharton sees the database as the co
Page 75 and 76:
And the works are deemed so importa
Page 77 and 78:
Case Studies Case Study #1: Untitle
Page 79 and 80:
interviewed, it is no surprise that
Page 81 and 82:
Pennuto is a conservator who has be
Page 83 and 84:
oles in the museum, which echoes th
Page 85 and 86:
Case Study #2: Untitled, 2006, Rosa
Page 87 and 88:
sees the piece is completely relian
Page 89 and 90:
Are we willing to spend this much m
Page 91 and 92:
person transporting the work to tip
Page 93 and 94:
have with this piece, and different
Page 95 and 96:
Conservation images of Untitled, 20
Page 97 and 98:
Artist interview: Carlos Mollura. M
Page 99 and 100:
We talked about his decisions to ma
Page 101 and 102:
much about the concept, could be re
Page 103 and 104:
so that’s the beginning of your c
Page 105 and 106:
these particular artists happen to
Page 107 and 108:
All staff members at museums are ov
Page 109 and 110:
things in a certain way and develop
Page 111 and 112:
parties in order to use the documen
Page 113 and 114:
Chapter 6: CONCLUSIONS AND RECOMMEN
Page 115 and 116:
3. Museum professionals should cons
Page 117 and 118:
necessarily intercept change. This
Page 119 and 120:
7. Collections managers need access
Page 121 and 122:
individual pieces. But if they have
Page 123 and 124:
someone with training in collection
Page 125 and 126:
artists with the artwork are ideal,
Page 127 and 128:
Jennifer Levy cosmodandy@yahoo.com
Page 129 and 130:
Chapter 9: BIBLIOGRAPHY AND APPENDI
Page 131 and 132:
conservation for modern materials.
Page 133 and 134:
Díaz, March 2005. Elise S. Haas Co
Page 135 and 136:
Artists’ Installations and the Mu
Page 137 and 138:
. If not, would you be willing to a
Page 139 and 140:
Appendix B Interview Questions for
Page 141 and 142:
Appendix C Interview Questions for
Page 143 and 144:
Appendix D Interview Questions for
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From Sharks to Sugar: Addressing Conservation Issues of ... - incca

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