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

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implications on museum practice. A registrar who was interviewed for this project did not give me permission to publish quotes nor any information from our conversation. However, because this topic is so new, it is not surprising that some registrars might not be informed. One way to confront this challenge is to keep discussing it and to share knowledge about current conservation issues throughout the museum field. 19
CHAPTER 4: LITERATURE REVIEW In the texts that have been written by museums or museum professionals, certain themes emerge. Within the conservation community, attempts have been made to create international networks for conservators to pool their resources and share information gathered from artist interviews and other documentation. In some of the literature, interview methods were suggested. Some interview initiatives were attempted but withered out in unsuccessful results. Another attempt at an international database of archive information is presently being carried out, but it is too soon to evaluate its success. Authors of two past John F. Kennedy University Museum Studies theses have posed similar questions. One author asked “Can museums save video installation art at the moment of accession?” The other thesis project tackled the issue of New Media art and set out to uncover the artists’ perspectives on preservation of this type of art in museums. My thesis project builds on these topics and asks a related question: “How can museums save artwork made with nontraditional ephemeral materials made by living artists at the moment of accession?” 20
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 and 24: Chapter 3: LIMITATIONS There are ma
Page 25: of this artwork. For instance, wher
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
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Appendix D Interview Questions for
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