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

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petroleum jelly, and Jeff Koons’ mercury-filled basketballs floating in water. Collection of this type of art is not slowing despite maintenance challenges. The author asserts that this type of artwork is continually being collected and deemed important. (Mason, 2005) Artists’ Points of View In Making Contemporary Art: How Today’s Artists Think and Work, Linda Weintraub investigates art making and looks at the creative process through the artist’s relationship to his or her audience. This book shows an array of points of view by artists, which are often theorized about in other sources, but seldom included. The text includes many interviews with artists in which the interviewer often asks the artist about their relationship with collectors and museums and also asks the artists’ thoughts on preserving the work. Artist Matthew Ritchie responds to a question asking whether he is concerned with the longevity of his work, “… I try to build the work so that it functions by itself. I am doing all I can now so that it can survive the absence of the artist.” (Weintraub, 2003, p. 57) Conversely, when asked if she does anything now to enhance the value of her work in the future, artist Rirkrit Tiravanija replies, “No future. It doesn’t mean anything for me to have something preserved.” (Weintraub, 2003, p.109) 25
Other artists defer to the buyer to take responsibility for preservation. Wenda Gu answers the question of whether or not she takes any action to preserve her work, “The best way to preserve your work is in the collector’s or museum’s hands, not in my studio.” (Weintraub, 2003, p. 301) But this does not necessarily imply that this artist would be averse to cooperating with a museum if staff asked for her input on one of her pieces. It is simply a reminder that artists are usually most concerned with the process of creating artwork and often leave the conservation concerns to the institution. A conference held at the Getty Center in Los Angeles in 1998 called Mortality immortality?: The Legacy of 20th-century Art focused on the preservation of contemporary art. Artists, museum professionals, conservators, art historians, dealers, collectors, and scientists, and other professionals gave their perspectives on various issues surrounding the preservation of contemporary art, and one issue especially relevant to my paper – the artist's original intent. (Corzo, 1999) Kees Herman Aben succinctly states “the conservator’s dilemma: to preserve art for posterity while trying to respect the artist’s intent.” (Herman Aben, 1995, p.109) Collections managers in charge of any contemporary art should be aware of this because they too are a playing a 26
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 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: In his article “In a Pickle,” M
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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