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

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ole in the process of conservation by preventing damage through proper care. Legal Issues: Artists’ Rights & Copyrights Marie Malaro’s A Legal Primer on Managing Museum Collections, often referred to as “the registrar’s bible”, serves as a handbook for museum professionals in dealing with legal issues surrounding museum collections, outlines basic tenets of collecting institutions such as collections management policies, accessioning, deaccessioning, and loans. Issues discussed in this book that relate to my project are artists’ rights including the Visual Artists Rights Act (VARA) of 1990 and basic guidelines for collections management policies. In Art conservation and the legal obligation to preserve artistic intent, the authors explain the fundamentals of the Visual Artists Rights Act (VARA) of 1990 and how the rights it provides to artists may affect the work of conservators. This article includes an overview of the evolution of copyright law, the Berne Convention, the Lanham Act, and the development of moral rights in the United States. It explains how VARA makes museum professionals legally responsible to document and uphold artist intent. There are recommendations to help conservators avoid legal liability. (Garfinkle, 1997) 27
Art Conservation Evolution of Art Conservation In her article, “Changing Approaches in Art Conservation: 1925 to the Present,” Joyce Hill Stoner gives a history of conservation practices between 1925 and 1975, and also discusses the changing styles of conservation from 1975 to 2005. Prior to 1975 the inventions of X radiography and examination with ultraviolet light revolutionized art conservation yet there was no specialization based on media or otherwise within the field. In the 1960’s there were few books on art conservation. But, major training institutions were being formed such as New York University’s Conservation Department, conservation research laboratories sprang up such as the one at Oberlin College in Ohio, and professional societies began to surface. Training grew from apprenticeships to formal education during this time period when graduate programs in conservation appeared internationally. (Hill Stoner, 2005) During the next period, from 1975 to 2005, specialization according to art media became commonplace. By the mid-seventies a more conservative “hands-off” approach became prevalent. The newer philosophy avoided physical contact with the work whenever possible. Advances in technology allowed for this approach, but also muddled the field with a confounding overflow of choices in approach to treatment and 28
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 and 32: In his article “In a Pickle,” M
Page 33: Other artists defer to the buyer to
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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