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| introduction [19.02.2023 13:26] – admin | introduction [19.02.2023 13:45] (current) – admin |
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| As the Tate's media conservator Patricia Falcão once remarked, although we often cannot clearly identify the 'significant properties' of the work in question, it is important to think about them and try to write them down, because we learn a lot in the process. Exploring 'significant properties' is a means of determining what to focus attention on in order to answer fundamental questions about the work and what is important for its conservation. The term was originally adopted by Pip Laurenson from the archival community and has since been used interchangeably with the terms 'work-determining properties' and 'work-defining properties.' Patricia Falcão also stressed the importance of involving the artist in the process, ideally from the early stages of acquisition. | As the Tate's media conservator Patricia Falcão once remarked, although we often cannot clearly identify the 'significant properties' of the work in question, it is important to think about them and try to write them down, because we learn a lot in the process. Exploring 'significant properties' is a means of determining what to focus attention on in order to answer fundamental questions about the work and what is important for its conservation. The term was originally adopted by Pip Laurenson from the archival community and has since been used interchangeably with the terms 'work-determining properties' and 'work-defining properties.' Patricia Falcão also stressed the importance of involving the artist in the process, ideally from the early stages of acquisition. |
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| Installation-based works change from exhibition to exhibition. In this context, several contributors place an emphasis on iteration reports, the purpose of which is to chronicle changes to the currently exhibited iteration, including the decision-making process behind them. They serve as a companion to the identity report of the work in question.[(The basis for iteration reports in a number of museums is a report developed by Joanna Phillips at the Guggenheim Museum and published on its website, https://www.guggenheim.org/wp-content/uploads/2015/11/guggenheim-conservation-iteration-report-2012.pdf. Several other museums have followed the suit in recent years and published their forms online, for an example of SFMOMA, see Barok, Dušan, Julia Noordegraaf and Arjen P. de Vries, "From Collection Management to Content Management in Art Documentation: The Conservator as an Editor", //Studies in Conservation//, vol. 64, no. 8, 2019, pp 472-489. Online: https://doi.org/10.1080/00393630.2019.1603921)] | Installation-based works change from exhibition to exhibition. In this context, several contributors emphasise iteration reports, the purpose of which is to chronicle changes to the currently exhibited iteration, including the decision-making process behind them. They serve as a companion to the identity report of the work.[(The basis for iteration reports in a number of museums is a report developed by Joanna Phillips at the Guggenheim Museum and published on its website, https://www.guggenheim.org/wp-content/uploads/2015/11/guggenheim-conservation-iteration-report-2012.pdf. Several other museums have followed the suit in recent years and published their forms online, for an example of SFMOMA, see Barok, Dušan, Julia Noordegraaf and Arjen P. de Vries, "From Collection Management to Content Management in Art Documentation: The Conservator as an Editor", //Studies in Conservation//, vol. 64, no. 8, 2019, pp 472-489. Online: https://doi.org/10.1080/00393630.2019.1603921)] |
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| There are various institutional models to support preservation. The development of a media conservation laboratory seems appropriate for larger collections of media installations such as the Tate, MoMA and Guggenheim. Another approach mentioned was that of an interdepartmental working group. SFMOMA offers the example of its 'Media Team', which consists of curators, conservators, technicians and other staff who meet monthly to discuss issues related to the presentation, conservation, acquisition and loan of media-based works. Another model is offered by LIMA, an Amsterdam-based NGO that acts both as a distributor of media art and as a conservation facility for media-based works and components for the country's network of art museums. | There are various institutional models to support preservation. The development of a media conservation laboratory seems appropriate for larger collections of media installations such as the Tate, MoMA and Guggenheim. Another approach mentioned was that of an interdepartmental working group. SFMOMA offers the example of its 'Media Team', which consists of curators, conservators, technicians and other staff who meet monthly to discuss issues related to the presentation, conservation, acquisition and loan of media-based works. Another model is offered by LIMA, an Amsterdam-based NGO that acts both as a distributor of media art and as a conservation facility for media-based works and components for the country's network of art museums. |
