Difference between revisions of "Art/Care"

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* Réexposition, réactualisation et pérennité des œuvres contemporaines, directed by Francine Couture in Montreal, 2007-2010.
 
* Réexposition, réactualisation et pérennité des œuvres contemporaines, directed by Francine Couture in Montreal, 2007-2010.
  
* [http://nimk.nl/nl/zoeken/play-out Play Out: nieuwe technieken voor toegankelijkheid en conservering van de videokunstcollecties in Nederland], 2007-2009. Project by NIMk (Gaby Wijers). [http://nimk.nl/nl/play-out-eindverslag Project results]. [http://www.mediamatic.net/74459/nl/play-out]
+
* [http://nimk.nl/nl/zoeken/play-out Play Out: nieuwe technieken voor toegankelijkheid en conservering van de videokunstcollecties in Nederland], 2007-2009. Project by NIMk (Gaby Wijers). [[Media:Wijers Gaby red Play Out 2009.pdf|Project report]]. [http://nimk.nl/nl/play-out-eindverslag Project results]. [http://www.mediamatic.net/74459/nl/play-out]
  
 
* [https://en.wikipedia.org/wiki/Modern_and_Contemporary_Art_Research_Initiative Modern and Contemporary Art Research Initiative], Getty Conservation Institute (GCI), 2007-?.
 
* [https://en.wikipedia.org/wiki/Modern_and_Contemporary_Art_Research_Initiative Modern and Contemporary Art Research Initiative], Getty Conservation Institute (GCI), 2007-?.

Revision as of 08:39, 8 February 2020

This page collates resources on the conservation of modern and contemporary art. It originated as a collaborative effort in the NACCA research network and continues to be open to contributions.

Institutes, Centres, Associations

Inactive
  • Independent Media Arts Preservation (IMAP). Nonprofit service, education, and advocacy organization committed to the preservation of non-commercial electronic media. Grew from a New York-based consortium of arts organizations and individuals to a national resource for preservation training, information, and advocacy. Est. 1999, c/o Lehman College, Bronx, NYC.
  • Ludwig Boltzmann Institute Media.Art.Research, closed down 2009.

National

Former
  • Netherlands Institute for Cultural Heritage (ICN). Became part of RCE in Jan 2011.
  • Netherlands Media Art Institute (NIMK), supported media art in three core areas: presentation, research and conservation. Closed in Dec 2012.
  • Central Laboratory for Research of Objects of Art and Science, NL, est. 1963. One of the forerunners of ICN.
more

Restauration and conservation studios and services

  • Ateliergebouw (Atelier Building), Rijksmuseum, Amsterdam.
  • BAVC Preservation. Video preservation & digitization, serving other non-profits, cultural heritage orgs, and artists since 1994. Department of Bay Area Video Coalition (BAVC).
  • bwFLA, a platform on emulation as an online service. Hosted by U Freiburg.
  • Conservation Center for Art & Historic Artifacts, a nonprofit facility specializing in paper conservation, Philadelphia.
  • Electronic Arts Intermix (EAI), New York City, est. 1971. Nonprofit organisation; distributes and preserves a major collection of recent and historical video works by artists. One of the leading organisations in the United States with regards to the production, exhibition, distribution and preservation of video art, and more recent also of digital art projects.
  • LIMA, Amsterdam. Platform for distribution, preservation and research of media art. Dir. Gaby Wijers. The Foundation LIMA was established in 2012 by experts from the Netherlands Media Art Institute (NIMk, discontinued as of 1 January 2013) dedicated to providing continued, long-term access to works of media art. LIMA provides digitisation and preservation services and permanent digital storage for media artworks by more than five hundred artists, including Marina Abramovic, the Vasulkas, Nan Hoover, Stansfield/Hooykaas, Servaas and Jan Fabre, and for more than fifteen collections, including those of the Kröller-Müller Museum, the Van Abbemuseum, and the Netherlands Cultural Heritage Agency (RCE).
  • Lunder Conservation Center. Art conservation laboratories at the Smithsonian American Art Museum & National Portrait Gallery.
  • Preservation & Art – Media Archaeology Lab (PAMAL), Ecole Supérieure d’Art d’Avignon, founded 2013. Head: Emmanuel Guez.
  • Resurrection Lab: Preservation and Public Access to Born-Digital Art, iMAL, Brussels, started 2014.
  • Stichting Restauratie Atelier Limburg (SRAL), Maastricht.
  • studios and centres in art museums
Private
more

Publications

Magazines, journals

  • Studies in Conservation, ed. Chandra Reedy, London: IIC, since Oct 1952. Peer-reviewed academic journal. Published 8 times per year. Subscription access (Taylor & Francis). Publisher.
  • Studies in Conservation Abstracts, later IIC Abstracts (1955-1965), vols. 1-5, IIC; later as Art and Archaeology Technical Abstracts (AATA), Institute of Fine Arts/New York University (1966-1983) and Getty Trust (subsequently by Getty Conservation Institute) from 1983 (or 1985?), became available online in 2002 (http://aata.getty.edu/NPS). Preceded by: Gettens; Utilson, Abstracts of Technical Studies in Art and Archaeology 1943-1952, Freer Gallery of Art Occasional Paper 2, Washington DC (1955).
  • Journal of the American Institute for Conservation, Washington, DC: AIC, since 1960. Peer-reviewed academic journal. Published 4 times per year. Formerly as Bulletin of the American Institute for Conservation (1974-1976) and International Institute for Conservation of Historic and Artistic Works: Bulletin of the American Group (1960-1973). Subscription access (Taylor & Francis).
  • Journal of the Institute of Conservation, ed. Jonathan Kemp, London: ICON, since 1977. Peer-reviewed academic journal. Published 3 times per year. Formerly as The Conservator, London: IIC UK Group, 1977-2008. Before The Conservator was established, reports of meetings of the IIC UK Group were typed, duplicated and distributed to members. Subscription access (Taylor & Francis). Publisher.
  • Conservation Journal, London: V&A Museum, since 1991. Published once a year. Open Access.
  • Technè: revue de Centre de recherche et de restauration des Musées de France (C2RMF), ed. Brigitte Bourgeois, Paris: C2RMF, since 1994. Published 2 times per year. Publisher. [3] Multilingual ((French),(English),(German),(Italian),(Spanish))
  • Journal of Conservation and Museum Studies, London: Institute of Archaeology of UCL, since 1996. Peer-reviewed journal. Open Access. Published from 1996 to 2002, the journal was relaunched in 2011 in collaboration with the British Library. About journal.
  • ArtMatters: International Journal for Technical Art History, ed. Erma Hermens, Glasgow: University of Glasgow, since 2002. Peer-reviewed journal. Published irregularly. Open Access.
  • CeROArt: Conservation, exposition, restauration d'objets d'art, ed. Muriel Verbeeck-Boutin, since 2007. Webjournal. Published 2 times per year. Open Access.
  • The Electronic Media Review, Washington, DC: AIC, since 2011. Published once every two years. Open Access. Each issue consists of proceedings from two preceding editions of the Electronic Media Group Session at the AIC Annual Meeting.
  • VoCA Journal, ed. Robin Clark, New York: Voices in Contemporary Art, since 2015. Published 3 times per year. Open Access.
  • ICAR: International Journal of Young Conservators and Restorers of Works of Art, ed. Anna Kowalik, Warsaw: Faculty of Conservation and Restoration of Works of Art, since 2017. Published once a year. Open Access.
  • more
Defunct
  • Reviews in Conservation, 2000-2010. Published once a year, later incorporated into Studies in Conservation. Publisher.
  • E-Conservation Magazine, 2007-2012. Published twice a year (24 issues). Addressed all areas related to the conservation of cultural heritage.
more

Bulletins, newsletters

  • ICOM News, the International Council of Museums magazine, Paris: ICOM, 1948-. Three times a year. [4]
  • IIC Newsletter (5/1952-), later as IIC Bulletin, from 2007 as News in Conservation (electronic, monthly). [5]
  • Memoriav, since 1997.

Book series

more: AIC, bwFLA, CoOL, ICOM, NDIIPP, NIMk, SBMK.

Monographs, journal issues, and catalogues

  • Gantzert-Castrillo, Erich (ed.), Archiv für Techniken und Arbeitsmaterialien zeitgenössischer Künstler. Band 1, Wiesbaden: Harlekin Art, and Wiesbaden: Museum Wiesbaden, 1979, 110+[848] pp; repr., Stuttgart: Enke, 1996. Information collected from artists on their work and materials, incl. Baselitz, Immendorff, Klapheck, Kokoschka, Gerhard Richter, Christian Schad, Timm Ulrichs, Wolf Vostell, Paul Wunderlich, Dahmen, Lohse, Brehmer, Gerz, Rainer, Stenvert, Hauser, etc. (German)
  • Althöfer, Heinz, Moderne Kunst: Handbuch der Konservierung, Düsseldorf: Schwann, 1980, 453 pp. (German)
  • Althöfer, Heinz, et al., Die Kunst des zwanzigsten Jahrhunderts: Material, Technik, Restaurierung, 2 vols., Düsseldorf: Restaurierungszentrum der Landeshauptstadt Düsseldorf, 1983, 630 & 326 pp. (German)
  • Althöfer, Heinz (ed.), Restaurierung moderner Malerei. Tendenzen, Material, Technik, Munich, 1985. (German)
    • Restauración de pintura contemporánea: tendencias, materiales, técnica, Madrid, 2003. (Spanish)
  • Althöfer, Heinz, Il restauro delle opere d'arte moderne e contemporanee, ed. M. Cristina Mundici, trans. Massimo Tirotti and Reinhold Ferrari, Firenze: Nardini, 1991, 197 pp. Published on the occasion of Primo salone dell'Arte, del Restauro e della Conservazione, Ferrara, Sep 1991. (Italian)
  • Boyle, Deirdre, Video Preservation: Securing the Future of the Past, New York: Media Alliance, 1993, 66 pp.
  • Sillé, Dionne (ed.), The Conservation of Modern Art Project, Amsterdam: Stichting Behoud Moderne Kunst, 1996.
  • Althöfer, Heinz, La radiologia per il restauro: delle opere moderne e contemporanee, trans. Francesco Paoli, Fiesole: Nardini, 1997, 214 pp. (Italian)
  • Althöfer, Heinz, Il restauro delle opere d’arte moderne e contemporanee, ed. M. C. Mundici, Firenze, 1999. (Italian)
  • Heuman, Jackie (ed.), Material Matters: The Conservation of Modern Sculpture, London: Tate Publishing, 1999, 128 pp. Collection of essays written by sculpture conservators at Tate about works that have recently received conservation treatment (Degas, Lord Leighton, Onslow Ford, Brancusi, Skeaping, Henry Moore, Allen Jones, Antony Gormley, Matthew Barney, Naum Gabo, Tony Cragg, Bill Viola and Gary Hill). Reviews: Cone, Sturman, McGrath.
  • Muñoz-Viñas, Salvador, Teoría contemporánea de la restauración, Madrid: Síntesis, 2003. (Spanish)
    • Contemporary Theory of Conservation, Elsevier, 2005, xiii+239 pp. Reviews: Hidaka (City & Time, 2008), Pesme (Studies in Conservation, 2010).
    • Současná teorie konzervování, trans. Martina Poláková and Jaroslav J. Alt, Pardubice: Univerzita Pardubice, 2015, 174 pp. Review: Strnad (Sešit). (Czech)
  • Depocas, Alain, Jon Ippolito, and Caitlin Jones (eds.), Permanence Through Change: The Variable Media Approach / L'Approche des médias variables: la permanence par le changement, New York: Solomon R. Guggenheim Museum, with Montreal: Daniel Langlois Foundation, 2003, 137 pp. Book website. [6] (English)/(French)
  • Wijers, Gaby, Evert Rodrigo, and Ramon Coelho (eds.), De houdbaarheid van videokunst: Conservering van de Nederlandse videokunst collectie / The Sustainability of Video Art: Preservation of Dutch Video Art Collections, Amsterdam: Foundation for the Conservation of Modern Art, 2003, 167 pp. PDF (pt 1), PDF (pt 2), PDF (pt 3) (OA). [7]. Outcome of Preservation Video Art project. /
  • Waentig, Friederike, Kunststoffe in der Kunst: eine Studie unter konservatorischen Gesichtspunkten, Petersberg: Imhof, 2004, 383 pp.
  • Plastics in Art: A Study from the Conservation Point of View, trans. Michael Scuffil, Petersberg: Imhof, 2008, 400 pp.
  • Schinzel, Hiltrud, Touching Vision: Essays on Restoration Theory and the Perception of Art, Ghent: University of Ghent, and Brussels: VUB Brussels University Press, 2004, 262 pp. Publisher.
  • Denslagen, Wim, Romantisch modernisme: nostalgie in de monumentenzorg, Amsterdam: Sun, 2004, 255 pp. (Dutch)
  • Frohne, Ursula, Mona Schieren, Jean-François Guiton (eds.), Present Continuous Past(s): Media Art: Strategies of Presentation, Mediation and Dissemination, Vienna: Springer, 2005.
  • Tien jaar SBMK, Amsterdam: SBMK, c.2005, 33 pp. (Dutch)
  • Chiantore, Oscar, and Antonio Rava, Conservare l'arte contemporanea: problemi, metodi, materiali, ricerche, pref. Francesco Poli, Milan: Electa, 2005, 329 pp. Publisher. (Italian)
    • Conserving Contemporary Art: Issues, Methods, Materials, and Research, Los Angeles: Getty Conservation Institute, 2013, 327 pp. Publisher.
  • Willisch, Susanne, and Bruno Heimberg (eds.), Joseph Beuys, Das Ende des 20. Jahrhunderts: die Umsetzung vom Haus der Kunst in die Pinakothek der Moderne München / Joseph Beuys, the end of the 20th century: the move from the Haus der Kunst to the Pinakothek der Moderne Munich, Munich: Doerner Institut & Schirmer/Mosel, 2007, 394 pp. TOC. (German)/(English)
  • Gorman, G.E., and Sydney J. Shep (eds.), Preservation Management for Libraries, Archives and Museums, London: Facet, 2006, 304 pp. Publisher.
  • Techné 24: "Penser autrement l'art contemporain", Paris: Centre National de la Recherche Scientifique (C2RMF), Dec 2006, 91 pp. TOC. (French)
  • Schachter, Judith, and Stephen Brockmann (eds.), (Im)permanence: Cultures in/out of Time, Penn State University Press, 2008, 284 pp. Publisher.
  • CeROArt 2: "Regards contemporains sur la restauration", ed. Muriel Verbeeck-Boutin, 2008.
  • Shashoua, Yvonne, Conservation of Plastics: Materials Science, Degradation and Preservation, Oxford: Elsevier/Butterworth Heinemann, 2008. Google Books preview. Review: Smith (Studies in Conservation).
  • Art press 2(12): "Arts technologiques: conservation et restauration / Media Arts Conservation and Restoration", Jan 2009. TOC, [8] (French)
  • Llamas Pacheco, Rosario, Conservar y Restaurar el Arte Contemporáneo. Un campo abierto a la investigación, Valencia: UPV, 2009. Review: Ruíz de Arcaute Martínez (Ge-conservación 2009). (Spanish)
  • Richmond, Alison, and Alison Bracker (eds.), Conservation: Principles, Dilemmas and Uncomfortable Truths, Elsevier, and Butterworth-Heinemann, with London: V&A Museum, 2009. Google Books preview. TOC. Excerpt. Review: Kapelouzou (CeROArt).
  • Ferriani, Barbara, and Marina Pugliese (eds.), Monumenti effimeri. Storia e conservazione delle installazioni, intro. Germano Celant, Milan: Mondadori, 2009, 279 pp. TOC. (Italian)
  • Dekker, Annet (ed.), Archive2020: Sustainable Archiving of Born-Digital Cultural Content, Amsterdam: Virtueel Platform, 2010.
  • deLahunta, Scott, and Bertha Bermúdez (eds.), RTRSRCH 2(2): "<Notation>", Amsterdam: Amsterdam School of the Arts, 2010, 44 pp. Special issue on the documentation, analysis, reconstruction and preservation of contemporary performance.
  • Kirschenbaum, Matthew G., et al., Digital Forensics and Born-Digital Content in Cultural Heritage Collections, Council on Library and Information Resources, 2010, 93 pp. Report.
  • Anne Laforet, Le net art au musée. Stratégies de conservation des œuvres en ligne, Paris: Questions théoriques, 2011, 180 pp. Excerpt. Based on 2009 dissertation. [9] [10] (French)
  • Scholte, Tatja, and Glenn Wharton (eds.), Inside Installations: Theory and Practice in the Care of Complex Artworks, Amsterdam: University of Amsterdam Press, 2011, 266 pp. 
  • Rotaeche González de Ubieta, Mikel, Conservación y restauración de materiales contemporáneos y nuevas tecnologías, Madrid: Síntesis, 2011, 302 pp. [11] (Spanish)
  • Wharton, Glenn, The Painted King: Art, Authenticity, and Activism in Hawai'i, University of Hawai'i Press, 2012. Presents "a case for doing cultural work through conservation, using the community-based conservation of a sculpture of King Kamehameha I as a case study."
  • Lavédrine, Bertrand, Alban Fournier, and Martin Graham (eds.), Preservation of Plastic Artefacts in Museum Collections, Paris: CTHS, 2012, 325 pp. Outcome of POPART project. PDF chapters (in respective website sections). Publisher. [12]
  • Szmelter, Iwona (ed.), Innovative Approaches to the Complex Care of Contemporary Art, Warsaw: Academy of Fine Arts, and London: Archetype, 2012, 222 pp. Publisher. Foreword. Review: Mareaux (CeROArt).
  • Beerkens, Lydia, Paulien 't Hoen, IJsbrand Hummelen, Vivian van Saaze, Tatja Scholte, Sanneke Stigter (eds.), The Artist Interview: For Conservation and Presentation of Contemporary Art: Guidelines and Practice, Heijningen: Jap Sam, 2012, 160 pp. Consists of two main parts: Guidelines: Practical Guide for the Artist Interview, and Practice: Case Examples of Artist Interviews. Based on the Artists Interviews project (1995-2002). Chapters online: Ger van Elk, Sjoerd Buisman, Henk Peeters, André Volten, Tom Claassen. Publisher. [13].
  • Born-Digital Kunstwerken in Nederland, Amsterdam: Virtueel Platform, with DEN, SMBK and NIMk, 2012, PDF, PDF. Publisher. Co-publisher. (Dutch)
  • Jadzińska, Monika, “Duże dzieło sztuki”. Sztuka Instalacji - autentyzm, zachowanie, konserwacja, Kraków: Universitas, 2012. Publisher. (Polish)
  • Techné 37: "Conserver l'art contemporain à l'èrede l'obsolescence technologique", eds. Marie-Hélène Breuil and Cécile Dazord, Paris: C2RMF, 2013. TOC. (French)
  • van Saaze, Vivian, Installation Art and the Museum: Presentation and Conservation of Changing Artworks, Amsterdam: University of Amsterdam Press, 2013, 226 pp.
  • Dekker, Annet ed., Speculative Scenarios, or What Will Happen to Digital Art in the (Near) Future?, Eindhoven: Baltan Laboratories, 2013, 144 pp. 
  • Wysocka, Elżbieta, Wirtualne ciało sztuki. Ochrona i udostępnianie dzieł audiowizualnych [The Virtual Body of Art: Reflections on the Impossibility of Material Continuation], Narodowe Centrum Kultury, 2013, 488 pp. Review: Hölling (VDR). (Polish)
  • Hennermann, Célestine, and Scott deLahunta (eds.), Starting Points & Aspirations, Motion Bank/The Forsythe Company, 2013, 130 pp. [14]
  • Hölling, Hanna Barbara, Re: Paik: On Time, Changeability and Identity in the Conservation of Nam June Paik's Multimedia Installations, 's-Hertogenbosch: BOXPress, 2013, 347 pp. Based on dissertation from U Amsterdam.
  • Montalbano, Letizia (ed.), Il futuro del contemporaneo: i cantieri del Master in Conservazione e Restauro delle opere d'arte contemporanee dell'Opificio delle Pietre Dure, Firenze: Edifir, 2013, 158 pp. TOC. (Italian)
  • Buschmann, Renate, and Tiziana Caianiello (eds.), Medienkunst Installationen. Erhaltung und Präsentation. Konkretionen des Flüchtigen / Media Art Installations: Preservation and Presentation: Materializing the Ephemeral, Berlin: Dietrich Reimer, 2013, 327 pp. Outcome of the research project Materializing the Ephemeral (2007-2009). TOC, [15]. (Dutch)
  • Noordegraaf, Julia, et al. (eds.), Preserving and Exhibiting Media Art: Challenges and Perspectives, Amsterdam University Press, 2013, 428 pp. Outcome of the research project (2007-2010) between the Università degli studi di Udine, the University of Amsterdam, the Université Sorbonne Nouvelle-Paris 3, and the Ruhr-Universität Bochum that was sponsored by a grant from the Erasmus Lifelong Learning program.
  • Llamas, Rosario, De lo material a lo esencial en la conservación del arte contemporáneo, o cómo conservar los valores del bien simbólico, Valencia: Low Cost Books, 2013, 209 pp. [16]. (Spanish)
  • Abram, Sarah (ed.), Il restauro del design / The Conservation of Design, Umberto Allemandi & C., Torino, 2014. [17]. (Italian)
  • Rinehart, Richard, and Jon Ippolito, Re-Collection: Art, New Media, and Social Memory, MIT Press, 2014, xii+297 pp. TOC. Book website. Reviews: Dekker (Comp Cult), Leggett (Leonardo), Maxwell (LSE Rev Books), Ecker (Future Anterior), Schafer (Afterimage), Lohmeyer (Hyperrhiz), Krewani (MedienWissenschaft), O'Rourke.
  • Llamas, Rosario, Arte contemporáneo y restauración. O cómo investigar entre lo material, lo esencial y lo simbólico, Madrid: Tecnos, 2014, 384 pp. Review: Royo Naranjo (PH). (Spanish)
  • Martore, Paolo (ed.), Tra memoria e oblio: percorsi nella conservazione dell’arte contemporanea, intro. Massimo Carboni, Rome: Castelvecchi, 2014, 373 pp. (Italian)
  • Interventions 4(1): "Object Lesson: Conservation and Contemporary Art", eds. Anna Linehan and Béatrice Grenier, New York: Columbia University, Jan 2015.
  • Neural 51: "Revive", Summer 2015. Interviews with Jon Ippolito, Ben Fido-Radin, Olia Lialina, Constant Dullaart, Graham Dunning, Museo dell’Informatica Funzionante (Working IT museum); essays by Anne Laforet, Annet Dekker, Paul Prudence, a.o.. [18]
  • Hölling, Hanna B., Revisions—Zen for Film, New York: Bard Graduate Center, 2015, xii+100 pp. Catalogue accompanying the exhibition at Bard Graduate Center. Publisher. Reviews: Bodor (JCS), Weiss (Artforum), Higgins (Critical Inquiry).
  • Smite, Rasa, Raitis Smits, and Lev Manovich (eds.), Data Drift: Archiving Media and Data Art in the 21st Century, Riga: RIXC, 2015, 296 pp.
  • Media-N 11(1): "The Aesthetics of Erasure", eds. Paul Benzon and Sarah Sweeney, New Media Caucus, 2015.
  • Sanchez-Pons, M., Shank, W., Fuster-Lopez, L. (eds). Conservation Issues in Modern and Contemporary Murals, Newcastle upon Tyne: Cambridge Scholars Publishing, 2015, 555 pp. [19] (English)/(Spanish)
  • Berns, Roy S., Color Science and the Visual Arts: A Guide for Conservators, Curators, and the Curious, Getty Publications (GCI), 2016, 208 pp. [20]
  • Rotaeche González de Ubieta, Mikel, Museología y conservación de arte contemporáneo: un conflicto de intereses, Gijón: Trea, 2016, 336 pp. [21] (Spanish)
  • Grau, Oliver, Wendy Coones, and Viola Rühse (eds.), Museum and Archive on the Move: Changing Cultural Institutions in the Digital Era, Berlin/Boston: De Gruyter, 2017, 316 pp. Publisher.
  • Hölling, Hanna B., Paik's Virtual Archive: Time, Change, and Materiality in Media Art, University of California Press, 2017, 264 pp. Reviews: Zinman (Art Bulletin), Gyorody (CAA Reviews), Keyes (Visual Studies), Kemp (J Am Inst Conservation). [22] Google preview.
  • Getty Research Journal 9(S1): "Examining Pollock: Essays Inspired by the Mural Research Project", eds. Andrew Perchuk and Tom Learner, Los Angeles: Getty Research Institute, 2017, vii+199 pp. Subscription access.
  • Camporesi, Enrico, Futurs de l’obsolescence: essai sur la restauration du film d’artiste, Sesto San Giovanni: Mimésis, 2018, 327 pp. (French)
  • Insite Magazine: “Time Based Media”, AMaGA Victoria, Aug-Oct 2019. Publisher.
  • Domínguez Rubio, Fernando, Still Life: Ecologies of the Modern Imagination at the Art Museum, University of Chicago Press, forthcoming July 2020, 424 pp. [23] [24]

Proceedings from conferences and symposia

  • Althöfer, Heinz (ed.), Restaurierung moderner Kunst. Das Düsseldorfer Symposion 1977, Düsseldorf: Restaurierungszentrum, 1977, 102 pp. Incl. Althöfer, "Arbeitsprogramm für die Restaurierung moderner und zeitgenössischer Kunst", 6-8. (German)
  • International Symposium on the Conservation of Contemporary Art / Symposium international sur la conservation de l'art contemporain, Ottawa: National Gallery of Canada, 1980, 49+50 pp. Abstracts from the 1980 symposium. [25]
  • Boiret, Y. (ed.), Arts contemporains et édifices anciens: actes de la rencontre internationale organisée par la Section française de l'ICOMOS, Paris 26-28 novembre 1981, Paris: La Section, 1983, 146 pp. Proceedings of the international meeting on the integration of contemporary art in old buildings. (French)
  • Horrigan, Bill (ed.), The Media Arts in Transition, Minneapolis: Walker Art Center, 1983, 63 pp. [26]
  • Conservation and Contemporary Art: ICCM 1984 National Conference, April 16-19, Sydney: abstracts, Sydney: Institute for the Conservation of Cultural Material (ICCM), 1984, 35 leaves.
  • Bogner, Dieter, Peter Müller (eds.), Alte Bauten, neue Kunst: Denkmalpflege und zeitgenössisches Kunstgeschehen: Symposionsbericht, Schloss Buchberg am Kamp, 1985, Vienna: Bundesverlag, 1986, 120 pp. (German)
  • Fairbrass, Sheila, and Johan Hermans (eds.), Modern Art: The Restoration and Techniques of Modern Paper and Paints, London: United Kingdom Institute of Conservation, 1989, 36 pp. Proceedings from the 1989 conference.
  • Comunicaciones de la 2a reunión de trabajo. Grupo Español de trabajo sobre la conservación y restauración del arte contemporáneo, Álava: Diputación Foral, 1990, 84 pp. Proceedings from the 1990 conference. (Spanish)
  • Keens Company (ed.), Conservation and Contemporary Art: Summary of a Workshop, Los Angeles: Frederick R. Weisman Foundation, 1991, 66 pp. Based on the 1990 workshop.
  • Comunicaciones de la 3a reunión de trabajo, Álava: Diputación Foral, c1992, 107 pp. Proceedings from the 1991 conference. (Spanish)
  • Van Damme, Claire (ed.), Conservatie en restauratie van moderne en actuele kunst: een interdisciplinair gebeuren, Ghent: CoReModAc: Snoeck-Ducaju & Zoon, 1992, 236 pp. Proceedings from the 1990 conference. (Dutch)
  • Righi, Lidia (ed.), Conservare l'arte contemporanea, Firenze: Nardini, 1992, 222 pp. Proceedings from the conference La conservazione e il restauro oggi: dalla manualità artigiana alla ricerca pluridisciplinare, 26-29 Sep 1991. (Italian)
    • Conservare l'arte contemporáneo, San Sebastian, 2004. (Spanish)
  • Grattan, David W. (ed.), Symposium '91: Saving the Twentieth Century: The Conservation of Modern Materials / Symposium 91: sauvegarder le XXe siècle: la dégradation et la conservation des matériaux modernes, Ottawa: Canadian Conservation Institute, 1993, xiii+41+41+xiii pp. Proceedings from the 1991 conference. (English),(French)
  • Kaeppelin, Oliver (ed.), Conservation et restauration des oeuvres d'art contemporain, Paris: Documentation française, 1994, 308 pp. Proceedings from the 1992 colloquium. Discusses the work of Alechinsky, Beuys, Boetti, Boltanski, Morellet, Paik, Sarkis, Soulages, Tinguely, et al. [27] (French)
  • Angelucci, Sergio (ed.), Arte contemporanea, conservazione e restauro, Firenze: Nardini, 1994, 336 pp. Proceedings from the Colloquio sul restauro dell'arte moderna e contemporanea, Prato, 4-5 Nov 1994. (Italian)
  • Heuman, Jackie (ed.), From Marble to Chocolate: The Conservation of Modern Sculpture, London: Archetype, 1995, 172 pp. Proceedings from the conference, Tate Gallery, 18-20 Sep 1995. TOC.
  • Hubbard, Jim, and Mona Jimenez, Meeting the Challenges of Video Preservation: A Progress Report on Initiatives Within the Media Arts Field, New York: Media Alliance, 1996, 23 pp. Report from two Media Alliance conferences of 1994.
  • Raymakers, Marina, and Jaap Mosk (eds.), Project "Conservation of Modern Art": Proceedings of the Presentation of the Project on 12 May 1996, Amsterdam: Foundation for the Conservation Modern Art (SBMK), 1996, 57 pp. Proceedings from the 1996 symposium. [28]
  • Di Martino, Enzo (ed.), Conservazione e restauro dell'arte contemporanea, Venice: Cassa di risparmio, 1996, xii+513+26 pp; repr. as Arte contemporanea: conservazione e restauro: atti del Convegno internazionale, Torino: Umberto Allemandi, 2005, 317 pp. Proceedings from the 1996 workshop. (Italian)
  • Conservació i restauració d'art contemporani: seminari organitzat per l'Especialitat de Restauració del Departament de Pintura, Facultat de Belles Arts, Barcelona 15-18 novembre de 1993, Barcelona: Universitat de Barcelona, 1996, 52 pp. (Catalan)
  • Wie haltbar ist videokunst? Beiträge zur Konservierung und restaurierung audiovisueller kunstwerke: symposium im Kunstmuseum Wolfsburg / How Durable is Video Art? Contributions to preservation and restauration of the audiovisual works of art: symposium at the Kunstmuseum Wolfsburg, November 1995, Kunstmuseum Wolfsburg, 1997, 114 pp. Proceedings from the 1995 symposium. TOC. (German)
  • Fifer, Sally Jo, et al (eds.), Playback: A Preservation Primer for Video, San Francisco: Bay Area Video Coalition, 1998, 79 pp. Proceedings from the 1996 symposium. [29] [30]
  • Hummelen, IJsbrand, and Dionne Sillé (eds.), Modern Art: Who Cares? An Interdisciplinary Research Project and an International Symposium on the Conservation of Modern and Contemporary Art, Amsterdam: Foundation for the Conservation of Modern Art (SBMK), and Netherlands Institute for Cultural Heritage (ICN), 1999, 445 pp; repr., London: Archetype, 2005, 448 pp. Essays from the project and proceedings from the 1997 conference. Publisher. Publisher. TOC. Review: Hodge (Studies in Conservation, 2001).
  • Corzo, Miguel Angel (ed.), Mortality Immortality? The Legacy of 20th-Century Art, Los Angeles: Getty Conservation Institute, 1999, xx+192 pp. 34 essays. Proceedings from the 1998 conference. Publisher. TOC. [31]
  • Misselbeck, Reinhold, Martin Turck (eds.), Video im Museum: Restaurierung und Erhaltung, neue Methoden der Präsentation, der Originalbegriff: internationales Symposium, Museum Ludwig Köln, 9. September 2000 / Video Arts in Museums: Restoration and Preservation, New methods of Presentation, The Idea of the Original: International Symposium, Museum Ludwig, Cologne, September 9, 2000, Cologne: Museum Ludwig, 2000, 184 pp.
  • Journal of the American Institute for Conservation 40(3): "TechArchaeology", eds. Mona Jimenez and Paul Messier, Autumn-Winter 2001. Based on the 2000 symposium at SFMOMA. [32]
  • Looking Back, Looking Forward: A Symposium on Electronic Media Preservation, Owego, NY: Experimental Television Center, 2002, HTML chapters, HTML. Proceedings from the 2002 symposium.
  • Gogarty, Claire, Zoë Reid (eds.), Post Prints of Contemporary Art: Creation, Curation, Collection and Conservation: Proceedings of a Conference held at the Irish Museum of Modern Art, 21st-22nd September, 2001, Dublin: Irish Professional Conservators' and Restorers' Association (IPCRA), 2002, iii+65+[9] pp. TOC.
  • Oosten, Thea van, Yvonne Shashoua, and Frederike Waentig (eds.), Plastics in Art: History, Technology, Preservation, Munich: Siegl, 2002, 176 pp. Papers read at the Interim Meeting of the ICOM-CC Modern Materials Working Group, held in Cologne early in 2001.
  • Fidelis, Gaudencio (ed.), Dilemas da matéria: procedimento, permanência e conservação em arte contemporânea / Material dilemmas: Procedure, permanence and conservation in contemporary art, Porto Alegre: Museu de Arte Contemporanea do Rio Grande Do Sul, 2002, 241 pp. (Portuguese)/(English)
  • Roy, Ashok, and Perry Smith (eds.), Modern Art, New Museums: Contributions to the Bilbao Congress, Special Issue of Studies in Conservation, 2004, 264 pp. Preprints of the contributions to the 2004 congress. [33] [34]
  • V Reunión de Arte Contemporáneo del GEIIC, Madrid: Grupo Español del IIC, 2004. Proceedings from the 2004 congress.
  • VI Reunión de Arte Contemporáneo del GEIIC, Madrid: MNCARS, 2005, 116 pp. Proceedings from the 2005 congress.
  • VII Reunión de Arte Contemporáneo del GEIIC, Madrid: MNCARS, 2006, 140 pp. Proceedings from the 2006 congress.
  • Tate Papers 8, ed. Bryony Bery, London: Tate, Autumn 2007. Papers from the 2007 workshop Inherent Vice: The Replica and its Implications in Modern Sculpture Workshop.
  • Conservación de arte contemporáneo: 8ª jornada, Madrid: MNCARS, 2007, 142 pp. Proceedings from Feb 2007 congress.
  • Conservación de arte contemporáneo: 9ª jornada, Madrid: MNCARS, 2008, 218 pp. Proceedings from Feb 2008 congress.
  • Keneghan, Brenda, and Louise Egan (eds.), Plastics: Looking at the Future & Learning from the Past, London: Victoria & Albert Museum, 2008. Proceedings from the 2007 conference.
  • Černá, Iveta, and Ivo Hammer (eds.), Materiality, Brno: Brno City Museum, and Hildesheim: Hornemann Institut, 2008, 224 pp. Proceedings from the international symposium on the Preservation of Modern Movement Architecture, 27-29 Apr 2006, Brno/CZ. [35]
  • Breuil, Marie-Hélène (ed.), Restauration et non-restauration en art contemporain, 1, Tours: ARSET, 2008, 152 pp. Proceedings from the 2007 conferences Du refus ou de l'impossibilité de la restauration and Répliques et restitutions. (French)
  • Conservación de arte contemporáneo: 10ª jornada, Madrid: MNCARS, 2009, 221 pp. Proceedings from Feb 2009 congress. [36]
  • Breuil, Marie-Hélène (ed.), Restauration et non-restauration en art contemporain, 2, Tours: ARSET, 2009, 107 pp. Proceedings from the 2008 conference Documenter l'art contemporain. (French)
  • Hermens, Erma, and Tina Fiske (eds.), Art, Conservation and Authenticities: Material, Concept, Context, London: Archetype, 2009, xiii+266 pp. Proceedings from the 2007 conference. TOC.
  • Stefanaggi, Marcel (ed.), Art d'aujourd'hui, patrimoine de demain: conservation et restauration des œuvres contemporaines, Champs-sur-Marne: SFIIC, 2009, 350 pp. Proceedings from the 2009 conference. [37]. Review: Verbeeck-Boutin (CeROArt). (French)
  • Hofman, Vanina, Consuelo Rozo (eds.), Conservación del arte electrónico: ¿qué preservar y cómo preservarlo?, Buenos Aires: Centro Cultural de España (CCEBA), 2009. Proceedings from the 2008 seminar. [38] [39] (Spanish)
  • Airaud, Stéphanie, Stéphanie Elarbi (eds.), Date limite de conservation, Vitry-sur-Seine: Musée d'art contemporain du Val-de-Marne (MAC/VAL), 2009, 159 pp. Proceedings from 2009 colloquium.
  • Schädler-Saub, Ursula, and Angela Weyer (eds.), Theory and Practice in the Conservation of Modern and Contemporary Art: Reflections on the Roots and the Perspectives, London: Archetype, 2010, ix+221 pp. Proceedings from the 2009 conference. Text in English; Appendixes of interviews in German. [40]. TOC. Scribd. (English),(German)
  • Couture, Francine, France Vanlaethem (eds.), Conservation de l'art contemporain et de l'architecture moderne: l'authenticité en question, Québec: MultiMondes, 2010, viii+158 pp. Proceedings from the study day held 2007. (French)
  • Conservación de arte contemporáneo: 11ª jornada, Madrid: MNCARS, 2010, 384 pp. Proceedings from Feb 2010 congress. [41] (Spanish)
  • Revista do IHA 8: "Museus e Investigação", Lisbon: Instituto de História da Arte/Universidade Nova de Lisboa, 2011. Issuu.
  • Bechthold, Tim (ed.), Future Talks 009: the conservation of modern materials in applied arts and design: papers from the conference held at the Pinakothek der Moderne, Munich, 22-23 October 2009, Munich: Die Neue Sammlung, the International Design Museum, 2011, 255 pp.
  • IIC Austrian Group (ed.), Kunst des 20. und 21. Jahrhunderts: Probleme und Perspektiven zur Erhaltung, Klosterneuburg: Stift Klosterneuburg, 2011, 230 pp. (German)
  • Conservación de arte contemporáneo: 12ª jornada, Madrid: MNCARS, 2011, 352 pp. Proceedings from Feb 2011 congress. [42]
  • Conservación de arte contemporáneo: 13ª jornada, Madrid: MNCARS, 2012, 343 pp. Proceedings from Feb 2012 congress.
  • New Technological Art Award (Update IV): Immortal, 2012, 53 pp. Colloquium held 15-17 Nov 2012.
  • Ferriani, Barbara, and Marina Pugliese (eds.), Ephemeral Monuments: History and Conservation of Installation Art, Los Angeles: Getty Conservation Institute, 2013. Publisher. Short video interview.
  • Serexhe, Bernhard (ed.), Digital Art Conservation: Konservierung digitaler Kunst: Theorie und Praxis, Vienna: Ambra V, and Karlsruhe: ZKM, 2013, 665 pp. Incl. proceedings of the 2010 and 2011 symposia. Part of Digital Art Conservation. [43]
  • Williams, Emily (ed.), The Public Face of Conservation, London: Archetype, and Colonial Williamsburg, 2013, ix+288 pp. Proceedings from the 2011 conference. Publisher.
  • Mundici, Maria Cristina, and Antonio Rava (eds.), Cosa cambia: teorie e pratiche del restauro nell'arte contemporanea, Milan: Skira, 2013, 314 pp. Proceedings from the 2012 conference. TOC. (Italian)
    • What's Changing: Theories and Practices in the Restoration of Contemporary Art, trans. Lucian Henry Comoy, Milan: Skira, 2013, 314 pp. Proceedings from the conferences held in 1987 and 2012. TOC. [47]
  • Conservación de arte contemporáneo: 14ª jornada, Madrid: MNCARS, 2013, 248 pp. Proceedings from Feb 2013 congress.
  • Conservación de arte contemporáneo: 15ª jornada, Madrid: MNCARS, 2014, 285 pp. Proceedings from Feb 2014 congress.
  • Gordon, Rebecca, Emma Hermens, and Frances Lennard (eds.), Authenticity and Replication: The 'Real Thing' in Art and Conservation, London: Archetype, 2014, 224 pp. Proceedings from the 2012 conference. Publisher.
  • Beiguelman, Giselle, and Ana Gonçalves Magalhães (eds.), Possible Futures: Art, Museums and Digital Archives / Futuros possíveis: arte, museus e arquivos digitais, São Paulo: Peiropolis & Edusp, 2014. Proceedings from the 2012 symposium. Google preview. [48] [49] [50] [51] (English),(Brazilian Portuguese)
  • Graham, Beryl (ed.), New Collecting: Exhibiting and Audiences after New Media Art, Routledge, 2014, 254 pp. Google preview. Publisher.
  • Beerkens, Lydia, and Tom Learner (eds.), Conserving Outdoor Painted Sculpture, Los Angeles: Getty Conservation Institute, 2014, 145 pp. Proceedings from the interim meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC, Kröller-Müller Museum, Otterlo, 4-5 Jun 2013.
  • Delve, Janet, and David Anderson (eds.), Preserving Complex Digital Objects, London: Facet, 2014, xlvii+375 pp. Based on the JISC-funded series of three Preservation of Complex Objects (POCOS) symposia. Publisher.
  • Revista de historia da arte 4: "Performing Documentation in the Conservation of Contemporary Art", eds. Lúcia Almeida Matos, Rita Macedo, and Gunnar Heydenreich, Lisbon: Instituto de História da Arte/Universidade Nova de Lisboa, 2015, 196 pp. Proceedings from the 2013 conference.
  • Conservación de arte contemporáneo: 16ª jornada, Madrid: MNCARS, 2015, 244 pp. Proceedings from Feb 2015 congress. [52]
  • Barranha, Helena, and Susana S. Martins (eds.), Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums, Lisbon: Universidade Nova de Lisboa, 2015, 251 pp. Based on the conference produced in the framework of the unplace project.
  • Freire, Cristina (ed.), Arte contemporânea: preservar o quê?, São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 2015, 194 pp. Proceedings from the 2014 conference. (Brazilian Portuguese)
  • Castilla, Américo (ed.), Arte contemporáneo en sala de guardia: dilemas y sistemas para la conservación de arte contemporáneo, Buenos Aires: Teseo, 2015, 283 pp, PDF, EPUB. Based on the 2010 conference. (Spanish)
  • Cahiers de l'INCCA-F 1: "Documentation technique, techniques de documentation", Dec 2015. Based on 2nd meeting of INCCA-F on 7 Feb 2014 in the auditorium of the Municipal Archives of Marseille. [53] [54] (French)
  • Hermens, Erma, and Frances Robertson (eds.), Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation, London: Archetype, 2016, 205 pp. Proceedings from the 2014 conference. Publisher.
  • Cassese, Giovanna (ed.), Il futuro del contemporaneo: conservazione e restauro del design / The Future of the Contemporary: Conservation and Restoration of Design, Rome: Gangemi, 2016, 207 pp. Proceedings from the conference organized by Fondazione Plart, held within the Festival internazionale del design in Naples, Italy, 14-15 May 2015. Excerpt. (Italian),(English)
  • Saving the Now: Crossing the Boundaries to Conserve Contemporary Works: IIC 2016 Los Angeles Congress Preprints, Supplement 2 of Studies in Conservation 61, Sep 2016. Subscription access.
  • Reyes-Garcia, Everardo, Pierre Châtel-Innocenti, and Khaldoun Zreik (eds.), Archiving and Questioning Immateriality: Proceedings of the 5th Computer Art Congress, Paris: Europia, 2016, 466 pp. Publisher.
  • VDR Beiträge zur Erhaltung von Kunst- und Kulturgut 2, Bonn: Verband der Restauratoren (VDR), 2017. Contains proceedings from Collecting and Conserving Performance Art, Wolfsburg, 2016.
  • Rivenc, Rachel, and Reinhard Bek (eds.), Keep It Moving? Conserving Kinetic Art, Los Angeles: Getty Conservation Institute, 2018, PDF. Proceedings from an ICOM-CC MMCA meeting organized in 2016.
  • Robinson, Lyn, and Joseph Dunne (eds.), Proceedings from the Document Academy 5(1): "Proceedings from DocPerform 2017", 2018.
  • Hölling, Hanna B., Francesca G. Bewer and Katharina Ammann (eds.), The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures, Brill, 2019, xviii+290 pp. Publisher. Introduction. Chapter 10.
  • Grau, Oliver, Janina Hoth, and Eveline Wandl-Vogt, Digital Art through the Looking Glass: New Strategies for Archiving, Collecting and Preserving in Digital Humanities, Krems: Donau-Universität Krems, and Vienna: Austrian Academy of Sciences, 2019, 312 pp. Based on the "Digital Arts, Archives and Museums" sessions of the Re:Trace conference (2017). Review: Dika (Postdigital Sci Edu).

Dissertations

Surveys

Blogs

Bibliographies

Fiction

Films

Research projects, networks, consortiums

The websites of most projects also function as resources.

1990s

  • Artists Documentation Program (ADP), 1990-2014. Initiated by Carol Mancusi Ungaro in the Menil Collection in Houston. From 2001, the project was continued in collaboration with the Whitney Museum of American Art and the Center for the Technical Study of Modern Art/Harvard Art Museums. Supported by the Andrew W Mellon Foundation. The artist interviews are made available online to professionals.
  • Conserveringsprojekt Video Kunstinstellingen, 1993-1995. Carried out by Montevideo/TBA. Video tapes from 10 Dutch collections (De Appel, MonteVideo, Time Based Arts, Lijnbaancentrum, Rijksdienst Beeldende Kunst, Rijksakademie van Beeldende Kunsten, Stedelijk van Abbemuseum, Museum Boijmans van Beuningen, Groninger Museum, World Wide Video Center) were catalogued and transferred to the high-grade (analog) Betacam SP. Catalogue appeared in print and as Amiga database. Financed by Dutch Ministery of Culture as part of its Deltaplan Cultuurbehoud. Followed by Preservation Video Art project.
  • Conservering Moderne Kunst / Conservation of Modern Art, 1995-1997. Conducted by SBMK. Decision-making model, data registration model and condition registration model developed, in parallel to the investigation of the ten pilot objects. Conference Modern Art: Who Cares? and exhibition held 1997, book published 1999. [57], [58], [59].
  • Pilot Project "Artists' Interviews": An interdisciplinairy approach towards artists' interviews, 1998-1999. Carried out by Netherlands Institute for Cultural Heritage (Hummelen, Menke, Petovic, Sillé, Scholte).
  • Conservering van videokunst / Preservation Video Art, 1998-2003. Carried out by NIMK at the request of SBMK. 1700 analogue autonomous video works by 450+ artists held in 9 Dutch collections (De Appel, Museum Boijmans Van Beuningen, Groninger Museum, ICN, Kröller-Müller Museum, NIMk Montevideo/TBA, Rijksakademie, Stedelijk Museum Amsterdam, Van Abbemuseum) were transferred to Digital Betacam. Book published 2003. Built upon Conserveringsprojekt Video Kunstinstellingen project. [60] [61]
  • Kunstenaarsinterviews [Artists Interviews], 1998-2005. Conducted by ICN and SBMK. Twenty artists working in the Netherlands were interviewed (on film) about their working methods and their choice of materials. Consisted of two projects: Artist Interviews and Artist Interviews / Artist Archives (1/1998-2000 and 2001-2005). Book published 2012. [62]. Concept-scenario (Jun 1999). [63]

2000s

  • Methodology for the Documentation of Contemporary Art, 1999-2001. Realised at the interdisciplinary Kulturwissenschaftliches Forschungskolleg (SFB/FK 427) of the German Universities of Aachen, Bonn, and Cologne. The project (no. B4) was initiated by professors Hubertus Kohle and Harald Kraemer. The other members of the team were Nicole Birtsch, Kathrin Lucht, Martina Nied, Simone Schmickl, and Christina Hemsley. See Kraemer 2007.
  • Variable Media Network (VMN), 2001-2004. A consortium of museums and archives aiming to develop a museum-standard, best practice for the collection and preservation of new media art. Co-founded by the Solomon R. Guggenheim Museum, New York, and The Daniel Langlois Foundation for Art, Science, and Technology, Montreal; other members: Berkeley Art Museum/Pacific Film Archives (Berkeley), Franklin Furnace (NYC), Performance Art Festival+Archives (Cleveland), Rhizome.org (NYC), Walker Art Center (Minneapolis). Coordinators: Jon Ippolito (U Maine, Guggenheim), Alain Depocas (Langlois). Conferences held 2001 and 2004, exhibition 2004, book published 2003. Followed by Archiving the Avant Garde.
  •  ??* With the support of the New Art Trust and in conjunction with Tate, SFMOMA, and the Royal College of Art, Pip Laurenson began a three-year research project into the care and conservation of time-based media in fall 2001. failed??
  • 404 Object Not Found: What Remains of Media Art?, Jul 2002-Aug 2003. Managed by medien_kunst_netz Dortmund (association between the HMKV, the Museum am Ostwall and the Administration of Cultural Affairs of the city of Dortmund); research in collaboration with NIMk, C3 Budapest, and Hans Dieter Huber of Staatliche Akademie der Bildenden Künste (Stuttgart). Directed by Hans D. Christ and Iris Dressler. Supported by EU programme Culture 2000. Congress held 2003. Followed upon by Seoul 2006 research project. Case studies, [66].
  • Matters in Media Art: Collaborating towards the care of time-based media, Jan 2003-Dec 2015. Project by MoMA, SFMOMA, and Tate. To establish guidelines for best practice in managing time-based media (e.g. video, film, audio and software-based installations). The consortium launched its first phase, on loaning time-based media works, in 2004, and its second phase, on acquiring time-based media works, in 2007. Supported by New Art Trust. Project leaders: Pip Laurenson (Tate), Jill Sterrett (SFMOMA), Glenn Wharton (MoMA). [67] [68]
  • AktiveArchive, Berne University of the Arts (BUA) & Swiss Institute for Art Research (SIAR), 2002-2011. Head: Johannes Gfeller (interview). 15 [69]
  • Capturing Unstable Media, Mar-Dec 2003. A research project on archiving and preserving unstable media. Conducted by V2_. Report published 2003.
  • Archiving the Avant Garde: Documenting and Preserving Digital/Media Art, c2004-2007. A consortium project of the University of California, Berkeley Art Museum and Pacific Film Archive, with the Solomon R. Guggenheim Museum, Cleveland Performance Art Festival and Archive, Franklin Furnace Archive, and Rhizome.org. Funded by NEA. Coordinator: Richard Rinehart. Symposium held 2007. Builds upon Variable Media Network. [70]
  • Inside Installations: Preservation and Presentation of Installation Art, 2004-2007. Research into the care and administration of installation artworks; 30+ complex installations were selected as case studies and were re-installed, investigated and documented. Coordinated by Netherlands Institute for Cultural Heritage (ICN); in collaboration with Tate, SMAK Ghent, SBMK, Restaurierungszentrum der Landeshauptstadt Düsseldorf, and Museo Nacional Centro de Arte Reina Sofia; co-organizers worked together with national partners (mainly museums) making a total of 25 institutions. Funded by EU Culture 2000. Report published 2007. Book published 2011 as part of PRACTICs. Old archive. [71] [72] [73]
  • Materializing the Ephemeral, 2007-2009. Conducted by imai foundation, with support of Gerda Henkel Foundation. Project leader: Tiziana Caianiello. The aim was to develop guidelines for the preservation and presentation of different media art installations. Book published 2013.
  • Forging the Future: New Tools for Variable Media Preservation (FtF), 2008-09. "Refines and distributes free and open-source products that boost access and aid in preservation of our digital heritage." Coordinated by Jon Ippolito and Richard Rinehart. Builds upon Variable Media Network and Archiving the Avant-Garde.
  • Documentare Installazioni Complesse (DIC, Documenting Complex Installations), Museo del Novecento Milan & DARC Rome, 2006-2008. Included 5 case studies of documenting complex works. Book published 2009 (English edition 2013).
  • Réexposition, réactualisation et pérennité des œuvres contemporaines, directed by Francine Couture in Montreal, 2007-2010.
  • New Media Art Network on Authenticity and Performativity, Tate, Sep 2008-Aug 2010. Over a series of five meetings at Tate Modern, the network brought together a range of different voices including artists, academics, curators and conservators to identify the key research questions pertaining to the contemporary art museum’s response to new media artworks and to examine specific questions around authenticity and performativity. Led by Kelli Dipple (Tate curator of Intermedia Arts), in collaboration with Frederico Fazanda Rodrigues and Pip Laurenson. Funded by Arts and Humanities Research Council (AHRC) (£23K). Report published 2010.
  • Inside Movement Knowledge (IMK), 2009-2010. A research project into new methods for documentation, transmission and conservation of contemporary choreographic and dance knowledge. The primary partners were ICK Amsterdam - Emio Greco I PC, NIMK, Faculty for Media and Culture of the University of Utrecht and the Dance training program and research group of the Lecturship in art practice and artistic development (ARTI) at the Amsterdam Hogeschool voor de Kunsten. Journal issue published 2010. Documentation model published 2010. [76]
  • Migrating Media: Upstate Preservation Network, since Apr 2009. A partnership of Hallwalls Contemporary Arts Center, Squeaky Wheel, Burchfield Penney Art Center and the ETC. Offers non-profit arts and cultural organizations in Upstate New York a means to safeguard significant video collections of tapes. Dir. Jim Lindner. Funded by NYSCA and NEA.
  • Documentação de Arte Contemporânea, Lisbon, 2009-2013.

2010s

  • New Strategies in the Conservation of Contemporary Art, Sep 2009-Sep 2013-Feb 2015. Research project of RCE, U Maastricht, and ASCA/UvA Amsterdam. Funded by NWO (projects 1, 4, 6: Hölling, van Saaze, van de Vall), ICN (projects 2, 5: Scholte, Hummelen) and UvA (project 3: Stigter). Project leader: Renée van de Vall. Incl. 5 PhD projects addressing the paradigm of ‘scientific freeze’ through biographies of artworks: Hanna Hölling (UvA), Tatja Scholte (RCE), Sanneke Stigter (UvA/Kröller-Müller Museum), Vivian van Saaze (UM), IJsbrand Hummelen (RCE). [79] [80] [81]
  • Digital Art Conservation, 2010-2012. Dedicated to researching strategies for the conservation of digital art, with a focus on artworks created with computer programming and digital technologies. Dir. Bernhard Serexhe. Symposia held 2010 and 2011, exhibition 2012-13, book published 2013. The project was initiated at the ZKM, Karlsruhe, and was carried out in collaboration with five other institutions from the Upper Rhine region. Supported by EU program INTERREG IV Oberrhein.
  • archiv performativ, Institute for Cultural Studies in the Arts (ICS)/Zürcher Hochschule der Künste ZHdK, 2010-2012.
  • Conservation Media Art Collection Netherlands, SBMK and NIMk, 2010-2012.
  • Motion Bank, Forsythe Company, 2010-2013. Focused on the creation of online digital scores in collaboration with choreographers. Book published 2013.
  • Digitising Contemporary Art (DCA), PACKED, Jan 2011-Jul 2013 (30mo). Aimed to digitise contemporary art objects (i.e. art made after 1945, 27K artworks - paintings, photographs, sculptures, installations, videos and 2K contextual documents) from 12 European countries and make them accessible to the wider public through Europeana. Coordinator: PACKED vzw; partners include 21 art institutions and 4 technical institutions. Funded by EC CIP-ICT Policy Support Programme (€1.97M).
  • Dying Technologies: The End of 35 mm Slide Transparencies, Tate, Jun 2011-Dec 2012. Project leader: Tina Weidner. Supported by the Esmée Fairbairn Foundation. Paper published 2012.
  • Performing Documents: modelling creative and curatorial engagements with live art and performance archives, University of Bristol, Jul 2011-Dec 2014. Principal investigator: Simon Jones. Hosted by University of Bristol, in partnership with University of Exeter, Arnolfini and In Between Time. Funded by Arts and Humanities Research Council (AHRC) (£454K).
  • Network for Conservation of Contemporary Art Research (NeCCAR), Maastricht University, Jan 2012-Sep 2015. Aimed to develop joint research projects and a training curriculum on the theory, methodology and ethics of the conservation of contemporary art. Project leaders: Renée van de Vall and Vivian van Saaze (both U Maastricht); 10 partner organisations (incl. Tate, CICS, UvA). Conferences held 2012, 2013, 2014. Proceedings published 2015, 2016. Funded by NWO.
  • Collecting the Performative: A research network examining emerging practice for collecting and conserving performance-based art, Tate, Apr 2012-Jan 2014. Project leader: Pip Laurenson. Funded by Arts and Humanities Research Council (AHRC) and Netherlands Organisation for Scientific Research (NWO). Video documentation. [82]
  • Replace or Remake?, 2013-2015. Project by ER[cr]OS Tours, ESA Saint-Luc Liège, C2RMF, Capc Bordeaux, in collaboration with INCCA-F. [83]
  • Cultural Heritage in the Digital Age, iMAL and Packed, 2014-.
  • Transformation Digital Art / Transformatie Digitale Kunst, 2014-2017. The researchprogram is concerned with the long-term preservation, presentation and distribution of software based artworks. Symposiums held 2016 & 2017. Publication. [84]
  • Collecting, Archiving and Sharing Performance and the Performative, University of Exeter, Oct 2014-Sep 2016. Aimed to create an archive and a best practice framework for the collection, archivisation and exhibition of performance at Tate 1960 to today. Principal Investigator: Gabriella Giannachi. Funded by Arts and Humanities Research Council (AHRC) (£282K).
  • Archiving Interactive Media, ACHI/U Amsterdam + DEN Foundation + LIMA, 2015-. Project leader: Julia Noordegraaf.
  • New Approaches in the Conservation of Contemporary Art (NACCA), Jun 2015-May 2019 (48mo). Project leader: Renée van de Vall (Maastricht U). 15 PhD fellows investigate different, as yet under-explored aspects of contemporary art conservation: Brian Castriota (Glasgow U), Joanna Kiliszek (Art Academy Warsaw), Nina Quabeck (U Glasgow), Tomas Markevicius (Cologne UAS), Marta Garcia Celma (Cologne UAS), Claudia Röck (U Amsterdam), Caitlin Spangler-Bickell (Maastricht U & MUDEC), Panda de Haan (U Porto), Aga Wielocha (U Amsterdam), Iona Goldie-Scot (Maastricht U), Dušan Barok (U Amsterdam), Maria Theodoraki (U Nova de Lisboa), Sophie Lei (Roma III U & Maastricht U), Zoë Miller (Tate & Maastricht U), Artemis Rüstau (Maastricht U). Conferences held 2017, 2018, 2019. Funded by EC Horizon2020 (€3.8M).
  • Cleaning Modern Oil Paintings (CMOP), University of Amsterdam / Cultural Heritage Agency of the Netherlands (RCE), Jun 2015-May 2018. Project leader: Klaas Jan van den Berg (RCE). Partners: Tate, Courtauld Institute of Art, and University of Pisa. Funded by NWO and EC Heritage Plus (€695K). Short film produced (2018).
  • Conserving large-scale works made of polyurethane foam in Danish art and design from the 1960's to today (PUR project), Center for Art Technological Studies and Conservation (CATS), Oct 2015-Mar 2017. A collaborate research venture between Statens Museum for Kunst, the National Museum of Denmark and the School of Conservation at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. Lead researchers: Louise Cone and Yvonne Shashoua.
  • UNFOLD: Mediation by Reinterpretation, LIMA, 2016-2017. Practice-based research project aiming to examine re-interpretation as emerging practice for the preservation of media artworks. Project leader: Gaby Wijers, core researcher: Lara Garcia Diaz. Funded by Mondriaan Fund and Creative Industries Fund NL.
  • Midwest Media Arts Consortium, 2016-. A US midwestern forum for the care and conservation of time-based media art. The partner museums are the Bowdoin College Museum of Art in Brunswick, Maine; the Colby College Museum of Art in Waterville, Maine; the Middlebury College Museum of Art in Middlebury, Vt.; the Mount Holyoke College Art Museum in South Hadley, Mass.; the Rose Art Museum at Brandeis University in Waltham, Mass.; and the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, N.Y.
  • Installatiekunst op de kaart! [Installation Art on the Map!], RCE, 2016-2018. The aim of the project is to survey and improve the registration and documentation of installation art, with the underlying objective of enhancing the public profile of this art form. Developed an intake form, in collaboration with various partner museums. In addition to the intake form, work is in progress on the development of 4 guidelines for maintenance, registration, repository management and reinstallation. Project lead: Sylvia van Schaik (RCE). Part of the RCE's Heritage of the Modern Age research programme.
  • DaphNet: Dynamic Preservation of Interactive Art, Ghent University, Feb 2017-Jan 2019 (24mo). Coordinated by Federica Bressan on behalf of the IPEM research center of Ghent University. Partner: Dutch Institute for Sound and Vision. Funded by European Commission (Horizon2020) (€161K).
  • Plastics Project, RCE, Apr 2017-Apr 2019. Carried out by RCE together with the SMBK, NICAS and seven museums and a corporate collection - Bonnenfantenmuseum, Centraal Museum, Gemeentemuseum The Hague, Kröller-Müller Museum, Boijmans Van Beuningen Museum, Schunck, Stedelijk Museum and the Rabo Art Collection. Van Abbe.
  • Preservation of Plastics, Getty. A project of the Modern and Contemporary Art Research Initiative.

Ongoing

Overviews

Listservs

more

Events

Conferences, symposia and workshops

Recurrent

General

Media art, Time-based art, Digital art, Software-based art, Performance art

Plastics

Public Art (street art, outdoor sculpture, murals etc)

Exhibitions

Software tools

  • Rekall, an open-source documentation and analysis environment for digital performances and media art.
  • PM2GO, free video annotation tool.

Resources, guides

See also research projects.

more

Glossaries