Difference between revisions of "Art/Conservation"

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* Sollfrank, Cornelia, and Winnie Soon, ''[https://eeclectic.de/produkt/fix-my-code/ Fix My Code]'', Berlin: Eeclectic, 2021, 180 pp, [[Media:Sollfrank Cornelia Soon Winnie Fix My Code 2021.epub|EPUB]]. [https://zkm.de/en/event/2021/04/the-art-of-fixing-code Book launch]. {{en}}
* Sollfrank, Cornelia, and Winnie Soon, ''[https://eeclectic.de/produkt/fix-my-code/ Fix My Code]'', Berlin: Eeclectic, 2021, 180 pp, [[Media:Sollfrank Cornelia Soon Winnie Fix My Code 2021.epub|EPUB]]. [https://zkm.de/en/event/2021/04/the-art-of-fixing-code Book launch]. {{en}}
* Castriota, Brian, Erma Hermens, Gunnar Heydenreich, Zoë Miller, and Dominic Paterson (eds.), [https://www.amjournal.org/special-issue-1 ''ArtMatters'' 1: "Expanding Notions of ‘Making’ for Contemporary Artworks"], Sep 2021. Special journal issue. {{en}}
* Hölling, Hanna B. (ed.), ''Object—Event—Performance: Art, Materiality, and Continuity Since the 1960s'', Bard Graduate Center, forthcoming 2021, 360 pp. [https://press.uchicago.edu/ucp/books/book/distributed/O/bo86883609.html Distributor]. {{en}}
* Hölling, Hanna B. (ed.), ''Object—Event—Performance: Art, Materiality, and Continuity Since the 1960s'', Bard Graduate Center, forthcoming 2021, 360 pp. [https://press.uchicago.edu/ucp/books/book/distributed/O/bo86883609.html Distributor]. {{en}}

Latest revision as of 15:02, 17 September 2021

Visual art

Styles and movementsCollectionsHistorians and criticsPreservation and conservationReference works

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[edit]

  • 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.


  • 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.

Restauration and conservation studios and services[edit]

  • 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. bwCloud.
  • 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


Magazines, journals[edit]

  • 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
  • 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.

Bulletins, newsletters[edit]

  • 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[edit]


Monographs, journal issues, and catalogues[edit]

  • 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)
  • 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. TOC. Review: Strnad (Sešit). (Czech)
    • Teoria contemporanea del restauro, Rome: Castelvecchi, 2017, 218 pp. (Italian)
  • 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.
  • 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.
  • Frieling, Rudolf, and Wulf Herzogenrath (eds.), 40jahrevideokunst.de – Teil 1. Digitales Erbe: Videokunst in Deutschland von 1963 bis heute, Ostfildern: Hatje Cantz, 2006, 399 pp. With DVD. Outcome of the 40 Jahre Video Kunst project. Publisher. [8] [9] [10] (German)
    • 40yearsvideoart.de – Part 1: Digital Heritage: Video Art in Germany from 1963 to the Present, Ostfildern: Hatje Cantz, 2006, 399 pp. With DVD. Publisher.
  • 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)
  • 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)
  • Schachter, Judith, and Stephen Brockmann (eds.), (Im)permanence: Cultures in/out of Time, Penn State University Press, 2008, 284 pp. Publisher.
  • 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, [11] (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)
  • Ferriani, Barbara, and Marina Pugliese (eds.), Monumenti effimeri. Storia e conservazione delle installazioni, intro. Germano Celant, Milan: Mondadori, 2009, 279 pp. TOC. (Italian)
  • Blase, Christoph, and Peter Weibel (eds.), Record again! 40JahreVideokunst.de Teil 2, Ostfildern: Hatje Cantz, 2010, 535 pp. With DVD. Outcome of the Record > Again! project. Publisher. [12] [13] (German)/(English)
  • 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.
  • Laforet, Anne, Le net art au musée. Stratégies de conservation des œuvres en ligne, Paris: Questions théoriques, 2011, 180 pp. Excerpt. Based on 2009 dissertation. [14] [15] (French)
  • Rotaeche González de Ubieta, Mikel, Conservación y restauración de materiales contemporáneos y nuevas tecnologías, Madrid: Síntesis, 2011, 302 pp. [16] (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."
  • 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. [18].
  • 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)
  • Wysocka, Elżbieta, Wirtualne ciało sztuki. Ochrona i udostępnianie dzieł audiowizualnych [The Virtual Body of Art: Reflections on the Impossibility of Material Continuation], Warsaw: Narodowe Centrum Kultury, 2013, 488 pp. Based on 2012 PhD dissertation. Review: Hölling (VDR). (Polish)
  • Hennermann, Célestine, and Scott deLahunta (eds.), Starting Points & Aspirations, Motion Bank/The Forsythe Company, 2013, 130 pp. [19]
  • 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. [20] (German),(English)
  • 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. [21]. (Spanish)
  • Abram, Sarah (ed.), Il restauro del design / The Conservation of Design, Umberto Allemandi & C., Torino, 2014. [22]. (Italian)
  • 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)
  • 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.. [23]
  • 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.
  • 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. [24] (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. [25]
  • Rotaeche González de Ubieta, Mikel, Museología y conservación de arte contemporáneo: un conflicto de intereses, Gijón: Trea, 2016, 336 pp. [26] (Spanish)
  • Hölling, Hanna B., Paik's Virtual Archive: Time, Change, and Materiality in Media Art, University of California Press, 2017, 264 pp. Based on 2013 dissertation. Reviews: Zinman (Art Bulletin), Gyorody (CAA Reviews), Keyes (Visual Studies), Kemp (J Am Inst Conservation). [27] 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)
  • Connor, Michael, Aria Dean, and Dragan Espenschied (eds.), The Art Happens Here: Net Art Anthology, New York: Rhizome, 2019, 400 pp. Outcome of Net Art Anthology project.
  • Insite Magazine: “Time Based Media”, AMaGA Victoria, Aug-Oct 2019. Publisher.
  • Sommermeyer, Barbara, and Claartje van Haaften (eds.), Back to the Future! Im Karussell der Diakonservierung / Riding the Slide Carousel, Bielefeld: Kerber, and Hamburg: Hamburger Kunsthalle, Sep 2019, 192 pp. Outcome of the Project for the Conservation of Slide-based Artworks. Publisher. (German)/(English)
  • Jadzińska, Monika, Tworzywa sztuczne w sztukach wizualnych, Warsaw: Akademia Sztuk Pięknych w Warszawie, 2019, 390 pp. Publisher. (Polish)
  • Domínguez Rubio, Fernando, Still Life: Ecologies of the Modern Imagination at the Art Museum, University of Chicago Press, Aug 2020, 424 pp. [28] [29]
  • Schäffler, Anna, Die Kunst der Erhaltung. Zeitgenössische Restaurierung und Nachlasspraxis im Wandel anhand von Anna Oppermanns prozesshaften Installationen, Munich: Metzel, 2020, 320 pp. Based on PhD dissertation from the Freie Universität Berlin. Publisher. (German)
  • Hölling, Hanna B. (ed.), Object—Event—Performance: Art, Materiality, and Continuity Since the 1960s, Bard Graduate Center, forthcoming 2021, 360 pp. Distributor. (English)

Proceedings from conferences and symposia[edit]

  • 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. [30]
  • 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. [31]
  • 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. [32] (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. [33]
  • 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)
  • Otterbeck, Bärbel, and Christian Scheidemann (eds.), 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, Wolfsburg: Kunstmuseum Wolfsburg, 1997, 114 pp. Proceedings from the 1995 symposium. TOC. Essay by Hans Ulrich Reck. [34] (German)/(English)
  • 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. [35] [36]
  • 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. Essay by Erich Gantzert-Castrillo. Publisher. TOC. [37]
  • Misselbeck, Reinhold, and 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. [38]
  • 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. [39] [40]
  • V Reunión de Arte Contemporáneo del GEIIC, Madrid: Grupo Español del IIC, 2004. Proceedings from the 2004 congress.
  • Frohne, Ursula, Mona Schieren, and Jean-François Guiton (eds.), Present Continuous Past(s): Media Art: Strategies of Presentation, Mediation and Dissemination, Vienna: Springer, 2005, 223 pp. Based on 2004 symposium. Publisher.
  • 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. [41]
  • 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. [42]
  • 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. [43]. 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. [44] [45] (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. [46]. 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. [47] (Spanish)
  • 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. [48]
  • 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. [49] (German)
  • 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. [53]
  • Buschmann, Renate, and Darija Šimunović (eds.), Die Gegenwart des Ephemeren. Medienkunst im Spannungsfeld zwischen Konservierung und Interpretation, Vienna: Wiener Verlag für Sozialforschung, 2014, 152 pp. TOC. Proceedings from Nov 2012 conference. Publisher. [54] (German)
  • 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. [55] [56] [57] [58] (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.
  • 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)
  • 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. [60] [61] (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.


Surveys, reports[edit]





Research projects, networks, consortiums[edit]

The websites of most projects also function as resources.


  • 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. [68], [69], [70].
  • 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. Followed by Conservation Media Art Collection Netherlands. [74] [75]


  • 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. Archived website.
  • 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, [78].
  • 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). Earlier project website archived (2008). [79] [80] [81]
  • AktiveArchive, Berne University of the Arts (BUA) & Swiss Institute for Art Research (SIAR), 2002-2011. Head: Johannes Gfeller (interview). 15 [82]
  • 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. [83]
  • Record > Again! 40jahrevideokunst.de – Teil 2, 2006-2010. Partners: ZKM Medienmuseum, Ludwig Forum Aachen, Kunsthaus Dresden, and the Edith-Ruß-Haus für Medienkunst Oldenburg. Follow-up to the 40 Jahre Videokunst project. Artistic director: Peter Weibel. Project director: Christoph Blase. Travelling exhibition held at 4 venues (2009-2010). Catalogue with DVD published 2010. Study edition of 12 DVDs published 2010.
  • Documentation and Conservation of Media Art Heritage Research Alliance (DOCAM), 2005-2010. Offers five sections of research and implementation: conservation, documentation, cataloguing, history of technologies and terminology. A project of the Daniel Langlois Foundation. Dir. Alain Depocas. Partners: McGill University (Montréal), Université du Québec à Montréal (UQAM), Université de Montréal, Canadian Centre for Architecture, Musée d’art contemporain de Montréal, National Gallery of Canada, The Montreal Museum of Fine Arts, Canadian Heritage Information Network (CHIN), a.o. Financed by Social Sciences and Humanities Research Council of Canada (SSHRC) as part of the CURA program (Community-University Research Alliances).
  • 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. [90]
  • 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.


  • New Strategies in the Conservation of Contemporary Art (NewS), 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). Followed upon by NeCCAR. [93] [94] [95]
  • Conservation Media Art Collection Netherlands, SBMK and NIMk, 2010-2012. The project involved conservation of 3500 video art works from 1975-2005 (building upon Preservation Video Art project), development of strategies for preservation of computer-based art (in collaboration with Virtuel Platform), and research into copyright issues related to online presentation of video art (in collaboration with Kennisland). Partners: Van Abbemuseum, De Appel, Museum Boijmans Van Beuningen, Groninger Museum, Netherlands Institute for Cultural Heritage, Kröller-Müller Museum, Netherlands Media Art Institute (including LijnbaanCentrum, Montevideo and Time Based Arts, Amsterdam), Rijksakademie van beeldende kunsten, Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Frans Hals Museum, Gemeentemuseum Helmond, V2_, SCHUNK*, Bonnefantenmuseum. Project report. Publications per project focus: Video art preservation, Born-digital artworks, Copyright.
  • 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.
  • 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).
  • 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). Follow-up to NewS. Conferences held 2012, 2013, 2014. Proceedings published 2015, 2016. Funded by NWO. Followed upon by NACCA.
  • Ludwig Forum für internationale Kunst Video Archive, Jun 2012-Mar 2018. Project by Ludwig Forum für Internationale Kunst, Aachen. Dir. Brigitte Franzen (2012-2018), Andreas Beitin (2016-2018). Conference held 2015. Three exhibitions held 2014-2015. Research website published. Funded by Volkswagen Stiftung (as part of Forschung in Museen / Research in Museums).
  • Replace or Remake?, 2013-2015. Project by ER[cr]OS Tours, ESA Saint-Luc Liège, C2RMF, Capc Bordeaux, in collaboration with INCCA-F. [97]
  • Conserving Computer-Based Art (CCBA), Guggenheim Museum, New York, 2013-c.2019. A research and treatment initiative to preserve software and computer-based artworks in the Guggenheim Museum’s permanent collection. Initiated by Joanna Phillips (Guggenheim TBMA) in collaboration with Deena Engel (NYU Dept of Comp Sci). Supported by Carl & Marilynn Thoma Art Foundation, the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, and Josh Elkes. Paper, 2017-2018. Paper, 2017-2018. Paper, 2019.
  • 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 investigated 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). Follow-up to NeCCAR. Conferences held 2017, 2018, 2019. Funded by EC Horizon2020 (€3.8M). Project results.
  • 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).
  • 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.
  • Documentation and Conservation of Performance, Tate, Mar 2016-Mar 2021. Conducted by Tate’s Time-based Media Conservation team. Outputs: strategy for the documentation and conservation of performance, and a set of documentation tools.
  • 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.
  • 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.
  • CAPuS: Conservation of Art in Public Spaces, Turin University, Jan 2018-Dec 2020. A consortium of 15 partners and 2 associated partners from 6 countries led by the Turin University and including universities, academies, companies and research centres. Project manager: Dominique Scalarone (U Turin). Aims to develop guidelines and protocols for the protection and conservation of contemporary public art. Funded by EC Erasmus+ Knowledge Alliances Programme (€1M). [99]
  • Interviews in Conservation Research, University of Amsterdam, Jan 2019-Jan 2020. Aims for an integral approach in using oral history for research in art conservation. Project leader: Sanneke Stigter. Funded by NWO.


  • Panza Collection Initiative (PCI), Guggenheim Museum, 2010-2020. Focused on the long-term preservation and future exhibition of Minimalist, Post-Minimalist, and Conceptual art acquired by the Guggenheim from Italian collectors Giovanna and Giuseppe Panza di Biumo in 1990 and 1992. Project leaders: curator and scholar Jeffrey Weiss and conservator Francesca Esmay. Symposium held 2019. Funded by Andrew W. Mellon Foundation ($1.23M, $1.25M, $745K).
  • Cultures of Conservation, Bard Graduate Center, 2017-2022 (60mo). Aims to model the ways of integrating the approaches and insights of objects conservation and materials science with those of academics in the human sciences (anthropology, archaeology, art history, history). Funded by Mellon Foundation ($0.75M). Follows upon Phase I funded by Mellon, 2012-2017. Symposia held 2017, 2018, 2019.
  • Re:DDS, Amsterdam Museum, since 2017. The reconstruction of De Digitale Stad (The Digital City), a virtual community platform first launched in 1994. Facilitated by Tjarda de Haan.
  • Reshaping the Collectible: When Artworks Live in Museums, Tate, Jan 2018-Jun 2021 (42mo). Aims to develop new models for the conservation and management of contemporary art, particularly works "that challenge the structures of the museum" such as time-based media, digital and performance art. 6 works as case studies, 4 visiting fellows, 1 collaborative PhD with Maastricht U. Principal investigator: Pip Laurenson. Funded by Mellon Foundation ($1.5M). [100]
  • Van Gogh TV, Apr 2018-Apr 2021. A DFG-funded project carried out by the University of Applied Sciences, Mainz, together with the University of Bonn. Deals with the media art project Piazza Virtuale by art group Van Gogh TV in the framework of documenta 9 in 1992 which can be today regarded as a precursor of social media. The material and virtual relics of the 100-day media campaign are to be processed and prepared for long-term archiving. Concept: Anja Stöffler (IMG, HS Mainz) and Jens Schröter (U Bonn), project manager: Tilman Baumgärtel (Hochschule Mainz).
  • Networked Art Practice After Digital Preservation. Explores challenges and solutions of preserving historical analogue and born-digital networked art practice. Led by Sarah Cook (U Glasgow) and Roddy Hunter (U Huddersfield). Supported by the School of Art, Design and Architecture at U Huddersfield and Museum Studies at U Glasgow.
  • Performance: Conservation, Materiality, Knowledge, Institute Materiality in Arts and Culture, Bern University of the Arts, Oct 2020-Sep 2024. Funded by the Swiss National Science Foundation. Project lead: Hanna B. Hölling. Colloquium to be held 2021.
  • New Media Museums: Creating Framework for Preserving and Collecting Media Arts in V4, Olomouc Museum of Art, Feb 2021-Jun 2022. An international platform for sharing experience with building and maintaining collections of new media artworks across different types of institutions. Partners: Olomouc Museum of Art, Slovak National Gallery, WRO Wroclaw, C3 Foundation Budapest, PAF Olomouc. Project lead: Dušan Barok. Funded by the International Visegrad Fund (€38K). Colloquium to be held in January 2022.


Conferences, symposia and workshops[edit]



Media art, Time-based art, Sound art, Digital art, Software-based art, Performance art[edit]

  • Media Arts in Transition, Walker Art Center, Minneapolis, 8-11 Jun 1983. Conference on film and video; the opening panel was dedicated to the preservation of film and video: "Aspects of the problems of film and video preservation will be demonstrated through film and video clips. Speakers: Frank Hodsoll, Jean Firstenberg, Jay Leyda, Jonas Mekas, Lynn Blumenthal". Panel programme. Proceedings published 1983.
  • Symposium on Video Preservation, Museum of Modern Art, New York, 13-14 Jun 1991. The first video preservation symposium for the media arts field in New York. Convened by Media Alliance (under the leadership of Mary Esbjornson) and the Electronic Media and Film Program (part of New York State Council on the Arts, NYSCA). 60+ participants (artists, activists, cataloguers, curators, distributors, librarians). The purpose was "to identify and share information about collections; network information on conservation, cataloging, and archiving techniques; discuss priorities for future funding and services; interface with national archival initiatives." A report was published in The Independent (Oct 1991), and expanded to a 1993 report by Deidre Boyle.
  • Upstate Cataloging Project meeting, Aug 1994. Convened by Media Alliance; a workshop by Margaret Byrne, Director of NAMID. Representatives of ETC, Hallwalls, Syracuse University, and Visual Studies Workshop. This results in the adopting of a NAMID-compatible template, designed to allow conversion to USMARC. Preceded by a meeting in Rochester, NY, Jan 1994; followed by a training session in May 1995. Report published 1996.
  • Multiple Currents: Toward an Interactive Media Community. Convened by Media Alliance. Supported by NYSCA. Report published 1996.
  • Wie haltbar ist Videokunst? / How Durable is Video Art?, Kunstmuseum Wolfsburg, 25 Nov 1995. Held on the occasion of the exhibition of Nam June Paik, High-Tech-Allergy. Proceedings published 1997.
  • Playback '96: Video Preservation Roundtable, SFMOMA, San Francisco, 29-30 Mar 1996. The first international symposium bringing together the fields of conservation, museology, and media arts to address technical and ethical issues surrounding videotape preservation; participants included conservators, scientists, video artists, media curators, television engineers, archivists, librarians and preservation administrators. Organized by BAVC (Sally Fifer) with assistance from AIC (Debra Hess Norris) and Media Alliance (Mona Jimenez); supported by the Getty Foundation (Tim Whelen) and the Andy Warhol Foundation for the Visual Arts (Pamela Clapp). BAVC convened eight groups of professionals throughout the US to each discuss topics in the eight months prior to the event: Analysis and Evaluation Procedures; Cleaning and Remastering; Storage; Ethical Principles and Dilemmas; Changes in Technology and Practice; Maintaining Installation Art Using Technology; Current Preservation Practices & Education and Awareness; and Establishing Priorities for Preservation; each of the groups presented its findings to the conference in the form of white papers and panel presentations. Proceedings published 1998; DVD published. Abstracts. Transcripts. Presentation slides. [125]
  • Buying Time: Collecting Video roundtable, Paula Cooper Gallery, New York City, 30 Jan 1999. Organized by Barbara London and Dara Meyers-Kingsley (IMAP) with ArtTable. The event focused on issues that arise when selling, collecting, and preserving video and installation art. Presenters included artists, collectors, distributors, gallery owners, and curators. Transcript.
  • TechArchaeology: A Symposium on Installation Art Preservation, SFMOMA, San Francisco, 5-6 Jan 2000. Twenty-five curators, conservators, and artists examined works from the exhibition Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art at SFMOMA. Conceived by Mona Jimenez and Paul Messier; organized by the Bay Area Video Coalition; funded by the Getty Foundation. Special journal issue published 2001. See also TechArchaeology Reformatted (2002) and TechFocus (2010ff).
  • Video im Museum: Restaurierung und Erhaltung, neue Methoden der Präsentation, der Originalbegriff: internationales Symposium / Video Arts in Museums: Restoration and Preservation, New methods of Presentation, The Idea of the Original: International Symposium, Museum Ludwig, Cologne, 9 Sep 2000. Proceedings published 2000.
  • Video Capsule: An Evening of Social Memory and Video Art, SF State University's Coppola Theater, San Francisco, 25 Oct 2001. Organized by Bay Area Video Coalition (BAVC). The underlining concern of the event was to raise awareness of the fragile state of aging video formats and the ongoing preservation efforts. Presentations by Christina Yang (The Kitchen), Kate Horsfield (Video Data Bank), Chip Lord (UC Santa Cruz), and Steve Seid (Pacific Film Archive). The event closed with a reception at BAVC, in which the entire facility was transformed into video installations featuring collection highlights from The Smithsonian, Pacific Film Archive, and the Kitchen that have been preserved at BAVC.
  • Independent Media Arts Preservation Salon, online, 7 Jan-7 Feb 2002. Hosted by NAMAC, facilitated by Jim Hubbard and Mona Jimenez of IMAP. Panelists included Sherry Miller Hocking (ETC), Karan Sheldon (Northeast Historic Film), Toni Treadway (International Center for 8mm Film), Stepen Vitiello (The Kitchen), Heather Weaver (BAVC), a.o. The salon featured weekly topics, including guidelines for establishing an archive; decision-making issues for reformatting collections; and the collaboration of media arts organization in preservation initiatives.
  • Looking Back, Looking Forward: A Symposium on Electronic Media Preservation, Downtown Community Television Center, New York, 31 May-1 Jun 2002. Organized by the ETC (its assistant director Sherry Miller Hocking) in association with IMAP, BAVC and the Electronic Media Specialty Group (EMG) of the AIC, with independent consultant Mona Jimenez. Funded from the Electronic Media and Film Program of the NYS Council on the Arts, and assistance from IMAP and Dave Jones Design. The symposium served as a working session where artists, media arts staff, conservators, and technical experts focused on the physical preservation of independent electronic media. 45 participants from the US and Canada. Announcement, Program. Proceedings published.
  • TechArchaeology Reformatted forum, New York City, 17 Apr 2002. Hosted by ArtTable Inc, IMAP, and AIC. Organized by Dara Meyers-Kingsley (IMAP). Follow-up to TechArchaeology (2000).
  • Echoes of Art: Emulation As a Preservation Strategy, Guggenheim Museum, New York City, 8 May 2003. Part of the museum's Variable Media Initiative. Held in conjunction with the exhibition Seeing Double: Emulation in Theory and Practice. Website incl. transcripts.
  • Moving Parts symposium, Museum Tinguely, 2005. On the preservation and documentation of kinetic artworks.
  • New Media and Social Memory, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, 18 Jan 2007. Incl. video documentation. Part of Archiving the Avant-Garde. [131]
  • 404 Object Not Found_Seoul symposium and workshop, Gyeonggi Cultural Foundation, Seoul, 22-26 Oct 2007. Part of 404 Object Not Found_Seoul research project.
  • DOCAM Summit, Montreal, Mar 2010.
  • Collaborations in Conserving Time-Based Art symposium, Smithsonian Institution, Washington, DC, 17-19 Mar 2010. Coordinated by The Lunder Conservation Center, Smithsonian American Art Museum, National Portrait Gallery, and Hirshhorn Museum and Sculpture Garden. Incl. video documentation. Report. [133]
  • TechFocus I. Video Art, Guggenheim Museum, New York, 1-2 Sep 2010. Builds upon TechArchaeology symposium. See also TechFocus 2 (2012), TechFocus 3 (2015) and TechFocus 4 (2020).
  • Ephemeral Sustainability, Østre / Gimle / Stiftelsen 3.14, Bergen, 28 Oct-3 Nov 2012. A conference about presenting, documenting, collecting and archiving sound based contemporary art. Organised by the Resonance Network and Lydgalleriet. Curated by Carsten Seiffarth and Jørgen Larsson. Reports by Harold Schellinx: part 1, part 2. [135] [136] [137]
  • Digital Art Force seminar, New Institute, Rotterdam, 27 Jun 2013. The seminar focused on the impact of digital works in museums, on their management and preservation; organized by the Digital Art Force (DAF).
  • XFR STN, New Museum, New York, 17 Jul-8 Sep 2013.
  • Archiving the Arts symposium, Burchfield Penney Art Center/SUNY Buffalo State, 13 Jun 2015. Organized by IMAP on the occasion of the launch of its web resource. Convened and facilitated by Andrew Ingall (IMAP), Jeff Martin, and Carolyn Tennant (Hallwalls). Video documentation.
  • Video Matters, conference, Ludwig Forum für Internationale Kunst, Cologne, 24-25 Sep 2015. Reflected on current challenges in the documentation, care, and presentation of time-based art. Organised as part of the research project Video Archive. Curators: Jenny Dirksen, Brigitte Franzen, Lou Jonas, Miriam Lowack, Anna Sophia Schultz. Incl. video documentation.
  • Prozesskunst und das Museum [Process Art and the Museum] symposium, Hamburger Bahnhof, Berlin, 19 Feb 2016. Developed and organized by Carolin Bohlmann (Hamburger Bahnhof – Museum für Gegenwart - Berlin) and Angela Matyssek (Philipps-U Marburg). Supported by the Volkswagen Stiftung.
  • Keep it Moving? Conserving Kinetic Art, Palazzo Reale, Milan, 30 Jun-2 Jul 2016. ICOM-CC Modern Materials and Contemporary Art Working Group's interim meeting. Organised in partnership with Getty Conservation Institute, Museo del Novecento, and INCCA. Coordinated by Rachel Rivenc and Lydia Beerkens. Program. Report: Beau R. Ott. Proceedings published 2018.
  • DocPerform Symposium, City, University of London, 31 Oct 2016. Part of The Future of Documents Project.
  • Kultur-Back-Up. Ein Workshop zum Erhalt von digitalem Kulturgut, workshop, LUX, Mainz, 29-30 Oct 2019. Organised by the Institute for Media Design (img) of the Department of Design and the time-based media course at University of Applied Sciences, Mainz. Funded by the German Research Foundation as part of the DFG project Van Gogh TV: Indexing, multimedia documentation and analysis of estate. Video documentation.
  • TechFocus IV: Caring for 3D Printed Art, SFMOMA, TBD (2021). Postponed from 5-6 Oct 2020 due to the COVID-19 health crisis. See also TechFocus 1 (2010), TechFocus 2 (2012) and TechFocus 3 (2015). Organised by a committee of the American Institute for Conservation’s Electronic Media Group (AIC EMG). [145]


Public Art (street art, outdoor sculpture, murals etc)[edit]


  • Museum Boijmans Van Beuningen, Rotterdam, Sep 1997. Exhibition of the ten works investigated during the research project Modern Art: Who Cares?.
  • 404 Object Not Found, Total Museum of Contemporary Art, Seoul, 20 Oct-19 Nov 2006. In the framework of 404 Object Not Found research project.
  • Inside Installations, Kroller-Muller Museum, Otterlo, 25 Oct 2006-7 Jan 2007 & 21 Mar-3 Jun 2007. Flyer. Video introduction (Sanneke Stigter).
  • Digital Art Works. The Challenges of Conservation, ZKM, Karlsruhe, 29 Oct 2011-12 Feb 2012; Espace Multimédia Gantner, Bourogne, 25 Feb-28 Apr 2012; CEAAC, Strasbourg, 16 Jun-23 Sep 2012; House of Electronic Arts Basel, 18 Jan-31 Mar 2013. Part of Digital Art Conservation. Catalogue published 2011.

Software tools[edit]

  • Quality Control Tools for Video Preservation (QCTools), enables the inspection of video signal characteristics for batches of digital media, in order to prioritize archival quality control, detect common errors in digitization, facilitate targeted response, and thus increase trust in video digitization efforts. FLOSS, developed by Bay Area Video Coalition.
  • Webrecorder provides an integrated platform for creating high-fidelity, ISO-compliant web archives in a user-friendly interface, providing access to archived content, and sharing collections. An open source initiative by Rhizome at the New Museum. Source code.
  • OldWeb.today / Netcapsule, a proof-of-concept system for browsing old web sites from existing web archives in old browsers, inside a modern browser. Source code.
  • EaaSI emulators. Sandbox. Blog post.
  • Rekall, an open-source documentation and analysis environment for digital performances and media art.
  • PM2GO, free video annotation tool.
  • Conservation tools from Rhizome

Resources, guides[edit]

See also research projects.

  • AIC (American Institute for Conservation), The AIC Guide to Digital Photography and Conservation Documentation, 3rd ed., 2017. [148]


Visual art

Styles and movementsCollectionsHistorians and criticsPreservation and conservationReference works