Installation Art and the Museum

Presentation and Conservation of Changing Artworks

Vivian van Saaze

Installation Art and the Museum

Vivian van Saaze

Distributed for Amsterdam University Press

220 pages | 35 color plates | 6 1/2 x 9 | © 2013
Paper $37.50 ISBN: 9789089644596 Published August 2013 For sale only in the United States, its dependencies, the Philippines, and Canada
Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks means that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials, and other issues concerning care and management of these artworks. By analyzing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation—authenticity, artist’s intention, and the notion of ownership—while exploring how these concepts apply in contemporary art conservation.  


Introduction: Challenges of Installation Art

      On Changes and Challenges

      Installation Art and the Museum

      Decisions and Discussions

      Doing Artworks

      Outline of the Book

1. Key Concepts and Developments in Conservation Theory and Practice


      The Emergence of Conservation as a Profession

      Authenticity and Artist’s Intent: Key Concepts and Stumbling Blocks


2. From Singularity to Multiplicity: Authenticity in Practice

      2.1 Introduction

      2.2 More than One One Candle?

      2.3 Authenticity as a Matter of Perspective

      2.4 From Perspectives to Practices

      2.5 One Candle as Singular

      2.6 Disruptions and Dispersion

      2.7 External Multiple One Candles

      2.8 One Candle: More than One, Less than Many

3. From Intention to Interaction: Artist’s Intention Reconsidered

      3.1 Introduction

      3.2 Problems of Reinstallation: Artist’s Intent in Practice

      3.3 By Means of Measuring: A Stretch Museum Scale 1:1

      3.4 Never Stop Starting: ensemble autor de mur

      3.5 Conclusion: Multiple Practices

4. From Object to Collective, from Artists to Actants: Ownership Reframed

      4.1 Introduction

      4.2 The Emergence of No Ghost Just a Shell

      4.3 Searching for New Concepts

      4.4 Acquiring No Ghost Just a Shell: From Artists to Museum

      4.5 A New Artwork: Travelling Pod

      4.6 The Museum System

      4.7 ‘What Exactly Have We Acquired?’

      4.8 Another No Ghost Just a Shell

      4.9 By Way of Conclusion

Conclusion: Challenges and Potentialities of Installation Art

      On Challenges and Potentialities

      Foregrounding Practices

      New Vistas

List of Illustrations




Review Quotes
Glenn Wharton | Conservator at the Museum of Modern Art and Research Scholar in Museum Studies, New York University
Installation Art and the Museum will become essential reading for scholars and professionals who work in the art world, along with anyone with serious interest in contemporary art and its display.”  
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