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Wyszukujesz frazę "art conservation," wg kryterium: Temat

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    Wyświetlanie 1-4 z 4
    Tytuł:
    Sztuka totalna czy dychotomia? Klasyczna i nowoczesna sztuka w dokumentacji i opiece
    Total Art Or Dichotomy? Classical And Modern Art In The Documentation And Care
    Autorzy:
    Szmelter, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/424314.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONSERVATION
    CONSERVATION METHODOLOGY
    CONTEMPORARY ART
    CULTURAL HERITAGE
    DOCUMENTATION
    PRESERVATION
    TOTAL ART
    Opis:
    Contemporary art is dichotomous - that means that it functions either within the classic art disciplines or the innovative ones, which have existed generally from the times of Marcel Duchamp. The aim of this paper is to consider an innovative, practical and theoretical framework for the documentation and conservation of the works of art created by the new generation of artists who utilise new media and integrate their works with new technologies, interactive sonic spaces, transformation of sensual processes, etc. The key issue is the conservator's thorough knowledge about the work of art. This is achieved through cooperation with artists. A conservator should play a role in the artworks' pre-acquisition and should use all of his/her knowledge, including the complexity of humanities and science, one's erudition, experience with art, sensitivity and empathy. The result is therefore an appropriate diagnosis of the object allowing the conservator to undertake the appropriate documentation method and action. The artwork shows the truth about the artist, bears the traces of the artist's personality, has traits associated not only with their sensitivity and artistic abilities but also with the creative process and the technical solutions that the artist selected. We can discover these technical methods and materials by a scientific instrumental analysis. In consequence, innovative knowledge is related to the development of artistic ideas, the concepts and models according to which a tangible and intangible heritage is taken care of, the cognition, communication and contextual aspects of art, the principles and processes involved in perception, the senses and the potential role of new media in creating new aesthetic experiences.
    Źródło:
    Sztuka i Dokumentacja; 2011, 5; 16-20
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Re-enactment, czyli niekonserwatywna konserwacja sztuki performance
    Re-Enactment, Or A Non-Conservative Conservation Of Performance Art
    Autorzy:
    Wysocka, Elżbieta
    Powiązania:
    https://bibliotekanauki.pl/articles/424532.pdf
    Data publikacji:
    2010
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONSERVATION
    CONTEMPORARY ART
    DOCUMENTATION
    PERFORMANCE ART
    PRESERVATION
    RE-ENACTMENT
    Opis:
    The conservation of performance art sounds like an oxymoron. How can we conserve works whose base of existence is being ephemeral, unique and an unrepeatable dialogue with the spectator? The generally accepted method of preservation is obviously documentation which witnesses the occurrence of the act of art. However, what is to be done if the documentation seems insufficient or inadequate in the process of passing on the piece of work to next generations? One of the ways to revive an ephemeral act of art is the re-enactment. Re-enactment as a method of conservation of performance art is part of a broader strategy for the preservation of ephemeral art and other genres generally referred to as 'time-based art'. Many examples of contemporary art employ performative elements and are often based on interaction. Before, (apart from 'live art') they used to be referred to as kinetic art, installation, and more recently computer and video installations or net art. None of them is conservable in the traditional meaning of the word, which pushes the conservators to look for new ways : a re-interpretation, re-creation, migration or emulation. This article is an attempt to outline and evaluate the effectiveness of such activities based on a case of re-enactment of the performance 'Change. My problem is the Problem of a Woman' by Ewa Partum from 1974. Thirty-six years after the performance took place, a conservator repeated this performance with the help of new make-up artists, as a conservator's experiment. The re-enactment strategy used in this piece was meant to enable the experiencing of it anew. A conservator's workshop has always had the task to preserve and maintain a piece of art but in the context of a piece of a performative artwork the task seems to be unusual. Here the conservation strategy becomes a reconstruction, taking on a new, extreme form acting out the artist's role in order to reproduce the work. The conservator of performance art here uses the tools that come from the performance artist's toolkit and moves around within a framework, of not so much in the matter of the piece, but rather in the sphere of ideas, its verbalized and hidden meanings.
    Źródło:
    Sztuka i Dokumentacja; 2010, 3; 17-24
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej
    The Function Of Documentation In Contemporary Art
    Autorzy:
    Jadzińska, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/424676.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONSERVATION
    CONTEMPORARY ART
    DOCUMENTATION
    INSTALLATION ART
    PERFORMANCE ART
    PRESERVATION
    PRESERVATION STRATEGIES
    Opis:
    The incredible diversity and complexity of unconventional works of contemporary art has changed the role of documentation in the process of preservation and conservation. It has become absolutely necessary for the future existence of the work, in order to further understanding, acquisition, installation, arranging, displaying, transportation, conservation and many other areas. Besides a description of the traditional history of the object, its materials and techniques used, or the conservation work which it was subjected to, the documentation is also a form of a copyright certificate, an educational base, and sometimes it may even replace the work of art. This research paper defines a new role for the importance of documentation of contemporary works of art. It focuses on what it means to 'preserve through the documentation' and on the importance of profiled interviews with artists. It describes how and when to document the work of art and how to capture its intangible aspects. Based on the example of installation art, specific methods and a current registration system are pointed out.
    Źródło:
    Sztuka i Dokumentacja; 2011, 4; 71-79
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    "Po nas choćby Potop"? Zachowanie sztuki naszych czasów
    'After Us The Deluge?' The Preservation Of The Art Of Our Times
    Autorzy:
    Jadzińska, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/424472.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONSERVATION
    CONTEMPORARY ART
    CULTURAL HERITAGE
    DOCUMENTATION
    PRESERVATION
    Opis:
    This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist's concept and destruction of an artwork's structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist's intention, and treat it in a way that is adequate to the artwork's character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork's matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other 'stakeholders'. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.
    Źródło:
    Sztuka i Dokumentacja; 2011, 5; 21-28
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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