Academic publications on contemporary art conservation in open access

Open access has hit contemporary art preservation and conservation as well. Ever more publications are appearing with free access for all researchers worldwide.

We have compiled a list of English-language monographs, conference proceedings, and journal issues from our field. Currently the list contains fifteen titles, and will be expanded periodically.

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.
PDF

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 June 2013.
PDF

Dekker, Annet (ed.), Archive2020: Sustainable Archiving of Born-Digital Cultural Content, Amsterdam: Virtueel Platform, 2010.
PDF

Dekker, Annet ed., Speculative Scenarios, or What Will Happen to Digital Art in the (Near) Future?, Eindhoven: Baltan Laboratories, 2013, 144 pp.
PDF

Depocas, Alain, Jon Ippolito, Caitlin Jones (eds.), Permanence Through Change: The Variable Media Approach, New York: Solomon R. Guggenheim Museum, with Montreal: Daniel Langlois Foundation, 2003, 137 pp. Outcome of the research project Variable Media Network (2001-04).
PDFs

Interventions 4(1): “Object Lesson: Conservation and Contemporary Art”, eds. Anna Linehan and Béatrice Grenier, New York: Columbia University, Jan 2015.
HTML

Lavédrine, Bertrand, Alban Fournier, and Martin Graham (eds.), Preservation of Plastic Artefacts in Museum Collections, Paris: CTHS, 2012, 325 pp. Outcome of POPART project.
PDFs (in respective website sections)

Media-N 11(1): “The Aesthetics of Erasure”, eds. Paul Benzon and Sarah Sweeney, New Media Caucus, 2015.
HTML

Noordegraaf, Julia, et al. (eds.), Preserving and Exhibiting Media Art: Challenges and Perspectives, Amsterdam University Press, 2013, 428 pp. Outcome of the research project (2007-10).
PDF

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, 2015, 196 pp. Proceedings of the 2013 conference.
PDF

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.
PDF

Rivenc, Rachel, and Reinhard Bek (eds.), Keep It Moving? Conserving Kinetic Art, Los Angeles: Getty Conservation Institute, 2018. Proceedings from an ICOM-CC MMCA meeting organized in Milan, 2016.
HTML

RTRSRCH 2(2): ““, eds. Scott deLahunta and Bertha Bermúdez, Amsterdam School of the Arts, 2010, 44 pp. Special issue on the documentation, analysis, reconstruction and preservation of contemporary performance.
PDF

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. Outcome of the Inside Installation project.
PDF

van Saaze, Vivian, Installation Art and the Museum: Presentation and Conservation of Changing Artworks, Amsterdam: University of Amsterdam Press, 2013, 226 pp. Based on author’s dissertation.
PDF

VoCA Journal, ed. Robin Clark, New York: Voices in Contemporary Art, since 2015. Published three times a year.
HTML

Wijers, Gaby, Evert Rodrigo, and Ramon Coelho (eds.), The Sustainability of Video Art: Preservation of Dutch Video Art Collections, Amsterdam: Foundation for the Conservation of Modern Art, 2003, 167 pp. Outcome of the research project Preservation Video Art (2000-03).
PDFs: Part 1, Part 2, Part 3

Do you have any further recommendations? Please leave them in the comments!

New essays by NACCA researchers

Two of our colleagues recently published essays available on the website of Voices in Contemporary Art (VOCA). Caitlin Spangler-Bickell wrote a report from the international symposium “Collecting and Conserving Performance Art” organized by the German Association of Conservators-Restorers at the Kunstmuseum in Wolfsburg, Germany. Maria Theodoraki in her journal article explores the issues related to the mode of address using the case of exhibiting Lygia Clark’s work Bicho (1960).

NACCA’s second training event

Photo courtesy of Sanneke Stigter
Photo courtesy of Sanneke Stigter

From 11-15 July 2016, the fifteen PhD researchers involved in the NACCA (New Approaches in the Conservation of Contemporary Art) project met for their second training event hosted by the University of Amsterdam (UvA).

As with each of the scheduled events, the week’s teaching content was curated to complement the students’ current position in their research trajectories. In line with the diverse backgrounds and focus of the PhD candidates, the training programme covered a medley of topics, including an introduction to UM’s model of Problem Based Learning; the process of artist’s interviews; research ethics; and various insights into documentation methods. The group was able to attend behind-the-scene tours of the conservation studios at the Stedelijk Museum and Rijksmuseum as well as the Netherlands Cultural Heritage Agency laboratories. Moreover, they were privileged to receive guest lectures from a number of experts in the field, including Maarten van Bommel, UVA; Gunnar Heydenreich of Cologne University of the Arts and Joanna Philips from the Guggenheim Museum in New York; Gaby Wijers of LiMA; and Erma Hermens and Robert van Langh of the Rijksmuseum, to name just a few.

The week concluded with a presentation by Dušan Barok and Julia Noordegraaf, UvA, in which they announced the launch of the NACCA project database and website, part of Dušan’s own PhD project.

For more information about NACCA, contact the project manager Sarah Melker.

Iona Goldie-Scot

Successful training event for NACCA

Photo courtesy of Charlotte van Emstede
Photo courtesy of Charlotte van Emstede

From 25-29 January, Maastricht University hosted the first Winter School for the Marie Skłodowska-Curie Innovative Training Network ‘New Approaches in the Conservation of Contemporary Art‘ (NACCA). Fifteen doctoral students and their supervisors gathered at FASoS for a tailor-made, five-day training event.

At the Winter School, the NACCA PhDs attended lectures and seminars on the history, theory and concepts of contemporary art and art conservation. They were trained in general academic skills, research methodology, ethics, and data management. In addition to attending lectures and seminars, the participants visited the Bonnefantenmuseum Maastricht and Stichting Restauratie Atelier Limburg, a leading insititute specialised in the conservation and restoration of paintings, sculptures, and modern and contemporary artworks.

The NACCA programme is coordinated by Maastricht University and funded by the European Union. The 15 PhD projects that are part of the programme will each investigate a different, as yet under-explored aspect of contemporary art conservation.

For more information about NACCA , please contact the project manager Sarah Melker.

Charlotte van Emstede