{"id":171,"date":"2016-10-07T16:55:20","date_gmt":"2016-10-07T14:55:20","guid":{"rendered":"http:\/\/nacca.eu\/?page_id=171"},"modified":"2017-02-24T13:26:30","modified_gmt":"2017-02-24T11:26:30","slug":"artist-intent-in-contemporary-art","status":"publish","type":"page","link":"https:\/\/nacca.eu\/research-projects\/artist-intent-in-contemporary-art\/","title":{"rendered":"The Artist Intent in Contemporary Art: Matter and Process in Transition"},"content":{"rendered":"

Project Description<\/b>
\nCollecting institutions are increasingly responsible for the care of highly complex contemporary artworks that are often co-produced, co-curated and co-conserved. Their preservation no longer hinges solely on the endurance of an original material, and as such, institutions are compelled to embrace the active life of these works. Because collection care must allow for significant changes to be made to recent works of art following artist sanctions, the ongoing dialogue with artists gains paramount importance. With many complex works, a mere handing over of the artwork from the studio will not suffice. Institutions therefore depend on the artists\u2019 ongoing involvement over time as \u2018their charge as creator extends and expands into the realm of the steward\u2019 (Sterrett 2009).
\nThis thesis re-evaluates the notion of artist intent in contemporary art, taking into account the changing concepts of artistic practice, completion, and intent in flux. It investigates the roles of living artists vis-\u00e0-vis conservators, as artists are increasingly involved in their works\u2019 reinstallation and conservation. How does our role change if artists take on the charge of co-custodian of their work? Finally, it examines how \u2018artist intent in flux\u2019 is shaping museum practice, and to what extent museum practice perhaps shapes artist intent. <\/p>\n

\n\"flag_yellow_high\"<\/a>\n<\/div>\n

Researcher<\/b>
\nNina Quabeck
\nnina.quabeck@gla.ac.uk<\/p>\n

Bio<\/b>
\nNina Quabeck is a conservator of modern and contemporary works on paper and photographs. A graduate of Camberwell College of Art, she worked at the conservation department of the Kunstsammlung Nordrhein-Westfalen from 2003 to 2016. She was a Samuel H. Kress Fellow in Paper Conservation at the Fine Arts Museums of San Francisco in 2007\/2008. Her publications \u2018Change the Frame and you change the Game? Research and Re-Evaluation of the Presentation Formats of the Kunstsammlung Nordrhein-Westfalen’s Paul Klee Collection\u2019 and \u2018Uncovered and Unconventional. Preserving Works on Paper and Photographs on Open Display\u2019 are explorations of her interest in artists\u2019 original presentation formats and perceptions of integrity and authenticity in modern and contemporary works of art.<\/p>\n

Home Institution<\/b>
\nUniversity of Glasgow<\/a>
\nGlasgow, United Kingdom<\/p>\n

Supervisors<\/b>
\nDr. Erma Hermens, Rijksmuseum, Amsterdam
\nDr. Dominic Paterson<\/a>, University of Glasgow<\/p>\n

Project Partners<\/b>
\nContemporary Conservation Limited<\/a>, New York<\/p>\n","protected":false},"excerpt":{"rendered":"

Project Description Collecting institutions are increasingly responsible for the care of highly complex contemporary artworks that are often co-produced, co-curated and co-conserved. Their preservation no longer hinges solely on the endurance of an original material, and as such, institutions are compelled to embrace the active life of these works. Because collection care must allow for … Continue reading “The Artist Intent in Contemporary Art: Matter and Process in Transition”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":17,"menu_order":3,"comment_status":"open","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/171"}],"collection":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/comments?post=171"}],"version-history":[{"count":3,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/171\/revisions"}],"predecessor-version":[{"id":297,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/171\/revisions\/297"}],"up":[{"embeddable":true,"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/pages\/17"}],"wp:attachment":[{"href":"https:\/\/nacca.eu\/wp-json\/wp\/v2\/media?parent=171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}