{"title":"生命与呼吸的艺术:当代艺术中的生物保护","authors":"Pamela Johnson","doi":"10.1080/01971360.2020.1790093","DOIUrl":null,"url":null,"abstract":"ABSTRACT One might metaphorically describe the role of conservators as keeping art “alive”; they extend its life for future generations. This article presents two case studies in which the art conservator's role and skill set adapted in order to keep an artwork alive in a literal sense, where the success of the installation hinged on keeping a living component fed, watered, and productive. In this paper, the author discusses the preparation, innovation, and cross-disciplinary practices necessary when conservators are tasked with caring for living creatures in contemporary artworks. When the artwork involves live animals, conservators are forced to venture outside their own profession into different fields entirely in order to meet the needs of these creatures while also maintaining the integrity of the artwork. Palimpsest (1989), by Ann Hamilton in collaboration with Kathryn Clark, was a room-size installation comprised of multiple components, including 25 live snails. Roni Horn's Ant Farm (1974/2007) included about 5,000 live ants. In these two instances at two different institutions, the author was charged in a conservation capacity with meeting the needs of live animals while simultaneously upholding the conceptual and material requirements of the artwork.","PeriodicalId":17165,"journal":{"name":"Journal of the American Institute for Conservation","volume":"60 1","pages":"175 - 185"},"PeriodicalIF":0.7000,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/01971360.2020.1790093","citationCount":"1","resultStr":"{\"title\":\"Art that Lives and Breathes: Conserving Creatures in Contemporary Art\",\"authors\":\"Pamela Johnson\",\"doi\":\"10.1080/01971360.2020.1790093\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT One might metaphorically describe the role of conservators as keeping art “alive”; they extend its life for future generations. This article presents two case studies in which the art conservator's role and skill set adapted in order to keep an artwork alive in a literal sense, where the success of the installation hinged on keeping a living component fed, watered, and productive. In this paper, the author discusses the preparation, innovation, and cross-disciplinary practices necessary when conservators are tasked with caring for living creatures in contemporary artworks. When the artwork involves live animals, conservators are forced to venture outside their own profession into different fields entirely in order to meet the needs of these creatures while also maintaining the integrity of the artwork. Palimpsest (1989), by Ann Hamilton in collaboration with Kathryn Clark, was a room-size installation comprised of multiple components, including 25 live snails. Roni Horn's Ant Farm (1974/2007) included about 5,000 live ants. In these two instances at two different institutions, the author was charged in a conservation capacity with meeting the needs of live animals while simultaneously upholding the conceptual and material requirements of the artwork.\",\"PeriodicalId\":17165,\"journal\":{\"name\":\"Journal of the American Institute for Conservation\",\"volume\":\"60 1\",\"pages\":\"175 - 185\"},\"PeriodicalIF\":0.7000,\"publicationDate\":\"2020-12-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/01971360.2020.1790093\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of the American Institute for Conservation\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/01971360.2020.1790093\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of the American Institute for Conservation","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01971360.2020.1790093","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
Art that Lives and Breathes: Conserving Creatures in Contemporary Art
ABSTRACT One might metaphorically describe the role of conservators as keeping art “alive”; they extend its life for future generations. This article presents two case studies in which the art conservator's role and skill set adapted in order to keep an artwork alive in a literal sense, where the success of the installation hinged on keeping a living component fed, watered, and productive. In this paper, the author discusses the preparation, innovation, and cross-disciplinary practices necessary when conservators are tasked with caring for living creatures in contemporary artworks. When the artwork involves live animals, conservators are forced to venture outside their own profession into different fields entirely in order to meet the needs of these creatures while also maintaining the integrity of the artwork. Palimpsest (1989), by Ann Hamilton in collaboration with Kathryn Clark, was a room-size installation comprised of multiple components, including 25 live snails. Roni Horn's Ant Farm (1974/2007) included about 5,000 live ants. In these two instances at two different institutions, the author was charged in a conservation capacity with meeting the needs of live animals while simultaneously upholding the conceptual and material requirements of the artwork.
期刊介绍:
The American Institute for Conservation is the largest conservation membership organization in the United States, and counts among its more than 3000 members the majority of professional conservators, conservation educators and conservation scientists worldwide. The Journal of the American Institute for Conservation (JAIC, or the Journal) is the primary vehicle for the publication of peer-reviewed technical studies, research papers, treatment case studies and ethics and standards discussions relating to the broad field of conservation and preservation of historic and cultural works. Subscribers to the JAIC include AIC members, both individuals and institutions, as well as major libraries and universities.