Towards Expanded Conservation

Literature from the fields of anthropology, art theory, art history, curatorial studies, museology, heritage studies and conservation that inspires the revision of conservation as a knowledge-generating activity, field of study and practice.

  • Anderson, Christy, Anne Dunlop and Pamela H. Smith, eds. 2015 The Matter of Art: Materials, Practices Cultural Logistics, c. 1250-1750. Manchester: Manchester University Press.
  • Ashley-Smith, Jonathan. 2004. “The Ethics of Conservation.” Care of Collections, edited by Simon J. Knell, 11–20. London: Routledge.
  • Balsom, Erika. 2013. “Original Copies: How Film and Video Became Art Objects.” Cinema Journal 53, No. 1 (Fall): 97–118.
  • Barassi, Sebastiano. 2007. “The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication.” Tate Papers, No.8 (Autumn). Accessed August 1, 2020.
  • Barok, Dušan, Julia Noordegraaf, and Arjen P. de Vries. 2019. “From Collection Management to Content Management in Art Documentation: The Conservator as an Editor.” Studies in Conservation 64 (8): 1–18.
  • Bennett, Jane. 2009. Vibrant Matter: A Political Ecology of Things. Durham and London Duke University Press.
  • Bernstein, Emma Bee. N.d. “Medium Specificity.” The Chicago School of Media Theory. Accessed on September 2, 2020.
  • Buskirk, Martha, 2012. Creative Enterprise: Contemporary Art between Museum and Market Place. New York: Continuum.
  • Butt, John. 2002. Playing with History: The Historical Approach to Musical Performance. Cambridge: Cambridge University Press.
  • Castriota, Brian. 2019. “Securing a futurity: Artwork identity and authenticity in the conservation of contemporary art.” PhD dissertation, Glasgow University.
  • Castriota, Brian. 2021. “Object Trouble: Constructing and Performing Artwork Identity in the Museum.” ArtMatters International Journal of Technical Art History, no. Special Issue #1: 1–10.
  • Castriota, Brian. 2021. “Variants of Concern: Authenticity, Conservation, and the Type-Token Distinction.” Studies in Conservation 67 (1–2): 72–83.
  • Chiantore, Oscar and Antonio Rava. 2013. Conserving Contemporary Art: Issues, Methods, Materials, and Research. Los Angeles: Getty Conservation Institute.  
  • Corzo, Miguel Angel, ed. 1999. Mortality Immortality: The Legacy of 20th-Century Art. Los Angeles: The Getty Conservation Institute.
  • Dekker, Annet. 2018. Collecting and Conserving Net Art: Moving beyond Conventional Methods. London: Routledge.
  • Depocas, Alain, Jon Ippolito and Caitlin Jones, eds., 2003. Permanence through Change: The Variable Media Initiative. Accessed January 19, 2020.
  • Domínguez Rubio, Fernando. 2020. Still Life: Ecologies of the Modern Imagination at the Art Museum. University of Chicago Press.
  • Dutton, Denis. 2003. “Authenticity in Art.” In The Oxford Handbook of Aesthetics, edited by Jerold Levinson, 258–74. New York: Oxford University Press.
  • Falcão, Particia and Tom Ensom. 2019. “Conserving Digital Art.” In Museum and Digital Culture, edited by Tula Giannini and Jonathan Bowen. Berlin: Springer.
  • Fayet, Roger and Regula Krähenbühl, eds. 2018. Authentizität und Material: Konstellationen in der Kunst seit 1900. Zürich: SIK-ISEA / Scheidegger & Spiess.
  • Gagliardi, Pasquale, Bruno Latour, and Pedro Memelsdorf.2010. Coping with the Past: Creative Perspectives on Conservation and Restoration, Fondazione Giorgio Cini Firenze: Leo S. Olschki.
  • Genette, Gerald. 1997. The Work of Art: Immanence and Transcendence. Ithaca, NY: Cornell University Press.
  • Giannachi, Gabriella. 2018. “At the Edge of the ‘Living Present.’” In Histories of Performance Documentation, edited by Jonah Westerman and Gabriella Giannachi, 115–31. New York: Routledge.
  • Goodman, Nelson. 1976 (1968). Languages of Art: An Approach to a Theory of Symbols. Indianapolis, IN: Hackett.
  • Goodman, Nelson. 1984. Of Mind and Other Matters. Cambridge, MA: Harvard University Press.
  • Hermens, Erma, and Tina Fiske, eds. 2009. Art Conservation and Authenticities: Material, Concept, Context. London: Archetype Publications Ltd.
  • Heuman Jackie and Linsey Morgan. 2007. “Tate Sculpture Replica Project,” Tate Papers, No. 8 (Autumn). Accessed August 1, 2020.
  • Hölling, Hanna B, Francesca Bewer, and Katharina Ammann, eds. 2019. The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures. Leiden and Boston: Brill.
  • Hölling, Hanna B. 2013. “Versions, Variations, and Variability: Ethical Considerations and Conservation Options for Computer-Based Art.” In Electronic Media Review of Historic and Artistic Works, vol. 2, edited by Jeffrey Warda, 33–45. Washington, DC: American Institute for Conservation of Historic and Artistic Works.
  • Hölling, Hanna B. 2016. “Transitional Media: Duration, Recursion and the Paradigm of Conservation.“ Studies in Conservation, special issue Saving the Now, Vol. 61: 79-83.
  • Hölling, Hanna B. 2017a. Paik’s Virtual Archive: Time, Change and Materiality in Media Art. Oakland: University of California Press.
  • Hölling, Hanna B. 2017b. “Time and Conservation.” ICOM-CC 18th Triennial Conference Preprints, Copenhagen, 4-8 September 2017, edited by J. Bridgland. Paris: International Council of Museums.
  • Hölling, Hanna B. 2022. “Unpacking the Score: Notes on the Material Legacy of Intermediality.” On Curating: Fluxus Special Issue, no. 51: 1–38.
  • Hölling, Hanna B., ed. 2022. Object—Event—Performance: Art, Materiality, and Continuity since the 1960s. New York: Bard Graduate Center.
  • Hölling, Hanna B. 2022. “Exhausting Conservation: Object, Event, Performance in Franz Erhard Walther’s Werkstücke.” In Object—Event—Performance: Art, Materiality and Continuity since the 1960s, edited by Hanna Hölling, 62–84. New York: Bard Graduate Center.
  • Hong, JeeHee. N.d. “Material/Materiality.” The Chicago School of Media Theory. Accessed September 1, 2020.  
  • Hummelen, Ijsbrand, and Dionne Sille, eds. 2006. Modern Art: Who Cares? London: Archetype Books.
  • Ingold, Tim. 2013. “Thinking through Making.” The Tales from the North: Lecture held at Institute for Northern Culture. Accessed May 10, 2020.
  • Ingold, Tim. 2016. Lines. London and New York: Routledge.
  • Irvin, Sherri. 2019. “Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art.” The British Journal of Eesthetics, Vol. 59, 3: 273-288
  • Jeska, Simone. 2008. Material and Form—“Form Follows Material?.” In: Transparent Plastics, 24-29. Birkhäuser Basel.
  • Kapelouzou, Iris. 2010. “Harming Works of Art.” PhD dissertation, Royal College of Art London.
  • Kemal Salim and Ivan Gaskell. 1999. Performance and Authenticity in the Arts. Cambirgde: Cambirdge University Press.
  • Koerner, Joseph Leo. 2010. “Copies Creating Originals.” In Coping with the Past: Creative Perspectives on Conservation and Restoration, edited by Pasquale Gagliardi, Bruno Latour, and Pedro Memelsdorff, 1-17 and passim. Florence: Leo S. Oldschki.
  • Lange- Berndt, Petra, ed. 2015. Materiality: Documents of Contemporary Art. Cambridge, MA: The MIT press.
  • Laurenson, Pip. 2006. “Authenticity, Change and Loss in the Conservation of Time-Based Media Installations.” Tate Papers 6. Accessed June 2, 2020.
  • Laurenson, Pip. 2011. “Shifting Structures, Identity and Change in the Conservation and Management of Time-Based Media Works of Art.” PhD dissertation, University College London.
  • Laurenson, Pip. 2014. “Old Media, New Media? Significant Difference and the Conservation of Software Based Art.” In New Collecting: Exhibiting and Audiences after New Media Art, edited by Beryl Graham, 73-96. London and New York: Routledge. 
  • Lawson, Louise and Deborah Potter. 2017. “Contemporary Art, Contemporary Issues—Conservation at Tate.” Journal of the Institute of Conservation, Vol. 40, No. 2: 121-132.
  • Levinson, Jerrold. 1980. “Autographic and Allographic Art Revisited.” Philosophical Studies: An International Journal for Philosophy in the Analytic Tradition. Vol. 38, No. 4 (November): 367-383
  • Lowenthal, David. 1988. “Art and Authenticity.” In Themes of Unity in Diversity, edited by Irving Lavin, 637–41. University Park: Pennsylvania State University Press.
  • Lowenthal, David. 1995. “Changing Criteria of Authenticity.” In Nara Conference on Authenticity in Relation to the World Heritage Convention, edited by Knut Einar Larsen, 121–35. Paris: UNESCO, ICCROM, and ICOMOS.
  • Lowenthal, David. 1999. “Authenticity: Rock of Faith or Quicksand Quagmire?” Getty Conservation Institute Newsletter 14, No. 3 (Fall):5-8.
  • Lurk, Tabea. 2017. “Authentizität ohne Original? Betrachtungen zum Wandel des Werkbegriffs in der Konservierung und Restaurierung computerbasierten Kunstformen.“ In Authentizität und Material: Konstellationen in der Kunst seit 1900, edited byRoger Fayet and Regula Krähenbühl, 154- 172.Zürich: SIK-ISEA / Scheidegger & Spiess.
  • Marçal, Hélia Pereira. 2018.“From Intangibility to Materiality and Back Again: Preserving Portuguese Performance Artworks from the 1970s.” PhD Dissertation, Nova University of Lisbon.
  • Matyssek, Angela, ed. 2010. Wann stirbt ein Kunstwerk?: Konservierung des Originalen der Gegenwartskunst. Munich: Silke Schreiber Verlag.
  • Muñoz Viñas, Salvador. 2005. Contemporary Theory of Conservation. Oxford: Elsevier.
  • Osborne, Peter. 2002. Conceptual Art: Themes and Movements. London: Phaidon.
  • Paul, Christiane, ed. 2008. New Media in the White Cube and Beyond – Curatorial Models for Digital Art. Berkeley: University of California Press. 
  • Phillips, Joanna. 2012. “Shifting Equipment Significance in Time-Based Media Artworks.” In Electronic Media Review 1, pp. 139–54. Washington, D.C.: American Institute for Conservation.
  • Pugliese, Marina and Barbara Ferrani. 2013. Ephemeral Monuments: History and Conservation of Installation Art. Los Angles: Getty Conservation Institute.
  • Richmond, Alison, and Alison Bracker, eds. 2009. Conservation: Principles, Dilemmas and Uncomfortable Truths. Oxford: Butterworth-Heinemann.
  • Rinehart, Richard, and Jon Ippolito. 2014. Re-collection: Art, New Media, and Social Memory. Cambridge, MA: The MIT Press.
  • Rinehart, Richard. 2007. “The Media Art Notation System: Documenting and Preserving Digital/Media Art” Leonardo Vol. 40, No. 2: 181-187.
  • Rivenc, Rachel, and Reinhart Bek, eds. 2018. Keep it Moving? Conserving Kinetic Art. Los Angeles: The Getty Conservation Institute.
  • Schädler-Saub, Ursula, and Angela Weyer, eds. 2010. Theory and Practice in the Conservation of Contemporary Art: Reflections on the Roots and Perspectives. London: Archetype Publications.
  • Scholte, Tatja, and Glenn Wharton, eds. 2012. Inside Installations: Theory and Practice in the Care of Complex Artworks. Amsterdam: Amsterdam University Press.
  • Scott, David. 2015. “Conservation and Authenticity: Interactions and Enquiries.” Studies in Conservation, Vol. 60, No. 5: 291-305.
  • Stanley Price, Nicolas, M. Kirby Talley Jr. and Alessandra Melucco Vaccaro, eds.1996. Historical and Philosophical Issues in the Conservation of Cultural Heritage. Los Angeles: J. Paul Getty Trust.
  • Taruskin, Richard. 1995. Text and Act: Essays on Music and Performance. New York: Oxford University Press.
  • Van de Vall, Renee, Hanna Hölling, Tatja Scholte and Sanneke Stigter. 2011.“Reflections on a Biographical Approach to Contemporary Art Conservation.”ICOM-CC 16th Triennial Conference Preprints, Lisbon, 19–23 September 2011, edited by J. Bridgland. Paris: International Council of Museums.
  • Van Saaze, Vivian. 2009. “Doing Artworks.” PhD dissertation, Maastricht University.
  • Van Saaze, Vivian. 2013. Installation Art and the Museum: Presentation and Conservation of Changing Media. Amsterdam: Amsterdam University Press.
  • Weyer, Cornelia. 2006. “Restoration Theory Applied to Installation Art.” Beiträge zu Erhaltung von Kunst und Kulturgut No. 2: 40-48.
  • Wielocha, Aga. 2021. “Art Objects As Documents and the Distributed Identity of Contemporary Artworks.” ArtMatters International Journal of Technical Art History, no. Special Issue #1: 106–13.
  • Wielocha, Aga. 2021. “Collecting Archives of Objects and Stories: On the Lives and Futures of Contemporary Art at the Museum.” PhD Dissertation, University of Amsterdam.
  • Wijers, Gaby. 2013. “Obsolete Equipment: Ethics and Practices of Media Art Conservation” In: Preserving and Exhibiting Media Art. Challenges and Perspectives, edited by Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maître, Vinzenz Hediger. Amsterdam: Amsterdam University Press, 2013.
  • Wijers, Gaby. 2022. “The Strategic Importance of Reinterpretation for Media Art Mediation and Conservation.” In Over and Over and Over Again: Reenactment Strategies in Contemporary Arts and Theory, edited by Cristina Baldacci, Clio Nicastro, and Arianna Sforzini, 193–203. Berlin: ICI Berlin Press. https://doi.org/10.37050/ci-21.
  • Wortmann, Volker. 2019. „Authentizität als Wiedergänger: Die Konjunkturen eines ungeliebten Konzepts und ihre medialen Bedienungen.“ In Authentizität und Material: Konstellationen in der Kunst seit 1900, edited byRoger Fayet and Regula Krähenbühl, 208-226. Zürich: SIK-ISEA / Scheidegger & Spiess.
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