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Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art [Kõva köide]

  • Formaat: Hardback, 268 pages, kõrgus x laius: 234x156 mm, 53 Illustrations, color; 1 Illustrations, black and white
  • Ilmumisaeg: 09-Dec-2021
  • Kirjastus: Amsterdam University Press
  • ISBN-10: 9463723765
  • ISBN-13: 9789463723763
Teised raamatud teemal:
Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary ArtSuurem pilt
  • Formaat: Hardback, 268 pages, kõrgus x laius: 234x156 mm, 53 Illustrations, color; 1 Illustrations, black and white
  • Ilmumisaeg: 09-Dec-2021
  • Kirjastus: Amsterdam University Press
  • ISBN-10: 9463723765
  • ISBN-13: 9789463723763
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9789463723763.html
Innovative in the scientific approach of applying a spatial theory from the domain of social geography to the analysis of site-specific installation artworks (model). Thorough academic work (historical and analytical) and attractive in the elaboration of the case studies. Cross-over of two disciplines within the field of museum studies: conservation and exhibition curation. Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A conceptual framework is provided for scholars and museum professionals to better understand how site-specific installations gain new meanings during successive stages of their biographies and may become agents for change in professional routines.
List of Figures and Diagrams
9(6)
1 The Problem of the Perpetuation of Site-Specific Installation Art
15(26)
Introduction
1.1 Research Question
19(5)
1.2 Olafur Eliasson's Notion Motion
24(6)
1.3 Biographical Approach
30(2)
1.4 Typologies and Site-Specific Installations as Dynamic Networks
32(3)
1.5 Outline
35(6)
2 Site-Specific Installation Art in Historical Perspective
41(34)
2.1 The Rise of Site-Specific Installation Art: Criticism Towards the Established Art World
42(6)
2.2 Unmoveable or Moveable? The Case of Richard Serra's Tilted Arc
48(5)
2.3 The Extended Life of Richard Serra's Splashing
53(7)
2.4 Site Specificity and the Viewer's Position in the Gallery Space
60(3)
2.5 Robert Morris's Amsterdam Project
63(3)
2.6 The Site of Production and the Site of Perception
66(3)
2.7 Phil Collins's they shoot horses
69(2)
2.8 Conclusion
71(4)
3 A Conceptual Model for the Analysis of Site-Specific Installations
75(31)
The Conceptual Model Part 1: Triadic Model for Analysing Site Specificity
77(1)
3.1 Introducing Henri Lefebvre's Theory on Space
77(4)
3.2 Lefebvre's Triad of Spatiality Applied to Site-Specific Installations
81(9)
3.3 Analysing Cultural Phenomena "as Performance"
90(2)
The Conceptual Model Part 2: Analysing Successive Iterations of Site-Specific Installation Artworks
92(1)
3.4 Looking through the Lens of Conservation: Performativity of Site-Specific Installation Artworks
92(6)
3.5 Site-Specific Installations as Networks "In Action"
98(2)
3.6 Using the Script as an Analytical Tool
100(6)
37 A Short Analysis of Two Site-Specific Installations
106(9)
Richard Serra
3.8 Conclusion
111(4)
4 Ernesto Neto's Celula Nave
115(42)
Extending the Lifespan of a Temporary, Site-Specific Installation in a Museum Context
4.1 The Spatial Design and Materiality of Celula Nave
122(2)
4.2 The Functions of "Social Space" and "Representational Space" in Celula Nave
124(2)
4.3 The Fabrication of Celula Nave and "Spaces of Production"
126(3)
4.4 The Reinstallation of Celula Nave without the Presence of the Artist
129(2)
4.5 Shifts in the Spatial Network of Celula Nave and Refinement of the Conceptual Model
131(7)
4.6 We Fishing the Time: The Relocation of a Temporary Installation to the Permanent Collection of the Tate Modern
138(6)
4.7 Option 1: Restoration of the Original Artwork
144(1)
4.8 Option 2: Remake by a Textile Factory in Brazil and the Artist's Studio
145(7)
4.9 Option 3: Remake by Another Fabricator Aiming at a More Durable Version
152(3)
4.10 Conclusion
155(2)
5 Jason Rhoades's SLOTO
157(38)
Reactivating Site Specificity and the Social Space of Perpetuation and Care
5.1 The Spatial Design of The Secret Life of the Onion
165(4)
5.2 Representational Site Specificity of The Secret Life of the Onion
169(3)
5.3 Social Production Spaces of The Secret Life of the Onion
172(2)
5.4 Summarizing the Spatial Network of the First Staging
174(3)
5.5 A Curatorial Intervention with SLOTO's Second Staging
177(6)
5.6 Comparison with Jason Rhoades's P.I.G. (Piece in Ghent)
183(3)
5.7 The Spatial Network "In Flux"
186(5)
5.8 Conclusion
191(4)
6 Drifting Producers
195(44)
The Perpetuation of an Installation Artwork Emerging from a Site-Specific Project
6.1 The Project and the Installation Drifting Producers
203(4)
6.2 The Spatial Network of the Initial Exhibition at the Art Sonje Center
207(1)
6.3 Intercultural Exchange in the Production and Reception of Drifting Producers
208(4)
6.4 The Trajectory of Drifting Producers
212(2)
6.5 Site Specificity of Drifting Producers in the Van Abbemuseum
214(8)
6.6 The Social Production Space of Drifting Producers
222(6)
6.7 Comparative Case Study: Constant's New Babylon Project
228(7)
6.8 Conclusion
235(4)
7 Conclusion and Further Discussion
239(12)
7.1 General Conclusion
239(4)
7.2 Site Specificity and the Ongoing Dialogue between Artists and Custodians
243(2)
7.3 Museum Practices and the Expanded Performance Analogy
245(6)
Acknowledgements 251(2)
List of Interviews Conducted 253(2)
The Author
Appendix 255(2)
Bibliography 257(8)
Index 265
Tatja Scholte is an art historian and conservation scholar at the Cultural Heritage Agency of the Netherlands. She coordinated several European projects in the conservation of contemporary art and, together with Glenn Wharton, coedited Inside Installations: Theory and Practice in the Care of Complex Artworks (Amsterdam University Press, 2011).