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Toward Guidelines for Practice in the Preservation and Documentation of Technology-Based Installation Art

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Toward Guidelines for Practice in the Preservation and Documentation of Technology-Based Installation Art Fall/Winter 2001 11/27/01 4:02 PM Page 207 TOWARD GUIDELINES FOR PRACTICE IN THE PRESERVATION AND DOCUMENTATION OF TECHNOLOGY-BASED INSTALLATION ART WILLIAM A. REAL ABSTRACT—Unlike most works of art familiar to de praticiens ont de l’expérience pour s’occuper de la conservators,installation art is often less object than préservation des composants physiques éphémères de event, existing initially only for the duration of an beaucoup des installations basées sur les nouveaux exhibition. Nonetheless, institutions and individuals médias, tels que médias électroniques et appareils de acquire works of installation art for their collections, lecture, sans lesquels il n’y a aucun espoir de recréer fully expecting to preserve them into the foreseeable ces oeuvres dans l’avenir. Dans cet article, on décrit future. While there are conventions within the con- les défis inhérents à la préservation de cette forme servation field for examining, describing, and pre- d’art,on détaille l’état actuel des pratiques de conser- serving works of art that exist as objects,there are few vation pour ces oeuvres et on suggère des directives such conventions for works of art such as installations et des normes générales de travail. Cet article est un that exist for a limited time, are dismantled,and may résultat de “TechArchéologie: un colloque sur la be re-created at some indeterminate future time and préservation des installations”commandité par le Bay location.The conservation field has little experience Area Video Coalition (Coalition vidéo de la région de in dealing with the preservation of the ephemeral la baie de San Francisco),qui a eu lieu au musée d’art p hysical components of many technolog y - b a s e d contemporain de San Francisco et a été subvention- installations, such as electronic media and playback né par le Getty Grant Program (programme de bours- equipment, without which there is no hope of re- es Getty). L’objectif du projet était de faire le bilan creating a piece in the future. This article describes des défis inhérents à la préservation de l’art média- the preservation challenges inherent to this medium, tique, au moyen de discussions entre conservateurs, summarizes the current state of conservation practice artistes,techniciens spécialisés et restaurateurs. in the field, and suggests broad guidelines and stan- dards.It is a result of TechArchaeology:A Symposium TITULO—Hacia lograr guías para la práctica en la on Installation Art Preservation,sponsored by the Bay preservación y documentación de instalaciones de Area Video Coalition, hosted by the San Francisco arte basadas en tecnología. RESÚMEN—A diferen- Museum of Modern Art, and funded by the Getty cia de la mayoría de las obras de arte con las que los Grant Program.The goal of the project was to assess conservadores están familiarizados, el arte de insta- challenges inherent in preserving media-based art lación es a menudo más un evento que un objeto, through discussion among artists, curators, technical que inicialmente existía solamente durante el tran- specialists,and conservators. scurso de una exhibición.Sin embargo, instituciones e individuos adquieren obras de arte de instalación TITRE—Pour des normes de travail dans la préser- para sus colecciones esperando preservarlos para el vation et documentation des installations basées sur futuro próximo. Aunque hay pautas en el área de la les nouveaux médias.RÉSUMÉ—À la différence de conservación para examinar, describir y preservar la plupart des oeuvres d’art familières aux restaura- obras de arte que existen como objetos, muy pocas teurs, souvent les installations consistent plus en un de dichas pautas están destinadas a obras de arte tales événement qu’en un objet et leur existence se limite como instalaciones, que existen solo por un tiempo seulement à la durée d’une exposition. Néanmoins limitado, son desmanteladas y quizá recreadas en el maints établissements et individus acquièrent des futuro en tiempo y ubicación indeterminados. El installations pour leurs collections et s’attendent campo de la conservación tiene poca experiencia en entièrement à les préserver dans l’avenir.Tandis qu’il la pre s e rvación de los componentes materi a l e s y a des normes déjà établies dans la domaine de la efímeros de muchas instalaciones con base tecnológ- restauration pour l’examen, la description et la ica,tales como los medios electrónicos y los equipos préservation des oeuvres d’art qui existent en tant de reproducción, sin los cuales no hay esperanzas de qu’objets, il n’existe que peu de normes pour des poder recrear tal pieza en el futuro. Este artículo oeuvres d’art telles des installations qui existent pour describe los retos que la preservación de éste medio un temps limité,qui sont démantelées et qui peuvent presenta, resume el estado actual de la práctica en être recréées dans un futur et un emplacement conservación en esta área y sugiere guías y estándares indéterminés.Dans le domaine de la restauration,peu generales. Este artículo es el resultado del Simposio JAIC 40 (2001):125–136 Fall/Winter 2001 11/27/01 4:02 PM Page 208 208 WILLIAM A. REAL s o b re Pre s e rvación de Instalaciones de A rt e finished piece by an institution or collector; may or “Te c A rc h a e o l og y ” , pro m o vido por la “ B ay A re a may not be viewed by the artist as a finished piece; Video Coalition”(Coalición para video del área de la may or may not be adaptable to a location other than bahía de San Francisco), el cual tuvo lugar en el the one for which it was first created. Museo de Arte Moderno de San Francisco (San If a piece is in fact acquired,it may be unique or Francisco Museum of Modern Art);financiado por el may be an edition;may or may not include the spe- programa de subvenciones del Instituto Getty (Getty cific equipment such as video recorders, speakers, Grant Program).El objetivo del proyecto fue evaluar projectors, and monitors required to present it; may los retos inherentes en la preservación del arte basada or may not be subject to a sales agreement or con- en los medios de comunicación, a través de discu- tract;may or may not come with the artist’s specific siones entre artistas,curadores,especialistas técnicos, y instructions or stipulations,and may or may not have conservadores. been created in the same space where it will be re- created following its acquisition. It may not be re- 1. BACKGROUND:THE created at all anytime soon after its acquisition,exist- PRESERVATION CHALLENGE OF ing indefinitely only in memory and on paper. INSTALLATION The significance of an installation is also general- ly unknown at the time of its creation or acquisition. Although the conservation field is still relatively Whether or not the artist is considered an important young, it has developed fairly well-defined conven- figure today, the fate of an artist’s reputation decades tions for examining, describing, and preserving col- hence can never be known in advance. Furthermore, lections such as paintings, works of art on paper, the defining characteristics of an artist’s oeuvre over material culture, and other media that persist through the course of a career may not yet be discernible.The time as tangible physical objects. These kinds of particular importance of a particular piece in the evo- objects can be exhibited and stored, researched and lution of the artist’s expression must await the wider cataloged, photographed and loaned, monitored and context and longer view that will become possible treated;barring disaster or negligence, they will gen- only in the future.These considerations differentiate erally survive into the future with little or no deter i- installations from more traditional art forms, for oration or unwanted change.While knowledge in the which practical conservation priorities depend as conservation field continues to evolve and deepen, much on a curator’s judgment of an object’s quality conservators nonetheless generally understand why or significance as they do on a conservator’s assess- objects deteriorate, how the agents of decay can be ment of its condition or vulnerability.With installa- minimized or eliminated, and how and when an tions, conservators, curators, and others are called object’s condition is compromised to the point that upon to participate—actively, and from the outset— conservation treatment is necessary. Conservators, in the preservation of works of art whose relative along with professional colleagues such as curators value has not yet been established by the passage of and historians,have also developed tools of connois- time, history, and criticism. seurship and technical expertise with which to judge To complicate matters further, technology-based an object’s authenticity or to assess how faithfully its installations generally include material that is either condition reflects the maker’s intentions. inherently ephemeral or subject to rapid obsoles- A conservator confronted with a work of instal- cence, or both,such as machine-readable media that lation art,1 however, may be on unfamiliar ground. provides much of the sensory experience of the An artist often creates an installation at the outset of piece. Examples include videotapes,laser discs, DVDs, an exhibition, starting with an incomplete plan that color slides,and film and the corresponding playback evolves and shifts as the artist works within the site. equipment such as video and disc players,cathode ray What is successful or unsuccessful about the outcome tube (CRT) or liquid crystal display (LCD) monitors, may only become apparent over the course of the a m p l i f i e rs , sp e a ke rs , p rojection scre e n s , c o m p u t e r exhibition, and the artist accordingly may view the equipment, and video, slide, and film projectors.
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