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Modern Art: Who Cares? Modern Art: Who Cares?

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Modern Art: Who Cares? Modern Art: Who Cares? Boekmancahier #34 1/6 Modern art: who cares? Modern art: who cares? Jan Marontate* Modern art raises many issues ‘restorers’) and conservation scientists were - technical challenges in the identification and concerning its preservation. Restoration joined by artists, museum directors, curators, conservation of modern materials; art historians, philosophers, art educators and - obsolescence and new technologies; ethics is dictated by the art products of arts administrators in an intense reflection on - materials and meaning in restoration past centuries. Modern materials are com- issues related to the preservation of modern art. strategies; On the first day of the meeting, conference - the place of artists in preservation of their plex both in their structure and their dete- participants visited an exhibition of works art, and finally rioration patterns. How should rapidly from the Conservation of Modern Art Project. - documentation, decision-making models and The show was curated by Piet de Jong at the interdisciplinary cooperation. ageing videos be preserved? Are the artists Museum Boijmans Van Beuningen in Before considering these issues let us briefly themselves allowed a say in how their works Rotterdam and also featured displays related to present the project which was behind the conservation research on the artworks (such as conference. should be conserved? Jan Marontate atten- a packing crate and bottles of blue dye). The ded a symposium on the topic in Amster- inclusion of the exhibition in the conference The ‘Conservation of Modern Art’ Project program is significant for several reasons. First, The ‘Conservation of Modern Art’ Project grew dam, reflected on what she heard and saw, it is a manifestation of the enhanced status of out of specific concerns raised by a conflict and suggests that one can learn a lot by restoration-related activities within the art between curator Marianne Brouwer of the museum which allocated prime gallery space to Kröller-Müller Museum and a free-lance posing the right questions. the show. (The inclusion of displays related to conservator over the treatment of a materials, techniques and conservation is a wallpainting conceived by Sol LeWitt which trend in shows organized by ‘cutting edge’ art was covered with dirty fingerprints.4 The museums lately.) Secondly, the display of curator suggested that the wall simply be Amsterdam was recently the site of a Conference plus exhibition technical materials used in laboratory research repainted, since in her view the artwork itself is symposium on the care of new forms of art Research conducted for this project provided a on the artworks reflects efforts at professionali- in the form of written instructions of the which highlighted the changing role of museum focal point for discussions at the international zation of the field of conservation-restoration, concept provided by the artist. The work had professionals in the coming millenium. The symposium on the conservation of recent art emulating practices at meetings of experimental already been executed by others, not by the conference established the position of Dutch called ‘Modern Art: Who Cares?’2 The scientists. Finally, the focus on specific works artist himself. The conservator objected, art experts in an international avant-garde symposium came about through the exemplifies the problem-oriented (rather than pointing out that total repainting violated the which is developing innovative approaches to collaboration between the Foundation for the theory-driven) approach characteristic of much most basic principles of conservation ethics. the conservation of recent art and raising Conservation of Modern Art (Stichting Behoud conservation research, an practice noted by She consulted other curators and found that provocative questions for cultural policy and Moderne Kunst) and the Netherlands Institute philosopher Renée van der Vall in her analysis contemporary art museums were in a quandary museum practices. for Cultural Heritage (Instituut Collectie of the epistemological basis of current about how to approach the myriad preservation As government official Jan Riezenkamp Nederland) with funding from a variety of practices. During the rest of the conference issues raised by new art works. recalled, the disastrous floods of 1953 led to the sources.3 Thirteen international museums and there were more talks on the work done by the In 1993 a working group was set up which ‘Delta Plan’ for the continued preservation of the research institutes also helped prepare an project as well as seminars, panel discussions eventually expanded to include representatives low countries. Almost forty years later, in 1991, a ambitious programme of talks, seminars and and presentations on other research by an from six museums of modern art in Holland and second Delta Plan was proposed, this time to panel discussions attended by about 450 international roster of speakers. other art experts. A key figure in the group was protect cultural heritage from the ravages of participants from around the world. Unlike The following synthesis focuses on key areas a young graduate of an arts administration time.1 One of the projects funded - the most conferences in art conservation which of concern discussed by participants during the programme, Dionne Sillé. The project investi- ‘Conservation of Modern Art’ Project - studied tend to concentrate on specific technical event that have implications for future gated treatment options for ten specific case issues ranging from highly technical problems in questions, the symposium was strongly practices: studies of artworks made of non-traditional materials science through administrative mat- interdisciplinary in its orientation. Hands-on - conservation ethics in the contemporary materials. They were chosen from museum ters to legal, ethical, and art-historical concerns. conservators (still sometimes called context; collections according to the following criteria: Boekmancahier #34 2/6 Modern art: who cares? - each work had to present technical problems organic materials in advanced states of little as possible is a good idea. When inter- Museum professionals in the creative process for conservators which were considered deterioration. Manzoni’s Achrome (1962 Kröller- vention is necessary, modern conservation With some types of works, such as large-scale ‘unsolvable’ at the beginning of the study, Müller Museum) is made of tufts of fibreglass ethics stress the importance of reversibility to installations, conservators and curators are and wool attached to polystyrene on a red velvet avoid condemning future generations to our called upon to participate actively in art- - each work had to be considered worth saving background encased in plastic and is very dirty. interpretations. The awareness that every making activities - performing tasks in roles from the point of view of art history. The works by Pino Pascali and Tony Cragg are restoration is an interpretation strengthens akin to that of fabricators or studio assistants. discussed in detail below. the arguments for restraint. There is a deep fear Artist Suchan Kinoshita promoted even greater Ten works studied Two teams of investigators studied different of introducing anachronism and a desire not to involvement, expressing her belief that The works were done between 1959 and 1982 by issues related to the treatment of each object. impose today’s visions on future generations. museum professionals who install her work the following artists: Woody van Amen, Marcel One team specialized in technical and scientific In cases of conflict about courses of action, should also be actively engaged in decision- Broodthaers, Tony Cragg, Krijn Giezen, Piero issues; the other in ethical or art historical contemporary conservation practices tend to making and share the risks with the artist. She Gilardi, Manzoni, Mario Merz, Pino Pascali, concerns. The researchers studied the history give maximum authority to respect for the discussed experiments with providing instruc- Henk Peeters, and Jean Tinguely. All were of each object (including conditions of original material. Since written documentation tions for installation of her work which took up three-dimensional objects made using non- acquisition, previous owners, and past about art is always fragmentary and biased, the the ‘idea of a score like in music... in which the traditional materials. Città irreale by Mario conservation treatments) as well as art object itself still constitutes the primary interpreter has a certain amount of freedom’. Merz (1968, Stedelijk Museum) consists of a documentation on the materials and techniques source in most art works. However codes of How much should the tastes of museum wall-hung triangular metal frame covered with used. When possible they interviewed the ethics developed for art of earlier periods when professionals be allowed to shape artworks? wax-impregnated gauze pierced by neon tubes artists and people who knew them. (Four of the the art object itself constituted the principal Restoration ethics are particularly difficult to that form the words ‘città irreale’. It is now artists were deceased at the time of the record of the creative act do not apply to many define for extremely minimalist conceptual art discoloured and disintegrating. Jean Tinguely’s project). Recommended treatment programs new artistic practices. Artist Michelangelo and highly site-specific works, such as a window Gismo (1960, Stedelijk Museum) is a were developed for each artwork.
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