Contents:
- A conceptual framework for traditional fine art conservation
- Defining the purpose of conservation
- The concept of an artwork
- The notion of a conservation object
- Authenticity and authorship
- A different conceptual framework for the conservation of time-based media works of art
- The object of conservation
- Comparing musical works and time-based media installations
- Authenticity and playback
- Authenticity, authorship, and control
- The ‘work-defining’ properties of a time-based media work of art
- Indeterminacy and the museum
- Contingency and decision-making
- Conservation’s mission and purpose revisited
- Conclusion
- Notes
This article presents a conceptual framework for the conservation of time based media art, one in which authenticity can be measured. It begins with why the concept of conservation, developed for the traditionally object based fine arts is not relevant for the temporal and ephemeral nature of time based media. It defines traditional fine art ‘conservation’ and key concepts relating to the authenticity of an art object and then argues how this concept of authenticity is less relevant for “allographic works”, things such as musical or theatrical works that are performed. It moves on to define time based media art ‘objects’ and demonstrates how the installation of such works can determine its perceived authenticity. It offers the concept of ‘work-defining properties’, properties against which time-based media could be ‘authenticated’ during their conservation. It concludes with a new definition of conservation and four key points for developing a conceptual framework for conserving time based media, in order to ensure its authenticity over time. The paper appears in the Tate’s Online Research Journal.
This article offers audiovisual digital curators some additional ‘food for thought’ on the topic of ‘authenticity’, a crucial element in an OAIS compliant digital repository. Although the article’s focus is on how museum conservators working with time based media art works can ensure ‘authenticity’ during a work’s conservation over time, it could be read within the context of audiovisual digital curation. Its concept of ‘work-defining properties’ is somewhat analogous to the PREMIS concept of ‘significant properties’. Audiovisual digital curators, working with art collections, may need to more fully consider the artist’s aesthetic presentation requirements, thus, guaranteeing the dissemination of an ‘authentic’ work. In this light, authenticity may not be primarily guaranteed by documenting the provenance of an object over time; nor should preservation planning be driven primarily by the needs of the ‘designated community’; authenticity may also be demonstrated by how well a work’s presentation reflects the artist’s intentions.