Index
Abstract Expressionism
236–38, 248–49;
artists employed in New Deal programs
239;
case studies in misdirected scholarship about
241–48;
materials used in paintings
239–40, 242
Abu Simbel temples
41
Acconci, Vito
122
Adam on St Agnes’ Eve (Davies 1968)
117–19, 133;
absence from public collections
135–36;
Adam on St Agnes’ Eve 1968/2015
119, 132, 133, 135;
cue-sheets for
123, 124, 128–29, 138;
exhibited at National Museum Wales, Cardiff
119–27, 120;
as ‘experimental theatre’ event
123;
film of
124–25, 126;
remediation on 1:25 scale
11, 119, 127–31, 130;
spectator participation
132, 133;
synchronised sound/visual/light elements
132
adhesives
96, 99, 100, 104
Adler, Amy
35, 39, 40
Admonitio generalis [‘General correction’] (Charlemagne)
213
Adorno, Theodor
73
Aesculapius of Hippolytus
27
aesthetics
5, 269;
Asian
49;
of change
117, 118, 126;
destruction as aesthetic strategy
118, 120–21, 130;
of disappearance
117, 118, 121;
in dynastic China
26–27;
Japanese
25, 27;
of rupture
26
agency
2, 7, 11, 68
Alexeïef, Alexandre
197
Alhäuser, Sonja
37
Alloway, Lawrence
237
American Federation of Arts
198
Amgueddfa Cymru—National Museum Wales, Cardiff
117
Ammann, Katharina
11
Anatomy lesson of Dr Nicolaes Tulp, The (Rembrandt, 1632)
96
anthropocentrism
7, 262
anthropology
6, 18, 23, 82;
material culture studies and
162;
materiality and
82;
observation of social practice
81
antiquities
24, 42;
deliberate destruction of
45;
fragmented
25, 41;
national and tribal claims on
44;
removal and repatriation of
43
archaeology
3, 43, 44, 70;
exhibition practices and
231–32;
experimental
88;
hypotheses derived from artefacts alone
81;
material culture studies and
162;
of materials
103;
material studies of Egyptian mummy cases
105;
media archaeology
160;
theatre/archaeology
131
archetype (ur-text)
214
architecture
17, 18–19, 27, 255;
appeal of antiquity in
24;
buildings as works unfolding over time
71;
dust as
267, 270;
Hardy as architect
64, 66;
museum architecture in art documentaries
200, 201;
in Nazi Germany
48;
picturesque taste for ruins
22, 25;
ruined and demolished
38;
traditional building techniques
37;
transience of
54;
transitional objects and
262;
Victorian
66
archive/archiving
8, 131;
Davies (Ivor) archive
121–22, 123, 125, 127, 131, 135, 136;
iterations and
266;
material archive
120, 127;
responsibility of institutions and
163
Archives of American Art (Smithsonian Institution)
239
Arendt, Hannah
20
Arnheim, Rudolph
198
Arrowhead from the Battlefield of Ch’ang-p’ing, An (Li Ho)
26–27
Art bin (London, 2010)
, 38
art documentaries
186, 196–203
artefacts
2, 3, 37;
objects
archaeological
3;
conflicting values embodied by
100;
cultural aspects of
79;
death of
23;
evanescence of
17;
fragmented
99;
housing and display of
41;
as iconic creations
49;
material transitions in
255;
provenance of
44;
relocation of
41–44;
scientific investigation of
104;
signification power of
8;
surface and internal characteristics of
86–87.
art history
6, 7, 48, 117, 159, 192;
art documentaries and
200;
conservation and
13;
documentary evidence and
81;
integrated with material studies
104–7, 106;
of materials
103;
materials and methods of individual artists
89;
misdirection in scholarship about modern art
239–41;
video art and
162
Artistotle
7
artists’ intentions
11, 34, 162, 163, 203.
authorial intent
Art museum from Boullée to Bilbao, The (McClellan, 2008)
189
ARTnews
236, 238
Art retrouvé, L’ (film, dir. Este, 1946)
199
artworks
5, 13, 74, 76, 117;
media art; performance
authorship and
128, 136;
changing identities of
50;
collective attribution of
35;
conceived as static objects
2, 68;
conservators’ reshaping of
53;
conspicuous materiality of
236;
death of artist and
52, 168;
documentation of
121;
expanded ontological notion of
174;
instruction/score-based
262, 263, 264–65;
material transitions in
10, 255;
ontology of preserved ensembles
172, 174;
originals and reproductions
190–91;
patina of antiquity on
31;
as portable objects
118;
preservation through reinterpretation
128, 137;
process-based
11;
signification power of
8;
as time-batteries
1, 3;
Variable Media Approach and
126–27;
‘work itself’
75.
Ashford, Will
38
Ashmolean Museum (Oxford, UK)
102
assemblages, fast-decomposing materials in
28, 37
atmosphere, materiality of
269
attribution
102.
authorship
audiences
3, 80;
active role in meaning-making
10;
curatorial dilemmas and
33;
new audiences and materials
84–86
Augustine of Hippo, St
223, 225
Auslander, Philip
122
authenticity
1, 2, 37, 69;
original
authorship and
11, 136;
expressive versus nominal
136;
loss of
47;
material surrogates in place of
45;
nationalistic subversion of
47;
original material and
9, 50;
of performance works
129, 135;
of the replica
33;
shift in source of
70;
transmission of
136.
Authenticity in transition. Changing practices in art making and conservation (Hermens and Robertson, 2016)
143n3, 161
authorial intent
34–35, 49, 52, 214, 216.
artists’ intentions
authorship
1, 2, 11, 135, 169;
changing
128;
co-authorship
161;
multiple
35, 155;
transmission of
136
auto-destructive art
39, 49, 51.
destruction, as aesthetic strategy
auto-ethnography
177
avant-garde
118
Azguime, Miguel
52
Baldwin, Alexandra
102
Bandinelli, Baccio
32
Barkan, Leonard
49
Barnes, Julian
33
Barnes, Sam
134
Barnes Collection
41
Basquiat, Jean-Michel
35
Baxandall, Michael
19, 53
Bazin, André
198
Bazin, Germain
194
Baziotes, William
239
Beck, James
74
Bedford, Christopher
125, 126
¿Being Home? (Matthies, 2009)
22
Bern University of the Arts (HKB)
147
Beuys, Joseph
123
biography, of objects/artefacts
79, 81
black boxes, as projection set-up
145, 147, 153
Bocour, Leonard
243
Bodor, Judit
11
Bolter, Jay David
127
Book from the Sky, A (Xu Bing, 1987–1991)
36
Boston, Lucy
41–42
Bourdieu, Pierre
144
Brancusi, Constantin
40
Brand, Stewart
68
Breakwell, Ian
130–31
Brealey, John
246
Brewer, Jan
41
bricolage
26
BrightSign player
150
British Museum
26, 27, 91, 193;
Conservation in focus display (2008),
101;
dinos (wine bowl) attributed to Sophilos
100–101;
Piranesi vase
100;
Portland Vase
99;
Rosetta Stone
98
Brodie, Neil
42
Bronze (Royal Academy, London, 2012)
103
Brooks, Alan
124
Bulletin du laboratoire du musée du Louvre
195
Buren, Daniel
118
Burns, Thea
8, 12
Butterfield, William
66
Byron, Lord
26
calligraphy, Chinese
45, 46, 52
Canada, repatriation of potlatch creations in
29
Canaletto
50
Canova, Antonio
26
Casals, Pablo
52
cassette players
144
catalogues
74, 158, 196, 229–30;
of art documentaries
198;
catalogue raisonné
175,
catalogue texts
174;
online
107
cathedrals
35, 42, 219, 223
cave paintings, prehistoric
35
Ceci n’est pas une pipe (Magritte, 1929)
35
Center for Art and Media [ZKM] (Karlsruhe, Germany)
147, 160
change
1, 2, 9, 29, 136, 161, 172;
acceptance of
31, 34;
aesthetics of
117, 118, 126;
ambivalent reactions to
17–25;
architectural forms and
68;
complexities of material change
91–94;
conservation and challenge of
94–101, 95, 97–98;
curatorial choices and
35, 51;
essential to survival of artworks
49;
in Japanese aesthetics
27;
metamorphic
54;
processual
30;
rapid
21;
referents of
4;
technological upgrade and
127
changeability
34, 118, 136, 137, 162;
defined
126;
material identity of artworks and
128, 144;
video presentation and
145, 164
Charging bull (Di Modica, 1989)
42
Charlemagne
213, 220, 223, 225
Charny, Daniel
84
Cherry, Herman
246
China, dynastic
26–27, 45–46
Chiseldon (UK) Iron Age cauldrons
101–2
Civilizing rituals. Insiade public art museums (Duncan)
194
Claerbout, David
11, 142, 158;
Olympia; Sections of a happy moment; Vietnam, 1967, near Duc Pho
framing of intention and
162–64;
technical instructions for video
146–51, 161.
Clark, T. J.
241, 248
Clarkson, Christopher
226
cleaning
73, 96, 97, 98–99, 130, 187, 202
Cleppe, Birgit
12
Cloche, Maurice
186, 199
Close examination: fakes, mistakes, and discoveries (National Gallery, 2010)
102
Clouzot, Henri-Georges
198
Cod. 490 (Biblioteca Capitolare Feliniana, Lucca)
209, 212–13, 216;
Compositiones variae (c. 800)
binding and disbinding of
218–19, 226;
conservation treatments of
225–28;
content units
219–22;
exhibition display of
229;
meanings embodied in physical manuscript
231;
‘original’ format as illusion
228;
present physical structure and ‘afterlives’ of
217–18;
storage box for
213.
Cold dark matter: An exploded view (Parker, 1991)
38
Cole, Thomas
47
collaboration
11, 53, 94, 104, 143n3, 158, 229;
curation–conservation relation
art-historical misconceptions challenged by
12–13, 240, 241, 249;
art-history documentaries of the Louvre and
200;
of curators and conservators
101;
ensemble method and
175;
installation and
155;
interactive
30;
remediation and
119, 127, 136;
in study of artists’ studio methods
240.
Collaboration Paintings (Basquiat and Warhol
1984–1986), 35
Collectio Hispana, in Cod. 490 (Lucca)
212
collectors
29, 33, 34, 43, 225;
material curatorship and
46;
mutilated remnants of antiquities and
41;
public heritage and
44
Colonial Williamsburg
18
Colour. The art and science of illuminated manuscripts (Fitzwilliam Museum, 2016)
229–30
Compositiones variae (c. 800)
209–10, 211, 212, 220, 233;
Cod. 490 (Biblioteca Capitolare Feliniana, Lucca)
elite audience of Lucca clerics
232;
layout of
222;
Lombard context of
222–23, 224, 225;
materiality of the object and
216–17;
philological model of ur-text and
214;
traditional scholarly view of
225.
conceptual art
3, 38, 125
Conceptual transformation of art. From dematerialisation of the object to immateriality in networks (Lillemosse, 2006)
125
connoisseurship
4, 6, 26
Connorton, Paul
23
conservation
1, 3, 9, 70, 73;
curation–conservation relation; decision-making, conservators’ and editors’; preservation
artistic intentions and
163–64;
of auto-destructive and performance art
51–52;
conservation as argument
76;
curatorial tasks as part of
168;
evolution from art to science
10;
of historic buildings
74;
material change as challenge for
94–101, 95, 97–98;
of new and old media
117;
as science
80;
technical studies in
101–3.
Conservation in focus (British Museum, 2008)
101
consolidants
96
Constable, John
50
contexts
2, 3, 203, 271;
art freed from
43;
of Compositiones variae
212–13, 222–23, 224, 225;
contextual information about events
121;
contextual materiality
118;
displacement of icons and
42;
environmental
19;
life story of objects and
9
continuity
19, 52, 214, 262, 266;
artificial
258;
of change
172;
embrace of
9;
experiential
258, 259;
familiarity and
20;
spatio-temporal
257, 258
Convention for Promoting Universally Reproduction of Works of Art for the Benefit of Museums of All Countries (1867)
32
copy/copies
31, 39, 239;
artist’s ‘authorized’ copies
124;
in Davies’s archive
121–22;
fakes versus legitimate copies
102;
historical change in meaning of
32;
material difference from originals
50;
of possibly nonexistent original
45–46;
Renaissance paintings and sculptures
33;
of Shakespeare early editions
68, 69, 70
Corbechon, Jean
230
Cornford, Francis
19
corrosion
17, 30, 92, 94;
curatorial permanence and
21;
pseudomorphs
92, 94, 95;
X-radiography and
92, 93, 107
Cost of Living (Aleyda) (Kline, 2014)
37
Course of empire series (Cole, 1833–1836)
47
craftsmanship
7, 23, 85
creation
10, 29, 49, 52, 90, 216, 267;
anthropocentrism and
262;
authorial intent and
34;
boundary with curation
11;
demolition as creative process
39;
destructive
39, 40;
immortalized
54;
knowledge networks and
155;
materials and process in
12;
materials of
7;
material transformation as form of
122;
museums’ role in
192;
preservation and
169;
process of
175, 176–77;
re-creation
8;
restoration as
41;
temporal immediacy and
19;
temporal-material forms and
225
Critique of Judgement (Kant, 1790)
152
CT (computerized tomography) scanning
87, 106
Cultural reconstruction (Foundoukidis, 1945)
191
culture–nature relation
7, 30, 269
Cunningham, Merce
265, 266
curation
1, 8, 9;
presentation
artist in curator role
159;
authorial intent and
34–35;
boundary with creation
11;
changing identities of artworks and
50;
curatorial dilemmas
33–48;
of early medieval manuscripts
214–16, 225–28, 227;
location/locale and
41–44;
longevity and
35–37;
material surrogates and
44–48;
object’s meanings drawn out by
73–74;
presentation as curator’s job
149;
transience and
37–41;
video installation and
155.
curation–conservation relation
4–13, 21, 68, 73, 74, 143, 149, 163, 168, 199, 240–41, 267–269
Dagues, Claude
186, 201
Dahlem Workshop on ‘Durability and Change’ (Berlin, 1992)
48, 53
dance, modern
265
Dancing satyr (attrib. Praxiteles)
103
Darwin, Charles
18
dating, of artefacts
87, 102
Davies, Ivor
11, 34, 117–18; 128-129, 130;
Adam on St Agnes’ Eve
archive of
121–22, 123, 125, 131, 135, 136, 138;
performers’ cue-sheets prepared by
121, 123, 124, 128–29, 138;
remediation and
128–29;
self-historicization of
122.
Davis, Stephen
147
Dawson, Julie
105
Death on the Nile: Uncovering the afterlife of ancient Egypt (Fitzwilliam Museum, 2016)
104–7, 106
Decasia: The state of decay (Morrison, 2001)
38–39
decay and decomposition
9, 18, 31, 37, 41, 258;
curation against
21;
fast-decomposing materials and
37;
industrial
30;
of new and old media
48–49;
proscription of
22–23;
of video technology
149
decision-making, conservators’ and editors’
, 72–73, 169, 170, 179, 180, 182, 231
Decretum Gelasianum, in Cod. 490 (Lucca)
212
De fabrica in acqua, in Cod. 40 (Lucca)
, 220
Dekeukeleire, Charles
197
de Kooning, Elaine
238
de Kooning, Willem
13, 238, 239, 240, 249;
misleading documentation about
245–48;
in studio
246
Deleuze, Gilles
145
dematerialization
125, 163, 186, 263
demolition, as creative process
39
de Montebello, Philippe
29
dendrochronological dating
87
Denver Art Museum
22
De proprietatibus rerum (Corbechon, 1372)
230
derivatives
50
Derrida, Jacques
152, 153
DeSilvey, Caitlin
28, 29, 30
destruction, as aesthetic strategy
39, 118, 120–21, 130.
auto-destructive art
Destruction Art
119
Destruction in art archive (Davies)
131
Devoe & Raynolds Co.
243–44
DIAS [Destruction in Art Symposium] (London, 1966)
120, 121
Diderot, Denis
210
Dietz, Steve
143n3
digital art
155, 162.
media art
Digital art (Paul, 2003)
155
digitization
124, 228–29
Di Modica, Arturo
42
dioramas
231, 232
Disneyland
32
distributed monuments
257, 269
distribution
8, 187, 269
Doctrine of Ideas, Platonic
7
document, as material
73, 76
documenta (Kassel, 1970, 1977, 1987)
159n46, 172
documentary films
3, 12, 186, 197–200, 202
documentation
12, 91, 126, 174, 179, 228;
absence of
91, 161;
as act
118, 122;
incomplete and confusing information
238;
misleading
241;
photographic
119, 121;
recursive
181, 182;
self-documentation
182;
works altered by
121
Double vie des chefs d’ouevre, La (film, dir. Dagues and Hours, 1959)
186, 195, 201
Douglas, Mary
18
Dowris bucket, Bronze Age
91
Dracula (Stoker, 1897)
23
Dresden Madonna, of Raphael
21
Dreyer, Carl Theodor
198
Duchamp, Marcel
35, 40, 41
Dudley, Sandra
81
Duncan, Carol
189, 194
durability
9, 19–21, 35, 37, 88;
permanence
Dahlem Workshop on ‘Durability and Change’ (Berlin, 1992)
48, 53;
longevity as curatorial dilemma
35–37.
Dutton, Denis
136
Duve, Thierry de
237
DVD players/recordings
124, 144, 146, 150
Dykstra, Steven W.
163
Earth art
38
Eco, Umberto
33
Edison, Thomas
42
edition
4, 69, 75, 187, 196;
as argument
74, 76;
edition-as-work
73;
Shakespeare early editions
68, 70;
stemma (‘family tree’) and
214, 215
editors
64, 70, 72–73, 74, 75
Eggert, Paul
2, 9, 10
Egino Codex
225
Egyptian hieroglyphics
98
Egyptian mummy cases
87, 104–7, 106
E. I. du Pont de Nemours and Company
242, 243
Electronic Art Intermix
146
electronic technology
8;
electronic devices
144;
electronic art
147, 155, 160
Elgin, Lord
26, 54, 257
Emerson, Ralph Waldo
32
Emin, Tracey
38
empiricism, Anglo-American
6
Encyclopédie (Diderot and d’Alembert, eds.)
210
Ensemble with decoration (Modes of behavior towards people when affection plays a part), decoration with birches, pears, and frames, since 1980 (filiation) (Oppermann)
167;
artist’s installation intentions
178;
at documenta (1977)
173;
early working state in different media
171;
at Serpentine Gallery (1983)
173
entropy
17, 18, 256, 269
ephemerality/ephemeral materials
18, 25, 37, 162;
evanescence
auto-destructive art and
39;
decline of craftsmanship and
23;
in Oppermann’s ensembles
172;
performance and
120, 121;
transitional objects and
265.
Erased de Kooning (de Kooning/Rauschenberg, 1953)
39
Ernst, Wolfgang
160
Este, Philippe
199
Ethics of Dust, The (Otero-Pailos, 2008–2015)
13, 267, 269, 271;
Alumix, Bolzano (2008)
268;
Maison de Famille Louis Vuitton (2015)
271;
Old US Mint, San Francisco (2016)
272;
Trajan’s Column (2015)
270
ethnography museums
231
Etymologiae (Isidore of Seville)
212
Eusebius-Rufinus
212
evanescence
9, 17, 23, 25;
ephemerality/ephemeral materials
of Earth art
38;
obsolescence and
23–25.
Expanded expansion (Hesse, 1969)
48
Experimental Preservation (Otero-Pailos, Langdalen, and Arrhenius, eds., 2016)
260
explication
2, 5;
of materials
6–9, 255;
of table des matières
9–13
Fabri, Alexandre
197
facsimiles
33
fakes
50, 87, 102.
copies
Fast forward. Media art Sammlung Goetz, (Goetz and Urbaschek, 2003)
161
Faust (Goethe)
26
Fearless girl (Visbal, 2017)
42
Fédération Internationale du Film d’Art (FIFA)
187
Feinstein, Sam
238–39
Femmes du Louvre, Les (film, dir. Kast and Van Moppes, 1951)
186, 200, 202
Festival of Stuff
86
Fierens, Paul
190
Fitzwilliam Museum (Cambridge, UK): Colour. The art and science of illuminated manuscripts (2016)
229–30;
Death on the Nile exhibition (2016)
104–7, 106
Flaherty, Robert
198
Flavin, Dan
51
Flaxman, John
26
Fluxus
118, 126, 128
Ford, Henry
42
forgers and forgeries
50.
authenticity; fakes
Foundoukidis, Euripide
191
Fountain (Duchamp, 1917)
40
fragmentation
25–28, 38, 96, 99, 172
Francis I of France
32
Frankenthaler, Helen
237, 241–42
Freud, Sigmund
18, 44, 259
Frin, Raymond
187, 199
Futurists
118
Gardega, Alex
42
Garnett, Edward
72
Gasparcolor technique
197
Gehry, Frank
18
Genealogiae totius bibliothecae
223
Geneva, Bibliothèque Publique et Universitaire (Ms. Gr. 19)
226–27, 227, 228
Getty Museum
87
Giannachi, Gabriela
126
Gibbon, Edward
47
Giotto
21
Giovanni, Andrea
226
Gismo (Tinguely, 1960)
36, 52
Glass (one and three) (Kosuth, 1965)
35
Goethe, Johann Wolfgang
26, 31
Golden, Samuel
243
Gonzalez-Torres, Felix
51
Good shepherd miniature, in Cod. 490 (Lucca)
223, 224, 225
Gorky, Arshile
239
Gormley, Anthony
108
Gottlieb, Adolph
239
Gottscher, Leandro
210
Green Knowe novels (Boston)
41–42
Gregorius presul, in Cod. 490 (Lucca)
220
Grémillon, Jean
198
Groys, Boris
11, 117, 137;
on distinction between exhibition and installation
155;
on ‘non-identity’
145
Grusin, Richard
127
Guernica (Picasso, 1937)
40–41
Guggenheim Museum (New York)
48, 154, 160n49
Guston, Philip
239
H2OMBRE (Maler, 1982)
39
Haacke, Hans
41
habit
20, 21
Ħal Saflieni Hypogeum (Malta)
36
happenings
36, 129
Hardy, Thomas
20, 23, 50, 54, 64, 72, 76
Harvard Art Museums
154
Harvard murals (Rothko, 1961–1962)
154
Heart of darkness (Parker, 2004)
38
Hegel, Georg Wilhelm Friedrich
144
heritage, cultural
3, 9, 21, 80;
environmental conservation and
13;
of indigenous tribes
33, 43–44;
‘intangible heritage’
, 128;
materiality of
192;
photographic reproduction of works and
190–91;
repatriation and
29;
transmission of
1;
UNESCO program to preserve
186, 189
Heritage, The (Lenz)
46–47
Hermens, Erma
161
Hess, Thomas
236, 240
Hesse, Eva
48
Hirst, Damien
31, 38, 40
Histoire de l’art par les chefs-d’œuvre du musée du Louvre, L’
200
Historia ecclesiastica (Euseubius-Rufinus)
212
History and antiquities of the county of Dorset (Hutchins)
66
Hitler, Adolf
48
Hoffman, E.T.A.
22
Hofmann, Hans
238–39
Holbein the Younger, Hans
101
Hölling, Hanna
3, 13, 118, 216;
on changeability of artworks
126, 162;
conversation with Otero-Pailos
255–71;
on differentiated types of authenticity
136;
on idealization of permanence
225
Hours, Madeleine
186, 195, 201
humanism
9, 41, 48;
copying of classical sculptures
32;
fragmented antiquities and
25, 27
humanities disciplines
6, 7, 84, 226
humidity
94
Huxley, Julian
189
Huyghe, René
25, 195–96, 197, 199, 202, 203
Huysmans, Joris-Karl
38
Ice bag—Scale C (Oldenburg, 1971)
51–52
iconography
7, 162;
iconographic characteristics
84;
iconic turn
145, 223
ideal objects
69, 70, 71, 73, 76
identities
9, 50, 69;
in borderlands
46–47;
cultural identity of object
215;
essentialist conception of
144;
interpretation and
169;
material identity of performance works
126, 128, 131, 134;
memory and reconstitution of the self
257–58;
professional
3;
transitional objects and
263;
unstable
68
Illustration, L’ (periodical)
196, 197
Images de l’ancienne Egypte (film, dir. Cloche, 1951)
186, 199–200, 202
Im Auge des Zyklons (Kunstmuseum St. Gallen, 2007)
156
immateriality
125, 145, 155, 163
immortality
26, 45;
illusion of
22, 31;
permanence as semblance of
21
Information action (Beuys, 1972)
123
Ingold, Tim
6, 7, 83
In Obhut. Anhand von Anna Oppermann (Galerie Hollenstein Lustenau, Austria, 2017)
180–82, 181
Inspire. Highlights of UCL’s collections
108
installation art
5, 8, 11;
curation of
11–12;
ensemble method as conscious awareness practice
175–77, 176;
exhibition and preservation of
167–69;
multimedia
147;
ontology of preserved ensembles
172, 174–75;
video presentation and
142, 146–47
instantiation
175, 182
Institute of Making at University College London
85–86
intention
.
see artists’ intentions; authorial intent
interdisciplinarity
1–4, 12, 143, 154, 230, 255;
curation–conservation relation
art-historical myths and misconceptions checked by
12–13, 249;
artist’s collaboration with conservator/curator teams
11;
dualism broken down by
162;
errors limited by
241;
interpretation of artistic intention and
163.
interest groups
94;
teams
154, 156, 228, 229, 247;
interdisciplinary teams
11
International Association of Art Critics (AICA)
190
International Conference on Art Films
187, 198
International Council of Museums (ICOM)
186, 187, 190, 195, 198
International Institute for Conservation
22
International Museums Office (IMO)
187, 191, 193
interpretation
1, 9, 12, 150;
meaning
boundaries with creation and preservation
11;
changes in
2;
identity of artworks and
169;
institutional decision-making and
180;
visibility of
170, 179.
Ippolito, Jon
48, 127, 149
Isabella Stewart Gardner Museum
41
Isidore of Seville
212
iterant media
5, 8
James, Henry
21–22, 23
Japan, impermanence treasured in
25;
kintsugi aesthetic
27;
wabi-sabi aesthetic
25, 27
Jaujard, Jacques
187, 192, 199
Johns, Jasper
38
Johnson, Samuel
69
Jones, Amelia
122
Joselit, David
1, 4
Joy, Jody
102
Judd, Donald
50
Jude the Obscure (Hardy, 1895)
23
Kamehameha I, metamorphoses in statue of
29–30
Kant, Immanuel
76, 152, 153, 264
Kast, Pierre
186, 200
Keats, Jonathon
50
Keim, Adolph
242
Kemp, Martin
34
Kemp, Wolfgang
152
Kennall Vale (Cornwall)
31
Kerr, Robert
40
Kidd, John
74
kinetic art
36, 51–52, 129
Kingery, David
89–90
kintsugi aesthetic
27
Kline, Franz
238, 239, 240
Kline, Josh
37
knowledge
5, 169, 255–56;
limits of conservation specialists’ knowledge
160;
of materials and methods
90;
media archaeology and
160;
medieval technical knowledge
209;
museum as a principle medium of
188, 189–92;
of neighboring academic disciplines
6;
networks of
155;
tacit
4, 91;
transmission of
136
Kostelanetz, Richard
129
Kosuth, Joseph
35
Kracauer, Siegfried
198
Krasner, Lee
239, 243
Laboratory for Experimental Techniques in Art
242
Lake, Susan
240, 247
Landowska, Wanda
52
landscapes
21, 31, 38, 263;
emulation of nature in landscape design
25;
temporal survival of works in
42
Landy, Michael
38
Lange-Berndt, Petra
6
Laocöon (c. 40 to 30 BC)
32
LaserDisc
144
Last Judgement (Michelangelo, 1536–1541)
34
Last Supper (Leonardo da Vinci), copies of
33
Laurenson, Pip
143n3, 147, 158–59
Lawrence, D. H.
72
Layard, A. H.
42
Le Corbusier
24
Lenin, Vladimir
39
Lenz, Siegfried
46, 47n107
Leonard, Zoe
22
Leonardo da Vinci
33
Levy, Leon
28–29
L.H.O.O.Q. (Duchamp, 1919)
50
Liber de officiis ecclesiasticis (Isidore of Seville)
212
Liber pontificalis, in Cod. 490 (Lucca)
212, 220
Lichfield Angel (c. 800 AD)
88
Lieftinck, Gerald
231–32
Li Ho
26–27
Lillemosse, Jacob
125
literary works
10, 64, 74, 75
Llangorse (Wales) medieval textile
96, 97–98
location/locale, as curatorial dilemma
41–44
Lombard kingdom
213, 223
London bridge (Rennie, 1831), relocation of
41
London Craft Week
85
longevity, as curatorial dilemma
35–37
loss
18, 21, 46, 99, 172;
acceptance and celebration of
34;
ambivalent reactions to
9, 17;
complicity in
22;
of dysfunctional original parts
52;
of early medieval manuscripts
226, 228;
fame magnified by
39;
followed by recovery
29;
of information
94, 96, 149, 161;
misdirected scholarship and
249;
obsolescence and
24;
of original materiality
136;
without death
28
Louis, Morris
243
Louvre
12, 25, 202–3;
collection curated on film
199–202;
conflicting ambitions of
195–96;
filmic reproduction of art in
186;
International Conference on Art Films and
198;
Mona Lisa stolen from (1911)
, 39;
museological transformation of
187–88, 188;
museum of medium of knowledge and
189–92;
rearranged painting collection
193;
Salle des sept-mètres
192;
Salle Jean Goujon
194
Lowe, Adam
33
Lowenthal, David
2, 9
machines: curatorial replacement of worn-out machinery
52;
technology
fragility of machine kinetic art
36;
as museum pieces
23.
Magna paint
243
Magritte, René
35
maintenance
4, 8, 137, 149
Maler, Leopoldo
39
Malraux, André
26, 190–91, 200
Man at the crossroads (Rivera, 1933)
39–40
Mangrum, Joe
38
Manzoni, Piero
50
Maori sacred displays
33
Mao Zedong
45
Maple Bridge (Suzhou, China)
45
Marçal, Hélia Pereira
53
Marx, Karl
19
Marzelle, Fernand
186, 200, 201
Masuria
46–47
material culture
82, 85, 137, 187, 230, 255
material culture studies
1, 3, 81, 159, 162
materiality
1, 2, 7, 46, 169, 225;
ambivalent meaning of
82;
conservation and
4;
contextual
118, 125;
curatorial–conservation relationship and
255;
historians of science and
6;
intangible characteristics of objects
81;
layered meanings through time and
216–17;
as lifeline of the past
67–68, 76;
in modern art
236–37;
preservation of media art and
163;
relational
4, 5;
separated from physical object
125;
temporal
4
materialization
129, 135, 144
‘material multiplicity’
118, 125
materials
1, 7, 79–80;
attitudes to materials and processes
81–84;
complexities of material change
91–94, 93;
deterioration of
99;
different species of wood
82;
dynamic view of
8;
exhibitions focused on
103–4;
information conveyed by
80–81;
as intermediaries
7;
manual work associated with
83;
material surrogates
44–48;
mutation of
8;
process and
12;
‘raw materials,’
83;
scientific investigation of
86–91
material studies
85, 102;
art history integrated with
104–7, 106;
tensions with visual studies
142
material turn
1, 162
Matisse, Henri
236
matter
1, 29, 257;
assumptions about artworks as
2;
form privileged over
7;
impurities as matter out of place
18;
materiality in relation to
4;
protection of
127;
subject to change over time
91
Matthies, Rupprecht
22
McCann Morley, Grace L.
191, 192
McClellan, Andrew
189
McLuhan, Marshall
147
meaning
1, 2, 71–72;
interpretation
change over time
230;
curation and
73–74;
curatorial choices and change in
35;
immutable precedents and
20;
materiality of finished form and
8;
multiple layers of
12, 217;
politics of preservation and
170;
reader/audience role in making of
10;
spectators’ production of
168.
media art
128, 143, 160, 163;
electronic art
artist’s installation instructions and
161;
changeability of
126;
knowledge networks and
155;
preservation of
147, 163;
time-based
117;
Variable Media Approach and
126–27.
media migration
49, 53, 142
Meegeren, Jan van
50
memory
4, 44, 65, 190;
difficulty of remembering culture and life events
257–58;
durability and
20, 21;
in dynastic China
45;
formation of cultural memory
182;
performance and
126
Merde d’artiste (Manzoni, 1961)
50
Mèredieu, Florence de
8
metamorphosis
9, 17, 28–31, 49
Metropolitan Museum of Art
28–29, 31
Metzger, Gustav
39
Michelangelo
34–35
Michelangelo. Das Leben eines Titanen (film, dir. Oertel)
197
microscopes
87, 90, 96, 107
Mi Fu
45
Mignot, Dorine
154–55
Miller, Daniel
85
mind-body dualism, Cartesian
7
Mine, Hiromichi
151
mise en abyme patterns
174
mixed-media ensembles
3.
installation art; multimedia events/environments
Mixed Reality (MR) environments
232
modernism
145, 245;
importance of materiality to
237;
materialism and
248;
misdirection in scholarship about
238–41
Molotch, Harvey
36, 53
Mona Lisa (Ashford, 1979)
38
Mona Lisa (Leonardo da Vinci)
33, 35;
moustache in L.H.O.O.Q.
50;
theft from the Louvre (1911)
39
Monet, Claude
50
Moon over the river on a spring night, The (Wang, 2013)
52, 53
Moore, Brian
47–48
Morgan, Richard Huw
134
Mornauer, Alexander, portrait of (National Gallery, London)
101, 102
Morphy, Howard
81
Morris, William
21
Morrison, Bill
38–39
Motherwell, Robert
237
Mouseion (IMO journal)
187, 191, 192
MPEG-4 files
144
Mullion Cove (Cornwall)
30–31
multimedia events/environments
11, 119, 123, 126;
technoid aesthetic of
147;
theatrical aspect of
131;
video installations
155
Muñoz Viñas, Salvador
143n3
musealisation
8
Musée de l’Orangerie
196, 197
Musée Guimet
199
Musée imaginaire (Malraux)
190, 200
museification
126
Museon Arlaten (Arles)
231
Museum (ICOM journal)
187–88, 189, 198;
on cleaning of paintings
202;
on status of museums after World War II
199
Museum materialities (Dudley, ed.)
81
Museum of Failure (Helsingborg, Sweden)
24
museums
1, 8, 17, 79;
authorial intent and
34;
avant-garde versus
118;
changing practices of preservation
9;
collections management
174;
conservation practices explained for visitors
99;
costs of ongoing remediation
52;
curtailed notion of longevity and
28;
delegated performance and
136–37;
dim lighting in
94;
display politics of
180;
documentation as surrogate of event
122–23;
illusion of art’s immortality and
22;
information on exhibition labels
105, 107;
lighting in
193;
material identity of performance works and
128;
provenance of artefacts and
44;
traveling exhibitions
195–96;
Victorian
33
musicology
70
myths, art-historical
12–13, 241, 249
NAGPRA (Native American Graves Protection and Repatriation Act)
43
Nagy, Eleanora
52
Napoleon I
33
National Gallery (London): Close examination (2010)
102;
‘Mornauer portrait’
101, 102
nationalism
46
National Screen and Sound Archive of Wales, Aberystwyth
125
National Trust (England)
17, 30–31
nature: culture and
7, 30, 269;
decay of statues and
28;
emulation of
25
negative dialectic
73, 74
Nespawershefyt, coffin of
105, 106
Newman, Barnett
240
New Orleans, Vieux Carré of 1850s
32
Nicolson, Harold
21
Nimrod, Assyrian palace of
42
Noel, Sebastian
134
Noël de Tilly, Ariane
163
Nossa Senhora do Carmo altarpiece (Carmo Church, Faro, Portugal)
89, 90
nostalgia
64, 66, 84
Nozze di Cana (Veronese, 1490–1527)
33
objectivity
10, 67, 72
objects
8, 50, 64;
artefacts
biography of
79, 81;
birth and death of
23;
collection and display of
5;
complexity increasing over time
94;
conservators’ interventions on
13, 74;
continual alteration of
17;
cultural biography of
126;
cultural identity of
215;
cultural transitions and
256;
decay of
258;
different academic disciplines’ knowledge of
6;
durability of
20;
events alongside
117;
life story of
9, 100;
materiality of
216–17, 260;
object-as-work
10;
perceived as static
9, 225;
physicality of objects in humanistic studies
6;
portable
118;
‘post-object’ practices
125;
production methods and materials
82;
prolonged material life of
4;
spatio-temporal continuity of
258;
temporal dimension of
256–57;
transitional
3, 13, 258–62, 264, 265, 267;
work-model and
74.
Object to be destroyed (Ray, 1923)
37–38
observer effect
13
obsolescence
22–24, 49, 142
Oertel, Curt
197
Œuvre d’art et les méthodes scientifiques, L’ (Louvre, 1949)
195
Oldenburg, Claes
51–52
Old Masters
24
Olympia (Claerbout, 2016)
150
Ono, Yoko
37
open-reel playback technology
144
Oppermann, Anna
11, 170, 172, 182;
ensemble defined by
175–76;
ensemble method as conscious awareness practice
175–77, 176;
installation intentions intrinsic in works of
177–82, 178, 181
optical disc storage formats
144
oral history
121
oral literature
68
O’Reilly, Emily
130
Orford Ness
30
originalism, legal doctrine of
20
originality
31, 147, 174, 180
original/originals
91, 169, 192, 225;
of ancient and medieval architecture
44, 70, 88;
archival documentation and
124–25;
authenticity associated with
2, 9, 10, 22, 26, 37, 216;
conservation ethics and
96, 100, 101;
curatorial decisions and
49, 51, 52;
dematerialization of collections as cinematic reproductions
186, 187, 189–91, 201, 202;
deterioration of
33, 36, 47;
distorted version in museum display
92;
edition-as-argument and
74;
fear inspired by
33;
fragments of
30;
historical change in value of
32;
iconicity of
49;
intentional ephemerality and
39;
lost
40, 69;
material differences from copies
50;
material transformation and
122;
of medieval manuscripts
209, 212, 214, 218, 219, 228–29;
ontological notion of artwork and
174;
performance and
131, 133, 136, 265;
possibly fictional
45–46;
‘restoration’ and
99;
staging and
180;
of technological apparatus/format
150, 154;
unrecognizable through chemical changes
92, 93, 94, 107
Otero-Pailos, Jorge
3, 13;
Ethics of Dust
Hölling in conversation with
255–71.
Owen, Stephen
26
ownership
9, 138
Ozouf, Mona
53
‘Ozymandias’ (Shelley, 1818)
17
Paik, Nam June
147, 152
Painting for the wind (Ono, 1961)
37
paintings
25, 54, 76, 175;
anachronistic materials in painting-over
101;
in art documentaries
196–97, 201;
changing identity of paintings
68;
chemical changes in paint over time
92;
cleaning of
99;
materials used by de Kooning
245–48;
medieval materials and practices
12;
modernist
3;
presentation and perception of
144;
presentation in the Louvre
192, 192;
stratigraphy of superimposed materials in
87;
synthetic paints from DuPont
242–43
Painting to be stepped on (Ono, 1960)
37
Palais d’Orsay (Paris, 1810)
38
Palladio, Andrea
33
Panthéon (Paris)
53
Parker, Claire
197
Parker, Cornelia
38
Parker, Ray
247
parodies
50
Parthenon, in Athens
44, 70;
blame for ruination of
47;
ideological visions imposed on
53–54;
material transitions of
257;
replicas of
32, 50
Parthenon frieze (Elgin Marbles)
26, 27, 54, 257
Partisan Review
243, 244
Paul, Christiane
155, 163
Pearson, Mike
119, 131, 135
Peeters, Henk
50
Peirce, C. S.
75
Pentecost Island, Vanuatu
37
performance
3, 9, 11, 142, 216;
Abstract Expressionism as proto-performance art
236–37;
aesthetic of disappearance and
121;
anti-materialism of
49;
curatorial dilemmas and
51;
delegated
136–37;
different approaches to preservation of
117;
documentation and
122–23, 126;
in films of Abstract Expressionist artists at work
238;
fluid identities of works
68;
longevity of
36;
‘material multiplicity’ and
118;
modern dance
265;
multimedia
11;
ontology of preserved ensembles
175;
remediation and
127;
as viral ontology
125, 137
performance studies
117, 136
permanence
1, 2, 9;
durability; ephemerality
curatorial
21–22;
idealization of
225;
permanent collections
117;
as semblance of immortality
21.
Phelan, Peggy
120–21
Phidias
26
Philadelphia Museum of Art
22
Phillips, Joanna
147
philology
214
Picasso, Pablo
38, 39, 40, 236
Piero della Francesca
19
Pierres vives, Les (film, dir. Marzelle, 1952)
186, 194, 200–201, 202
Pinoncelli, Pierre
40
Piranesi, Giovanni Battista
38, 44, 50, 100–101
Pissing pug (Gardega, 2017)
42
Pittsburgh Plate Glass Co. (now Pittsburgh Paints)
244
Pius II, Pope
217
Plant, John
123, 128
Plato
7
Plywood: material of the modern world (Victoria and Albert Museum, 2017)
103–4
Podany, Jerry
22
poetry
25, 28, 45, 50, 54
Pollock, Jackson
13, 36, 240, 242, 248, 249;
employed by Works Progress Administration
239;
film of artist at work
238;
misleading documentation about
241–45, 245
Pollock-Krasner House and Study Center
244
Pomaro, Gabriella
218
Portland Vase (Roman cameo glass)
99
Portuguese churches, eighteenth-century
88–89, 89
post-structuralism
216
post-studio practices
168
potlatch creations, Amerindian
29
Power of making, The (Victoria and Albert Museum exhibition, 2012)
84–85
Praxiteles
103
“Preface to the poems composed at the Orchid Pavilion” (Wang Xizhi, AD 363)
45
preservation
8, 48, 149;
architectural
255;
ensembles as processual artworks and
179;
of installation art
167–69;
media migration and
49;
objects worthy of
264;
of performance art
136;
reinterpretation and
128;
as self-conserving enterprise
21;
variability and
127;
visibility of
169–70, 182
process
3, 29, 71, 73, 75, 210, 271;
anti-establishment artists and
118;
change of architectural forms
68;
conservation as
100;
correlation of material and process
12;
curatorial
119;
of decay
256;
decision-making
169, 170, 179, 180, 182, 231;
demolition as creative process
39;
of digitization
228;
disclosure of selection process
179;
evanescence and
34;
of installation
161;
knowledge building
177;
of material degradation
168;
material object and
175, 256;
of meaning-making
10, 75, 169;
paradigm shift from product to
236, 237;
of performative documentation
125;
preserved physical traces of
8;
process-based art
11, 170, 176–77;
remediation
127–30, 135;
removed and concealed traces of
7;
of sculpture casting
7, 103;
studio practice and
238;
work-in-process adaptations
72, 172
processual works
2, 51, 169, 180, 257;
culture–nature transitions
30;
installation art and
170;
performance and
118;
preservation issues and
179
property rights, in artworks
34.
authorship
Proust, Marcel
43, 44
pseudomorphs
92, 94
Pugin, Augustus W. N.
66
Pye, Elisabeth
10, 12
Pyrography (Peeters, 2005), remake of
50
Radcliffe, Ann
22
Ragaglia, Letizia
40
Ragghianti, Carlo
198
Rancière, Jacques
182n30
Rape of Europa (Titian, 1562)
32
Raphael
21
Rauschenberg, Robert
39
Ray, Man
37–38
Real, William
122
Rebentisch, Juliane
155n36
reception history
71
reconstruction
70, 95, 99
recursion, structural principle of
174
recycling
31
Reinhardt, Ad
238, 239
reinterpretation
125, 129, 135;
material culture approach to
137;
material genealogies of works and
127–28;
preservation through
128, 137
relics
18, 24;
in borderlands
46–47;
desecration of
47;
fragmented
26;
in kinetic environment
131;
Native American
43;
removal of
41
rematerialization
129, 263
Rembrandt van Rijn
70, 96, 201, 263
remediation
11, 52, 119, 127, 129.
Adam on St Agnes’ Eve
Renaissance
19, 25, 41;
materials used in paintings
92;
radical transformation in poetry of
28
Rennie, John
41
repatriation
29, 43
repetition
32, 128, 136, 182;
as embodied form of archiving
131;
as form of documentation
125;
recursion principle
174
replication
31–33, 50
representation
7, 121, 129
reproduction
190–91, 200
repurposing
127
Resnais, Alain
198
restoration
5n5, 10, 11, 99;
of medieval churches in England
64, 66, 71–72;
proscription of decay and
24
Rethinking curating. Art after new media (Graham and Cook, 2010)
143n3
reverse engineering
88
Riegl, Alois
24
Rilke, Rainer Maria
18
Rinehart, Richard
48, 127
Rivera, Diego
39
Robertson, Frances
161
Rockefeller, Nelson
39
Rogala, Dawn
12–13
Rogers, Samuel
32
Roman dagger sheath (Chester, UK)
92, 93, 94, 95
Rome, city of
44, 45, 47, 50
Roms, Heike
126
Røros (Norway), World Heritage site in
31
Rose, Barbara
243, 244
Rosenberg, Harold
237, 248
Rosetta Stone
98
Roth, Dieter
37, 172n12
Rothko, Mark
154, 239
Rowley, John
134
Royal Academy (London)
103
Rubens, Peter Paul
32
Rubens et son temps (film, dir. Huyghe, 1937)
196–97, 202, 203
Ruskin, John
21, 23, 71, 72, 74, 75
Ryckmans, Pierre
46
Saaze, Vivian van
163
St Clair, William
53
Salles, Georges
187, 188, 195, 200
Salter, Guy
85
Salt itinerary (Azguime, 1999–2006)
52
Sanblasiana, in Cod. 490 (Lucca)
212
Sandler, Irving
248
sand paintings: Navajo
36;
Swept away (Mangrum, 2012)
38
sand sculptures, Japanese
25, 37
San Francisco Museum of Modern Art (SFMoMA)
39, 154
Schäffler, Anna
11–12
Schenk, Stephan
158
Schiaparelli, Luigi
223
Schlegel, Friedrich von
26
Schneider, Rebecca
125
Schrödinger’s cat, in relation to art
50
Schum, Gerry
159n46
science
10, 79, 86;
historians of science
6, 210;
investigation of materials and making
86–91;
as separate culture from humanities
84
Scott, George Gilbert
66
screenings
117, 145
sculpture
25, 54, 87–88, 175;
bronze in lost-wax casting
103;
casting process of
7;
cleaning of
99;
fragmented remnants and
26, 27;
video sculptures
147, 153
Secrets des chefs-d’œuvre, Les (RTF television series, 1959)
195
Sections of a happy moment (Claerbout, 2007)
156, 158, 159, 160, 161
Seeing double (Guggenheim Museum, 2004)
154
Sélestat, Bibliothèque humaniste (Ms. 10)
228
‘Self Unseeing, The’ (Hardy)
64–68
semiotics
75
senses, decay of
18
Serra, Richard
40
Shafrazi, Tony
40–41
Shakespeare, William
28, 68–70, 86
Shalem, Avinoam
231
Shanks, Michael
131
Shelley, Percy Bysshe
26
Shiff, Richard
237, 238
Shōsō-in opening (Nara, Japan)
36
signification, cultural
8, 10
Silent Explosion. Ivor Davies and destruction in art [Cardiff, 1915–1916] (Davies)
34, 118–19, 123, 126
Siqueiros, David Alfaro
239, 242–43
Sistine Chapel, renovation of (1990s)
34
site-specificity
27, 42
smart phones
107
Smith, Pamela H.
210
Snow, C. P.
84
software, future development of
150
Sons and lovers (Lawrence)
72
Sophilos
100
Sort of a commercial for an ice bag (Oldenburg, 1970)
52
soul/spirit versus body
7
sound
18, 52, 129, 199;
black-box projection setups and
145;
missing sound in video
151;
in Mixed Reality (MR) environments
232;
pre-recorded
123, 129;
sound effects
119;
synchronised sound and light environments
129–30, 131, 132;
in temporal montage
135
specialists
2, 89, 94;
knowledge of
6;
scientific investigation of materials and
86, 88
spectatorship
128.
audiences
Speer, Albert
48
Sphinx
24–25
Staffordshire hoard
88
staging
1, 146, 158, 180
standardization of error, in scholarship
240.
myth, art-historical
Stedelijk Museum Amsterdam
36, 154
Steinbeck, John
21
Stella, Frank
236
stemma (‘family tree’), of artisanal manuals
214, 215
Sterrett, Jill
154–55
stewardship
5, 21, 33.
curation
Stieglitz, Alfred
40
Stoker, Bram
23
storage
127, 168, 228
studio practices
237, 238, 240;
of de Kooning
246–47, 248;
of Pollock
244, 248
Sutton Hoo burial assemblage
91, 96
Swept away (Mangrum, 2012)
38
Szeemann, Harald
159n46
Tang Taizong, Emperor
45
Tate Britain
123
Tate Modern
50
technicians
11, 135;
Claerbout’s work and
142, 149, 150, 156, 161;
remediated environments and
119, 127;
restorers as
48
technology
89, 90, 103, 160;
obsolescence and
23–24, 142;
video display and playback
142, 149, 151, 152, 162
television
147, 195, 198
Tempest, The (Shakespeare)
17
Terry, Quinlan
20
Tess of the d’Urbervilles (Hardy)
64, 66
Theater of Disappearance (Villar Rojas, 2017)
31
Thek, Paul
172n12
Thèmes d’inspiration (film, dir. Dekeukeleire)
197
Thevenot, Jean
201
Thirty pieces of silver (Parker, 1988–1989)
38
Thoreau, Henry David
50
Thornton, Nicholas
120
3-D printers
37
Tilted arc (Serra, 1981)
40
time/temporality
1, 11, 170, 175;
media art; memory; performance; transience
authorial intent and
34–35;
changing meanings and
230;
decay of senses and objects
18;
emotion and threat of the past
65;
fragments as evidence of struggle with
26;
geological and cosmic
13;
knowledge of the past
19;
location/locale and
42, 43;
materiality and
4, 216–17;
materialization of
256;
objects’ temporal dimension
256–57;
reality of temporal existence
266;
recovery of the past
10, 67;
spatial quality of
265–66;
temporal duration
225;
trajectory of performance work over time
126;
transitional objects and
261–62.
Tinguely, Jean
36, 52
Titian
32
Tobey, Mark
239
Tobin, Steve
42
Total art matchbox (Vautier, 1968)
118
Tottori Sand Museum (Japan)
25, 36–37
Townshend, Pete
39
Trademarks (Acconci, 1970)
122
Traherne, Thomas
25–26
transience
2, 10, 49;
ambivalent reactions to
18;
as curatorial dilemma
37–41;
embrace of
25;
future preparation and
37;
inevitability of
18–19
transitions/transformations
2, 255–56;
anchored through time
9;
between culture and nature
30;
musealisation and
8;
temporal
257–58;
transitional objects
3, 13, 258–62, 264, 265, 267
Treasures from the Wreck of the Unbelievable (Hirst, 2017)
31
Trinity Root (Tobin, 2005)
42
Troemel, Brad
37
Tubb, Kathryn
43–44
Turn of the Screw (James, 1898)
23
TV Garden (Paik, 1974)
152
‘Two cultures’ lecture (Snow, 1959)
84
Twombly, Cy
38
ultraviolet radiation
94
U-matic format
150
U’mista Cultural Centre (Canada)
29
under-drawings
102
UNESCO
43, 186, 189;
art documentaries and
198;
museums program
191;
traveling exhibitions promoted by
195
Unmarked. The politics of performance (Phelan, 1993)
121
Untitled (Judd, 1967)
50
Userhet, coffin of
104–5
Vandeveire, Bram
158
Van Moppes, Maurice
186, 200
variability
118, 137, 162;
reconstruction; reinterpretation
preservation of artworks and
127;
of video medium
155, 162, 163.
Variable Media Approach/Questionnaire
126–27, 149, 160n49
Vasulka, Steina and Woody
147
Vautier, Ben
118
Venice Biennale
31, 172, 267
Venus de Milo sculpture
192
Vermeer, Jan
50
Verne, Henri
187, 191, 192–94, 201
Veronese, Paolo
33
VHS cassettes/recorders
124, 144, 150
Victoria and Albert Museum (London)
84, 103, 267, 270
video art, presentation of
3, 10, 11, 142–43;
Vietnam, 1967, near Duc Pho
changeability of the medium and
145, 164;
framing of intention and
162–64;
as installation
154–56;
roles of artist, curator, and conservator
145–51;
situation and performance
143–45;
video as immaterial medium
144;
video image and frame
152–54.
Videocompany
160
Vietnam, 1967, near Duc Pho (reconstruction after Hiromichi Mine) (Claerbout, 2001)
143, 151, 161;
Claerbout’s technical instructions for presentation of
146–51;
in Kunstmuseum St. Gallen (2007)
, 156, 157;
picture frame (parergon) and
152–53;
at Wiels, Belgium (2007)
, 157
Villar Rojas, Adrián
31
Visbal, Kristen
42
visual art
7, 174
Visual Artists Rights Act [VARA] (United States, 1990)
34
visual culture
137, 162
Vostell, Wolf
147
wabi-sabi aesthetic
25, 27
Walker, Susan
102
Wallach, Alan
189
Wang Dong Ling
52, 53
Wang Xizhi
45–46
Warhol, Andy
35
Wedgwood, Josiah
32
Westminster Hall
267
Wharton, Glenn
30, 36, 53, 163
Where shall we go dancing tonight? (2015)
40
white cube, as customary gallery setting
43, 145
Whitney Museum of American Art
51
The Who (rock band)
39
Winged Victory of Samothrace
192
Winnicott, Donald
259, 260
Woman with child on the seashore (Picasso, 1921)
38
Works Progress Administration (WPA)
239
World Heritage sites
31
Wuyou Garden (Ming dynasty China)
46
X-radiography
68, 87, 92, 93
X-ray fluorescence spectrometry
92
Xu Bing
36, 53
Yourcenar, Marguerite
27, 31
Zalasiewicz, Jan
28
Zooniverse
86