Object–Event–Performance – Art, Materiality, and Continuity Since the 1960s

Hanna B. Hölling

$107.95

Hardback

Not in-store but you can order this
How long will it take?

Availability Information

We source books from suppliers in Australia and overseas. For books we don't currently have in stock, the time it takes to get them from our suppliers can vary widely - from a few days to a few months - so we check each book with each supplier to determine the expected time it will take to be supplied to us.

We then advise you accordingly. If the time taken to get any book is too long for you, you can let us know and we will cancel or adjust your order, and refund as required.

To find out the anticipated arrival time for specific items prior to ordering, please contact us by phone or email:

Phone +61 2 9264 3111, or 1800 4 BOOKS (1800 4 26657) if outside Sydney:
option 1 Abbey's Bookshop (Crime, History, Science, Kids & more) • info@abbeys.com.au
option 2 Language Book Centre (ESL & Foreign Languages) • language@abbeys.com.au
option 3 Galaxy Bookshop (Sci-fi, Fantasy, Romance, Graphic Novels) • sf@galaxybooks.com.au

QTY:

English

Bard Graduate Center, Exhibitions Department
19 August 2022

Conservation, restoration & care of artworks; Art & design styles: Conceptual art

Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms—such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components—that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.

This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object—Event—Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators.

By: Hanna B. Hölling
Imprint: Bard Graduate Center, Exhibitions Department
Country of Publication: United States
Dimensions: Height: 233mm, Width: 158mm, Spine: 29mm
Weight: 674g
ISBN: 9781941792223
ISBN 10: 1941792227
Pages: 360
Publication Date: 19 August 2022
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

Hanna B. Hölling is lecturer in the history of art and material studies in the Department of History of Art, University College London. She is also research professor at the University of the Arts in Bern, Switzerland.

Reviews for Object–Event–Performance – Art, Materiality, and Continuity Since the 1960s

Object-Event-Performance lays out several tantalizing observations on the ways that art since the 1960s increasingly challenged the traditional values found in art and conservation. . . . The volume is ambitious and informative, and the approach particularly germane to the artistic practices that are predicated upon live performance, variously conceived, with elements captured in ways difficult to preserve or transfer. It is a valuable contribution to conversations that continue to be explored within the field of conservation. -- Joyce Tsai, University of Iowa This collection is promising for its conception of conservation as a 'participative practice' that alters as much as conserves an object or a work and for its emphasis on the dynamic changeability of art's materialities. It is also promising for the ways that it attempts to speak across audiences who are often segregated into either practitioners, scholars, curators, or conservators. -- Rebecca Schneider, Brown University