Conservation of Contemporary Art

Introduction to the Volume.- Part I Theorizing Conservation as a Reflective Practice.- Artworks in Art Museums.- Doing Ethics in Practice: SBMK Platform Meetings.- Part II The Identity of the Art Object.- The Enfolding Object of Conservation: Artwork Identity, Authenticity, and Documentation.- When Old Was New: Rethinking Traditional and Contemporary Art and Their Paradigms of Care.- Languages of Conservation: A Comparison between Internet-based Art and Built Heritage.- No Longer Artwork.-  Part III Professional Roles and Identities: Conservators, Curators, and Artists.- Visible Issues. Insights into the Professional Identity of the Conservator.- Conceptual Art and Conservation.- Reinstalling Thomas Hirschhorn's Doppelgarage (2002): Bridging Gaps between Theory, Practice and Emotion in the Preservation of Installation Artworks.- The Increasing Role of Artists' Estates in the Preservation of Contemporary Art.-Part IV Documentation  and Decision-making in Theory and Practice.- Documenting hybrid mixed media art forms: the role of the audience.- Sharing Knowledge in Art Conservation: From Repository Building to Research Publishing.- Collections of (An)archives: Towards a New Perspective on Institutional Collecting of Contemporary Art and the Object of Conservation.-  Decision-Making for the Conservation and Presentation of Thermoelectronic Chewing Gum (1970), a Political Environment by Wolf Vostell.- Part V The Role of Research in the Art Museum.- The Living Process of Conserving Performance: Theory and Practice in the Conservation of Performance-based Artworks at Tate.-  Integrating Front-of-House with Behind-the-Scenes Practice in Contemporary Art Conservation.- Is Trust Enforceable? The Conservation of Contemporary Artworks from a Socio-legal Perspective.- Making Time.

Renée van de Vall is emeritus professor of Art & Media at Maastricht University. Her research focuses on the phenomenology of spectatorship in contemporary art, on processes of globalization of contemporary art and media, and on conservation theory and ethics in the context of contemporary art. She was project leader of various research projects, most recently (2016-2019) of the Marie Sklodowska-Curie Innovative Training Network on New Approaches in the Conservation of Contemporary Art (NACCA).

Vivian van Saaze is associate professor of Conservation Theory and Museum Studies at Maastricht University and senior specialist in Modern and Contemporary Art at the Cultural Heritage Agency of the Netherlands (RCE). She is involved in several collaborative research projects and acted as interim project leader of the Marie Sklodowska-Curie Innovative Training Network on New Approaches in the Conservation of Contemporary Art (NACCA).