Opinto-opas

Objective

The course will contain multiple project-type modules.

The main aim of the course is to give the student a broader view to the problematic areas in conservation of modern and contemporary art.
The course also aims to develop problem-solving skills which are part of conservation of modern and contemporary art.

The objective is also to point out the importance of the working life connections as part of solving these issues.

The aim of the course module Conservation of Modern and Contemporary Art is to introduce the student to the elements, concepts, philosophy and materials (especially plastics / synthetic materials) in modern and contemporary art. Students are also introduced to the existing documentation methods and preventive conservation in modern and contemporary art.

Content

During the course module Conservation of Modern and Contemporary Art, the student will get the basic introduction into modern and contemporary art through theory and practical case-study based conservation work, including suitable documentation techniques. Work is often performed in smaller groups.

The artist interview, documentation and ethics in modern and contemporary art are part of the course (data and condition registration models).

The course also includes visits to the storage areas and conservation studios of the museums with modern and contemporary art collections as well as possible other visits.

Location and time

Autumn term 2019, Department of Conservation studies at the Metropolia UAS

Materials

Literature given by lecturer(s) as well as delivered lecture materials (if any)
Reading as a must: (Reading, as introduction to the course):
• Arthur C. Danto, "Looking at the Future Looking at the Present as Past", Kirjasta Mortality - Immortality, The Legacy of 20th Century Art; Ed. M.A. Corzo, The Getty Conservation Institute (1999), pp.3-12
• “The Decision- making Model for the Conservation and Restoration of Modern and Contemporary Art”. Foundation for the Conservation of Modern Art / Netherlands Institute for Cultural Heritage.
• Concept scenario. The artists´ interview www.incca.org/files/pdf/resources/concept_scenario__artists_interviews_icn.pdf
Literature:
• “Inside Installations – Theory and practice in the care of complex artworks” (Amsterdam University Press)
• “Modern Art: Who Cares?” (Foundation for the Conservation of Modern Art/ SBMK)
• Chiantore, Oscar and Rava, Antonio, 2013. Conserving Contemporary Art: Issues, Methods, Materials, and Research. A GCI Publication.
• Conserving Outdoor Painted Sculpture. Proceedings from the interim meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC, Kröller-Müller Museum, Otterlo, the Netherlands, June 4-5, 2013. Edited by Lydia Beerkens and Tom Learner (Getty Publications)
• Corzo, Miguel Angel (toim.) Mortality Immortality? The Legacy of 20th Century Art. Los Angeles: The Getty Conservation Institute.
• Ephemeral Monuments: History and Conservation of Installation Art. Edited by Barbara Ferriani and Marina Pugliese. 2013
• Florian, Mary-Lou E., Kronkright, Dale Paul & Norton, Ruth E. 1990: The Conservation of Artefacts Made from Plant Materials. Los Angeles: Getty Conservation Institute.
• Frasco, Lizzie: The Contingency of Conservation: Changing Methodology and Theoretical Issues in Conserving Ephemeral Contemporary Artworks with Special Reference to Installation Art., University of Pennsylvania,
• Hermens, Emma & Fiske, Tina (toim.) Art, Conservation and Authenticities. Material, Concept, Context. Lontoo: Archetype Publications Ltd. Sivut 3–12.
• Incredible Industry: preserving the evidence of industrial society. Edited by Morten Ryhl-Svendsen; Karen Borchersen; Winnie Odder. NKF Nordisk Konservator Forbund Danmark Danmark 25-27 May 2009.
• MANCUSI-UNGARO, Carol 2005. Original Intent: The Artist’s Voice. Hummelen, IJsbrand & Sillé, Dionne (toim.): Modern Art: Who Cares? An Interdisciplinary Research Project and an International Symposium on the Conservation of Modern and Contemporary art. Lontoo: Archetype Publications Ltd. Sivut 392–393.
• MoMA (Museum of Modern Art, New York) 2014. Art Terms. Arte Povera [verkkosivu] http://www.moma.org/collection/theme.php?theme_id=10454
• Modern Paints Uncovered. Edited by Thomas J. S. Learner, Patricia Smithen, Jay W. Krueger, and Michael R. Schilling; 2008
• MUÑOZ VIÑAS, Salvador 2010. The Artwork that became a Symbol of Itself: Reflections on the Conservation of Modern Art. Schädler-Saub, Ursula & Weyer, Angela (toim.) Theory and Practice in the Conservation of Modern and Contemporary art. Reflections on the Roots and the Perspectives. Lontoo: Archetype Publications Ltd. Sivut 9–20.
• NURMINEN, Siukku 2009. Taideteosten korvattavuus nykytaiteessa. Opinnäytetyö (YAMK). Helsinki: Metropolia Ammattikorkeakoulu. Luettavissa osoitteessa (luettu 26.3.2014)
• SCHEIDEMANN, Christian 2005. Men at Work: The Significance of Material in the Collaboration between Artist and Fabricator in the 1960’s and 1970’s. Hummelen, IJsbrand & Sillé, Dionne (toim.): Modern Art: Who Cares? An Interdisciplinary Research Project and an International Symposium on the Conservation of Modern and Contemporary art. Lontoo: Archetype Publications Ltd. Sivut 242–246.
• SCHEIDEMANN, Christian 2009. Authenticity: how to get there? Myös https://vimeo.com/14603693
• Shashoua, Yvonne: Conservation of Plastics-materials science, degradation and conservation. Butterworth-Heinemann, Oxford. 2008. 300 pp. ISBN:978-0-7506-6495-0
• STOKES SIMS, Lowery 2010. Dead or Alive: Material, Surface, Residue, and Pattern. D’Alton, Martina (toim.) Dead or Alive. New York: Museum of Arts and Design. Sivut 111–125.
Articles from the book “Modern Art: Who Cares?” (Foundation for the Conservation of Modern Art/ SBMK)
• STURMAN, Shelley 2005. Necessary Dialogue: The Artist as Partner in Conservation. Hummelen, IJsbrand & Sillé, Dionne (toim.): Modern Art: Who Cares? An Interdisciplinary Research Project and an International Symposium on the Conservation of Modern and Contemporary art. Lontoo: Archetype Publications Ltd. Sivut 393–396.
• VAN DE WETERING, Ernst 2005. Conservation-Restoration Ethics and the Problem of Modern Art. Hummelen, IJsbrand & Sillé, Dionne (toim.): Modern Art: Who Cares? An Interdisciplinary Research Project and an International Symposium on the Conservation of Modern and Contemporary art. Lontoo: Archetype Publications Ltd. Sivut 247–249.
Modern Filling Materials:
Snijders, Evelyne, The treatment of a polyurethane rigid foam floor piece by Ger van Elk: a study in the conservation of plastics (ICOM-CC Lisbon 2011, PDF digital copy)
Workshop Matte Paint:
Article composed of excerpts from the publication Matte Paint, a bibliographic supplement to Art and Archaeology Technical Abstracts, Volume 30, 1993: "Matte Paint, its History and Technology, Analysis, Properties, and Conservation Treatment, With Special Emphasis on Ethnographic Objects", WAAC Newsletter, Vol 18, Nr 2 may 1996
LINKS (Always chek if the link still works!):
Preserving the Legacy of 20th-Century Art. By Mildred Constantine
http://www.getty.edu/conservation/publications_resources/newsletters/13_2/feature1.html
POPART (Preservation Of Plastic ARTefacts in museum collections) hyvät sivut, videoluentoja ja PDF
http://popart-highlights.mnhn.fr/index.html
ICOM CC Modern Materials and Contemporary Art Working Group web page
http://www.icom-cc.org/32/working-groups/modern-materials-and-contemporary-art-/
Variable media network (paljon erilaista materiaalia, mm case studies)
http://variablemedia.net/
Forging the Future is an alliance dedicated to building tools to help rescue digital culture from oblivion.
http://forging-the-future.net/
Media Art
http://www.tate.org.uk/about/projects/matters-media-art
Conservation and documentation methods of Media Art Heritage
http://www.docam.ca/
Modern Paints (Getty Conservation Institute sivuilta)
http://www.getty.edu/conservation/our_projects/science/modpaints/modpaints_publications.html
http://www.getty.edu/conservation/our_projects/science/modpaints/index.html
Outdoor Sculpture
http://www.getty.edu/conservation/our_projects/science/outdoor/index.html
Link to INCCA archives . You need to register there! : http://archive-org.com/org/i/incca.org/
INCCA videos Contemporary Art: Who Cares? : https://vimeo.com/user4617721/videos/page:2/sort:date
INCCA links from the Getty Institute pages
http://www.getty.edu/conservation/publications_resources/newsletters/24_2/incca.html

Teaching methods

Lectures, documentation (written and photographic) and material analysis of the object under treatment, practical work, supervised by the lecturer as well as independent practical work, independent work with indicated course literature

Employer connections

Objects to be conserved will be obtained from museum collections or different institutions with collections through already existing cooperation with the work field. Some lectures will be given by conservators or other museum professionals working in the field

Exam schedules

At the end of the study course there is an exam / written assignment

Completion alternatives

Only in specific occasions. Specific tasks based on literature or practical hands on work given by the lecturer responsible for the course

Student workload

Weekly work load for a student per 1,5 credit point is 40 hours from which approximately 20 hours is contact teaching and the rest is indicated either for independent work with the literature or independent practical work

Content scheduling

The course will mainly consist of lectures, documentation of objects (photography, analytical photography, digital and written documentation) and practical conservation of objects. In addition students are required to work with the literature related to the course subject as well as perform a written assignment

Further information

During the course students are expected to read the indicated literature and each student will be given a written assignment on a subject chosen by student/indicated by the lecturer. The course will be additionally supported by another module (about 3 credits, Modern Materials and Industrial Heritage) from where Modern materials (Plastics), related to the history of plastics and their identification (laboratory work) is taught in English. Visits to some museums and other specifically chosen places related to course subjects will be also conducted.

Evaluation scale

0-5

Assessment criteria, satisfactory (1)

The student has often been absent from the teaching sessions. Activity during the teaching sessions and rehearsals has been unsatisfactory. The student has problems in acting as a group member. The capacity to formulate relevant problems associated with the conservation of modern and contemporary art is limited and the student has problems to apply theoretical studies to practical work. The reasoning in the rehearsal tasks is weak and the student has many gaps in his/her knowledge.
The student does not work independently and needs a lot of further guidance from the teacher. The student has not given enough attention to the subject, and he/she does not have a clear overall understanding of the subject.

Assessment criteria, good (3)

The student has taken part in all teaching sessions and projects and his/her activity on the course has been good. The student acts flexibly as a group member.
The studies have proceeded consistently. The student is able to understand the basic topics related to conservation of modern and contemporary art and is able to apply the theoretical studies to practical work. The reasoning of the rehearsal tasks is valid and the student understands the causes and effects of one's choices in the tasks.
The student works independently but there is still some need for further guidance from the teacher. The student has given enough attention for the subject and has an overall understanding of the subject.

Assessment criteria, excellent (5)

The student has achieved the course objectives fully. The student has taken actively and constructively part in the teaching and the project. The student’s actions enhance the group activities.
The student masters the topics related to conservation of modern and contemporary art and its prerequisites, and is able to apply theoretical studies to practical work. The reasoning in the rehearsal tasks is professional and the student can validate the causes and effects of his/her choices.
The student works independently. The student masters the overall subject in both theory and practice.

Assessment criteria, approved/failed

The student has often been absent from the teaching sessions. Activity during the teaching sessions and rehearsals has been unsatisfactory. The student has problems in acting as a group member. The capacity to formulate relevant problems associated with the conservation of modern and contemporary art is limited and the student has problems to apply theoretical studies to practical work. The reasoning in the rehearsal tasks is weak and the student has many gaps in his/her knowledge.
The student does not work independently and needs a lot of further guidance from the teacher. The student has not given enough attention to the subject, and he/she does not have a clear overall understanding of the subject.

Assessment methods and criteria

Total evaluation is based on to following evaluation parts:
Attendance, lectures 30%
Documentation of the actual work (material analysis, conservation plan, conservation report) 30%
Practical and written assignments 40%
Evaluation is based on student´s participation at the course as well as on evaluation of practical work and specific written assignment. Each student is graded, based on his/her current level of knowledge and skills and how these will develop during the study course.

Qualifications

Previous professional conservation studies of your own specialty, Chemistry and Pigments

Further information

Partly independent work and reading appointed literature is compulsory. During the course an artist´s interview will be conducted if possible and the obtained material will be edited.