This template assumes a full gift between two parties. It can be adapted to situations where there is more than one Donee or if the gift is fractional. A contract between the seller of the work of art and the purchaser that controls the terms of sale. This template can be adapted for use in situations where there is more than one purchaser i. Before signing the contract, you will have information in hand about the work [refer to Pre-acquisition Guidelines checklist ]. You will already have considered the installation details, long-term preservation and exhibition requirements, future technological developments, as well as condition assessment.
At this moment you might also wish to secure a Copyright Licence between you, the new owner of the work and the Copyright Holder. Although the artist normally retains the copyright in the work, you may want to secure rights to produce images and copies of the work for a range of purposes from publicity to preservation. Two copies of each agreement document are sent to the Seller for signature. Each party should retain one fully signed original.
The work is catalogued and documented during this phase, and images are created for public release and for internal use. The artist may be interviewed after acquiring the work to answer remaining questions about future conservation and display. Technical and conceptual knowledge about the work is used to create a long-term conservation plan.
The media, display equipment, and sculptural components are packed and stored in archival housing in favorable environments for long-term preservation. Notify artist: All parties must be notified after completing the acquisition process, including the artist and vendor or donor. Acquiring Media Art. Templates Acquisition Guidelines Templates Post-acquisition. Pre-acquisition What information do I need to make a decision about a possible acquisition?
Tätigkeit an der FHNW
How do I anticipate the cost of owning this work? What master material and equipment should come with the acquisition? Prior to acquisition of a media artwork, the following steps may be taken by a curator or collector: What is it? What can and cannot be changed in the display? Can you physically display the work in your exhibition space? You also need to determine: Original master: Where is it?
- Battle for the Central Highlands: A Special Forces Story.
- PART I history, archaeology, aesthetics, archive: theoretical paths;
- Emotional Intelligence for Project Managers: The People Skills You Need to..!
- Baksheesh (Kati Hirschel, Book 2).
- Mechanics and symmetry. Reduction theory!
What is the format? Where does it reside? Who owns it? Who owns the copyright to the work? Acquire reference images that will facilitate the acquisition process stills or screen grabs, installation photo, exhibition copy, etc. Equipment Equipment What equipment is provided and what must be purchased and what are the costs? How specific is the equipment to the work — is this going to present challenges in the future?
What is the minimum level of technical expertise necessary? Dedicated equipment Dedicated equipment A particular item of equipment may be dedicated because it has been functionally or visibly modified or made by the artist or for the artist and is therefore irreplaceable. Non-dedicated equipment Non-dedicated equipment Although the artist may have specific requirements for display equipment, the equipment may be generic and widely available.
Installation specifications Installation specifications How large a space is required? Does the installation require construction of a specific space? What specialist skills are required to install and keep the work running? What are the costs of installation and operation of the work?
Review the installation specifications and determine if there is enough detailed information to properly install the work. An installation specifications template can be used as a starting point for the type of information you gather. Acquisition costs Acquisition costs Will the available format need to be migrated before acquisition? Will the cost of this be covered by the buyer or seller? Are there crating and transit costs? Will they be covered by the buyer or seller? Continuing costs Continuing costs Estimate lifetime and replaceability of physical components: are there consumable elements that must be continually replaced?
Can source code analysis directly benefit re-exhibition of software-based works of art? In this talk, Deena Engel will introduce concepts in software documentation as widely practiced in the IT field and show how this approach can be applied to software-based art. She will discuss the ways in which source code analysis can be applied to supplement traditional conservation documentation methodologies and practices.
She will also contextualize the value of source code analysis within the larger framework of curatorial and conservation concerns by examining a variety of case studies from New York City collections to answer these questions and illustrate the discussion. She teaches undergraduate computer science courses on web and database technologies, as well as courses for undergraduate and graduate students in the Digital Humanities and the Arts.
She also supervises undergraduate and graduate student research projects in the Digital Humanities and the Arts and collaborates on research on the conservation of software-based art. Prior to returning to academe, she ran a systems group in an international art auction house for nine years. This presentation addresses complex digital interactive artworks, including mechanical, electronic and digital systems, from an artist and educators point of view.
About us | ephemeral-spaces
Daniel Rozin will present case studies from his own practice with regard to the unique challenges in the course of creation and installation and will discuss this further in conversation with Christine Frohnert, sharing the approach of an artist with a conservator. Custom electronics, AV equipment and software packages are notorious for their inevitable obsolescence.
Kinetic and mechanical systems are subject to failure and need for maintenance. Working in this particular intersection of tools and disciplines presents many opportunities and challenges for artists and conservators alike. Where can we draw from this experience to foresee new challenges in conservation on the long run?
Daniel Rozin is an artist, educator and developer, working in the area of interactive digital art. As an interactive artist Rozin creates installations and sculptures that have the unique ability to change and respond to the presence and point of view of the viewer. In many cases the viewer becomes the contents of the piece and in others the viewer is invited to take an active role in the creation of the piece. Even though computers are often used in Rozin's work, they are seldom visible. Born in Jerusalem and trained as an industrial designer Rozin lives and works in New York.
His work has been exhibited widely with solo exhibitions in the US and internationally and featured in many publications. Christine Frohnert is a conservator of contemporary art. She completed her training as paintings and sculpture conservator in Germany in and consequently joined the conservation department of the Museum Ludwig, Cologne. She held the position of the Chief Conservator from Frohnert was the chair of the Electronic Media Group at the American Institute for Conservation and initiated the conference series 'TechFocus'.
Photo credit: Kate Lewis. What is the day to day work of a museum media conservator? What does treatment entail? What philosophical questions do we debate? Lewis holds an M. Peter Oleksik is Associate Media Conservator at the Museum of Modern Art MoMA where he has been working since to conserve the museum's vast time-based media collection across curatorial departments. Additionally, Oleksik regularly works with independent artists, filmmakers and musicians to preserve and provide access to their media collections. In addition to specializing in the conservation of software based artworks, he has steered the design, development, and management of the open source software that comprises the museum's Digital Repository.
Uris Center for Education. Guggenheim Museum, New York. Commissioned by the Solomon R.
Preserving and Exhibiting Media Art: Challenges and Perspectives
Guggenheim Foundation, in honor of Peter B. Lewis, Photo: Kristopher McKay. This lecture discusses the implementation of time-based media conservation as a new collection care activity in museum practice, and as a new specialty within the professional discipline of fine arts conservation. Applied to video, audio, film, slide, software and performance artworks from the Guggenheim collection, a range of conservation approaches and activities are presented that have been developed and implemented at the Guggenheim in recent years.
Topics addressed will cover the establishment of new conservation practices, the development of a new job profile, the navigation of institutional structures, the enhancement of collaborative workflows across departments, time-based media staffing and fundraising strategies, facilitation of collaborative research and development with partners inside and outside of the museum and integration of external specialist knowledge.
A special focus is given to the skills sets required from conservation professionals who practice time-based media conservation. Guggenheim Museum in New York, where she founded the first media art conservation lab in an US museum. In her 8 years at the Guggenheim, Phillips has developed and implemented new strategies for the preservation, reinstallation, and documentation of time-based media works. Phillips publishes and lectures on this topic internationally. Her latest research initiative explores the conservation of software-based art. She is a founding co-organizer and multiple host of the conference series TechFocus.
Please also note our activities related to curriculum development in Time-Based Media Art Conservation here. A graduate program at Bern University of the Arts. Teaching Conservation-Restoration. May 13th to 16th. Berlin, S. Zur Vereinnahmung komplexer digitaler Datensammlungen im Archivkontext. In: Straube, A; Schilke, S. Frankfurt nestor edition , S. In: Noordegraaf, J. Preserving and Exhibiting Media Art.
Challenges and Perspectives. Amsterdam: University Press, S. History and Technological Characteristics. Lurk, Tabea : History Re-Invented? Artistic work processes between past and present. In: Cohen, M. Tony Conrad - Doing the City. Urban Community Interventions. In: Archivar. In: Rundbrief Fotografie 19, 3 , S. In: Warda, J; Durant, F.
The Electronic Media Review. Washington DC, S.
Preserving And Exhibiting Media Art: Challenges And Perspectives
Requirements, Approaches and yet so much more to do. In: Robertson- von Trotha, C. In: Graber, H; Landwehr, D. Kultur digital. Basel: Merian, S.
Lurk, Tabea : Programmes as space for thoughts? Annotations to the origins of Swiss computer art, in: Visual Arts. In: Pande, A. Visual Arts.
Related Preserving and exhibiting media art : challenges and perspectives
Copyright 2019 - All Right Reserved