Conceptual Art and Conservation

Abstract

AbstractThis chapter addresses the function of a “conservation research approach” in the study of conceptual art in combination with the role of the curator’s expertise, advocating an autoethnographic approach in relation to contemporary art conservation as a function of museum practice. This approach is exemplified by means of the author’s personal testimonies of encounters with artworks by John Baldessari and Ger van Elk. These accounts help to provide a better understanding of the shaping of an artwork’s physical form in various contexts, while also laying bare the conservator’s personal bias as revealing traits of the profession. In addition, histories of works by Joseph Kosuth, Lawrence Weiner and Sol LeWitt are used to develop the argument that although conceptual artists set out to dematerialize the object in art, they chose their materials and techniques carefully to underline their ideas.