Titlebook: Conservation of Contemporary Art; Bridging the Gap Bet Renée van de Vall,Vivian van Saaze Book‘‘‘‘‘‘‘‘ 2024 The Editor(s) (if applicable) a

果仁

Anesthesia and Robotic-Assisted Surgery,ion. Through this, I aim at offering ways of engaging with objects whose changing artwork properties have been, for different reasons, regarded as impaired by their hosting institutions. I focus on what I call a “complex object family” formed by different entities of artist Naum Gabo’s ., 1927–1937.

能量守恒

万神殿

油膏

Building a Simple Sequential Processum practice the documentation is often secondary when compared to physical objects and undervalued within the hierarchy of museum priorities. This essay traces emergent institutional attempts to link, both conceptually and practically, museum collections and collection-related documentation. Its aim

Glossy

Introduction to the Volume,earch field consisted primarily of conservation professionals working in or with museums and other heritage organizations. In those years, the condition of many experimental artworks dating from the 1960s and 1970s in museum collections became a concern, while conservators were often at a loss as to

平项山

Mingle

终止

Archipelago

When Old Was New: Rethinking Traditional and Contemporary Art and Their Paradigms of Caren approaches, needs examination. Immateriality and mutability, two qualities considered to be unique to contemporary artworks of unconventional object ontology, are also features of old objects and artefacts, especially when considered in their original contexts. The chapter argues that the perceive