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Abstract
This paper examines the preservation and curatorial approaches explored for the exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru – National Museum Wales (November 2015–March 2016). The collaboration between the artist, curator/researcher, and conservators is considered and the evolving and flexible way in which transient pieces were presented/re-presented is described. The paper offers a case study in the context of this exhibition and argues that regardless of whether it is in traditional media (such as painting) or as time-based media (unstable and open to interpretation), Davies' work challenges a perception of artworks as finished, single-authored objects
Original language | English |
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Pages (from-to) | 167-173 |
Number of pages | 7 |
Journal | Studies in Conservation |
Volume | 61 |
Issue number | sup2 |
DOIs | |
Publication status | Published - 19 Sept 2016 |
Keywords
- destruction in art
- post-war art
- exhibition
- museum case study
- behaviour-based conservation
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Dive into the research topics of 'Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art'. Together they form a unique fingerprint.Projects
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Do Networks Have Margins? Locating the Avant-garde of the 1960s: The Performance Works of Ivor Davies at Amgueddfa Cymru-National Museum Wales
Bodor, J.
01 Oct 2013 → 30 Sept 2016
Project: Externally funded research