Books published by Bard Graduate Center, Exhibitions Department

A volume considering questions of conservation that arise with new artistic mediums and practices. Much of the artwork that rose to prominence in the second half of the twentieth century took on novel forms‿such as installation, performance, event, video, film, earthwork, and intermedia works with interactive and networked components‿that pose a new set of questions about what art actually is, both physically and conceptually. For conservators, this raises an existential challenge when considering what elements of these artworks can and should be preserved.   This provocative volume revisits the traditional notions of conservation and museum collecting that developed over the centuries to suit a conception of art as static, fixed, and permanent objects. Conservators and museums increasingly struggle with issues of conservation for works created from the mid-twentieth to the twenty-first century that are unstable over time. The contributors ask what it means to conserve artworks that fundamentally address and embody the notion of change and, through this questioning, guide us to reevaluate the meaning of art, of objects, and of materiality itself. Object‿Event‿Performance considers a selection of post-1960s artworks that have all been chosen for their instability, changeability, performance elements, and processes that pose questions about their relationship to conservation practices. This volume will be a welcome resource on contemporary conservation for art historians, scholars of dance and theater studies, curators, and conservators. Â

"First published in the United States of America by the University of Michigan Press, Ann Arbor, 2014"--Title page verso.

This volume collects a series of influential early twentieth-century essays on the role of museums

"The transition from roll to codex as the standard format of the book is one of the most culturally significant innovations of Late Antiquity. The Codex and Crafts in Late Antiquity examines surviving evidence in order to better understand how this transition took place. Placing the codex into the general cultural, religious, and technological context of Late Antiquity, the book examines the major types of codices--the wooden tablet codex, the single-quire codex and the multi-quire codex--in all their structural, technical, and decorative features. Georgios Boudalis argues that the codex was not an ingenious invention but rather an innovation that evolved using techniques already widely employed by artisans and craftspeople in the creation of everyday items such as socks, shoes, and baskets, revealing that the codex was a fascinating, yet practical, development"--