Theory and Practice in the Conservation of Modern and Contemporary Art

This volume, based on the Hildesheim symposium Theory and Practice in the Conservation of Modern and Contemporary Art, examines the theoretical, ethical, and aesthetic foundations of conserving contemporary artworks. Contributors explore whether new conservation frameworks are needed to address the conceptual and material complexities of modern art, drawing from historical theories while adapting them to current cultural contexts. Featuring interviews with artists and collectors, the book highlights the essential role of artist intent in shaping contemporary conservation strategies.

The papers in this volume, from the Hildesheim symposium, Theory and Practice in the Conservation of Modern and Contemporary Art: Reflections on the Roots and the Perspectives, confront the theoretical foundation and the ethical and aesthetical principles of the conservation of modern and contemporary art, testing the limits and possibilities of the development of established positions and seeking new challenges. The authors tackle the crucial question – whether there should be specific theoretical, ethical and aesthetical guidelines for the conservation and restoration of modern and contemporary art – by starting from important historical theories and seeing how these might be adapted to meet the demands of contemporary society in dealing with modern artworks and all the multiform cultural manifestations of today. Since the preservation of the concepts and ideas of contemporary art as well as the conservation or substitution of materials requires a highly sophisticated knowledge of the artist’s intentions, a most important voice in this context – that of the artist – is found in the interviews with several contemporary artists and collectors assembled in the appendices. Published in association with the Hornemann Institute.

Preface by Martin Thren, president of HAWK

Foreword by Angela Weyer, director of the Hornemann Institute

Introduction

Ursula Schadler-Saub

Theoretical principles

The artwork that became a symbol of itself: reflections on the conservation of modern art

Salvador Munoz Vinas

Media art and the limits of established ethics of restoration

Cornelia Weyer

On a new conceptual framework for the preservation of the heritage of modern and contemporary art

Iwona Szmelter

Alois Riegl's Denkmalswerte: a decision chart model for modern and contemporary art conservation?

Michael von der Goltz

Conservation of modern and contemporary art: what remains of Cesare Brandi's Teoria del restauro?

Ursula Schadler-Saub

Conserving modern and contemporary art: reflections on theory and practice in Italy

Francesca Valentini

Theory and practice

Reflections on the fate of modern murals: values that influence treatment - treatments that influence values

Isabelle Brajer

Theory and practice of the preservation of modern and contemporary art: complex tangible and intangible heritage

Iwona Szmelter

Some thoughts on the changing presentation and preservation of modern and postmodern art

Andreas Kuhne and Lisa Kirch

From wall paintings to ephemeral installations: the Munich artist groups SPUR, Geflecht and Kollektiv Herzogstrasse

Ursula Schadler-Saub

Appendix 1: selection of interviews with artists

Hans Matthaus Bachmayer

Heiko Herrmann

Heino Naujoks

Thomas Niggl

Ranebach

Helmut Rieger

Armin Saub and Heinz Weld

Appendix 2: selection of interviews with art collectors, gallery owners and art critics

Susanne (daughter of the art patron and collector Willi Bleicher)

Michael Hauck (former company art representative)

Klaus Lea (gallery owner)

Dr. Fraucke Schmidt-Sibeth and Dr. Hans Schmidt-Sibeth (art collectors)

Dr. Hanne Weskott (art critic and art historian)

Dr. Dietrich and Bettina Winkhaus (art collectors)

List of contributors,

Preface by Martin Thren, president of HAWK

Foreword by Angela Weyer, director of the Hornemann Institute

Introduction

Ursula Schädler-Saub

Theoretical principles

The artwork that became a symbol of itself: reflections on the conservation of modern art

Salvador Muñoz Viñas

Media art and the limits of established ethics of restoration

Cornelia Weyer

On a new conceptual framework for the preservation of the heritage of modern and contemporary art

Iwona Szmelter

Alois Riegl's Denkmalswerte: a decision chart model for modern and contemporary art conservation?

Michael von der Goltz

Conservation of modern and contemporary art: what remains of Cesare Brandi's Teoria del restauro?

Ursula Schädler-Saub

Conserving modern and contemporary art: reflections on theory and practice in Italy

Francesca Valentini

Theory and practice

Reflections on the fate of modern murals: values that influence treatment - treatments that influence values

Isabelle Brajer

Theory and practice of the preservation of modern and contemporary art: complex tangible and intangible heritage

Iwona Szmelter

Some thoughts on the changing presentation and preservation of modern and postmodern art

Andreas Kühne and Lisa Kirch

From wall paintings to ephemeral installations: the Munich artist groups SPUR, Geflecht and Kollektiv Herzogstrasse

Ursula Schädler-Saub

Appendix 1: selection of interviews with artists

Hans Matthäus Bachmayer

Heiko Herrmann

Heino Naujoks

Thomas Niggl

Rânebach

Helmut Rieger

Armin Saub and Heinz Weld

Appendix 2: selection of interviews with art collectors, gallery owners and art critics

Susanne (daughter of the art patron and collector Willi Bleicher)

Michael Hauck (former company art representative)

Klaus Lea (gallery owner)

Dr. Fraucke Schmidt-Sibeth and Dr. Hans Schmidt-Sibeth (art collectors)

Dr. Hanne Weskott (art critic and art historian)

Dr. Dietrich and Bettina Winkhaus (art collectors)

List of contributors

• Edited by Ursula Schädler-Saub
• Edited by Angela Weyer

"...I applaud the results of this project. The book provides thoughtful analysis of traditional conservation theory and its failure to fully address today's artistic production. It represents a much-needed movement towards constructing a new theory for the care/conservation/restoration/preservation/informational documentation that is already taking place in the field." Studies in Conservation 57(1) (January 2012) 61-62 "This publication should be essential reading not only for the 'contemporary art conservator' but also for anyone involved or interested in the care of cultural heritage. Despite the ambitious subject matter the book is easy to read from cover to cover conveying a holistic understanding of conservation theories and practices. This publication goes beyond asking 'Should there be specific theoretical, ethical and aesthetical guidelines for the conservation and restoration of modern and contemporary art?' It is that guide!" ICON News 30 (September 2010) 26
—

This publication should be essential reading not only for the 'contemporary art conservator' but also for anyone involved or interested in the care of cultural heritage. Despite the ambitious subject matter the book is easy to read from cover to cover conveying a holistic understanding of conservation theories and practices. This publication goes beyond asking 'Should there be specific theoretical, ethical and aesthetical guidelines for the conservation and restoration of modern and contemporary art?' It is that guide!

—

...I applaud the results of this project. The book provides thoughtful analysis of traditional conservation theory and its failure to fully address today's artistic production. It represents a much-needed movement towards constructing a new theory for the care/conservation/restoration/preservation/informational documentation that is already taking place in the field.

—