Physical object or variable, flexible, ephemeral and reproducible: the management and care of contemporary art collections in 2020

Abstract

This paper reflects on the central role that the idea of the artwork as a physical object has had on the development of traditional collection management practice, including documentation, conservation, storage and display. A review of the care requirements of artworks in non-traditional media, collected by the Art Gallery of New South Wales since the 1960s, demonstrates the ways in which traditional collection management practice fails to ensure the appropriate care of these works. While there is already significant research and knowledge in the area of the conservation of contemporary art, this is not always reflected in collection management practice. Taking into account recent discussions on the need for new approaches to conservation theory and ethics, Van de Vall (2009) and the possible merits of bespoke codes of ethics Ashley-Smith (2017) and Wharton (2018), this paper argues that the principles that underpin traditional collection management practice are too narrowly focused. It is proposed that a broader approach encompassing an understanding of the artwork as potentially variable, flexible, ephemeral and reproducible, is required to prompt museums to continually review systems and develop approaches that will ensure they can effectively manage these collections for the future.

Keywords:

• Art
• variable
• collection management
• conservation

Acknowledgements

The author wishes thank Asti Sherring, Lisa Catt and Jesmond Calleja.

Author Biography

Carolyn Murphy is the Head of Conservation at the Art Gallery of New South Wales. Carolyn’s research interests include investigating the ways in which museum and conservation practices impact artists and their works held in museum collections, with a particular interest in installation and time based artworks. Previously Carolyn has worked at several cultural institutions including the Museum of Contemporary Art, Sydney, the Canadian Conservation Institute and the Queensland Art Gallery. Carolyn undertook a Getty Fellowship at the Fine Arts Museums of San Francisco after completing a Bachelor of Applied Science in paper conservation at the University of Canberra. Carolyn has also completed a Bachelor of Arts majoring in History and Law and postgraduate qualifications in Museum Studies and Writing.

Notes

1 This understanding of collection management is widely practiced in museums in Australia, the United Kingdom, North America and Western Europe but the author acknowledges that other approaches to preserving culture also exist as noted in the Social Context section of this paper. See Clavir (2002) for a consideration of this subject in relation to First Nations cultures.

2 Images and further information about Tony Albert’s Headhunter can be found at AGNSW Collection online, https://www.artgallery.nsw.gov.au/collection/works/351.2007.a-llll/.

3 Images and further information about Ernesto Neto’s Just like drops in time, nothing can be found at AGNSW Collection online, https://www.artgallery.nsw.gov.au/collection/works/276.2002/.

4 Images and further information about Nam June Paik’s TV Cello can be found at AGNSW Collection online, https://www.artgallery.nsw.gov.au/collection/works/343.2011.a-c/.

5 A video clip of the performance can be found at the AGNSW Gallery Channel, https://www.artgallery.nsw.gov.au/channel/clip/235/.

6 Images and further information about Brook Andrew’s What’s left behind can be found at AGNSW collection online, https://www.artgallery.nsw.gov.au/collection/works/442.2018.1-156/ and at http://www.brookandrew.com/whats-left-behind/.

7 Artist collaborators for the 2018 Biennale of Sydney iteration were Rushdi Anwar, Shiraz Bayjoo, Mayun Kiki and Vered Snear, with some components in the display borrowed from the Museum of Applied Arts and Sciences.

8 Murphy and Treacy (2018, p. 83) discuss this issue in relation to Mike Parr’s the side I least like.

9 Murphy (2019b) discusses this issue in relation to Sara Hughes’ Torpedo, another variable and changeable installation work in the AGNSW collection.

10 See Lane and Wdowin-McGregor (2016) on the role played by Becky Hilton in the 2014 iteration of This is so contemporary at AGNSW.

11 Marcal (2017) and Lawson, Finbow and Marcal (2019) provide useful overviews of the research undertaken in this area to date.

12 Engagement with artists is an important element in managing contemporary art. This topic is not addressed directly in this paper. For useful discussions on this topic see Beerkens (2012) and Cotte, Tse and Inglis (2016).

13 The author acknowledges that this is just a brief summary of some of the issues associated with considering a work in its social context.

14 See the AGNSW Aboriginal and Torres Strait Islander engagement policy (2015) available at https://www.artgallery.nsw.gov.au/about-us/corporate-information/policy-documents/atsi-engagement/.

15 Toward a flexible future: managing time-based media artworks in collections Symposium and Workshop, 4–7 June 2019; Duration and Dimension. Australian Registrars Committee Conference, 3–5 October 2018.