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Articles

Version Control: Mark Rothko’s Harvard Murals through the Lens of the Documentation Model for Time-Based Media Art

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Pages 92-104 | Received 22 Jan 2020, Accepted 31 Mar 2021, Published online: 05 Aug 2021

References

  • Bethell, John T. 1988. “Damaged Goods.” Harvard Magazine, July-August.
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  • Cohn, Marjorie, ed. 1988. Mark Rothko's Harvard Murals. Cambridge, Mass: Center for Conservation and Technical Studies, Harvard University Art Museums.
  • DOCAM (Documentation and Conservation of the Media Arts Heritage). n.d. Accessed February 19, 2021. https://docam.ca/en/documentation-model.html.
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  • Harvard Art Museums. 2015b. “Terry Winters on Mark Rothko’s Harvard Murals.” https://vimeo.com/133748854.
  • Hölling, Hanna. 2017. “Lost to Museums? Changing Media, Their Worlds, and Performance.” Museum History Journal 10 (1): 97–111.
  • Heydenreich, Gunnar, Martina Pfenninger, Ulrike Baumgart, Reinhard Bek, Maike Grün, Ulrich Lang, Barbara Sommermeyer, Thomas Zirlewagen, Craig Gordo. Inside Installations Documentation Model – 2IDM. 2007. Accessed February 19, 2021. https://inside-installations.sbmk.nl/research/detail.model01.html.
  • Goldstein, Brian. 2003. “Where’s Rothko” The Harvard Crimson, November 21.
  • Gottlieb, Adolph, and Mark Rothko. 1943. “A Letter From Mark Rothko and Adolph Gottlieb to the Art Editor of the New York Times.” New York Times, June 7.
  • Kimmelman, Michael. 1988. “Mark Rothko's Harvard Murals Are Irreparably Faded by Sun.” New York Times, August 8.
  • Laurenson, Pip. 2006. “Authenticity, Change and Loss in the Conservation of Time-Based Media Installations.” Tate Papers 6.
  • Light Repairs: A Roundtable on the Restoration of Mark Rothko's Harvard Murals. 2015. Artforum International 53 (10): 290–380.
  • López-Remiro, Miguel, ed. 2006. Writings on art: Mark Rothko. New Haven: Yale University Press.
  • Mancusi-Ungaro, Carol. 1990. “The Rothko Chapel: Treatment of the Black-Form Triptychs.” Studies in Conservation 35 (Sup1): 134–137.
  • Matters in Media Art. n.d. Accessed February 19, 2021. http://mattersinmediaart.org/
  • McGuigan, Cathleen. 1988. “The Skeletons in the Closet: Harvard Unveils its Damaged Rothko Murals.” Newsweek 112 (7): 58.
  • Menand, Louis. 2015. “Watching them Turn off the Rothkos.” The New Yorker, April 1.
  • Moeller, Robert. 2015. “In the Spotlight, Harvard’s Rothkos Don’t Shine.” Hyperallergic.
  • MoMA (Museum of Modern Art) Archives. 1961. International Council and International Program Records, Series Folder I.A. 1169. The Museum of Modern Art Archives, New York.
  • Muñoz Viñas, Salvador. 2005. Contemporary Theory of Conservation. Oxford; Burlington, MA: Elsevier Butterworth-Heinemann.
  • Phillips, Joanna. 2015. “Reporting Iterations: A Documentation Model for Time-Based Media Art.” In Performing Documentation, Revista de História da Arte, edited by Gunnar Heydenreich, Rita Macedo, and Lucia Matos, 168–179. Lisbon: Instituto de Historia da Arte.
  • Shea, Andrea. 2014. “Harvard’s Famously Damaged Rothko Paintings ‘Restored’ with Light.” The ARTery, May 22.
  • Sheets, Hilarie. 2014. “A return for Rothko’s Harvard Murals.” The New York Times, October 23.
  • Standeven, Harriet A.L. 2008. “The History and Manufacture of Lithol Red, a Pigment Used by Mark Rothko in His Seagram and Harvard Murals of the 1950s and 1960s.” Tate Papers, (10), Np.
  • Stenger, Jens, Narayan Khandekar, Annie Wilker, Katya Kallsen, Dan Kirby, and Katherine Eremin. 2016a. “The Making of Mark Rothko's Harvard Murals.” Studies in Conservation 61 (6): 331–347.
  • Stenger, Jens, Narayan Khandekar, Ramesh Raskar, Santiago Cuellar, Ankit Mohan, and Rudolph Gschwind. 2016b. “Conservation of a Room: A Treatment Proposal for Mark Rothko's Harvard Murals.” Studies in Conservation 61 (6): 348–361.
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  • Rothko, Christopher. 2015. Mark Rothko: From the Inside Out. New Haven: Yale University Press.
  • van Saaze, Vivian. 2013. Installation art and the Museum: Presentation and Conservation of Changing Artworks. Amsterdam: Amsterdam University Press.
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  • Weiss, Jeffrey, ed. 1998. Mark Rothko. Washington, DC: National Gallery of Art.
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  • Further reading
  • Anfam, David. 1998. Mark Rothko, the Works on Canvas: Catalogue Raisonné. New Haven: Yale University Press. Washington DC: National Gallery of Art.
  • Ashton, Dore. 1983. About Rothko. New York: Oxford University Press.
  • Breslin, James. 1993. Mark Rothko: A Biography. Chicago: University of Chicago Press.
  • Clearwater, Bonnie. 2006. The Rothko Book. London: Tate. New York: Harry N. Abrams.
  • Hölling, Hanna. 2016. “The Aesthetics of Change: on the Relative Durations of the Impermanent and Critical Thinking in Conservation.” In Authenticity in Transition: Changing Practices in art Making and Conservation, edited by Erma Hermens and Frances Robertson. London: Archetype Publications.
  • Laurenson, Pip. 2011. “Vulnerabilities and Contingencies in the Conservation of Time-Based Media Works of Art.” Inside Installations: Theory and Practice in the Care of Complex Artworks. edited by Tatja Scholte and Glenn Wharton, 268. Amsterdam: Amsterdam University Press.
  • Paul, Christiane. 2012. “The Myth of Immateriality – Presenting new Media art.” Technoetic Arts 10 (F0020002): 167–172.
  • Phillips, Joanna. 2012. “Shifting Equipment Significance in Time-Based Media Art.” Electronic Media Review 1. Washington DC: 139–154.
  • Pugliese, Marina, Barbara Ferriani, and Antonio Rava. 2008. “Time, Originality and Materiality in Contemporary Art Conservation: The Theory of Restoration by Cesare Brandi, Between Tradition and Innovation.” 15th Triennial Conference, New Delhi September 22–26, 2008: Preprints (ICOM Committee for Conservation). Edited by Janet Brigland. ICOM Committee for Conservation, Paris, France. pp. 484–488.
  • Tate Gallery. 1987. Mark Rothko, 1903-1970. Millbank, London: Tate Gallery.

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