Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art

Emily O'reilly; Rose Miller; Judit Bodor

doi:10.1080/00393630.2016.1188250

Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art

Emily O'reilly, Rose Miller, Judit Bodor

Research output: Contribution to journal › Article › peer-review

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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
Pages (from-to)	167-173
Number of pages	7
Journal	Studies in Conservation
Volume	61
Issue number	sup2
Early online date	19 Sept 2016
DOIs	https://doi.org/10.1080/00393630.2016.1188250
Publication status	Published - 2016

Keywords

Destruction in art
Post-war art
Exhibition
Museum case study
Behaviour-based conservation

Access to Document

10.1080/00393630.2016.1188250

Author Accepted ManuscriptAccepted author manuscript, 676 KB

https://www.tandfonline.com/doi/full/10.1080/00393630.2016.1188250

1 Chapter
1 Other contribution

The “extended life” of performance: Curating 1960s “event-structured” art in the contemporary museum
Bodor, J., 24 Jul 2019, The explicit material: Inquiries on the intersection of academic, curatorial and conservation cultures. Holling, H. B., Bewer, F. G. & Ammann, K. (eds.). 1 ed. Leiden/Boston: Brill Academic Publishers, Vol. 1. p. 117-141 25 p. (Studies in art & materiality; vol. 1).
Research output: Chapter in Book/Report/Conference proceeding › Chapter
Exhibiting the Ivor Davies Destriction in Art Archive: an exploration of curating historical performance art in the Museum
Bodor, J., Roms, H. (Supervisor) & Yallop, J. (Supervisor), 2017, 314 p. Aberystwyth University.
Research output: Other contribution

1 Oral presentation

Exhibition Matters: Curatorial Challenges in Re-producing Ivor Davies’ Adam on St Agnes’ Eve
Bodor, J. (Speaker)
27 May 2016
Activity: Talk or presentation types › Oral presentation

Cite this

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title = "Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art",

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.",

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KW - Post-war art

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KW - Museum case study

KW - Behaviour-based conservation

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JO - Studies in Conservation

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ER -

Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art

Abstract

Keywords

Access to Document

Fingerprint

Research output

The “extended life” of performance: Curating 1960s “event-structured” art in the contemporary museum

Exhibiting the Ivor Davies Destriction in Art Archive: an exploration of curating historical performance art in the Museum

Activities

Exhibition Matters: Curatorial Challenges in Re-producing Ivor Davies’ Adam on St Agnes’ Eve

Cite this