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 Sep 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

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