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 | |
| Publication status | Published - 2016 |
Keywords
- Destruction in art
- Post-war art
- Exhibition
- Museum case study
- Behaviour-based conservation
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Cite this
O'reilly, E., Miller, R., & Bodor, J. (2016). Curation, conservation, and the artist in Silent Explosion: Ivor Davies and Destruction in Art. Studies in Conservation, 61(sup2), 167-173. https://doi.org/10.1080/00393630.2016.1188250