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(DNR) Do Not Resuscitate: The Materi...

Nixon, M. Abbott.

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(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art.

Record Type:	Electronic resources : Monograph/item
Title/Author:	(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art./
Author:	Nixon, M. Abbott.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	86 p.
Notes:	Source: Masters Abstracts International, Volume: 80-09.
Contained By:	Masters Abstracts International80-09.
Subject:	Art Criticism. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13427635
ISBN:	9780438945562

(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art.
Nixon, M. Abbott.

(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 86 p.

Source: Masters Abstracts International, Volume: 80-09.

Thesis (M.A.)--State University of New York at Buffalo, 2019.

This item must not be added to any third party search indexes.

This paper attempts to acknowledge that, beyond the decay all organic and inorganic materials are subject to, artworks have their own life and cessation of life cycle. This cycle, despite the fact that the sole practice of art conservators it is to prevent it, should be allowed to run its course. The artist intentions and the audiences understanding of reality should be treated with respect when an artwork damaged beyond repair undergoes a conservation treatment. Artworks undergo various types of damage and deterioration with varying levels of severity. There is no yard stick for the amount of alteration that deems an artwork retrievable nor is there a principle in place to expressly determine whether what the viewer is looking at is a conservators' ingenuity and skill or an artist's work or intentions. Through identifying various types of damage, responses to damage and the respect for an artist's intention, this text will compare the conception, duration and cessation various artworks, including Mark Rothko's Harvard Murals to that of the medical law. Having no precedent in the art world, a correlation will instead be drawn from outside it. This paper seeks to answer the questions: without the presence of the artist's explicit intentions, can an artwork be allowed to die, and what precedent can be followed in order the remove the stigma of losing an artwork to time. It is hoped this text will prove that a desire to have an object we are used to having should not surpass that reality that the object of value is no longer there.

ISBN: 9780438945562Subjects--Topical Terms:

637082
Art Criticism.

(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art.
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500 $a Publisher info.: Dissertation/Thesis.
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506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a This paper attempts to acknowledge that, beyond the decay all organic and inorganic materials are subject to, artworks have their own life and cessation of life cycle. This cycle, despite the fact that the sole practice of art conservators it is to prevent it, should be allowed to run its course. The artist intentions and the audiences understanding of reality should be treated with respect when an artwork damaged beyond repair undergoes a conservation treatment. Artworks undergo various types of damage and deterioration with varying levels of severity. There is no yard stick for the amount of alteration that deems an artwork retrievable nor is there a principle in place to expressly determine whether what the viewer is looking at is a conservators' ingenuity and skill or an artist's work or intentions. Through identifying various types of damage, responses to damage and the respect for an artist's intention, this text will compare the conception, duration and cessation various artworks, including Mark Rothko's Harvard Murals to that of the medical law. Having no precedent in the art world, a correlation will instead be drawn from outside it. This paper seeks to answer the questions: without the presence of the artist's explicit intentions, can an artwork be allowed to die, and what precedent can be followed in order the remove the stigma of losing an artwork to time. It is hoped this text will prove that a desire to have an object we are used to having should not surpass that reality that the object of value is no longer there.
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