JAIC 2001, Volume 40, Number 3, Article 6 (pp. 259 to 266)
JAIC online
Journal of the American Institute for Conservation
JAIC 2001, Volume 40, Number 3, Article 6 (pp. 259 to 266)

DEVELOPING STRATEGIES FOR THE CONSERVATION OF INSTALLATIONS INCORPORATING TIME-BASED MEDIA WITH REFERENCE TO GARY HILL'S BETWEEN CINEMA AND A HARD PLACE

PIP LAURENSON




REFERENCES

Ashley-Smith, J.1999. Risk assessment for object conservation.Woburn, Mass.: Butterworth-Heinemann.

Furlong, L.2000. A manner of speaking. In Gary Hill, ed. R.Morgan. Baltimore: Johns Hopkins University Press. 206–23.

Heidegger, M.1971. The nature of language. In On the way to language. New York: HarperCollins.

Hill, G.1993. Interview. In Gary Hill, ed. R.Morgan. Baltimore: Johns Hopkins University Press. 290–300.

Jones, D.1996. Personal communication. Dave Jones Design, Owego, N.Y., also at www.djdesign.com.

Laurenson, P.1999. The conservation and documentation of video art. In Modern art: Who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art, ed. I.Hummelen and D.Sillé. Amsterdam: Foundation for the Conservation of Modern Art and Netherlands Institute for Cultural Heritage. 263–71.

Morgan, R.2000. Gary Hill: Beyond the image. In Gary Hill, ed. R.Morgan. Baltimore: Johns Hopkins University Press. 1–14.

Viola, B.1995. Putting the whole back together: In conversation with Otto Neumaier and Alexander Puhringer, 1992. In Reasons for knocking at an empty house: Writings, 1973–1994. London: Thames and Hudson and Anthony d'Offay Gallery. 265–83.


AUTHOR INFORMATION

PIP LAURENSON is a sculpture conservator for electronic media and kinetic arts at Tate. She has a B.A. in philosophy from Kings College, London, and she completed the three-year conservation program at the City & Guilds of London Art School in 1992. She was the Henry Moore Foundation intern in the Sculpture Conservation Section of Tate from 1992 until 1994. She is an accredited member of the United Kingdom Institute for Conservation (UKIC). With the support of the New Art Trust and in conjunction with Tate, San Francisco Museum of Modern Art, and the Royal College of Art, she began a three-year research project into the care and conservation of time-based media in fall 2001. Address: Tate Collections Centre, 7–14 Mandela Way, London SE1 5FR, United Kingdom.


Copyright © 2001 American Institution for Conservation of Historic & Artistic Works