As an artist you should consider the stability of the materials you use when creating your work.  Whilst all art works over time will require some conservation, is your work likely to have a very short life expectancy, and if so are you prepared to have it conserved or replicated?

 If the work is conserved or replicated by a conservator as opposed to yourself, are you still prepared to be acknowledged as the author of the work? In this section we consider the copyright issues that can arise when works of art are either conserved, restored or replicated when the original has been destroyed.

Conservation Questions

Ethical practices of art conservation have become a renewed subject of debate following publication of a pre-conservation image of Salvator Mundi, c1500, which was recently attributed to Leonardo da V… Continue Reading Conservation Questions

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The ICOM Code

A new series of professional development courses aimed at mid-career curators and museum professionals was recently launched by Whitechapel Gallery in partnership with the Art Fund. Under the portfoli… Continue Reading The ICOM Code

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Material Ephemerality

Works made from short-life materials used by modern and contemporary artists increasingly pose problems and challenges for those who handle or possess works: collectors, estates and foundations, conse… Continue Reading Material Ephemerality

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Artwork Liabilities

The marked deterioration of Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living, 1991 – the tiger shark in a vitrine of formaldehyde – was the subject of… Continue Reading Artwork Liabilities

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Conservation, Restoration and Replication of Modern Sculpture

Tate Modern will host a colloquium, Inherent Vice: the replica and its implications in Modern Sculpture, this month. With the support of by The Andrew W Mellon Foundation, 40 specialists from a range… Continue Reading Conservation, Restoration and Replication of Modern Sculpture

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