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It is with a certain sense of irony that I read these recent postings on
these works and the challenges of their preservation and conservation.

Why? I'm wrapping up an article for a certain US journal for art libraries,
trying to draw attention to these very kinds of works and their associated
problems. It's gone out for review twice now, because two of the three
reviewers in the first round couldn't wrap their heads around the fact that
such works were being created and collected.

I'm grateful for the journal editor's support and determination to get my
article in print. But the experience has left me wondering just who is
paying attention to these things (New Aesthetic? What's that? and why
should we care?) ...

Best to all,

Dennis

~~
If your first move is brilliant, you’re in trouble. You don’t really know
how to follow it; you’re frightened of ruining it. So, to make a mess is a
good beginning. — Brian Eno


On Wed, Jun 12, 2013 at 2:03 AM, Brian Degger <[log in to unmask]>wrote:

> Sarah and CRUMB,
> Hope you are enjoying ISEA13.
>
> Thanks for the article.
>
> The type of conservation problem are already here with bio-art and art
> based upon unstable/ food based media. And GMOarts are even more
> problematical.
> The artist neither want to use 'fake' food or to constantly renew the work.
>
> For a abstract in 2011
> http://die-neue-sammlung.de/event/?p=953&lang=en "Developing
> durable Foodstuffs for Contemporary Art
> Anna Comiotto | Marc Egger |  Caroline Forster | Agathe Jarczyk |  Isabelle
> Krieg |  George Steinmann | Markus Vaihinger |  Karin Wyss"
> *Abstract |* This paper provides an insight into a one-year research
> project for the development of treatments to stabilise foodstuff against
> chemical and biological decay. The research was carried out with a strong
> focus on interdisciplinary collaborations bringing together conservators,
> chemists, food-technologists and artists.
> Foodstuffs are widely used in contemporary art and have found their way
> into product and fashion design applications as well. Many food products
> are well known as a very ephemeral matter, attacked e.g. by enzymes, moulds
> and bugs and prone to shape and colour changes. The limited ageing
> stability can be welcomed by artists to demonstrate decay, as experienced
> e.g. by looking at rotting food, mould and beetles in artworks of Dieter
> Roth or Michael Blazy. Nobody regrets the foodstuff’s ephemerality as well,
> if nourishment is cooked and served by Rirkrit Tiravanija (“Untitled”,
> 1992) or consumed by Marina Abramović (“The Onion”, 1996). In contrast to
> this, the research project sets focus on artists, who aim to outsmart
> transience. They are looking for long-term stable food materials. Creating
> “fake food” or the need to continuously renew the work after spoilage, are
> not in accordance with their artistic statements.
>
>
> On Wed, Jun 12, 2013 at 12:00 AM, NEW-MEDIA-CURATING automatic digest
> system <[log in to unmask]> wrote:
>
> > There is 1 message totaling 17 lines in this issue.
> >
> > Topics of the day:
> >
> >   1. Future of digital art...
> >
> > ----------------------------------------------------------------------
> >
> > Date:    Tue, 11 Jun 2013 06:15:33 +0000
> > From:    Sarah Cook <[log in to unmask]>
> > Subject: Future of digital art...
> >
> > Dear Crumb
> >
> > This article was brought to my attention during a q&a here at ISEA in
> > Sydney .... Check the 63 comments too on this article about
> sustainability
> > of digital work ... Very telling.
> >
> >
> >
> >
> http://mobile.nytimes.com/2013/06/10/arts/design/whitney-saves-douglas-daviss-first-collaborative-sentence.html?from=homepage
> >
> >
> > Sent from my pocket.
> >
> > ------------------------------
> >
> > End of NEW-MEDIA-CURATING Digest - 10 Jun 2013 to 11 Jun 2013 (#2013-85)
> > ************************************************************************
> >
>
>
>
> --
> ----------------------------------------
> Brian Degger
> twitter: @drbrian
>
> http://makerspace.org.uk
> http://transitlab.org
> ----------------------------------------
>