Art/Care

	Visual art
Movements – 1990s – East Central Europe – Writers – Historians – Care – Museums – References. Art and culture, Contents, Index, About.

This page brings together resources on the conservation and care of modern and contemporary art. It originated as a collaborative effort within the NACCA research network and remains open to contributions.

Labs, initiatives, associations

• Artist Archives Initiative was founded at New York University to promote research and disseminate knowledge about the display and care of contemporary art. The initiative responds to a growing need for art world professionals and academic researchers to work with artists in building information resources to aid future exhibition and re-activation of their work. Resources: David Wojnarowicz Knowledge Base, Joan Jones Knowledge Base.

• ARTOBS: Art contemporain - obsolescence technologique. Est. 2006. Research department of C2RMF, Paris.

• Association of Moving Image Archivists (AMIA), a non-profit professional association established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, description, preservation, exhibition and use of moving image materials. Est. 1990 by representatives of over eighty American and Canadian film and television archives.

• Ateliergebouw (Atelier Building), Rijksmuseum, Amsterdam.

• BAVC Preservation. Video preservation & digitization, serving other non-profits, cultural heritage orgs, and artists since 1994. Department of Bay Area Video Coalition (BAVC).

• bwFLA, a platform on emulation as an online service. Hosted by U Freiburg. bwCloud.

• CoCARe PhD and Postdoc Network, network for conservation of contemporary art research. Est. 2010 as an INCCA initiative. Facebook.

• Collaborative Cataloging Japan (CCJ), international non-profit organization dedicated to preserving the legacy of Japanese experimental moving image produced from the 1950s through 1980s, including fine art on film and video, documentations of performance, independently produced documentaries, experimental animation and experimental television.

• Conservation Center for Art & Historic Artifacts, a nonprofit facility specializing in paper conservation, Philadelphia.

• Electronic Arts Intermix (EAI), New York City, est. 1971. Nonprofit organisation; distributes and preserves a major collection of recent and historical video works by artists. One of the leading organisations in the United States with regards to the production, exhibition, distribution and preservation of video art, and more recent also of digital art projects.

• Foundation for the Conservation of Contemporary Art (Stichting Behoud Moderne Kunst, SBMK) embarks on projects related to the conservation and care of contemporary visual art. Est. 1995 by a range of Dutch museums specialising in modern and contemporary art. A number of joint research projects with ICN.

• Getty Conservation Institute, Los Angeles.

• International Network for the Conservation of Contemporary Art (INCCA), est. 1999. A network that offers many resources including a database for members to share unpublished information about their conservation practices for contemporary artworks. Wharton 2009. RCE 2012. Brake-Baldock 2014.

• International Council of Museums - Committee for Conservation (ICOM-CC). Nongovernmental international organization of museums and museum professionals. Over 2600 members worldwide. Est. 1967.

• LIMA, Amsterdam. Platform for distribution, preservation and research of media art. Dir. Gaby Wijers. The Foundation LIMA was established in 2012 by experts from the Netherlands Media Art Institute (NIMk, discontinued as of 1 January 2013) dedicated to providing continued, long-term access to works of media art. LIMA provides digitisation and preservation services and permanent digital storage for media artworks by more than five hundred artists, including Marina Abramovic, the Vasulkas, Nan Hoover, Stansfield/Hooykaas, Servaas and Jan Fabre, and for more than fifteen collections, including those of the Kröller-Müller Museum, the Van Abbemuseum, and the Netherlands Cultural Heritage Agency (RCE).

• Lunder Conservation Center. Art conservation laboratories at the Smithsonian American Art Museum & National Portrait Gallery.

• Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH), research institute, Maastricht University. Led by Vivian van Saaze.

• Myriad, a nonprofit consulting firm that specializes in collections preservation and planning for small to mid-sized cultural organizations. Director: Frances Harrell.

• PACKED vzw has grown from a platform organisation for the archiving and preservation of audiovisual arts into a centre of expertise for digital cultural heritage.

• Preservation & Art – Media Archaeology Lab (PAMAL), Ecole Supérieure d’Art d’Avignon, founded 2013. Head: Emmanuel Guez.

• Resurrection Lab: Preservation and Public Access to Born-Digital Art, iMAL, Brussels, started 2014.

• Rhizome champions born-digital art and culture through commissions, exhibitions, scholarship, and digital preservation. Est. 1996. Since 2003, Rhizome has been an affiliate in residence at the New Museum of Contemporary Art in New York City.

• Stichting Restauratie Atelier Limburg (SRAL), Maastricht.

• Voices in Contemporary Art (VoCA). Originated as INCCA North America.

• Western Association for Art Conservation (WAAC), est. 1975.

• XFR Collective, partners with artists, activists, and community organizations to lower the barriers to preserving at-risk audiovisual media – especially unseen, unheard, or marginalized works – through digitization, screenings, educational workshops, and pop-up events. Est. 2014.

• Zentrum für Netzkunst (Center for Net Art) reconstructs, maintains and preserves net art and net culture. Est. 2019 in Berlin.

• labs and studios in art museums: Tate, SFMOMA, Guggenheim, MoMA [1], ...

Private

• Bek & Frohnert. Christine Frohnert and Reinhard Bek.
• Contemporary Conservation, New York.
• Plowden & Smith Conservation for Modern and Contemporary Art

National

• American Institute for Conservation (AIC), Washington DC, est. 1972. A national membership organisation of conservation professionals. Formerly American Institute for Conservation of Historic and Artistic Works. Annual meetings since 1973.
• Grupo Español IIC, Museo Nacional Centro de Arte Reina Sofía (GEIIC).
• Institut canadien de conservation / Canadian Conservation Institute (IIC/CCI), Ottawa, CA. [2]
• Institute for Conservation (Icon), London, est. 2005. A registered charity and the professional body for the conservation of cultural heritage. Represents nearly 3,000 individuals and organisations, mainly UK-based.
• Institute of Conservator-Restorers in Ireland (ICRI).
• Netherlands Institute for Conservation, Art and Science (NICAS), centered in the Ateliergebouw in Amsterdam. A research institute founded by the Netherlands Organisation for Scientific Research (NWO), the Rijksmuseum (RM), the Cultural Heritage Agency of the Netherlands (RCE), the Faculties of Humanities and Science of the University of Amsterdam (UvA) and the Delft University of Technology (TU Delft). [3]
• Restauratore Nederland: Dé vereniging op het gebied van restauratie en conservering.
• Rijksdienst voor het Cultureel Erfgoed (RCE, Cultural Heritage Agency of the Netherlands), Amersfoort (near Amsterdam), est. 1918. A Dutch heritage organisation working for the protection and conservation of National Heritage Sites.
• Verband der Restauratoren VDR (VDR - Association of Restorers, Germany), est. 2001.

Inactive and former initiatives

• Central Laboratory for Research of Objects of Art and Science, NL, est. 1963. One of the forerunners of ICN.

• Independent Media Arts Preservation (IMAP). Nonprofit service, education, and advocacy organization committed to the preservation of non-commercial electronic media. Grew from a New York-based consortium of arts organizations and individuals to a national resource for preservation training, information, and advocacy. Est. 1999, c/o Lehman College, Bronx, NYC.

• Ludwig Boltzmann Institute Media.Art.Research, closed down 2009.

• Netherlands Institute for Cultural Heritage (ICN). Became part of RCE in Jan 2011.

• Netherlands Media Art Institute (NIMK), supported media art in three core areas: presentation, research and conservation. Closed in Dec 2012.

more

[4] [5] [6] [7] [8]

Publications

Magazines, journals

• Studies in Conservation, ed. Chandra Reedy, London: IIC, since Oct 1952. Peer-reviewed academic journal. Published 8 times per year. Subscription access (Taylor & Francis). Publisher.
• Studies in Conservation Abstracts, later IIC Abstracts (1955-1965), vols. 1-5, IIC; later as Art and Archaeology Technical Abstracts (AATA), Institute of Fine Arts/New York University (1966-1983) and Getty Trust (subsequently by Getty Conservation Institute) from 1983 (or 1985?), became available online in 2002 (http://aata.getty.edu/NPS). Preceded by: Gettens; Utilson, Abstracts of Technical Studies in Art and Archaeology 1943-1952, Freer Gallery of Art Occasional Paper 2, Washington DC (1955).
• Journal of the American Institute for Conservation, Washington, DC: AIC, since 1960. Peer-reviewed academic journal. Published 4 times per year. Formerly as Bulletin of the American Institute for Conservation (1974-1976) and International Institute for Conservation of Historic and Artistic Works: Bulletin of the American Group (1960-1973). Subscription access (Taylor & Francis).
• Journal of the Institute of Conservation, ed. Jonathan Kemp, London: ICON, since 1977. Peer-reviewed academic journal. Published 3 times per year. Formerly as The Conservator, London: IIC UK Group, 1977-2008. Before The Conservator was established, reports of meetings of the IIC UK Group were typed, duplicated and distributed to members. Subscription access (Taylor & Francis). Publisher.
• Conservation Journal, London: V&A Museum, since 1991. Published once a year. Open Access.
• Technè: revue de Centre de recherche et de restauration des Musées de France (C2RMF), ed. Brigitte Bourgeois, Paris: C2RMF, since 1994. Published 2 times per year. Publisher. [9] Multilingual ((French),(English),(German),(Italian),(Spanish))
• Journal of Conservation and Museum Studies, London: Institute of Archaeology of UCL, since 1996. Peer-reviewed journal. Open Access. Published from 1996 to 2002, the journal was relaunched in 2011 in collaboration with the British Library. About journal.
• ArtMatters: International Journal for Technical Art History, ed. Erma Hermens, Glasgow: University of Glasgow, since 2002. Peer-reviewed journal. Published irregularly. Open Access.
• CeROArt: Conservation, exposition, restauration d'objets d'art, ed. Muriel Verbeeck-Boutin, since 2007. Webjournal. Published 2 times per year. Open Access.
• The Electronic Media Review, Washington, DC: AIC, since 2011. Published once every two years. Open Access. Each issue consists of proceedings from two preceding editions of the Electronic Media Group Session at the AIC Annual Meeting.
• VoCA Journal, ed. Robin Clark, New York: Voices in Contemporary Art, since 2015. Published 3 times per year. Open Access.
• ICAR: International Journal of Young Conservators and Restorers of Works of Art, ed. Anna Kowalik, Warsaw: Faculty of Conservation and Restoration of Works of Art, since 2017. Published once a year. Open Access.
• more

Defunct

• Reviews in Conservation, 2000-2010. Published once a year, later incorporated into Studies in Conservation. Publisher.
• E-Conservation Magazine, 2007-2012. Published twice a year (24 issues). Addressed all areas related to the conservation of cultural heritage.

more

• http://www.cool.conservation-us.org/byform/serials/

Bulletins, newsletters

• ICOM News, the International Council of Museums magazine, Paris: ICOM, 1948-. Three times a year. [10]
• IIC Newsletter (5/1952-), later as IIC Bulletin, from 2007 as News in Conservation (electronic, monthly). [11]
• Memoriav, since 1997.

Book series

• Readings in Conservation, Los Angeles: Getty Conservation Institute. Shop.
• art & document / documentation / archive / conservation, Dijon: Les Presses du réel. Published in French.
• Modern Art, London: Archetype.
• Series of publications by the Hornemann Institute, ed. Angela Weyer, Hildesheim: Hornemann Institute, since 2000.
• Problemi di conservazione e Restauro, Firenze: Edifir, since c.2000. Published in Italian.
• Digital curation and preservation, London: Facet Publishing, since c.2003.
• Conservación y restauración de bienes culturales, Sevilla: Athenaica, since 2018. Published in Spanish.

more: AIC, bwFLA, CoOL, ICOM, NDIIPP, NIMk, SBMK.

Monographs, journal issues, and catalogues

• Gantzert-Castrillo, Erich (ed.), Archiv für Techniken und Arbeitsmaterialien zeitgenössischer Künstler. Band 1, Wiesbaden: Harlekin Art, and Wiesbaden: Museum Wiesbaden, 1979, 110+[848] pp; repr., Stuttgart: Enke, 1996. Information collected from artists on their work and materials, incl. Baselitz, Immendorff, Klapheck, Kokoschka, Gerhard Richter, Christian Schad, Timm Ulrichs, Wolf Vostell, Paul Wunderlich, Dahmen, Lohse, Brehmer, Gerz, Rainer, Stenvert, Hauser, etc. (German)

• Althöfer, Heinz, Moderne Kunst: Handbuch der Konservierung, Düsseldorf: Schwann, 1980, 453 pp. (German)

• Althöfer, Heinz, et al., Die Kunst des zwanzigsten Jahrhunderts: Material, Technik, Restaurierung, 2 vols., Düsseldorf: Restaurierungszentrum der Landeshauptstadt Düsseldorf, 1983, 630 & 326 pp. (German)

• Althöfer, Heinz (ed.), Restaurierung moderner Malerei. Tendenzen, Material, Technik, Munich, 1985. (German)
  • Restauración de pintura contemporánea: tendencias, materiales, técnica, Madrid, 2003. (Spanish)

• Althöfer, Heinz, Il restauro delle opere d'arte moderne e contemporanee, ed. M. Cristina Mundici, trans. Massimo Tirotti and Reinhold Ferrari, Firenze: Nardini, 1991, 197 pp. Published on the occasion of Primo salone dell'Arte, del Restauro e della Conservazione, Ferrara, Sep 1991. (Italian)

• Boyle, Deirdre, Video Preservation: Securing the Future of the Past, New York: Media Alliance, 1993, 66 pp.

• Sillé, Dionne (ed.), The Conservation of Modern Art Project, Amsterdam: Stichting Behoud Moderne Kunst, 1996.

• Althöfer, Heinz, La radiologia per il restauro: delle opere moderne e contemporanee, trans. Francesco Paoli, Fiesole: Nardini, 1997, 214 pp. (Italian)

• Althöfer, Heinz, Il restauro delle opere d’arte moderne e contemporanee, ed. M. C. Mundici, Firenze, 1999. (Italian)

• Heuman, Jackie (ed.), Material Matters: The Conservation of Modern Sculpture, London: Tate Publishing, 1999, 128 pp. Collection of essays written by sculpture conservators at Tate about works that have recently received conservation treatment (Degas, Lord Leighton, Onslow Ford, Brancusi, Skeaping, Henry Moore, Allen Jones, Antony Gormley, Matthew Barney, Naum Gabo, Tony Cragg, Bill Viola and Gary Hill). Reviews: Cone, Sturman, McGrath.

• Muñoz-Viñas, Salvador, Teoría contemporánea de la restauración, Madrid: Síntesis, 2003. (Spanish)
  • Contemporary Theory of Conservation, Elsevier, 2005, xiii+239 pp. Reviews: Hidaka (City & Time, 2008), Pesme (Studies in Conservation, 2010).
  • Současná teorie konzervování, trans. Martina Poláková and Jaroslav J. Alt, Pardubice: Univerzita Pardubice, 2015, 174 pp. TOC. Review: Strnad (Sešit). (Czech)
  • Teoria contemporanea del restauro, Rome: Castelvecchi, 2017, 218 pp. (Italian)

• Depocas, Alain, Jon Ippolito, and Caitlin Jones (eds.), Permanence Through Change: The Variable Media Approach / L'Approche des médias variables: la permanence par le changement, New York: Solomon R. Guggenheim Museum, with Montreal: Daniel Langlois Foundation, 2003, 137 pp. Book website. [12] (English)/(French)

• Wijers, Gaby, Evert Rodrigo, and Ramon Coelho (eds.), De houdbaarheid van videokunst: Conservering van de Nederlandse videokunst collectie / The Sustainability of Video Art: Preservation of Dutch Video Art Collections, Amsterdam: Foundation for the Conservation of Modern Art, 2003, 167 pp. PDF (pt 1), PDF (pt 2), PDF (pt 3) (OA). [13]. Outcome of Preservation Video Art project.

• Waentig, Friederike, Kunststoffe in der Kunst: eine Studie unter konservatorischen Gesichtspunkten, Petersberg: Imhof, 2004, 383 pp.

• Plastics in Art: A Study from the Conservation Point of View, trans. Michael Scuffil, Petersberg: Imhof, 2008, 400 pp.

• Schinzel, Hiltrud, Touching Vision: Essays on Restoration Theory and the Perception of Art, Ghent: University of Ghent, and Brussels: VUB Brussels University Press, 2004, 262 pp. Publisher.

• Denslagen, Wim, Romantisch modernisme: nostalgie in de monumentenzorg, Amsterdam: Sun, 2004, 255 pp. (Dutch)
  • Romantic Modernism: Nostalgia in the World of Conservation, trans. Donald Gardner, Amsterdam: Amsterdam University Press, 2009, 264 pp. 

• Tien jaar SBMK, Amsterdam: SBMK, c.2005, 33 pp. (Dutch)

• Chiantore, Oscar, and Antonio Rava, Conservare l'arte contemporanea: problemi, metodi, materiali, ricerche, pref. Francesco Poli, Milan: Electa, 2005, 329 pp. Publisher. (Italian)
  • Conserving Contemporary Art: Issues, Methods, Materials, and Research, Los Angeles: Getty Conservation Institute, 2013, 327 pp. Publisher.

• Frieling, Rudolf, and Wulf Herzogenrath (eds.), 40jahrevideokunst.de – Teil 1. Digitales Erbe: Videokunst in Deutschland von 1963 bis heute, Ostfildern: Hatje Cantz, 2006, 399 pp. With DVD. Outcome of the 40 Jahre Video Kunst project. Publisher. [14] [15] [16] (German)
  • 40yearsvideoart.de – Part 1: Digital Heritage: Video Art in Germany from 1963 to the Present, Ostfildern: Hatje Cantz, 2006, 399 pp. With DVD. Publisher.

• Gorman, G.E., and Sydney J. Shep (eds.), Preservation Management for Libraries, Archives and Museums, London: Facet, 2006, 304 pp. Publisher.

• Techné 24: "Penser autrement l'art contemporain", Paris: Centre National de la Recherche Scientifique (C2RMF), Dec 2006, 91 pp. TOC. (French)

• Willisch, Susanne, and Bruno Heimberg (eds.), Joseph Beuys, Das Ende des 20. Jahrhunderts: die Umsetzung vom Haus der Kunst in die Pinakothek der Moderne München / Joseph Beuys, the end of the 20th century: the move from the Haus der Kunst to the Pinakothek der Moderne Munich, Munich: Doerner Institut & Schirmer/Mosel, 2007, 394 pp. TOC. (German)/(English)

• Schachter, Judith, and Stephen Brockmann (eds.), (Im)permanence: Cultures in/out of Time, Penn State University Press, 2008, 284 pp. Publisher.

• CeROArt 2: "Regards contemporains sur la restauration", ed. Muriel Verbeeck-Boutin, 2008.

• Shashoua, Yvonne, Conservation of Plastics: Materials Science, Degradation and Preservation, Oxford: Elsevier/Butterworth Heinemann, 2008. Google Books preview. Review: Smith (Studies in Conservation).

• Art press 2(12): "Arts technologiques: conservation et restauration / Media Arts Conservation and Restoration", Jan 2009. TOC, [17] (French)

• Llamas Pacheco, Rosario, Conservar y Restaurar el Arte Contemporáneo. Un campo abierto a la investigación, Valencia: UPV, 2009. Review: Ruíz de Arcaute Martínez (Ge-conservación 2009). (Spanish)

• Richmond, Alison, and Alison Bracker (eds.), Conservation: Principles, Dilemmas and Uncomfortable Truths, Elsevier, and Butterworth-Heinemann, with London: V&A Museum, 2009. Google Books preview. TOC. Excerpt. Review: Kapelouzou (CeROArt).

• Ferriani, Barbara, and Marina Pugliese (eds.), Monumenti effimeri. Storia e conservazione delle installazioni, intro. Germano Celant, Milan: Mondadori, 2009, 279 pp. TOC. (Italian)
  • Ephemeral Monuments: History and Conservation of Installation Art, intro. Germano Celant, Los Angeles: Getty Conservation Institute, 2013, 291 pp. Review: McConchie & Rolfe (ICON). Publisher. Google Books preview. TOC.

• Blase, Christoph, and Peter Weibel (eds.), Record again! 40JahreVideokunst.de Teil 2, Ostfildern: Hatje Cantz, 2010, 535 pp. With DVD. Outcome of the Record > Again! project. Publisher. [18] [19] (German)/(English)

• Dekker, Annet (ed.), Archive2020 – Sustainable Archiving of Born-Digital Cultural Content, Amsterdam: Virtueel Platform, 2010, 112 pp.

• deLahunta, Scott, and Bertha Bermúdez (eds.), RTRSRCH 2(2): "<Notation>", Amsterdam: Amsterdam School of the Arts, 2010, 44 pp. Special issue on the documentation, analysis, reconstruction and preservation of contemporary performance.

• Kirschenbaum, Matthew G., et al., Digital Forensics and Born-Digital Content in Cultural Heritage Collections, Council on Library and Information Resources, 2010, 93 pp. Report.

• Laforet, Anne, Le net art au musée. Stratégies de conservation des œuvres en ligne, Paris: Questions théoriques, 2011, 180 pp. Excerpt. Based on 2009 dissertation. [20] [21] (French)

• Scholte, Tatja, and Glenn Wharton (eds.), Inside Installations: Theory and Practice in the Care of Complex Artworks, Amsterdam: University of Amsterdam Press, 2011, 266 pp. Outcome of the Inside Installation project.

• Rotaeche González de Ubieta, Mikel, Conservación y restauración de materiales contemporáneos y nuevas tecnologías, Madrid: Síntesis, 2011, 302 pp. [22] (Spanish)

• Wharton, Glenn, The Painted King: Art, Authenticity, and Activism in Hawai'i, University of Hawai'i Press, 2012. Presents "a case for doing cultural work through conservation, using the community-based conservation of a sculpture of King Kamehameha I as a case study."

• Lavédrine, Bertrand, Alban Fournier, and Martin Graham (eds.), Preservation of Plastic Artefacts in Museum Collections, Paris: CTHS, 2012, 325 pp. Outcome of POPART project. PDF chapters (in respective website sections). Publisher. [23]

• Szmelter, Iwona (ed.), Innovative Approaches to the Complex Care of Contemporary Art, Warsaw: Academy of Fine Arts, and London: Archetype, 2012, 222 pp. Publisher. Foreword. Review: Mareaux (CeROArt).

• Beerkens, Lydia, Paulien 't Hoen, IJsbrand Hummelen, Vivian van Saaze, Tatja Scholte, Sanneke Stigter (eds.), The Artist Interview: For Conservation and Presentation of Contemporary Art: Guidelines and Practice, Heijningen: Jap Sam, 2012, 160 pp. Consists of two main parts: Guidelines: Practical Guide for the Artist Interview, and Practice: Case Examples of Artist Interviews. Based on the Artists Interviews project (1995-2002). Chapters online: Ger van Elk, Sjoerd Buisman, Henk Peeters, André Volten, Tom Claassen. Publisher. [24].

• Born-Digital Kunstwerken in Nederland, Amsterdam: Virtueel Platform, with DEN, SMBK and NIMk, 2012, PDF, PDF. Publisher. Co-publisher. (Dutch)

• Jadzińska, Monika, “Duże dzieło sztuki”. Sztuka Instalacji - autentyzm, zachowanie, konserwacja, Kraków: Universitas, 2012. Publisher. (Polish)

• Techné 37: "Conserver l'art contemporain à l'èrede l'obsolescence technologique", eds. Marie-Hélène Breuil and Cécile Dazord, Paris: C2RMF, 2013. TOC. (French)

• van Saaze, Vivian, Installation Art and the Museum: Presentation and Conservation of Changing Artworks, Amsterdam: University of Amsterdam Press, 2013, 226 pp, PDF. Based on 2009 PhD dissertation. Publisher.

• Dekker, Annet (ed.), Speculative Scenarios, or What Will Happen to Digital Art in the (Near) Future?, Eindhoven: Baltan Laboratories, 2013, 144 pp.

• Wysocka, Elżbieta, Wirtualne ciało sztuki. Ochrona i udostępnianie dzieł audiowizualnych [The Virtual Body of Art: Reflections on the Impossibility of Material Continuation], Warsaw: Narodowe Centrum Kultury, 2013, 488 pp. Based on 2012 PhD dissertation. Review: Hölling (VDR). (Polish)

• Hennermann, Célestine, and Scott deLahunta (eds.), Starting Points & Aspirations, Motion Bank/The Forsythe Company, 2013, 130 pp. [25]

• Montalbano, Letizia (ed.), Il futuro del contemporaneo: i cantieri del Master in Conservazione e Restauro delle opere d'arte contemporanee dell'Opificio delle Pietre Dure, Firenze: Edifir, 2013, 158 pp. TOC. (Italian)

• Buschmann, Renate, and Tiziana Caianiello (eds.), Medienkunst Installationen. Erhaltung und Präsentation. Konkretionen des Flüchtigen / Media Art Installations: Preservation and Presentation: Materializing the Ephemeral, Berlin: Dietrich Reimer, 2013, 327 pp. Outcome of the research project Materializing the Ephemeral (2007-2009). TOC. [26] (German),(English)

• Noordegraaf, Julia, et al. (eds.), Preserving and Exhibiting Media Art: Challenges and Perspectives, Amsterdam University Press, 2013, 428 pp. Outcome of the research project (2007-2010) between the Università degli studi di Udine, the University of Amsterdam, the Université Sorbonne Nouvelle-Paris 3, and the Ruhr-Universität Bochum that was sponsored by a grant from the Erasmus Lifelong Learning program.

• Llamas, Rosario, De lo material a lo esencial en la conservación del arte contemporáneo, o cómo conservar los valores del bien simbólico, Valencia: Low Cost Books, 2013, 209 pp. [27]. (Spanish)

• XFR STN, New York: New Museum of Contemporary Art, 2013, 8 pp, IA. Catalogue. With essays and contributions by Liza Bear, Johanna Burton, Andrea Callard, Michael Carter, COLAB, Mitch Corber, Coleen Fitzgibbon, Walter Forsberg, Ilona Granet, Tessa Hughes-Freeland, Mary McFerran, Sherry Miller-Hocking, Terry Mohre, Alan W. Moore, Joseph Nechvatal, Benjamin Olin, Pam Payne, Cara Perlman, Lisa Phillips, Walter Robinson, Philip Sanders & Joanna Dawe, Franz Vila, Nick Zedd, and Neil Zusman.

• Abram, Sarah (ed.), Il restauro del design / The Conservation of Design, Umberto Allemandi & C., Torino, 2014. [28]. (Italian)

• Rinehart, Richard, and Jon Ippolito, Re-Collection: Art, New Media, and Social Memory, MIT Press, 2014, xii+297 pp. TOC. Book website. Reviews: Dekker (Comp Cult), Leggett (Leonardo), Maxwell (LSE Rev Books), Ecker (Future Anterior), Schafer (Afterimage), Lohmeyer (Hyperrhiz), Krewani (MedienWissenschaft), O'Rourke.

• Llamas, Rosario, Arte contemporáneo y restauración. O cómo investigar entre lo material, lo esencial y lo simbólico, Madrid: Tecnos, 2014, 384 pp. Review: Royo Naranjo (PH). (Spanish)

• Martore, Paolo (ed.), Tra memoria e oblio: percorsi nella conservazione dell’arte contemporanea, intro. Massimo Carboni, Rome: Castelvecchi, 2014, 373 pp. (Italian)

• Interventions 4(1): "Object Lesson: Conservation and Contemporary Art", eds. Anna Linehan and Béatrice Grenier, New York: Columbia University, Jan 2015.

• Neural 51: "Revive", Summer 2015. Interviews with Jon Ippolito, Ben Fido-Radin, Olia Lialina, Constant Dullaart, Graham Dunning, Museo dell’Informatica Funzionante (Working IT museum); essays by Anne Laforet, Annet Dekker, Paul Prudence, a.o.. Publisher.

• Hölling, Hanna B., Revisions: Zen for Film, New York: Bard Graduate Center, 2015, xii+100 pp. Catalogue accompanying the exhibition at Bard Graduate Center. Publisher. Reviews: Bodor (JCS), Weiss (Artforum), Higgins (Critical Inquiry).

• Smite, Rasa, Raitis Smits, and Lev Manovich (eds.), Data Drift: Archiving Media and Data Art in the 21st Century, Riga: RIXC, 2015, 296 pp.

• Media-N 11(1): "The Aesthetics of Erasure", eds. Paul Benzon and Sarah Sweeney, New Media Caucus, 2015.

• Sanchez-Pons, M., Shank, W., Fuster-Lopez, L. (eds). Conservation Issues in Modern and Contemporary Murals, Newcastle upon Tyne: Cambridge Scholars Publishing, 2015, 555 pp. Publisher. (English)/(Spanish)

• Berns, Roy S., Color Science and the Visual Arts: A Guide for Conservators, Curators, and the Curious, Getty Publications (GCI), 2016, 208 pp. Publisher.

• Rotaeche González de Ubieta, Mikel, Museología y conservación de arte contemporáneo: un conflicto de intereses, Gijón: Trea, 2016, 336 pp. Publisher. (Spanish)

• Grau, Oliver, Wendy Coones, and Viola Rühse (eds.), Museum and Archive on the Move: Changing Cultural Institutions in the Digital Era, Berlin/Boston: De Gruyter, 2017, 316 pp. Publisher.

• Hölling, Hanna B., Paik's Virtual Archive: Time, Change, and Materiality in Media Art, University of California Press, 2017, 264 pp. Based on 2013 dissertation. Reviews: Zinman (Art Bulletin), Gyorody (CAA Reviews), Keyes (Visual Studies), Kemp (J Am Inst Conservation). [29] Google preview.

• Getty Research Journal 9(S1): "Examining Pollock: Essays Inspired by the Mural Research Project", eds. Andrew Perchuk and Tom Learner, Los Angeles: Getty Research Institute, 2017, vii+199 pp. Subscription access.

• Büscher, Barbara, and Franz Anton Cramer (eds.), Fluid Access: Archiving Performance-Based Arts, Hildesheim: Olms, 2017, 325 pp. TOC. Publisher. Editors.

• Camporesi, Enrico, Futurs de l’obsolescence: essai sur la restauration du film d’artiste, Sesto San Giovanni: Mimésis, 2018, 327 pp. (French)

• Dekker, Annet, Collecting and Conserving Net Art: Moving beyond Conventional Methods, London/New York: Routledge, 2018, x+192 pp. Based on 2014 dissertation.

• Connor, Michael, Aria Dean, and Dragan Espenschied (eds.), The Art Happens Here: Net Art Anthology, New York: Rhizome, 2019, 400 pp. Outcome of Net Art Anthology project.

• Insite Magazine: “Time Based Media”, Melbourne: AMaGA Victoria, Aug-Oct 2019. Special magazine issue. Publisher.

• Sommermeyer, Barbara, and Claartje van Haaften (eds.), Back to the Future! Im Karussell der Diakonservierung / Riding the Slide Carousel, Bielefeld: Kerber, and Hamburg: Hamburger Kunsthalle, Sep 2019, 192 pp. Outcome of the Project for the Conservation of Slide-based Artworks. Publisher. (German)/(English)

• Jadzińska, Monika, Tworzywa sztuczne w sztukach wizualnych, Warsaw: Akademia Sztuk Pięknych w Warszawie, 2019, 390 pp. Publisher. (Polish)

• Domínguez Rubio, Fernando, Still Life: Ecologies of the Modern Imagination at the Art Museum, University of Chicago Press, Aug 2020, 424 pp. Publisher. [30]

• Stedelijk Studies 10: "Imagining the Future of Digital Archives and Collections", eds. Vivian van Saaze, Claartje Rasterhoff, and Karen Archey, Amsterdam: Stedelijk Museum, Oct 2020. Special journal issue.

• Schäffler, Anna, Die Kunst der Erhaltung. Zeitgenössische Restaurierung und Nachlasspraxis im Wandel anhand von Anna Oppermanns prozesshaften Installationen [The Art of Preservation. Anna Oppermann's Ensembles, Contemporary Conservation and Estate Practice in Transition], Munich: Metzel, 2021, 336 pp. Based on PhD dissertation from the Freie Universität Berlin. Publisher. (German)

• Esmay, Francesca, Ted Mann, and Jeffrey Weiss (eds.), Object Lessons: Case Studies in Minimal Art—The Guggenheim Panza Collection Initiative, New York: Guggenheim Museum, 2021, 324 pp. Outcome of the Panza Collection Initiative. Publisher. Review: Donnelly (Arlis/NA).

• Sollfrank, Cornelia, and Winnie Soon, Fix My Code, Berlin: Eeclectic, 2021, 180 pp, EPUB. Book launch.

• Castriota, Brian, Erma Hermens, Gunnar Heydenreich, Zoë Miller, and Dominic Paterson (eds.), ArtMatters 1: "Expanding Notions of ‘Making’ for Contemporary Artworks", Sep 2021. Special journal issue.

• Opeña, Mareike, Martha Singer, and Delia Müller-Wüsten (eds.), Journal of the American Institute for Conservation 60(2-3): "Contemporary Art Conservation", Nov 2021. Special journal issue. Subscription access.

• Sherring, Asti, and Amanda Pagliarino (eds.), AICCM Bulletin 42(1): "Time-Based Media Art Conservation Practices in Australia", Dec 2021. Special journal issue. Editorial. Subscription access.

• Scholte, Tatja, The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art, Amsterdam: Amsterdam University Press, Dec 2021, 268 pp. Open access version at OAPEN. Based on PhD dissertation.

• Miller, Peter N., and Soon Kai Poh (eds.), Conserving Active Matter, Bard Graduate Center, Feb 2022, 400 pp. Outcome of Cultures of Conservation project. Preface. Publisher. Distributor. Review: Hölling (ZfK).

• Hölling, Hanna B. (ed.), Object—Event—Performance: Art, Materiality, and Continuity Since the 1960s, Bard Graduate Center, Apr 2022, 360 pp. Introduction. Book launch (video). Distributor.

• van Oosten, Thea, Properties of Plastics – a Guide for Conservators, Los Angeles: Getty Publications, Aug 2022, 320 pp. Publisher.

• Zielińska, Joanna (ed.), Performing Collections, L'Internationale Online, Sep 2022, 330 pp, EPUB. The issue of how to collect performance is at the heart of this publication, organized in three parts: essays on the subject, case studies and a glossary. Publisher.

• Engel, Deena, and Joanna Phillips (eds.), Conservation of Time-Based Media Art, Routledge, Nov 2022, 578 pp. Book launch (video). Publisher.

• Hinterwaldner, Inge, Daniela Hönigsberg, and Konstantin Mitrokhov (eds.), Navigation, Munich: Open Publishing LMU, Dec 2022, 125 pp. On jodi’s %WRONG Browser. Publisher.

• Tate Papers 35, London: Tate, 2022-2023. Special journal issue on conservation.

• Reshaping the Collectible: The Lives of Net Art. Net Art Commissions, 2000–2011: Artwork Texts, London: Tate Research Publication, Oct 2023. Part of the Reshaping the Collectible project.

• Hölling, Hanna B., Jules Pelta Feldman, Emilie Magnin (eds.), Performance: The Ethics and the Politics of Conservation and Care, Volume I, Routledge, Nov 2023, 416 pp, PDF. Open access.

• van de Vall, Renée, Vivian van Saaze (eds.), Conservation of Contemporary Art: Bridging the Gap Between Theory and Practice, Springer, Jan 2024, viii+401 pp. Open access.

• Dekker, Annet, Gabriella Giannachi (eds.), MAP - Media / Archive / Performance 14: "Doing Documentation", Mar 2024.

Proceedings from conferences and symposia

• Althöfer, Heinz (ed.), Restaurierung moderner Kunst. Das Düsseldorfer Symposion 1977, Düsseldorf: Restaurierungszentrum, 1977, 102 pp. Incl. Althöfer, "Arbeitsprogramm für die Restaurierung moderner und zeitgenössischer Kunst", 6-8. (German)
• International Symposium on the Conservation of Contemporary Art / Symposium international sur la conservation de l'art contemporain, Ottawa: National Gallery of Canada, 1980, 49+50 pp. Abstracts from the 1980 symposium. [31]
• Boiret, Y. (ed.), Arts contemporains et édifices anciens: actes de la rencontre internationale organisée par la Section française de l'ICOMOS, Paris 26-28 novembre 1981, Paris: La Section, 1983, 146 pp. Proceedings of the international meeting on the integration of contemporary art in old buildings. (French)
• Horrigan, Bill (ed.), The Media Arts in Transition, Minneapolis: Walker Art Center, 1983, 63 pp. [32]
• Conservation and Contemporary Art: ICCM 1984 National Conference, April 16-19, Sydney: abstracts, Sydney: Institute for the Conservation of Cultural Material (ICCM), 1984, 35 leaves.
• Bogner, Dieter, Peter Müller (eds.), Alte Bauten, neue Kunst: Denkmalpflege und zeitgenössisches Kunstgeschehen: Symposionsbericht, Schloss Buchberg am Kamp, 1985, Vienna: Bundesverlag, 1986, 120 pp. (German)
• Fairbrass, Sheila, and Johan Hermans (eds.), Modern Art: The Restoration and Techniques of Modern Paper and Paints, London: United Kingdom Institute of Conservation, 1989, 36 pp. Proceedings from the 1989 conference.
• Comunicaciones de la 2a reunión de trabajo. Grupo Español de trabajo sobre la conservación y restauración del arte contemporáneo, Álava: Diputación Foral, 1990, 84 pp. Proceedings from the 1990 conference. (Spanish)
• Keens Company (ed.), Conservation and Contemporary Art: Summary of a Workshop, Los Angeles: Frederick R. Weisman Foundation, 1991, 66 pp. Based on the 1990 workshop.
• Comunicaciones de la 3a reunión de trabajo, Álava: Diputación Foral, c1992, 107 pp. Proceedings from the 1991 conference. (Spanish)
• Van Damme, Claire (ed.), Conservatie en restauratie van moderne en actuele kunst: een interdisciplinair gebeuren, Ghent: CoReModAc: Snoeck-Ducaju & Zoon, 1992, 236 pp. Proceedings from the 1990 conference. (Dutch)
• Righi, Lidia (ed.), Conservare l'arte contemporanea, Firenze: Nardini, 1992, 222 pp. Proceedings from the conference La conservazione e il restauro oggi: dalla manualità artigiana alla ricerca pluridisciplinare, 26-29 Sep 1991. (Italian)
  • Conservare l'arte contemporáneo, San Sebastian, 2004. (Spanish)
• Grattan, David W. (ed.), Symposium '91: Saving the Twentieth Century: The Conservation of Modern Materials / Symposium 91: sauvegarder le XXe siècle: la dégradation et la conservation des matériaux modernes, Ottawa: Canadian Conservation Institute, 1993, xiii+41+41+xiii pp. Proceedings from the 1991 conference. (English),(French)
• Kaeppelin, Oliver (ed.), Conservation et restauration des oeuvres d'art contemporain, Paris: Documentation française, 1994, 308 pp. Proceedings from the 1992 colloquium. Discusses the work of Alechinsky, Beuys, Boetti, Boltanski, Morellet, Paik, Sarkis, Soulages, Tinguely, et al. [33] (French)
• Angelucci, Sergio (ed.), Arte contemporanea, conservazione e restauro, Firenze: Nardini, 1994, 336 pp. Proceedings from the Colloquio sul restauro dell'arte moderna e contemporanea, Prato, 4-5 Nov 1994. (Italian)
• Heuman, Jackie (ed.), From Marble to Chocolate: The Conservation of Modern Sculpture, London: Archetype, 1995, 172 pp. Proceedings from the conference, Tate Gallery, 18-20 Sep 1995. TOC.
• Hubbard, Jim, and Mona Jimenez, Meeting the Challenges of Video Preservation: A Progress Report on Initiatives Within the Media Arts Field, New York: Media Alliance, 1996, 23 pp. Report from two Media Alliance conferences of 1994.
• Raymakers, Marina, and Jaap Mosk (eds.), Project "Conservation of Modern Art": Proceedings of the Presentation of the Project on 12 May 1996, Amsterdam: Foundation for the Conservation Modern Art (SBMK), 1996, 57 pp. Proceedings from the 1996 symposium. [34]
• Di Martino, Enzo (ed.), Conservazione e restauro dell'arte contemporanea, Venice: Cassa di risparmio, 1996, xii+513+26 pp; repr. as Arte contemporanea: conservazione e restauro: atti del Convegno internazionale, Torino: Umberto Allemandi, 2005, 317 pp. Proceedings from the 1996 workshop. (Italian)
• Conservació i restauració d'art contemporani: seminari organitzat per l'Especialitat de Restauració del Departament de Pintura, Facultat de Belles Arts, Barcelona 15-18 novembre de 1993, Barcelona: Universitat de Barcelona, 1996, 52 pp. (Catalan)
• Otterbeck, Bärbel, and Christian Scheidemann (eds.), Wie haltbar ist videokunst? Beiträge zur Konservierung und restaurierung audiovisueller kunstwerke: symposium im Kunstmuseum Wolfsburg / How Durable is Video Art? Contributions to preservation and restauration of the audiovisual works of art: symposium at the Kunstmuseum Wolfsburg, November 1995, Wolfsburg: Kunstmuseum Wolfsburg, 1997, 114 pp. Proceedings from the 1995 symposium. TOC. Essay by Hans Ulrich Reck. [35] (German)/(English)
• Fifer, Sally Jo, et al (eds.), Playback: A Preservation Primer for Video, San Francisco: Bay Area Video Coalition, 1998, 79 pp. Proceedings from the 1996 symposium. Publisher, [36]. Session transcripts.
• Hummelen, IJsbrand, and Dionne Sillé (eds.), Modern Art: Who Cares? An Interdisciplinary Research Project and an International Symposium on the Conservation of Modern and Contemporary Art, Amsterdam: Foundation for the Conservation of Modern Art (SBMK), and Netherlands Institute for Cultural Heritage (ICN), 1999, 445 pp; repr., London: Archetype, 2005, 448 pp. Essays from the project and proceedings from the 1997 conference. Publisher. Publisher. TOC. Review: Hodge (Studies in Conservation, 2001).
• Corzo, Miguel Angel (ed.), Mortality Immortality? The Legacy of 20th-Century Art, Los Angeles: Getty Conservation Institute, 1999, xx+192 pp, PDF. 34 essays. Proceedings from the 1998 conference. Essay by Erich Gantzert-Castrillo. Publisher. TOC.
• Misselbeck, Reinhold, and Martin Turck (eds.), Video im Museum: Restaurierung und Erhaltung, neue Methoden der Präsentation, der Originalbegriff: internationales Symposium, Museum Ludwig Köln, 9. September 2000 / Video Arts in Museums: Restoration and Preservation, New methods of Presentation, The Idea of the Original: International Symposium, Museum Ludwig, Cologne, September 9, 2000, Cologne: Museum Ludwig, 2000, 184 pp.
• Journal of the American Institute for Conservation 40(3): "TechArchaeology", eds. Mona Jimenez and Paul Messier, Autumn-Winter 2001. Based on the 2000 symposium at SFMOMA. [37]
• Looking Back, Looking Forward: A Symposium on Electronic Media Preservation, Owego, NY: Experimental Television Center, 2002, HTML chapters, HTML. Proceedings from the 2002 symposium.
• Gogarty, Claire, Zoë Reid (eds.), Post Prints of Contemporary Art: Creation, Curation, Collection and Conservation: Proceedings of a Conference held at the Irish Museum of Modern Art, 21st-22nd September, 2001, Dublin: Irish Professional Conservators' and Restorers' Association (IPCRA), 2002, iii+65+[9] pp. TOC.
• Oosten, Thea van, Yvonne Shashoua, and Frederike Waentig (eds.), Plastics in Art: History, Technology, Preservation, Munich: Siegl, 2002, 176 pp. Papers read at the Interim Meeting of the ICOM-CC Modern Materials Working Group, held in Cologne early in 2001.
• Fidelis, Gaudencio (ed.), Dilemas da matéria: procedimento, permanência e conservação em arte contemporânea / Material dilemmas: Procedure, permanence and conservation in contemporary art, Porto Alegre: Museu de Arte Contemporanea do Rio Grande Do Sul, 2002, 241 pp. (Portuguese)/(English)
• Roy, Ashok, and Perry Smith (eds.), Modern Art, New Museums: Contributions to the Bilbao Congress, Special Issue of Studies in Conservation, 2004, 264 pp. Preprints of the contributions to the 2004 congress. [38] [39]
• V Reunión de Arte Contemporáneo del GEIIC, Madrid: Grupo Español del IIC, 2004. Proceedings from the 2004 congress.
• Frohne, Ursula, Mona Schieren, and Jean-François Guiton (eds.), Present Continuous Past(s): Media Art: Strategies of Presentation, Mediation and Dissemination, Vienna: Springer, 2005, 223 pp. Based on 2004 symposium. Publisher.
• VI Reunión de Arte Contemporáneo del GEIIC, Madrid: MNCARS, 2005, 116 pp. Proceedings from the 2005 congress.
• VII Reunión de Arte Contemporáneo del GEIIC, Madrid: MNCARS, 2006, 140 pp. Proceedings from the 2006 congress.
• Tate Papers 8, ed. Bryony Bery, London: Tate, Autumn 2007. Papers from the 2007 workshop Inherent Vice: The Replica and its Implications in Modern Sculpture Workshop.
• Conservación de arte contemporáneo: 8ª jornada, Madrid: MNCARS, 2007, 142 pp. Proceedings from Feb 2007 congress.
• Conservación de arte contemporáneo: 9ª jornada, Madrid: MNCARS, 2008, 218 pp. Proceedings from Feb 2008 congress.
• Keneghan, Brenda, and Louise Egan (eds.), Plastics: Looking at the Future & Learning from the Past, London: Victoria & Albert Museum, 2008. Proceedings from the 2007 conference.
• Černá, Iveta, and Ivo Hammer (eds.), Materiality, Brno: Brno City Museum, and Hildesheim: Hornemann Institut, 2008, 224 pp. Proceedings from the international symposium on the Preservation of Modern Movement Architecture, 27-29 Apr 2006, Brno/CZ. [40]
• Breuil, Marie-Hélène (ed.), Restauration et non-restauration en art contemporain, 1, Tours: ARSET, 2008, 152 pp. Proceedings from the 2007 conferences Du refus ou de l'impossibilité de la restauration and Répliques et restitutions. (French)
• Conservación de arte contemporáneo: 10ª jornada, Madrid: MNCARS, 2009, 221 pp. Proceedings from Feb 2009 congress. [41]
• Breuil, Marie-Hélène (ed.), Restauration et non-restauration en art contemporain, 2, Tours: ARSET, 2009, 107 pp. Proceedings from the 2008 conference Documenter l'art contemporain. (French)
• Hermens, Erma, and Tina Fiske (eds.), Art, Conservation and Authenticities: Material, Concept, Context, London: Archetype, 2009, xiii+266 pp. Proceedings from the 2007 conference. TOC.
• Stefanaggi, Marcel (ed.), Art d'aujourd'hui, patrimoine de demain: conservation et restauration des œuvres contemporaines, Champs-sur-Marne: SFIIC, 2009, 350 pp. Proceedings from the 2009 conference. [42]. Review: Verbeeck-Boutin (CeROArt). (French)
• Hofman, Vanina, Consuelo Rozo (eds.), Conservación del arte electrónico: ¿qué preservar y cómo preservarlo?, Buenos Aires: Centro Cultural de España (CCEBA), 2009. Proceedings from the 2008 seminar. [43] [44] (Spanish)

• Airaud, Stéphanie, Stéphanie Elarbi (eds.), Date limite de conservation, Vitry-sur-Seine: Musée d'art contemporain du Val-de-Marne (MAC/VAL), 2009, 159 pp. Proceedings from 2009 colloquium.

• Schädler-Saub, Ursula, and Angela Weyer (eds.), Theory and Practice in the Conservation of Modern and Contemporary Art: Reflections on the Roots and the Perspectives, London: Archetype, 2010, ix+221 pp. Proceedings from the 2009 conference. Text in English; Appendixes of interviews in German. Publisher. [45]. TOC. Scribd. (English),(German)

• Couture, Francine, France Vanlaethem (eds.), Conservation de l'art contemporain et de l'architecture moderne: l'authenticité en question, Québec: MultiMondes, 2010, viii+158 pp. Proceedings from the study day held 2007. (French)

• Conservación de arte contemporáneo: 11ª jornada, Madrid: MNCARS, 2010, 384 pp. Proceedings from Feb 2010 congress. [46] (Spanish)

• Revista do IHA 8: "Museus e Investigação", Lisbon: Instituto de História da Arte/Universidade Nova de Lisboa, 2011. Issuu.

• Bechthold, Tim (ed.), Future Talks 009: the conservation of modern materials in applied arts and design: papers from the conference held at the Pinakothek der Moderne, Munich, 22-23 October 2009, Munich: Die Neue Sammlung, the International Design Museum, 2011, 255 pp.

• IIC Austrian Group (ed.), Kunst des 20. und 21. Jahrhunderts: Probleme und Perspektiven zur Erhaltung, Klosterneuburg: Stift Klosterneuburg, 2011, 230 pp. (German)

• Conservación de arte contemporáneo: 12ª jornada, Madrid: MNCARS, 2011, 352 pp. Proceedings from Feb 2011 congress. [47]

• Conservación de arte contemporáneo: 13ª jornada, Madrid: MNCARS, 2012, 343 pp. Proceedings from Feb 2012 congress.

• New Technological Art Award (Update IV): Immortal, 2012, 53 pp. Colloquium held 15-17 Nov 2012.

• Ferriani, Barbara, and Marina Pugliese (eds.), Ephemeral Monuments: History and Conservation of Installation Art, Los Angeles: Getty Conservation Institute, 2013. Publisher. Short video interview.

• Serexhe, Bernhard (ed.), Digital Art Conservation: Konservierung digitaler Kunst: Theorie und Praxis, Vienna: Ambra V, and Karlsruhe: ZKM, 2013, 665 pp. Incl. proceedings of the 2010 and 2011 symposia. Part of Digital Art Conservation. [48] (German)
  • Digital Art Conservation: Preservation of Digital Art: Theory and Practice, Vienna: Ambra V, and Karlsruhe: ZKM, 2013, 665 pp. TOC, Excerpt. [49] [50]
  • Digital Art Conservation: Conservation de l'art numérique: théorie et pratique, Vienna: Ambra V, and Karlsruhe: ZKM, 2013, 665 pp. TOC. Excerpt. [51] (French)

• Williams, Emily (ed.), The Public Face of Conservation, London: Archetype, and Colonial Williamsburg, 2013, ix+288 pp. Proceedings from the 2011 conference. Publisher.

• Mundici, Maria Cristina, and Antonio Rava (eds.), Cosa cambia: teorie e pratiche del restauro nell'arte contemporanea, Milan: Skira, 2013, 314 pp. Proceedings from the 2012 conference. TOC. (Italian)
  • What's Changing: Theories and Practices in the Restoration of Contemporary Art, trans. Lucian Henry Comoy, Milan: Skira, 2013, 314 pp. Proceedings from the conferences held in 1987 and 2012. TOC. [52]

• Conservación de arte contemporáneo: 14ª jornada, Madrid: MNCARS, 2013, 248 pp. Proceedings from Feb 2013 congress.

• Buschmann, Renate, and Darija Šimunović (eds.), Die Gegenwart des Ephemeren. Medienkunst im Spannungsfeld zwischen Konservierung und Interpretation, Vienna: Wiener Verlag für Sozialforschung, 2014, 152 pp. TOC. Proceedings from Nov 2012 conference. Publisher. [53] (German)

• Conservación de arte contemporáneo: 15ª jornada, Madrid: MNCARS, 2014, 285 pp. Proceedings from Feb 2014 congress.

• Gordon, Rebecca, Emma Hermens, and Frances Lennard (eds.), Authenticity and Replication: The 'Real Thing' in Art and Conservation, London: Archetype, 2014, 224 pp. Proceedings from the 2012 conference. Publisher.

• Beiguelman, Giselle, and Ana Gonçalves Magalhães (eds.), Possible Futures: Art, Museums and Digital Archives / Futuros possíveis: arte, museus e arquivos digitais, São Paulo: Peiropolis & Edusp, 2014. Proceedings from the 2012 symposium. Google preview. [54] [55] [56] [57] (English),(Brazilian Portuguese)

• Graham, Beryl (ed.), New Collecting: Exhibiting and Audiences after New Media Art, Routledge, 2014, 254 pp. Google preview. Publisher.

• Beerkens, Lydia, and Tom Learner (eds.), Conserving Outdoor Painted Sculpture, Los Angeles: Getty Conservation Institute, 2014, 145 pp. Proceedings from the interim meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC, Kröller-Müller Museum, Otterlo, 4-5 Jun 2013.

• Delve, Janet, and David Anderson (eds.), Preserving Complex Digital Objects, London: Facet, 2014, xlvii+375 pp. Based on the JISC-funded series of three Preservation of Complex Objects (POCOS) symposia. Publisher.

• Revista de historia da arte 4: "Performing Documentation in the Conservation of Contemporary Art", eds. Lúcia Almeida Matos, Rita Macedo, and Gunnar Heydenreich, Lisbon: Instituto de História da Arte/Universidade Nova de Lisboa, 2015, 196 pp. Proceedings from the 2013 conference.

• Conservación de arte contemporáneo: 16ª jornada, Madrid: MNCARS, 2015, 244 pp. Proceedings from Feb 2015 congress. [58]

• Barranha, Helena, and Susana S. Martins (eds.), Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums, Lisbon: Universidade Nova de Lisboa, 2015, 251 pp. Based on the conference produced in the framework of the unplace project.

• Freire, Cristina (ed.), Arte contemporânea: preservar o quê?, São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 2015, 194 pp. Proceedings from the 2014 conference. (Brazilian Portuguese)

• Castilla, Américo (ed.), Arte contemporáneo en sala de guardia: dilemas y sistemas para la conservación de arte contemporáneo, Buenos Aires: Teseo, 2015, 283 pp, PDF, EPUB. Based on the 2010 conference. (Spanish)

• Cahiers de l'INCCA-F 1: "Documentation technique, techniques de documentation", Dec 2015. Based on 2nd meeting of INCCA-F on 7 Feb 2014 in the auditorium of the Municipal Archives of Marseille. [59] [60] (French)

• Hermens, Erma, and Frances Robertson (eds.), Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation, London: Archetype, 2016, 205 pp. Proceedings from the 2014 conference. Publisher.

• Cassese, Giovanna (ed.), Il futuro del contemporaneo: conservazione e restauro del design / The Future of the Contemporary: Conservation and Restoration of Design, Rome: Gangemi, 2016, 207 pp. Proceedings from the conference organized by Fondazione Plart, held within the Festival internazionale del design in Naples, Italy, 14-15 May 2015. Excerpt. (Italian),(English)

• Lin, Tzu-Chuan, and Yu-Hsien Chen (eds.), International Symposium: Collecting and Exhibiting New Media Arts / 集新求變：新媒體藝術作品典藏保存與維護國際研討會 | 研討會文集, Taiwan: National Taiwan Museum of Fine Arts (NTMoFA), 2016, 247 pp. Proceedings from the symposium held 2015. Publisher. [61] (Chinese)/(English)

• Saving the Now: Crossing the Boundaries to Conserve Contemporary Works: IIC 2016 Los Angeles Congress Preprints, Supplement 2 of Studies in Conservation 61, Sep 2016. Subscription access.

• Reyes-Garcia, Everardo, Pierre Châtel-Innocenti, and Khaldoun Zreik (eds.), Archiving and Questioning Immateriality: Proceedings of the 5th Computer Art Congress, Paris: Europia, 2016, 466 pp. Publisher.

• VDR Beiträge zur Erhaltung von Kunst- und Kulturgut 2, Bonn: Verband der Restauratoren (VDR), 2017. Contains proceedings from Collecting and Conserving Performance Art, Wolfsburg, 2016 (part 1 of 2).

• VDR Beiträge zur Erhaltung von Kunst- und Kulturgut 1, Bonn: Verband der Restauratoren (VDR), 2018. Contains proceedings from Collecting and Conserving Performance Art, Wolfsburg, 2016 (part 2 of 2).

• Rivenc, Rachel, and Reinhard Bek (eds.), Keep It Moving? Conserving Kinetic Art, Los Angeles: Getty Conservation Institute, 2018, PDF. Proceedings from an ICOM-CC MMCA meeting organized in 2016.

• Robinson, Lyn, and Joseph Dunne (eds.), Proceedings from the Document Academy 5(1): "Proceedings from DocPerform 2017", 2018.

• Hölling, Hanna B., Francesca G. Bewer and Katharina Ammann (eds.), The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures, Leiden: Brill, 2019, xviii+290 pp. Publisher. Introduction. Chapter 10.

• Grau, Oliver, Janina Hoth, and Eveline Wandl-Vogt (eds.), Digital Art through the Looking Glass: New Strategies for Archiving, Collecting and Preserving in Digital Humanities, Krems: Donau-Universität Krems, and Vienna: Austrian Academy of Sciences, 2019, 312 pp. Based on the "Digital Arts, Archives and Museums" sessions of the Re:Trace conference (2017). Review: Dika (Postdigital Sci Edu).

• Vojtěchovský, Miloš (ed.), Vasulka Kitchen Cooking Reader #1: Beyond Media Texts: Primal & Final / Vašulkova kuchyňská kniha #1: texty k médiím: první & poslední, Brno: Vašulka Kitchen Brno, Oct 2020, 253 pp. Based on the Digital Era Artworks in Galleries and Museums colloquium (2019). With English abstracts. (Czech)

• Rivenc, Rachel, and Kendra Roth (eds.), Living Matter: The Preservation of Biological Materials in Contemporary Art, Los Angeles: Getty Conservation Institute, 2022. Proceedings from the conference held in 2019.

• Barok, Dušan (ed.), New Media Museums: Collecting and Preserving Media Arts, Olomouc: Olomouc Museum of Art, 2022, 260 pp, HTML. Based on the New Media Museums project. Project website.

Dissertations, theses

• Marontate, Jan, Synthetic Media and Modern Painting: A Case Study in the Sociology of Innovation, Montréal: Université de Montréal, 1996, 478+xlix pp. PhD thesis.

• Fiske, Tina, Taking Stock: A Study of the Acquisition and Long Term Care of "Non-Traditional" Contemporary Artworks by British Regional Collections 1979 – Present, Glasgow: University of Glasgow, 2004. PhD thesis.

• Arase, Jacqueline Morton, Can Museums Save Video Installation Art at the Moment of Accession?, Pleasant Hill, CA: John F. Kennedy University, 2004, 204+74 pp. Master's thesis.

• Soraluze Herrera, Ioseba, La conservación de los objetivos artísticos contemporáneos. Degradaciones, criterios de actuación y tratamientos de restauración, 2006. (Spanish)

• Gómez Pintado, Ainhoa, El oro en el arte: materia y espítu. Contribución a la restauración en el arte contemporáneo, Bilbao: Universidad del País Vasco, 2008, 501+50 pp. PhD thesis. (Spanish)

• Macedo, Rita, Desafios da Arte Contemporânea à Conservação e Restauro Documentar a Arte Portuguesa dos Anos 60/70, Lisbon, 2008, 399 pp. PhD thesis. (Portuguese)

• Frasco, Lizzie, The Contingency of Conservation: Changing Methodology and Theoretical Issues in Conserving Ephemeral Contemporary Artworks with Special Reference to Installation Art, Philadelphia: University of Pennsylvania, 2009. Master thesis.

• Laforet, Anne, La conservation du net art au musée. Les stratégies à l’œuvre, Avignon: University of Avignon, 2009. Published as book in 2011. (French)
• van Saaze, Vivian, Doing Artworks: A Study into the Presentation and Conservation of Installation Artworks, Maastricht: Maastricht University, 2009, 193 pp. PhD thesis. Published as a book in 2013.

• García Morales, Lino, Conservación y restauración de arte digital, Madrid: Universidad Europea de Madrid, 2010. PhD thesis. (Spanish)

• Falcão, Patrícia, Developing a Risk Assessment Tool for the Conservation of Software-based Artworks, Bern: Berner Fachhochschule, 2010. Master's thesis.

• Jadzińska, Monika, Autentyzm w sztuce instalacji, Warszawa: Instytut Sztuki PAN, 2010. PhD thesis. Published as a book in 2012. (Polish)

• Laurenson, Pip, Shifting Structures, Identity and Change in Conservation and Management of Time-Based Media Works of Art, University College London, 2011. PhD thesis.

• Gordon, Rebecca Alison, Rethinking material significance and authenticity in contemporary art, Glasgow: University of Glasgow, 2011. PhD thesis. Abstract.

• Hiiop, Hilkka, Nüüdiskunst muuseumis: kuidas säilitada mittesäilivat? / Contemporary Art in the Museum: How to Preserve the Ephemeral? The Preservation Strategy and Methods of the Contemporary Art Collection of the Art Museum of Estonia, Tallinn: Estonian Academy of Arts & Art Museum of Estonia, 2012. PhD thesis. (Finnish)

• Wysocka, Elżbieta, Teoria i praktyka konserwatorska wobec filmu i sztuk mediów elektronicznych, Krakow: Akademia Sztuk Pięknych, 2012. PhD thesis. Published as a book in 2013. [62] (Polish)

• Hölling, Hanna Barbara, Re: Paik: On Time, Changeability and Identity in the Conservation of Nam June Paik's Multimedia Installations, 's-Hertogenbosch: BOXPress, 2013, 347 pp. PhD thesis from U Amsterdam. Published as a book in 2017.

• Beerkens, Lydia, Restauratie van moderne kunst. Een nieuwe specialisatie binnen het restauratievakgebied [The Conservation of Modern Art: A New Specialization within the Field of Art Conservation], Nijmegen: Radboud Universiteit, 2012. PhD thesis. (Dutch)

• Dekker, Antoinette, Enabling the Future, or How to Survive FOREVER: A study of networks, processes and ambiguity in net art and the need for an expanded practice of conservation, London: Goldsmiths University, 2014. PhD thesis. Published as a book in 2018.

• Mattock, Lindsay Kistler, Media Arts Centers as Alternative Archival Spaces: Investigating the Development of Archival Practices in Non-Profit Media Organizations, Pittsburgh: University of Pittsburgh, 2014, 222 pp. PhD thesis.

• Vanrell Vellosillo, Arianne, Nuevas estrategias para la conservación de colecciones de arte con elementos tecnológicos: propuestas metodológicas de humanidades digitales. Madrid: Universidad Complutense de Madrid, 2015. PhD thesis. (Spanish)

• Kromholz, Sophie C, The artwork is not present: An investigation into the durational engagement with temporary artworks. Glasgow: University of Glasgow, 2016. PhD thesis. Abstract.

• Stigter, Sanneke, Between concept and material. Working with conceptual art: 'a conservator’s testimony', University of Amsterdam, 2016, 278 pp. PhD thesis.

• Kullberg, Mads, Om at samle på hændelser. Bevaring og registrering af flygtige kunstformer [Collecting Occurrences: Safeguarding and Documenting Ephemeral Art Forms], Copenhagen: Copenhagen University, 2016, 182 pp. PhD thesis. (Danish)

• Marchesi, Monica, Forever Young: The Reproduction of Photographic Artworks as a Conservation Strategy, Leiden: Universiteit Leiden, 2017. PhD thesis.

• Finbow, Acatia, The Value of Performance Documentation in the Contemporary Art Museum: A Case Study of Tate, Exeter: University of Exeter, 2017, 304 pp. PhD thesis. Abstract.

• Petrelli, Valentina, La conservazione dell’arte contemporanea: problematiche e nuovi apporti teorici e metodologici, Venice: Universita Ca'Foscari Venezia, 2017, 143 pp. Thesis. (Italian)

• Marchesi, Monica, Forever Young: the reproduction of photographic artworks as a conservation strategy. Leiden: Leiden University, 2017. PhD thesis.

• Del Fresno-Guillem, Rut, La entrevista al artista emergente como modo de conservación preventive. Estudio aplicado a los proyectos Perspectives Art Inflammation and Me y Perspectives, Art Liver Diseases and Me, Valencia: Univesidad Politecnica de Valencia, 2017. PhD thesis. (Spanish)

• Marçal, Hélia Pereira, From intangibility to materiality and back again: preserving Portuguese performance artworks from the 1970s, Lisbon: Universidade Nova de Lisboa, 2018, xviii+231 pp. PhD thesis.

• De Wild, Karin, Internet Art and Agency: The Social Lives of Online Artworks, Dundee: University of Dundee, 2018, xvi+206 pp. PhD thesis.

• Guzman Serrano, Rodrigo, Expanded (Im)materialities: A Postmedial and Neomaterial Discussion on the Collection and Preservation of Media Arts, Krems: Danube University Krems, 2018, 110 pp. Master's thesis.

• Ensom, Tom, Technical Narratives: Analysis, Description and Representation in the Conservation of Software-based Art, London: King’s College London, 2019, 294 pp, PDF. PhD thesis.

• Kiliszek, Joanna, Wartości i wartościowanie nowoczesnej i współczesnej wizualnej sztuki. Rola praktyki refleksyjnej – kolekcja Muzeum Sztuki w Łodzi [Values and Valuation of Modern and Contemporary Visual Art. The Role of Reflective Practice – Collection of the Museum of Art in Łódź 1931-2018], Warsaw: Akademia Sztuk Pięknych w Warszawie, 2019. PhD thesis; carried out within NACCA. (Polish)

• Castriota, Brian Eric, Securing a Futurity: Artwork Identity and Authenticity in the Conservation of Contemporary Art, Glasgow: University of Glasgow, 2019. PhD thesis; carried out within NACCA. Abstract.

• Quabeck, Nina, The Artist's Intent in Contemporary Art: Matter and Process in Transition, Glasgow: University of Glasgow, 2019. PhD thesis; carried out within NACCA. Abstract.

• Brum, Olivia, The Lives of Internet Artworks in Institutions: How to Begin to Construct a Long-term Conservation Strategy, Amsterdam: University of Amsterdam, 2019, 100 pp. Master's thesis.

• Scholte, Tatja, Insite / Outsite. The Perpetuation of Site-Specific Installation Artworks in Museums, Amsterdam: University of Amsterdam, 2020, 224 pp. PhD thesis. Published as a book in 2021.

• Smith, Madeline Page, Caring for the Moving Image in Art Museums: "Matters in Media Art" and the Stewardship of Time-Based Media Artworks, New York: New York University (MIAP), 2020, 115 pp. Master's thesis. [63]

• Wielocha, Agnieszka B., Collecting Archives of Objects and Stories: On the Lives and Futures of Contemporary Art at the Museum, Amsterdam: University of Amsterdam, 2021, 358 pp. PhD thesis; carried out within NACCA.

• Klajbanová, Nela, Metody sbírání a uchovávání pohyblivého obrazu v České republice [Methods of collecting and preserving moving image in the Czech Republic], Brno: Masarykova univerzita, 2023, 88 pp, PDF. Master's thesis. (Czech)

Surveys, reports

• Weiss, Karen, and Joyce Hill Stoner, "Documenting Contemporary Art Collections: A Survey", in Preprints: ICOM Committee for Conservation, 6th Triennial Meeting, Ottawa, 21-25 September 1981, 1981. Created at the request of a committee of participants of the 1980 Ottawa conference on The Conservation of Contemporary Art.

• Television/Video Preservation Study: Volume 1: Report, Washington, DC: Library of Congress, Oct 1997.

• Green, David, and Rachel Mustalish, Digital Technologies and the Management of Conservation Documentation, New York: Andrew W. Mellon Foundation, 19 May 2009, 92 pp, PDF. A survey commissioned by the Andrew W. Mellon Foundation.

• http://blogs.cornell.edu/dsps/2014/07/30/interactive-digital-media-art-survey-key-findings-and-observations/

• The Smithsonian Interview Project: Questions on Technical Standards in the Care of Time-Based and Digital Art. Ten Insights from Artists and Experts in the Field, Jul 2014, PDF.

• Rossenova, Lozana, Artbase Archive: Context & History, 2020, 114 pp, PDF. Traces the development, database structure and interface design of Rhizome ArtBase.

• Schneeweisz, Damiët, Zorgen voor de toekomst van Moderne - en Hedendaagse kunst in Nederland - Verkenning / The State of Collection Care and Management for Modern and Contemporary Art in the Netherlands, Amsterdam: RCE & SBMK, Oct 2021, 42 pp. Report. [64] (Dutch),(English)

• more: http://cool.conservation-us.org/bytopic/survres/
• more: https://archive.org/search.php?query=creator%3A%22ICOM+Committee+for+Conservation%22

Blogs

• http://www.moma.org/explore/inside_out/category/media-conservation
• http://thecreatorsproject.vice.com/tag/conservation+lab

Bibliographies

• http://cool.conservation-us.org/bib/
• Bibliographic Database of the Conservation Information Network (BCIN), since 1987. "The Web's most complete bibliographic resource for the conservation, preservation and restoration of cultural property."
• http://www.getty.edu/conservation/publications_resources/
• http://www.docam.ca/en/resources/bibliography.html
• Towards Expanded Conservation, Activating Fluxus, Bern: Bern Academy of the Arts, 2022 ff.
• http://www.imappreserve.org/info_res/bibliography.html
• http://nimk.nl/eng/preservation/media-art-preservation-links#texts
• http://www.cool.conservation-us.org/byauth/
• AATA Online, a comprehensive database of over 137,000 abstracts of literature related to the preservation and conservation of material cultural heritage. Hosted by GCI. For contemporary art, see esp. INCCA section.

Fiction

• http://cool.conservation-us.org/byauth/rushfield/conservation-fiction/

Films

• Installation Art: Who Cares?, dir. Maarten Tromp, 2012. Made in the framework of Access to Contemporary Art Conservation (Access2CA), which was part of PRACTICs. YouTube. 141 [65]
• Art in L.A. Artist Dialogues, Getty Conservation Institute, 2013-2020-. Video series engages artists in conversations exploring their art, materials, fabrication processes and working methods, as well as their thoughts on conservation.
• Digital Art: Who Cares?, dir. Maarten Tromp, 2016, 14 min. Video commissioned by SBMK as part of the research project Transformation Digital Art. It focuses on how the work of Dutch digital art pioneer Peter Struycken can be saveguarded for the future, and how this can inspire the durability of digital artworks of today. Created by Maarten Tromp and Sandra Fauconnier.
• Das Altern neuer Medien und die Kunst des Bewahrens. Ein ZKM-Werkstattbericht, dir. Dorcas Müller, ZKM, 2016, 28 min. [66]
• Rafaël Rozendaal, Websites 2001-2016, 2016, 120 min. Produced by LIMA. Recorded and edited by José Biscaya. INCCA announcement.
• Preserving the Future’s Past: The Conservation of Time-Based Media Art, dir. Gabriela Tama, 2017, 15 min. [67]
• Things Change: Conservation and Display of Time-based Media Art, Tate, 2017, 22 min.
• Cleaning Modern Oil Paints, Tate, 2018, 4 min. Created as part of the Cleaning Modern Oil Paints research project.
• Tony Conrad – Keeping An Artwork Alive, Tate, 2020, 9 min. Created as part of the Reshaping the Collectible research project. [68]

Podcasts

• Art and Obsolescence, hosted by Ben Fino-Radin, Sep 2021ff. Conversations with artists, collectors and professionals shaping art and technology. Sponsored by the New York Foundation for the Arts.

Research projects, networks, consortiums

The websites of most projects also function as resources.

1990s

• Artists Documentation Program (ADP), 1990-2014. Initiated by Carol Mancusi Ungaro in the Menil Collection in Houston. From 2001, the project was continued in collaboration with the Whitney Museum of American Art and the Center for the Technical Study of Modern Art/Harvard Art Museums. Supported by the Andrew W Mellon Foundation. The artist interviews are made available online to professionals.
• Conserveringsprojekt Video Kunstinstellingen, 1993-1995. Carried out by Montevideo/TBA. Video tapes from 10 Dutch collections (De Appel, MonteVideo, Time Based Arts, Lijnbaancentrum, Rijksdienst Beeldende Kunst, Rijksakademie van Beeldende Kunsten, Stedelijk van Abbemuseum, Museum Boijmans van Beuningen, Groninger Museum, World Wide Video Center) were catalogued and transferred to the high-grade (analog) Betacam SP. Catalogue appeared in print and as Amiga database. Financed by Dutch Ministery of Culture as part of its Deltaplan Cultuurbehoud. Followed by Preservation Video Art project.

• Conservering Moderne Kunst / Conservation of Modern Art, 1995-1997. Conducted by SBMK. Decision-making model, data registration model and condition registration model developed, in parallel to the investigation of the ten pilot objects. Conference Modern Art: Who Cares? and exhibition held 1997, book published 1999. [69], [70], [71].

• Artists' Interviews: An interdisciplinairy approach towards artists' interviews [Kunstenaarsinterviews], 1998-2005. Conducted by ICN (Hummelen, Menke, Petovic, Sillé, Scholte) and SBMK. Twenty artists working in the Netherlands were interviewed (on film) about their working methods and their choice of materials. Consisted of two projects: Artist Interviews and Artist Interviews / Artist Archives (1/1998-2000 and 2001-2005). Book published 2012. [72]. [73]. Concept-scenario (Jun 1999). [74]

• Conservering van videokunst / Preservation Video Art, 1998-2003. Carried out by NIMk at the request of SBMK. 1700 analogue autonomous video works by 450+ artists held in 9 Dutch collections (De Appel, Museum Boijmans Van Beuningen, Groninger Museum, ICN, Kröller-Müller Museum, NIMk Montevideo/TBA, Rijksakademie, Stedelijk Museum Amsterdam, Van Abbemuseum) were transferred to Digital Betacam. Book published 2003. Built upon Conserveringsprojekt Video Kunstinstellingen project. Followed by Conservation Media Art Collection Netherlands. [75] [76]

2000s

• International Network for the Conservation of Contemporary Art (INCCA), since 1999. Hosted by RCE (formerly ICN). [77], [78].

• Methodology for the Documentation of Contemporary Art, 1999-2001. Realised at the interdisciplinary Kulturwissenschaftliches Forschungskolleg (SFB/FK 427) of the German Universities of Aachen, Bonn, and Cologne. The project (no. B4) was initiated by professors Hubertus Kohle and Harald Kraemer. The other members of the team were Nicole Birtsch, Kathrin Lucht, Martina Nied, Simone Schmickl, and Christina Hemsley. See Kraemer 2007.

• Variable Media Network (VMN), 2001-2004. A consortium of museums and archives aiming to develop a museum-standard, best practice for the collection and preservation of new media art. Co-founded by the Solomon R. Guggenheim Museum, New York, and The Daniel Langlois Foundation for Art, Science, and Technology, Montreal; other members: Berkeley Art Museum/Pacific Film Archives (Berkeley), Franklin Furnace (NYC), Performance Art Festival+Archives (Cleveland), Rhizome.org (NYC), Walker Art Center (Minneapolis). Coordinators: Jon Ippolito (U Maine, Guggenheim), Alain Depocas (Langlois). Conferences held 2001 and 2004, exhibition 2004, book published 2003. Followed by Archiving the Avant Garde. Archived website.

• 404 Object Not Found: What Remains of Media Art?, Jul 2002-Aug 2003. Managed by medien_kunst_netz Dortmund (association between the HMKV, the Museum am Ostwall and the Administration of Cultural Affairs of the city of Dortmund); research in collaboration with NIMk, C3 Budapest, and Hans Dieter Huber of Staatliche Akademie der Bildenden Künste (Stuttgart). Directed by Hans D. Christ and Iris Dressler. Supported by EU programme Culture 2000. Congress held 2003. Followed upon by Seoul 2006 research project. Case studies, [79].

• Matters in Media Art: Collaborating towards the care of time-based media, Jan 2003-Dec 2015. Project by MoMA, SFMOMA, and Tate. To establish guidelines for best practice in managing time-based media (e.g. video, film, audio and software-based installations). The consortium launched its first phase, on loaning time-based media works, in 2004, and its second phase, on acquiring time-based media works, in 2007. Supported by New Art Trust. Project leaders: Pip Laurenson (Tate), Jill Sterrett (SFMOMA), Glenn Wharton (MoMA). Earlier project website archived (2008). [80] [81] [82]

• AktiveArchive, Berne University of the Arts (BUA) & Swiss Institute for Art Research (SIAR), 2002-2011. Head: Johannes Gfeller (interview). 15 [83]

• Capturing Unstable Media, Mar-Dec 2003. A research project on archiving and preserving unstable media. Conducted by V2_. Report published 2003.

• Archiving the Avant Garde: Documenting and Preserving Digital/Media Art, c2004-2007. A consortium project of the University of California, Berkeley Art Museum and Pacific Film Archive, with the Solomon R. Guggenheim Museum, Cleveland Performance Art Festival and Archive, Franklin Furnace Archive, and Rhizome.org. Funded by NEA. Coordinator: Richard Rinehart. Symposium held 2007. Builds upon Variable Media Network. [84]

• Inside Installations: Preservation and Presentation of Installation Art, 2004-2007. Research into the care and administration of installation artworks; 30+ complex installations were selected as case studies and were re-installed, investigated and documented. Coordinated by Netherlands Institute for Cultural Heritage (ICN); in collaboration with Tate, SMAK Ghent, SBMK, Restaurierungszentrum der Landeshauptstadt Düsseldorf, and Museo Nacional Centro de Arte Reina Sofia; co-organizers worked together with national partners (mainly museums) making a total of 25 institutions. Funded by EU Culture 2000. Exhibitions held 2006-2007 and 2010-2011. Report published 2007. Book published 2011 as part of PRACTICs. Old archive. Archived version. Announcement about restored version (2020). [85] [86] [87] [88]

• 40 Jahre Videokunst in Deutschland von 1963 bis heute / Digital Heritage: Video art in Germany from 1963 to the present, 2004-2006. Project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation). Coordinated by K21 Kunstsammlung Nordrhein-Westfalen Düsseldorf, organised by ZKM | Center for Art and Media Karlsruhe, partners: Kunsthalle Bremen, Lenbachhaus Munich, and Museum der bildenden Künste Leipzig. Initiated by Wulf Herzogenrath. Restoration supervising, documentation: Patrícia Falcão, Tina Weidner. Project director: Rudolf Frieling. Symposium held 2005. Five exhibitions held 2006 simultaneously at different venues. Catalogue with DVD published 2006. Study edition of 12 DVDs published 2006 (TOC). Followed by Record > Again!.

• Training for Audiovisual Preservation in Europe (TAPE), 2005-2008. Coordinated by the European Commission for Preservation and Access (ECPA).

• Record > Again! 40jahrevideokunst.de – Teil 2, 2006-2010. Partners: ZKM Medienmuseum, Ludwig Forum Aachen, Kunsthaus Dresden, and the Edith-Ruß-Haus für Medienkunst Oldenburg. Follow-up to the 40 Jahre Videokunst project. Artistic director: Peter Weibel. Project director: Christoph Blase. Travelling exhibition held at 4 venues (2009-2010). Catalogue with DVD published 2010. Study edition of 12 DVDs published 2010.

• Konkretionen des Flüchtigen. Zur Problematik der Erhaltung und Re-Inszenierung von Medienkunstinstallationen / Materializing the Ephemeral, 2007-2009. Conducted by imai foundation, with support of Gerda Henkel Foundation. Project leader: Tiziana Caianiello. The aim was to develop guidelines for the preservation and presentation of different media art installations. Book published 2013. Archived website.

• Forging the Future: New Tools for Variable Media Preservation (FtF), 2008-2009. "Refines and distributes free and open-source products that boost access and aid in preservation of our digital heritage." Coordinated by Jon Ippolito and Richard Rinehart. Builds upon Variable Media Network and Archiving the Avant-Garde. Produced the Variable Media Questionnaire.

• Documentation and Conservation of Media Art Heritage Research Alliance (DOCAM), 2005-2010. Offers five sections of research and implementation: conservation, documentation, cataloguing, history of technologies and terminology. A project of the Daniel Langlois Foundation. Dir. Alain Depocas. Partners: McGill University (Montréal), Université du Québec à Montréal (UQAM), Université de Montréal, Canadian Centre for Architecture, Musée d’art contemporain de Montréal, National Gallery of Canada, The Montreal Museum of Fine Arts, Canadian Heritage Information Network (CHIN), a.o. Financed by Social Sciences and Humanities Research Council of Canada (SSHRC) as part of the CURA program (Community-University Research Alliances).

• 404 Object Not Found_Seoul: International Project for Media Art / Data Archiving, Presentation, Preservation, Total Museum of Contemporary Art, Seoul, Jun-Oct 2006 & Oct 2007. Presented & hosted by Total Museum of Contemporary Art; co-organized by Art Center Nabi, Alternative Space Loop; supported by 2006 Lottery Art Foundation/Art Supporting Program (2006), Seoul Foundation of Art and Culture (2007), a.o. Exhibition held 2006, symposiums held 2006 and 2007.

• Documentare Installazioni Complesse (DIC, Documenting Complex Installations), Museo del Novecento Milan & DARC Rome, 2006-2008. Included 5 case studies of documenting complex works. Book published 2009 (English edition 2013).

• Réexposition, réactualisation et pérennité des œuvres contemporaines, directed by Francine Couture in Montreal, 2007-2010.

• Play Out: nieuwe technieken voor toegankelijkheid en conservering van de videokunstcollecties in Nederland, 2007-2009. Project by NIMk (Gaby Wijers). Project report. Project results. [89]

• Modern and Contemporary Art Research Initiative, Getty Conservation Institute (GCI), 2007-?.

• Taxonomedia: las estrategias y el sentido de la conservación del arte electrónico y digital, association for preservation of electronic and digital art; founded 2007 by Vanina Hofman and Consuelo Rozo in Buenos Aires (-2014?).

• POPART project – the Preservation Of plastic ARTefacts in museum collections, 2008-2011. Project by CRCC/CNRS, LC2RMF/CNRS, V&A, Natmus Denmark, IFAC-CNR, RCE, PISAS, ARC, SolMateS, Morana RTD, UCL, and GCI (full list). Book published 2012. [90]

• New Media Art Network on Authenticity and Performativity, Tate, Sep 2008-Aug 2010. Over a series of five meetings at Tate Modern, the network brought together a range of different voices including artists, academics, curators and conservators to identify the key research questions pertaining to the contemporary art museum’s response to new media artworks and to examine specific questions around authenticity and performativity. Led by Kelli Dipple (Tate curator of Intermedia Arts), in collaboration with Frederico Fazanda Rodrigues and Pip Laurenson. Funded by Arts and Humanities Research Council (AHRC) (£23K). Report published 2010.

• Inside Movement Knowledge (IMK), 2009-2010. A research project into new methods for documentation, transmission and conservation of contemporary choreographic and dance knowledge. The primary partners were ICK Amsterdam - Emio Greco I PC, NIMK, Faculty for Media and Culture of the University of Utrecht and the Dance training program and research group of the Lecturship in art practice and artistic development (ARTI) at the Amsterdam Hogeschool voor de Kunsten. Journal issue published 2010. Documentation model published 2010. [91]

• Migrating Media: Upstate Preservation Network, since Apr 2009. A partnership of Hallwalls Contemporary Arts Center, Squeaky Wheel, Burchfield Penney Art Center and the ETC. Offers non-profit arts and cultural organizations in Upstate New York a means to safeguard significant video collections of tapes. Dir. Jim Lindner. Funded by NYSCA and NEA.

• Practices, Research, Access, Collaboration, Teaching In Conservation of Contemporary Art (PRACTICs), 2009-2011. 33 partners. Project manager: Karen te Brake-Baldock (RCE). Supported by the Culture Programme (2007-2013) of the European Commission and the Mondriaan Foundation. Symposiums held 2010 and 2011. Film released 2012. [92] [93]

• Obsolete Equipment: The preservation of playback and display equipment for audiovisual art, 2009-2011. Project by PACKED with NIMk, in collaboration with MuHKA, S.M.A.K., Kröller-Müller Museum, Stedelijk, ICN and Van Abbemuseum. Case studies included 13 video-based and 8 computer-based works. Website includes interviews. Supported by Flemish Government. NIMk.

• Documentação de Arte Contemporânea, Lisbon, 2009-2013.

2010s

• New Strategies in the Conservation of Contemporary Art (NewS), Sep 2009-Sep 2013-Feb 2015. Research project of RCE, U Maastricht, and ASCA/UvA Amsterdam. Funded by NWO (projects 1, 4, 6: Hölling, van Saaze, van de Vall), ICN (projects 2, 5: Scholte, Hummelen) and UvA (project 3: Stigter). Project leader: Renée van de Vall. Incl. 5 PhD projects addressing the paradigm of ‘scientific freeze’ through biographies of artworks: Hanna Hölling (UvA), Tatja Scholte (RCE), Sanneke Stigter (UvA/Kröller-Müller Museum), Vivian van Saaze (UM), IJsbrand Hummelen (RCE). Followed upon by NeCCAR. [94] [95] [96]

• Panza Collection Initiative (PCI), Guggenheim Museum, 2010-2020. Focused on the long-term preservation and future exhibition of Minimalist, Post-Minimalist, and Conceptual art acquired by the Guggenheim from Italian collectors Giovanna and Giuseppe Panza di Biumo in 1990 and 1992. Project leaders: curator and scholar Jeffrey Weiss and conservator Francesca Esmay. Symposium held 2019. Funded by Andrew W. Mellon Foundation ($1.23M, $1.25M, $745K). Book published 2021.

• Conservation Media Art Collection Netherlands, SBMK and NIMk, 2010-2012. The project involved conservation of 3500 video art works from 1975-2005 (building upon Preservation Video Art project), development of strategies for preservation of computer-based art (in collaboration with Virtuel Platform), and research into copyright issues related to online presentation of video art (in collaboration with Kennisland). Partners: Van Abbemuseum, De Appel, Museum Boijmans Van Beuningen, Groninger Museum, Netherlands Institute for Cultural Heritage, Kröller-Müller Museum, Netherlands Media Art Institute (including LijnbaanCentrum, Montevideo and Time Based Arts, Amsterdam), Rijksakademie van beeldende kunsten, Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Frans Hals Museum, Gemeentemuseum Helmond, V2_, SCHUNK*, Bonnefantenmuseum. Project report. Publications per project focus: Video art preservation, Born-digital artworks, Copyright.

• Digital Art Conservation, 2010-2012. Dedicated to researching strategies for the conservation of digital art, with a focus on artworks created with computer programming and digital technologies. Dir. Bernhard Serexhe. Symposia held 2010 and 2011, exhibition 2012-13, book published 2013. The project was initiated at the ZKM, Karlsruhe, and was carried out in collaboration with five other institutions from the Upper Rhine region. Supported by EU program INTERREG IV Oberrhein.

• archiv performativ, Institute for Cultural Studies in the Arts (ICS)/Zürcher Hochschule der Künste ZHdK, 2010-2012.

• Motion Bank, Forsythe Company, 2010-2013. Focused on the creation of online digital scores in collaboration with choreographers. Book published 2013.

• Digitising Contemporary Art (DCA), PACKED, Jan 2011-Jul 2013 (30mo). Aimed to digitise contemporary art objects (i.e. art made after 1945, 27K artworks - paintings, photographs, sculptures, installations, videos and 2K contextual documents) from 12 European countries and make them accessible to the wider public through Europeana. Coordinator: PACKED vzw; partners include 21 art institutions and 4 technical institutions. Funded by EC CIP-ICT Policy Support Programme (€1.97M).

• Dying Technologies: The End of 35 mm Slide Transparencies, Tate, Jun 2011-Dec 2012. Project leader: Tina Weidner. Supported by the Esmée Fairbairn Foundation. Paper published 2012.

• Performing Documents: modelling creative and curatorial engagements with live art and performance archives, University of Bristol, Jul 2011-Dec 2014. Principal investigator: Simon Jones. Hosted by University of Bristol, in partnership with University of Exeter, Arnolfini and In Between Time. Funded by Arts and Humanities Research Council (AHRC) (£454K).

• Network for Conservation of Contemporary Art Research (NeCCAR), Maastricht University, Jan 2012-Sep 2015. Aimed to develop joint research projects and a training curriculum on the theory, methodology and ethics of the conservation of contemporary art. Project leaders: Renée van de Vall and Vivian van Saaze (both U Maastricht); 10 partner organisations (incl. Tate, CICS, UvA). Follow-up to NewS. Conferences held 2012, 2013, 2014. Proceedings published 2015, 2016. Funded by NWO. Followed upon by NACCA.

• Collecting the Performative: A Research Network Examining Emerging Practice for Collecting and Conserving Performance Based Art, Tate, Apr 2012-Jan 2014. Project leader: Pip Laurenson. Partners: Maastricht U, Van Abbemuseum, LIMA. Funded by Arts and Humanities Research Council (AHRC) and Netherlands Organisation for Scientific Research (NWO). Video documentation. Paper (2022). [97]

• Ludwig Forum für internationale Kunst Video Archive, Jun 2012-Mar 2018. Project by Ludwig Forum für Internationale Kunst, Aachen. Dir. Brigitte Franzen (2012-2018), Andreas Beitin (2016-2018). Conference held 2015. Three exhibitions held 2014-2015. Research website published. Funded by Volkswagen Stiftung (as part of Forschung in Museen / Research in Museums).

• Replace or Remake?, 2013-2015. Project by ER[cr]OS Tours, ESA Saint-Luc Liège, C2RMF, Capc Bordeaux, in collaboration with INCCA-F. [98]

• Conserving Computer-Based Art (CCBA), Guggenheim Museum, New York, 2013-c.2019. A research and treatment initiative to preserve software and computer-based artworks in the Guggenheim Museum’s permanent collection. Initiated by Joanna Phillips (Guggenheim TBMA) in collaboration with Deena Engel (NYU Dept of Comp Sci). Supported by Carl & Marilynn Thoma Art Foundation, the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature, and Josh Elkes. Paper, 2017-2018. Paper, 2017-2018. Paper, 2019.

• Cultural Heritage in the Digital Age, iMAL and Packed, 2014-.

• Transformation Digital Art / Transformatie Digitale Kunst, 2014-2016. A research programme concerned with the long-term preservation, presentation and distribution of software based artworks. Realised by LIMA, SBMK and collaborating museums. Symposiums held 2016, 2017, 2018, 2019. Project report. [99]

• Collecting, Archiving and Sharing Performance and the Performative, University of Exeter, Oct 2014-Sep 2016. Aimed to create an archive and a best practice framework for the collection, archivisation and exhibition of performance at Tate 1960 to today. Principal Investigator: Gabriella Giannachi. Funded by Arts and Humanities Research Council (AHRC) (£282K).

• Archiving Interactive Media, ACHI/U Amsterdam + DEN Foundation + LIMA, 2015-. Project leader: Julia Noordegraaf.

• New Approaches in the Conservation of Contemporary Art (NACCA), Jun 2015-May 2019 (48mo). Project leader: Renée van de Vall (Maastricht U). 15 PhD fellows investigated different, as yet under-explored aspects of contemporary art conservation: Brian Castriota (Glasgow U), Joanna Kiliszek (Art Academy Warsaw), Nina Quabeck (U Glasgow), Tomas Markevicius (Cologne UAS), Marta Garcia Celma (Cologne UAS), Claudia Röck (U Amsterdam), Caitlin Spangler-Bickell (Maastricht U & MUDEC), Panda de Haan (U Porto), Aga Wielocha (U Amsterdam), Iona Goldie-Scot (Maastricht U), Dušan Barok (U Amsterdam), Maria Theodoraki (U Nova de Lisboa), Sophie Lei (Roma III U & Maastricht U), Zoë Miller (Tate & Maastricht U), Artemis Rüstau (Maastricht U). Follow-up to NeCCAR. Conferences held 2017, 2018, 2019. Funded by EC Horizon2020 (€3.8M). Project results.

• Project for the Conservation of Slide-based Artworks, Hamburger Kunsthalle, 2015-2018. Symposium held 2018. Book published 2019. Supported by Schoof'sche Stiftung and Wüstenrot Stiftung.

• Cleaning Modern Oil Paintings (CMOP), University of Amsterdam / Cultural Heritage Agency of the Netherlands (RCE), Jun 2015-May 2018. Project leader: Klaas Jan van den Berg (RCE). Partners: Tate, Courtauld Institute of Art, and University of Pisa. Funded by NWO and EC Heritage Plus (€695K). Short film produced (2018).

• Conserving large-scale works made of polyurethane foam in Danish art and design from the 1960's to today (PUR project), Center for Art Technological Studies and Conservation (CATS), Oct 2015-Mar 2017. A collaborate research venture between Statens Museum for Kunst, the National Museum of Denmark and the School of Conservation at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. Lead researchers: Louise Cone and Yvonne Shashoua.

• UNFOLD: Mediation by Reinterpretation, LIMA, 2016-2017. Practice-based research project aiming to examine re-interpretation as emerging practice for the preservation of media artworks. Project leader: Gaby Wijers, core researcher: Lara Garcia Diaz. Funded by Mondriaan Fund and Creative Industries Fund NL. First network meeting report (2016). Presentation (2017).

• Net Art Anthology, Rhizome, 2016-2019. Aimed to identify, preserve, and present 100 exemplary works of net art. Online exhibition ran throughout and after the project. Exhibition held 2019, US tour set for 2020. Book published 2019.

• Documentation and Conservation of Performance, Tate, Mar 2016-Mar 2021. Conducted by Tate’s Time-based Media Conservation team. Outputs: strategy for the documentation and conservation of performance, and a set of documentation tools.

• Midwest Media Arts Consortium, 2016-. A US midwestern forum for the care and conservation of time-based media art. The partner museums are the Bowdoin College Museum of Art in Brunswick, Maine; the Colby College Museum of Art in Waterville, Maine; the Middlebury College Museum of Art in Middlebury, Vt.; the Mount Holyoke College Art Museum in South Hadley, Mass.; the Rose Art Museum at Brandeis University in Waltham, Mass.; and the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, N.Y.

• Installatiekunst op de kaart! [Installation Art on the Map!], RCE, 2016-2018. The aim of the project is to survey and improve the registration and documentation of installation art, with the underlying objective of enhancing the public profile of this art form. Developed an intake form, in collaboration with various partner museums. In addition to the intake form, work is in progress on the development of 4 guidelines for maintenance, registration, repository management and reinstallation. Project lead: Sylvia van Schaik (RCE). Part of the RCE's Heritage of the Modern Age research programme.

• Media Conservation Initiative, MoMA, 2017-2021 (66mo). Hosted several postgraduate fellowships, workshops, and expert discussion meetings (referred to as peer forums) devoted to media art conservation. Project coordinator: Allison Spangler. Fellows: Amy Brost, Flaminia Fortunato, Caroline Gil, Lia Kramer. Built upon Matters in Media Art. Funded by Mellon Foundation ($1.25M). Interview 2017. Resources.

• Cultures of Conservation, Bard Graduate Center, 2017-2022 (60mo). Aims to model the ways of integrating the approaches and insights of objects conservation and materials science with those of academics in the human sciences (anthropology, archaeology, art history, history). Funded by Mellon Foundation ($0.75M). Follows upon Phase I funded by Mellon, 2012-2017. Symposia held 2017, 2018, 2019. Exhibition held 2022. Book published 2022.

• DaphNet: Dynamic Preservation of Interactive Art, Ghent University, Feb 2017-Jan 2019 (24mo). Coordinated by Federica Bressan on behalf of the IPEM research center of Ghent University. Partner: Dutch Institute for Sound and Vision. Funded by European Commission (Horizon2020) (€161K).

• Plastics Project, RCE, Apr 2017-Nov 2019. Carried out by RCE together with the SMBK, NICAS and seven museums and a corporate collection - Bonnenfantenmuseum, Centraal Museum, Gemeentemuseum The Hague, Kröller-Müller Museum, Boijmans Van Beuningen Museum, Schunck, Stedelijk Museum and the Rabo Art Collection. Part of RCE-programme Heritage of the Contemporary Era. Followed by Project Photography. Van Abbe. [100] [101]

• Preservation of Plastics, Getty. A project of the Modern and Contemporary Art Research Initiative.

• CAPuS: Conservation of Art in Public Spaces, Turin University, Jan 2018-Dec 2020. A consortium of 15 partners and 2 associated partners from 6 countries led by the Turin University and including universities, academies, companies and research centres. Project manager: Dominique Scalarone (U Turin). Aims to develop guidelines and protocols for the protection and conservation of contemporary public art. Funded by EC Erasmus+ Knowledge Alliances Programme (€1M). [102]

• Van Gogh TV, Apr 2018-Apr 2021. A DFG-funded project carried out by the University of Applied Sciences, Mainz, together with the University of Bonn. Deals with the media art project Piazza Virtuale by art group Van Gogh TV in the framework of documenta 9 in 1992 which can be today regarded as a precursor of social media. The material and virtual relics of the 100-day media campaign are to be processed and prepared for long-term archiving. Concept: Anja Stöffler (IMG, HS Mainz) and Jens Schröter (U Bonn), project manager: Tilman Baumgärtel (Hochschule Mainz). Online resource published. Book published 2021.

• Reshaping the Collectible: When Artworks Live in Museums, Tate, Jan 2018-Jun 2021 (42mo). Aimed to develop new models for the conservation and management of contemporary art, particularly works "that challenge the structures of the museum" such as time-based media, digital and performance art. 6 works as case studies, 4 visiting fellows, 1 collaborative PhD with Maastricht U. Principal investigator: Pip Laurenson. Funded by Mellon Foundation ($1.5M). Exhibition held 2022. Conference held 2022. [103]

• artemak+X Techniken und Materialien der modernen und zeitgenössischen Kunst [artemak+X Techniques and Materials of Modern and Contemporary Art], Hochschule für Bildende Künste (HfBK) Dresden, Sep 2018-Aug 2021. Project heads: Ursula Haller and Christoph Herm. Funded by European Structural Funds (ESF) and the European Union. Archived runner-up to the project (managed by Erich Gantzert-Castrillo and Elisabeth Bushart, online from 2011-?). Archive launched 2021.

• Interviews in Conservation Research, University of Amsterdam, Jan 2019-Jan 2020. Aims for an integral approach in using oral history for research in art conservation. Project leader: Sanneke Stigter. Funded by NWO.

• Documenting Digital Art: Re-thinking Histories and Practices of Documentation in the Museum and Beyond, University of Exeter, Jul 2019-Jun 2022. Project lead: Gabriella Giannachi. Partners: The Photographers’ Gallery, Institute Bevilacqua LaMasa Foundation (Venice Biennale), LIMA. Funded by Arts and Humanities Research Council (AHRC) (£371K). Announcement.

2020s

• Non-Cinematic Audiovisual Works: Documentation, Archival and Access [Audiovizuální dílo mimo kontext kinematografie: dokumentace, archivace a zpřístupnění], Národní filmový archiv, Prague, Mar 2020-Dec 2022. The project involves the archiving of the VVP AVU collection of Czech video art. Coordinated by Martin Blažíček and Sylva Poláková. Funded by Czech Ministry of Culture (10M CZK).

• Project Photography (Collection Knowledge 2.0), SBMK, Oct 2020-Oct 2023. Carried out by SBMK, RCE, UvA and 13 contemporary art collections. Follows the blueprint of the Plastics Project.

• New Media Museums: Creating Framework for Preserving and Collecting Media Arts in V4, Olomouc Museum of Art, Feb 2021-Sep 2022. An international platform for sharing experience with building and maintaining collections of new media artworks across different types of institutions. Partners: Olomouc Museum of Art, Slovak National Gallery, WRO Wroclaw, C3 Foundation Budapest, PAF Olomouc. Project lead: Dušan Barok and Jakub Frank. Funded by the International Visegrad Fund (€38K). Colloquium held in March 2022. Book published 2022.

• Collecting and Preserving Research-Based and Archive-based Art Projects", M+ Museum Hong Kong, Feb-May 2022. A series of workshops involving guests and M+ staff from different departments.

• Variant. Documenting New Media Art, Sabanci University Sakip Sabanci Museum, Istanbul, Oct 2022-Mar 2023. Project management: Osman Serhat Karaman.

• Digital Care, LIMA, Mar-Oct 2023. Collaborative care for digital artworks through an open process. Presented at the exhibition REBOOT. Pioneering Digital Art (Oct 2023-Apr 2024).

Ongoing

• The Future of Documents Project: Documenting Performance (DocPerform), City, University of London. Project of the Department of Library & Information Science (CityLIS), since 2016. Team: Lyn Robinson, Joseph Dunne, a.o. Symposia held 2016, 2017, 2019, 2020. Proceedings published 2018.

• Re:DDS, Amsterdam Museum, since 2017. The reconstruction of De Digitale Stad (The Digital City), a virtual community platform first launched in 1994. Facilitated by Tjarda de Haan.

• Software-based Art Preservation, Tate, since Oct 2017. Research project into the care and preservation of software-based artworks in the Tate collection. Outcomes. Project team: Tom Ensom, Patricia Falcão, Chris King.

• Preserving Immersive Media, Tate, since Sep 2018. Research project developing strategies for the preservation of artworks which utilise immersive media such as 360 video, real-time 3D, virtual, augmented and mixed reality. Project team: Jack McConchie, Tom Ensom, Louise Lawson. Supported by Lumen Art Projects Ltd.

• Networked Art Practice After Digital Preservation. Explores challenges and solutions of preserving historical analogue and born-digital networked art practice. Led by Sarah Cook (U Glasgow) and Roddy Hunter (U Huddersfield). Supported by the School of Art, Design and Architecture at U Huddersfield and Museum Studies at U Glasgow.

• Performance: Conservation, Materiality, Knowledge, Institute Materiality in Arts and Culture, Bern University of the Arts, Oct 2020-Sep 2024. Funded by the Swiss National Science Foundation. Project lead: Hanna B. Hölling. Colloquia held 2021, 2022, 2023. [104]

• A Global Infrastructure for Heritage Science, 2021-. Incl. section on Modern and Contemporary Art. Funded by the Mellon Foundation.

• Emergence of Video Art in Europe (1960-1980): History, Theory, Sources and Archives / L'émergence de l'art vidéo en Europe: historiographie, théorie, sources et archives, 2021-2025. Conducted by Grégoire Quenault at University of Paris 8 Vincennes - Saint-Denis and François Bovier at ECAL/University of Art and Design and the University of Lausanne, in partnership with the National Library of France (BnF). Funded by the Swiss National Science Foundation (SNSF) and the French National Research Agency (ANR). Follows on a research held from 2016-2019. [105] [106]

• Collaborative Infrastructure for Sustainable Access to Digital Art (Infrastructuur Duurzame Toegankelijkheid Digitale Kunst), LIMA, Amsterdam, 2021-2024. Focuses on developing best practices in analyzing, documenting and storing digital artworks, using ten case studies from different collections. Funded by Gieskes-Strijbis Fonds (€225k). Project overview.

• Maintenance Culture: Sustaining Digital Creative Works, Myriad, Mar 2022-Feb 2024. A project to address challenges related to preserving complex, born-digital, creative works in small institutions. Myriad and collaborators will create and present an innovative, collaborative, digital preservation training program, expanding on existing curricula to specifically cover preserving time-based media art and other complex, born-digital works. Funded by the National Endowment for the Humanities ($347k). Press release (2022). Poster (2023).

• Activating Fluxus, Bern University of the Arts, Apr 2022-Mar 2026. Investigates the objects, events, scores and ephemera that emerged in the spirit of Fluxus in the 1960s–70s in Switzerland, Europe, the UK and the USA. Head: Hanna B. Hölling; staff: Marcus Gossolt, Aga Wielocha. Funded by the Swiss National Science Foundation (SNSF, 680k CHF). [107]

Events

Conferences, symposia and workshops

Recurrent

• AIC Annual Meetings, since 1973.

• DOCAM Annual Summits, Canadian Centre for Architecture, Montreal, 5 Oct 2005; McGill University Schulich School of Music, 26 Oct 2006; Montreal Fine Arts Museum, 26-27 Sep 2007; McGill University, 30-31 Oct 2008; Université du Québec à Montréal, 4-5 Mar 2010.

• To Transfer or to Transform, series of sessions, NIMk, 2007-2011. Talks by artists about new versions, remakes, reconstructions and emulation of their work.

• Future Talks: The Conservation of Modern Materials in Applied Arts and Design, Die neue Sammlung, Munich, since 2009. Proceedings published regularly.

• Jornada de Conservación de Arte Contemporáneo, annual event organized by MNCARS – Museo Nacional Centro de Arte Reina Sofía, Madrid (Spain); held in Spanish, with open-acess postprints.

• No Time To Wait, annual conference series, Berlin, 2016; Vienna, 2017; London, 2018; Budapest, 2019; Hilversum, 2021. Focused on open media, open standards, and digital audiovisual preservation. Managed by MediaArea.net.

• NACCA conferences, annual conferences held 2017, 2018, 2019 (see below).

General

• Restaurierung moderner Kunst, symposium, Düsseldorf, 1977. Proceedings published 1977. [108]

• International Symposium on the Conservation of Contemporary Art, National Gallery of Canada, Ottawa, 7-12 Jul 1980. Abstracts published 1980. Several conservators spoke about their collaborations with living artists and the importance of interviewing artists to ascertain their views about materials and addressing damages to their pieces. Attended by c200-250 people. [109]

• Arts contemporains et édifices anciens: actes de la rencontre internationale organisée par la Section française de l'ICOMOS, Paris, 26-28 Nov 1981. An international meeting on the integration of contemporary art in old buildings. Proceedings published 1983.

• The Conservation of Contemporary Art, ANAGPIC (Association of North American Graduate Programs in the Conservation of Cultural Property) meeting, Art Conservation Department, Winterthur-University of Delaware, 2-3 May 1985.

• Conservation and Contemporary Art: 1984 National Conference, Sydney, 16-19 Apr 1984. Abstracts published 1984.

• Il restauro del contemporaneo, Castello di Rivoli Museum of Contemporary Art, Rivoli-Turin, 16-17 Oct 1987. Organised by Maria Cristina Mundici and Antonio Rava. See also 2012 conference. Proceedings in English published 2015.

• Modern Art: The Restoration and Techniques of Modern Paper and Paints, 22 May 1989. Organised by UKIC and Museum of London. Proceedings published 1989.

• Comunicaciones de la 2a reunión de trabajo. Grupo Español de trabajo sobre la conservación y restauración del arte contemporáneo, ICRBC, Madrid, 9 Apr 1990. Proceedings published 1990.

• Conservation and Contemporary Art, Richmond, VA, 4-5 Jun 1990. Summary published 1991.

• Conservatie en restauratie van moderne en actuele kunst: een interdisciplinair gebeuren, University of Ghent, 17-19 Dec 1990. Proceedings published 1992.

• Saving the Twentieth Century: The Conservation of Modern Materials / Sauvegarder le XXe siècle: la dégradation et la conservation des matériaux modernes, Ottawa/CA, 15-20 Sep 1991. Subsequently called Symposium '91. Proceedings published 1993.

• La conservazione e il restauro oggi, Ferrara/IT, 26-29 Sep 1991. Proceedings published 1992 (2nd of 4 volumes is dedicated to contemporary art).

• Comunicaciones de la 3a reunión de trabajo, Casa de Cultura, Vitoria, 21-22 Nov 1991. Proceedings published 1991.

• Conservatie en restauratie van moderne en actuele kunst: een interdisciplinair gebeuren, Ghent, 1992. Proceedings published 1992.

• Conservation et restauration des oeuvres d'art contemporain, colloquium, Ecole du patrimoine, Paris, 10-12 Dec 1992. Proceedings published 1994.

• Conservació i restauració d'art contemporani: seminari, Facultat de Belles Arts, Universitat de Barcelona, Barcelona, 15-18 Nov 1993. Proceedings published 1996.

• Colloquio sul restauro dell'arte moderna e contemporanea, Prato/IT, 4-5 Nov 1994. Proceedings published 1994.

• From Marble to Chocolate: On 19th- and 20th-Century Art, Tate Gallery, London, 18-20 Sep 1995. Proceedings published 1995.

• Conservation of Modern Art, Kröller-Müller Museum, Otterlo, 12 May 1996. Proceedings published 1996.

• Conservazione e restauro dell'arte contemporanea, weekly convention, Venice, 5 Oct-30 Nov 1996. Proceedings published 1996.

• Modern Art: Who Cares?, Royal Tropical Institute, Amsterdam, 8-10 Sep 1997. Organised by SBMK and ICN. 450 people attended. Proceedings published 1999. [110], [111]. Reviews: Marontate (Boekman), Keneghan (V&A) [112].

• Mortality Immortality? The Legacy of 20th-Century Art, Getty Center, Los Angeles, 25-27 Mar 1998. Proceedings published 1999. Report: Constantine (GCI Newsletter, incl. list of speakers).

• Contemporary Art: Creation, Curation, Collection and Conservation, Irish Museum of Modern Art, Dublin, 21-22 Sep 2001. Proceedings published 2002.

• Modern Art, New Museums, IIC 20th International Congress, Guggenheim Museum Bilbao, 13-17 Sep 2004. Organised by International Institute for Conservation of Historic and Artistic Works. Preprints published 2004.

• From Setback to Success / Durch Rückschläge zum Erfolg, symposium, Ludwig Museum, Cologne, 3-4 Dec 2004. Third symposium of VDR Working Group Modern Art--Modern Cultural Heritage (MKKM). Organised by Barbara Sommermeyer, Christine Frohnert, Ulrich Lang, et al.

• Bewegliche Teile, symposium, Museum Tinguely, Basel, 8-9 Apr 2005. Organised by VDR Working Group Modern Art--Modern Cultural Heritage (MKKM) in collaboration with the magazine RESTAURO [113] [114]

• Du refus ou de l'impossibilité de la restauration, Ecole supérieure des Beaux-arts de Tours, 14 Feb 2007. Proceedings published 2008.

• Shifting Practice, Shifting Roles? Artists' Installations and the Museum, Tate, 22 Mar 2007. Incl. video documentation. Part of Inside Installations.

• Art, Conservation and Authenticities: Material, Concept, Context conference, University of Glasgow, 12-14 Sep 2007. Proceedings published 2009.

• Inherent Vice: The Replica and its Implications in Modern Sculpture Workshop, Tate Modern, 18-19 Oct 2007. Supported by The Andrew W. Mellon Foundation. Proceedings published 2007.

• Conservation de l'art contemporain et de l'architecture moderne: l'authenticité en question, study day, UQAM, Montreal, 23 Nov 2007. Proceedings published 2010.

• The Object in Transition, Getty Conservation Institute, Los Angeles, 24-26 Jan 2008. Incl. video documentation. Report: Learner (CeROArt).

• Conservación del arte electrónico: ¿Qué preservar y cómo preservarlo? seminar, Espacio Fundación Telefónica, Buenos Aires, 16 Apr 2008. Organised by Taxonomedia. Proceedings published 2009.

• Conservation Issues of Modern and Contemporary Art (CIMCA) Meeting, Museum of Modern Art, New York, 2-4 Jun 2008. Organised by Getty Conservation Institute. Attended by 26 invited participants from Europe and the Americas. Built upon The Object in Transition conference.

• Documenter l'art contemporain, École supérieure des beaux-arts de Tours, 5 Jun 2008. Proceedings published 2009.

• A Arte Efémera e a Conservação: O paradigma da Arte Contemporânea e dos Bens Etnográficos, Instituto de História da Arte, Lisbon, 2008.

• The Inconvenient Truth: Threats to each of the stages in the life of a contemporary work of art, Van Abbemuseum, Eindhoven, 19 Jun 2008. Organised by SBMK. [115]

• Theory and Practice in the Conservation of Modern and Contemporary Art, 13-14 Jan 2009, U Applied Sciences and Arts, Hildesheim/DE. Proceedings published 2010.

• Ethical Dilemmas in the Conservation of Modern and Contemporary Art, Getty Center, 29 Apr 2009. Panel of 4 experts. Incl. video. Transcript. Organised by Getty Conservation Institute.

• Date limite de conservation, colloquium, Musée d'art contemporain du Val-de-Marne, 15-16 May 2009. Proceedings published 2009.

• Art d'aujourd'hui, patrimoine de demain: conservation et restauration des œuvres contemporaines / Art today - Cultural property of tomorrow. The conservation and restoration of contemporary artworks, 13th colloquium of SFIIC (Section Française de l'Institut International de Conservation), Institut national du patrimoine (INP), Paris, 24-26 Jun 2009. Proceedings published 2009.

• Conservation: Principles, Dilemmas and Uncomfortable Truths, Royal Academy of Arts, London, 24-25 Sep 2009. Seminar organised by Alison Richmond and Alison Bracker in connection with the publication of the book. Seminar summary.

• The Conservation of Modern Materials in Applied Arts and Design, Pinakothek der Moderne, Munich, 22-23 Oct 2009. Proceedings published 2011.

• Conservar, documentar, archivar. Encuentros de conservación de arte electrónico y digital, Buenos Aires, 1-3 & 6 Sep 2010. Organised by Taxonomedia. Follow-up to the 2008 seminar.

• Matters in Media Art III, SFMOMA, San Francisco, 2010.

• Still Accessible? Rethinking the Preservation of Media Art I, panel at ISEA 2010 Ruhr; hosted by imai foundation.

• Contemporary Art: Who Cares? Research and Practices in Contemporary Art Conservation, Royal Tropical Institute, Amsterdam, 9-11 Jun 2010. Organised as part of PRACTICS. 580 people attended. Video documentation. Brake-Baldock 2010 interview. Report: Katrine Segel (ICOM-CC THC newsletter 2011). [116] [117] [118]

• Arte contemporáneo en (sala de) guardia / Rescuing Contemporary Art: Conservation approaches, Buenos Aires, 16-17 Sep 2010. Organised by TyPA. Video documentation. Proceedings published 2015.

• Recollecting the Act: On the Transmission of Performance Art, 2011. Part of archiv performativ.

• Technologie und Konservierung zeitgenössischer Kunst: Projekte und Perspektiven, Cologne Institute of Conservation Sciences, Cologne, 14 May 2011. Program. Organised by CICS and VDR Working Group Modern Art--Modern Cultural Heritage (MKKM) as part of PRACTICS. 200 people attended. [119] [120]

• Playing to the Galleries and Engaging New Audiences: The Public Face of Conservation, DeWitt Wallace Decorative Arts Museum, Williamsburg, VA, 13-17 Nov 2011. Proceedings published 2013.

• Cosa cambia: teorie e pratiche del restauro nell'arte contemporanea, Castello di Rivoli Museum of Contemporary Art, Rivoli-Turin, 10-11 Feb 2012. Organised by Maria Cristina Mundici and Antonio Rava. See also 1987 conference. Proceedings published 2013.

• Cultures of Conservation, Milan, 17-18 May 2012. Part of NeCCAR.

• ‘The Real Thing?’ The Value of Authenticity and Replication for Investigation and Conservation conference, University of Glasgow, 6-7 Dec 2012. Proceedings published 2014.

• Futuros possíveis, Casa da Ciência/UFRJ, Rio de Janeiro, 16-17 Aug 2012. Symposium on conservation of digital art and digital collections. Chairs: Giselle Beiguelman (FAU USP) and Ana Gonçalves Magalhães (MAC-USP); co-chair: Gerfried Stocker (Ars Electronica). Book published 2014. Video documentation, [121]. [122] [123]

• AIC's 41st Annual Meeting: The Contemporary in Conservation, Indianapolis, 29 May-1 Jun 2013.

• Performing Documentation in the Conservation of Contemporary Art, Lisbon, 20-21 Jun 2013. Part of NeCCAR. Video documentation. Proceedings published 2013.

• L'art contemporain, modification des pratiques et recherches de légitimité, 4 Oct 2013. Fifth edition of the cycle La restauration: connaissance et reconnaissance de l’œuvre d’art. [124]

• Fail Better symposium, Hamburger Kunsthalle, Hamburg, 6-8 Dec 2013. Video documentation. Video documentation with programme. Review: Michelle Barger (e-conservation).

• Conservation and Its Contexts, Institute of Fine Arts, New York University, 7 Dec 2013. The conference examining the emerging interactions between conservation and associated disciplines including art history, archaeology, and ethnography. Organized by Jim Coddington. Video.

• Arte contemporânea: preservar o quê?, Museu de Arte Contemporânea da Universidade de São Paulo, 6-8 Oct 2014. Proceedings published 2015.

• Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation, Glasgow, 1-2 Dec 2014. Part of NeCCAR. Proceedings published 2016. Video documentation. [125]

• CAA 2015: Conservation and the Future of Art panel, Institute of Fine Arts, New York University, 12 Feb 2015. One of the three thematic panels on the theme of Field/Work, organised by Mellon Research Initiative. Video.

• The First Crack: A Symposium on Conservation and Value in Contemporary Art, hosted by Contemporary Conservation Ltd. and the School of Visual Arts, New York, 29 Apr 2015. Videos.

• VoCA Talk: Artist Engagement, at the American Institute of Conservation (AIC) Conference, Miami, 14-15 May 2015.

• A Nordic Seminar: Archiving Media Art – Saving Contemporary Art For The Next Generation, Kiasma, Helsinki, 28 May 2015. Videos.

• Cultures of Conservation Panels, Bard Graduate Center, Oct 2015-Mar 2016. 2 (report).

• Far-Sited: Creating and Conserving Art in Public Places, University Art Museum at California State University, Long Beach/CA, 16-18 Oct 2015. Video documentation.

• Preservation and Access to Born-digital Culture symposium, Brussels, 30-31 Oct 2015. Organised by iMAL and Packed. Video documentation.

• Saving the Now: Crossing Boundaries to Conserve Contemporary Works congress, Millennium Biltmore Hotel, Los Angeles, 12-16 Sep 2016. Organised by IIC in collaboration with INCCA and GCI. Proceedings published 2016.

• Identity and Conservation of Contemporary Artworks: Duties and Responsibility. International Summer School, Centro Conservazione e Restauro La Venaria Reale, Turin, 12-18 Sep 2016. [126] [127]

• Conserving Industrial Materials in Art symposium, University of Chicago & Art Institute of Chicago, 18-19 Nov 2016. Schedule.

• Artist Archives Initiative Symposium, New York University, 21 Apr 2017. Incl. videos.

• Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation, Centre for Contemporary Arts, Glasgow, 28-30 Jun 2017. Part of NACCA. Report: Quabeck & Castriota (News in Cons).

• Fabrication and Disintegration in Contemporary Art symposium, Schaulager, Münchenstein, Switzerland, 7-8 Sep 2017.

• Museums and Immaterial Art, Louisiana Museum of Modern Art, Denmark, 8 Sep 2017.

• Conserving Active Matter symposium, Bard Graduate Center, New York, 27-28 Nov 2017. Part of Cultures of Conservation project. Video documentation.

• Body of Work: Contemporary Artists' Estates and Conservation symposium, SVA Theatre, New York City, 5-6 Apr 2018. Organised by Contemporary Conservation Ltd. Video documentation. Review: Sasha Drosdick.

• Artist Archives Initiative Symposium, New York University, 20 Apr 2018.

• NACCA Symposium 2018: From Different Perspectives to Common Grounds in Contemporary Art Conservation, Cologne University of Applied Sciences, Cologne, 25-26 Jun 2018. Part of NACCA project.

• Conserving Active Matter: History symposium, Bard Graduate Center, New York, 1 Nov 2018. Part of Cultures of Conservation project. Video documentation.

• SBMK Summit on (Inter)national Collaboration: Acting in Contemporary Art Conservation, Cultural Heritage Agency, Amersfoort, 15 Nov 2018, and Stedelijk Museum, Amsterdam, 16 Nov 2018. Conducted by SBMK, in collaboration with the Cultural Heritage Agency of the Netherlands (RCE) and the University of Amsterdam. In addition, a symposium on plastics was held at Central Museum, Utrecht, 14 Nov 2018. Programme booklet. [128]

• MACCH Conference 2019: Bridging the Gap. Theory and Practice in the Conservation of Contemporary Art, Jan van Eyck Academie, Maastricht, 24-27 Mar 2019. The closing event of NACCA project.

• Conserving Active Matter: Materials Science symposium, Bard Graduate Center, New York, 28-29 Mar 2019. Part of Cultures of Conservation project.

• Object Lessons: The Panza Collection Initiative Symposium, Solomon R. Guggenheim Museum, New York, 9-10 Apr 2019. Jointly produced and funded by Guggenheim Museum, New York, and Getty Conservation Institute, Los Angeles. The culminating event of Panza Collection Initiative project. Videos. [129]

• Living Matter: The Preservation of Biological Materials Used in Contemporary Art / La Materia Viva: Conservación de materiales orgánicos en el arte contemporáneo, MUAC and ENCRyM, Mexico City, 3-4 Jun 2019. Organised by the Getty Conservation Institute (GCI), the Museo Universitario Arte Contemporaneo (MUAC), and the Escuela Nacional de Conservación, Restauración y Museografía "Manuel del Castillo Negrete" ENCRyM). Proceedings published 2022.

• The Conservation of Contemporary & Modern Art, symposium, Dedalus Foundation, New York, 24 Oct 2019. Videos: Session 1, Session 2, Session 3.

• Conservation and Philosophy Symposium: Intersections and Interactions, online, 26-27 Nov 2020. Convened by David A.Scott. Coordinated by Ellie Sweetnam. Organised by the International Institute for Conservation of Historic and Artistic Works (IIC).

• Space and Time: Joseph Beuys’ Installation Art, its Presentation and Conservation, conference, Museumslandschaft Hessen Kassel, Kassel, 16-17 Sep 2021. CfP.

• Past/Present: Collecting, Exhibiting and Conserving Contemporary Art in Asia, symposium, online (Taoyuan Museum of Fine Arts, Taiwan), 5-8 Jan 2022. Supported by the Asian Cultural Council (ACC) 2021 project grant. Abstracts PDF.

• Contemporary Art Conservation Revisited: 20 Years Later, symposium, online (Bern University of the Arts), 27-28 Jan 2022. Organising committee: Martina Haidvogl, Martina Pfenninger Lepage, Dörte Doering, Kerstin Linder. Abstracts PDF. Videos, Videos.

• Contemporary Art: Who Shares?, De Pont, Tilburg, 29 Sep 2022. Organised by SBMK in collaboration with RaadSaam.

• Sustaining Art: People, Practice, Planet in Contemporary Art Conservation, Discovery Point, Dundee, and online, 9-11 Nov 2022. An affiliated SBMK and INCCA project in partnership with the DJCAD University of Dundee and Dundee & Angus Convention Bureau. [130] [131]

• Conservation and Replication of Immersive Artworks, symposium, Haus der Kunst, Munich, 11 Nov 2023. Addresses the possibilities, challenges and questions regarding conservation and replication of immersive artworks, including Environments. Co-organised with the Getty Conservation Institute.

• Bridging the Gap: Synergies Between Art History and Conservation, conference, The National Museum, Oslo, 23-24 Nov 2023. Organised in collaboration with the University of Amsterdam, the University of Oslo and the Cultural Heritage Agency of the Netherlands.

• Between Environment and Natural Disaster: Problems of conservation and restoration in the context of contemporary art, colloquium, online (Olomouc Museum of Art), 19 Apr 2024. Organised by Olomouc Museum of Art – Central European Forum and National Gallery Prague. CfP.

• Transmitting the Intangible: Indigenous Perspectives on Sustaining Memory and Contemporary Culture, Nordic Black Theater, Oslo, and online, 27-28 May 2024. An event featuring presentations, workshops and panel discussions. Organized by Nasjonalmuseet, RiddoDuottarMuseat, and Future Library Trust.

Media art, Time-based art, Sound art, Digital art, Software-based art, Performance art

• Media Arts in Transition, Walker Art Center, Minneapolis, 8-11 Jun 1983. Conference on film and video; the opening panel was dedicated to the preservation of film and video: "Aspects of the problems of film and video preservation will be demonstrated through film and video clips. Speakers: Frank Hodsoll, Jean Firstenberg, Jay Leyda, Jonas Mekas, Lynn Blumenthal". Panel programme. Proceedings published 1983.

• Symposium on Video Preservation, Museum of Modern Art, New York, 13-14 Jun 1991. The first video preservation symposium for the media arts field in New York. Convened by Media Alliance (under the leadership of Mary Esbjornson) and the Electronic Media and Film Program (part of New York State Council on the Arts, NYSCA). 60+ participants (artists, activists, cataloguers, curators, distributors, librarians). The purpose was "to identify and share information about collections; network information on conservation, cataloging, and archiving techniques; discuss priorities for future funding and services; interface with national archival initiatives." A report was published in The Independent (Oct 1991), and expanded to a 1993 report by Deidre Boyle.

• Upstate Cataloging Project meeting, Aug 1994. Convened by Media Alliance; a workshop by Margaret Byrne, Director of NAMID. Representatives of ETC, Hallwalls, Syracuse University, and Visual Studies Workshop. This results in the adopting of a NAMID-compatible template, designed to allow conversion to USMARC. Preceded by a meeting in Rochester, NY, Jan 1994; followed by a training session in May 1995. Report published 1996.

• Multiple Currents: Toward an Interactive Media Community. Convened by Media Alliance. Supported by NYSCA. Report published 1996.

• Wie haltbar ist Videokunst? / How Durable is Video Art?, Kunstmuseum Wolfsburg, 25 Nov 1995. Held on the occasion of the exhibition of Nam June Paik, High-Tech-Allergy. Proceedings published 1997.

• Playback '96: Video Preservation Roundtable, SFMOMA, San Francisco, 29-30 Mar 1996. The first international symposium bringing together the fields of conservation, museology, and media arts to address technical and ethical issues surrounding videotape preservation; participants included conservators, scientists, video artists, media curators, television engineers, archivists, librarians and preservation administrators. Organized by BAVC (Sally Fifer) with assistance from AIC (Debra Hess Norris) and Media Alliance (Mona Jimenez); supported by the Getty Foundation (Tim Whelen) and the Andy Warhol Foundation for the Visual Arts (Pamela Clapp). BAVC convened eight groups of professionals throughout the US to each discuss topics in the eight months prior to the event: Analysis and Evaluation Procedures; Cleaning and Remastering; Storage; Ethical Principles and Dilemmas; Changes in Technology and Practice; Maintaining Installation Art Using Technology; Current Preservation Practices & Education and Awareness; and Establishing Priorities for Preservation; each of the groups presented its findings to the conference in the form of white papers and panel presentations. Proceedings published 1998; DVD published. Abstracts. Transcripts. Presentation slides. [132]

• Buying Time: Collecting Video roundtable, Paula Cooper Gallery, New York City, 30 Jan 1999. Organized by Barbara London and Dara Meyers-Kingsley (IMAP) with ArtTable. The event focused on issues that arise when selling, collecting, and preserving video and installation art. Presenters included artists, collectors, distributors, gallery owners, and curators. Transcript.

• Conserving and Archiving Digital Work roundtable, part of Cartographies: The General Assembly on New Media Art, Ex-Centris Complex, Montreal, 14 Oct 1999.

• TechArchaeology: A Symposium on Installation Art Preservation, SFMOMA, San Francisco, 5-6 Jan 2000. Twenty-five curators, conservators, and artists examined works from the exhibition Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art at SFMOMA. Conceived by Mona Jimenez and Paul Messier; organized by the Bay Area Video Coalition; funded by the Getty Foundation. Special journal issue published 2001. See also TechArchaeology Reformatted (2002) and TechFocus (2010ff).

• Video im Museum: Restaurierung und Erhaltung, neue Methoden der Präsentation, der Originalbegriff: internationales Symposium / Video Arts in Museums: Restoration and Preservation, New methods of Presentation, The Idea of the Original: International Symposium, Museum Ludwig, Cologne, 9 Sep 2000. Proceedings published 2000.

• Preserving the Immaterial: A Conference on Variable Media, Guggenheim Museum, New York City, 30-31 Mar 2001. Part of the museum's Variable Media Initiative, a new approach to the contested issues of new media preservation. Website incl. transcripts. Excerpts published 2003.

• Video Capsule: An Evening of Social Memory and Video Art, SF State University's Coppola Theater, San Francisco, 25 Oct 2001. Organized by Bay Area Video Coalition (BAVC). The underlining concern of the event was to raise awareness of the fragile state of aging video formats and the ongoing preservation efforts. Presentations by Christina Yang (The Kitchen), Kate Horsfield (Video Data Bank), Chip Lord (UC Santa Cruz), and Steve Seid (Pacific Film Archive). The event closed with a reception at BAVC, in which the entire facility was transformed into video installations featuring collection highlights from The Smithsonian, Pacific Film Archive, and the Kitchen that have been preserved at BAVC.

• Independent Media Arts Preservation Salon, online, 7 Jan-7 Feb 2002. Hosted by NAMAC, facilitated by Jim Hubbard and Mona Jimenez of IMAP. Panelists included Sherry Miller Hocking (ETC), Karan Sheldon (Northeast Historic Film), Toni Treadway (International Center for 8mm Film), Stepen Vitiello (The Kitchen), Heather Weaver (BAVC), a.o. The salon featured weekly topics, including guidelines for establishing an archive; decision-making issues for reformatting collections; and the collaboration of media arts organization in preservation initiatives.

• Looking Back, Looking Forward: A Symposium on Electronic Media Preservation, Downtown Community Television Center, New York, 31 May-1 Jun 2002. Organized by the ETC (its assistant director Sherry Miller Hocking) in association with IMAP, BAVC and the Electronic Media Specialty Group (EMG) of the AIC, with independent consultant Mona Jimenez. Funded from the Electronic Media and Film Program of the NYS Council on the Arts, and assistance from IMAP and Dave Jones Design. The symposium served as a working session where artists, media arts staff, conservators, and technical experts focused on the physical preservation of independent electronic media. 45 participants from the US and Canada. Announcement, Program. Proceedings published.

• TechArchaeology Reformatted forum, New York City, 17 Apr 2002. Hosted by ArtTable Inc, IMAP, and AIC. Organized by Dara Meyers-Kingsley (IMAP). Follow-up to TechArchaeology (2000).

• Echoes of Art: Emulation As a Preservation Strategy, Guggenheim Museum, New York City, 8 May 2003. Part of the museum's Variable Media Initiative. Held in conjunction with the exhibition Seeing Double: Emulation in Theory and Practice. Website incl. transcripts.

• 404 Object Not Found: What Remains of Media Art?, HMKV, Dortmund, 19-22 Jun 2003. International congress concerning the production, presentation and preservation of media art. Programme. Abstracts. [133] [134]

• Present Continuous Past(s). Videokunst. Präsentationsformen und Vermittlungsstrategien, symposium, Hochschule für Künste Bremen, Bremen, 14-15 May 2004. Incl. video documentation. Report: Caroline Philipp (Art-Hist). Proceedings published 2005. [135]

• The Preservation of Born-Digital Art workshop, Centre for Contemporary Arts (CCA), Glasgow, 8 Oct 2004. Organised by Erpanet.

• Moving Parts symposium, Museum Tinguely, 2005. On the preservation and documentation of kinetic artworks.

• Media Art Preservation: Preservation or Documentation? conference, NIMk, Amsterdam, 14 Feb 2005. Coordinated by Gaby Wijers. [136]

• Preservation and Conservation of Artists' Films session, Museum Boijmans Van Beuningen, Rotterdam, 16 Jun 2005. Organised by SBMK.

• 40yearsvideoart.de: Digital Heritage: Symposium on Video Art in Germany from 1963 to the Present symposium, Kunstsammlung Nordrhein-Westfalen Düsseldorf, 1-2 Jul 2005. Incl. video documentation. Part of the 40 Jahre Video Kunst project.

• 404 Object Not Found_Seoul symposium, Art Center Nabi, Seoul, 20 Oct 2006. Part of 404 Object Not Found_Seoul research project.

• Copy-Digitise-Restore? Strategies for the conservation of video, symposium, NRW-Forum/imai-inter media art institute, Düsseldorf, 7-8 Dec 2006. Prepared by Expertengruppe el_media im Verband der Restauratoren (VDR). [137]

• New Media and Social Memory, UC Berkeley Art Museum and Pacific Film Archive, Berkeley, 18 Jan 2007. Incl. video documentation. Part of Archiving the Avant-Garde. [138]

• Preserving Nam June Paik’s Video Installations: the Importance of the Artist's Voice, panel discussion, 16 Feb 2007. Organised (after Paik's death in 2006) by the INCCA-NA, together with MoMA, AIC and GCI. [139]

• Video Art Conservation, panel discussion, LOOP '07 festival, Barcelona, 1 Jun 2007.

• IMAP Electronic Media Preservation Symposium, Theater on the Ridge, Rochester/NY, 29 Sep 2007. Organized by IMAP, EAI, and the AMIA Independent Media Interest Group.

• 404 Object Not Found_Seoul symposium and workshop, Gyeonggi Cultural Foundation, Seoul, 22-26 Oct 2007. Part of 404 Object Not Found_Seoul research project.

• IMAP Preservation Symposium: From Legacy to Frontier, Guggenheim Museum, New York, 1 May 2009.

• DOCAM Summit, Montreal, Mar 2010.

• Collaborations in Conserving Time-Based Art symposium, Smithsonian Institution, Washington, DC, 17-19 Mar 2010. Coordinated by The Lunder Conservation Center, Smithsonian American Art Museum, National Portrait Gallery, and Hirshhorn Museum and Sculpture Garden. Incl. video documentation. Report. [140]

• Andrew W. Mellon Symposium in Conservation Science: Technical Conservation Issues of Time-Based Media, Harvard Art Museum, 10 Apr 2010.

• TechFocus I. Video Art, Guggenheim Museum, New York, 1-2 Sep 2010. Builds upon TechArchaeology symposium. See also TechFocus 2 (2012), TechFocus 3 (2015) and TechFocus 4 (2021).

• The Digital Oblivion: Substance and Ethics in the Conservation of Computer-Based Art, ZKM, Karlsruhe, 4-5 Nov 2010. Video documentation. Proceedings published 2013. Part of Digital Art Conservation. Book of abstracts. [141]

• Collecting, Exhibiting, & Preserving Time-Based Media Art roundtable, Smithsonian American Art Museum and National Portrait Gallery, Washington, DC, 1 Sep 2011. Incl. video documentation.

• Preservation of Complex Digital Objects Symposia (POCOS): Software Art, The Lighthouse, Glasgow, 11-12 Oct 2011. Part of POCOS. Book published 2014.

• Digital Art Conservation: Practical Approaches. Artists, Programmers, Theorists, École supérieure des arts décoratifs de Strasbourg, 24-25 Nov 2011. Incl. video documentation. Leaflet. Proceedings published 2013. Part of Digital Art Conservation.

• TechFocus II. Film and Slide Art, Guggenheim Museum, New York, 27-28 Apr 2012. Video documentation. See also TechFocus 1 (2010), TechFocus 3 (2015) and TechFocus 4 (2021).

• Standards for the Preservation of Time-Based Media Art roundtable, Smithsonian American Art Museum and National Portrait Gallery, Washington, DC, 12 Sep 2012.

• Ephemeral Sustainability, Østre / Gimle / Stiftelsen 3.14, Bergen, 28 Oct-3 Nov 2012. A conference about presenting, documenting, collecting and archiving sound based contemporary art. Organised by the Resonance Network and Lydgalleriet. Curated by Carsten Seiffarth and Jørgen Larsson. Reports by Harold Schellinx: part 1, part 2. [142] [143] [144]

• Preserving Digital Art: A Case Study, panel, part of the 40th MCN Conference, Seattle, 9 Nov 2012. Sponsored by INCCA-NA. Video documentation. Summary by chair of the panel, Richard McCoy.

• Die Gegenwart des Ephemeren. Medienkunst im Spannungsfeld zwischen Konservierung und Interpretation, conference, NRW-Forum Düsseldorf, Düsseldorf, 15 Nov 2012. Concept and organisation: Renate Buschmann and Darija Šimunović (imai). Proceedings published 2014.

• Trusted Digital Repositories for Time-Based Media Art roundtable, Smithsonian American Art Museum and National Portrait Gallery, Washington, DC, 15 Apr 2013.

• Digital Art Force seminar, New Institute, Rotterdam, 27 Jun 2013. The seminar focused on the impact of digital works in museums, on their management and preservation; organized by the Digital Art Force (DAF).

• XFR STN Symposium: Always Already Obsolete: Considering the Convergence of Analog and Digital Media / Born Digital: Conservation in the Computer Age, New Museum, New York, 7 Sep 2013. [145]

• A Collection of Misfits: Time-Based Media and the Museum symposium, Carnegie Museum of Art, Pittsburgh, 22-23 Nov 2013. Part of CMOA's Time-Based Media Project. Video documentation.

• Technology Experiments In Art: Conserving Software-Based Artworks. National Portrait Gallery and Smithsonian American Art Museum, Donald W. Reynolds Center, Washington, DC, 17 Jan 2014. Incl. videos. Report by Alli Jessing (VoCA blog).

• Archiving the Arts symposium, Burchfield Penney Art Center/SUNY Buffalo State, 13 Jun 2015. Organized by IMAP on the occasion of the launch of its web resource. Convened and facilitated by Andrew Ingall (IMAP), Jeff Martin, and Carolyn Tennant (Hallwalls). Video documentation.

• New (+ Old) Media: Restoration, Preservation, Archiving & Access symposium, Santa Fe, 25-27 Jun 2015. A special program of the 2015 CURRENTS: Santa Fe International New Media Festival, attended by 35 curators, conservators, collectors and creators. Hosted by the 1st-Mile Institute. Working meeting notes.

• Revisions: Object—Event—Performance since the 1960s, Bard Graduate Center, 21 Sep 2015.

• Video Matters, conference, Ludwig Forum für Internationale Kunst, Cologne, 24-25 Sep 2015. Reflected on current challenges in the documentation, care, and presentation of time-based art. Organised as part of the research project Video Archive. Curators: Jenny Dirksen, Brigitte Franzen, Lou Jonas, Miriam Lowack, Anna Sophia Schultz. Incl. video documentation.

• TechFocus III: Caring for Software-based Art, Guggenheim Museum, New York, 25-26 Sep 2015. Organised by Guggenheim with AIC Electronic Media Group (EMG). Incl. video documentation. Report. See also TechFocus 1 (2010), TechFocus 2 (2012) and TechFocus 4 (2021).

• Misfits: Time-Based Media and the Museum, Carnegie Museum of Art, Pittsburgh, 22-24 Oct 2015. Press release. Part of CMOA's Time-Based Media Project. Video documentation.

• International Symposium: Collecting and Exhibiting New Media Arts, National Taiwan Museum of Fine Arts (NTMoFA), Taiwan, 6-7 Nov 2015. Organised by Tzu-Chuan Lin and Yu-Hsien Chen. Proceedings published 2016. [146]

• Media in Transition, Tate Modern, 18-20 Nov 2015. Video documentation. [147]

• MAPS - Media Art Preservation Symposium, Ludwig Museum - Museum of Contemporary Art, Budapest, 7-8 Dec 2015. Video documentation.

• Transformation Digital Art, International symposium on the preservation of born-digital art, LIMA, Amsterdam, 18-19 Feb 2016. [148]

• Prozesskunst und das Museum [Process Art and the Museum] symposium, Hamburger Bahnhof, Berlin, 19 Feb 2016. Developed and organized by Carolin Bohlmann (Hamburger Bahnhof – Museum für Gegenwart - Berlin) and Angela Matyssek (Philipps-U Marburg). Supported by the Volkswagen Stiftung.

• Collecting and Conserving Performance Art, Kunstmuseum Wolfsburg, Wolfsburg, 9-11 Jun 2016. Organised by The German Association of Conservator-Restorers (VDR). Video documentation. Proceedings published in two parts in 2017 and 2018.

• New (+ Old) Media: Restoration, Preservation, Archiving & Access – 2016 symposium, Santa Fe, 10-11 Jun 2016. Follow-up to 2015 symposium. Hosted by 1st Mile Institute. Part of CURRENTS 2016: Santa Fe International New Media Festival.

• Conservation Piece(s): Conference on the preservation of performative media: Theoretical impulses and practical examples on the preservation of digital art, HEK, Basel, 27 Jun 2016. Organised by Sabine Himmelsbach and Agathe Jarczyk.

• Keep it Moving? Conserving Kinetic Art, Palazzo Reale, Milan, 30 Jun-2 Jul 2016. ICOM-CC Modern Materials and Contemporary Art Working Group's interim meeting. Organised in partnership with Getty Conservation Institute, Museo del Novecento, and INCCA. Coordinated by Rachel Rivenc and Lydia Beerkens. Program. Report: Beau R. Ott. Proceedings published 2018.

• Topics in Time-based Media Art Conservation lecture series, Institute of Fine Arts, New York University, Fall 2016. Supported by Andrew W. Mellon Foundation.

• DocPerform Symposium, City, University of London, 31 Oct 2016. Part of The Future of Documents Project.

• Contemporary Digital Art: Conservation, Dissemination and Market Access colloquium, Canadian Centre of Architecture, 23-25 Nov 2016. On the occasion of 15 years of Molior. Presented under the patronage of Daniel Langlois. [149]. FB event. Video documentation.

• Future Proof!? Transformation Digital Art 2017, Stedelijk Museum Schiedam, 8-9 Feb 2017. Symposium on the preservation of born-digital / software based art organised by LiMA. Final report.

• MAPS - Media Art Preservation Symposium, Ludwig Museum - Museum of Contemporary Art, Budapest, 23-24 Mar 2017. Incl. video documentation (on speakers' profile pages).

• Media Conservation Initiative Workshop 1: Getting Started: A Shared Responsibility. Caring for Time-Based Media Artworks in Collections, Museum of Modern Art, New York, 2-5 May 2017. Part of MoMA's Media Conservation Initiative, funded by Mellon Foundation.

• From Creation to Preservation: Collaboratively addressing the stewardship of time-based media art, panel discussion, Minneapolis Institute of Art, 30 Oct 2017.

• DocPerform Symposium 2: New Technologies, City, University of London, 6-7 Nov 2017. Part of The Future of Documents Project. Proceedings published 2018.

• Back to the Future! Im Karussell der Diakonservierung, symposium, Hamburger Kunsthalle, 18-19 Jan 2018. Incl. video documentation. Book published 2019. Part of the Project for the Conservation of Slide-based Artworks.

• Transformation Digital Art 2018 symposium, LIMA, Amsterdam, 22-23 Mar 2018. On born-digital and software based art. FB event.

• TBM Symposium 2018: It’s About Time! Building a New Discipline: Time-Based Media Art Conservation, Institute of Fine Arts, New York University, New York, 20-22 May 2018. NYU website. Reports.

• MAPS - Media Art Preservation Symposium: Let's get Digital, Ludwig Museum - Museum of Contemporary Art, Budapest, 4-5 Jun 2018.

• Media Conservation Initiative Workshop 2: Getting Started: A Shared Responsibility. Caring for Time-Based Media Artworks in Collections, Museum of Modern Art, New York, 11-15 Jun 2018. Part of MoMA's Media Conservation Initiative, funded by Mellon Foundation.

• Preserving the Near Future Symposium, ACMI, Melbourne, 23 Jul 2018. On digital preservation of interactive art, time-based media, videogames, networked data art, and mixed reality. Twitter hashtag.

• Duration and Dimension conference, Melbourne, 3-5 Oct 2018. Program. Speaker notes.

• Play ⇔ Replay: Staging & Re-staging Time-based Media Art symposium, Mito Art Museum, Mito, Japan, 3 Nov 2018.

• Medial. Digital. Real. Medienkunst konservieren – aber wie? [Media-based. Digital. Real. Preserving Media Arts - but How?], HeK, Basel, 8 Nov 2018. KIK//CCI autumn conference.

• Transformation Digital Art 2019 symposium, LIMA, Amsterdam, 21-22 Mar 2019.

• Time-Based Media Workshop: Installation and Exhibition, Art Institute of Chicago, Chicago, 23 Apr 2019. For members of the Midwest Media Arts Consortium.

• DocPerform Symposium 3: Postdigital, City, University of London, 16 May 2019. Part of The Future of Documents Project.

• Technological Arts Preservation, series of talks, Sabanci University Sakip Sabanci Museum, Istanbul, May 2019-Apr 2021. Video documentation.

• Towards a Flexible Future: Managing Time-based Media Artworks in Collections, symposium, Art Gallery of New South Wales, Sydney, 4 Jun 2019. Report. Report.

• Media Conservation Initiative Workshop 3: Caring for Artists’ Films, Museum of Modern Art, New York, 10-14 Jun 2019. Part of MoMA's Media Conservation Initiative, funded by Mellon Foundation.

• Re: New Media Art: Contemporary Art Conservation Student Symposium 2019, University of Amsterdam, Amsterdam, 7 Oct 2019.

• Digital Era Artworks in Galleries and Museums colloquium, Brno House of Arts, Brno, 22-23 Oct 2019. Organised by Vašulka Kitchen Brno: Center for New Media Art. Report: Flóra Barkóczi (Punkt). Proceedings published 2020.

• Kultur-Back-Up. Ein Workshop zum Erhalt von digitalem Kulturgut, workshop, LUX, Mainz, 29-30 Oct 2019. Organised by the Institute for Media Design (img) of the Department of Design and the time-based media course at University of Applied Sciences, Mainz. Funded by the German Research Foundation as part of the DFG project Van Gogh TV: Indexing, multimedia documentation and analysis of estate. Video documentation.

• Unfolding: Production and Process in Time-Based Media Art, panel discussions and workshop, Art Institute of Chicago, Chicago, 31 Oct-1 Nov 2019. Day 2. Sponsored by Andrew W. Mellon Foundation and hosted through the Time-Based Media Initiative at the Art Institute. Announcement. Report.

• MAPS - Media Art Preservation Symposium: The Dead Web - The End: Will the Internet End Soon?, Ludwig Museum, Budapest, 13-14 Feb 2020.

• Strategies of Keeping It Live: Conservation of Performance, Sabanci University Sakip Sabanci Museum, Istanbul, 28 Feb 2020.

• All Together Now: Time-Based Media Art and Collaborative Stewardship Colloquium, Los Angeles County Museum of Art (LACMA), Los Angeles, cancelled?. Postponed from 25-26 Apr 2020 until further notice. [150] [151]

• Documentation of Digital Art, series of online workshops, LIMA, Amsterdam, 9-30 Jun 2020. Originally planned as the symposium Transformation Digital Art 2020: Documenting Digital Art (19-20 Mar 2020) but this was cancelled due to the Covid-19 crisis.

• Summit on New Media Art Archiving at ISEA2020, online (Montreal), 16 Oct 2020. Coordinated by representatives of the ISEA Symposium Archives, the Archive of Digital Art (ADA), the Ars Electronica Archive, and SIGGRAPH Digital Art Show Archive.

• Transformation Digital Art 2021, online (LIMA, Amsterdam), 24-26 Mar 2021. [152]

• Preserving Immersive Media, Sabanci University Sakip Sabanci Museum, Istanbul, 8 Apr 2021. Video documentation.

• Performance: The Ethics and the Politics of Care #1. Mapping the Field, colloquium, online (Bern University of the Arts), 29-30 May 2021. First annual colloquium of the research project Performance: Conservation, Materiality, Knowledge. CfP. Program. Video documentation.

• Media Conservation Initiative Workshop 4: Conservation of Video Art, online (Museum of Modern Art, New York), Jun-Jul 2021. Postponed from 8-12 Jun 2020. Part of MoMA's Media Conservation Initiative, funded by Mellon Foundation. [153]

• TechFocus IV: Caring for 3D-Printed Art, online (SFMOMA), 25-29 Oct 2021. Postponed from 5-6 Oct 2020 due to the COVID-19 health crisis. See also TechFocus 1 (2010), TechFocus 2 (2012) and TechFocus 3 (2015). Organised by a committee of the American Institute for Conservation’s Electronic Media Group (AIC EMG). Schedule. [154]

• Born Digital Cultural Heritage 2022 Conference, online & Australian Centre for the Moving Image, Melbourne, 16-19 Feb 2022. Conference on game history and digital preservation; incl. the series of events Play It Again: Preserving Australia's videogames from the 1990s. Organised by Play IT Again in conjunction with ACMI and AARnet. [155]

• Stage, Record, Archive: Performance, online (SALT, Istanbul), 22-23 Feb 2022. Conference addressing key issues regarding research, documentation and archival practices of performance art. Programmers: Amira Akbıyıkoğlu (SALT), Sezin Romi (SALT), Mine Söyler. Video documentation.

• Transformation Digital Art 2022, online (LIMA, Amsterdam), 17-18 Mar 2022. International symposium on the preservation of software-based art. Summaries and reflections.

• New Media Museums Colloquium: Preserving and Collecting Media Arts, Olomouc Museum of Art, Olomouc, & online, 24-25 Mar 2022. Prepared by Dušan Barok in collaboration with Jakub Frank. Part of the New Media Museums project. Program leaflet. Video documentation.

• Second Summit on New Media Art Archiving at ISEA2022, MACBA Barcelona & online, 10-11 Jun 2022. Organised by ISEA2022 Barcelona, the ISEA Symposium Archives, and SIGGRAPH History Archive, in cooperation with the Barcelona Museum of Contemporary Art (MACBA), FILE Festival archive, ADA Archive of Digital Art and Ars Electronica archive. CfP.

• Reshaping the Collectible: Learning through Change, conference, online (Tate London), 14-16 Sep 2022. Closing conference of the Reshaping the Collectible project.

• Performance Conservation: Interdisciplinary Perspectives, online (Bern University of the Arts), 30 Sep 2022. Second annual colloquium of the research project Performance: Conservation, Materiality, Knowledge. Announcement. Video documentation.

• Just in Time: On the Status Quo and Future of Electronic Art Preservation, conference, ZKM Karlsruhe, 7-8 Oct 2022. Concept: Morgane Stricot, Margit Rosen. Video documentation.

• Best Available Copy 3 – the preservation of time-based media art ...again and again and again, lecture series, online (Academy of Fine Arts Vienna), 2 Nov 2022-1 May 2023. Organised by Carolin Bohlmann and Almut Schilling.

• Transformation Digital Art 2023, symposium, LIMA, Amsterdam, 16-17 Mar 2023.

• Digital Care, event series, LIMA, Amsterdam, and elsewhere in the Netherlands, Mar 2023-. Artists, producers and technicians discuss what it means to present and preserve digital works today. In partnership with iii, Sonic Acts, V2, Creative Coding Utrecht, Royal Conservatoire, TETEM, MU, AKI ArtEZ, a.o. [156]

• Performance Conservation: Artists Speak, Bern University of the Arts, Bern, 16 May 2023. Third annual colloquium of the research project Performance: Conservation, Materiality, Knowledges.

• Third Summit on New Media Art Archiving, ISEA2023, Forum des Images, Paris, 19-20 May 2023. Organised by the archivists of ISEA in co-operation with archivists of SIGGRAPH, Ars Electronica, ADA, ZKM, FILE, Media Art History & Memoduct Posthuman archive.

• Performance/Archiv. Medien des Dokumentierens und Aufzeichnens, conference, VALIE EXPORT Center Linz, 16-17 Nov 2023. Program PDF.

• Transformation Digital Art 2024, symposium, REBOOT, Nieuwe Instituut, Rotterdam, and LI-MA, Amsterdam, 21-22 Mar 2024.

Plastics

• Plastics: Looking at the Future & Learning from the Past, Victoria & Albert Museum, London, 23-25 May 2007. Proceedings published 2008.
• Plastics Heritage: Forum Kunststoffgeschichte 2014 symposium, HTW Berlin University of Applied Science, Berlin, 22-24 Oct 2014.
• Plastics Heritage: Forum Kunststoffgeschichte 2016 symposium, HTW Berlin University of Applied Science, Berlin, 27-29 Oct 2016. [157]
• SBMK Day: Plastics, Centraal Museum, Utrecht, 14 Nov 2018. Programme. Abstracts.
• Back, Now, and Then 2023: Understanding Dieter Roth’s POeMETRIE series & the Age of Plastics, Academy of Fine Arts Vienna, 12-13 Oct 2023.

Public Art (street art, outdoor sculpture, murals etc)

• Conserving Outdoor Painted Sculpture, interim meeting of the Modern Materials and Contemporary Art Working Group of ICOM-CC, Kröller-Müller Museum, Otterlo, 4-5 June 2013. Proceedings published 2014.
• SPark: Conservation of Sculpture Parksinternational symposium, Sisak, Croatia, 14-16 September 2015. Programme brochure. Paper abstracts . Poster abstracts. Proceedings published 2018.[158]

Exhibitions

• Museum Boijmans Van Beuningen, Rotterdam, Sep 1997. Exhibition of the ten works investigated during the research project Modern Art: Who Cares?.

• Seeing Double: Emulation in Theory and Practice, Guggenheim Museum, New York, 19 Mar-16 May 2004. Part of Variable Media Network.

• 404 Object Not Found, Total Museum of Contemporary Art, Seoul, 20 Oct-19 Nov 2006. In the framework of 404 Object Not Found research project.

• Inside Installations, Kroller-Muller Museum, Otterlo, 25 Oct 2006-7 Jan 2007 & 21 Mar-3 Jun 2007. Flyer. Video introduction (Sanneke Stigter).

• Reconstructing Swiss Video Art from the 1970s and 1980s, Museum of Fine Arts Lucerne, 15 Mar-4 May 2008. Organised in collaboration with AktiveArchive (HKB Bern, SIK Zurich, BAK).

• This Is Not an Exhibition, Zachęta – National Gallery of Art, Warsaw, 2008.

• Inside Installations, SMAK, Ghent, 5 Jun 2010 - 27 Mar 2011.

• Digital Art Works. The Challenges of Conservation, ZKM, Karlsruhe, 29 Oct 2011-12 Feb 2012; Espace Multimédia Gantner, Bourogne, 25 Feb-28 Apr 2012; CEAAC, Strasbourg, 16 Jun-23 Sep 2012; House of Electronic Arts Basel, 18 Jan-31 Mar 2013. Part of Digital Art Conservation. Catalogue published 2011.

• XFR STN, New Museum of Contemporary Art, New York, 17 Jul-8 Sep 2013. An open-door artist-centered media archiving project. Catalogue. Digitized material. [159] [160]

• Welcome to the Future! The Floppy CD-ROM Revolution, iMAL, Brussels, 19 Mar-26 Apr 2015. Video documentation.

• Revisions—Zen for Film, Bard Graduate Center Gallery, 18 Sep 2015-21 Feb 2016. Curated by Hanna Hölling. Reflections by Lara Schilling.

• Before, After and In Between: Decision-making in Contemporary Art Restoration, Zachęta – National Gallery of Art, Warsaw, 31 Aug-2 Oct 2016. Photo documentation. Video interviews with conservators: Kowalik on Pawlak, Kozurno on Smoczynski, Supruniuk and Puchała-Rojek on Zamecznik, Nowak on Wróblewski. Article.

• Save As... What Will Remain of New Media Art?, Ludwig Museum - Museum of Contemporary Art, Budapest, 24 Feb-26 Mar 2017.

• The Art Happens Here: Net Art’s Archival Poetics, New Museum, New York, 22 Jan-26 May 2019. Organised by Rhizome as part of Net Art Anthology. Curated by Michael Connor with Aria Dean. Sponsored by Thoma Foundation. Catalogue published 2019.

• The Lives of Artworks, Tate Britain, London, 1 Feb-10 Jul 2022. Audio tour. Draws on ideas from the Reshaping the Collectible: When Artworks Live in the Museum research project.

• Conserving Active Matter, Bard Graduate Center, 25 Mar-10 Jul 2022. Online exhibition. Outcome of Cultures of Conservation project.

• REBOOT. Pioneering Digital Art, Nieuwe Instituut, Rotterdam, 7 Oct 2023-1 Apr 2024. Exh. of twenty works from the Digital Canon (1960-2000) project, along with nine newly commissioned works. Organised by LI-MA.

• Docu & Demo: Exhibition on Archiving Programmed Media Art, Collegium Helveticum, Zurich, 15-29 Feb 2024. Organised by Inge Hinterwaldner.

Software tools

• Quality Control Tools for Video Preservation (QCTools), enables the inspection of video signal characteristics for batches of digital media, in order to prioritize archival quality control, detect common errors in digitization, facilitate targeted response, and thus increase trust in video digitization efforts. FLOSS, developed by Bay Area Video Coalition.
• Webrecorder provides an integrated platform for creating high-fidelity, ISO-compliant web archives in a user-friendly interface, providing access to archived content, and sharing collections. An open source initiative by Rhizome at the New Museum. Source code.
• OldWeb.today / Netcapsule, a proof-of-concept system for browsing old web sites from existing web archives in old browsers, inside a modern browser. Source code.
• EaaSI emulators. Sandbox. Blog post.
• Rekall, an open-source documentation and analysis environment for digital performances and media art.
• PM2GO, free video annotation tool.
• Conservation tools from Rhizome
• Art.c.HIVE, system for archiving and preserving digital components of artworks

Resources, guides

See also research projects.

• AIC (American Institute for Conservation), The AIC Guide to Digital Photography and Conservation Documentation, 3rd ed., 2017. [161]

• AIC (American Institute for Conservation), AIC Wiki: A Collaborative Knowledge Resource.

• AMIA Open Source, an organizational account for collaboration on resources that support the preservation and use of moving image media.

• Artwork Documentation Tool, launched 2017 by LIMA.

• BAVC (Bay Area Video Coalition), AV Artifact Atlas, resource for identifying errors and anomalies in analog and digital video. [162]

• BAVC (Bay Area Video Coalition), AV Compass, offers comprehensive instruction in organizing and preserving a media collection. [163]

• DCA (Digitising Contemporary Art), DCA wiki, guidebook for the digitisation of contemporary art, c.2013 (archived). (multiple languages)

• DOCAM (Documentation and Conservation of the Media Arts Heritage), Conservation Guide: A Preservation Guide for Technology-Based Artworks, 2010. (English)/(French)

• DOCAM (Documentation and Conservation of the Media Arts Heritage), Cataloguing Guide for New Media Collections, 2010. (English)/(French)

• DPC (Digital Preservation Coalition), Digital Preservation Coalition Wiki

• EAI (Electronic Arts Intermix), Online Resource Guide for Exhibiting, Collecting, and Preserving Media Art. Originally compiled by IMAP.

• FAIC (Foundation for Advancement in Conservation), CoOL: Conservation OnLine, freely accessible platform to generate and disseminate vital resources for those working to preserve cultural heritage worldwide.

• Guggenheim, Time-Based Media, incl. preservation models for video and templates for iteration report and media report.

• Hocking, Sherry Miller, and Mona Jimenez, Video Preservation: The Basics, 2000. An activity of the Video History Project organized by the Experimental Television Center.

• IMAP (Independent Media Arts Preservation), Archiving the Arts, preservation resource for media artists (archived).

• IMAP (Independent Media Arts Preservation), Cataloging Template Tutorial, c.2003 (archived).

• IMAP (Independent Media Arts Preservation), Media Preservation 101 (archived).

• INCCA: International Network for the Conservation of Contemporary Art. INCCA members are dedicated to developing, sharing and preserving knowledge needed for the conservation of modern and contemporary art. INCCA is a network of like-minded professionals connected to the conservation of modern and contemporary art. Conservators, curators, scientists, registrars, archivists, art historians, artists, educators and students are among our members.

• Jimenez, Mona, and Liss Platt (eds.), Magnetic Media Preservation Sourcebook, New York: Media Alliance, 1998. A directory of resources for the preservation of audio and video materials. [164]

• Library of Congress, Formats / Sustainability of Digital Formats: Planning for Library of Congress Collections, 2004ff. Resource for in-depth information about digital file formats. It covers over 525 formats, encodings and wrappers in a variety of content categories – sound recordings, still images, datasets, textual materials, moving images, website and web archives, geospatial, music composition, 3D and architectural drawings and more. About.

• Lozano-Hemmer, Rafael, Best practices for conservation of media art from an artist’s perspective, 2015. Toot.

• Matters in Media Art, Guidelines for the care of media artworks, 2016. A resource for collectors, artists, and institutions of all sizes caring for works of art that have moving image, electronic, and digital elements. Collaboration between MoMA, SFMOMA and Tate.
  • Matters in Media Art Mandarin 媒體藝術事務中文網站, launched 2021. [165] (Chinese)

• The Met's Time-Based Media Working Group, Sample Documentation and Templates, for artists, organizations, and collectors of time-based media artworks. Published c.2017-2019.

• MFA Boston (Museum of Fine Arts), CAMEO: Conservation & Art Materials Encyclopedia Online. The MATERIALS database contains chemical, physical, visual, and analytical information on historic and contemporary materials used in the production and conservation of artistic, architectural, archaeological, and anthropological materials.

• MoMA, Media Conservation Initiative Resources, a selection of presentations, templates and other resources related to collections care of media artworks. Published c.2021.

• Nagels, Katherine, time-based-media-art, collects resources on the care and preservation of time-based media art. Part of AMIA Open Source.

• National Park Service, Conserve O Grams, downloadable leaflets about caring for museum objects, published by The Museum Management Program of NPS.

• NIMk, Guidelines for a Long-term Preservation Strategy for Digital Reproductions and Metadata, 2012.

• NIMK, Preservation resource, has sections on video art, computer-based art and media art installation preservation.

• PACKED, Cultural Heritage Standards Toolbox (Cultureel ErfgoedStandaarden Toolbox, CEST), toolbox to help cultural heritage institutions to select the right standards for the creation, management and dissemination of digital collections. (Dutch)

• PACKED, Scart, website on audiovisual heritage with a focus on the preservation of audiovisual collections. (Dutch)/(English)/(French)

• PACKED, Scoremodel, evaluation tool which determines the threats and risks regarding the long-term sustainability of your digital assets. (Dutch)/(English)

• PACKED, Tracks, toolbox and guidelines for the care of archives and collections in the arts field, c.2018. (Dutch)/(English)

• Preserving Immersive Media Knowledge Base, resource created to help share information between members of the digital preservation community who are caring for virtual reality (VR), augmented reality (AR), mixed reality (MR), 360 video, real-time 3D software and other similar materials.

• RCE (Cultural Heritage Agency of the Netherlands), Knowledge for Collections (Kennis voor collecties), documentation of 60 research projects on movable heritage conducted by RCE from 2008-2012.

• Smithsonian, Time-based Media & Digital Art Resources.

• Sustainability in Conservation (SiC), international NGO aimed at promoting sustainability and environmental awareness in conservation of cultural heritage and related fields. Founded 2016.

• Tate, Conservation.

• Techniques mixtes: conservation, restauration et art contemporain, une plateforme d’échange, de réflexion, de publication autour des enjeux théoriques et pratiques liés à la conservation-restauration de l’art contemporain. (French)

• Twentieth Century in Paint, examines new media, pigments, dyes and additives that led to the creation of revolutionary works of art in the 20th century in Australia and Southeast Asia, c.2012 (archived). About research project.

• Variable Media Questionnaire. Project of Forging the Future.

• Vitale, Tim, and Paul Messier, Video Preservation: Video Migration in the Preservation Laboratory. Tools to Identify and Use Historic Video Equipment, 2013.

• Wheeler, Jim, Videotape Preservation Handbook, 2002.

more

• Conservation Resources compiled by CoOL.

• Links compiled by 404 Object Not Found.

• Video preservation resources compiled by XFR Collective

• Internet resources compiled by IMAP: Format guides, Cataloging, Storage, Disaster planning, Treatment, Video, Audio, Digital media, Film, Media Preservation Web Sites. (all pages archived 2005)

Glossaries

• Bay Area Video Coalition (BAVC), AV Preservation Glossary, previously as Video Preservation Glossary (archived 2006), Copy. Originally developed to assist members of the BAVC Video Preservation Round Table working group who met in Minneapolis, Minnesota during 1995-1996.

• Conservation OnLine (CoOL), Lexical and Classification Resources. The page offers dictionaries, thesauri, classification schemes, and related matter primarily of use to those managing preservation libraries, imaging projects, documentation systems, etc.

• DOCAM, Glossaurus, 2009. Based on SKOS (Simple Knowledge Organization System) standard; complements CDWA, AAT and DAM. [166]

• Electronic Arts Intermix (EAI), Glossary of terms relating to electronic media

• The Foundation for the Conservation of Modern Art (SBMK), Preservation of Dutch Video Art Collections: Glossary of terms, 2003.

• Getty Research Institute, Art and Architecture Thesaurus (AAT), updated 2017.

• Getty Research Institute, Categories for the Description of Works of Art (CDWA), eds. Patricia Harpring, Murtha Baca and Patricia Harpring, 2014. A set of guidelines for the description of art, architecture, and other cultural works. CDWA also provides a framework to which existing art information systems may be mapped, upon which new systems may be developed, or upon which data may be linked in an open environment. CDWA is mapped to the Cultural Objects Name Authority (CONA) and CIDOC CRM.

• ICN Research Department Amsterdam & INCCA, Inside Installations Glossary, 2006. About. Largely based on quotations, includes a language switch option for translated terms to ES & IT; created by Tatja Scholte and Lora Markova (intern Maastricht U); ES trans. Arinne Vanrell, MNCARS; IT trans. Caterina Paolisso, MNCARS. [167]

• ICOM-CC, Terminology to characterize the conservation of tangible cultural heritage, 2008.

• Netherlands Institute for Sound and Vision, Preservation Metadata Dictionary (PMD) v1.2, 2015. Summary of the definitions of preservation metadata, a combination of a variety of existing standards, to best serve the needs of the institute as an audiovisual archive.

• NIMK, list of media art preservation glossaries

• Preserving Immersive Media: Glossary

• UPF, Universal Preservation Format Glossary (archived 2015)

• Variable Media Initiative, Variable Media Glossary, 2003; published in Permanence Through Change, 2003, pp 123ff.

• V2, Capturing Unstable Media Glossary, 2003.

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