{"id":310,"date":"2026-05-19T13:14:32","date_gmt":"2026-05-19T13:14:32","guid":{"rendered":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/?page_id=310"},"modified":"2026-05-26T15:21:09","modified_gmt":"2026-05-26T15:21:09","slug":"volume-4-2024","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/volume-4-2024\/","title":{"rendered":"Volume 4 (2024)"},"content":{"rendered":"\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"791\" height=\"1024\" src=\"http:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-content\/uploads\/sites\/20\/2026\/05\/CAR_Volume04_CoverPage.jpg\" alt=\"\" class=\"wp-image-332\" style=\"width:396px;height:512px\" srcset=\"https:\/\/faic.wpenginepowered.com\/contemporaryartreview\/wp-content\/uploads\/sites\/20\/2026\/05\/CAR_Volume04_CoverPage.jpg 791w, https:\/\/faic.wpenginepowered.com\/contemporaryartreview\/wp-content\/uploads\/sites\/20\/2026\/05\/CAR_Volume04_CoverPage-232x300.jpg 232w, https:\/\/faic.wpenginepowered.com\/contemporaryartreview\/wp-content\/uploads\/sites\/20\/2026\/05\/CAR_Volume04_CoverPage-768x994.jpg 768w\" sizes=\"auto, (max-width: 791px) 100vw, 791px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h4 class=\"wp-block-heading\">Contemporary Art Review, Volume 4 (2024)<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Proceedings of the:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Contemporary Art Network Sessions, AIC 52nd Annual Meeting, May 20-25, 2024<\/li>\n\n\n\n<li>Joint Sessions with Conservators in Private Practice and the Wooden Artifacts Group, AIC 52nd Annual Meeting, May 20-25, 2024<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">CAN! would like to thank the team of reviewers, editors, and Spanish translators; we are grateful for their time and expertise: Sarah Barack, Joy Bloser, Gabrielle Crowther, Dan Finn, Rebecca Gridley, Libby Ireland, Ellen Moody, Samantha Owens, Katrina Posner, Megan Randall, Crystal Sanchez, Martha Singer, and Catherine Stephens, as well as Beatriz Haspo and the team at APOYOnline: David Cohen, Vera de la Cruz, Mar\u00eda del Rosario Mollinedo, Irene Delaveris, Mirasol Estrada, Estibaliz Guzman, Josefa Orrego, M\u00f3nica P\u00e9rez, Amparo Rueda, Ram\u00f3n S\u00e1nchez, Sarah Sequeira, and Soledad Tancoff.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/members.culturalheritage.org\/commerce\/store?productId=commerce-merchandise%23AIC-CONTEMPORARY-ART-REVIEW-VOLUME-4-2024\" data-type=\"page\" data-id=\"11\">Download the complete Volume 4 PDF in our online store (free)<\/a><\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading has-text-align-left alignwide\"><\/h5>\n\n\n\n<div class=\"wp-block-group alignwide\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/preservation-of-the-plastic-objects-in-the-harvard-art-museums-fluxus-collection\/\" data-type=\"page\" data-id=\"11\">Preservation of the Plastic Objects in the Harvard Art Museums\u2019 Fluxus Collection<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><em><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/preservation-of-the-plastic-objects-in-the-harvard-art-museums-fluxus-collection\/\" data-type=\"page\" data-id=\"11\"><em>Preservaci\u00f3n de los objetos pl\u00e1sticos en la colecci\u00f3n Fluxus de los Museos de Arte de Harvard<\/em><\/a><\/em><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Susan Costello and Georgina Rayner<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/a-framework-for-sustainable-courier-practices-developing-a-contract-courier-workshop-and-network\/\" data-type=\"page\" data-id=\"11\">A Framework for Sustainable Courier Practices: Developing a Contract Courier Workshop and Network<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><em><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/a-framework-for-sustainable-courier-practices-developing-a-contract-courier-workshop-and-network\/\" data-type=\"page\" data-id=\"11\"><em><em>Un marco de referencia para pr\u00e1cticas sostenibles de courier: creaci\u00f3n de un taller y una red de couriers contratados<\/em><\/em><\/a><\/em><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Lauren Fly and Samantha Springer<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/plastilina-or-plasticine-study-of-an-unpublished-sculpture-by-ismael-smith-in-the-context-of-industrial-modeling-pastes-invented-during-the-late-nineteenth-century\/\" data-type=\"page\" data-id=\"11\">Plastilina or Plasticine: Study of an Unpublished Sculpture by Ismael Smith in the Context of Industrial Modeling Pastes Invented During the Late Nineteenth Century<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><em><em><em><em><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/plastilina-or-plasticine-study-of-an-unpublished-sculpture-by-ismael-smith-in-the-context-of-industrial-modeling-pastes-invented-during-the-late-nineteenth-century\/\" data-type=\"page\" data-id=\"318\">Plastilina o plasticine: estudio de una escultura in\u00e9dita de Ismael Smith en el contexto de las pastas de modelado industriales inventadas a finales del siglo XIX<\/a><\/em><\/em><\/em><\/em><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Sonia Jerez Fraj, Alex Masalles Rivera, and N\u00faria Oriols Pladevall<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/embracing-angels-orbit-replication-as-a-tool-for-preservation-of-the-integral-hologram-angel-by-simone-forti-and-lloyd-cross\/\" data-type=\"page\" data-id=\"11\">Embracing <em>Angel<\/em>\u2019s Orbit: Replication as a Tool for Preservation of the Integral Hologram <em>Angel<\/em> by Simone Forti and Lloyd Cross<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/embracing-angels-orbit-replication-as-a-tool-for-preservation-of-the-integral-hologram-angel-by-simone-forti-and-lloyd-cross\/\"><em><em><em><em><em>Abrazando la \u00f3rbita del <\/em><\/em><\/em><\/em><\/em>\u00c1ngel<em><em><em><em><em>: la r\u00e9plica como una herramienta de preservaci\u00f3n del holograma integral <\/em><\/em><\/em><\/em><\/em>\u00c1ngel <em><em><em><em><em>de Simone Forti y Lloyd Cross<\/em><\/em><\/em><\/em><\/em><\/a><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Mark\u00e9ta Krausov\u00e1 and Evelyne Snijders<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/niki-de-saint-phalles-tarot-garden-photogrammetry-as-an-aide-in-documentation\/\" data-type=\"page\" data-id=\"11\">Niki de Saint Phalle\u2019s Tarot Garden: Photogrammetry as an Aide in Documentation<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/niki-de-saint-phalles-tarot-garden-photogrammetry-as-an-aide-in-documentation\/\" data-type=\"page\" data-id=\"11\"><em>El Jard\u00edn del Tarot de Niki de Saint Phalle: la fotogrametr\u00eda como apoyo en la documentaci\u00f3n<\/em><\/a><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Caroline Longo, Flavia Perugini, Mario Santana Quintero, Elyse Hamp, Damiano Aiello, and Luigi Barazzetti<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/blinking-outside-the-box-the-treatment-of-sol-lewitts-wall-structure-in-nine-parts-each-containing-a-work-of-art-by-other-artists-1963\/\" data-type=\"page\" data-id=\"11\">Blinking Outside the Box: The Treatment of Sol LeWitt\u2019s <em>Wall Structure in Nine Parts, Each Containing a Work of Art by Other Artists, <\/em>1963<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/blinking-outside-the-box-the-treatment-of-sol-lewitts-wall-structure-in-nine-parts-each-containing-a-work-of-art-by-other-artists-1963\/\" data-type=\"page\" data-id=\"11\"><em><em>Parpadeando fuera de la caja: el tratamiento de <\/em><\/em>Wall Structure in Nine Parts, Each Containing a Work of Art by Other Artists<em><em>, 1963, de Sol LeWitt&nbsp;<\/em><\/em><\/a><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Kaela Nurmi, Nicholas Ecker, and Elisse Brautigam<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns alignwide has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/does-the-nose-know-challenges-and-successes-during-a-study-of-montien-boonmas-house-of-hope\/\" data-type=\"page\" data-id=\"11\">Does the Nose Know? Challenges and Successes During a Study of Montien Boonma\u2019s <em>House of Hope<\/em><\/a><\/strong><\/p>\n\n\n\n<p class=\"has-normal-font-size wp-block-paragraph\"><strong><a href=\"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/does-the-nose-know-challenges-and-successes-during-a-study-of-montien-boonmas-house-of-hope\/\" data-type=\"page\" data-id=\"11\"><em>\u00bfLa nariz sabe? Desaf\u00edos y \u00e9xitos durante un estudio de <\/em>House of Hope<em>de Montien Boonma<\/em><\/a><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<p class=\"has-normal-font-size wp-block-paragraph\">Catherine H. Stephens, Kyna Biggs, Soon Kai Poh, and Lynda Zycherman<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contemporary Art Review, Volume 4 (2024) Proceedings of the: CAN! would like to thank the team of reviewers, editors, and Spanish translators; we are grateful for their time and expertise: Sarah Barack, Joy Bloser, Gabrielle Crowther, Dan Finn, Rebecca Gridley, Libby Ireland, Ellen Moody, Samantha Owens, Katrina Posner, Megan Randall, Crystal Sanchez, Martha Singer, and [&hellip;]<\/p>\n","protected":false},"author":349,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-310","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages\/310","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/users\/349"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/comments?post=310"}],"version-history":[{"count":2,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages\/310\/revisions"}],"predecessor-version":[{"id":350,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages\/310\/revisions\/350"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/media?parent=310"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}