{"id":1567,"date":"2019-07-22T16:18:23","date_gmt":"2019-07-22T20:18:23","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/emg-review\/?page_id=1567"},"modified":"2019-11-01T15:49:14","modified_gmt":"2019-11-01T19:49:14","slug":"frohnert","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-5-2017-2018\/frohnert\/","title":{"rendered":"Time-based Media Art Conservation Education Program at NYU: Concept and Perspectives"},"content":{"rendered":"\n

Christine Frohnert, Hannelore Roemich
The Electronic Media Review, Volume Five: 2017-2018<\/em> <\/p>\n\n\n\n

ABSTRACT <\/h2>\n\n\n\n

In\nrecognition of the ever-changing field of contemporary art conservation, New\nYork University\u2019s Institute of Fine Arts Conservation Center expanded its\ncurriculum in the fall of 2018 by establishing a specialization explicitly for\nthe conservation of time-based media art\u2014the first of its kind in the United States.\nThis innovative course of studies will require students to cross the\ndisciplinary boundaries of computer science, material science, media\ntechnology, engineering, art history, and conservation. In addition to graduate-level\neducation, the Conservation Center will offer mid-level training courses to\nmeet the immediate needs of the profession as well as a series of evening\nlectures intended for broader audiences. Reference is made to the Institute\u2019s\npublic outreach program and related events, including the recent symposium, It\u2019s About Time! Building a New Discipline:\nTime-Based Media Art Conservation<\/em>. This article outlines the planning that\npreceded the Mellon-funded time-based media art conservation initiative and how\nit will augment the body of knowledge and respond to the needs of a rapidly\ngrowing conservation discipline.<\/p>\n\n\n\n

THE\nDEVELOPMENT OF TIME-BASED MEDIA ART CONSERVATION<\/h2>\n\n\n\n

FOUNDATIONS<\/h2>\n\n\n\n

The middle\nto late 1990s marked an important point for the formation of time-based media (TBM)\nart conservation as a new specialty. Since then,\nengaged and determined conservators and allied professionals have pioneered the\nconservation of TBM art and have built up a body of published research,\nincluding case studies, the introduction of methodologies, and ethical\ndiscourses, for example, on video migration or the conservation of\ncomputer-based art. The active exploration of new preservation models has\nreached a critical point, addressed in numerous international conferences, workshops,\nresearch projects, publications, and exhibitions.<\/p>\n\n\n\n

In 1996,\nthe Tate appointed Pip Laurenson as the first TBM conservator worldwide (then\ncalled Sculpture Conservator for Electronic Media). A year later, in 1997, the\ninterdisciplinary research project and international symposium entitled Modern Art: Who Cares?<\/em> took place in Amsterdam,\nculminating in a widely disseminated and first of-its-kind publication on the\ncare and preservation of modern and contemporary art. This was the year when\nthe building blocks and much of the conceptual framework of modern and\ncontemporary art conservation were laid out. In 1999, the Guggenheim Museum\ninitiated the Variable Media Initiative<\/em>,\nwhich raised awareness of the need for a preservation strategy for the\nintangible and dynamic components of TBM artworks. In 2000, a group of 25\nconservators, curators, and artists participated in TechArcheology: A Symposium on Installation Art Preservation at the San\nFrancisco Museum of Modern Art<\/em>. The goal of this gathering was to advance\nconservation practices for technology-based installation art; the proceedings\nwere published as a theme-based issue of the Journal of the American Institute for Conservation<\/em> (JAIC<\/em>) in 2001 and quickly became a\nmust-read for conservators responsible for media art.<\/p>\n\n\n\n

The\ninfluence of these projects on the conservation of both time-based media art\nand the larger context of contemporary art cannot be overstated. These key events\ncatapulted the preservation discussion into uncharted territory and paved the\nway for the creation of contemporary art conservation resources and projects, including\nthe International Network for the Conservation of Contemporary Art (INCCA), founded\nin 2002; the Inside Installations: Preservation and Presentation of\nInstallation Art project (2004\u20132007) and the subsequent publication, Matters in Media Art<\/em> (initiated in 2003);\nand the Documentation and Conservation of the Media Arts Heritage (DOCAM)\nproject, initiated in 2005.<\/p>\n\n\n\n

While each\nof these examples is a multidisciplinary initiative aimed at developing\npractical tools and guidelines for the various stakeholders of media art, the\nlatter two focus specifically on the realm of TBM art. Their scope encompasses\npreservation of the intangible through the exploration and evaluation of\ndocumentation protocols with online resources that are considered essential\ntools by a broad range of caretakers.<\/p>\n\n\n\n

Electronic media specialty groups were launched within\nprofessional organizations. The German conservator association Verband der\nRestauratoren (VDR) founded the division Moderne Kunst\u2014 Kulturgut der Moderne\nin 2000 (recently renamed Modern and Contemporary Art) and established the\nsubdivision EL_media in 2001.<\/p>\n\n\n\n

The\nElectronic Media Group (EMG) of the American Institute for Conservation of\nHistoric and Artistic Works (AIC) was formed as an interest group first and\nformally launched as a specialty group in 1998. Since its establishment, EMG\nmembership has grown to over 240 members. The first worldwide periodical\nfocusing entirely on TBM art conservation was launched by the EMG in 2012, The Electronic Media Review<\/em>.<\/p>\n\n\n\n

RECENT DEVELOPMENTS\nAND INITIATIVES<\/h2>\n\n\n\n

Building on the developments from the achievements of the projects outlined earlier, professional organizations, institutions, and individuals have created additional targeted educational opportunities and collaborations, which includes the initiatives listed below (see fig. 1).<\/p>\n\n\n\n

\"Figure
Figure 1: Overview of the development of TBM initiatives and organizations over the past 20 years. Graph by Christine Frohnert. <\/figcaption><\/figure>\n\n\n\n

TechFocus<\/em>: EMG launched a conference\nseries entitled TechFocus<\/em> in 2010,\nwhich provides hands-on guidance and systematic education on different media\ncategories (TechFocus I: Caring for Video\nArt<\/em>, Guggenheim Museum, New York, in 2010; TechFocus II: Caring for Film and Slide Art, Hirshhorn Museum and\nSculpture Garden,<\/em> Washington, DC, 2012; and TechFocus III: Caring for Software-based Art<\/em>, Guggenheim Museum, New\nYork, in 2015).<\/p>\n\n\n\n

Conserving Computer-based Art (CCBA)<\/em>:\nSince 2014, the Solomon R. Guggenheim Museum Conservation Department has been\npartnering with the Department of Computer Science at the Courant Institute of\nMathematical Sciences of New York University (NYU) to collaboratively analyze,\ndocument, and preserve computer-based artworks from the Guggenheim\u2019s\ncollection.<\/p>\n\n\n\n

The Media Conservation Initiative<\/em>: This\nfour-year project started in 2016 at the Museum of Modern Art (MoMA) with the\nintention of advancing and sharing new strategies for the care and conservation\nof media collections. To this end, MoMA will host several postgraduate\nfellowships, workshops, and expert discussion meetings devoted to the topic of\nmedia art conservation.<\/p>\n\n\n\n

CURRENT\nOPTIONS FOR TBM ART CONSERVATION EDUCATION <\/h2>\n\n\n\n

While graduate programs in art conservation in the United States\nare currently covering only the training of basic skills on technology-based\nart within their established specializations, a few of the European programs\nhave offered this specialty since the middle to late 1990s. The following provides\nan overview on established TBM conservation programs in Europe and media\narchive preservation programs in the United States. <\/p>\n\n\n\n

ART CONSERVATION PROGRAMS IN EUROPE<\/h2>\n\n\n\n

Conservation\nof Modern Materials and Media, Bern University of the Arts, Bern, Switzerland <\/p>\n\n\n\n

https:\/\/www.hkb.bfh.ch\/en\/studies\/masters-degree-programmes\/<\/a><\/p>\n\n\n\n

This\nconservation program offers both undergraduate and master\u2019s degrees in a\nvariety of specializations, including modern materials and media (MMM).\nStudents who finish the undergraduate program are called Collaborators in\nConservation, which is similar to what would be considered a conservation\ntechnician in the United States. Graduates of\nthe MA program are conservators and can work in the field as such. Established\nin 1999, the MMM specialty is the oldest degree-granting program for\ncontemporary art and most comprehensive for TBM art conservation\ninternationally. <\/p>\n\n\n\n

Hochschule f\u00fcr Technik und Wirtschaft\n(HTW), Berlin, Germany <\/p>\n\n\n\n

https:\/\/krg.htw-berlin.de\/<\/a><\/p>\n\n\n\n

Two\nconservation programs established in 1993 in Berlin also offer undergraduate\nand master\u2019s degrees in the conservation of media art: Conservation of\nAudiovisual and Photographical Heritage, covering film, magnetic audio and\nvideo tapes, and photographs; and Conservation of Modern Materials and\nIndustrial Heritage, covering technical objects, kinetic art, and industrial\ndevices.<\/p>\n\n\n\n

State\nAcademy of Art and Design, Stuttgart, Germany <\/p>\n\n\n\n

http:\/\/www.mediaconservation.abk-stuttgart.de\/<\/a><\/p>\n\n\n\n

Founded in\n2006, the program Conservation of New Media and Digital Information is embedded\nwithin a traditional conservation training program at the State Academy of Art\nand Design. The two-year MA program\u2014essentially a preservation management\ndegree\u2014is a combination of in-class coursework, laboratory hands-on sessions,\nand internships. The three main areas of study are photography, audiovisual\ntechnologies, and digital information.<\/p>\n\n\n\n

New Approaches in the Conservation of Contemporary Art (NACCA) <\/p>\n\n\n\n

http:\/\/nacca.eu\/research-projects\/<\/a><\/p>\n\n\n\n

This\nresearch and training program aims to meet the demands of preserving modern and\ncontemporary artworks by educating a new generation of professional curators,\nconservators, and academic researchers. Fifteen PhD projects are part of the\nprogram, each investigating different, as yet underexplored, aspects of\ncontemporary art conservation (three projects are specifically focusing on TBM\nconservation), coordinated by the Faculty of Arts and Social Sciences at\nMaastricht University in Maastricht, Netherlands.<\/p>\n\n\n\n

Academy\nof Fine Arts Vienna, Austria <\/p>\n\n\n\n

https:\/\/www.akbild.ac.at\/Portal\/studium\/studienrichtungen\/konservierung-und-restaurierung\/<\/a><\/p>\n\n\n\n

The\nprogram established a specialization for the conservation of contemporary art in\n2005. The conservation of TBM is embedded as an integral part of the coursework\nwithin the broader scope of its conservation of contemporary art program. The curriculum\nforesees a minimum of five years of study to be completed with a master\u2019s\ndegree. Continued academic training and research is offered within a doctoral\nprogram.<\/p>\n\n\n\n

ARCHIVE\nAND PRESERVATION PROGRAMS IN THE UNITED STATES<\/h2>\n\n\n\n

While a\nTBM art conservator will need a broader education to include ethics, critical\nthinking, methodologies, material science, and scientific analytics developed\nby the conservation profession, collaborations with archiving and moving-image\npreservation programs have provided important aspects of TBM conservation. <\/p>\n\n\n\n

The Moving\nImage Archiving and Preservation Program (MIAP), Tisch School of the Arts, NYU<\/p>\n\n\n\n

http:\/\/www.nyu.edu\/tisch\/preservation\/program\/curriculum.shtml<\/a><\/p>\n\n\n\n

This\ntwo-year MA program trains future professionals to manage preservation-level\ncollections of film, video, new media, and other types of digital works. The\nprogram provides prospective collection managers and archivists with an\neducation in the theories, methods, and practices of moving-image archiving and\npreservation. MIAP graduates have gained important positions in museums and as\nconsultants for private collections and contribute significantly to the\ndevelopment of the field.<\/p>\n\n\n\n

TBM Art\nConservation Education\u2014A New Specialty at the Conservation Center, Institute of\nFine Arts, New York University (CC\/IFA\/NYU)<\/p>\n\n\n\n

https:\/\/www.nyu.edu\/gsas\/dept\/fineart\/conservation\/<\/a><\/p>\n\n\n\n

As the\noldest degree-granting program for graduate-level conservation training in the United\nStates, the Conservation Center prepares students for careers in technical\nstudy and conservation through a four-year graduate program that combines\npractical training in conservation with art historical, archaeological,\ncuratorial, and scientific studies. The program is embedded in the Institute of\nFine Arts at New York University, which is a graduate school dedicated to\ninstruction and advanced research in the history of art, archaeology, and the\nconservation and technology of works of art. Students in the conservation\nprogram graduate with a dual degree, earning both an MS in the Conservation of\nHistoric and Artistic Works and an MA in the History of Art and Archaeology.\nThe Institute prepares students to enter careers in university teaching, museum\nwork, independent research and writing, art criticism, and art conservation.\nWhatever their professional goals, all students gain a sound knowledge in the\nhistory of art and a foundation in scholarship and connoisseurship as a basis\nfor critical judgment and research.<\/p>\n\n\n\n

Since the Conservation Center\u2019s founding in 1960, the program has produced 283 conservation professionals employed across the United States and internationally. As such, Conservation Center alumni occupy important positions in major museums, libraries, archives, and historical societies, and are proprietors of successful private practices. The program maintains its traditional strengths in educating future conservators focusing on paintings, paper, library and archive materials, decorative objects, ethnographic, archaeological, sculpture, photographs, and modern and contemporary materials. TBM art conservation fits seamlessly into NYU\u2019s portfolio of specialized education and training. Several previous and current students have declared an interest in TBM (see fig. 2).<\/p>\n\n\n\n

\"Figure
Figure 2: Taylor Healy and Lia Kramer (students) discussing with Christine Frohnert (TBM Program Coordinator) in the library. Courtesy of Bryan Whitney. <\/figcaption><\/figure>\n\n\n\n

CURRICULUM\nDEVELOPMENT<\/h2>\n\n\n\n

Establishing\na TBM art conservation specialty requires creativity and ingenuity as well as\nclose consultation and collaboration with existing programs worldwide. During\nthe curriculum-planning phase from 2016 to 2017, the core competencies and\nskill sets for future TBM conservators were identified based on meetings with\nexperts from European programs and potential employers and practitioners in the\nUnited States. The TBM Project Team was supported by an advisory board and working\ngroup consisting of 11 members (see Acknowledgments section). Based on\ndiscussions and advice, the learning objectives were organized to fit into the\nmost suitable teaching formats (e.g., lecture course, treatment class,\nworkshop, summer internship, fourth-year internship) and built around the most\nefficient timeline for acquiring specific skills.<\/p>\n\n\n\n

Identifying Core Competencies and Skills for\nFuture TBM Conservators<\/em><\/p>\n\n\n\n

As with\nother specialties within conservation, core competencies of future TBM\nconservators are grounded in conservation ethics, conservation methodologies,\nand conservation science. The conceptual framework of modern and contemporary\nart conservation alongside modern and contemporary art history and media theory\nwill provide a foundation early in the student\u2019s education. Building on this,\nspecifically designed courses will cover topics such as electrics\/electronics,\ncomputer science, programming, TBM art acquisition and documentation, TBM art\ninstallation and exhibition, audio, video technology and preservation, digital\npreservation, and photochemical processes to develop a solid knowledge of each\nTBM media category, such as film, slide, video, audio, software, performance,\nlight, kinetic, or Internet art. Furthermore, the equipment associated with\neach medium\u2014the signal processing and characteristics of different display and\nplayback devices\u2014needs to be understood in context in order to assess the\nvisual and aural integrity of a TBM artwork.<\/p>\n\n\n\n

In\naddition to technical competencies, communication skills and the ability to\ncreate a network of experts are critical. Future TBM conservators will learn\nand practice how to identify the work-defining properties of an artwork and to\nunderstand and document all components in context, which requires close\ncommunication with all stakeholders involved. Students will learn how to design\na preservation plan for a TBM collection, which will translate into the general\nskills needed to promote advocacy for TBM works in an institution, to build and\ngrow a lab, and to establish workflows.<\/p>\n\n\n\n

Degree Requirements and General Curriculum\nOverview<\/em><\/p>\n\n\n\n

https:\/\/www.nyu.edu\/gsas\/dept\/fineart\/conservation\/program.htm<\/a><\/p>\n\n\n\n

The basic requirement for the dual degree in art history and conservation is the completion of 73 points over four years. This includes 15 conservation courses (for 45 points) for the MS in the Conservation of Historic and Artistic Works, and seven art history courses (for 28 points) for the MA in the History of Art and Archaeology. The MS degree also requires noncredit courses in photographic documentation of artifacts and microscopy, and a nine-month internship completed in the fourth year. Additional MA requirements include language examinations in French, German, or Italian, and a master\u2019s thesis on a topic of art history or technical art history to be supervised by a member of the Institute faculty. Students specializing in the conservation of paintings, objects, photographs, or paper follow the general program outline, whereas a modified course of studies has been customized for students in the Mellon-funded Library and Archive Conservation Education (LACE) track. The general Conservation Center program outline is depicted in figure 3. The curriculum as outlined here was implemented in the 2004\/2005 academic year.<\/p>\n\n\n\n

\"Figure
Figure 3: General art conservation curriculum at CC\/IFA\/NYU. The basic requirement for the dual degree is the completion of 15 conservation courses and 7 art history courses. Core courses required for students of all specialties are marked in orange. <\/figcaption><\/figure>\n\n\n\n

During the\nfirst and second years, students complete the core curriculum in conservation.\nElectives in the second and third years can be chosen based on the needs of the\nstudent and local logistics. Some courses are offered only in alternating years\nto combine students with the same interest and to optimize resources. Some\ncourses are team taught to ensure that sufficient depth of expertise is\navailable for the range of material covered, while others are offered by a\nsingle instructor. Advanced courses are held at the Conservation Center or rely\non special projects in conservation facilities in the New York City area\ncarried out under the supervision of the faculty and outside consultants.<\/p>\n\n\n\n

During the\nthird year, students continue to take advanced courses in specialized areas of\nconservation and complete any remaining requirements for the MA degree.\nSimultaneously, students work with the Center\u2019s Chair to make arrangements for\na nine-month internship in their chosen discipline, a capstone of the MS\ndegree, scheduled for the fourth year of study. The final internship takes\nplace in a conservation establishment in the United States or abroad selected\nto provide the optimal experience in the student\u2019s area of concentration.<\/p>\n\n\n\n

TBM ART CONSERVATION PROGRAM AT CC\/IFA\/NYU<\/h2>\n\n\n\n

The CC\/IFA\/NYU dual MA\/MS degree inherently allows for curricular flexibility and adaptation, a necessity for a successful specialization in TBM (https:\/\/www.nyu.edu\/gsas\/dept\/fineart\/conservation\/time-based-media.htm<\/a>). New course offerings will provide options for practical and technological training in media art conservation, employing a coalition of experts and specialists in computer science, engineering, and film and video preservation. The TBM art conservation program outline is shown in figure 4.<\/p>\n\n\n\n

\"Figure
Figure 4: TBM art conservation curriculum at CC\/IFA\/NYU. TBM-specific courses, workshops, and nondegree-required activities are marked in purple. <\/figcaption><\/figure>\n\n\n\n

In their\nfirst term, students will enroll in a course called Technology and Structure of Works of Art III: Time-based Media<\/em>.\nThis course will introduce various categories of time-based media art in both\ntheory and practice. Issues related to the acquisition, examination,\ndocumentation, installation, exhibition, and conservation of TBM will be\ndiscussed through case studies. This is an overview course on an introductory\nlevel. The course is required for TBM students and is open to other students at\nNYU who are majoring in art history, computer science, engineering, library\nscience, museum studies, or general art conservation.<\/p>\n\n\n\n

Students\nat the Conservation Center will also be learning from experts within our NYU\nnetwork, including the Interactive Telecommunications Program and the\nIntegrated Digital Media Program. This collaboration will provide valuable\ninput from colleagues educating the next generation of technologists, engineers,\ndesigners, and artists uniquely dedicated to pushing the boundaries of\ninteractivity in the real and digital world. TBM students can enroll in classes\noffered through several NYU graduate departments, such as the Moving Image\nArchiving and Preservation Program, described earlier, and vice versa. One example\nof a course available to the TBM student is The\nMuseum Life of Contemporary Art<\/em> with Glenn Wharton, Clinical Associate\nProfessor of Museum Studies. This serves as an ideal introduction to the challenges\nof media art on display. Other courses of interest are offered by the Courant\nInstitute of Computer Science. Deena Engel,\nDirector of the program Digital Humanities and Social Sciences (DHSS) and\nClinical Professor of Computer Science, will advise TBM students in their selection\nof appropriate courses depending on their previous experience in the subject.\nHer course, Introduction to Programming<\/em>,\nis a prime example of one such elective since it has no prerequisites.<\/p>\n\n\n\n

Core\ncompetencies in TBM art conservation will be covered in courses created\nspecifically for TBM students. Instructors will be recruited from institutions\nin the New York area and beyond, offering leading experts in the field an\nopportunity to teach the next generation of TBM art conservators. Figure 4\nshows the timing of those four courses within the program outline, delineated\nhere.<\/p>\n\n\n\n

Acquisition and Documentation<\/em><\/p>\n\n\n\n

Students\nwill learn how to gain intellectual and physical ownership of complex artworks\nin order to manage technological changes and obsolescence over time while\nrespecting the artist\u2019s intent. The course consists of four sections: (1)\ngeneral introduction to the approaches and workflows of acquisition, followed\nby a series of in depth practical seminars, each dedicated to a specific medium\nand related exhibition technology commonly found in collections; (2)\npreacquisition assessment in the context of a fine art collection; (3)\nacquisition actions, including identity report, dialogue with artist (and\nrepresentatives), condition checking, collaboration with external vendors,\nplanning for exhibition in the medium term, and storage; and (4) exercises on\nhow to look broadly at all aspects pertaining to the documentation of TBM\nworks.<\/p>\n\n\n\n

Exhibition and Installation<\/em><\/em><\/p>\n\n\n\n

TBM works\nare best understood as functional systems that must be installed to be\nexperienced in context. The choice of components and their constellation is\noften loosely defined by the artist; for a majority of TBM works, variability\nand change are inherent, and artworks are frequently reconfigured in response\nto given exhibition spaces, curatorial concepts, or changing technological\nlandscapes. This lack of fixity and the resulting necessity to interpret the\nartwork\u2019s \u201cscore\u201d for every iteration make TBM works highly vulnerable to\nmisinterpretation and poor display that compromises the artwork\u2019s integrity.\nThis course consists of three sections: (1) the introduction and comparison of\na variety of contemporary and legacy display devices and technologies and their\nimpact on artworks; (2) the discussion of display scenarios that can be\nconsidered harmful to an artwork\u2019s integrity; and (3) the documentation of\niterations and the decision-making process determining them. Conservation of Digital Art Objects<\/em><\/p>\n\n\n\n

The\ndigital assets of institutions collecting TBM are rapidly growing, as most TBM\nartworks either consist of born-digital or digitized media content. In\nresponse, museums have to establish protocols for all stakeholders involved to\nmanage, preserve, and store their digital collections. Digital preservation\nprotocols have been developed by the library and archive community but need to\nbe understood and reviewed for the application to artworks. This course will\nintroduce TBM conservation students to digital preservation standards in an art\nconservation context. The course will consist of three sections: (1) digital\nand information technology literacy; (2) digital tools for conservation\npractice; and (3) preservation-compliant repositories.<\/p>\n\n\n\n

Video Preservation<\/em><\/p>\n\n\n\n

In the late 1960s, artists began using video as a creative medium, which is now becoming ubiquitous in exhibitions and gallery installations and represents the most popular TBM art medium in collecting. Future TBM conservators will be tasked with caring for and treating video, both in its analog and digital form; proper training in all aspects of the medium is critical to the field. This course will build on the content of Technology and Structure of Works of Art III<\/em> to educate TBM conservation students in the history, theory, and practice of video preservation and conservation. With a firm grounding in the historical evolution of the medium, students will spend the majority of the course learning the full technical characteristics of analog and digital video. This will involve working intimately with video tape recorders (VTRs), various analog and digital monitors, oscilloscopes, and related video hardware to understand and practice analog video playback and migration to digital file formats. In the digital realm, students will work with software tools to expose and document technical metadata, learn how to properly analyze digital video playback and perform treatments using a host of different software and commands.

Project-based training plays an essential role in the development of a well-rounded conservator, as it allows students to develop technical abilities and collaborative skills in real work situations. The Conservation Center works actively to create and arrange practical training opportunities for students during semester intersessions as well as during the summer. Summer Directed Work Placements (DWP) for TBM students will be carefully planned with their academic advisor to improve their practical skills and to cover topics that could not be included in their regular coursework. These work placements, generously funded by the Mellon Foundation, are considered nondegree requirements and will cover six to eight weeks in the summer after Years 1, 2, and 3 (see fig. 4).<\/p>\n\n\n\n

During the\nwinter intersession and spring break, students will also have the opportunity\nto participate in some of the workshops designed for broader audiences (see later\ndiscussion).<\/p>\n\n\n\n

Students\nwill need access to dedicated lab equipment and related resources. With support\nfrom the Mellon Foundation, the Conservation Center will update its facility by\npurchasing a custom-designed TBM workstation and include the first cohort of students\nin an important exercise: how to build up a lab. While basic equipment for\nfrequent use will be available in-house, the CC\/IFA\/NYU has established\ncollaborations with leading museums, as well as collaborations with NYU partner\nprograms, to ensure access to highly specialized equipment.<\/p>\n\n\n\n

APPLICATION AND SELECTION PROCESS<\/h2>\n\n\n\n

The CC\/IFA\/NYU\u2019s recruitment strategy has focused on candidates from art history, studio arts, pre-med, and the sciences. With the new TBM specialization, we have broadened our strategy to include engineering, both computer and mechanical; computer science; game design; video editing; and studio art programs with an emphasis on new and developing media technologies (https:\/\/www.nyu.edu\/gsas\/dept\/fineart\/prospective\/conservation.htm<\/a>). <\/p>\n\n\n\n

Candidates\nfor the conservation dual degree program complete an online application in\nDecember via the Graduate School of Arts and Science Office of Admission\u2019s\nwebsite. The application consists of a personal statement and curriculum vitae;\nan art history writing sample; transcripts providing evidence of the program\u2019s\nprerequisites in art history and laboratory science; and, at minimum, three\nletters of recommendation from art history professors and conservation\nprofessionals. Qualified applicants are then interviewed at the Conservation Center\nin March, where a candidate\u2019s knowledge of studio art materials and techniques\nis presented through a personal portfolio. Offers of admission are then made in\nApril. Typically, the top 21 applicants are interviewed. Candidates for the TBM\ntrack will follow the same admission process as other students. Two fully funded\nTBM students will be accepted each year. The Conservation Center encourages\napplicants from culturally diverse backgrounds. <\/p>\n\n\n\n

PUBLIC\nOUTREACH AND PROFESSIONAL DEVELOPMENT AT CC\/IFA\/NYU<\/h2>\n\n\n\n

Due to our\nmission as an educational institution and our location in New York City, the\nCC\/IFA\/NYU regularly serves as a resource center for the community at large. During\nthe next four years we plan to offer lectures, courses, and workshops to\nstudents from other programs and disciplines, and to professional and public\naudiences to share our achievements and to promote TBM art conservation as an\nemerging field.<\/p>\n\n\n\n

Public Lectures<\/em><\/p>\n\n\n\n

The inaugural\nCC\/IFA\/NYU\u2019s public lecture series Topics\nin Time-based Media Art Conservation<\/em> took place over the course of the fall\n2016 semester. Ten distinguished scholars and peers in the TBM field from the United\nStates and abroad were invited to present their research. Topics covered the conservation\nchallenges associated with different media categories, such as kinetic art,\nsoftware-based art, interactive art, light-based art, and video art. TBM\nconservation was highlighted from different perspectives, ranging from artists\nto conservators, computer scientists, and art historians. The public lecture\nseries created the opportunity to promote the field, to foster the dialogue\nbetween TBM professionals, and to build a community. Many professionals\nconsider the recordings of the lectures available in the Institute\u2019s video\narchive as a valuable resource (https:\/\/www.nyu.edu\/gsas\/dept\/fineart\/events\/time-based-media.htm<\/a>).<\/p>\n\n\n\n

Building\non the success of this lecture series, and responding to the many requests\nreceived from members of our community, we will continue to provide public\nlectures and make them available to the public from our events website. We are\nplanning to organize four lectures per year and will continue to engage\npractitioners and collectors, specialists, and newcomers to the field.<\/p>\n\n\n\n

It’s About Time! Building a New Discipline: Time-Based Media Art Conservation<\/em><\/p>\n\n\n\n

The 2018 TBM symposium was hosted by The Institute of Fine Arts and the Courant Institute of Mathematical Sciences, New York University, on May 20-22, 2018, organized by Hannelore Roemich, Christine Frohnert, Deena Engel, Nora Kennedy, Kate Lewis, and Joanna Phillips (https:\/\/www.tbmsymposium2018.com\/). The event promoted education and training opportunities for TBM as a new specialization at the CC\/IFA\/NYU and provided a forum for educators, artists, art historians, museum curators and directors, collectors, gallerists, engineers, computer scientists, and conservators to foster TBM art conservation as a discipline on an international level. The symposium attracted more than 150 participants from the United States, Canada, Switzerland, Austria, Germany, Mexico, Brazil, Italy, Portugal, the Netherlands, the United Kingdom, Australia, and China. The program included 30 presentations and 5 roundtable discussions grouped in five sessions: (1) TBM Art Conservation Education\u2014Current Offerings and Future Opportunities; (2) Practical Training, Professional Development, and Team Building; (3) Challenges and Needs; (4) TBM Art Conservation and the Archives; and (5) Advocacy, Implementation, and Collaboration.<\/p>\n\n\n\n

Blogs written by students and recent graduates of NYU programs for VoCA (Voices of Contemporary Art) promote the video recordings, which are available online and mark a milestone in the development of TBM education (https:\/\/www.nyu.edu\/gsas\/dept\/fineart\/events\/tbmsymposium2018.htm<\/a>).<\/p>\n\n\n\n

Professional Development Courses and\nWorkshops<\/em><\/p>\n\n\n\n

Conservators\nand practitioners entering TBM conservator positions from different educational\nbackgrounds have acquired their knowledge through workshops, such as TechFocus<\/em>, or from presentations during\nthe EMG sessions at the annual AIC meetings and other media conferences, or\nthrough archiving and preservation programs. All of these professionals will\nneed further training on existing and emerging technologies to advance their\ncareers and to keep up with new developments.<\/p>\n\n\n\n

Responding\nto the need for training in TBM art conservation, the Conservation Center will\nprovide time-limited, nondegree professional development opportunities to\nstudents and mid-career conservators and to those entering the field of TBM or\nin need of enhancing specific skills. This will complement other offerings for\nprofessional development currently available, such as workshops at MoMA or TechFocus<\/em>. Offerings include: Art With A Plug\u2014Electrics, Electronics, and\nControl Engineering<\/em> (four days, first iteration in January 2019); Artist Interviews\u2014TBM-Specifics<\/em> (in collaboration\nwith VoCA, two days, in March 2019); Digital\nPreservation<\/em> (three days, first iteration in 2019); Maintenance and Care of CRTs<\/em> (two days, forecast for 2020); and Film and Slide Preservation<\/em> (two days,\nforecast for 2021).<\/p>\n\n\n\n

Topics\nthat can be presented in lecture format will be open to 25 participants, while\ntopics for which lab space and access to equipment are necessary will be\nlimited to smaller groups. With a total offer of four courses (four days each)\nand eight two-day workshops over four years, we will be able to offer 32 days\nof training and 153 spots for mid-level professionals plus 30 spots for our\nstudents, for a total of 183 possible participants.<\/p>\n\n\n\n

For the\nConservation Center\u2019s students, the added bonus is that they will join selected\nworkshops and courses as participants learning alongside practitioners already\nworking in the field. Students together with workshop participants will create\na strong TBM art conservation community, fostering a professional network that\nwill enhance their careers. Upon graduation, they will have met, learned from, and\nstudied with experts in the field who will become important allies as they\ncontribute to TBM art conservation research and scholarship. External\nparticipants will benefit from learning in an academic environment within a limited\ntime frame, allowing them to continue working in their home institutions.<\/p>\n\n\n\n

Applications\nwill be processed through a portal broadly advertised in fall 2018. The Program\nCommittee\u2014consisting of the Department Chair, Program Director, Program\nCoordinator, and two members of the Advisory Board\u2014will select participants. Applicants\nwill be asked to submit a cover letter expressing the need for training and the\nbenefits for their career development. Costs for organizing these workshops are\nprovided by the Mellon Foundation. Participants will need to cover costs for\ntravel and accommodation.<\/p>\n\n\n\n

PERSPECTIVES\nON AN EMERGING DISCIPLINE<\/h2>\n\n\n\n

The\nConservation Center, with its program grounded in art history, MA\/MS dual\ndegree, specialized faculty and adjuncts, close relationships with area museums\nand collections, and its network within NYU, is ideal for the implementation of\na program in TBM art conservation education. The inherent flexibility of the\nprogram will also help to build coursework based on student needs and\ninterests, for example, in kinetic art, light-based works, or any emerging\ntechnology, such as virtual reality. Since applicants from various backgrounds\u2014including\nartists, computer programmers, or engineers\u2014are encouraged to apply, the\nprogram can ensure that students receive the individualized instruction that\ncomplements their pre-program experience or knowledge base. The TBM course\noutline can be adjusted and modified as necessary for each student and can\neasily respond to changes in the discipline. <\/p>\n\n\n\n

Starting\nin fall 2018, the program accepted two students who received funding to cover\ntuition and living expenses. Each cohort of students will benefit from a highly\nspecialized education in TBM art conservation and will graduate with an MA\/MS\ndual degree from the Institute of Fine Arts.<\/p>\n\n\n\n

During the next four years and thanks to funding by the\nAndrew W. Mellon Foundation, the Conservation Center will offer workshops and evening\nlectures that provide an unprecedented opportunity not only for the\ndissemination of best practices and current research but also for networking\nand connecting professionals, who are already working in the field, facing\ndaily challenges with TBM art or complex installations. <\/p>\n\n\n\n

TBM art conservation is in a time of rapid transition.\nArticulating and advocating the need to preserve contemporary art, educating\nand mentoring emerging conservators, incorporating the expertise of allied\nprofessionals and scholars, and sustaining a program of continual learning present\nchallenges that NYU is ready and eager to confront.<\/p>\n\n\n\n

ACKNOWLEDGMENTS<\/h2>\n\n\n\n

The\ndevelopment of the TBM art conservation curriculum has been generously\nsupported by the Andrew W. Mellon Foundation.<\/p>\n\n\n\n

The\nauthors acknowledge the stimulating discussions with members of the Advisory\nBoard: Howard Besser, Professor, Co-Associate Director, Moving Image Archiving\nand Preservation, NYU; Jim Coddington, Conservator, former Agnes Gund Chief\nConservator, The Museum of Modern Art; Deena Engel, Clinical Professor,\nDirector, Program in Digital Humanities and Social Science, Department of\nComputer Science, Courant Institute of Mathematical Sciences, NYU; Pip\nLaurenson, Head of Collection Care Research, Tate, and Professor of Art,\nCollection and Care at Maastricht University; Tom Learner, Head of Science,\nGetty Conservation Institute; and Carol Mancusi-Ungaro, Associate Director for\nConservation and Research, Whitney Museum of American Art; Glenn Wharton, Clinical\nProfessor, Museum Studies, NYU. Curriculum Development Working Group: Brian\nCastriota, Marie Sklodowska-Curie ITN Research Fellow and PhD Candidate,\nHistory of Art, University of Glasgow; Nora Kennedy, Sherman Fairchild\nConservator in Charge, Photograph Conservation, The Metropolitan Museum of Art;\nAgathe Jarczyk, Professor, Modern Materials and Media Art Conservation,\nUniversity of Arts, Berne; Mona Jimenez, Media Art Conservator, Materia Media; Kate\nLewis, Agnes Gund Chief Conservator, David Booth Conservation Department, The\nMuseum of Modern Art; and Joanna Phillips, Senior Conservator of Time-Based\nMedia, The Solomon R. Guggenheim Museum.<\/p>\n\n\n\n

Special\nthanks are extended to former and current students, who provided feedback on\ndrafts of the curriculum. Kevin Martin, Academic Advisor, played an essential\nrole in the development phase, which is deeply appreciated.<\/p>\n\n\n\n

FURTHER\nRESOURCES<\/h2>\n\n\n\n

Brown, J., and T. Learner. 2010. Training needs for the conservation of modern and contemporary art.\nIn ICOM-CC Education and Training (E&T), and Modern Materials and\nContemporary Art (MMCA) working groups of ICOM-CC, Report from the Joint\nInterim meeting June 12 and 13, 2010, Bonnefantenmuseum, Maastricht. <\/p>\n\n\n\n

Frohnert, C., and M. Singer.\n2010.\u201cEducation in electronic media\nart conservation\u2014where we are and where we should be. AIC News<\/em>, Vol. 35 No. 1 (2010): 1, 8-12. <\/p>\n\n\n\n

Frohnert,\nChristine and Singer, Martha. \u201cEducation in Electronic Media Art Conservation:\nWhere We Are and Where We Should Be.\u201d AIC News Vol. 35 No 1 (2010): 1, 8-12.\nElectronic.<\/p>\n\n\n\n

Frohnert, C. 2018. \u201cThe Development of TBM Art Conservation Education.\u201d Lecture delivered at It\u2019s About Time! Building a New Discipline: Time-Based Media Art Conservation. New York University, New York, 2018. www.nyu.edu\/gsas\/dept\/fineart\/events\/tbmsymposium2018.htm<\/a> (accessed 07\/28\/18).<\/p>\n\n\n\n

Getty\nConservation Institute. 2008. Conservation Issues of Modern and Contemporary\nArt (CIMCA) Meeting, MoMA, NY, June 2008. http:\/\/getty.edu\/conservation\/our_projects\/science\/modpaints\/CIMCA_meeting_jun08.pdf<\/a>\n(accessed 08\/03\/15).<\/p>\n\n\n\n

Ryan, G. 2013. \u201cTime-based\nMedia Art Conservation: Status Update.\u201d Techne, La science au service de l\u2019histoire de l\u2019art et\ndes civilisations<\/em>. Paris: Centre de recherche et de restauration des\nmus\u00e9es de France, No. 37.<\/p>\n\n\n\n

Phillips, J., and A. Nichols.\n2018. A commitment to perpetual learning – practical training in time-based\nmedia art conservation. VoCA Journal<\/em>.\nhttp:\/\/journal.voca.network\/a-commitment-to-perpetual-learning\/<\/a>\n(accessed 07\/29\/18).<\/p>\n\n\n\n

Roemich, H., and C. Frohnert. 2018. \u201cTBM Art Conservation as a New Specialization at the Conservation Center.\u201d Lecture delivered at It\u2019s About Time! Building a New Discipline: Time-Based Media Art Conservation. New York University, New York. www.nyu.edu\/gsas\/dept\/fineart\/events\/tbmsymposium2018.htm<\/a> (accessed 07\/28\/18).<\/p>\n\n\n\n

Hannelore Roemich
Professor of Conservation Science
Conservation Center, Institute of Fine Arts, New York University
hr34@nyu.edu<\/a><\/p>\n\n\n\n

Christine Frohnert
Conservator of Contemporary Art
Partner, Bek & Frohnert LLC
christine@bekandfrohnert.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Christine Frohnert, Hannelore RoemichThe Electronic Media Review, Volume Five: 2017-2018 ABSTRACT In recognition of the ever-changing field of contemporary art conservation, New York University\u2019s Institute of Fine Arts Conservation Center expanded its curriculum in the fall of 2018 by establishing a specialization explicitly for the conservation of time-based media art\u2014the first of its kind in … Continue reading “Time-based Media Art Conservation Education Program at NYU: Concept and Perspectives”<\/span><\/a><\/p>\n","protected":false},"author":37,"featured_media":0,"parent":618,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1567","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1567","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/users\/37"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/comments?post=1567"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1567\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/618"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/media?parent=1567"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}