{"id":1628,"date":"2019-07-30T16:04:47","date_gmt":"2019-07-30T20:04:47","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/emg-review\/?page_id=1628"},"modified":"2019-11-01T15:57:19","modified_gmt":"2019-11-01T19:57:19","slug":"chen","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/emg-review\/volume-5-2017-2018\/chen\/","title":{"rendered":"The Preservation and Conservation of Digital Technology Heritage: A Case Study of New Media Art Collection of National Taiwan Museum of Fine Arts"},"content":{"rendered":"\n

Yu-Hsien Chen, Shin Chieh Tzeng
The Electronic Media Review, Volume Five: 2017-2018<\/em><\/p>\n\n\n\n

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

In\nTaiwan, new media artworks started to gain popularity in 2006. Since then, all\ndomestic representative museums have been preserving new media artworks. Among\nthem, the National Taiwan Museum of Fine Art (NTMoFA) collects the largest\namount. Acquisition, cataloging, preservation, conservation, and restoration are\na museum\u2019s key functions in maintaining the originality and authenticity of its\ncollections. However, new media pieces constantly challenge the traditional concept\nof minimal intervention when maintaining and restoring them to their original\nforms, as more physical work is required for these pieces. Currently, there is\nlittle discussion on the preservation of new media artworks in Taiwan. We\nsuggest that, based on the current administrative system, it is necessary to\nbuild up new methodologies and strategies for conserving new media artworks in\nfull scale. Our hope is that this research can provide a useful reference and\ndifferent vision to art museum conservators and other interdisciplinary practitioners\nwho are interested in conservation of new media artworks.<\/p>\n\n\n\n

INTRODUCTION<\/h2>\n\n\n\n

The main objective of this research is to understand the processes of preservation, conservation, and restoration of new media artworks in Taiwan\u2019s public art museums, the reasons behind the choices made in those processes, and their impact on the works. By reviewing the related literature, we first investigate the characteristics of new media art, how it has been developed in Taiwan, principles of preserving and restoring the art collections, and its required professional museum expertise and ethics. Next, we study the discussion in the related domestic literature on the subjects of new media artworks\u2019 preservation and re-exhibition. We then summarize the obtained experience from both inside and outside of Taiwan, and the associated challenges and opportunities in preserving new media artworks. Finally, we investigate the new media art collections of the National Taiwan Museum of Fine Art (NTMoFA) as a case study. <\/p>\n\n\n\n

This research adopts the method of semi\nstructured in-depth interviewing. The professionals interviewed include\npractitioners who preserve and repair artworks. We focus on three of NTMoFA’s\nnew media art collections as the main subjects for the interviews and\nreconstruct on-site real-world scenes of preservation and restoration. Last,\nfrom both the cultural and technological perspectives of new media, we analyze\nthe transformation of the principles of preservation and conservation in\nmuseums, followed by summarizing the research and presenting conclusions. We\nsuggest that, based on the current administrative system, it is necessary to\nbuild up new methodologies and strategies for conserving new media artworks in\nfull scale. Our hope is that this research can provide a useful reference and\ndifferent vision to art museum conservators and other interdisciplinary practitioners\nwho are interested in conservation of new media artworks. A new project called\n\u201cSave Media Art\u201d in Taiwan\u2014founded by the Taiwan Digital Art Foundation\ntogether with the project directors Yuhsien Chen and Tzuchuan Lin\u2014can be seen\nas a starting point of developing the profession of preserving and conserving\nnew media artworks in Taiwan.  <\/p>\n\n\n\n

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

This paper originally appeared as a master\nof arts thesis of Yu-Hsien Chen in 2017 and is a summarized version of the\nauthor presenting at the 46th AIC annual meeting in 2018. The author would like\nto acknowledge the support of the National Taiwan Museum of Art on an earlier\ndraft, the Taiwan Digital Art Foundation for further encouragement, and\neveryone who contributed to the discussions that helped develop the ideas put\nforward here.<\/p>\n\n\n\n

NOTES <\/h2>\n\n\n\n

1. For the full paper and references quoted in this paper, please\nsee http:\/\/handle.ncl.edu.tw\/11296\/ndltd\/36063678941455990581<\/a>\n(in Mandarin Chinese)<\/p>\n\n\n\n

2. For a PowerPoint presentation, see https:\/\/www.slideshare.net\/JoyceChen37\/2018-aics-46th-annual-meetingemg-group-presentation-by-yuhsien-chen-on-2-june<\/p>\n\n\n\n

Yu-Hsein Chen
Time-based Media Conservator
National Taiwan Museum of Arts, Taiwan
growtw@gmail.com<\/p>\n","protected":false},"excerpt":{"rendered":"

Yu-Hsien Chen, Shin Chieh TzengThe Electronic Media Review, Volume Five: 2017-2018 ABSTRACT In Taiwan, new media artworks started to gain popularity in 2006. Since then, all domestic representative museums have been preserving new media artworks. Among them, the National Taiwan Museum of Fine Art (NTMoFA) collects the largest amount. Acquisition, cataloging, preservation, conservation, and restoration … Continue reading “The Preservation and Conservation of Digital Technology Heritage: A Case Study of New Media Art Collection of National Taiwan Museum of Fine Arts”<\/span><\/a><\/p>\n","protected":false},"author":37,"featured_media":0,"parent":618,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"class_list":["post-1628","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1628","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=1628"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/emg-review\/wp-json\/wp\/v2\/pages\/1628\/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=1628"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}