Endangered large

Media art in storage or not otherwise displayed but where the artists or technicians are available to support installation

Group: Media Art

Trend: New Entry

Consensus Decision

Added to List: 2019

Last update: 2019

Previous category: New Entry

Imminence of Action

Action is recommended within three years, detailed assessment within twelve months

Significance of Loss

The loss of tools, data or services within this group would impact on many people and sectors.

Effort to Preserve

It would require a major effort to address losses in this group, possibly requiring the development of new preservation tools or techniques.

Examples

Media art in storage

‘Critically Endangered’ in the Presence of Aggravating Conditions

Lack of documentation to enable maintenance; lack of clarity with respect to intellectual property; complex interdependencies on specific hardware, software or operating systems; lack of capacity in the gallery or workshop; lack of strategic investment; complex external dependencies; loss of institutional memory resulting from staff churn; poor working relationship between the gallery and artist/workshop; lack of conservation assessment.

Vulnerable in the Presence of Good Practice

Strong documentation; clarity of preservation path and ensuing responsibilities; proven preservation plan; capacity of workshop to support re-installation; capacity of gallery to conserve; capacity of gallery to re-install; retention of institutional memory including archives of correspondence between gallery and artist/workshop; strong and continuing working relationship between the gallery and artist/workshop; regular conservation assessment.

2019 Review

Media Art was introduced in 2017, though with particular reference to historical media art which was categorised as ‘critically endangered’. The jury introduced this entry to ensure greater specificity in its recommendation. It is intended to represent works held in galleries but no longer displayed, but where there is a continuing working relationship between the gallery and the artist or workshop and reasonable expectation that support for preservation could still be obtained when required.

Additional Jury Comments

This entry attempts to capture a point in the lifecycle of media art where preservation risks are increasing but not yet critical. There is a risk that preservation issues will not become apparent until the piece is brought out of storage when being considered for loan or exhibition - often on timescales that make it too late to address preservation concerns effectively. Galleries should be aware that the range of data/formats/hardware/software embedded in media art can be wide and vary at different speeds.


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