Art on Paper/Variable Installation: Sara Hughes’ Torpedo at the Art Gallery of New South Wales

Carolyn Murphy

4 citations0/0 files storedAICCM Bulletin

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Conservation Techniques and Studies Historical Art and Architecture Studies Libraries and Information Services

Abstract

Acquired in 2015, Sara Hughes’ Torpedo in the collection of the Art Gallery of New South Wales (AGNSW) is a wall installation comprised of hundreds of painted and hand-stencilled paper clothing tags. During preparation for the exhibition, Out of the Ordinary in 2017, the variable nature of the work became apparent. The artist indicated that the work could be installed with different dimensions, requiring more or less clothing tags, consequently changing the presentation of the work. This variability has been negotiated between the artist and relevant stakeholders each time and it is expected that the work will continue to change for future iterations depending on the display context. There are increasing numbers of artworks in the AGNSW collection that are fixed in their material elements and yet variable in their display potential, prompting the need to review the care and management of these works. There have been few discussions in the conservation literature that consider issues associated with the fixity, variability and changeability of art on paper installations. This paper contributes to this literature by considering Sara Hughes’ Torpedo in some detail, focusing on its relationship with these different states and how this relates to concepts such as originality and authenticity.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 4 citations exist upstream.

References

2011Conservation : principles, dilemmas and uncomfortable truths 2011Reflections on a Biographical Approach to Contemporary Art Conservation 2013Installation Art and the Museum : Presentation and Conservation of Changing Artworks 2016New Collecting: Exhibiting and Audiences after New Media Art 2013Installation Art and the Museum: Presentation and Conservation of Changing Artworks 2017Paik's Virtual Archive 1998Beyond the Material: Idea, Concept, Process, and Their Function in the Conservation of the Conceptual Art of Mike Parr 2018Drawings you can walk on – Mike Parr and the 20th Biennale of Sydney 2016

Cited by

2020Changeability, Variability, and Malleability: Sharing Perspectives on the Role of Change in Time-based Art and Utilitarian Machinery Conservation 2020Physical object or variable, flexible, ephemeral and reproducible: the management and care of contemporary art collections in 2020 2021Tracking the Invisible: Collection Management and Conservation of Time-Based Art at Qagoma

Explore the map →

Papers that cite the same references — the relational fallback while embeddings are still backfilling.

Imported from OpenAlex (CC0) — nothing here is generated.