Abstract
Performance art, often seen as a transitory art form, in fact has long lasting interest for both artist and scholar. An innovative and cross discipline effort is required in order to conserve such artworks which do not have a single solid material manifestation. This study looks at other cultural sectors which face similar challenges and their efforts to meet those challenges, before focusing on the relationship between conservation and ephemeral forms of contemporary art. A unique data structuring tool is then presented and utilised to unite and then document the structure of Richard Layzell’s 1996 performance artwork, 'I Never Done Enough Weird Stuff'. Download the dissertation and bibliography via these links:
| Translated title of the contribution | Conservation and Performance Art: Building the Performance Art Data Structure (PADS) |
|---|---|
| Original language | English |
| Publication status | Published - 2008 |