Sort each practice by the historian's central problem with it.
Groups: The work is over and only documents remain · The work is reinterpreted each time it is set up · The environment the work runs in stops existing
- 2005 browser net art
- 1970s performance
- Small-audience action
- Large installation
- Work on an obsolete OS
- Viewer-entered space
Hints
- Each column is a different way the work fails to sit still.
- Anything about obsolete software belongs to the third.
Show the answer
The work is over and only documents remain: 1970s performance, Small-audience action
The work is reinterpreted each time it is set up: Large installation, Viewer-entered space
The environment the work runs in stops existing: 2005 browser net art, Work on an obsolete OS
The three columns need different responses: documentation protocols for the first, installation instructions and curatorial judgement for the second, and emulation or migration for the third. Conservation as cleaning and repair addresses none of them.
Practise New Artistic Languages
The app has 5 more questions on this lesson, and keeps your place in the course. Art History I is free to start.
More questions on New Artistic Languages
- Most surviving readymades are later replicas, and this troubles almost nobody. Why not?
- Art history has shifted 'from conservation to documentation' for many post-object practices. What does this…
- Which shifts does the discipline make in response to these practices?
- Complete the account of the new languages.
- Of the six practices tabled in this lesson, roughly how many leave a durable object that can be conserved in…
- Arrange these questions in the order a historian should ask them about a non-object work.
- Match each practice to the conservation response it requires.
- The problems these practices pose are entirely new to art history.