by John D. Powell
MA Museum Studies, University of Leicester, 2007
Abstract
Should museums actively collect and preserve works by artists whose means, materials, and intentions are manifestly destructive? How can museums achieve an appropriate balance between respect for artists' intentions and allegiance to the museum's mandate to collect and preserve artworks for the future? This study of destruction art in the contemporary museum aims to address these and other issues surrounding the conflicts inherent in collecting and preserving destruction art.
Beginning with a widely encompassing definition of destruction art, this dissertation examines the origins of the art form within the context of the museum. Case studies of key destruction artworks by artists Jean Tinguely, Gustav Metzger, and Raphael Montañez Ortiz serve as central examples through which the analysis is drawn. The relevance of artist's intentions, their sanctions, and the boundaries of moral and legal rights are examined in the context of the museum, followed by an analysis of artists' writings in relation to the case study works.
The role of the object in the museum is examined in relation to aspects of performance in destruction art. This is followed by a study of documentation and its role in preserving and interpreting destruction artworks. The techniques and materials used in destruction art are explored in conjunction with museum preservation strategies. Finally, the views of museum professionals are examined in relation to the collection of destruction artworks. Conclusions are then drawn on the role of artistic intentionality and the importance of research and documentation in decisions to collect and preserve destruction art.
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