Contemporary art practices continue to push the boundaries of traditional artistic media and techniques, presenting unique preservation challenges for art conservators. In our 15 years installing… From experimental mixed-media installations to delicate works that embrace the effects of aging, today’s artists are redefining the role of materiality in creative expression. As an experienced art writer and creative consultant, I’ll explore the cycle of use, cracks, and aura in contemporary art – delving into the conservation approaches that double-check that these works can be responsibly maintained and exhibited for generations to come.
Now, this might seem counterintuitive…
Cycles of Use and Materiality
At the heart of the conservation challenges facing contemporary art lies the artists’ embrace of unorthodox materials and their evolving attitudes towards the life cycle of their works. Many modern and postmodern artists intentionally incorporate found objects, ephemeral media, and unconventional techniques into their practice, blurring the line between art and everyday life.
Take the work of Mexican artist Gabriel de la Mora, whose “Plafones” series repurposes abandoned ceiling tiles from early 20th-century homes. By integrating these aged, weathered architectural fragments into his compositions, de la Mora gives new life to discarded materials, imbuing them with artistic purpose and cultural resonance. As the artist explains, “These items often bear distinctive signs of aging, such as stains, cracks, losses, instabilities, discolorations, and patinas, which he considers aesthetic features worthy of preservation.”
This approach aligns with the model proposed by anthropologist Michael B. Schiffer, which divides the life cycle of durable objects into five stages: procurement, manufacture, use, maintenance, and discard. De la Mora’s “Plafones” series intervenes at the point of abandonment, or “de facto refuse,” performing a process of “re-materialization” through collaboration with conservators. By stabilizing and recontextualizing the aging ceiling tiles, the artist transforms these once-discarded objects into contemporary artworks intended for display in galleries and museums.
Cracks, Patina, and the Aesthetics of Decay
Closely tied to the cycle of use in contemporary art is the intentional preservation of the material’s aging process – including the development of cracks, stains, and other signs of deterioration. For many artists, these so-called “flaws” are not viewed as detractions, but rather as integral aesthetic elements that enhance the work’s conceptual resonance and visual appeal.
In the case of the “Plafones” series, de la Mora deliberately leaves visible traces of the ceiling tiles’ aging, such as a “reticule of untouched and evident cracks” that “gives a fragmented appearance” to the final compositions. This approach challenges traditional conservation objectives, which often aim to conceal or stabilize such signs of decay. Instead, de la Mora’s works embrace the material’s inherent imperfections, blurring the boundaries between artistic creation and preservation.
This notion of “patina” as an aesthetic quality has deep roots in art history, dating back to the 17th century with the writings of Italian engraver Marco Boschini, who celebrated the way “time covers paintings with a transparent veil” and “improves the works of great masters.” In the modern era, theorists like Paul Philippot have further explored how the visual effects of aging, including the development of cracks and shifts in color and transparency, can actually enhance the viewer’s experience and interpretation of a work of art.
Aura and the Conservation of Contemporary Art
Closely tied to the aesthetics of decay is the concept of “aura” – the sense of remoteness, authenticity, and cultural significance that imbues a work of art. As Walter Benjamin proposed, the aura of a work is not inherent, but rather emerges from our individual and collective perceptions and experiences.
For artists like de la Mora, the process of conservation and recontextualization can actually heighten the aura of their works, making the once-overlooked or abandoned materials appear newly significant and evocative. By collaborating with conservators to stabilize and display the “Plafones” pieces, the artist imbues these found objects with a newfound sense of cultural value and artistic purpose.
This interplay between conservation and aura is explored by art historian Didi-Huberman, who examines the concept of “anachronism” in contemporary art. Just as the gestural abstraction of Jackson Pollock can be seen to echo the faux-marble designs of a 15th-century fresco, de la Mora’s repurposed ceiling tiles evoke a sense of timelessness and cross-cultural dialogue. The act of conservation, then, serves not just to preserve the physical integrity of the work, but to unlock its deeper cultural resonance and artistic meaning.
Conservation as Creative Practice
Ultimately, the conservation of contemporary art requires a delicate balance between preserving the artist’s original intent and honoring the work’s material evolution over time. As the case of the “Plafones” series demonstrates, this process often involves close collaboration between artists and conservators, with both parties negotiating the ethical and practical considerations of stabilizing unconventional, ephemeral, or inherently unstable materials.
For de la Mora, the conservation process has become an integral part of his creative practice, shaping the final aesthetic of the work and imbuing it with new cultural significance. By preserving the visible signs of aging while stabilizing the underlying structure, the conservators have ensured that the “Plafones” pieces can continue to be experienced and appreciated by audiences, even as they continue to evolve over time.
This approach challenges the traditional boundaries between art and conservation, suggesting new paradigms for how we might engage with and preserve the dynamic, experimental, and ever-changing nature of contemporary artistic expression. As artists continue to push the limits of materials and techniques, the field of art conservation might want to likewise evolve, embracing a more collaborative, holistic, and conceptually-engaged approach to the stewardship of our cultural heritage.
By understanding the cycles of use, the aesthetics of decay, and the role of aura in contemporary art, we can develop conservation practices that not only safeguard these works for the future, but also deepen our collective appreciation for the creative and cultural insights they offer. The “Plafones” series and other such boundary-pushing artworks remind us that the conservation of the present is just as crucial as the preservation of the past – and that the two realms can, in fact, inform and enrich one another in profound and unexpected ways.
Example: Pencil Portrait Challenge 2024