About

Kinetic art not only includes movement, but often depends on it to produce its intended effect and therefore fully realize its nature as work of art. It can take a multiplicity of forms and include a wide range of motion, from motorized and electrically driven movement to motion as the result of wind, light, or other sources of energy. Kinetic art emerged throughout the twentieth century and had its major developments in the 1950s and 1960s.

Professionals responsible for conserving contemporary art are in the midst of rethinking the concept of authenticity and solving the dichotomy often felt between original materials and functionality of the work of art. The contrast is especially acute with kinetic art when a compromise between the two often seems impossible. Also to be considered are issues of technological obsolescence and the fact that an artist’s chosen technology often carries with it strong sociological and historical information and meanings.

Presenting the latest research and scholarship on the topic with fifteen essays and eight posters, this online publication (also available for print-on-demand) includes videos to capture more accurately the effects conjured by kinetic artworks.

Proceedings from the meeting organized by the Getty Conservation Institute, the ICOM-CC Modern Materials and Contemporary Art Working Group, and Museo del Novecento

Palazzo Reale, Milan, Italy, June 30–July 2, 2016

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The Working Group for Modern Materials and Contemporary Art is part of the Committee for Conservation (ICOM-CC), a committee of the International Council of Museums (ICOM) network.

Citation Information

Chicago

Rivenc, Rachel, and Reinhard Bek, eds. Keep It Moving? Conserving Kinetic Art. Los Angeles: Getty Conservation Institute, 2018. http://www.getty.edu​/publications​/keepitmoving.

MLA

Rivenc, Rachel, and Reinhard Bek, editors. Keep It Moving? Conserving Kinetic Art. Getty Conservation Institute, 2018. http://www.getty.edu​/publications​/keepitmoving. Accessed D MMMM YYYY.

Permanent URL

http://www.getty.edu​/publications​/keepitmoving

Revision History

Any revisions or corrections made to this publication after the first edition date will be listed here and in the project repository at http://www.github.com​/gettypubs​/keepitmoving, where a more detailed version history is available. The revisions branch of the project repository, when present, will also show any changes currently under consideration but not yet published here.

March 15, 2018

  • First edition

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© 2018 J. Paul Getty Trust

Text by Rachel Rivenc, Reinhard Bek, and Timothy P. Whalen © 2018 J. Paul Getty Trust. All other text © the authors.

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The text of this work is licensed under a Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/. All images are reproduced with the permission of the rights holders acknowledged in captions and are expressly excluded from the CC BY license covering the rest of this publication. These images may not be reproduced, copied, transmitted, or manipulated without consent from the owners, who reserve all rights.

Published by the Getty Conservation Institute, Los Angeles
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Los Angeles, California 90049-1682
www.getty.edu/publications

  • Beatrice Hohenegger, Project Editor
  • Jennifer Boynton, Manuscript Editor
  • Greg Albers, Digital Manager
  • Eric Gardner, Designer and Developer
  • Nick Geller, Assistant Digital Editor
  • Michelle Deemer, Production
  • Jeffrey Cohen, Cover Design

Library of Congress Cataloging-in-Publication Data

  • Names: Rivenc, Rachel, editor. | Bek, Reinhard, editor. | Getty Conservation Institute, issuing body, organizer. | ICOM Committee for Conservation. Working Group Modern Materials and Contemporary Art, organizer. | Museo del Novecento (Milan, Italy), organizer. | Palazzo reale di Milano, host institution.
  • Title: Keep it moving? : conserving kinetic art : proceedings from the meeting organized by the Getty Conservation Institute, the ICOM-CC Modern Materials and Contemporary Art Working Group, and Museo del Novecento, Palazzo Reale, Milan, Italy, June 30–July 2, 2016 / Rachel Rivenc and Reinhard Bek, editors.
  • Other titles: Conserving kinetic art
  • Description: Los Angeles, CA : Getty Conservation Institute, [2017] | Includes bibliographical references.
  • Identifiers: LCCN 2017029127 (print) | LCCN 2017034944 (ebook) | ISBN 9781606065372 (epub) | ISBN 9781606065365 (online) | ISBN 9781606065389 (pbk.)
  • Subjects: LCSH: Kinetic art—Conservation and restoration—Congresses.
  • Classification: LCC N6494.K5 (ebook) | LCC N6494.K5 K44 2017 (print) | DDC 709.04/07--dc23
  • LC record available at https://lccn.loc.gov/2017029127

Cover: Analogue projection of Aleksandar Srnec’s Luminoplastic 1, 1965–67. Video (see fig. 8.6). Museum of Contemporary Art, Zagreb.

Getty Conservation Institute

  • Timothy P. Whalen, John E. and Louise Bryson Director
  • Jeanne Marie Teutonico, Associate Director, Programs

The Getty Conservation Institute (GCI) works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world’s cultural heritage.

http://www.getty.edu/conservation/