Symposium Proceedings – serie

In recent years, funding for the conservation of cultural heritage has become increasingly difficult to obtain, and this trend shows no sign of changing significantly in the foreseeable future. The twelfth triennial meeting of the International Committee for the Conservation of Mosaics, held in Sardinia in October 2014, focused on the theme of cost, broadly considered, relating specifically to the preservation and presentation of the world's mosaic heritage.This handsome, abundantly illustrated proceedings volume provides a comprehensive record of the conference. The volume's sixty-seven papers and posters, comprising contributions from more than one hundred leading experts in the field, reflect the conference's principal themes: cost, methods of survey and documentation, conservation and management, education and training, backing materials and techniques, presentation and display, and case studies. Papers are presented either in English, French, or Italian; there are abstracts in English and either French or Italian for all entries.The volume will be of interest to conservators, sitemanagers, and others responsible for conserving the mosaic heritage, especially in these challenging times.

Kinetic art not only includes movement but often depends on it to produce an intended effect and therefore fully realize its nature as 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. www.getty.edu/publications/keepitmoving