Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/37350
In this thesis I examine the ´Studio System´, considering the benefits and issues that arise from the use of assistants and collaborators in the production of artwork under the ‘brand’ of one artist, its representation in the media and the impact the use of the Studio System can have on a museum’s archival work and acquisition policy.
In the first Chapter, I explore what the Studio System is and present a brief history of its use, from the Ateliers of the Renaissance, to the emergence of the ‘artist-as-businessman’ model popularised by Andy Warhol. I investigate critiques of Studio Systems in modern media and some of the ethical questions that are often raised in the opposition to its use.
In Chapter Two, I look at some of the ´ripple effects´ which the Studio System can have on museum archives, outlining a case study at Hönnunarsafn Íslands (The Icelandic Museum of Design and Applied Arts) which is currently working out how best to handle a 2014 bequeathment gift from Einar Thorsteinn Ásgeirsson, which is complicated by its ties to the Studio of Olafur Eliasson.
Finally, in Chapter Three, I look at the current state of the Einar Thorsteinn collection in juxtaposition to standards and best practices outlined by the International Council of Museums (ICOM), which Hönnunarsafn Íslands as an accredited museum by Safnaráð (The Icelandic Museum Council) is required to fulfill. I consider how the ties to Studio Olafur have complicated the archival progress as well as some fundamental issues with how the collection has been handled, has led to Hönnunarsafn Íslands struggling to get the collection up to ICOM standards.
|Finished Masters Thesis Jennifer Barrett.pdf||3.17 MB||Opinn||Heildartexti||Skoða/Opna|
|Skemman_yfirlysing - Barrett.pdf||163.94 kB||Lokaður||Yfirlýsing|