APPENDIX

APPENDIX 1

Video installation instructions for Eija-Liisa Ahtila's Anne, Aki and God, 1998, from the San Francisco Museum of Modern Art.

1 SPACE

• rectangular shape, minium size app. 7 m x 10 m
• dark space (with 2–3 narrow spotlights to be directed)
• quiet space with a ceiling (from which to hang the screen)

2 TECHNICAL EQUIPMENT

• 1 rear projection screen (app. 2 m x 1.5 m)
• 1 front projection screen (app. 1.8 m x 1.2 m)
• 2 x video projector (e. g., Sharp Vision XGNV2)
• 5 x monitor (21 in.)
• 7 x U-matic players (or S-VHS players)
• 2 active loudspeakers (JBL or Fostex)
• sync device

3 INSTALLATION STRUCTURES AND FURNITURE

• wooden app. 1.20 m/1 m height “half-wall” structure (see fig. 3)
• curtains to cover 3 walls of the exhibition room (of two colors)
• a used bed with wooden bedsteads
• mattress, bedspread, pillow
• small table for the second projector (e. g., gray Ikea coffee table)
• an armchair
• text on the wall (printed on cardboard)
• box to store the equipment/players
• rails to hang the curtains
• 3 lamps (for Aki, Anne, text on the wall)

4 TAPES

• submasters x 7 on Betacam SP
• installation tapes (S-VHS or) U-matic 7 x 3
• all tapes must run in syncronization (frame sync or near)
• the size of the wooden structure depends on the size of space
• the curtains cover 3 walls from ceiling to floor
• all tapes include sound; the work is about 30 minutes long and runs in loop of app. 1 hour

ACKNOWLEDGEMENTS

I would like to thank Steve McQueen for his time and generosity of spirit in this project and the Marian Goodman Gallery in New York for its assistance. I would like to thank Eija-Liisa Ahtila and Kirsi Reinola, Eija-Liisa Ahtila's assistant, for her openness and generosity in providing information via many e-mails and two illustrations for this article. I would also like to acknowledge the openness and generosity of the San Francisco Museum of Modern Art staff and the Bay Area Video Coalition staff, particularly Jill Sterrett, Michelle Barger, and Robert Riley, and at BAVC, Serene Fang. Finally, last but by no means least, thanks go to my colleagues, Paul Messier, Mona Jimenez, Will Real, Pip Laurenson, and Tim Vitale, for involving me in this project.

REFERENCES

Bosak, J., and T.Bray. 1999. XML and the second generation web. Scientific American280(May):89–93, also at www.sciam.com/1999/0599issue/0599bosak.html (accessed 11/14/01).

Corzo, M. A., ed.1999. Mortality/immortality? The legacy of 20th-century art. Los Angeles: Getty Conservation Institute.

Encoded archival description. 2000. At www.loc.gov/ead (accessed 11/14/01).

Fifer, S. J., T.Gould, L.Hones, D. H.Norris, P.Ramey, and K.Weiner. 1998. Playback: A preservation primer for video. San Francisco, Calif.: Bay Area Video Coalition.

Gantzert-Castrillo, E.1999. The Frankfurt Museum f�r Moderne Kunst and a private archiv: Registration systems for contemporary art. In Modern art: Who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art, ed. I.Hummelen and D.Sill�. Amsterdam: Foundation for the Conservation of Modern Art and Netherlands Institute for Cultural Heritage. 284–89.

Hummelen, I., and D.Sill�, eds.1999. Modern art: Who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art. Amsterdam: Foundation for the Conservation of Modern Art and Netherlands Institute for Cultural Heritage.

Laurenson, P.1999. The conservation and documentation of video art. In Modern art: Who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art, ed. I.Hummelen and D.Sill�. Amsterdam: Foundation for the Conservation of Modern Art and Netherlands Institute for Cultural Heritage. 263–71.

Michalski, S.1999. Conservation lessons from other types of museums and a universal database for collection preservation. In Modern art: Who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art, ed. I.Hummelen and D.Sill�. Amsterdam: Foundation for the Conservation of Modern Art and Netherlands Institute for Cultural Heritage. 290–95.

Reinola, K.2000. Personal communication. Eija-Liisa Ahtila's assistant, Helsinki, Finland.

Riley, R., M.Sturken, and C.Iles. 1999. Seeing time: Selections from the Pamela and Richard Kramlich collection of media art. San Francisco: San Francisco Museum of Modern Art.

Roosa, M.1998. Maintaining technology-based installation art. In Playback: A preservation primer for video, ed. S. J.Fifer, T.Gould, L.Hones, D. H.Norris, P.Ramey, and K.Weiner. San Francisco, Calif.: Bay Area Video Coalition. 39–47.

Sterrett, J., and C.Christopherson. 1998. Toward an institutional policy for remastering and conservation of art on videotape at the San Francisco Museum of Modern Art. In Playback: A preservation primer for video, ed. S. J.Fifer, T.Gould, L.Hones, D. H.Norris, P.Ramey, and K.Weiner. San Francisco, Calif.: Bay Area Video Coalition. 55–59.

Viola, B.1999. Permanent impermanence. In Mortality/immortality? The legacy of 20th-century art, ed. M. A.Corzo, Los Angeles: Getty Conservation Institute. 85–94.

FURTHER READING

Rewind to the future: Eija-Liisa Ahtila, Dara Birnbaum, Klaus vom Bruch, Peter Campus, Luc Courchesne, Jordan Crandall [anl. d. Ausst. Bonner Kunstverein 1. Dez. 1999–13. Feb. 2000. Neuer Berliner KV] / [Kat A. Pohlen]. 1999. Bonn: Bonner Kunstverein.

Ahtila, E. L., M.Jaakkuri, and T.Kuutti. 1998. Aavan meren t�ll� puolen = H�rom de stora haven(This side of the ocean). Helsinki: Nykytaiteen museo.

Ahtila, E. L., and A.M�kel�. 1993. Identiteetti-minuus taiteilijat, Eija-Liisa Ahtila, Helsinki [et al.]: N�yttely Nykytaiteen museossa, Ateneum 3. krs, 5.11.1993-2.1.1994(Identity-selfhood: Artists, Eija-Liisa Ahtila, Helsinki [et al.]: Exhibition at the Museum of Contemporary Art, 3d floor in the Ateneum-building, 5.11.1993–2.1.1994). Helsinki: Nykytaiteen museo.

Bay Area Video Coalition, convener. Playback 1996, session transcripts. March 30, 1996, Morning: Maintaining installation art using technology. Available at http://palimpsest.stanford.edu/byorg/bavc/pb96/tra nsc/pt4a.html (accessed 11/14/01).

Dodd, P., and I.Christie. 1996. Spellbound art and film. London: British Film Institute and Hayward Gallery.

FrederickR.Weisman Foundation. 1991. Conservation and contemporary art: Summary of a workshop, 4–5 June 1990, Richmond, Virginia. Los Angeles: Frederick R. Weisman Foundation.

Gr�l�, S., C.Pilto, and E. L.Ahtila. 1998. Nuit bl�nche sc�nes n⊘rdiques: Les ann�es 90. Paris: Mus�e d'art moderne de la ville de Paris.

Heuman, J.1995. From marble to chocolate: The conservation of modern sculpture—Tate Gallery Conference, 18–20 September 1995. London: Archetype.

Malvehy, C., I. R.Groenenboom, and A.Urlus. 1999. Registration and reinstallation of installations; Seminar 7. In Modern art: Who cares? An interdisciplinary research project and an international symposium on the conservation of modern and contemporary art, ed. I.Hummelen and D.Sill�. Amsterdam: Foundation for the Conservation of Modern Art and Netherlands Institute for Cultural Heritage. 341–48.

McQueen, S.1999. Steve McQueen. London and Z�rich: Institute of Contemporary Arts and Kunsthalle.

Messier, P.1998. Criteria for assessing digital video as a preservation medium. In Playback: A preservation primer for video, ed. S. J.Fifer, T.Gould, L.Hones, D. H.Norris, P.Ramey, and K.Weiner. San Francisco: Bay Area Video Coalition.

Pohlen, A., P.Unn�tzer, and J.Eckhardt. 1999. Rewind to the future: Eija-Liisa Ahtila, Dara Birnbaum, Klaus vom Bruch: [Ausstellung], Bonner Kunstverein, [1. Dezember 1999–13. Februar 2000]; Neuer Berliner Kunstverein, [14. Januar–20. Februar 2000]. Bonn: Bonner Kunstverein.

Ruf, B., M.Adams, E. L.Ahtila, and J.Baldessari. 1999. Kunst bei Ringier, 1995–1998: Mac Adams, Eija-Liisa Ahtila, John Baldessari. Z�rich: Ringier.

StedelijkVan Abbemuseum. 1996. ID: An international survey on the notion of identity in contemporary art. Eindhoven: Stedelijk Van Abbemuseum.

StedelijkVan Abbemuseum. 1999. Cin�ma contemporary art and the cinematic experience: Eija-Liisa Ahtila, Fiona Banner, Julie Becker, Pierre Bismuth, Christoph Draeger, Christoph Girardet, Douglas Gordon, Pierre Huyghe, Joachim Koester, Mark Lewis, Sharon Lockhart. Eindhoven and Rotterdam: Stedelijk Van Abbemuseum and NAi Publishers.

Tampereen Taidemuseo. 1990. Vuoden nuori taiteilija '90 Ruotsala, Ahtila, Kurki, Saitajoki, 17.3.–1.5.1990. Tampere: Tampereen Taidemuseo.

AUTHOR INFORMATION

MITCHELL HEARNS BISHOP has worked at the Getty Conservation Institute since 1987. Previously he worked for the Getty Research Institute and the Getty Museum, where he was hired in 1979 as a preparator. He was originally a painter and photographer but also studied ethnobotany, archaeology, and the history of Buddhism. He trained as an archival conservator while working at the Getty Research Institute in the special collections section. He is currently enrolled as a master's degree student in the Library and Information Science Program at the University of California, Los Angeles. He is one of the authors of the Matte Paint supplement to Art and Archaeology Technical Abstracts and is a specialist in conservation literature and conservation documentation. Address: Getty Conservation Institute, 1200 Getty Center Dr., Suite 700, Los Angeles, Calif. 90049.