Abstract
Conservation problems can reveal unsuspected complexities in the ontological make-up of modern and contemporary artworks. Using a problem in the conservation of one of Sol LeWitt's Wall Drawings as my starting point, I argue that Goodman's well-known and often criticized distinction between autographic and allographic art can be fruitfully used to articulate the different options in conservation dilemmas, but only if used in a non-disjunctive way and in the context of a biographical approach to the works under consideration.
Original language | English |
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Pages (from-to) | 285-302 |
Journal | British Journal of Aesthetics |
Volume | 55 |
Issue number | 3 |
DOIs | |
Publication status | Published - 1 Jan 2015 |