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By Chris Hillman
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Additional resources for An Outline Of The Theory Of G-Sets
Most codes of ethics specify different kinds of integrity: physical, aesthetic and historical. The first refers to the material components of the object. 25 In fine art conservation, the ethical issue of being faithful to the integrity or true nature of the object is often treated as akin to that of being faithful to the authenticity of the artwork and to the artist’s intention (Clavir 1998, 2). 26 It will come as no surprise that these two are very much tied up with each other and that they are both connected to the special status ascribed to the artist.
Although both concepts are theoretically heavily charged and have become debatable in other areas such as philosophy and musicology, in conservation theory they are still widely used. Does this imply that in this field, the concepts of artist’s intention and authenticity are applied uncritically? How did views about these terms develop in the field of conservation? How can we understand the different meanings ascribed to them? 1 For accounts on contemporary philosophical debates in literature and arts, see, for example, Dutton (2003) on authenticity and art, and Livingston (2003) and Bal (2002) on intention in art.
43 paintings since then had become a precarious subject in conservation. 15 In any case, the long history of restoration and conservation controversies demonstrates that conservation activities can be considered high-risk: they can lead to heated public debates, to devaluation of the monetary and felt value of artworks, and even to the expulsion from their profession of people held responsible for supposed mistakes. Given this perspective, it will come as no surprise that the fear of harmful rumours, controversies, scandals, loss of reputation and lawsuits discourages conservators from sharing their uncertainties or supposed errors in decision-making and treatment.