Research Stefanie De Winter

Abstract

The extent of the visual degradation in Color Field paintings, due to the ageing of (synthetic) materials has been largely overlooked. Since the relevance and meaning of Color Field paintings strongly depend on their specific visual effects, significant visual alterations often imply a loss of the original intentions of the artists. This project wants to thematise the ageing problem in art history and develop a new extensive reconstruction method to better conserve Color Field paintings. Three case studies selected from three categories (a. pigment-, b. medium- and c. carrier degradation) will be investigated through the following steps: (I) descriptive reconstruction, which consists of statements by the artist on the intended visual experiences and writings from the public about their experiences, based on literature and archival studies; (II) material analysis; (III) visual reconstruction: through the creation of hand-painted replicas and through a digital reconstruction with augmented reality; (IV) perception studies (eye-tracking and questionnaires) to examine the public's experience of the change in the artwork's appearance. Based on the data analyses, the degree of visual change will be determined and the digital reconstruction will be evaluated.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: De Winter Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research focusses on art containing daylight fluorescent colors, created in New York during the 60's and 70's. This topic has practically been completely neglected in the art historical literature, leaving the impact which fluorescence had on the history of art and art criticism, undetermined. My earlier historical and material-technical analyses of the use of fluorescent colors by Herb Aach and Frank Stella will be the starting point. These will be expanded and further elaborated. I will then consider New York artists who were active in the same period, such as Donald Judd, Dan Flavin, Fred Sandback and Keith Sonnier. In order to discuss the selection of works, a new language must be developed that allows adequate description of the experience and the effects caused by fluorescent colors. This language will be developed through the means of archival research, analysis of art historical literature, material-technical enquiry and henomenological investigation. At this stage, a provisory taxonomy of fluorescent phenomena in art will be at hand, which will be expanded and revised through experiments in perceptual psychology and subsequently integrated in the new language. This will enable a correct assessment of the of the considered works. On the basis of this, the place and the role of fluorescence in the oeuvre of the artists will be considered, along with a reevaluation of the art criticism of the 60's and 70's.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: De Winter Stefanie

Research team(s)

• Antwerp Cultural Heritage Sciences (ARCHES)

Project type(s)

• Research Project

Abstract

This research focusses on art containing daylight fluorescent colors, created in New York during the 60's and 70's. This topic has practically been completely neglected in the art historical literature, leaving the impact which fluorescence had on the history of art and art criticism, undetermined. My earlier historical and material-technical analyses of the use of fluorescent colors by Herb Aach and Frank Stella will be the starting point. These will be expanded and further elaborated. I will then consider New York artists who were active in the same period, such as Donald Judd, Dan Flavin, Fred Sandback and Keith Sonnier. In order to discuss the selection of works, a new language must be developed that allows adequate description of the experience and the effects caused by fluorescent colors. This language will be developed through the means of archival research, analysis of art historical literature, material-technical enquiry and phenomenological investigation. At this stage, a provisory taxonomy of fluorescent phenomena in art will be at hand, which will be expanded and revised through experiments in perceptual psychology and subsequently integrated in the new language. This will enable a correct assessment of the of the considered works. On the basis of this, the place and the role of fluorescence in the oeuvre of the artists will be considered, along with a reevaluation of the art criticism of the 60's and 70's.

Researcher(s)

• Promoter: Van der Snickt Geert
• Fellow: De Winter Stefanie

Research team(s)

Project type(s)

• Research Project