Abstract

Postwar artists have been using ephemeral materials such as food, bodily fluids, and contemporary, yet constantly changing technological devices previously not intended for artistic use. What are curators and conservators to do when faced with a work that is meant to decay and deteriorate, or that has been destined to be consumed and constantly remade? At the time of her death in 1970, many of Eva Hesse's latex sculptures had already started to deteriorate, and at present many cannot be exhibited. While aware that the latex was not a stable material, she continued to incorporate it into many of her works. Questions remain as to her intent for these sculptures. Zoe Leonard's installation piece Strange Fruit (for David) (1992-97) did not begin as a deteriorating piece, but upon its completion, the artist decided that she did not wish to have it preserved, and the slow decay of the organic elements are central to the idea of the work. Situated within the artistic practices current at the time that Hesse and Leonard created these works, this thesis will present a discussion on works of art that represent both planned and unplanned impermanence, and the options available to curators and conservators when making decisions about preservation and exhibition.