The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum

From 1981 to 2009, Maria Lai created a series of site-specific outdoor artworks made of different materials (above all cement, then painted with acrylic colour) located in her hometown Ulassai (Sardinia), which became an open-air museum. This paper focuses on a project regarding each artwork, with...

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Main Author: Rita Salis
Format: Article
Language:English
Published: Grupo Español del IIC 2020-12-01
Series:Ge-conservación
Subjects:
Online Access:https://ge-iic.com/ojs/index.php/revista/article/view/818
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author Rita Salis
author_facet Rita Salis
author_sort Rita Salis
collection DOAJ
description From 1981 to 2009, Maria Lai created a series of site-specific outdoor artworks made of different materials (above all cement, then painted with acrylic colour) located in her hometown Ulassai (Sardinia), which became an open-air museum. This paper focuses on a project regarding each artwork, with the creation of a documentation record on their history and conservation issues. Over the years, retouching and repainting interventions were realized by the artist and local workers without any conservator-restorer being involved in the process. The paper also aims to provide a description of these interventions with a focus on three case-studies, exploring the challenges related to maintenance, particularly the ones involving retouching and repainting.
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spelling doaj.art-16f1e286480d4a4f92bcf8ea554f2b5d2023-03-07T08:34:15ZengGrupo Español del IICGe-conservación1989-85682020-12-011810.37558/gec.v18i1.818The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museumRita Salis0University of Pisa From 1981 to 2009, Maria Lai created a series of site-specific outdoor artworks made of different materials (above all cement, then painted with acrylic colour) located in her hometown Ulassai (Sardinia), which became an open-air museum. This paper focuses on a project regarding each artwork, with the creation of a documentation record on their history and conservation issues. Over the years, retouching and repainting interventions were realized by the artist and local workers without any conservator-restorer being involved in the process. The paper also aims to provide a description of these interventions with a focus on three case-studies, exploring the challenges related to maintenance, particularly the ones involving retouching and repainting. https://ge-iic.com/ojs/index.php/revista/article/view/818environmental artsite-specificacryliccolour reintegrationdocumentation
spellingShingle Rita Salis
The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum
Ge-conservación
environmental art
site-specific
acrylic
colour reintegration
documentation
title The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum
title_full The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum
title_fullStr The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum
title_full_unstemmed The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum
title_short The retouching in Maria Lai’s outdoor artworks: documenting Ulassai’s open-air museum
title_sort retouching in maria lai s outdoor artworks documenting ulassai s open air museum
topic environmental art
site-specific
acrylic
colour reintegration
documentation
url https://ge-iic.com/ojs/index.php/revista/article/view/818
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