Collecting and Producing New Documentation to Support Curatorial and Conservation Decisions in Helena Almeida's Mixed-media Photography.
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| Title: | Collecting and Producing New Documentation to Support Curatorial and Conservation Decisions in Helena Almeida's Mixed-media Photography. |
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| Authors: | Roldão, Élia1 (AUTHOR), Rosalino, Ana2 (AUTHOR), França de Sá, Susana1 (AUTHOR) susana.sa@fct.unl.pt |
| Source: | Studies in Conservation. Jan2026, Vol. 71 Issue 1, p24-34. 11p. |
| Subject Terms: | Art conservation & restoration, Documentation, Art techniques, Curatorship, Artists, Mixed media (Art), Museum techniques |
| Abstract: | Helena Almeida (1934–2018) was a renowned Portuguese artist known for her mixed-media photo-artworks produced since the 1970s. The preservation of these works presents significant challenges in curatorial and conservation practices. These challenges arise from the diverse range of materials she used – such as paint, horsehair, and ink – along with the limited documentation of her artistic choices and the ongoing deterioration of the artworks. Key gaps remain in understanding the materials, production techniques, and options for display, reprinting, and mounting. To address these issues, a survey of her artworks from the 1970s was conducted, complemented by interviews with various members of the artist's network. This research, for the first time, expands critical knowledge to support future decision-making, particularly regarding H. Almeida's views on alterations to her works, her stance on the transition from analogue to digital printing (including reprinting), display preferences, and the challenges faced by museums. [ABSTRACT FROM AUTHOR] |
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| Database: | GreenFILE |
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| Abstract: | Helena Almeida (1934–2018) was a renowned Portuguese artist known for her mixed-media photo-artworks produced since the 1970s. The preservation of these works presents significant challenges in curatorial and conservation practices. These challenges arise from the diverse range of materials she used – such as paint, horsehair, and ink – along with the limited documentation of her artistic choices and the ongoing deterioration of the artworks. Key gaps remain in understanding the materials, production techniques, and options for display, reprinting, and mounting. To address these issues, a survey of her artworks from the 1970s was conducted, complemented by interviews with various members of the artist's network. This research, for the first time, expands critical knowledge to support future decision-making, particularly regarding H. Almeida's views on alterations to her works, her stance on the transition from analogue to digital printing (including reprinting), display preferences, and the challenges faced by museums. [ABSTRACT FROM AUTHOR] |
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| ISSN: | 00393630 |
| DOI: | 10.1080/00393630.2025.2472457 |
