{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/79427"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/79427","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art","abstract":"M.A.","abstract_html":"M.A.","abstract_has_math":false,"creators":["Nixon, Maureen"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Katz, Jonathan","Art"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-04-04T20:32:51Z","date_published":"2019-04-04T20:32:51Z","updated_at":"2026-07-27T19:05:16Z","subjects":["art criticism","art history"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/79427","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Katz, Jonathan","Art"]},{"key":"dc:creator","label":"Author","values":["Nixon, Maureen"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-04-04T20:32:51Z","2019","2019-01-18 12:40:53"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["art criticism","art history"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/79427"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["M.A.","Abstract This paper attempts to acknowledge that, beyond the decay all organic and inorganic materials are subject to, artworks have their own life and cessation of life cycle. This cycle, despite the fact that the sole practice of art conservators it is to prevent it, should be allowed to run its course. The artist intentions and the audiences understanding of reality should be treated with respect when an artwork damaged beyond repair undergoes a conservation treatment. Artworks undergo various types of damage and deterioration with varying levels of severity. There is no yard stick for the amount of alteration that deems an artwork retrievable nor is there a principle in place to expressly determine whether what the viewer is looking at is a conservators’ ingenuity and skill or an artist’s work or intentions. Through identifying various types of damage, responses to damage and the respect for an artist’s intention, this text will compare the conception, duration and cessation various artworks, including Mark Rothko’s Harvard Murals to that of the medical law. Having no precedent in the art world, a correlation will instead be drawn from outside it. This paper seeks to answer the questions: without the presence of the artist’s explicit intentions, can an artwork be allowed to die, and what precedent can be followed in order the remove the stigma of losing an artwork to time. It is hoped this text will prove that a desire to have an object we are used to having should not surpass that reality that the object of value is no longer there."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art"]}]}],"canonical_facts":{"dc:contributor":["Katz, Jonathan","Art"],"dc:creator":["Nixon, Maureen"],"dc:date":["2019-04-04T20:32:51Z","2019","2019-01-18 12:40:53"],"dc:description":["M.A.","Abstract This paper attempts to acknowledge that, beyond the decay all organic and inorganic materials are subject to, artworks have their own life and cessation of life cycle. This cycle, despite the fact that the sole practice of art conservators it is to prevent it, should be allowed to run its course. The artist intentions and the audiences understanding of reality should be treated with respect when an artwork damaged beyond repair undergoes a conservation treatment. Artworks undergo various types of damage and deterioration with varying levels of severity. There is no yard stick for the amount of alteration that deems an artwork retrievable nor is there a principle in place to expressly determine whether what the viewer is looking at is a conservators’ ingenuity and skill or an artist’s work or intentions. Through identifying various types of damage, responses to damage and the respect for an artist’s intention, this text will compare the conception, duration and cessation various artworks, including Mark Rothko’s Harvard Murals to that of the medical law. Having no precedent in the art world, a correlation will instead be drawn from outside it. This paper seeks to answer the questions: without the presence of the artist’s explicit intentions, can an artwork be allowed to die, and what precedent can be followed in order the remove the stigma of losing an artwork to time. It is hoped this text will prove that a desire to have an object we are used to having should not surpass that reality that the object of value is no longer there."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/79427"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["art criticism","art history"],"dc:title":["(DNR) Do Not Resuscitate: The Material Degradation, to the Point of Obsolescence in Modern Art"],"dc:type":["Text","Thesis"]},"updated_at":"2026-07-27T19:05:16Z"}