AIC 53rd Annual Meeting

In recent years, image-based 3D reconstruction has become an important tool for documenting heritage objects. In the case of time-based media artworks (TBMA), the inherent complexities of their ephemeral and technological nature present unique challenges in their documentation. These artworks only exist in their installed state, meaning their components and configurations may change with each iteration. In this context, 3D reconstruction can complement current documentation systems and provide an innovative way to capture detailed information and process the interaction between audiovisual, sculptural, and equipment elements. 

As part of my conservation fellowship at the Smithsonian Institution, specifically within the Time-based Media and Digital Art Working Group (SI-TBMA), my research focused on the exploration and application of 3D models to document and reconstruct TBMA. The goal was to assess both the potential benefits for conservation processes and the limitations of these techniques. The research methodology involved selecting four case studies from three Smithsonian museums and proposing a workflow for the digital reconstruction of each artwork. I utilized photogrammetry and solid geometric modeling techniques to create accurate and detailed models. 

By collaborating with different museums of the Smithsonian Institution, I was able to implement 3D documentation methods across these four case studies: Electronic Superhighway: Continental U.S., Alaska, Hawaii by Nam June Paik (1995), Cloud Music by Robert Watts, David Behrman, and Bob Diamond (1974–1979) from the Smithsonian American Art Museum, Four Talks by Laurie Anderson from the Hirshhorn Museum and Sculpture Garden, and An Atlas by Es Devlin from the Cooper Hewitt Museum. Each of these artworks presents distinct challenges, from their creation and exhibition to their installation and long-term preservation, providing a diverse range of technical insights. 

Based on the analysis of these case studies, I developed a guide that compiles strategies and workflows for 3D documentation of TBMA. The guide addresses the selection of scanning tools, image-based 3D reconstructions tools, the processing of 3D models, metadata management, and key questions to adapt these techniques to different types of installations. It also includes recommendations for implementing this type of documentation in other settings and for other artworks that share complex technological features. 

3D documentation complements existing traditional methods and is especially useful in installations that integrate multiple components, both audiovisual and sculptural. It also provides a deeper technical understanding of specialized equipment and complex systems, facilitating decision-making during installation, iteration, and technological change during the artwork's life. Adding animations to the 3D models offers a visual and interactive experience that can be helpful for preserving and restoring TBMA.