Conservational Guideliness

As a rule, Adolf Luther’s light and mirror objects from the 1960s onwards consist of elements that the artist devised in collaboration with manufacturers chosen specially for the purpose. The mirrors and lenses have special properties as regard their colour and materials, which account for the aesthetic effect produced by Luther’s objects.

The genuineness and authenticity of an object by Adolf Luther is based not only on the material but also the manner of production, and also the combination of mirror elements, plastic cases and covers, frames, etc.

Skilled professional conservation is thus directed first and foremost to preserving the work’s physical substance. Together with preventative care and maintenance (protective measures), conservation also involves safeguarding the actual material used in the work. In this, signs of age and use (patina) are regarded as part of the original, as long as they do not impair the original artistic intention. Consequently, cleaning and polishing the original substance is given preference over renewing the parts.

In certain cases, such as where mirrors have broken or are heavily corroded, active measures ­– such as replacing the mirrors — may be necessary in order to restore the work’s artistic value or intention. This also applies to the replacement of Plexiglass cases and covers, which are integral parts of the artworks.

Luther used very different covers and cases during the various phases of his work in Light Art. Essential here is the faithful reconstruction of these elements, paying attention to their composition, their exact measurements, their materials and their interaction, as and when they are irreparably damaged.

The works’ value both in art historical as well as mercantile terms depends above all on the authenticity of the artwork being vouchsafed. Before undertaking any conservational or restoration work, we recommend that you first consult us. Apart from being able to give you the necessary advice, we also can offer the services of own workshops. Under the trained eye of an art historian and two conservators, the necessary measures  can be defined and conducted faithfully, paying full heed to the work’s materiality, its current state, and also the artistic intent behind it (justifiability within the terms of copyright).