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After fifty years is 'Zen for Film' an experience, an object, a projection, or a relic? Holling examines the early history of the work, contemporaneous artworks that raised similar questions, and protocols for institutions that would borrow and exhibit examples from various public collections....Her examination raises points common to enough 20th- and 21st-century works that art historians concerned with the record as well as curators and conservators tasked with exhibiting and caring for them will have to acknowledge them. -- Artblog Hoelling's book offers a wild ride through a whodunit of sorts, as she describes in vivid detail her practical . . . efforts to exhibit and understand a single artwork for an exhibition at BGC gallery in the fall of 2015. . . . The challenge this opening-up of the object and its authorial framework implies for conservationists is immense. -- Critical Inquiry Provides rich analysis and insights. -- ARLIS/NA Reviews Revisions--Zen for Film is refreshing and thought provoking. It presents a new take on both exhibition histories and Paik studies through its close reading of a single work from many different informed perspectives, sparking unexpected associations. It skillfully brings together an art historical approach with that of a conservator and a curator, contributing a new way of thinking about conservation, preservation, and curatorial practice. --Sarah Cook, coauthor of Rethinking Curating and cofounder of CRUMB Artblog Hoelling's non-linear, circular discourse aesthetically parallels how Zen for Film engages with duration, systems, process, media and time. The book's attention to Zen for Film's afterlife seems an important addition to existing historical analysis of the artwork, as it maps out a critical territory on which complex issues of conservation and curation of both 'old' and 'new' media unfold and intersect to develop new methodologies, sensibilities and strategies. It is thus a significant contribution towards a growing body of discourse, practice and research focusing on the afterlives of 'new' media artworks, and should be read by both conservators and curators engaging with such issues in the context of museums and galleries. -- Journal of Curatorial Studies In Revisions--Zen for Film, Hanna B. Hoelling offers many original observations about modern and contemporary art. Innovative in its conception and execution, Revisions investigates a critical moment in recent art history--namely, the appearance of 'new media' and its entry into, and historicization by, the art world and academia. --Matthew Jesse Jackson, University of Chicago Artblog It is Hoelling's examination, in the catalogue, of the close mutual dependency of historical, conceptual, practical, and material concerns that begs our attention. These issues are all implicated in the installation, which challenges any notion of a monolithic identity of Zen for Film; they are unpacked in detail in the catalogue, where Hoelling is at pains to show that considerations regarding the logistics of making and mounting the work must not be separated from the project's governing formal and historical themes. -- Artforum

Hanna B. Holling is Andrew W. Mellon visiting professor in cultures of conservation at the Bard Graduate Center in New York City.

""After fifty years is 'Zen for Film' an experience, an object, a projection, or a relic? Holling examines the early history of the work, contemporaneous artworks that raised similar questions, and protocols for institutions that would borrow and exhibit examples from various public collections....Her examination raises points common to enough 20th- and 21st-century works that art historians concerned with the record as well as curators and conservators tasked with exhibiting and caring for them will have to acknowledge them.""-- ""Artblog"" ""Hölling's book offers a wild ride through a whodunit of sorts, as she describes in vivid detail her practical . . . efforts to exhibit and understand a single artwork for an exhibition at BGC gallery in the fall of 2015. . . . The challenge this opening-up of the object and its authorial framework implies for conservationists is immense.""-- ""Critical Inquiry"" ""Provides rich analysis and insights.""-- ""ARLIS/NA Reviews"" ""Revisions--Zen for Film is refreshing and thought provoking. It presents a new take on both exhibition histories and Paik studies through its close reading of a single work from many different informed perspectives, sparking unexpected associations. It skillfully brings together an art historical approach with that of a conservator and a curator, contributing a new way of thinking about conservation, preservation, and curatorial practice.""--Sarah Cook, coauthor of Rethinking Curating and cofounder of CRUMB ""In Revisions--Zen for Film, Hanna B. Hölling offers many original observations about modern and contemporary art. Innovative in its conception and execution, Revisions investigates a critical moment in recent art history--namely, the appearance of 'new media' and its entry into, and historicization by, the art world and academia.""--Matthew Jesse Jackson, University of Chicago ""Hölling's non-linear, circular discourse aesthetically parallels how Zen for Film engages with duration, systems, process, media and time. The book's attention to Zen for Film's afterlife seems an important addition to existing historical analysis of the artwork, as it maps out a critical territory on which complex issues of conservation and curation of both 'old' and 'new' media unfold and intersect to develop new methodologies, sensibilities and strategies. It is thus a significant contribution towards a growing body of discourse, practice and research focusing on the afterlives of 'new' media artworks, and should be read by both conservators and curators engaging with such issues in the context of museums and galleries.""-- ""Journal of Curatorial Studies"" ""It is Hölling's examination, in the catalogue, of the close mutual dependency of historical, conceptual, practical, and material concerns that begs our attention. These issues are all implicated in the installation, which challenges any notion of a monolithic identity of Zen for Film; they are unpacked in detail in the catalogue, where Hölling is at pains to show that considerations regarding the logistics of making and mounting the work must not be separated from the project's governing formal and historical themes.""-- ""Artforum""

After fifty years is 'Zen for Film' an experience, an object, a projection, or a relic? Holling examines the early history of the work, contemporaneous artworks that raised similar questions, and protocols for institutions that would borrow and exhibit examples from various public collections....Her examination raises points common to enough 20th- and 21st-century works that art historians concerned with the record as well as curators and conservators tasked with exhibiting and caring for them will have to acknowledge them. -- Artblog Hoelling's book offers a wild ride through a whodunit of sorts, as she describes in vivid detail her practical . . . efforts to exhibit and understand a single artwork for an exhibition at BGC gallery in the fall of 2015. . . . The challenge this opening-up of the object and its authorial framework implies for conservationists is immense. -- Critical Inquiry Provides rich analysis and insights. -- ARLIS/NA Reviews It is Hoelling's examination, in the catalogue, of the close mutual dependency of historical, conceptual, practical, and material concerns that begs our attention. These issues are all implicated in the installation, which challenges any notion of a monolithic identity of Zen for Film; they are unpacked in detail in the catalogue, where Hoelling is at pains to show that considerations regarding the logistics of making and mounting the work must not be separated from the project's governing formal and historical themes. -- Artforum In Revisions--Zen for Film, Hanna B. Hoelling offers many original observations about modern and contemporary art. Innovative in its conception and execution, Revisions investigates a critical moment in recent art history--namely, the appearance of 'new media' and its entry into, and historicization by, the art world and academia. --Matthew Jesse Jackson, University of Chicago Artblog Hoelling's non-linear, circular discourse aesthetically parallels how Zen for Film engages with duration, systems, process, media and time. The book's attention to Zen for Film's afterlife seems an important addition to existing historical analysis of the artwork, as it maps out a critical territory on which complex issues of conservation and curation of both 'old' and 'new' media unfold and intersect to develop new methodologies, sensibilities and strategies. It is thus a significant contribution towards a growing body of discourse, practice and research focusing on the afterlives of 'new' media artworks, and should be read by both conservators and curators engaging with such issues in the context of museums and galleries. -- Journal of Curatorial Studies Revisions--Zen for Film is refreshing and thought provoking. It presents a new take on both exhibition histories and Paik studies through its close reading of a single work from many different informed perspectives, sparking unexpected associations. It skillfully brings together an art historical approach with that of a conservator and a curator, contributing a new way of thinking about conservation, preservation, and curatorial practice. --Sarah Cook, coauthor of Rethinking Curating and cofounder of CRUMB Artblog

Revisions Zen for Film is refreshing and thought provoking. It presents a new take on both exhibition histories and Paik studies through its close reading of a single work from many different informed perspectives, sparking unexpected associations. It skillfully brings together an art historical approach with that of a conservator and a curator, contributing a new way of thinking about conservation, preservation, and curatorial practice. --Sarah Cook, coauthor of Rethinking Curating and cofounder of CRUMB

In Revisions Zen for Film, Hanna B.Hollingoffers many original observations about modern and contemporary art. Innovative in its conception and execution, Revisions investigates a critical moment in recent art history namely, the appearance of 'new media' and its entry into, and historicization by, the art world and academia. --Matthew Jesse Jackson, University of Chicago

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Hanna B. Holling is Andrew W. Mellon visiting professor in cultures of conservation at the Bard Graduate Center in New York City.

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