A White Wall, 1971 Black-and-white photographs and pencil on board, 29.5 x 39.5 inches
Solomon R. Guggenheim Museum, New York
Panza Collection, extended loan
To create A White Wall, Dibbets set his camera to a three-second exposure and shot a
photograph of a wall adorned with the number 1. Dibbets then shot nine more photographs
of the same wall. For each successive photograph, the number increased and the exposure
setting of his camera decreased in a strict mathematical progression: 2 seconds; 1 second;
1/2 second; 1/4 second, etc.). This process resulted in ten photographic prints, gradated
evenly from white to black. The photographs were glued in two rows of five onto a sheet of
matteboard, on which Dibbets drew a pencil diagram explaining the process.
The most endangered feature of this work is its reproducible medium—analog
black-and-white photography. Due to imperfections in the original printing process and
photographic paper, over three decades the photographs have discolored. The even
progression from light to dark gray has degenerated to an uneven row of white and an
uneven row of black. The original glue has seeped through the photographic prints,
contributing to the discoloration.
Preservation issues to explore include:
What are the best means for conserving the original negatives?
Where should the negatives be stored, both during the artist's lifetime
Could the appearance of the original photographs be staged and
Could the original analog negatives be migrated to a digital source,
such as CD-ROM?
When the analog negatives themselves degrade, should they be
enhanced or re-interpolated using digital tools such as Photoshop?
What techniques should be applied to restore the original matteboard
on which the photos are mounted?
[If the board is damaged, should it be replaced and the diagram
redrawn to match the original?]
If the board is damaged, should it be replaced and the diagram
What are the best means for conserving the original prints? In the
case of reprinting, what should happen to the original set of prints?
Should historical limitations in the original printing quality be
maintained in future reprintings?
Should the discolored photos be reprinted and re-glued to the
support? Whose permission would be required to do so?
Could the photographs be re-shot from a new wall?