1 Making Conservation • AICCM National Conference 2019 NEW FROM THE GETTY
Sidney Nolan Herculaneum and Historic Cities Concrete Values in Heritage The Artist’s Materials the House of the Issues in Urban Case Studies in Management Paula Dredge Bicentenary Conservation Conservation Practice Emerging Approaches The first technical study of History and Heritage Edited by Jeff Cody Edited by Catherine Croft and Research the Australian modern paint- and Francesco Siravo and Susan MacDonald Sarah Court and Leslie Rainer Directions er Sidney Nolan examines his “An essential reference on with Gail Ostergren innovative use of commercial This accessible book provides Edited by Erica Avrami, Susan this broad but less appreci- “In the still evolving con- and household paints among a striking account of the life, Macdonald, Randall Mason, ated conservation topic.” crete heritage conservation other diverse materials. destruction, rediscovery, and and David Myers —News in Conservation (IIC) field, this book assembles GETTY CONSERVATION cultural significance of the GETTY CONSERVATION an important body of work Bringing together leading INSTITUTE Roman town of Herculaneum INSTITUTE across nations.” conservation scholars and Paperback US$40.00, £30.00 and its grandest residence— Paperback US$75.00, £60.00 — Journal of the American professionals from around the House of the Bicentenary. Institute for Conservation the world, this publication GETTY CONSERVATION offers a timely look at values- INSTITUTE GETTY CONSERVATION INSTITUTE based approaches to heritage Paperback US$29.95, £25.00 Paperback US$59.95, £45.00 management. GETTY CONSERVATION INSTITUTE Online and E-Book FREE; Paperback US$50.00, £40.00
Getty Publications www.getty.edu/publications
2 A WORLD OF ART, RESEARCH, CONSERVATION, AND PHILANTHROPY © 2019 J. Paul 3Getty Trust
AICCM 2019-11.indd 1 10/21/19 1:06 PM Making Conservation • AICCM National Conference 2019
ORGANISING Copyright © Australian Institute for the Conservation of Cultural Material COMMITTEE (AICCM) Inc., 2019 Mar Cruz Helen Gill Published by the Australian Institute for the Conservation of Cultural Ma- Albertine Hamilton terials (AICCM) Inc. Lauren Keating Lisa Mansfield PO Box 239, Moonah, Hobart, Tasmania 7009 Elizabeth McCartney © AICCM Inc. and authors, 2019 Dan Schwartz Charlotte Walker This work is in copyright. In submitting abstracts for publication, authors Noni Zachri grant AICCM Inc. worldwide distribution rights for this work as it appears in this publication. Authors retain copyright of their abstracts. Apart Design from any use as permitted under the Copyright Act 1968, no part may be Mar Cruz reproduced without prior permission from the author. Mar-Cruz.com DISCLAIMER Print Readers need to be aware that this is an un-refereed publication. Respon- Bambra sibility for opinions expressed, approaches taken, methods and materials Bambra.com.au used, rest solely with contributors and should not be considered official statements of the organising committee or AICCM Inc. Contact details are provided at the end of each abstract, so please contact the respective au- thor/s directly if you wish to further explore any issues.
SUSTAINABILITY AT THE CONFERENCE Sustainability, a major theme of ‘Making Conservation’, underpins the organisation of this confer- ence. We have: ›› Asked delegates to BYO bags, pens and notebooks. Exhibition: Megafauna Central, Alice Springs ›› Designed and produced AICCM-branded lanyards made from recycled water bottles (PET), Exhibition:Exhibition: Megafauna Megafauna MuseumCentral,Exhibition: Central, and Alice Alice Art Megafauna Gallery Springs Springs of the Central, Northern AliceTerritory Springs which will be re-used at future AICCM events. Please drop your lanyard into the ‘Lanyard Re- MuseumMuseum and and Art Art Gallery GalleryMuseum of of the the Northern Northernand Art Gallery Territory Territory of the Northern Territory turn Box’ on the registration desk when you leave us on your last day. Working with Design Community, Designcase delivered the built exhibition furniture for Megafauna Central. ›› Made the name tags from recycled cardboard offcuts collected from the State Library Victoria WorkingWorking with with Design Design Community, Community,DesigncaseWorking Designcase Designcase withsupplied Design exhibition delivered delivered Community, joinery, the the showcases, built Designcasebuilt exhibition exhibition lighting, delivered graphics furniturefurniture theand for objectbuilt Megafauna exhibitionmounts. Our Central.Central. networkfurniture of fabricators, for Megafauna Central. conservation laboratory. mount markers and installers allowed us to deliver an award winning, beautiful, simple and refined exhibition where ›› The conference handbook has been sustainably printed by Bambra, an FSC and ISO14001 cer- DesigncaseDesigncase supplied supplied exhibition exhibitionDesigncase joinery, joinery, supplied showcases, showcases, exhibition lighting, lighting, joinery, graphics graphics showcases, and and object object lighting, mounts.mounts. graphics Our network and object ofof fabricators,fabricators, mounts. Our network of fabricators, tified company. Bambra use vegetable-based inks and recycle their paper offcuts and printing the Collection and Stories are front and centre. mount markers and installersmount allowed markers us toand deliver installers an award allowed winning, us to deliver beautiful, an award simple winning, and refined beautiful, exhibition simple where and refined exhibition where plates. Learn more at: bambra.com.au/news-sustainable-printing-company mount markers and installersMegafauna allowed Central us to illustrates deliver the an breadth, award variety winning, and scope beautiful, of projects simple we undertake and refined at Designcase. exhibition where thethe Collection Collection and and Stories Stories arethe are front Collection front and and centre. centre.and Stories are front and centre.
MegafaunaMegafauna Central Central illustrates illustratesAwardMegafauna the the Winner: breadth, breadth, PermanentCentral variety variety illustrates exhibition and and scope fitout scope the (Levelbreadth, of of projects projects4), Museums variety we we undertake& undertake andGalleries scope National atof Designcase.projects Awards (MAGNA) we undertake 2019 at Designcase. Design: Penny Hardy at Design Community Project info: designcommunity.com.au/portfolio/megafauna-central Photographer: Lisa Hatz Photography Graphics: Maria Mosquera AwardAward Winner: Winner: Permanent Permanent exhibition Awardexhibition Winner: fitout fitout Permanent(Level (Level 4),4), exhibitionMuseumsMuseums fitout& & GalleriesGalleries (Level NationalNational 4), Museums AwardsAwards & (MAGNA)Galleries 20192019National Awards (MAGNA) 2019 Design:Design: Penny Penny Hardy Hardy at atDesign DesignDesign: Community Community Penny Hardy at Design Project Project Community info: info: designcommunity.com.au/portfolio/megafauna-central designcommunity.com.au/portfolio/megafauna-central Project info: designcommunity.com.au/portfolio/megafauna-central Lisa Hatz Photography Lisa Hatz Photography Maria Mosquera Maria Mosquera Photographer:Photographer: Lisa Hatz PhotographyPhotographer: Graphics:Graphics:8 Tralee Maria Street Mosquera Hume CanberraGraphics: ACT 2620 +61 2 6290 4900 designcase [email protected] www.designcase.net.au
8 Tralee Street Hume Canberra8 Tralee ACT Street2620 Hume Canberra+61 2 6290 ACT 49002620 +61 2 6290 4900 8 TraleeDesigncase Street are Humeproud to Canberrabe the sole distributor ACT 2620 and manufacturer+61 of ClickNetherfield 2 6290 4900 showcases in Australia. designcasedesigncasedesigncase.info@designcase.net.audesigncase.info@designcase.net.auwww.designcase.net.au www.designcase.net.au designcase 4 [email protected] www.designcase.net.au 5
Designcase are proud to be theDesigncase sole distributor are proud and tomanufacturer be the sole distributorof ClickNetherfield and manufacturer showcases of inClickNetherfield Australia. showcases in Australia. Designcase are proud to be the sole distributor and manufacturer of ClickNetherfield showcases in Australia. Making Conservation • AICCM National Conference 2019
ABOUT THE AICCM SUPPORTER PROFILES The AICCM is the professional organisation for conservators in Australia. Our members specialise in the conservation of paintings and artworks, books, photographs, Antarctic heritage, furniture, gilded objects, digital media, textiles, glass, collection management, preventive conservation and environ- CHAPMAN & BAILEY (PREMIER SPONSOR) mental analysis. The AICCM’s membership is made up of professional conservators, conservation Chapman & Bailey produce and stock premium products for Artists, Galleries, Museums and Collec- students, cultural heritage organisations, and people who work in related professions, such as archi- tors. We are professionals in providing a complete quality service that enables visual art to be created vists, architects, curators and librarians, as well as volunteers and those with a general interest in cul- from an idea through to being installed at its full potential on a museum or collectors wall. tural heritage. The AICCM members support and work by the AICCM Code of Ethics and Code of Prac- We specialise in the products, services and expertise that make Art. Supplying you with the finest tice. These documents govern our approach to preservation, restoration and conservation treatment. artist’s grounds and supports, canvases, stretcher frames, boards, art materials, conservation artwork aiccm.org.au framing and mounting, artwork display and design, furniture and artwork installation. All delivered with utmost care to your door. We are unique in having the ability to take care of the whole process.We WITH THANKS introduced sustainable materials in Australia and are conscious of using the latest changes in technol- The organising committee would like to thank all of the authors and presenters who have contributed ogy while continuing to respect traditional processes. We exist because art gives our lives the mystery, to this conference. The committee would also like to thank the AICCM National Council, Michelle the stories, symbols and languages that inspire us to live. We exist to serve artists’ inspiration. We are a Berry (AICCM Secretariat), Zora Sanders (AICCM Web Editor), Hilary Milsome (AICCM Bookkeeper) team of artists and artisans who offer a unique level of commitment, expertise and care. We know you and Kasi Albert (Sponsorship & Grants Officer) for their invaluable support and guidance. need assistance to navigate the many hurdles in reaching and expressing the ideas you are so passion- ate to create. We are here to help you realise your vision. chapmanbailey.com.au ACKNOWLEDGEMENT OF TRADITIONAL OWNERS The AICCM respectfully acknowledges the Traditional Owners of the land on which we meet, the ARCHIVAL SURVIVAL (TRADE TABLE, STUDENT SPONSOR) Boon Wurrung and Woi Wurrung (Wurundjeri) peoples of the Kulin Nation, and pays respect to their Archival Survival has been providing quality archival storage products to museums, archives, galler- Elders past, present and emerging, and to all Aboriginal and Torres Strait Islander people. ies and conservators for over 14 years. We are always happy to discuss collection storage requirements and can supply a large range of preservation materials with budget, space and access constraints in SPONSORSHIP mind. Our materials are sourced in large volumes, allowing us to keep prices as low as possible. We The AICCM would like to acknowledge and thank the following conference sponsors for their contri- are an Australian-owned company, with over 90% of our range being made or sourced in Austra- butions and continuing support. lia. The standard catalogue range covers most requirements for collection preservation, while our Made-to-Order service provides customised solutions to suit specific items. For more details visit our website www.archivalsurvival.com.au, email [email protected] or phone 1300 78 11 99.
BAMBRA Bambra exists to help make you, our clients, look brilliant. To your boss. To your customers. To yourself in the mirror. Leave it up to our team as they apply the four quadrants of their craft: Quality, Environment, Technology and Relationships. With these values combined, we produce more. We bring your brand to life through bold, innovative and sustainable print communication. So you can continue to follow the crowd, or you can let our offset, digital, letterpress and large-format presses take care of your brand. bambra.com.au
CM S DESIGNCASE (STUDENT SPONSOR) designcase is a Canberra based fit-out company that specialises in the design, fabrication and installa- tion of high quality museum, gallery and exhibition projects. designcase is the sole Australian fabri- cator and distributor of ClickNetherfield museum grade showcases, including Spectrum, Vista, Prism, Opal, Vision and Fresco showcases, all made locally to order in Canberra. Visit designcase.net.au for more details.
GETTY PUBLICATIONS
Grey PMS 432c Getty Publications produces award-winning titles that result from or complement the work of the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute. This wide variety of books covers the fields of art, photography, archaeology, architecture, conservation, and the humanities for both the general public and specialists. In 2014, Getty Publications launched its Virtu- al Library with more than 250 titles spanning its forty-year publishing history. getty.edu/publications
6 7 Making Conservation • AICCM National Conference 2019
THE GRIMWADE CENTRE FOR CULTURAL MATERIALS CONSERVATION PRESIDENT’S WELCOME The Grimwade Centre for Cultural Materials Conservation develops the Asia-Pacific regional capacity 10 WELCOME TO COUNTRY to conserve our continuing cultural record and is a proud sponsor of this session with the support of our School of Historical and Philosophical Studies in the Faculty of Arts. We combine the theory and CONFERENCE ORGANISING practice of cultural materials conservation and deliver conservation education, research, community COMMITTEE’S WELCOME and commercial programs of national and international reach and relevance. Our approach is led by academics and industry practitioners with access to interdisciplinary expertise across the Faculty of GENERAL CONFERENCE Arts, Fine Arts and Music, Business and Economics through to Law, Engineering and Science, and 12 INFORMATION our vast cultural collections on campus. arts.unimelb.edu.au/grimwade-centre-for-cultural-materi- als-conservation PARKING & DIRECTIONS TO 13 THE CONFERENCE VENUE NICK HARKNESS – COLOUR MADE SIMPLE (SESSION SPONSOR) An online training seminar, Colour Made Simple is a holistic and practical approach to colour theory CONFERENCE designed to teach the fundamentals of visual colour assessment and instrumental colour measure- 14 SCHEDULE ment. Colour Made Simple is based on the seminar that Nick Harkness has been presenting for over 20 years to well over 1,000 attendees from a broad range of industries and research institutions in- KEYNOTE cluding Conservation. Nick is a technical colour consultant who is an expert in colour, quality and 18 SPEAKERS appearance testing for the design and manufacturing industries. Colour Made Simple has been de- signed in collaboration with the School of Design, University of Leeds. Colour Made Simple rep- MAKING CONSERVATION CONNECTED resents a fast track into the world of colour measurement for a wide range of applications and is also Abstracts for Wednesday, 13 November great for university students seeking to deepen their knowledge on this subject. Colour Made Simple 22 is currently offering 50% discount for Masters and PhD students. Find out more at:nhplcolour.com/ colour-made-simple MAKING CONSERVATION SUSTAINABLE 36 Abstracts for Thursday, 14 November POD SERVICES (SESSION SPONSOR) POD supply object storage, display and crating solutions to museums and art galleries nationwide. MAKING CONSERVATION INNOVATIVE The care of collections underpins all our decision making, and our services are always informed by 47 Abstracts for Friday, 15 November the ethical guidelines and principles outlined by our friends at the AICCM and the broader conser- vation community. POD is also the supplier of Frank Museum Showcases: a German engineered CONFERENCE demountable showcase system that offers a unique and cost effective approach to museum grade 60 POSTERS collections display. Please contact us to learn more. podservices.com.au
QUEST SOUTHBANK SEE THE SIGHTS Information on Melbourne Street Art and Koorie
Quest Southbank serviced apartment style hotel rooms offer guests a relaxed and comfortable Mel- CONTENTS 72 bourne CBD accommodation experience perfect for short or long stays. Quest Southbank is located Heritage Trust Scar Tree tours moments from Southbank Promenade, and minutes from The Arts Centre & Hamer Concert Hall, Melbourne Convention Centre, Crown Entertainment complex, Melbourne’s CBD and Melbourne EAT, DRINK, BE MERRY Park & MCG Sports Venues. Ideal for families, colleagues or larger groups looking for a home away 74 Places to have a bite or drink near the Conference venue from home experience. At Quest Southbank, everything Melbourne has to offer is at your doorstep. questsouthbank.com.au GETTING TO THE 76 CONFERENCE DINNER TRU VUE (SESSION SPONSOR) Tru Vue works closely with the framing, museum, and design communities to engineer specialty TAKE IN A BIT OF CULTURE acrylic and glass solutions known for their uncompromising protection and for creating a better vi- 77 Information on ongoing exhibitions near sual experience. Tru Vue® Optium Museum Acrylic® and UltraVue® Laminated Glass are trusted to the Conference venue protect and display fine art and cultural heritage around the globe. Our acrylic and glass products are available for purchase through our worldwide network of authorized distributors. Visit tru-vue.com/ museums for more information.
8 9 Making Conservation • AICCM National Conference 2019
PRESIDENT’S WELCOME WELCOME TO COUNTRY
It is with great pleasure Woody (Jilamara Arts and Crafts, Milikapiti) and Womin djeka mar-ran biik biik, Boon Wurrung taught the Boon Wurrung to always welcome that I welcome you to the Vivian Warlapinni (Tiwi Design, Nguiu). Nairm derp bordupren uther weelam. guests, but he always required the Boon Wur- 2019 AICCM National Thank you of course to the conference com- As a descendant of Melbourne’s First People rung to ask all visitors to make two promises: Conference in the Pavil- mittee, formed by the AICCM Victorian State Di- – of the Yaluk-ut Weelam of the Boonwurrung of to obey the laws of Bundjil – not to harm the ion at the Arts Centre, vision, who have worked tirelessly – we owe them the Eastern Kulin nation – welcome to my Coun- children or the lands and waters of Bundjil. This Melbourne. The confer- much gratitude for the organisation of the event. try, the land of the great bay of the Boon Wur- commitment was made through the exchange ence theme Making Con- Committee members include Victoria Division rung people, our beautiful home – Birrarang-ga, of a small bough, dipped in the water. Once this servation encompasses broad concepts within the President Elizabeth McCartney, Albertine Ham- Melbourne’s river country, the lands of the two is completed, you will have safe travels through profession. The event is composed of three days ilton, Charlotte Walker, Daniel Schwartz, Helen great bays. Boon Wurrung Country. of papers including a Conservation Skills Summit Gill, Lauren Keating, Lisa Mansfield, Mar Cruz According to our tradition, our land has al- panel discussion and a variety of lightning talks. and Noni Zachri. I would also like to thank Mi- ways been protected by our creator Bundjil, who Womin djeka Each day, one of the three keynote speakers, Brett chelle Berry, Secretariat, Didee Knight, Event and travels as an eagle and by Waang, who protects Leavy, MaryJo Lelyveld and Dr Matthew Butler, SIG Co-ordinator, and Kasi Albert, Sponsorship & the waterways and travels as a crow. Bundjil Parbin-Ata Carolyn Briggs AM will each introduce a theme; making conserva- Grants Officer, for their hard work. tion connected, making conservation sustain- Finally, I would like to thank our sponsors for able, and making conservation innovative. their contributions and donations. Special thank Traversing conservation disciplines, the you to our Premier Sponsor Chapman and Bailey CONFERENCE ORGANISING COMMITTEE’S WELCOME National Conference brings together members, for all their support. Thank you to student regis- allied professionals, students and emerging con- tration sponsors Archival Survival and Design- servators, to meet, discuss ideas and projects, and case, to our session sponsors, Tru Vue, POD and The organising committee would like to welcome be encouraged to think about how we can take learn from each other. During the conference Nick Harkness ‘Colour Made Simple.’ Please take you to the AICCM 2019 National Conference. At this information and these new understandings there will also be time for social and profession- the opportunity to visit the Archival Survival ‘Making Conservation’ we invite you to consider forward with us as we continue to develop our al interaction in a relaxed and pleasant setting; trade table. And finally, thank you for your sup- how we make our profession. Broadly divided profession. Welcome drinks on Wednesday in the Arts Cen- port Getty Publications, Quest Southbank, The into three themes – making conservation con- The AICCM National Conference provides tre foyer, the conference dinner at Charcoal Lane Grimwade Centre for Cultural Materials Conser- nected, sustainable and innovative – this confer- a unique opportunity to gather as a profes- on Thursday, and afternoon tea on Wednesday vation and Bambra. ence aims to discuss what excites you and what sion, across specialisations and with allied col- for Professional Members. We look forward to The conference is being bookended by the challenges you. What treatments are inspiring leagues, to share and discuss knowledge and announcing the recipients of the AICCM Awards AICCM Foresight Workshop where AICCM mem- you? What new project have you developed? ideas. It has been a pleasure and a privilege to and the ADFAS Mid-Career Scholarships at the bers and key stakeholders are discussing the fu- What plans do you have for the future? Where see how our community responded to the theme Welcome drinks. A Melbourne Street Art Tour ture of conservation in Australia. Questions be- should conservation be heading, both locally and and we would like to thank everyone who sub- and the Koorie Heritage Trust Scar Tree Walk ing addressed include, what are key trends that globally, and how are we going to get there? How mitted papers. have been arranged as optional tours for Satur- will impact on our capacity as cultural profes- are we making conservation now and how can We hope you enjoy ‘Making Conservation’ day morning. sionals to preserve cultural heritage and collec- the way we make conservation shape the future? as much as we have enjoyed bringing it together, I would like to welcome our delegates, espe- tions? What role do you see material conservators The current changing social, political and and that you leave at the end of the week feeling cially those who have travelled internationally to playing in supporting stewardship of collections? economic landscape provides a perfect oppor- inspired. attend. A special welcome to our interstate and What kinds of infrastructures, projects and strat- tunity to reflect on our own profession and to regional guests, particularly graduates of the egies are most critical to implement in the near ask ourselves what we want conservation to The AICCM 2019 National Conference Organising Arnhem, Northern and Kimberley Artists Aborig- term and build in the long-term future? We ex- be and to become. Our three keynote speak- Committee inal Corporation (ANKA) Art Workers Extension pect the range of papers in the conference to in- ers – Brett Leavy, MaryJo Lelyveld and Dr Mat- #makingconservation Program (AWEP) who will speak about conserva- form some of these key questions and contribute thew Butler – bring a wealth of knowledge and tion in their art centres. From Western Austra- to the discussion. experience to this task and will challenge us to lia we have Gabriel Nodea (Warmun Art Centre, Thank you to all the delegates for attending think broadly about these questions. Through- Warmun), Dora Griffiths (Waringarri Aboriginal and we hope that you enjoy the conference. out the conference, we will be invited to look at Arts, Kununurra) and Lynley Nargoodah (Mang- how conservation is influenced by and engages kaja Arts Resource Centre, Fitzroy Crossing). And Jennifer O’Connell with the broader cultural heritage field and con- from the Tiwi Islands in the NT we have Michelle AICCM National President nected knowledge beyond this sphere. We will
10 11 • Making Conservation AICCM National Conference 2019 TO FLINDERS YARRA RIVER ST STATION HAMER GENERAL CONFERENCE INFORMATION SOUTHGATE AVEHALL ALEXANDRA SOUTHBANK GARDENS
REGISTRATION DESK Located outside the Pavilion Theatre, the registration desk will be open from 8:30am to 9am each day. ALEXANDRA AVE NAME TAGS & LANYARDS
Note that delegates will be given a name tag at registration. We ask that delegates wear their name TRAM STOP tag at all times. This name tag is also the official entry pass to morning and afternoon teas, lunches, and the Welcome Reception. In keeping with our sustainability initiatives for this conference, we will be asking for the lanyards back after your last day. CONFERENCE
VENUE ST KILDA RD CITY ROAD QUEEN VICTORIA CATERING ST KILDA RD LEVEL 8 Morning tea, lunch and afternoon tea are included in your conference registration. For more dining GARDENS
options in the area, see the map on page 74. STURT ST
FANNING ST P NATIONAL WELCOME RECEPTION GALLERY OF Attendance at the Welcome Reception is included in the Full Conference Registration, and Wednes- FAWKNER ST VICTORIA day Day Registration. Welcome drinks will be held in the Foyer outside the Pavilion Theatre from KAVANAGH ST 5:30pm to 7:30pm on Wednesday 13th November. PARKING & DIRECTIONS TO THE CONFERENCE VENUE SMOKING POLICY Arts Centre Melbourne buildings are designated as public buildings and as such are required by legis- lation to be smoke free. In addition, smoking is banned within four metres of all entrances. Entry to the Arts Centre Melbourne car park is located on the corner of Sturt and Kavanagh Streets, TOURS Southbank and is easily accessed from St Kilda Road / Southbank Boulevard and Alexandra Avenue See page 72-73, the Conference Website or Registration Desk for details. / City Road.
WI-FI Located beneath the National Gallery of Victoria, there is undercover lift and stair access to the gal- Delegates can also use the Arts Centre Melbourne’s Complimentary Wi-Fi: lery during gallery business hours. Wheelchair access is available on all levels of the car park. Username: Arts Centre Melbourne Presenters Password: chookas! DIRECTIONS FROM THE ARTS CENTRE MELBOURNE CAR PARK Proceed from the car park to Arts Centre Melbourne via the payment office. As you enter Arts Centre ONLINE CONFERENCE PORTAL Melbourne you will arrive in the Smorgon Family Plaza. Please make your way to the elevators (locat- Digital versions of the abstracts in this handbook, as well as some additional information, can be found on our online Conference Portal at: bit.ly/2WxdcPV ed on the opposite side to the Box Office) and head to Level 8 and follow the signage to The Pavilion. Note: A gmail account will be required for access DIRECTIONS FROM FLINDERS STREET STATION / CITY EMERGENCY ASSISTANCE Walk over Princes Bridge along St Kilda Rd towards Arts Centre Melbourne. When you arrive at the Dial 000 for fire, ambulance and police emergency assistance. Dial 131 444 to report non-urgent main entrance on St Kilda Road you will be on Level 6, please take the stairs or elevators up to Level 8 crimes and events. and follow the signage to The Pavilion.
OTHER ARTS CENTRE MELBOURNE FACILITIES PARKING RATES Early Bird - $17 | Monday to Friday - Enter by 10am and exit by 6.30pm* Day - $35 | Monday to Friday - Enter after 10am and exit by 7pm Evening - $26 | Monday to Saturday - Enter after 4pm and exit by 6am the next day* AUSTRALIAN MUSIC VAULT INCORPORATING THE ARIA HALL OF FAME - $21 Visit this free exhibition on the ground floor of the Arts Centre Melbourne, open 9am till late. Weekend & Public Holidays Saturday - Enter before 4pm and exit by 8pm* TIX AT 6 Sunday & Public Holidays - Exit by 4am the next day* Visit the Arts Centre Melbourne Theatres Building Box Office on Level 5 from 6pm to purchase last-minute $30/tickets to a show that evening. Pay on arrival available *Overstay charges apply at the rate of $6 per hour up to a daily maximum of $55
12 13 Making Conservation • AICCM National Conference 2019 MAKING CONSERVATION CONNECTED MAKING CONSERVATION SUSTAINABLE WEDNESDAY | 13 NOVEMBER THURSDAY | 14 NOVEMBER
8:30 - 8:55 Registration 8:30-8:55 Registration 9:00 Welcome Welcome to Country Representative from the Boon 9:00 Welcome Wurrung Foundation 9:05 Keynote Address Sustainability principles for conservation: MaryJo Lelyveld 9:10 Welcome to the Conference Jenny O’Connell Mitigation, adaptation and resilience
9:20 Keynote Address Virtual Songlines: New technologies for an Brett Leavy ancient culture 9:45 SESSION 1 Conservation and climate change: Meaningful Rosie Cook The Science of engagement in the face of Inevitable Near-Term 10:00 SESSION 1 Connecting community and conservation Erina McCann & Sustainability Social Collapse Connecting Jade Hadfield Alternative biocides for fluid preserved Rehan Scharenguival Communities specimens in glycerol Composting as a sustainable preparation method Sheldon Teare 10:30 MORNING TEA 10:30 MORNING TEA Mentor Speed Dating hosted by the Emerging Organisers: 11:00 SESSION 2 Conservation in my art centre Session Organisers: Conservators SIG Emily Vearing & Lisa Mansfield Art Centres and Marcelle Scott & Robyn Sloggett Conservation Panellists: Dora Griffiths, Lynley Nar- 11:00 SESSION 2 Cleaning painted surfaces with green chemicals: Jessica Walsh goodah, Gabriel Nodea, Vivian Environmental Investigating the sustainable removal of natural Warlapinni & Michelle Woody Sustainability and synthetic resin varnishes from oil-based Preventive conservation in the storage of Lily Bennion, Dora Griffiths & painted surfaces deceased estates at Aboriginal Art Centres Gabriel Nodea Implementing the Bizot Green Protocol for loans Amanda Pagliarino & Carolyn Murphy 12:30 LUNCH Students for sustainable actions in cultural Session Organisers: materials conservation Ainslee Meredith & Nicole Tse 13:30 SESSION 3 Building digital connections: New paradigms Gerald Preiss Panellists: Connecting for sustaining and connecting cultural heritage? Heather Berry, John Morrison/ Across Borders ‘Political’ conservation: Showcasing practice Sabine Cotte & Lily Bennion and lobbying government in Shekhawati, India jackjohn & Jessica Doyle Conserving built heritage and community: Walter Chan A comparative study on the conservation of shophouses in Hong Kong, Penang and 12:35 LUNCH Singapore Connecting with spirit at the home of heritage: Mitch Cleghorn & 13:30 SESSION 3 Making conservation policy in Australia: Ainslee Meredith A case study in building conservation training Grace Barrand Growing the Contexts and gaps in Burra, SA Conservation Sustainable conservation: A pilot program Marcelle Scott Profession for regional New South Wales emerging 15:00 AFTERNOON TEA AICCM Professional Members afternoon tea Organiser: Sandi Mitchell conservators, AICCM and Bathurst Regional Council 15:30 SESSION 4 Caring for collections is easy when you know Kelly Leahey Communicating how: Making a conservation video series for ReStoring storage collections: The SC@M RE-ORG Daniel Schwartz Conservation online access initiative Conservation, collaboration and contractors: Nicole O’Dowd Beyond materials teaching: A professional Jane Henderson Creating an online combined heritage training approach to collection care and work, health and safety induction The artist is (often) present: Collaboration and Kasi Albert 15:05 AFTERNOON TEA conservation in a contemporary art context Catching falling rust: Growing rusticles on Nick Flood 15:30 SESSION 4 Conservation Skills Summit Session Organisers: display Conservation Alice Cannon & Jenny O’Connell Kylie on Stage: Sharing and preserving the legacy Carmela Lonetti of an Australian icon Skills Summit Panellists: Flicking the switch: Developing a methodology Suzie Shaw Grace Barrand, Julian Bickersteth, for activating lighting in a heritage collection Elizabeth McCartney, Gerald Preiss, Conservation decision making and materiality Nicole Tse Daniel Schwartz, Marcelle Scott, in tropical climates: New pedagogies and David Stein, Chris Stevenson & connectivity Alison Wain
17:10 Special Presentation Blue Shield and the AICCM Detlev Lueth 17:00 Closing Remarks 17:15 Closing Remarks 19:00 Conference Dinner 17:30-19:30 Welcome Reception
14 15 Making Conservation • AICCM National Conference 2019 MAKING CONSERVATION INNOVATIVE MAKING CONSERVATION POSTERS FRIDAY | 15 NOVEMBER
8:30-8:55 Registration MAKING Conservation tips, tricks, and favourite tools: Wendi Powell & Jennifer Todd 9:00 Welcome CONSERVATION The things you never knew you couldn’t live 9:05 Keynote Address Inclusive gallery access and practice for blind and low Matthew Butler without CONNECTED vision visitors Premier Sponsor Chapman & Bailey Mark Chapman presentation MAKING Green and clean? Investigating bio-solvents as Thea Christophersen, James Hales, 9:55 SESSION 1 Time-based media conservation in the spotlight: Candice Cranmer CONSERVATION eco-friendly, less toxic substitutes for white spirit Lore Troalen, Edith Sandström, Jane in wax removal on metals Clark & Charles Stable Talking Tech ACMI’s Media Preservation Lab SUSTAINABLE Investigating the reproducibility of the Pleco Jacinta Sanders electrolytic pencil as a conservation tool Sustainable consumption in conservation Emily Keppel training: An ICCROM case study 10:15 MORNING TEA & TRADE FAIR Plastics condition survey at Museums Victoria: Karina Palmer, Rosemary Goodall, Alice Methodology and preliminary results Cannon, Elizabeth McCartney, Ellen 11:00 SESSION 2 Adventures in nanotechnology: A textile perspective Staphany Cheng Burrows & Julianne Bell Innovations Near infrared (NIR) spectroscopy: Could this be the fast Elizabeth Ann Carter in Analysis and the furious analytical method for cellulose nitrate identification? MAKING Watching the trenches: Visitor motion detection Jacqueline Jordon & Alana Treasure Made in Melbourne: The development of MS3, a new- Deborah Lau & CONSERVATION on the Australan War Memorial dioramas generation reduced ketone varnish resin Carl Villis INNOVATIVE Non-invasive neutron imaging for the structural Sue Gatenby & Unblocking the Max Dupain negatives Lang Ngo characterisation of ancient Japanese katana swords Floriana Salvemini
12:35 LUNCH
13:30 AICCM AGM
14:30 SESSION 3 AICCM Sustainable Collections wiki: Reflections on MaryJo Lelyveld Advances in developing an open-ended learning community Preservation Chasing the taxidermist’s tail: Early results in using Celia Cramer spectroscopic analytical techniques to reconnect natural history specimens with their histories Identification and subsequent control and housing Rosemary Goodall strategies for the pharmaceutical collections, Museums Victoria Can lightning strike twice? The reassembly of the Sarah Babister & Karnak fulgurite at Museums Victoria Danielle Measday
15:05 AFTERNOON TEA
15:30 SESSION 4 The Online Heritage Resource Manager: A polymer Julianne Bell Innovations in database for the museum industry Research and Focusing on plastics in archives: History, degradation, Cancy Chu Treatment and research Measuring and mitigating mercury gases in the Rosemary Goodall & Museums Victoria collection Danielle Measday 3D-printing printing in art: Material susceptibility and Evan Tindal strategies for long-term preservation
17:00 Closing Remarks
Keynote Paper Lightning Talk Panel Discussion Video Presentation
16 17 Making Conservation • AICCM National Conference 2019
VIRTUAL SONGLINES: NEW TECHNOLOGIES FOR AN ANCIENT CULTURE
PRESENTER wells and to reconstruct the irrigation systems Brett Leavy that supported the growing and harvesting of surplus seed — seed we stored when harsher AFFILIATIONS times came. Bilbie Virtual Labs Virtual Songlines seeks to respectfully show the land as it appeared and existed since time My Grandfather, a Kooma Elder from Western immemorial. To digitally represent the evidence Queensland, taught me about the darkness be- that showed we weren’t simply nomadic or op- tween the stars that speaks to us about the cy- portunistic hunters and gatherers. Our driving cles of the land. In this darkness, one sees the purpose is to reconstruct a time and place of the Goulburri (emu) watching over his brood in our arrival of the first settlers and show how we tried traditional country. The Goulburri arrives in the to draw them into our way of land management. night sky at the same time every year and moves We want to explain our laws and traditions, through the sky to signal us when to hunt and which were originally ignored. We, as tradi- when to gather the eggs he protects. tional custodians, were driven from our lands When the First Fleet sailed into Sydney Cove through fierce and bloody conflicts and we were back in 1788, they embarked and claimed our forced to succumb to the new ways and suffer lands as theirs. Not coming to marvel at a new introduced foreign diseases. and ancient civilisation, or to respect the lon- We were once masters of our domain. As so, gest continuous surviving cultures in the world. Virtual Songlines seeks to use new visual and They came to conquer and replace ours with immersive hardware and software to represent theirs. To clear the land, grow their crops, make and show this historical and present truth and their farms, raise their herds, build their houses, to represent that this land is, and always will be, make their towns and establish their religions, Aboriginal Land. laws and a new order. The First Fleet failed to see or recognise our Brett Leavy is a old and existent social, political and civil order descendant of the — our tried and proven system that predated Kooma people of south them. A system that was the lore of the land west Queensland. He since the Dreamtime — long before any other has dedicated his life civilisation in the world had evolved. The new to finding ways to settlers explored our ancient lands, they made express his culture, records, kept diaries, drew and painted it, and history and heritage it is these records that inspire Virtual Songlines using new media in our quest to digitally reconstruct our cultural technologies to immerse people into the stories and heritage at the time before the First Settlers. We knowledge of First Nations people across Austra- do this to immerse and educate the next gener- lia. Over many decades, Brett has been researching ation and get them to walk in our footsteps and better ways to “make his virtual heritage of time interact with our culture as it was at the time of machine” and depict the culture and heritage and colonisation. connection of First Nations people with the land. Virtual Songlines seeks to authentically He adapts knowledge from Traditional Owners, represent each Aboriginal clan who worked to- anthropologists, archaeologists, botanists and his- gether, farming and caring for the country. We torians and gamifies this to create immersive and seek to reconstruct the significant places where interactive 3D landscapes. Through his Masters in people made our permanent homes. We strive Aboriginal Knowledge Management using 3D, he to show where we carefully made our dams and explored cutting edge methods for presenting arts,
18 19 Making Conservation • AICCM National Conference 2019 objects, culture, heritage and sites of significance itage environments that represent pre-colonisation INCLUSIVE GALLERY ACCESS AND PRACTICE FOR BLIND AND LOW using geospatial virtual systems and succeeded, landforms and embed Aboriginal language, arte- VISION VISITORS with the aid of computer technology, to merge tra- facts, community, trade and much more. ditional knowledge into interactive 3D virtual her- [email protected] PRESENTER Matthew Butler is a Matthew Butler researcher and Asso- ciate Dean (Learning SUSTAINABILITY PRINCIPLES FOR CONSERVATION: MITIGATION, AFFILIATIONS and Teaching) within ADAPTATION AND RESILIENCE Monash University the Faculty of Infor- preservation of our collections and shared cul- mation Technology at PRESENTER tural heritage. It will address three key ques- There is widespread recognition of the need to Monash University. MaryJo Lelyveld tions: provide people who are blind or have low vision His research focuses ›› What can conservators do to mitigate the (BLV) with equitable access to cultural institu- on emerging technol- AFFILIATIONS impact of our effects on the environment? tions such as art galleries. This keynote will ex- ogies such as 3D printing and low-cost electronics AICCM Sustainable Collections Committee Con- ›› How can we modify existing practices to plore the topic through presentation of a collab- to produce accessible materials for the blind and venor respond to projected change? oration with a regional art gallery who wished low vision community. His current projects include National Gallery of Victoria ›› How can we better equip the industry to to open their collection to BLV people within the use of 3D printing for the provision of accessible deal with social, technological, economic the local community. Two key aspects will be graphical content for education and orientation & Concurrent trends of environmental crises, in- and environmental change in the decades discussed. Firstly, the outcomes of a value sen- mobility, as well as investigating how 3D printing creasing reliance on digital technologies and to come? sitive design exploration of the values and value can be used to create more inclusive experiences in economic uncertainty continue to evoke anxi- conflicts of project stakeholders will be present- art galleries. ety, confusion and questions about the impact MaryJo Lelyveld is ed, as it explores the tensions that can exist be- [email protected] of our practice and long-term viability of our Coordinating Conser- tween the values of the different stakeholders. collections that the profession has yet to ade- vator at the National For example, how can the importance of inclu- quately identify and address. And yet from the Gallery of Victoria, sive access be reconciled against stewardship of success of projects such as the adoption of the where she previously cultural materials? Secondly, the presentation AICCM Environmental Guidelines and case worked as Conser- will introduce a technology-based model of in- studies presented in the AICCM Sustainable vator of Frames and clusive gallery practice that provides different Collections wiki project, there is a clear indica- Furniture. She served ways of accessing the gallery, depending upon tion that sustainability is a goal for Australian as AICCM President visual acuity and mobility. This includes vir- conservators. (2013-2017) and is now chair of the AICCM Sustain- tual and self-guided tours, as well as the use of This paper will expand upon the World able Collections Committee. In these roles MaryJo emerging technologies such as 3D printing for Commission on Environment and Development has worked tirelessly to raise the profile of conser- presenting engaging, accessible versions of art- definition of Sustainability and its inter-sys- vation, to make connections between conservators works. temic interest in what has now become known and with colleagues in allied professions, to engage as the three pillars of sustainability: economy, with current and emerging issues for the conserva- society and environment or profit, people and tion profession, and to look forward and plan for the planet, and consider what these interdependen- future to make the AICCM a more sustainable and cies mean over time. relevant organisation. MaryJo holds a Bachelor of Using the four future archetypes of: Contin- Applied Sciences and a Master of Strategic Fore- uation, Transformation, Limits and Discipline sight. and Collapse, this paper will then identify and [email protected] discuss the need for mitigation, adaptation and resilience strategies to ensure the long-term
20 21 Making Conservation • AICCM National Conference 2019
CONNECTING COMMUNITY AND CONSERVATION
PRESENTERS Jade Hadfield has a Bachelor of Arts in Art History Erina McCann1 & Jade Hadfield2 from Victoria University (Wellington) and a Master of Cultural Materials Conservation from the Univer- AFFILIATIONS sity of Melbourne. She has worked in the cultural 1 Tiaki Objects Conservation sector for over 10 years, and is now at MV working 2 Museums Victoria on the Te Pasifika Gallery Redevelopment Proj- ect. The Pacific Cultures Collection at Museums Victoria (MV) is an extensive collection com- Erina McCann is a conservator in private prac- prising between 20,000–23,000 artefacts and tice, with over 13 years experience working in the over 8,000 images from Melanesia, Polynesia heritage sector. She has a Bachelor of Arts (Hons.) and Micronesia. Access to these collections by in Anthropology and Maori Material Culture from members of a growing and evolving, linguisti- The University of Auckland and a Master of Cultur- cally and culturally diverse Pacific community, al Materials Conservation from the University of is integral to cultural maintenance and commu- Melbourne. nity wellbeing. The fluidity of culture means the [email protected] way in which community accesses and engages with their cultural heritage adapts and changes to suit the needs of its people; for some it is a rediscovery of collection material. More impor- tantly, the value of what is not seen is constantly present, as stories, knowledge, traditions, per- spectives, and custom continues to transcend generations, in new contexts. The development of a framework for un- derstanding, which seeks to increase awareness about culture, is occurring during the redevel- opment of Te Pasifika Gallery at MV, evolving through community collaboration and con- sultation. Through engagement and two-way sharing with cultural knowledge holders and community representatives from throughout the Pacific, this framework is being developed as guiding principles and protocols to assist with caring for MV’s Pacific collections. This collab- orative document addresses important aspects of collection management, conservation, and collections care, while providing a platform for collective Pacific voices. Aligning with current policy and expanding on principles in MV’s current procedures and policy, a new frame- work will weave together Pacific perspectives, embracing cultural values, with a focus on the development of practical operational and phil- osophical guidelines relevant to a current and fluid Pacific culture.
22 23 Making Conservation • AICCM National Conference 2019
CONSERVATION IN MY ART CENTRE Robyn Sloggett is the Cripps Foundation Chair in Vivian Warlapinni is a senior arts worker at Tiwi Cultural Materials Conservation and Director of Design, Wurrumiyanga, Bathurst Island. PANELLISTS include time for questions from the audience, the Grimwade Centre, University of Melbourne. Her Dora Griffiths1,2, Lynley Nargoodah1,3 , Gabriel No- and discussion. research interests include attribution and authenti- Michelle Woody is an artist, gallery assistant and dea1,4, Vivian Warlapinni1,5 & Michelle Woody1,6 cation of Australian paintings, the investigation of Art Centre Chairperson at Jilamara Arts, Milika- Following this session Gabriel Nodea and Dora the materials and techniques of artists, and the pres- piti, Melville Island. She is also a board member of CO-AUTHORS Griffiths will join Lily Bennion to examine the ervation of cultural materials held in Australian In- ANKA. Rhoda Hammer1,7, Augustina Kennedy1,8, DJ issues that relate to looking after deceased art- digenous communities. Marika1,9 & Ruth Nalmakara1,10 ists’ estates focusing on Waringarri Aboriginal [email protected] Artists and Warmun Art Centre. SESSION ORGANISERS Marcelle Scott11 & Robyn Sloggett11 Dora Griffiths is an artist and Art Centre Chair- PREVENTIVE CONSERVATION IN THE STORAGE OF DECEASED ESTATES person who works at Warringarri Arts, Kununurra, AT ABORIGINAL ART CENTRES AFFILIATIONS where she is responsible for the Darwang Gallery 1 Graduates of the Arnhem, Northern, Kimber- collection. PRESENTERS ects (2018-2019) that prioritise the community’s 3 1 2 ley Artists, Aboriginal Corporation (ANKA) Art Lily Bennion , Dora Griffiths & Gabriel Nodea requirements for access and embargo whilst Workers Extension Program (AWEP) who have Rhoda Hammer works as a Keeping Place Re- providing conservation solutions to prevent graduated from the inaugural Specialist Certif- search and Development Officer, Waralungku Arts, CO-AUTHORS common condition issues that occur during the 1 1 1 icate in Cross Cultural Conservation & Heritage Borroloola. He is a past board member of ANKA. Ted Carlton , Leanne Collier , Cathy Cummins , storage of deceased estates. These projects have 2 3 2 Warringarri Aboriginal Arts Stephanie Rajalingam , Toni Sampson & Peter provided remote Art Centres with access to con- 2 3 Mangkaja Arts Resource Agency Augustina Kennedy is an arts worker at Djilpin Thomas ‘Gulu’ servation processes and knowledge, enabling 4 Warmun Art Centre Arts, Beswick. professional development of the staff and devel- 5 Tiwi Design AFFILIATIONS oping a network of communication with conser- 6 Jilamara Arts and Crafts DJ Marika is a senior arts worker at Buku Larrngay 1 Waringarri Aboriginal Arts vators to allow them to conserve their own her- 7 Waralungku Arts Mulka, Yirrkala. 2 Warmun Art Centre itage in situ. 8 Djilpin Arts 3 The Grimwade Centre for Cultural Materials 9 Buku Larrngay Mulka Ruth Nalmakara is a senior knowledge holder of Conservation, University of Melbourne Lily Bennion has completed her Masters in Cultur- 10 Milingimbi Art and Culture the Liyagawumirr/Garrawurra clan. She works al Materials Conservation at the Grimwade Centre. 11 The Grimwade Centre for Cultural Materials at Milingimbi Art and Culture where she is an im- This presentation focuses on the challenges She is a conservator working for the Melbourne Conservation, University of Melbourne portant artist and weaver, and has been a long-term faced by Aboriginal Art Centres when managing based private conservation service Artcare. In 2019 board member of ANKA. artworks or collections from deceased estates. she received a Student Engagement Grant from the Aboriginal Art Centres are the backbone of Artworks from deceased estates can contribute University of Melbourne to undertake a storage reor- many remote Indigenous communities, provid- Lynley Nargoodah is an artist and senior arts to a community’s collection, can be sold at auc- ganisation project with Warmun Art Centre. ing income, support and training for commu- worker at Mangkaja Arts, Fitzroy Crossing, where tion to benefit the family of the deceased, and [email protected] nity members. In this panel session five repre- she has been a past Chairperson. can contribute significantly to the history of the sentatives from Art Centres that are members community and art practice at the Art Centre. Dora Griffiths is a Miriwoong artist and arts-work- of the Association of Northern, Kimberley and Gabriel Nodea is an artist, singer, dancer, and im- Sometimes, family specific mourning practices er working at Waringarri Arts to support senior art- Arnhem Aboriginal Artists (ANKA) will discuss portant holder of Gija culture and language. He is require deceased estates, the deceased’s name ists and cultural projects. She has been ANKAAA their art centres, the importance of conservation the Art Centre Chairperson at Warmun Art Centre and their image to be withdrawn from the com- Director since 2012, and a director at Waringarri within the art centre, and why their art centres and Deputy Chairperson of ANKA. munities view for a period of time whilst the Arts since 2004. Dora has curated two exhibitions are important to the rest of Australia. Michelle family mourns. However, Art Centres do not at Waringarri Arts Our Legacy (2018), and Alterna- Woody, Lynley Nargoodah, Gabriel Nodea, Viv- Marcelle Scott is a Research Fellow at the Grim- have the storage space, staff or preventive con- tive Archive (2019). ian Warlapinni and Dora Griffiths all have sig- wade Centre, University of Melbourne, where her servation protocols in place to ensure damage or nificant experience in cultural conservation, as research focuses on conservation theory, ethics, and deterioration does not occur to artworks during Gabriel Nodea is a Gija artist, Cultural Liaison well as conservation education, as graduates of pedagogy. She is a recipient of the AICCM Medal, the period of embargo. The partnership between Officer at Warmun Art Centre, Chairman of the the ANKA Art Worker Extension Program and Professional Member of the AICCM, and Fellow of the Grimwade Centre for Cultural Materials Con- Art Centre board (since 2009) and Deputy Chair of the Specialist Certificate in Cross Cultural Con- the International Institute for Conservation of His- servation and the two Art Centres, Waringarri the ANKAAA board. Gabriel is a custodian of Gija servation and Heritage, and hold important po- toric and Artistic Works (IIC). Aboriginal Arts and Warmun Art Centre, has en- culture and language and received a specialist cer- sitions within their Art Centre. This session will abled the author to undertake two storage proj- tificate in conservation from the University of Mel-
24 25 Making Conservation • AICCM National Conference 2019 bourne (2019). Nations (in Mali), the Lao Press (Foreign Languag- photographic and print collections for over fifteen Audiovisual Media at the Australian Institute of es) and the World Bank, before returning to work years. Recently co-convenor of the ‘Electron’ AIC- Aboriginal and Torres Strait Islander Studies. Ted Carlton is a Miriwoong leader, a director at Wa- with the Gija Cultural leaders. CM SIG for digital and audiovisual preservation [email protected] ringarri Arts and the Cultural Tours coordinator. and currently Manager Preservation Digitisation, Toni Sampson is a Masters student in Cultural Ma- Leanna Collier is gallery coordinator at Waringarri terials Conservation at the University of Melbourne. Arts since 2014. She is responsible for the Waring- Toni specialises in objects and textiles and has con- ‘POLITICAL’ CONSERVATION: SHOWCASING PRACTICE AND LOBBYING arri Arts galleries, visitor experiences and the annu- tributed to projects including; the treatment of a GOVERNMENT IN SHEKHAWATI, INDIA al national and international exhibition program. tapestry at the Grimwade CCMC, the Warrnambool Conservation Road show and the Warmun Arts PRESENTERS Secondly, international collaboration in in- Cathy Cummins has been manager at Waringarri Centre deceased estate storage reorganisation. Dr. Sabine Cotte1,2 & Lily Bennion2 terdisciplinary workshops; students and grad- Arts since 2002 and works in close consultation uates in architecture and conservation from with artists & directors responsible for the overall Peter Thomas ‘Gulu’ is a Cultural Liaison Officer CO-AUTHOR Europe, India and Australia work each year on management and strategic development of the or- at Warmun Art Centre, and new director at War- Cécile Charpentier2 the frescoes’ conservation. Showing how con- ganisation. mun Art Centre. Peter was previously the Chairman served paintings can have an immediate visual of Warmun Community (2018) and has special AFFILIATIONS impact in a busy urban environment, this acts Stephanie Rajalingam has been managing War- training in Mental Health. He is a strong Joonba 1 The Grimwade Centre for Cultural Materials as an incentive for Haveli owners to conserve mun Art Centre for two years, after working in Inter- dancer, and often travels across Australia with the Conservation, University of Melbourne and rehabilitate their properties. The economic national Development, Aid and Design. Stephanie Gija dancers. 2 Private conservator and political benefits from rehabilitating this has worked for non-for profits including the United heritage are important for the region, in terms The Shekhawati region in Northern Rajasthan, of employment, cultural dynamism and health India, is home to magnificent painted architec- through well managed urban planning. BUILDING DIGITAL CONNECTIONS: NEW PARADIGMS FOR tural heritage dating from the 19th and early SUSTAINING AND CONNECTING CULTURAL HERITAGE? 20th century. Neglect and the harsh climate of Lily Bennion is a graduate of the Grimwade Centre North Rajasthan have resulted in the monu- for Cultural Materials Conservation, University of PRESENTER a continuing and growing rate of rapid techno- ments’ state of disrepair. Of the 2000 private Melbourne. She participated in the 2019 workshop, Gerald Preiss logical obsolescence and an equally growing painted Haveli (mansions), now only half sur- and works privately in Melbourne. Lily specialises expectation for ubiquitous and rapid access to vive, most of them in poor condition. in the conservation of painted surfaces. AFFILIATIONS cultural heritage materials from audiences, con- The Shekhawati Project, created in 2016, Australian Institute of Aboriginal and Torres tent makers and funding bodies. aims to integrate Indian and European ap- Sabine Cotte has degrees in paintings conservation Strait Islander Studies In this context — what are the opportuni- proaches to the preservation of the frescoes, and from France and Italy, and a PhD from the Univer- Past co-convenor, ELECTRON SIG Digital and ties for cultural heritage professionals and peak to raise awareness of urban management issues sity of Melbourne. She has completed missions for Audiovisual Heritage bodies; through showcasing local conservation sites in a UNESCO and private foundations in the Himala- ›› to strategically evolve and thus foster the holistic approach that integrates heritage mon- yas. She is a casual teacher and Honorary Fellow Recent years have seen the continuing and ex- development of connected and sustain- uments into modern life needs. We act on two of the Grimwade Centre for Cultural Materials Con- ponential transformation of the scale, diversity able collections? main areas: servation, University of Melbourne. and complexity of digital cultural heritage ma- ›› to proactively collaborate with allied pro- Firstly, advocacy for the region’s econom- [email protected] terials that are created, collected and further de- fessionals and industry sectors? ic revival through development of sustainable veloped within the cultural heritage sector, both ›› to continue to develop the next genera- tourism, in close liaison with local entrepre- Cécile Charpentier, Head of the Project, is a nationally and internationally. tions of cultural heritage professionals? neurs, to preserve traditional skills and promote French-American Conservation and Restoration Born digital, digitised and analogue/digital This paper will address some of the possi- adapted reuse of the buildings for the local com- Expert. She is a graduate of the École du Louvre, hybrid heritage materials originate external- bilities present for the cultural heritage sector munity. The project works with its regional con- Paris (Museology) and has a Master in Cultural ly from cultural heritage organisations — and to strategically adapt to these changed circum- nections to lobby local governments to imple- Conservation Restoration, University of Paris I many of them originate internally as the busi- stances and to foster new paradigms of activity ment protective measures for the monuments, Panthéon-Sorbonne. Cécile heads many major res- ness of cultural heritage demonstrates a grow- that sustain and connect cultural heritage col- including town infrastructures and city services toration sites worldwide with more than 20 years’ ing digital focus in creation, management, lections. such as waste management, which impact di- experience. support and delivery across all the ‘traditional’ rectly on the condition of the buildings and areas of cultural heritage activity. Gerald Preiss has worked in cultural heritage pres- their frescoes. These circumstances are paralleled by both ervation digitisation programs across audiovisual,
26 27 Making Conservation • AICCM National Conference 2019
CONNECTING WITH SPIRIT AT THE HOME OF HERITAGE: A CASE CONSERVING BUILT HERITAGE AND COMMUNITY: A COMPARATIVE STUDY IN BUILDING CONSERVATION TRAINING IN BURRA, SA STUDY ON THE CONSERVATION OF SHOPHOUSES IN HONG KONG, PENANG AND SINGAPORE PRESENTERS cohesion, and how bringing together a diversity Mitch Cleghorn1,2 & Grace Barrand3,4 of professions in skills sharing located points of PRESENTER key to sustaining the organic nature of commu- interconnectedness to be explored. Walter Chun Hay Chan nity and optimising the specificity of the archi- AFFILIATIONS tectural heritage. 1 Heritage Stone Restoration Grace Barrand managed the Heritage Skills Ini- AFFILIATION 2 Applied Building Conservation Training tiative project undertaken by the International Spe- Institute of Archaeology, University College Walter Chan is currently pursuing a Master’s de- 3 International Specialised Skills Institute cialised Skills Institute (2017-2019), which aimed London gree in the Archaeology and Heritage of Asia at 4 Art Gallery of New South Wales to support and promote the use of heritage trades University College London. He has been a docent for in Australia for a sustainable workforce. Grace is Conservation of built heritage with local and the Chinese University of Hong Kong Art Museum Despite steady growth in adaptive reuse and currently employed at the Art Gallery of New South hybrid architectural styles in post-colonial Asia and several architectural heritage organisations building conservation projects in Australia’s Wales as a Frames Conservator. has gradually drawn more attention as it faces in Hong Kong, and intern at the Penang Heritage construction industry, there have been few in- [email protected] the threat of demolition under the rapid growth Trust. novations in building conservation training – of urban renewal. Revitalisation is one of the pri- [email protected] yet demand for skilled professionals continues Mitch Cleghorn is an archaeologist and building mary methods for preserving and making use to grow. Several enquiries into the current state conservation specialist. Mitch is a George Alexan- of historical buildings. According to the Burra of building conservation training and continu- der Fellow supported by the International Special- Charter, local communities should also have op- ity of artisan trades have highlighted a skills ised Skills Institute investigating United Kingdom portunities to participate in their conservation gap that is set to increase in the future. A pilot models for building conservation training short and management. However, due to factors such training program in building conservation was courses to an Australian context. He enjoys twilight as government strategies, community opinion, undertaken in 2018 / 19 to conserve and restore walks along the beach, and his favourite season is and available resources, consultation and thus the building fabric of a derelict miner’s cottage Autumn. involvement of original communities is not al- in the heritage-listed township of Burra, SA. ways successfully carried out. During two one-week training periods, 35 pro- To analyse the factors involved in making fessionals from a wide range of backgrounds as- a conservation project connected to commu- sociated with conservation, including archaeol- nity, this paper focuses on the historical resi- ogy, planning, object conservation, construction dential-commercial buildings in Hong Kong, professionals and engineering were involved. Penang and Singapore. Case studies consist of Students learnt about correct building shophouses in the districts of Wan Chai, George conservation techniques, the significance of Town and Chinatown in respective cities, which the Burra Charter and its implication on pol- are comparable due to the similar nature of Chi- icy. However, over the course of the learning a nese culture in these communities, availability series of unexpected outcomes arose between of resources and strategies, but also limitations the building and its caretakers. Participants dis- in administration under the authorities of the played a growing sense of social contribution, Urban Renewal Authority (Hong Kong), UNE- responsibility and connectedness with the site SCO (Penang) and Urban Redevelopment Au- and each other. The Burra community demon- thority (Singapore). Stakeholders in the three strated support and engagement with the con- regions appear to show different attitudes and servation works, offering insights into the modes of interaction to the process of conserva- building’s history and inhabitants. Participants tion through revitalisation, resulting in various instigated additional knowledge sharing and degrees of connection between architectural professional contribution outside the learning heritage and community, whose interrelation is window, and indeed beyond the completion of studied through the lenses of public policy and the project. This presentation will discuss these architectural studies. This paper argues that unexpected outcomes and how they contextu- negotiation and collaboration between original alise this place-based learning within broader residents and outside supporter-participants is frameworks of knowledge continuity and social
28 29 Making Conservation • AICCM National Conference 2019
CARING FOR COLLECTIONS IS EASY WHEN YOU KNOW HOW: CONSERVATION, COLLABORATION AND CONTRACTORS: CREATING MAKING A CONSERVATION VIDEO SERIES FOR ONLINE ACCESS AN ONLINE COMBINED HERITAGE TRAINING AND WORK, HEALTH, AND SAFETY INDUCTION PRESENTER scope of conservation, little did we understand Kelly Leahey the extent of work required to make these vid- PRESENTER gies proved to be a lengthy process involving eos a success. Nicole O’Dowd stakeholder engagement, testing with external CO-AUTHOR This paper will present the step-by-step de- clients, building staff capability and cultural Rachel Spano tails of how our ‘Caring for collections’ video AFFILIATION change. Throughout developing the induction, series were made; including preparing and then The Museum of Australian Democracy at Old we also needed to reassess our risk manage- AFFILIATION reconsidering the project brief, working with a Parliament House ment strategy, reporting obligations, and how State Library of Queensland creative production studio, collaborating across a digital format could best meet our legislative cultural institutions, preparing the video con- In 2019 the Museum of Australian Democracy at requirements. Conservation at State Library of Queensland tent, the filming and editing process, promoting Old Parliament House (MOAD) completed devel- Development took over two years and in- has a wonderful outreach program, promoting the videos online, and the outcomes and learn- opment of an online combined heritage training volved multi-disciplinary teams with regular conservation and empowering people in the ings. and work health and safety (WHS) induction collaborations across content production, digi- wider community to care for their collections. for all staff, tenants, and contractors working tal infrastructure, and forward planning. We are We think of this as caring for the distributed Kelly Leahey is a Conservator at State Library of at Old Parliament House, bringing preventa- now developing tailored heritage training mod- history of Queensland. Our outreach program Queensland. She holds a Postgraduate Certificate tive conservation best practice to stakeholders ules for specific roles including cleaners, securi- includes an ‘Ask a Conservator’ email service, in Photographic Materials Conservation and Mas- of all backgrounds. This ambitious project was ty guards, and caterers. in person ‘Conservation Clinic’ appointments, ter of Cultural Materials Conservation, University designed to meet our legislative obligations and This session will give participants the tools an excellent series of PDF ‘How to guides’ on of Melbourne (2010). Kelly was previously Conser- the needs of those working in our nationally list- to develop their own successful online heritage our website, and participation in various other vator at the Museum of Contemporary Art, Sydney, ed heritage building. training and WHS induction modules and will workshops and events. and Andrew W. Mellon Fellow at Los Angeles Coun- Using the MOAD online heritage training include a handout summarising the session’s In 2015, State Library successfully bid to run ty Museum of Art. and WHS induction as a case study, this pa- main points. a five-year state-wide legacy initiative; Q ANZAC [email protected] per will explore the process of adapting onsite 100: Memories for a New Generation. As a part training to an online format, paying special at- Nicole O’Dowd is a heritage and collections offi- of this larger project, Conservation participat- Rachel Spano is Senior Conservator at State Li- tention to collaboration, technical innovation, cer at the Museum of Australian Democracy at Old ed in the regional delivery of numerous white brary of Queensland. She holds a Bachelor of Ap- risk management, and navigating setbacks and Parliament House with special interests in heritage gloves tours and conservation clinics through- plied Science in the Conservation of Cultural Ma- roadblocks. interpretation, communication, and accessibility. out the state. To complement the delivery of terials from University of Canberra (1998), and has New technologies and widespread Internet As part of her role she regularly works with teams conservation advice to regional Queensland, we worked at the National Library of Australia and Art availability creates an opportunity for greater across the institution to better care for and commu- were also allocated funding to produce a series & Archival Pty Ltd. Rachel is Queensland President accessibility, flexibility and accountability in nicate Australia’s rich democratic heritage. of conservation videos. The video project was of the AICCM. heritage and conservation training. However, [email protected] delivered by State Library, in collaboration with adapting to and utilising these new technolo- Queensland Museum. Not being in the typical
THE ARTIST IS (OFTEN) PRESENT: COLLABORATION AND CONSERVATION IN A CONTEMPORARY ART CONTEXT
PRESENTER tunities for conservators to work closely with Kasi Albert living creators and expand possibilities for pres- ervation of culture, through collaboration and AFFILIATION cross-disciplinary interactions. Museum of Contemporary Art At the Museum of Contemporary Art (MCA), the role of the conservator exemplifies The challenges to traditional conservation this distinctive working style. Unlike cultural values posed by contemporary art are being institutions with discrete conservation depart- increasingly acknowledged. However, this ments, at MCA conservation is embedded with- growing field also encompasses exciting oppor- in the collections and exhibitions team, work-
30 31 Making Conservation • AICCM National Conference 2019 ing hand-in-hand to deliver exhibitions and sometimes improving fabrication or installa- KYLIE ON STAGE: SHARING AND PRESERVING THE LEGACY OF AN care for the collection. The need for conserva- tion approaches. AUSTRALIAN ICON tion to both depend on support from other roles Using examples of recent MCA exhibitions, (registration, installation, AV, curatorial), and this paper will examine the role of conserva- PRESENTER This paper also details the approaches and to provide support outside ‘traditional’ bound- tion within a collaborative environment, and Carmela Lonetti outcomes of implementing a risk mitigation aries, leads to a unique, flexible and innovative explore how this can inform a more adaptable strategy to understand and minimise impact environment. and appropriate model for the preservation of CO-AUTHORS to costumes over a lengthy display period, and The MCA is also unique as a museum that contemporary art. Samantha Hamilton & Margot Anderson encourages the profession to develop a forum celebrates the work of living artists. From large- where research from travelling exhibitions can scale solo shows to complex group exhibitions, Kasi Albert is the Conservator at the Museum of AFFILIATION be shared. The paper finally presents the ways the MCA is a museum where the artist is, more Contemporary Art. She has previously worked at Arts Centre Melbourne in which collections and conservation knowl- often than not, present. Guiding principles of the Art Gallery of New South Wales, National Gal- edge can be made accessible for the benefit of all conservation can be challenged by the presence lery of Australia and Artlab Australia. She has a Kylie on Stage celebrated the magical moments communities. of the artist, who may be unfamiliar or uncom- specialisation in objects conservation, with a par- from Kylie Minogue’s highly successful concert fortable with the precious status applied to their ticular interest in the conservation of installation tours from 1989-2015. The exhibition drew from Carmela Lonetti is the Inaugural Conservator at creation. But the fact that artworks are often art and modern materials. Kylie’s spectacular stage wardrobe created by Arts Centre Melbourne (ACM). Having completed not finalised or completed until installation [email protected] world famous fashion designers such as Jean her Masters of Cultural Materials Conservation at allows conservation to take an active role in in- Paul Gaultier, John Galliano, Karl Lagerfeld, and the University of Melbourne, she then worked for formation gathering, preservation planning and Dolce and Gabbana. Grimwade Conservation Services at the University Kylie began donating her costumes to the of Melbourne for 8 years before joining ACM in late Australian Performing Arts Collection at Arts 2017. CATCHING FALLING RUST: GROWING RUSTICLES ON DISPLAY Centre Melbourne (ACM) in 2003 and continues [email protected] to be an active patron of the collection. Kylie is PRESENTER clinging to the hull of our ship. As the months committed to the documentation and preserva- Margot Anderson is Curator of Dance and Opera Nick Flood passed, the rusticles fell to the floor of the tank. tion of Australian performing arts history. at ACM and has worked on various exhibitions in- Periodically the power supply was switched on, The exhibition featured unique and com- cluding Kylie on Stage. Margot has worked closely AFFILIATION allowing new rusticles to grow. plex full ensembles or individual costume piec- with companies such as The Australian Ballet, Syd- Australian National Maritime Museum The rusticle display became a favourite part es, accessories, designs and photographs, and ney Dance Company and Opera Australia to devel- of the Museum’s education program, where sec- was on display at ACM; touring then to Mildura, op collections that reflect the history of performing The Australian National Maritime Museum’s ondary school students learnt about corrosion Geelong, Ararat and Morwell in regional Victo- arts in Australia. (ANMM) exhibition James Cameron - Challeng- as part of their science syllabus. Tertiary insti- ria and to Fremantle in Western Australia from ing the Deep celebrated the filmmaker’s life- tutions also showed interest, with researchers February 2017-June 2019. Samantha Hamilton is Head of Collections, Pres- long pursuit of and achievements in deep ocean undertaking 3D modelling and elemental anal- The tour afforded an opportunity for ACM ervation and Access at ACM. She manages collec- science, technology and exploration. Nestled ysis of rusticle samples. The success of our elec- collections staff to work with a variety of ven- tions management, conservation and public access amongst submersible vehicles and movie props trolytic method raises questions about the role ues across diverse communities. This paper dis- programs including exhibitions. Samantha spent 16 was a display that allowed visitors to observe that electrical potentials present on shipwrecks cusses the challenges and opportunities when years working as an object conservator and is cur- growing rusticles. play in the formation of rusticles. The response touring a large and complex predominantly cos- rently completing her PhD, researching the topic of In preparation for the exhibition, ANMM from visitors, students and James Cameron him- tume exhibition to venues where staff and vol- best practice in conservation programs for remote conservators were approached to develop a self has been exciting and shows the value that unteers have an assortment of museum training Aboriginal communities. rusticle display. Experiments using electrolysis conservators can provide beyond their normal and skills and minimal conservation knowledge proved successful and we found that large rus- responsibilities. and support. ticles could be grown quickly. Inside an aquar- ium in the gallery space, mild steel electrodes Nick Flood is never more at home than when his were suspended in salty water and connected hands are dirty and as Objects Conservator at the to a DC power supply. The power was switched Australian National Maritime Museum he is fre- on and over the following 24 hours the water quently up to his elbows. Nick has conservation grew cloudy with orange-brown particulates. expertise in metals, functional objects, maritime The current was switched off and the suspended archaeology and photographic documentation. particles settled to reveal dozens of rusty icicles [email protected]
32 33 Making Conservation • AICCM National Conference 2019
FLICKING THE SWITCH: DEVELOPING A METHODOLOGY FOR itage practitioners to examine their position, ACTIVATING LIGHTING IN A HERITAGE COLLECTION revise their methodologies, and question moti- vations around these interventions in contexts PRESENTER Aside from these new physical display other than their own. Suzi Shaw needs, the registration and cataloguing of elec- This presentation has emerged from the tric lights has required review; current pro- Asia Pacific Tropical Climate Conservation Art AFFILIATION cesses do not always document an artwork’s Research Network (APTCCARN) meetings that National Gallery of Victoria electrical components or differentiate if they examine the issues associated with the con- were provided by the artist. Working across the servation of Southeast Asian cultural material. Over the last five years, the rationale for the dis- Conservation department’s studios, and in con- Launched in 2008, APTCCARN was inaugurated play of electric lights in the National Gallery of junction with our Registration and Cataloguing at Balai Seni Negara in Malaysia (National Art Victoria’s collection has expanded from a static departments, we are developing a methodology Gallery), with meetings in 2010 in Australia, presentation to include the activation of the dis- for recording both the original component in- 2012 in Thailand, 2015 in Taiwan, 2017 in the play space. This change has required conserva- formation and a decision-making framework Philippines and 2019 in Leiden. tors to upskill their understanding of electrical to assist with required upgrades or the replace- wiring, and to work closely with electricians to ment of consumables. This lightning talk ad- Dr Nicole Tse is part of the research and teaching enable electrical compliance whilst retaining as dresses the ongoing challenges and learning team at the Grimwade Centre for Cultural Materi- much of the original electrical components as curves, and provides a developing methodology als Conservation. Her research focuses on region- possible. for activating and documenting electric lights in ally relevant conservation approaches for works of To do this, electricians are engaged and in- a heritage collection. art in tropical Southeast Asia, under the auspices of formally trained to understand our ethical ap- APTCCARN, the Asia Pacific Tropical Climate Con- proach to repairs and to negotiate sympathetic Suzi Shaw has been Conservator of Frames & Fur- servation Art Research Network. upgrades. In addition to safety compliance, niture at the National Gallery of Victoria (NGV) for [email protected] documentation is recorded of such consider- 20 years, caring for collections ranging from Re- ations as power requirements, exhibition de- naissance cassoni to bioplastic chairs. With the ad- sign requirements to accommodate voltage con- dition of a Contemporary Architecture and Design version for overseas works, upgrades to globe department in 2015, Suzi now works on much of the colour/size/shape and wattage, amongst other NGV’s lighting collection. variables. This has led to the development of [email protected] effective communication methods for the safe installation, display, and ongoing maintenance of such works.
CONSERVATION DECISION MAKING AND MATERIALITY IN TROPICAL CLIMATES: NEW PEDAGOGIES AND CONNECTIVITY
PRESENTER propriate in place-based contexts is often posi- Nicole Tse tioned within the aims of heritage and identity, new pedagogies for object-centred practice and AFFILIATION scientific processes, and the ways we connect. The Grimwade Centre for Cultural Materials This short presentation aims to visualise these Conservation, University of Melbourne ideas and the space where decisions to conserve cultural heritage are made, the forms these ac- The act of conservation asserts values, voice tions take, and who these systems give voice to and legitimacy. This leads to knowledge asym- in tropical Southeast Asia. Notions of centres metries, ambiguities, and questions around of expertise and diversity have emerged as key who then gets to decide what is important to concepts across post-colonial and cultural heri- conserve, and what form this takes. What is ap- tage studies. These ideas challenge cultural her-
34 35 Making Conservation • AICCM National Conference 2019
CONSERVATION AND CLIMATE CHANGE: MEANINGFUL ENGAGEMENT IN THE FACE OF INEVITABLE NEAR-TERM SOCIAL COLLAPSE
PRESENTER concepts of resilience, relinquishment and Rosie H. Cook restoration offer a framework for considering conservation and catastrophic climate change. AFFILIATION Despite the radical shifts such an event would Cheng Shiu University Conservation Center, impose upon society, conservation can imple- Taiwan ment preventive measures through practices more closely aligned with community engage- Recognising climate change as a major threat to ment, intangible cultural heritage, and tradi- humanity, conservation has positioned itself as tional knowledge systems. actively responding to growing environmental Disasters on the scale of INTSC are unprece- concerns – primarily through the implementa- dented; however many Indigenous and minori- tion of ecologically responsible practices and ty cultures around the world have experienced, disaster preparedness plans. and continue to experience, near-total loss and Considering a hypothetical widespread col- dispossession. This presentation invites consid- lapse of the dominant Western society, human eration of how these communities have devel- desire to preserve cultural heritage will endure, oped coping strategies that do not rely on denial adapting to scarce resources and technology. or blind optimism, but rather on creative adap- Conservation plays a role in connecting objects tation of traditional principles, as well as the re- to communities; by further recognising and pro- storative power of the transmission of cultural moting alternative concepts of community-em- practices, which strengthen and rebuild social bedded conservation, conservators can support bonds. re-prioritising cultural heritage formats that will maintain significance via social memory Rosie Cook heads the textiles conservation depart- and strengthen community bonds. ment at Cheng Shiu University Conservation Center Professor of Sustainability Leadership at in Taiwan. Her qualifications include a Masters of the University of Cumbria, Dr Jem Bendell, has Cultural Materials Conservation (The University of recently published the Deep Adaptation Agenda Melbourne) and a Bachelor of Arts in History of Art as a proposed response to Inevitable Near-Term & Archaeology of Africa and Asia (School of Orien- Social Collapse (INTSC) following widespread, tal and African Studies, London). pervasive environmental catastrophe. Its key [email protected]
ALTERNATIVE BIOCIDES FOR FLUID PRESERVED SPECIMENS IN GLYCEROL
PRESENTER Natural science specimens can form a majority Rehan Scharenguivel1 of collection material in museums and are cru- cial to research and educating the public on en- CO-AUTHOR vironmental science. Fluid preserved specimens Sheldon Teare2 are a significant aspect of these natural science collections, however they pose significant issues AFFILIATIONS as many traditional biocides are environmental 1 International Conservation Services or health hazards. An alternative preservative 2 Australian Museum medium that has been used, which is of low risk, is glycerol. However, glycerol does not have the same antiseptic qualities as ethanol and there-
36 37 Making Conservation • AICCM National Conference 2019 fore requires the addition of a biocide to prevent served specimens. It is hoped that such sustain- CLEANING PAINTED SURFACES WITH GREEN CHEMICALS: mould growth. able alternatives will help to form a pathway for INVESTIGATING THE SUSTAINABLE REMOVAL OF NATURAL AND The aim of this research is to understand future conservation practice. SYNTHETIC RESIN VARNISHES FROM OIL-BASED PAINTED SURFACES the need for the biocide, and to analyse the suitability of three possible solutions: tea tree, Rehan Scharenguivel graduated from the Univer- PRESENTER cross-sections analysis with visible and ultra- eucalyptus and clove oils. These biocides are sity of Melbourne with a Masters in Cultural Ma- Jessica Walsh violet fluorescence, fourier-transform infrared sustainable and have a low toxicity compared to terial Conservation. He was employed at the Aus- spectroscopy, and scanning electron microscop- traditional biocides found in fluid preserved col- tralian Museum with a focus on the conservation of CO-AUTHOR ic observation. Results from this analysis reveal lections. The experimental methodology used the Natural Science collections. Rehan is currently Dr Nicole Tse whether green chemicals provide a suitable al- disc diffusion on malt extract agar plates inoc- employed as an objects conservator at International ternative to traditional chemicals for the remov- ulated with Aspergillus nidulans. The results of Conservation Services. AFFILIATION al of natural and synthetic resin varnishes from the tests were visually and statistically analysed [email protected] The Grimwade Centre for Cultural Materials oil-based painted surfaces. for confidence. Conservation, University of Melbourne Natural science research relies on being Sheldon Teare is Natural Sciences Conservator and Jessica Walsh has a Bachelor of Arts (Hons.) from able to confidently take measurements and Acting Manager of Conservation at the Australian The conservation profession has recently seen the University of Western Australia, with a double samples from specimens. Therefore, conserva- Museum. He holds a Masters in Cultural Materials an increased awareness in the necessity to be- major in the History of Art and Archaeology. She is a tors should be aiming to treat specimens with Conservation. Sheldon has worked as a specialist come a more environmentally responsible and current student of the Masters of Cultural Materials sustainable practices while reducing the chemi- Natural Sciences conservator for close to ten years. sustainable practice. Accordingly, wherever the Conservation at the University of Melbourne, spe- cal impact on the specimen. This study will form His interests lie in collection care, fluid preserva- performance and capabilities of green chemicals cialising in the conservation of painted materials. a foundation for further research into the use tion, specimen preparation, and education. are considered equitable to their volatile solvent [email protected] of glycerol for storage and display of fluid pre- counterparts, these materials should be utilised. Green chemicals have the ability to alleviate Dr Nicole Tse is part of the research and teaching quantifiable hazards posed by solvents and the team at the Grimwade Centre for Cultural Materials COMPOSTING AS A SUSTAINABLE PREPARATION METHOD level of exposure caused by application methods Conservation. Her research focuses on regionally traditionally utilised in conservation practice, relevant conservation approaches for works of art PRESENTER outcomes and uses no harmful chemicals in both environmentally and for conservation pro- in tropical Southeast Asia, under the auspices of Sheldon Teare the process; as all materials involved are natu- fessionals. APTCCARN, the Asia Pacific Tropical Climate Con- ral and can be sustainably sourced. A case study As one of the most environmentally haz- servation Art Research Network. AFFILIATION comparing burial and composting techniques ardous and invasive aspects of cleaning paint- Australian Museum to prepare whale skeletons will be presented. ed surfaces, varnish removal materials and This study is ongoing, and the project highlights methodologies will be reviewed against green Osteological specimens are a significant part the importance of best practice in preparation chemicals for their measurable success with of natural history collections and require large methods and data collection. It explores poten- three common-use varnishes – Regalrez® 1094, amounts of resources to prepare, including time tial sustainable alternatives for natural science ParaloidTM B-72, and Damar. Chemicals to be and chemicals. These specimens are important specimen preparation and highlights conserva- reviewed include Cyclomethicone D4, Isopro- to scientists studying a range of topics, includ- tion’s role in testing materials and techniques in pyl Myristate, d-Limonene, and Dibasic Ester. ing the impacts of climate change, as morpho- order to ensure the best outcomes for long-term ‘Green’ label classification of these materials logical data from skeletons highlight adapta- preservation and research potential. will be presented against a controlled frame- tions and species change over time. Osteological work, which considers the hazardous properties collections are often assumed to be robust and Sheldon Teare is Natural Sciences Conservator and of these materials and exposure risks in direct easy to prepare and care for. Acting Manager of Conservation at the Australian comparison with those currently being utilised This presentation will explain common Museum. He holds a Masters in Cultural Materials in the conservation profession. methods for preparation of osteological spec- Conservation. Sheldon has specialised in natural To understand the benefits and limitations imens, discussing resources used and results sciences conservation for ten years. His interests lie of utilising green chemicals in the cleaning of commonly experienced. Each method has un- in best practice standards for collection care, fluid painted oil-based surfaces, QUV® Accelerated controlled elements and difficulties involved preservation, specimen preparation, and education. Weathering Tester UV-A (ultraviolet wavelength which will have a long-term effect on preserva- [email protected] 340nm) aged samples of oil-based painted sur- tion, a concern for conservators. Composting faces have been examined using a variety of ana- as a preparation method can deliver excellent lytical techniques including gloss-spectrometry,
38 39 Making Conservation • AICCM National Conference 2019
IMPLEMENTING THE BIZOT GREEN PROTOCOL FOR LOANS fession’s commitment to positive change. tion agencies, and assisted with the publication Four Masters students from the Grimwade First Aid to Cultural Heritage in Times of Crisis. Her PRESENTERS menting sustainable practices within the con- Centre will share their experiences, research interests are archaeological and preventive conser- Amanda Pagliarino1 & Carolyn Murphy2 text of national climate change and variability. and thoughts about environmental, economic, vation, and community engagement. This paper will provide background on the cultural and social sustainability. Topics of dis- AFFILIATIONS research and lobbying undertaken ahead of the cussion will include: Ainslee Meredith is a PhD candidate, teaching 1 Queensland Art Gallery|Gallery of Modern Art CAAMD meeting in March 2019 and the process ›› what changes need to happen in conser- and research assistant with the Grimwade Centre 2 Art Gallery of New South Wales the group is engaged in to both implement the vation, for Cultural Materials Conservation, University of Bizot Green Protocol and to bring about a cultur- ›› implementing practical sustainability Melbourne. She holds a Master of Cultural Materi- In March 2019 the Council of Australian Art al change in our approach to lending collection initiatives in conservation laboratories, als Conservation and Bachelor of Arts (Hons.). Her Museum Directors (CAAMD) voted to adopt the material. and research focuses on the public value of conservation Bizot Green Protocol environmental guidelines ›› connecting with international organisa- in Australia within a social justice framework. for lending between member organisations. Amanda Pagliarino is Head of Conservation and tions and movements around sustain- [email protected] This decision was based upon proactive work Registration at QAGOMA, leading a team of con- ability. undertaken through the AICCM Environmental servators, registrars, technicians and photographers We propose to present a panel on the topic John Morrison/jackjohn is soon to graduate from Guidelines Project in conjunction with Heads of engaged in collection care and exhibition work. She and the big questions we have for cultural mate- the University of Melbourne’s Master of Cultural Conservation from the Art Gallery of New South is Coordinator of the Environmental Guidelines rials conservation from an emerging conserva- Materials Conservation. With a background in so- Wales (AGNSW), National Gallery of Victoria Project, a Churchill Fellow and past recipient of the tor perspective. cial anthropology, John is concerned with the chal- and Queensland Art Gallery|Gallery of Modern AICCM Conservator of the Year award. lenges of conserving contemporary culture. He is Art (QAGOMA). [email protected] Heather Berry graduated from the University of interested in accessible, non-toxic, economic and The Bizot guidelines align with the AICCM Melbourne with a Bachelor of Arts with Honours. ecologically sustainable strategies for conserving Environmental Guidelines for Australian Cultur- Carolyn Murphy is Head of Conservation at AG- Realising she could blend her love of history and modern materials. al Heritage Collections and broaden the accept- NSW. Her research interests include the manage- diving led her to conservation, where she is specif- able environmental parameters for works on ment of installation and time-based art in collec- ically interested in maritime archaeological conser- Dr Nicole Tse is part of the research and teaching loan to 16-25°C and 40-60%RH, with defined al- tions and she is currently a partner investigator vation. Heather recently completed an internship at team at the Grimwade Centre for Cultural Materi- lowable fluctuation. CAAMD’s decision to adopt on the ARC Linkage Project, ‘Archiving Australian the WA Shipwreck Museum in Fremantle. als Conservation. Her research focuses on region- a common approach to lending between mem- Media Arts: Towards a method and national collec- ally relevant conservation approaches for works of bers acknowledges a commitment to imple- tion’. Jessica Doyle is undertaking her Masters of Cul- art in tropical Southeast Asia, under the auspices of tural Materials Conservation, University of Mel- APTCCARN, the Asia Pacific Tropical Climate Con- bourne). She interned in disaster risk management servation Art Research Network. STUDENTS FOR SUSTAINABLE ACTIONS IN CULTURAL MATERIALS (ICCROM), worked with international civil protec- CONSERVATION
PANELLISTS (SC@M) have appointed their first sustainabili- MAKING CONSERVATION POLICY IN AUSTRALIA: CONTEXTS AND GAPS Heather Berry, John Morrison/jackjohn & Jessi- ty officer, and have joined with international -or ca Doyle ganisation Sustainability in Conservation (SIC) PRESENTER the implementation of these policies has shift- to appoint student ambassadors for promoting Ainslee Meredith ed towards an instrumentalist policy imaginary SESSION ORGANISERS sustainability in conservation. With diverse ex- that requires culture to be linked to societal out- Ainslee Meredith & Dr Nicole Tse periences and perspectives, emerging conserva- CO-AUTHORS comes and benefits. tors are part of the movement driving change in Professor Robyn Sloggett & Dr Marcelle Scott Situating collections-specific policies such AFFILIATION the profession, building awareness about sus- as the Pigott Report (1975) and the National Con- The Grimwade Centre for Cultural Materials tainability and facilitating knowledge exchange AFFILIATION servation Policy for Australia’s Moveable Cul- Conservation, University of Melbourne and practical initiatives among students and The Grimwade Centre for Cultural Materials tural Heritage (1995) in relation to broader arts, professionals. Entering the conservation profes- Conservation, University of Melbourne culture and heritage policies, several questions A panel discussion led by Masters students from the sion at a time of global and local challenges, but are posed: Grimwade Centre for Cultural Materials Conserva- also at a time of great opportunity for change, This paper presents a history and analysis of ›› Where is conservation located in policies tion, University of Melbourne. students are connecting to broader movements how cultural materials conservation and related at the national, state and local govern- to raise questions about how conservation can industries have been framed within the Austra- ment levels? In 2019, the Student Conservators at Melbourne become more sustainable, continuing the pro- lian policy context. This study focuses on how ›› How do these policies interpret and shape
40 41 Making Conservation • AICCM National Conference 2019
the aims, role and outcomes of the con- Melbourne. She holds a Master of Cultural Materi- ›› Community groups and their volunteer toric and Artistic Works (IIC). servation of publicly funded collections? als Conservation and Bachelor of Arts (Hons.). Her supporters who collect and care for cultur- [email protected] ›› And what are the consequences for con- research focuses on the public value of conservation al heritage on behalf of their communities; servation in Australia of the broader cul- in Australia within a social justice framework. ›› Small businesses that see opportunities Jennifer O’Connell is the Senior Conservator tural, heritage and arts policy environ- [email protected] for linking their businesses with local (Painting) at the Tasmanian Museum and Art Gal- ment? heritage needs; and lery (TMAG), an AICCM Professional Member, and A gap analysis of these policies is under- Dr Marcelle Scott is a Miegunyah Fellow at the ›› Individuals with important family collec- President of the AICCM. Jennifer graduated with an taken to compare how conservation is under- University of Melbourne’s Grimwade Centre for Cul- tions or objects that they personally value. MA (Cultural Material Conservation) from the Uni- stood in the cultural ‘policy imaginary’, with the tural Materials Conservation. Her research focuses This paper reviews the program outcomes versity of Melbourne in 2011 and has since worked needs and goals of the Australian conservation on conservation theory, ethics and pedagogy. She is for these six groups in order to better under- in both private practice and government institu- sector. The concept of policy imaginaries moves a recipient of the AICCM Medal and a Fellow of the stand how the profession can partner with local tions. beyond narrative accounts of policy to a deeper International Institute for the Conservation of His- communities to ensure the protection and pres- analysis of the set of beliefs, norms, and con- toric and Artistic Works. ervation of Australia’s rich and diverse forms of Robyn Sloggett is the Cripps Foundation Chair in texts through which ‘policy-makers envisage cultural heritage in local communities. Cultural Materials Conservation and Director of future, or current, outcomes, and consequent- Professor Robyn Sloggett is the Cripps Founda- the Grimwade Centre, University of Melbourne. Her ly favour particular policy approaches’ (White tion Chair in Cultural Materials Conservation and Marcelle Scott is a Research Fellow at the Grim- research interests include attribution and authen- 2016). Drawing on policy submissions and state- Director of the Grimwade Centre for Cultural Mate- wade Centre, University of Melbourne, where her re- tication of Australian paintings, the investigation ments by the AICCM to synthesise the key needs rials Conservation at the University of Melbourne. search focusses on conservation theory, ethics, and of the materials and techniques of artists, and the and goals of the sector, this paper also reflects She holds qualifications in art history, philosophy, pedagogy. She is a recipient of the AICCM Medal, preservation of cultural materials held in Austra- on what data is needed for the gap between the and cultural materials conservation (applied sci- Professional Member of the AICCM, and Fellow of lian Indigenous communities. cultural policy imaginary, and the needs of the ence), and a PhD from The University of Melbourne. the International Institute for Conservation of His- conservation sector, to be reduced.
Ainslee Meredith is a PhD candidate, teaching RESTORING STORAGE COLLECTIONS: THE SC@M RE-ORG INITIATIVE and research assistant with the Grimwade Centre for Cultural Materials Conservation, University of PRESENTER of the Preservation and Restoration of Cultural Daniel Schwartz1,2 Property (ICCROM) implemented the RE-ORG initiative, a methodology built to facilitate the SUSTAINABLE CONSERVATION: A PILOT PROGRAM FOR REGIONAL CO-AUTHOR reorganisation of storage collections. In late NEW SOUTH WALES EMERGING CONSERVATORS, AICCM AND Lisa Mansfield1,2 2018, student conservators from the Grimwade BATHURST REGIONAL COUNCIL Centre carried out the initiative’s first imple- AFFILIATIONS mentation in Australia at the Bathurst Region- PRESENTER Bathurst Regional Council and the Grimwade 1 The Grimwade Centre for Cultural Materials al Art Gallery, with great success. Since then, Marcelle Scott1 Centre for Cultural Materials Conservation, Conservation, University of Melbourne the student conservators and Grimwade Centre trialled a new locally-led model of community 2 Student Conservators at Melbourne (SC@M) faculty have taken on the task of creating a new CO-AUTHORS conservation which links conservation students initiative focused on implementing these proj- Robyn Sloggett1 & Jennifer O’Connell2 and graduates with local communities. The majority of Australian collections are cur- ects throughout Australia over the next several The ‘Sustainable Conservation pilot pro- rently held in storage facilities. Several survey years. The initiative aims to connect students AFFILIATIONS gram for regional NSW emerging conservators, studies conducted on Australian museums –– with heritage professionals in institutional and 1 The Grimwade Centre for Cultural Materials AICCM and Bathurst Regional Council’ commit- from the National Museums in Australia 1975 private practice in urban, regional, and remote Conservation, University of Melbourne ted to the mentoring and delivery of heritage by P.H. Pigott to Safekeeping produced by the communities to work together on projects im- 2 Tasmanian Museum and Art Gallery, Hobart, preservation skills to six constituent groups: Grimwade Centre and the Arnhem, Northern plementing RE-ORG. Tasmania ›› Students who are interested in working and Kimberly Artists Aboriginal Corporation This paper will explore the need for RE-ORG with communities; in 2017 –– demonstrate the continued need for projects, the ways in which they can be imple- In 2017 the AICCM received a Community Her- ›› Emerging conservators who are seeking issues in storage collections to be addressed, in- mented, and how the future of the initiative will itage – Peak Organisations grant from the New to create practice opportunities within cluding inadequate conditions, overcrowding, look, all within an Australian context. South Wales (NSW) Government’s Office of rural and regional communities; local and dissociation, just to name a few. Environment and Heritage. With funding for government staff tasked with managing In 2011, the Canadian Conservation Institute Daniel Schwartz is a master’s student at the Uni- two years the AICCM and its project partners, cultural heritage; (CCI) and the International Centre for the Study versity of Melbourne. His primary focus is on In-
42 43 Making Conservation • AICCM National Conference 2019 digenous art and artefacts, and preventive conser- Lisa Mansfield is a Master of Cultural Materials CONSERVATION SKILLS SUMMIT vation. Daniel was the 2018 recipient of the Willem Conservation student at the Grimwade Centre. As Snoek Conservation Award. He is currently the con- SC@M President (2018) and Treasurer (2017), Lisa PANELLISTS government collecting organisations, private servation intern at the Museum of Anthropology in co-developed cross-disciplinary workshops and a Grace Barrand1, Julian Bickersteth2, Elizabeth practice, the AICCM, and the student body. The Vancouver, British Columbia. pilot mentorship program – linking students with McCartney3, Gerald Preiss4, Daniel Schwartz5, session closes with a panel discussion, includ- [email protected] professionals. She is co-convenor of the AICCM Marcelle Scott6, David Stein7, Chris Stevenson8 ing an opportunity for audience participation. Emerging Conservators SIG and an AICCM Victo- & Alison Wain9 rian Division committee member. Grace Barrand is the Assistant Frames Conserva- SESSION ORGANISERS tor at the Art Gallery of New South Wales. She has Alice Cannon10 & Jenny O’Connell11 completed frames conservation internships around BEYOND MATERIALS TEACHING: A PROFESSIONAL APPROACH TO Australia and in America. Grace was previously the COLLECTION CARE AFFILIATIONS manager of the Heritage Skills Initiative project 1 Art Gallery of New South Wales undertaken by the International Specialised Skills PRESENTER Understanding the theory of environmental re- 2 International Conservation Services Pty. Ltd. Institute (2017-2019). Jane Henderson sponse must complement the praxis of deliver- 3 Museums Victoria ing those conditions in real world scenarios. The 4 Australian Institute of Aboriginal and Torres Julian Bickersteth worked as a conservator at the AFFILIATION role of real world and complex challenges struc- Strait Islander Studies Museum of Applied Arts and Sciences in Sydney Cardiff University, Cardiff, Wales, turing the assessment of the degree helps en- 5 The Grimwade Centre for Cultural Materials before establishing International Conservation Ser- United Kingdom sure graduates are reality ready. The paper will Conservation, University of Melbourne / Stu- vices in 1986, of which he is currently Chief Execu- consider distinctive aspects of the degree such dent Conservators at Melbourne (SC@M) tive Officer. He is the President of the International Collection care, or preventive conservation, is as the prototype network building of the twin- 6 The Grimwade Centre for Cultural Materials Institute for Conservation of Historic and Artistic something most conservators engage with as ning arrangements, the emphasis on context led Conservation, University of Melbourne Works (IIC). part of their normal practice and is embedded decision making and appraisal, communication 7 David Stein & Co. Conservation in most training programs. If called on to pro- in practice, and the inclusion of teaching on in- 8 Grimwade Conservation Services, University Alice Cannon manages Museums Victoria’s collec- vide recommendations for the hanging of a fluence and value sharing as fundamental to the of Melbourne tion risk management program. She trained in the painting, an art conservator should be able to practice of preventive conservation. 9 Faculty of Arts & Design, University of early 1990s and has worked in a number of organ- offer informed advice. That said, a professional Canberra isations as a paper, photographic materials and/ approach to collection care is far greater than Professor Jane Henderson is an accredited conser- 10 AICCM Vice President / Museums Victoria or preventive conservator. She is currently the Vice an aggregation of knowledge of environmental vator and teaches at Cardiff University. Jane is the 11 AICCM President / Tasmanian Museum and President of the AICCM. conditions for specific material types. Secretary general of IIC, serves on the editorial pan- Art Gallery [email protected] This paper will describe the holistic ap- el of the Journal of the Institute for Conservation, proach to collection care teaching on the Mas- the ICOM–CC preventive conservation working The session examines current ideas, trends and Elizabeth McCartney is the Manager of Conserva- ter of Science (MSc) in Cardiff University, which group, and is on the board of the Welsh Federation innovations in conservation education and em- tion at Museums Victoria and the current President considers the theoretical approach appropriate of Museums. ployment. It builds on the education and train- of the AICCM Victorian Division. She holds a Mas- for a Russel Group University with sufficient [email protected] ing motion passed at the Annual General Meet- ter of Arts in the Principles of Conservation from grounding for a vocational course. The con- ing at the 2017 AICCM National Conference in University College London (2005) and a Master of struction of learning around the role of values, Katoomba, New South Wales. It will also com- Arts (Cultural Materials Conservation) from the standards, and communication as essential te- pare the results of a 2019 survey with those of University of Melbourne (2008). nets of collection care complements the more the Skills Gap Audit undertaken in 2000 by the traditionally recognised aspects of materials AICCM and the Heritage Collections Council. Jennifer O’Connell is the Senior Conservator (Paint- and their decay, monitoring, and the response of After some introductory remarks, eight ing) at the Tasmanian Museum and Art Gallery and cultural artefacts to specific display conditions. speakers will present short six-minute talks ad- the President of the AICCM. She graduated from the dressing the current state and future directions Master of Arts (Cultural Material Conservation) at of conservation training and education in Aus- the University of Melbourne in 2011 and has also tralia. Topics will include student expectations, worked at International Conservation Services and employer expectations, education models, David Stein & Co. skills required of graduates, and the role AIC- CM can play within the education and training Gerald Preiss has worked in cultural heritage pres- landscape. The speakers represent universities, ervation digitisation programs across audiovisual,
44 45 Making Conservation • AICCM National Conference 2019 photographic and print collections for over fifteen Chris Stevenson joined the University of Melbourne years. He was recently co-convenor of the ‘Electron’ in September 2015 as Associate Director, Commer- AICCM SIG for digital and audiovisual preservation cial Services, before taking the position of General and is currently Manager Preservation Digitisation, Manager of Grimwade Conservation Services in Oc- Audiovisual Media at the Australian Institute of tober 2018. He holds an honours degree in Business Aboriginal and Torres Strait Islander Studies. and is a qualified member of the Chartered Institute of Procurement & Supply. Daniel Schwartz is a master’s student at the Uni- versity of Melbourne. His primary focus is on In- Alison Wain is an Objects Conservator with a pas- digenous art and artefacts, and preventive conser- sion for large technology conservation. After stints vation. Daniel was the 2018 recipient of the Willem at Museums Victoria and the Australian War Me- Snoek Conservation Award. He is currently the con- morial, and a PhD exploring the ways in which peo- servation intern at the Museum of Anthropology in ple value, use and care for large technology, she now Vancouver, British Columbia. teaches heritage and conservation at the University of Canberra. Marcelle Scott is a Research Fellow at the Grim- wade Centre, University of Melbourne, where her research focuses on conservation theory, ethics, and pedagogy. She is a recipient of the AICCM Medal, Professional Member of the AICCM, and Fellow of the International Institute for Conservation of His- toric and Artistic Works (IIC).
David Stein is a Paintings Conservator and Direc- tor of David Stein & Co. Conservation. David has worked in both public and private sectors through- out Australia, including at the National Gallery of Australia, Art Gallery of New South Wales, Nation- al Gallery of Victoria and the Museum of Contem- porary Art, Sydney.
46 47 Making Conservation • AICCM National Conference 2019
TIME-BASED MEDIA CONSERVATION IN THE SPOTLIGHT: ACMI’S ble, this project aims to produce regionally rel- Jacinta Sanders is an honours student at the Uni- MEDIA PRESERVATION LAB evant information on the construction of the versity of Canberra who has a passion for object Pleco electrolytic pen to guide future users. conservation. PRESENTER ›› Research, education and knowledge ex- [email protected] Candice Cranmer change with the Grimwade Centre for Cultural Materials Conservation, Univer- AFFILIATION sity of Melbourne Australian Centre for the Moving Image While this MPL is the first of its kind in Aus- ADVENTURES IN NANOTECHNOLOGY: A TEXTILE PERSPECTIVE tralia, the idea of a visible laboratory space for The Australian Centre for the Moving Image visitors to engage with both conservation pro- PRESENTER Staphany Cheng is the current Andrew W. Mellon 1,2 (ACMI) is currently closed for a major redevel- cesses and staff is relatively well tested. As well Staphany Cheng Fellow in textiles at the Los Angeles County Mu- opment. As well as delivering a renewed offer as describing the function of the MPL within seum of Art (LACMA). She holds a Master of Phi- for exhibition display and programming upon ACMI, this presentation will analyse the risks CO-AUTHOR losophy in Textile Conservation from the Center of 1 reopening in 2020, the renewal will include and opportunities such a model presents. It will Laura Maccarelli Textile Conservation and Technical Art History at a purpose-built Media Preservation Lab (MPL). then discuss the shift in conservation practices the University of Glasgow. The glass frontage to this space will make that have led to the making of the MPL and fo- AFFILIATIONS [email protected] the preservation activity and conservation treat- cused conservation work at ACMI. I am keen to 1 Los Angeles County Museum of Art ment conducted within visible to the public at share this experience and begin a dialogue with 2 Andrew W. Mellon Foundation Laura Maccarelli holds a Master of Science in Con- all times, illuminating the work we do in: the AICCM professional group about their expe- servation Science from the University of Bologna. ›› Digital preservation riences, to shape a space that is truly collabora- This paper will present research on the applica- She completed internships in England and Malta ›› Time-based media conservation tive. tion of two different Nanorestore Gels® on tex- before serving as an Andrew W. Mellon Fellow in ›› Digitisation tile substrates and discuss how the results of the the Science lab of the Conservation Center at LAC- ›› Collaborative practice with the Australian Candice Cranmer is the new time-based media experiments informed the treatment proposed MA, where she is now the Assistant Scientist. Research Council (ARC) grants beginning conservator at the Australian Centre for the Moving for a water damaged, 19th century applique this year: Play It Again II Preserving Aus- Image (ACMI). She has worked with ACMI’s Collec- thangka. Successful applications of Nanore- tralian videogame history of the 1990s tion over the past six years and has a keen interest store Gels® have been published for the treat- and Archiving Australian Media Arts: To- in time-based media art conservation and digital ment of works on canvas, works on paper, wall wards a method and national collection preservation. paintings, stone sculptures and waterlogged between ACMI, Flinders University, Swin- [email protected] wood. However, limited experimentation has bourne University and Royal Melbourne occurred for applications on textile objects. Institute of Technology Nanorestore Gel® Peggy 6, a hydrogel based on poly (vinyl alcohol) network, and Nanorestore Gel® Medium Water Retention (MWR, former- INVESTIGATING THE REPRODUCIBILITY OF THE PLECO ELECTROLYTIC ly known as “Max Dry”), a chemical hydrogel PENCIL AS A CONSERVATION TOOL based on a poly(2-hydroxyethyl methacrylate)/ poly(vinylpyrrolidone) semi-interpenetrated PRESENTER accessibility and reproducibility in mind utilis- network, were evaluated. Three fibre types and Jacinta Sanders ing a combination of technical, 3D printed, and three application durations were tested. The ex- ‘hardware store available’ parts. While the tool tent and rate of water movement was quantified AFFILIATION is being employed by several international cul- for each of the gels on each fibre type. Digital University of Canberra tural and collecting institutions there is little microscopy, Fourier-transform infrared (FTIR) information on the process of reproducing the spectroscopy and ultraviolet (UV) photography The Pleco electrolytic pen is a new open source device within Oceania. were utilised to determine if either gel left de- conservation device developed by the Conserva- This research project investigates wheth- tectable residue when applied to the textile sub- tion Research Unit at the University of Applied er the Pleco electrolytic pen can be reproduced strate. Both gels displayed different properties Sciences and Arts of Western Switzerland that in Australia and if full functionality can be and interacted differently across the three fibre proposes a low coat alternative to tradition- achieved by taking a regionally focused ap- types, suggesting that each of the gels is suited al immersion electrochemical treatments in proach to the process. Through employing the to specific fibre types. conservation. The device was developed with use of domestically sourced parts where possi-
48 49 Making Conservation • AICCM National Conference 2019
NEAR INFRARED (NIR) SPECTROSCOPY: COULD THIS BE THE FAST MADE IN MELBOURNE: THE DEVELOPMENT OF MS3, A NEW- AND THE FURIOUS ANALYTICAL METHOD FOR CELLULOSE NITRATE GENERATION REDUCED KETONE VARNISH RESIN IDENTIFICATION? PRESENTERS in with improved properties, including colour, PRESENTER cation and deterioration state. Deborah Lau1 & Carl Villis2 consistency of batch appearance and photo-ox- Elizabeth Anne Carter idative resistance. To do this, a new chemical Elizabeth Carter is the Manager of the Sydney An- AFFILIATIONS manufacturing process was employed, which AFFILIATION alytical Vibrational Spectroscopy Facility, a core 1 The Commonwealth Scientific and Industrial has successfully produced a superior product. Sydney Analytical and School of Chemistry, Uni- research facility of the University of Sydney. Her re- Research Organisation Over the course of two years, seven prototypes versity of Sydney search areas are varied and include the characteri- 2 National Gallery of Victoria were manufactured, each tested for handling, sation of biological cells and tissues, natural glasses visual and chemical properties, and in 2019 the The conservation, preservation and restoration (obsidian, tektites, fulgurites) and cultural heritage In 2014 paintings conservators around the new resin, called MS3, went into production. of cultural heritage objects can be richly en- objects (ceramics, coffins, textiles, pigments, manu- world came to learn that MS2A varnish resin The product is now undergoing detailed testing hanced by the findings obtained from scientific scripts). had ceased production, with little prospect of and product analysis, with the research to be analyses. Assessing and characterising spec- [email protected] reappearing in the foreseeable future. The res- published in the coming year. imens, which may be rare, fragile or priceless in had been highly revered by generations of With MS3 conceived, developed and pro- requires methods that are non-destructive and paintings conservators for its superior qualities duced in Melbourne, the project has demon- preferably non-contact. in handling, appearance and aging properties. strated there are no inherent barriers to Aus- Sydney Analytical (SA) is a core research Facing dwindling stocks, many professionals tralian conservators and scientists taking on facility of the University of Sydney (USYD) of- tried to adapt by turning to other resins, but few ambitious projects with high global impact fering state-of-the-art analytical instrumenta- were able to get satisfactory results. In response within the conservation profession. tion and research support. Facility staff have to this problem, the National Gallery of Victoria been working in close collaboration with the and CSIRO teamed up in 2016 to examine the Deborah Lau is the Research Group Leader, Materi- Sydney University Museums (SUM), the USYD feasibility of reviving production of the much- als for Energy and the Environment, of CSIRO Aus- Rare Books and Special Collections (RBSC) and loved resin. tralia in Melbourne. a number of local museums to develop capabil- A team of CSIRO polymer chemists were [email protected] ities and expertise, which can be offered to the able to recreate the resin following the chemical broader cultural heritage community. process established in the UK in the late 1950s. It Carl Villis is the Senior Conservator of Paintings at The use of near infrared (NIR) spectroscopy soon became evident that there was scope to go the National Gallery of Victoria in Melbourne. as an analytical method is very attractive be- further and create a new generation of the res- cause it not only satisfies the criteria of being non-destructive and non-contact it also offers rapid data collection, with systems that are low- NON-INVASIVE NEUTRON IMAGING FOR THE STRUCTURAL cost and portable. Data analysis can be compli- CHARACTERISATION OF ANCIENT JAPANESE KATANA SWORDS cated due to broad overlapping bands, which often require the use of multivariate statistical PRESENTERS and complementary tomography analyses was methods to enable information to be extracted Sue Gatenby1 & Filomena (Floriana) Salvemini2 undertaken from samples of well documented from the spectra. origin, time period, and authorship to create Recent research, undertaken in collabora- AFFILIATIONS a reference database on the main lamination tion with Australian National Maritime Muse- 1 Museum of Applied Arts and Sciences methods developed by Japan’s sword smiths. um, resulted in the development of a method 2 Australian Nuclear Science and Technology The reference database was cross matched for the rapid identification of cellulose nitrate Organisation with results obtained from the mumei (no sig- (CN) and cellulose acetate (CA) using infrared nature) blades, to attribute their manufacturing reflectance spectroscopy, which operates in the This paper presents a collaborative research tradition based on qualitative and quantitative mid-IR (MIR) spectral region. As an extension project on the forensic study that aims to char- data rather than stylistic characterisations. of this research the capabilities of NIR spec- acterise non-invasively the laminated structure This investigation provides an insight into the troscopy are being explored. The ultimate goal of a set of samurai swords from the East Asian mysteries of the forging of these swords, whose is to develop a method to allow a user to scan a collection of the Museum of Applied and Arts manufacturing was orally transferred from mas- sample and receive an instant sample identifi- and Sciences (MAAS). Neutron residual stress ter craftsmen to their most skilled apprentice.
50 51 Making Conservation • AICCM National Conference 2019
This manufacturing process has left a signature ing malignant plastics in museum collections’. Sue als Conservation and Bachelor of Arts (Hons.). Her by the Master sword maker. holds a Master of Applied Science in the Conserva- research focuses on the public value of conservation In this study we were able to identify and tion of Cultural Materials, University of Canberra. in Australia within a social justice framework. characterise the unknown sword from the col- [email protected] [email protected] lection and attribute it to the tradition common to the Sadatsugu, who were active between 1346 Filomena Floriana Salvemini holds co-responsi- and 1370. bility for the neutron imaging instrument DINGO CHASING THE TAXIDERMIST’S TAIL: EARLY RESULTS IN USING at the Australian Centre for Neutron Scattering | SPECTROSCOPIC ANALYTICAL TECHNIQUES TO RECONNECT Sue Gatenby is the Conservation Scientist at the Australian Nuclear Science and Technology Organ- NATURAL HISTORY SPECIMENS WITH THEIR HISTORIES Museum of Applied Arts and Sciences, and partner isation (ANSTO), Australia. She is also the co-coor- investigator for the Australian Research Council dinator of the strategic scientific research project on PRESENTER In both cases it is necessary to have a thor- Linkage project, ‘A national framework for manag- Cultural Heritage at ANSTO. Celia Cramer1 ough understanding of the materials used in the preparation of a specimen, and in its mainte- CO-AUTHORS nance. AICCM SUSTAINABLE COLLECTIONS WIKI: REFLECTIONS ON Jude Philp2 & Elizabeth Anne Carter1 Use of non-invasive spectroscopic analy- DEVELOPING AN OPEN-ENDED LEARNING COMMUNITY sis in natural history is most often limited to AFFILIATIONS identifying potential health risks (Palmer 2001, PRESENTER practitioners who care deeply about the current 1 Sydney Analytical and School of Chemistry, Shugar and Sirios 2012, Sirois et al 2008). How- MaryJo Lelyveld1 and future access to the material they conserve, University of Sydney ever, these techniques may reveal details about the stakeholders for whom the cultural material 2 Macleay Collections, University of Sydney preservation chemicals, those who preserved CO-AUTHOR is so meaningful, and sustainable practices. specimens, and caretakers who maintained Ainslee Meredith2 The paper highlights three key areas in the During the eighteenth and nineteenth cen- them. We will present early results where spec- development of the AICCM Sustainable Collec- turies, millions of animals were collected, troscopic analysis has provided information AFFILIATIONS tion wiki: preserved, traded, and incorporated into col- that contributes to reconnecting specimens to 1 AICCM Sustainable Collections Committee ›› Evolving narratives of practice that re- lections around the world. Each animal was pre- their life histories. Convenor spond not only to stakeholder needs and pared with a variety of chemicals and recipes to 2 PhD Candidate, Grimwade Centre for Cultural interest such as advocacy, but reflect ac- preserve specimens. Celia Cramer is Principal Conservator of Celia Cra- Materials Conservation tion over theory by highlighting profes- Natural history specimens are no longer the mer Conservation. She has a Bachelor of Cultural sional assumptions and ‘blind spots’ mainstay of museum exhibits, nor the hallmark Heritage Conservation, Bachelor of Arts (Archae- In 2016, the AICCM Sustainable Collections ›› Creating communities that are respect- of a fashionable home. These formerly celebrat- ology) and is undertaking a Master of Philosophy Committee set as one of its key tasks the devel- ful, critical and curious as a means of ed objects are often relegated to storerooms (Science) at the University of Sydney with the sup- opment of a wiki resource for AICCM members responding to change and emergent con- due to changes in public interest and concerns port of an Australian Research Council (ARC) post- to collate publications and case studies relating text for practice around toxicity. Many have been separated from graduate research scholarship. to sustainable conservation practice. This was ›› Aggregating and evaluating current re- their collection records leaving them orphaned [email protected] determined to include: resourcing conservation, search and science around specific topics from information about field-collection, trade, greening conservation practice from treatments storage, and exhibition. Elizabeth Carter is the Facility Manager for Syd- to collection care, and developing proactive MaryJo Lelyveld is Coordinating Conservator at Yet natural history specimens remain im- ney Analytical, a research facility of the University strategies for disaster planning and community the National Gallery of Victoria, where she previ- portant resources for research into environmen- of Sydney offering analytical and research sup- access and engagement. This presentation will ously worked as Conservator of Frames and Furni- tal change and species decline. Increasingly, re- port. Elizabeth has a Doctor of Philosophy in Chem- launch the AICCM Sustainable Collections wiki ture. She served as AICCM President (2013-2017) searchers are returning to museum collections istry, and is Joint Chief Investigator for the ARC and describe the aims and process that have led and is now chair of the AICCM Sustainable Collec- to aid their understanding. Linkage G Project ‘Reconstructing museum speci- to its formation. tions Committee. MaryJo holds a Bachelor of Ap- As conservators, we are faced with two chal- men data though pathways of global commerce’. In developing the wiki, we have also had plied Sciences and a Master of Strategic Foresight. lenges: occasion to reflect on the process of creating a [email protected] 1 To extend the life of specimens so they Jude Philp is Senior Curator of the Macleay Collec- wiki for a community of conservation practi- can remain a useful resource tions (Sydney University). Jude has a Doctor of Phi- tioners. With a broader aim of addressing the Ainslee Meredith is a PhD candidate, teaching 2 To facilitate users of the collection by losophy in Social Anthropology, University of Cam- issue of the viability of conservation in a world and research assistant with the Grimwade Centre identifying specimens most likely to yield bridge, and is Lead Chief Investigator for the ARC with economic and environmental constraints, for Cultural Materials Conservation, University of useful data for biological and environ- Linkage G Project ‘Reconstructing museum speci- it is crucial to develop productive links between Melbourne. She holds a Master of Cultural Materi- mental research men data though pathways of global commerce’.
52 53 Making Conservation • AICCM National Conference 2019
IDENTIFICATION AND SUBSEQUENT CONTROL AND HOUSING CAN LIGHTNING STRIKE TWICE? THE REASSEMBLY OF THE KARNAK STRATEGIES FOR THE PHARMACEUTICAL COLLECTIONS, MUSEUMS FULGURITE AT MUSEUMS VICTORIA VICTORIA PRESENTERS Sarah Babister is an Objects Conservator at Mu- PRESENTER ing segregation of substances in lockable and/ Sarah Babister & Danielle Measday seums Victoria who works on facilitating access to Rosemary Goodall or dangerous goods containers. We also needed the Museum’s vast collection through exhibitions to implement protocols for continued access, CO-AUTHORS and loans. She is passionate about the role conser- CO-AUTHORS monitoring and display of pharmaceutical ma- Stuart Mills & Oskar Lindenmayer vation can play in exhibition development and has Hannah Perkins, Marita Dyson & Nick Crotty terial. a long-term interest in implementing innovative AFFILIATION display and preservation strategies for collections AFFILIATION Dr Rosemary Goodall, Materials Scientist at Mu- Museums Victoria on display. Museums Victoria seums Victoria is involved in the identification of materials in collections, focusing on the identifi- In 1959 the longest recorded specimen of fulgur- Danielle Measday is the Conservator of Natural Museums Victoria houses an extensive collec- cation of hazardous substances utilising Elemen- ite in Victoria was discovered in the sand hills of Sciences at Museums Victoria. She works closely tion of medical and pharmaceutical items col- tal and Vibrational spectroscopy. Recent research Karnak. Measuring 1.5 metres in vertical length, with collection managers, curators and researchers lected over the past 160 years. Many of these includes poisons on Malaysian darts, plastics and the specimen was formed by a discharge of light- across zoology, palaeontology, and geology fields to items fall under scheduled/controlled sub- polymer coatings, and pharmaceuticals in the Mu- ning penetrating and fusing the sand along its facilitate access, manage preservation projects and stance regulations including the Standard for seum’s collections. path. The silica glass tubes created by lightning conduct research to ensure best practice care for the the Uniform Scheduling of Medicines and Poisons [email protected] are notoriously brittle and thin walled. Unequal collection. (SUSMP) and The Australian Dangerous Goods contraction of the glass upon cooling produces [email protected] Code. Both of these legislative documents in- Nick Crotty, Collection Manager for Society and fine cracks, which rapidly weather resulting in clude provisions for the correct storage, hous- Technology at Scienceworks, cares for one of Mu- the specimen breaking into segments. Fulgur- Oskar Lindenmayer is Collection Manager of Geo- ing, and movement of these substances. seums Victoria’s larger collection stores, as well as ites of significant length are a rare find. sciences at Museums Victoria. He is responsible for Museums Victoria staff lacked a detailed managing the Numismatic and Philately collec- The collectors of the Karnak fulgurite sys- managing and preserving Victoria’s State Collec- understanding of this type of material in our tions. He provides collection access and expertise tematically extracted it from the ground seg- tions of minerals, gemstones, rocks, ores, meteorites, collection due to limited information provided for public enquiries, exhibition, and conservation ment by segment and reassembled for display and tektites. He maintains and improves the digital at the time of acquisition, and an historical in- projects. in the National Museum of Victoria (now Mel- collection database and facilitates access of the col- ability to conduct in-house materials analysis. bourne Museum) where it remained on exhi- lections for the purposes of research, education, and Consequently, as part of a broader investigation Marita Dyson is a Collection Manager with 15 bition from the early 1960s until 1990. When exhibition. into the hazardous substances in the Museum’s years’ experience working in collection manage- removed from display, the Karnak fulgurite was collections, we undertook an audit to identify, ment, research, and creative capacities across the accidentally fractured into pieces. For nearly 30 Dr Stuart Mills is the Senior Curator of Geoscienc- photograph, and describe pharmaceutical and/ GLAM sector. A former Health & Safety Represen- years it has remained fragmented and spread es at Museum Victoria and specialises in the study or controlled substances in our collection man- tative and ‘Hazardous Substances in Collections’ across multiple vials in the collection. The level of secondary minerals and how they form, using a agement database, EMu. A crucial part of this committee member, Marita is currently secretary of of detail provided in field notes, still images and variety of methods including X-ray diffraction, syn- process was identifying relevant standards and Museums Victoria’s Society and Technology Acqui- archives from the time of its collection, provide thesis, and chemical/isotopic techniques. He works codes for substances in our care. sition Committee. a complete record of its appearance prior to the on minerals from deposits in Australia, as well as This paper covers the processes used to damage. France and USA. achieve the correct identification, storage and Hannah Perkins is a Collection Manager for Soci- The conservation and mineralogy depart- procedural management of this material, which ety and Technology collections at Museums Victo- ments of Museums Victoria collaborated on allowed us to successfully obtain an upgraded ria. She sits on the ‘Hazardous Substances in Col- a project to return the fulgurite to its original Poisons Permit from the Victorian Department lections’ Committee and Sustainability Advisory form. This presentation will track the journey of of Health and Human Services. This involved Group. Her special interests include collection/ its reassembly, including mapping the original the implementation of a specialised storage community access, clothing and textile collections, shape and dimensions of the specimen, analy- solution to house a number of high security and and sustainable museum practice. sis and removal of aged adhesives, filling losses, dangerous goods cabinets to meet requirements adhering breaks and designing a system for safe of the standards, codes and building legislation. storage and handling. The movement of items required detailed risk assessments and specialised processes includ-
54 55 Making Conservation • AICCM National Conference 2019
THE ONLINE HERITAGE RESOURCE MANAGER: A POLYMER DATABASE graduated as an objects conservator in 2001. Her Ailie Smith is a Senior Research Archivist in both FOR THE MUSEUM INDUSTRY work involves the development and implementa- the Digital Scholarship Program and the eSchol- tion of processes that favour access and ongoing arship Research Centre at the University of Mel- PRESENTER ogies, as well as reference polymer and degra- preservation of collections. Current projects include bourne. Her work includes documenting archival Julianne Bell1 dation information. This lightning talk will in- managing plastics, and preservation environments. collections, building and maintaining databases, troduce the PolyMuse OHRM to the Australian and the development and implementation of data- CO-AUTHORS conservation community, including its devel- base outputs, including online content. Karina Palmer2, Alice Cannon2, Ailie Smith3, Ga- opment, structure, functionality and future re- van McCarthy3 & Petronella Nel1 search potential. FOCUSING ON PLASTICS IN ARCHIVES: HISTORY, DEGRADATION, AND AFFILIATIONS Julianne Bell is a doctoral researcher investigating RESEARCH 1 The Grimwade Centre for Cultural Materials strategies to improve the management and preser- Conservation, University of Melbourne vation of three-dimensional plastic objects. She is PRESENTER sustainable, low-budget solutions. Finally, spe- 2 Museums Victoria conducting interviews with academics and profes- Cancy Chu cific research and training goals of PolyMuse, a 3 eScholarship Research Centre, University of sionals to establish the international context for collaborative Australian plastics research proj- Melbourne plastics conservation research and strategies and is CO-AUTHOR ect, will be described. keen to hear from people with a range of experience Petronella Nel Focusing on plastics in archives is crucial A key advantage of the collaborative project, and expertise. not only for the benefit of future generations, PolyMuse, is its ability to bring together a sig- [email protected] AFFILIATION but also for the development of the conservation nificant quantity and range of data about plas- The Grimwade Centre for Cultural Materials profession. In order to address the challenges of tic collection items from different institutions Alice Cannon manages Museums Victoria’s collec- Conservation, University of Melbourne modern materials, conservators must rethink around Australia. Ongoing collection surveys tion risk management program. She trained in the institutional practices to best sustain the collec- are generating description, condition, storage, early 1990s and has worked in a number of organ- Archives offer users direct access to historical tions within them. analysis and treatment information. Ensuring isations as a paper, photographic materials and/or documentation, often in the original materials data is comparable, accessible and well-main- preventive conservator. Her Master of Arts by Re- of creation. Although traditionally dominated Acknowledgements: This research was support- tained presents a major data management search investigated late 19th and early 20th century by paper, archival collections began acquir- ed by The University of Melbourne through challenge. To address this issue, a model of the adhesives for paper substrates. ing plastics after the introduction of cellulose the Melbourne Research Scholarship (MRS), Online Heritage Resource Manager (OHRM) is nitrate film in 1889. In modern times, it is sus- and by the Australian Government through the being developed, facilitated by the eScholarship Gavan McCarthy was appointed Director of the pected plastics have become a substantial com- Research Training Scholarship (RTS) and the Research Centre at the University of Melbourne. eScholarship Research Centre, University of Mel- ponent of archives, in the form of photographic, Australian Research Council’s Linkage Projects The OHRM is a contextual information bourne in 2007, and Associate Professor in 2013. magnetic, optical, and digital records. Further- funding scheme (project LP160100160). management system capable of integrating data Gavan’s research interests encompass the history more, the development of plastic as an alter- from a wide range of sources into a relation-fo- and archives of Australian science; contextual in- native to paper, wood, metal, and textiles has Cancy Chu is a PhD student at the Grimwade Cen- cused data curation, analysis and visualisation formation frameworks; archival science, the pres- altered book and paper printing, binding, and tre at the University of Melbourne researching the toolset. Relational databases allow contextual ervation of knowledge, and utilisation of network storage technologies. Plastics in archives pose conservation of plastics in archives. She holds a information across multiple institutions and science in social and cultural informatics. a challenge to conservators, due to their propri- Master of Cultural Materials Conservation from object types to be gathered and analysed in flex- etary formulations and lack of available treat- the University of Melbourne specialising in works ible, interrelated ways revealing previously un- Dr Petronella Nel is a Senior Lecturer at the Grim- ment and storage conventions. on paper, and a Bachelor of Arts from Reed College, recognised connections. The OHRM provides wade Centre, University of Melbourne. She is lead- This paper argues for greater attention to the Portland, Oregon. a central location to combine, relate, search, ing a collaborative Australian Research Council conservation of plastics in archives, by refram- [email protected] analyse and output data and is anticipated to Linkage Project ‘A national framework for manag- ing plastics as a significant portion of archival develop into an effective research tool to anal- ing malignant plastics in Museum Collections’. She materials. A chronological outline of the types Petronella Nel is a Senior Lecturer at the Grim- yse attributes between polymers, object types, is interested in developing analytical techniques for and history of plastics in archives will trace their wade Centre at the University of Melbourne. She is deterioration issues, storage environments and characterising materials in order to inform their development in various record-making forms. leading a collaborative Australian Research Coun- more. Over time, a public-facing online output preservation. A summary of the degradation issues of plastics, cil Linkage Project ‘A national framework for man- will provide a vital resource for the conservation [email protected] along with a critical assessment of conservation aging malignant plastics in Museum Collections’. community including a repository of survey re- techniques employed for each object type, will She is interested in developing analytical tech- sults, object images, treatment reports, infrared Karina Palmer works at Museums Victoria as Se- be used to highlight gaps in current knowledge, niques for characterising materials to inform their spectra, identification and survey methodol- nior Conservator of Collection Preservation. She particularly the need for greater examination of preservation.
56 57 Making Conservation • AICCM National Conference 2019
3D-PRINTING PRINTING IN ART: MATERIAL SUSCEPTIBILITY AND MEASURING AND MITIGATING MERCURY GASES IN THE MUSEUMS STRATEGIES FOR LONG-TERM PRESERVATION VICTORIA COLLECTION PRESENTER PRESENTERS tion of this hazard will reduce the risks to staff Evan Tindal1 Deborah Lau is the Research Group Leader, Materi- Rosemary Goodall & Danielle Measday health and contamination of other collection als for Energy and the Environment, of CSIRO Aus- materials. CO-AUTHORS tralia in Melbourne. CO-AUTHORS Nicole Tse1, Petronella Nel1, Deb Lau2 & Andrea Stuart Mills & Oskar Lindenmayer Dr Rosemary Goodall, Materials Scientist at Mu- O’Connor3 Petronella Nel is a Senior Lecturer at the Grim- seums Victoria is involved in the identification of wade Centre, University of Melbourne. She is lead- AFFILIATION materials in collections, focusing on the identifi- AFFILIATIONS ing a collaborative Australian Research Council Museums Victoria cation of hazardous substances utilising Elemen- 1 The Grimwade Centre for Cultural Materials Linkage Project ‘A national framework for manag- tal and Vibrational spectroscopy. Recent research Conservation, University of Melbourne ing malignant plastics in Museum Collections’. She This paper documents a recent project to mea- includes poisons on Malaysian darts, plastics and 2 The Commonwealth Scientific and Industrial is interested in developing analytical techniques for sure and mitigate hazardous mercury vapour polymer coatings and pharmaceuticals in the Mu- Research Organisation characterising materials in order to inform their in storage cabinets across Museums Victoria’s seum’s collections. 3 Department of Biomedical Engineering, Uni- preservation. collections. Surveying in the Museums Victo- [email protected] versity of Melbourne ria collections for hazardous substances using Andrea O’Connor is the Head of the Department of X-Ray fluorescence spectrography highlighted Danielle Measday is the Conservator of Natural 3D printing is a fairly ubiquitous term today, due Biomedical Engineering and leads the Tissue Engi- the presence of mercury chloride pesticide in Sciences at Museums Victoria. She works closely in part to the dissemination of the manufactur- neering Group at the University of Melbourne. Her many parts of the collection, particularly bird with collection managers, curators, and researchers ing technique to a wide variety of applications. research is focussed on design, synthesis and fabri- skins and First Peoples collection items. Other across zoology, palaeontology, and geology fields to While initially employed as a prototyping tool cation of biomaterials, porous materials and anti- sources of mercury were also investigated in- facilitate access, manage preservation projects and for product development, those days are a thing microbial nanomaterials. She is particularly inter- cluding scientific equipment containing liquid conduct research to ensure best practice care for the of the past. The advent of new printing process- ested in strategies for scale-up of tissue engineering. mercury, and mercury minerals in the Geosci- collection. es and print materials, coupled with the democ- ences collection. ratisation of this equipment, has introduced Dr Nicole Tse is part of the research and teaching The headspace in cabinets known to con- Oskar Lindenmayer is Collection Manager of Geo- this technology to many new end users – artists team at the Grimwade Centre, University of Mel- tain a potential source of mercury vapour were sciences at Museums Victoria. He is responsible for included. Indeed, artist adoption of these man- bourne. Tse’s research focuses on the development analysed using a Jerome J405 portable mercury managing and preserving Victoria’s State Collec- ufacturing methods in the production of their and support of regionally relevant conservation vapour meter. The results of the first round of tions of minerals, gemstones, rocks, ores, meteorites, work is prolific, which means that conservators approaches for artworks in tropical Southeast Asia, testing showed levels of mercury vapour could and tektites. He maintains and improves the digital are tasked with the preservation of these mate- under the auspices of Asia Pacific Tropical Climate be considerably above 25 μg/m3, the Australian collection database and facilitates access of the col- rials. Moreover, 3D printers primarily employ Conservation Art Research Network (APTCCARN). time weighted average (TWA) exposure stan- lections for the purposes of research, education, and plastic polymers and these materials tradition- dard for an 8-hour workday, in cabinets of bird exhibition. ally present long-term stability challenges. skins and First People’s artefacts treated with This presentation will provide an overview of mercuric chloride pesticides. Results above 150 Dr Stuart Mills is the Senior Curator of Geoscienc- the susceptibility of common 3D printed poly- μg/m3, the temporary emergency exposure lev- es at Museums Victoria and specialises in the study mers to photooxidation, emphasising the prac- el (TEEL), were measured in the mineralogy col- of secondary minerals and how they form, using a tical implications for conservators and recom- lection. variety of methods including X-ray diffraction, syn- mendations intended to address these. Mitigation strategies have being imple- thesis, and chemical/isotopic techniques. He works mented, including enclosing mercury contain- on minerals from deposits in Australia, as well as Evan Tindal has worked in archaeological con- ing species of minerals in gas barrier film, vent- France and USA. servation across the United States and Australia, ing high risk cabinets to dissipate vapour before including Conservation Manager for the Florida accessing specimens, and engineering controls Bureau of Archaeological Research. He holds a during the handling of specimens. A second Bachelor in Anthropology (Grinnell College), Mas- round of mercury vapour testing confirmed the ters in Cultural Materials Conservation (University efficacy of the mitigation strategies in place so of Melbourne) and is finalising his PhD thesis ex- far and extended the number of cabinets tested. ploring 3D printed plastic photooxidation. Future plans for this project and further mitiga- [email protected]
58 59 Making Conservation • AICCM National Conference 2019
MAKING CONSERVATION CONNECTED
CONSERVATION TIPS, TRICKS, AND FAVOURITE TOOLS: THE THINGS YOU NEVER KNEW YOU COULDN’T LIVE WITHOUT
PRESENTER Wendi Powell is a Senior Paper Conservator at Wendi Powell International Conservation Services (ICS), where she has worked since 2007. Wendi originates from CO-AUTHOR Canada, where she obtained a Bachelor of Arts (Ar- Jennifer Todd chaeology), a Diploma in Heritage Resources, and a Diploma in Collections Conservation and Manage- AFFILIATION ment. She is a professional member of AICCM. International Conservation Services [email protected]
A recent AICCM New South Wales division event Jennifer Todd has worked as a Graduate Paper highlighting tips, tricks and our favourite tools, Conservator at ICS since January 2019. Jennifer showed just how useful and insightful it is to graduated from the University of Melbourne with hear from the experiences of others throughout a Masters of Cultural Materials Conservation in conservation. Given the success of this event we 2018. She is also a member of AICCM. created this interactive poster, which presents a [email protected] compilation of images and information on tips, tricks and favourite tools from conservators all around Australia, as well as overseas. Some of these include: ›› How to reduce dents in a Chinese silk and paper screen ›› Magnifying attachments for phone cam- era lenses ›› Use of a medical clamp tool to hold ten- sion when performing paper repairs ›› Silicone tip ‘brushes’ (Colour Shaper)
60 61 Making Conservation • AICCM National Conference 2019
MAKING CONSERVATION SUSTAINABLE at National Museums Scotland since 1995 after Dr Lore Troalen has been working as Analytical graduating in Conservation and Restoration stud- Scientist at National Museums Scotland since ies at Lincoln College of Art. He works on mixed me- 2005. Her field of expertise includes the use of dia artefacts including metals, organics, stone and non-invasive X-Ray based techniques for the study GREEN AND CLEAN? INVESTIGATING BIO-SOLVENTS AS ECO- ceramic. of museum objects, as well as Liquid Chromatogra- FRIENDLY, LESS TOXIC SUBSTITUTES FOR WHITE SPIRIT IN WAX phy and Mass Spectrometry for the study of natural REMOVAL ON METALS and synthetic dyestuffs.
PRESENTER bing, poulticing and in emulsions with aqueous Thea Christophersen1,2 xanthan gel. The results were assessed by DSLR SUSTAINABLE CONSUMPTION IN CONSERVATION TRAINING: AN photography with and without ultraviolet light- ICCROM CASE STUDY CO-AUTHORS ing. James Hales1, Lore Troalen2, Edith Sandström2, This research is intended for all conserva- PRESENTER suppliers, contractors, and participants. Where Jane Clark2 & Charles Stable2 tion professionals who are interested in adopt- Emily Keppel material consumption couldn’t be eliminated, ing more eco-friendly, less toxic materials. This careful planning aimed to reduce levels of con- AFFILIATIONS was a dissertation submitted in partial fulfil- AFFILIATIONS sumption, alongside creative thinking to select 1 Institute of Archaeology, University College ment of the requirements of the degree of MSc International Centre for the Study of the Preser- materials that could be reused, composted or London of the University College London in 2019. vation and Restoration of Cultural Property recycled. 2 National Museums Scotland, Collections Ser- State Library Victoria The anticipated benefits of a zero waste vices Department Thea Christophersen is an emerging professional training course are economic, by saving on op- based in the United Kingdom and Scandinavia with As the conservation profession becomes more erating costs and supporting local industries; This study concerns the application of bio-sol- a Master of Arts degree in Principles of Conserva- environmentally conscious, there is a growing environmental, by reducing resource use and vents; d-limonene, dipentene, isopropyl palmi- tion and Master of Science in Conservation for Ar- impetus to incorporate sustainable consump- pollution; and social, by enhancing reputation tate and isopropyl myristate, to substitute white chaeology and Museums from University College tion and production into training courses, work- and educating the participants. spirit in cleaning waxed metal artefacts. Conser- London (UCL). Her professional interests include shops or conferences. A zero waste event aims to vators rely on white spirit to remove wax with- metal conservation and applied sustainability in eliminate or reduce any waste generated and to Emily Keppel is a Preservation Technician at State out risking damage to metal surfaces. White conservation practice. divert as much non-hazardous waste as possible Library Victoria. She holds a Bachelor of Arts spirit has harmful health effects, and a large car- [email protected] from landfill through initiatives to repurpose, (Hons.) and a Master of Cultural Materials Conser- bon footprint due to its manufacture from fossil recycle or compost. Small-scale events provide a vation from the University of Melbourne. In 2019, fuels and large-scale use. The four novel bio-sol- Jane Clark is Principal Artefact Conservator at useful starting point for sharing zero waste ini- she interned at the International Centre for the vents have benefits of renewable plant origins National Museums Scotland. Her background is in tiatives with colleagues. They also offer a valu- Study of the Preservation and Restoration of Cultur- and potential reduced toxicity. They have simi- field archaeology and archaeological conservation. able way to test how sustainable consumption al Property (ICCROM). lar solubility as white spirit, but otherwise vary might work on a larger scale within a cultural [email protected] in properties which may affect their appropri- Dr James Hales works at the UCL, Institute of Ar- institution. ateness for conservation. chaeology, as Senior Teaching Fellow with responsi- A zero waste initiative was trialled by the The performance of the bio-solvents was bility for teaching and coordinating courses for the International Centre for the Study of the Pres- compared against white spirit in technical MA and MSc in archaeological and heritage conser- ervation and Restoration of Cultural Property cleaning experiments. This included testing vation. His recent research focuses on the complex (ICCROM) during its 2019 courses, ‘Commu- each solvent on the degree of swelling and sol- interactions that take place between bats, people nication and Teaching Skills in Conservation ubility of selected waxes (historic and current). and religious heritage. Science’ in Arita, Japan, and ‘Planning new ex- Emphasis was put on the efficacy, precision and hibitions: conservation, communication, com- residues when swabbing the solvents to clean Edith Sandström finished her Master of Chemistry munity’ in Vientiane, Laos PDR. Course organ- waxed steel coupons. The results were evaluat- at the University of York, writing her master thesis isers and participants were encouraged to make ed by ultraviolet photomicroscopy and Fouri- on the application of SIMS for isotope analysis. conscious choices and modify their activities to er-transform infrared spectroscopy with specu- Currently, she is a PhD student working with the limit the amount of waste generated during the lar reflection (punctual analysis and mapping). University of Edinburgh and National Museums courses. Delivering these zero waste training The results informed experiments on an iron Scotland, focussing on the chemical analysis of dye- courses has necessitated good communication, bracket with a 27-year-old microcrystalline wax stuffs in Renaissance embroideries. collaboration and commitment from everyone coating from the National Museums Scotland involved, including the organisers, partners, collections. The solvents were tested by swab- Charles Stable has been an Artefacts Conservator
62 63 Making Conservation • AICCM National Conference 2019
PLASTICS CONDITION SURVEY AT MUSEUMS VICTORIA: MAKING CONSERVATION INNOVATIVE METHODOLOGY AND PRELIMINARY RESULTS
CO-AUTHORS vulnerable segment of the collection. WATCHING THE TRENCHES: VISITOR MOTION DETECTION ON THE Karina Palmer1, Rosemary Goodall1, Alice Can- AUSTRALIAN WAR MEMORIAL DIORAMAS non1, Elizabeth McCartney1, Ellen Burrows1, Ju- Julianne Bell is a doctoral researcher investigating lianne Bell2 strategies to improve the management and pres- PRESENTER programming interface allows the user to select ervation of three-dimensional plastic objects. She Jacqueline Jordan areas on the video stream that mark out zones AFFILIATIONS is conducting interviews with academics and pro- with specific alarm settings. The zone directly 1 Museums Victoria fessionals to establish the international context for CO-AUTHOR over the diorama can be selected so any move- 2 The Grimwade Centre for Cultural Materials plastics conservation research and strategies. She is Alana Treasure ment in this area will trigger an audible alarm Conservation, University of Melbourne keen to hear from people with a range of experience in the gallery space, as well as initiate video feed and expertise. AFFILIATION to the security control monitor. This new sys- Museums Victoria (MV) has conducted condi- tem has greatly increased the AWM’s ability to tion surveys of plastic objects in its collections Ellen Burrows is the Senior Coordinator of EMu at Australian War Memorial as a partner in the Australian Research Council Museums Victoria. prevent visitor interference and to enable rapid Linkage Project, Developing a framework for the The dioramas on open display in the galleries of response. It additionally visually captures the management of malignant plastics in collections Alice Cannon manages Museums Victoria’s collec- the Australian War Memorial (AWM) are a key incident allowing review. (project LP160100160). This poster presents the tion risk management program. She trained in the attraction for many visitors; however, frequent development of the methodology and some pre- early 1990s and has worked in a number of organ- visitor interaction has prompted implemen- Jacqueline Jordan is acting Preventive Conserva- liminary findings from the survey. isations as a paper, photographic materials and/or tation and review of a motion sensor system. tion Officer at the Australian War Memorial in The survey uses Fourier-transform infra- preventive conservator. Her Master of Arts by Re- Nearly every week visitors interfere with the di- Canberra. Jacqueline’s professional foundation is red spectroscopy polymer identification and search investigated late 19th and early 20th century oramas, which sometimes causes damage such in objects conservation, which was preceded by a detailed condition reporting. Considerations in adhesives for paper substrates. as snapped branches, detached weapons and Bachelor of Cultural Heritage Conservation (Uni- developing the survey include: deciding which other model components, as well as depositing versity of Canberra) and a Master of Cultural Mate- condition data to collect, developing useful qual- Dr Rosemary Goodall, Materials Scientist of Muse- contaminants such as chewing gum. Initially rials Conservation (University of Melbourne). itative descriptors and controlled terminology, ums Victoria is involved in the identification of ma- Passive Infrared Sensors (PIRs) were installed [email protected] working with the existing collection database terials in collections focusing on the identification on each diorama to activate an audible alarm in (KE EMu), formatting data input to streamline of hazardous substances utilising elemental and the gallery space in response to movement. Due Alana Treasure has been Senior Paintings Con- future data migration, and collecting data with vibrational spectroscopy. Recent research includes, to the low directional accuracy of these sensors, servator at the Australian War Memorial for over multiple end-users in mind – to successfully poisons on Malaysian darts, plastics and polymer the alarms were inconsistent in their detection 10 years, and led the Diorama Conservation Proj- coatings and pharmaceuticals in the Museum’s col- meet both MV’s goals and those of the project. of movement. This resulted in alarms sounding ect. She has a strong interest in materials analysis, To date the survey has focussed on small, lections. when visitors were not interacting with the di- holding a Bachelor of Science, Chemistry (Univer- accessible objects, including toys, clothing ac- oramas, and not sounding when they were. sity of Adelaide) and a Master of Applied Science, cessories and cameras. Generally, plastics such Elizabeth McCartney is the Manager of Conserva- Earlier this year the AWM was able to trial Conservation of Cultural Materials (University of as Bakelite, polystyrene, polycarbonate, poly- tion at Museums Victoria and the current President alternative sensors that utilise innovative video Canberra). ethylene and polypropylene show little visible of the Victorian Division of the AICCM. She holds a motion detection and analytics technology. The degradation beyond scratching, abrasion and Masters in the Principles of Conservation from Uni- dirt deposition associated with use. Many items versity College London (2005) and a Masters in Cul- made from cellulose nitrate, cellulose acetate, tural Materials Conservation from the University of polyvinyl chloride, polyurethane and rubber ex- Melbourne (2008). UNBLOCKING THE MAX DUPAIN NEGATIVES hibit the chemical degradation expected of these plastics, with items made from rubber the most Karina Palmer works at Museums Victoria as Se- PRESENTER ing digitisation as part of the SLNSW Digital likely to be in poor or unacceptable condition. nior Conservator of Collection Preservation. She Lang Ngo Excellence Program. A small number of the MV’s survey results will be included in a graduated as an objects conservator in 2001. Her negatives have been found “blocked” or stuck shared database for plastic collections within work involves the development and implementation AFFILIATION together with other negatives, or with their con- Australia. As examples of plastics aged in ‘re- of processes that favour access and preservation of State Library of New South Wales tact prints. The images are inaccessible without al-time’, the results from MV’s survey can inform collections. Current projects include managing plas- conservation treatment and there are no dupli- lifetime projections for other, similar objects and tics, and preservation environments. The State Library of New South Wales (SLNSW) cate images for these items. Standard options materials. The results will also assist MV to de- [email protected] acquired the photographic archives of Max for unblocking negatives in the past have in- velop a management strategy for this large and Dupain in 2012, and these have been undergo- cluded immersion baths and mechanical sepa-
64 65 Making Conservation • AICCM National Conference 2019 ration, both with mixed results. ADDITIONAL NOTES One study by Alisha Chipman from the Na- tional Museum of African-American History and Culture in ‘Topics in Photographic Preser- vation’ (vol. 15, 2013) details several different approaches. In one approach the blocked nega- tives were immersed in water, frozen when wet, and then separated whilst still frozen. The idea being that, when frozen, the water crystals in the sodden negatives expand and push against the film base creating a slight separation. Ideally, the negatives or prints can then easily peel away from each other, causing minimal damage. The results from this study were promis- ing and this poster details the test treatments undertaken on the Dupain negatives and prints using it as a reference guide.
Lang Ngo graduated from the University of Canber- ra with a Bachelor of Applied Science in the Conser- vation of Cultural Materials, specialising in paper conservation. She has been employed by the State Library of New South Wales since 2001 in various roles and has been the Senior Conservator, Digitisa- tion since 2018. [email protected]
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ADDITIONAL NOTES ADDITIONAL NOTES
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ADDITIONAL NOTES ADDITIONAL NOTES
70 71 Making Conservation • AICCM National Conference 2019
KOORIE HERITAGE TRUST SCAR TREE WALK
The Koorie Heritage Trust Scar Tree Walk is a cul- tural journey that connects the traditional and con- temporary Aboriginal culture and history of the local Kulin Peoples. Beginning at the Koorie Heritage Trust (KHT), the walk takes in the Birrarung Wilam (Common Ground) Aboriginal art installations, which gives a Kulin perspective to the knowledge you will gain during your walk to the Scar Trees. The gentle walk with one of the friendly Koorie guides continues across the William Barak Bridge that crosses over Batman Avenue, taking in the stories of two signif- icant figures that shaped the history of Melbourne SEE THE SIGHTS for both the local Aboriginal people and the settlers. Once over the bridge you will enter a traditional Kulin Nations meeting place thousands of years old that has become a significant contemporary meeting place for Melbournians and Victorians to- day. Here you will learn of the ongoing use of local Aboriginal culture in the setting of major sporting MELBOURNE STREET ART TOURS events at the MCG before finishing at protected cultural heritage sites, the Scar Trees, and under- Melbourne Street Art Tours will take you through the streets of Melbourne and show you technical standing what they can tell us today about a history and culture that is 60,000 years old. aspects involved in spray painting, stencil art and paste-ups, who the various street artists are and the role they have played in making Melbourne one of the most important destinations in the world for Tour participants: Meet at the Koorie Heritage Trust reception area at Federation Square Street Art. There will be a focus on the more social and political aspects of Street Art. What political statements are the artists making? Are they important enough to be seen as art…or is it just graffiti Look for T2 in the map on page 74 after all? This CBD tour incorporates practicing Melbourne street artists as your guides and will end at the Cost: $33 pp famous Blender Studios where participants will get an exclusive VIP tour of both the studios and the Date: Saturday, 16 November gallery. Here they can meet and chat with artists like the infamous Junky Projects and Ruskidd, over Start time: 10am a cold beer or a glass of wine. Duration: 2 hours
Tour participants: Meet at the Flinders Street entrance of ACMI, under the ACMI sign Note: Bookings for this tour will stay open until 5pm on Thursday 14th November. A minimum of 10 people is required for this tour to go ahead. In the event that the tour is cancelled, a refund will be provided. Look for T1 in the map on page 74
Costs: $65 pp includes tour and refreshments (beer, wine & market-fresh produce) at Blender Studios Date: Saturday, 16 November Start time: 10am Duration: 2.5 hours (including Studio visit)
Note: Bookings for this tour will stay open until 5pm on Monday 11th November. However, the tour may be cancelled if no bookings have been made by 12pm on Friday 8th.
72 73 Making Conservation • AICCM National Conference 2019 CD A’BECKETT ST BREAKFAST / COFFEE (CONTINUED) 6 Hardware Societe – 123 Hardware St, Melbourne hardwaresociete.com LA TROBE ST 7 Liminal – Ground Level, 161 Collins St, Melbourne liminalmelbourne.com
SPRING ST 8 Operator 25 – Wills St, Melbourne operator25.com.au LITTLE LONSDALE ST 9 The Journal Café – 253 Flinders Ln, Melbourne journalcanteen.com.au EXHIBITION ST 10 The Kettle Black – 50 Albert Rd, South Melbourne thekettleblack.com.au
LONSDALE ST RUSSELL ST DINNER SWANSTON ST Cheap & cheerful LITTLE BOURKE ST 11 Dumplings Plus – 269 Swanston St, Melbourne ELIZABETH ST 12 Gyoza Gyoza – 115–117 Little Bourke St, Melbourne gyozagyoza.com.au BOURKE ST QUEEN ST Mid-range
WILLIAM ST 13 Bomba Tapas Bar and Rooftop – 103 Lonsdale St, Melbourne bombabar.com.au LITTLE COLLINS LN 14 Chin Chin – 125 Flinders Ln, Melbourne chinchinrestaurant.com.au KING ST 15 City Wine Shop – 159 Spring St, Melbourne citywineshop.net.au COLLINS ST 16 Cumulus – 45 Flinders Ln, Melbourne cumulusinc.com.au T 17 Fatto Bar and Cantina – 100 St Kilda Rd, Melbourne fatto.com.au
FLINDERS LN 18 Fonda Mexican – 31 Flinders Ln, Melbourne fondamexican.com.au T 19 Gaylord Indian Restaurant – 33 Spencer St, Docklands gaylordindianrestaurant.com.au 20 Mamasita – Level 1, 11 Collins St, Melbourne mamasita.com.au FLINDERS ST 21 Mugen Ramen – 11 Bligh Pl, Melbourne mensousaimugen.com
Something a little fancier 22 Kisumé – 175 Flinders Ln, Melbourne kisume.com.au
ST KILDA ST ALEXANDRA AVE 23 Mah – 21 Bond St, Melbourne maharestaurant.com.au 24 Supernormal – 180 Flinders Ln, Melbourne supernormal.net.au
YARRA RIVER CITY ROAD CON ERENCE BARS VENUE L Riverside: 25 Arbory Bar & Eatery – 1 Flinders Walk, Melbourne arbory.com.au 26 Ponyfish Island – Pedestrian Bridge, Melbourne ponyfish.com.au EAT, DRINK, BE MERRY 27 Riverland Bar – Federation Wharf 1-9, Melbourne riverlandbar.com
Looking for some breakfast or coffee on your way to the conference? Or perhaps you would like to get Rooftop views dinner and drinks somewhere close by? We’ve compiled a list of a few of our favourite places to try: 28 Loop Roof – 3, 23 Meyers Pl, Melbourne looprooftopbar.com.au 29 Madame Brussels – 3, 59 Bourke St, Melbourne madamebrussels.com You can also find the map online at https://bit.ly/33Rw9iu 30 In the Sky, Naked for Satan – 285 Brunswick St, Fitzroy nakedforsatan.com.au/in-the-sky 31 Rooftop Bar – 7, Curtin House, 252 Swanston St, Melbourne rooftopbar.co CONFERENCE DINNER CD Charcoal Lane – 136 Gertrude St, Fitzroy charcoallane.com.au Cocktail bars, laneway bars & whisky Check page 76 for more detailed directions 32 Cookie – 252 Swanston St, Melbourne cookie.net.au 33 Eau de Vie – 1 Malthouse Ln, Melbourne eaudevie.com.au BREAKFAST / COFFEE 34 Garden State – 101 Flinders Ln, Melbourne gardenstatehotel.com.au 1 Bowery to Williamsburg – 16 Oliver Ln, Melbourne bowerytowilliamsburg.com.au 35 Gin Palace – 10 Russell Pl, Melbourne ginpalace.com.au 2 Cumulus – 45 Flinders Ln, Melbourne cumulusinc.com.au 36 Lily Blacks – 12 Meyers Pl, Melbourne lilyblacks.com.au 3 Dead Man Espresso – 35 Market St, South Melbourne deadmanespresso.com 37 Robot Bar – 12 Bligh Pl, Melbourne robotsushi.com 4 Dukes Coffee Roasters – 247 Flinders Ln, Melbourne dukescoffee.com.au/ross-house 38 Whisky and Alement – 270 Russell St, Melbourne whiskyandale.com.au 5 Grain Store – 517 Flinders Ln, Melbourne grainstore.com.au
74 75 Making Conservation • AICCM National Conference 2019
TAKE IN A BIT OF CULTURE
Have time on the weekend to see an exhibition? document patterns of mass behaviour. The ex- Here are a few that may be of interest: hibition looks at the phenomenal complexity of life in the twenty-first century and reflects MANGGAN – GATHER, GATHERS, GATHERING – on the ways in which photographers have doc- MELBOURNE MUSEUM umented, and held a mirror up, to the world From the diverse landscapes of Far North around us. ngv.vic.gov.au/whats-on Queensland and a culture spanning count- less generations, Manggan shares knowledge MUSICAL CURIOSITIES – VELIK FOYER, HAMER through the recent works of Indigenous artists HALL from Girrigun Aboriginal Art Centre, alongside This small display celebrates some rare musical collection objects from the South Australian objects and artwork from the Australian Per- Museum and Museums Victoria. museumsvicto- forming Arts Collection, by Johnny Johnstone ria.com.au/melbournemuseum/whats-on/ and Garry Greenwood and works on paper by Louis Kahan AO. GETTING TO THE CONFERENCE DINNER OUR BODIES, OUR VOICES, OUR MARKS – IM- artscentremelbourne.com.au/exhibitions-collec- MIGRATION MUSEUM tions/exhibitions-and-curated-stories Our Bodies, Our Voices, Our Marks is a suite of ex- hibitions and experiences exploring the art of KOORIE HERITAGE TRUST You can find directions online at: https://bit.ly/2N8zgx9 tattoo, alongside themes of identity, self-expres- Three exhibitions: Camping on Country, an ambi- sion, culture and community. tious and immersive solo exhibition by Gundit- BY TRAM (25 MINS) museumsvictoria. jmara master weaver, Aunty Bronwyn Razem. A 1 Head to the tram stop directly across from the Conference venue. com.au/melbournemuseum/whats-on/ new body of work by weaver Marnda Grik. Old 2 Take trams 1, 3, 5, 6, 16, 64, 67 or 72 heading north towards Melbourne University. KAWS: COMPANIONSHIP IN THE AGE OF LONE- and New, the sixth solo exhibition from Yorta 3 Get off 3 stops later at Stop 10 - Bourke Street Mall. LINESS – NGV INTERNATIONAL Yorta visual and performance artist Greg Muir. 4 Walk to the tram stop at the corner of Bourke St and Swanston St. Brian Donnelly (born 1974), aka KAWS, is one 5 Board the 86 tram heading east to Bundoora RMIT. koorieheritagetrust.com.au/whats-on of the most prominent and prolific artists of 6 Get off 6 stops later at the corner of Napier St and Getrude St in Fitzroy. his generation. His body of work straddles the VELVET, IRON, ASHES – STATE LIBRARY VICTORIA 7 Charcoal Lane should be across the road at 136 Gertrude St, Fitzroy. worlds of art, fashion and design to include Discover surprising connections between ex- paintings, murals, large-scale sculptures, street traordinary people, events and icons from Vic- BY FOOT (30 MINS) OR CAR (2O MINS) and public art, and fashion, graphic and product toria’s history. Follow your own path of explora- Charcoal Lane is located at 136 Gertrude St, Fitzroy. design. His work is infused with humour, hu- tion on a trail of unexpected, intertwined stories. manity and affection for our times. Admired for Velvet, Iron, Ashes opens up a new way of seeing his larger-than-life sculptures and colour-filled our history and reveals as never before how our paintings, KAWS’s cast of hybrid cartoon and stories intersect. Find out how the armour of human characters are drawn from pop-culture infamous bushranger Ned Kelly is connected to animations and form a distinctive artistic vo- cricket’s celebrated Ashes Urn, how fairy floss is cabulary. ngv.vic.gov.au/whats-on connected to Victoria’s Latrobe Valley electricity industry, and why the granddaughter of one of CIVILIZATION: THE WAY WE LIVE NOW – NGV our prime ministers once wore a glittering vel- AUSTRALIA vet cloak that symbolised the Murray-Darling In this increasingly globalised world, this exhi- irrigation scheme. bition explores photographers’ representations slv.vic.gov.au/whats-on/velvet-iron-ashes of life in cities as its key theme and presents a journey through the shared aspects of life in the urban environment. The selected works create a picture of collective life around the world and
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AICCM.org.au
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