National Newsletter
Australian Institute for the Conservation of Cultural Material (Inc.) ISSN 1834-0598 No 124 March 2013
Contents
2 President’s Report 3 A new vision: redesigning the UC conservation course 5 University of Canberra update – a new laboratory 6 Marcelle Scott – an appreciation by two former students 6 Special Interest Group News 7 AICCM Bulletin Editor – Farewell to the old and welcome to the new 8 The ICOM-CC 17th Triennial Conference in Melbourne 2014 10 The Meaning of End of an era: Materials in Modern and Contemporary Art Marcelle Scott retires 13 Conference Report 14 Workshop Review from the CCMC 15 Course Review 16 The 2012 winners of the ADFAS/AICCM Marcelle Scott (CCMC) & Dr Ian MacLeod Prize for Conservation (WAM) at the Heritage Victoria Labs. Student of the Year Photo: Jane Walton student, CCMC 18 Christmas in the divisions Institutional News 20 NSW 24 ACT 24 SA 25 Vic 27 Trawling the Internet
Photographic Conference, Objects SIG meets in Konservator Ken finds love Te Papa, Wellington Melbourne President’s Report
President’s Report
In early March, National Council met that Council can explore to further Other major events coming up soon are in Melbourne for our annual two day, the association. Creative Partnerships our National Conference – in Adelaide face-to-face meeting. We use these two Australia aims to be a ‘one-stop-shop’ in October this year. A very interesting days to develop a focus for the coming to promote, encourage and facilitate and challenging theme – Conservation year and to choose some projects that business, philanthropic and donor and Conservators in a Wider Context provide a balance – some that are support for the arts. Mary Jo and – which gives a lot of scope for some relatively easy to finish and some that myself will work closely with Creative exciting papers. are more of a challenge for a volunteer Partnerships Australia and its volunteers And in 2014 we are hosting ICOM-CC organisation such as ours (the ‘big, hairy, to develop strategies that can speed our in Melbourne. This is being organised audacious’ type, as Mary Jo calls them). work in critical areas of our strategic jointly with University of Melbourne Mary Jo Lelyveld is now National Vice plan. and AICCM, with Victorian members President, having stepped up into the Council also considered options of AICCM doing most of the heavy role when Vicki Humphrey had to regarding our website and decided to lifting – if anyone wants to volunteer to resign suddenly for personal reasons – go ahead with upgrading the site, using help please contact Susie Collis. and we are all grateful to her for being a new service provider. This will give prepared to make that commitment. So lots going on, and plenty of activity us better options for the website and to keep us all very busy. See you all in On the first day of the meeting, two address some of those niggling problems Adelaide in October, if not before. representatives of Creative Partnerships that have developed over the last few Australia (an amalgamation of the years. If you have any thoughts about Kay Söderlund Australia Business Arts Foundation what our website should look like or March 2013 and Artsupport Australia) addressed offer, please contact Michelle Berry. the meeting and presented options
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2 AICCM National Newsletter A new vision: redesigning the UC conservation course
A new vision: redesigning the UC conservation course
A phoenix with problems reckoned to be necessary to break even, a graduate would understand how The conservation course at the and below this number the unit must to work safely in a laboratory or on- University of Canberra was closed either receive funding from elsewhere or site, how to observe carefully and 2 down in 2003 in the face of furious be cancelled. document what they saw, and how to handle and move objects safely. Such industry opposition. In 2009 it rose The University of Canberra needed a a graduate would understand the basic again like the proverbial phoenix, but course that was sustainable from both a formation, structure and mechanisms with a new structure that depended teaching and a financial point of view, of deterioration of a broad range of heavily on teaching input from heritage and to achieve this David Hallam and materials, and have a good working institutions in Canberra. myself were invited in 2011 to assist the knowledge of how different materials staff at UC to redesign the conservation The institutions involved in this respond to different interventions. course. new course rose to the challenge and They would have good hand-skills provided some truly excellent and and be able to use the typical range dedicated teaching. Teaching, however, A new vision of tools and equipment found in is not the core business of collecting When David and I began to think about conservation laboratories competently and exhibiting institutions and it can the way conservation was taught we and safely. They would be familiar be politically difficult to argue that began to wonder whether the traditional with the principles of scientific teaching should take priority over the model of teaching conservation through reasoning and analysis, and understand urgent needs of the next big exhibition the major specialisations of paper, the fundamentals of preventive or collection management project. textiles, paintings and objects was really conservation and risk management. Each unit taught through an institution that useful at an undergraduate level. They would understand the importance also became a “placement”, which Not only did it divide the student body of values and significance in created a major administrative burden into tiny (unviable) specialist classes, determining an appropriate treatment as each student had to take multiple it divided what the students learnt for an object. And most important placements. Finally, and perhaps most into silos of knowledge and expertise. of all they would understand how to significantly, the traditional model of Many students also commented that, as proceed with care when treating an teaching in the four key specialisations beginners in the world of conservation, object, and how to recognise the points of paper, textiles, objects and paintings they felt called upon to decide on where they needed to stop and ask for split the already small student body an area of specialisation before they advice and assistance. A graduate such into tiny class sizes that were not were ready to do so, and regretted that as this would be an easy person to have economically viable. they had not had the opportunity to in a team, fully equipped with a general The viability issue is a worldwide experience working on more diverse skill set, self-pacing, and ready to absorb problem, as universities and other types of material and objects before specialist knowledge as required. teaching institutions are pushed to making that choice. Furthermore, a operate on a cost recovery basis. The degree at undergraduate level should A new curriculum provide a good, general education near demise of the Textile Conservation Armed with this idea, and with close rather than highly specialised skills, Centre (TCC) in the UK shows the co-operation from Tracy Ireland and and it should include a solid grounding vulnerability of courses that have John Greenwood at UC, we set about in the intellectual and ethical debates low student numbers and high costs, designing a course that would provide of the wider world of heritage, which no matter how good their reputation these skills. The course we have ultimately form the context – and or how excellent the skills of their designed provides core conservation 1 the boundaries – for the practice of graduates. The recent upheavals at the knowledge through five themed units conservation.3 ANU School of Music have also shown – Materials in Heritage Conservation, that it is not a problem restricted to We began to look at the concepts and Preventive Conservation, Dirt and conservation. Under current funding skills that were common to all areas of Cleaning: Philosophy and Techniques, arrangements in Australia each student conservation, and that could deliver Surface, Colour and Completeness, brings in a certain amount of money, a graduate with a broad set of skills and Sustainable Repair and Restoration so if student numbers are low, funding and understandings that they could (which focuses on joining materials, for the course or unit will also be low. apply in whatever further study or and the theory and ethics of repair and A total of 20-22 students in a unit is employment they undertook. Such restoration).
No 124 March 2013 3 Special Interest Group News
These units have been combined take conservation units as electives. Opportunities will also be sought with existing units in the heritage In practice this has already allowed for professional conservators to and museums sections of the course. students from Architecture and Design give individual lectures or 2-hour A Cultural Heritage Field School to take conservation units. These workshops on particular aspects of their teaches recording techniques such as students feel that a basic understanding professional areas. Such workshops photography and drawing, as well as of conservation principles and would be organised to support and the ability to look at a site, place or practices will enhance their practice extend other aspects of the unit being object, assess it, and plan for its future. as professionals in other areas, and the taught, and UC staff would be available Several units provide students with a Design student has mentioned that the to help prepare laboratory exercises for wider understanding of the heritage material has induced him to reflect on the students as necessary. context, including Heritage Philosophy the longevity and future performance The tradition of providing opportunities and Ethics, Objects as Material Culture, of the materials he uses in his designs. for students to visit professional and People, Place and the Past. These students do not just add the bums laboratories will also be continued, and Students who want to be conservators on seats that make units viable; they UC will work towards the establishment will also take a minor in science, also add new perspectives and provide of a formal mentoring program to link which incorporates chemistry and new ways of understanding materials. students with professional conservators. forensic science units, and they have Input from the many highly skilled These opportunities will provide the option to take an Internship Unit conservators in Canberra and around students with knowledge and contacts, in a conservation laboratory. They are Australia remains a crucial part of and will offer professional conservators also encouraged to take electives from the new degree, but that input will be opportunities to meet up and coming other courses, such as design, which can sought in ways that are less onerous for students, to canvas projects that might complement and extend their skills. individual institutions than the previous benefit from the research facilities and One aspect of the course that had proved teaching structure, and in ways that will connections available at the University, a stumbling block for many students was provide more diverse opportunities for and to enjoy the new contacts that the compulsory requirement for them to students and professional conservators these activities will bring. take first year chemistry. For those with to come together. Skilled conservators, no previous science background, first for example, will be sought as mentors Action and results year chemistry was daunting, and they and advisors for students, and invited struggled to connect what they were to visit the UC labs (or be visited in The new course and conservation units learning in chemistry with what they their own labs) to discuss objects or were approved in 2012 by the Course were learning in conservation. John treatments with individual students Advisory Group (a group of senior Greenwood investigated a number of in a one-on-one sharing of ideas and conservators external to UC), and different options for providing students expertise. Paintings conservator David UC’s Academic Board. They are being with the science they needed, but in the Keany recently visited to talk with delivered for the first time in 2013, end we came to realise that one of the three students working on varnished as part of the Heritage, Museums and main problems was not the chemistry and painted objects, and enjoyed Conservation degree at UC. The new itself but its timing – hitting students himself so much that he stayed units will provide students with a sound with chemistry in their first year was considerably beyond the half hour we general education in conservation overwhelming. The most effective asked of him! Jane Wild, of Textile and a solid base on which to build solution was to remove chemistry as a Heritage Conservation, has also visited future specialisation, either through compulsory subject and allow students to talk to students about a painted workplace experience or through formal to come to their own understanding Indian textile and a flag, and will be postgraduate studies. We envisage of why chemistry is so important returning soon to give a workshop on that these students will require some to the profession of conservation. sewing techniques. We would like to workplace training in the specialist Students who want to be professional extend these opportunities for students requirements of the lab or institution conservators are still expected to do and professional conservators to get that they join, but they will be equipped the science minor, but they can choose together, and would love to hear from to learn quickly, and to be productive when they take it, and it is not a pre- any professional conservators who members of the team while they requisite for the conservation units. would like to drop in and spend some undertake that learning journey. time with students in this way. This The University has invested strongly New opportunities does not require preparation of lesson in the new course, and from March plans – the important thing is the this year the conservation units will Removing pre-requisites from the shared interaction, as students and be taught in a dedicated lab in the conservation units has also opened conservators handle, examine and new laboratory building that is being up the opportunity for students who discuss objects together. completed on the UC campus. This will do not intend to be conservators to also give students access to knowledge
4 AICCM National Newsletter University of Canberra update – a new laboratory
and equipment from other scientific disciplines, which will particularly useful to students undertaking honours or University of Canberra update postgraduate research. Finally – David and I would like to say a – a new laboratory huge thank you to everyone who helped us in doing this redesign work. Conservators around the country took the time to fill out questionnaires about what had been The University of Canberra is currently constructing a new building which most valuable in their own training, and will be home to the laboratories for the Cultural Heritage course. The to fill out logs that gave us an idea of the building, which will also house medical sciences laboratories, is hoped to roles and tasks that most commonly occupy be complete mid-2013. For those of you who remember the UC campus conservator’s days. Conservators and the building is located on the car park side of Building 3. students at the 2011 AICCM conference attended a workshop session to brainstorm what a conservator would need in the 21st century to do their job effectively. The staff at UC made us welcome, gave us coffee, and helped us navigate the labyrinthine tracks of university policy. And everyone we have talked to has demonstrated their interest, concern and commitment to the future of the conservation course at UC. It has been a really exciting and uplifting experience, and has given us a vision for the future about which we feel incredibly positive. If you would like to discuss anything about this article further, we would love to hear from you. Please contact us as follows: Alison Wain: [email protected] David Hallam: [email protected]
(Endnotes)
1 Samuel Jones and John Holden, 2008. It’s a Material Artists impression of the new laboratory building World, Demos, http://www.demos.co.uk/publications/ materialworld p. 41.
2 The TCC, it should be noted, has survived by being relocated to Glasgow University, but it still does not support its teaching on student funding alone. It now has a significant fundraising program as well, to meet its high teaching costs. See the TCC website at http://www. textileconservationcentre.co.uk/glasgow/successful- fundraising-campaign-support-glasgow-development
3 The authors of the Getty report Values and Heritage Conservation comment that: “Traditional conservation remains the core of the field’s activity and its raison d’être, but... the conservation process is best seen more inclusively, encompassing the creation of heritage, interpretation and education, the many efforts of individuals and social groups to be stewards of heritage, and shifting economics and political tides, as well as more traditional practices of conservators, preservationists, curators and other professionals. E. Avrami, R. Mason, and M. de la Torre, M, 2000. Values and Heritage Conservation, Los Angeles, CA: Getty Conservation Institute.
Alison Wain
No 124 March 2013 5 Marcelle Scott – an appreciation by two former students :: Special Interest Group News – Launch of Electron Special Interest Group
Marcelle Scott Special Interest Group News
– an appreciation by two former students Launch of Electron Special Interest Group
In early 2004, 15 aspiring conservation students began A message from Co-ordinator Peter Shaw, NAA their studies in the new Master of Arts in Cultural Materials Conservation at the University of Melbourne at Hello the Centre for Cultural Materials Conservation (CCMC), I just want to let you know, that at long last it wasn’t officially so-named until July that year. Most of us the Digital and Audio Visual Heritage SIG has had probably already spoken with Marcelle on a number a new website presence and name – Electron. of occasions as we waited to hear whether a conservation http://www.aiccm.org.au/index.php?option=com_content course was going to be available again in Australia and &view=article&id=1209&Itemid=210 whether Melbourne would take up the mantel. Happily for us and for the profession, Marcelle Scott, Robyn Sloggett Why Electron? Well, to mirror Photon and differentiate and the rest of the team of the Ian Potter Art Conservation the aims and activities of the two SIGs. Centre as well as Victorian based conservators such as Jenny Dickens pooled their considerable resources to Why am I contacting you now? develop the Masters by coursework program to train future When the SIG was proposed you expressed interest in conservators. joining. Our memory of Marcelle from that time is as a dedicated, Secondly, the AICCM National Conference is being thoughtful and knowledgeable educator with an held in Adelaide this year and you are invited, and I unswerving professionalism. This we observed as a student encourage you to consider submitting an abstract for a group from the very start of the MA course as she guided us paper that fits the following theme: Digital conservation through Conservation Professional Practices, the very first and conservation of the digital. Other activities are being subject we completed. This was an essential subject that considered for this year and will be announced on the presented us with many facets of ethics in conservation, Electron page of the AICCM website. the importance of collegiality within the profession and across allied professions and the public, reminding us of Thirdly, please go to the web page and if you wish both the big picture and the micro worlds of the profession. to contribute content in the form of links to papers, standards. If you know of upcoming events, workshops, As the Academic Programs Coordinator then and conferences… until very recently before she retired from that role, Marcelle was the major contact person for all current and Contact me through the Electron email address: prospective students and despite carrying a phenomenal [email protected] work-load she always had time for everyone. We all recall Fourthly, a local group of people will be gathering at the having had detailed discussions about conservation issues Fellowes Bar, (because it’s central and has seats) at the with Marcelle alongside our recollections of her extremely ANU on Tuesday 26th of February, 6-7pm to discuss dry wit. strategies and activities for the group. Marcelle’s research into inter-disciplinary pedagogy made Finally, please let me know that you wish to formally certain that we stretched our minds and skills across join the DAVHSIG by sending your reply to: numerous disciplines within what was already a demanding [email protected] and challenging course. We came through our training more enlightened than exhausted and we loved every A very final note: for active membership of this or any minute of it, so thank you Marcelle Scott. AICCM SIG you are required to be a financial member of the AICCM Alex Ellem and Susie Collis Regards, Two of the inaugural group of CCMC Masters of Cultural Materials Conservation students. Peter
6 AICCM National Newsletter AICCM Bulletin Editor – Farewell to the old and welcome to the new
LabAICCM and PeopleBulletin News Editor
– Farewell to the old and welcome to the new
Marcelle Scott has retired as Editor Nicole has worked alongside Marcelle Netherlands, UK and USA is also of The Bulletin. Marcelle has edited for many years at CCMC so has a good represented. Volume 34 will include The Bulletin since Volume 29 in 2004. idea of what the role, and work load, research on a wide range of topics The quality and diversity of papers in involves. In 2013 Nicole returns to pertinent to conservators in all fields Volumes 29 to 33 reflect Marcelle’s teaching CCMC’s Master’s program dealing with contemporary artists, their broad understanding of the profession, but was previously an Australian working methods, and their materials. her ability to engage others (particularly Research Council (ARC) Post The Editor of The Bulletin is supported referees) and her commitment to the Doctorate Research Fellow on the by the Editorial Committee consisting highest standards. It is easy to forget ARC Linkage Project ‘The Twentieth of myself as Publications Officer and that the editorship of a publication Century in paint’. Nicole undertook two interested nominated members, such as The Bulletin is complex, her PhD on ‘The Characterization currently Amanda Pagliarino, particularly a volume such as Special of Canvas painting in Tropical Queensland Art Gallery/Gallery of Conference Edition 32 which contained Southeast Asia’. Both projects included Modern Art and Catherine Thomson, nineteen referred papers. The job is strong institutional partnerships in State Library of New South Wales. We purely voluntary and in her spare time Australia and Southeast Asia, which are always looking for contributions, Marcelle was also Academic Programs provided impetus for the founding of either in full draft format (please Coordinator at the Centre for Cultural the Asia Pacific Twentieth Century consult the AICCM website or past Materials Conservation (CCMC) at Conservation Research Network Bulletin’s for style guidance) or in early the University of Melbourne. I would (APTCCARN). Nicole hopes to engage developmental form that may require like to thank Marcelle on behalf of some of these networks in future issues some assistance to bring to referee stage. the membership for her tremendous of The Bulletin. Volume 34 of The We all look forward to bringing you contribution to the profession as Editor Bulletin will showcase papers from the many more volumes of your Bulletin. of The Bulletin, and the CCMC for recent ‘Meaning of Materials in Modern their support. On a personal note I and Contemporary Art Symposium’ Cobus van Breda will miss our phone conversations co-organized by ARC ‘The Twentieth (Publications Officer) punctuated with laconic wit and words Century Paint’ Project and the AICCM of wisdom. On an up-side Marcelle SIG at the Gallery of Modern Art/ has volunteered to work with our new Queensland Art Gallery. The majority Editor Nicole Tse on Volume 34 so the of papers are from Australian authors transition will be smooth and seamless. but research from the Philippines,
No 124 March 2013 7 The ICOM-CC 17th Triennial Conference in Melbourne 2014
LabThe ICOM-CCand People 17th News Triennial Conference in Melbourne 2014
– an update from the Victorian State division of AICCM
The Victorian State division of the AICCM will provide assistance to the ICOM-CC 2014 Conference National Organising Committee by providing on the ground support to the committee in Melbourne. This has been made possible via the establishment of eight sub-committees which will operate as discrete working groups undertaking various planning and administrative tasks which will in turn support the ICOM – CC National Organising Committee in their delivery of the 2014 conference. The sub-committees have now been established and now on behalf of Conference brainstorming meeting AICCM Victorian division, I invite the broader AICCM membership to get involved too; please review the great success, with nearly 40 Victorian entitle you to discounted conference outline of the sub-committees which AICCM members in attendance and registration for the conference in has been provided care of the National many of those (if not all) indicating a September 2014. This is not the only Organising Committee. Certain sub- willingness to assist in the conference benefit of membership; being an ICOM committees will definitely need our planning and delivery. Australia member entitles you to free entry to many museums and galleries membership represented from the other The 17th Triennial ICOM-CC across Europe and North America (and states in order to deliver some of the Conference in September 2014 will be some in Australia) which represents outcomes, especially around regional our chance to draw the attention of our considerable value for the membership engagement and also for technical visits international colleagues to AICCM, fee of $140.00 per year. and the planning of outreach programs the excellent work that we do as and workshops. Should you wish to conservation professionals in all of the express your interest in joining one of Susie Collis on behalf of the AICCM State and National Cultural institutions Victorian division the sub-committees, please contact the and in private practice, and we mustn’t Email: [email protected] Victorian division chair on the email forget to mention that we can show-off address provided at the end of this the beautiful countryside of Australia Web Links: article. to our international visitors. For those The 17th Triennial ICOM-CC The involvement of the Victorian members who have had the opportunity conference website http://www.icom- AICCM membership and more to experience an inspirational cc.org/254/triennial-conferences/17th- specifically, the Victorian state division conference in Europe, Asia or North triennial-conference,-melbourne,- of AICCM came about because we America please now consider how you australia/ launched our popular 2013 Off-the- can contribute to the 2014 ICOM- Join ICOM Australia and ICOM-CC Record evening lecture series in February CC conference so that the Australian http://icom.org.au/site/membersjoin. with a ‘brainstorming’ workshop which conference experience is a fantastic one php aimed to generate and collect ideas for our visitors. about the kind of conference that we May I take this opportunity to remind http://www.icom-cc.org/171/create-an- not only wish to participate in but also AICCM members that taking out a account/ help to deliver. The evening was a membership with ICOM Australia will
8 AICCM National Newsletter The ICOM-CC 17th Triennial Conference in Melbourne 2014
The ICOM-CC 17th Triennial Fundraising subcommittee • Which organisations, cultural Conference Sub Committees Which companies/businesses both heritage practices or programs do you locally in Victoria or Nationally think would be of interest to visiting The Trade fair sub committee might sponsor different aspects cultural heritage professionals? • Think of trade shows you have been of the conference including • Think about one technical visit you to; what did they do well? What printing, transport, food? really enjoyed. What was it about the wasn’t done well? The Printing, product and experience that made it a positive promotion sub committee. • Can you suggest any companies or one? This includes the creation of the types of companies that should be conference satchels and associated • Think about one technical visit you asked to participate? product did not enjoy. What was it about the • What would you like to see at a trade experience that made it a negative What items should we include in the show that you may not have seen one? satchels? before? • What is the best satchel gift you have Regional engagement Receptions and outreach events received at a conference? • How can we embody the theme sub committee (during and post of the conference: Building Strong • How can we advantageously conference) Culture through Conservation through incorporate the use social media into We are anticipating an attendance of at our engagement activities? this conference? least 600 people for the opening night • Which organisations in the Asia- drinks and dinner Technical visits and associated Pacific are key to cultural heritage • What activities are on your top 5 programs preservation? for international visitors? Both in Things to consider for technical visits: What types of regional engagement Victoria and interstate if in Melbourne (during the conference) activities could we include? expect up to 40 persons per visit; • What places are on your top 5 and must be no longer than a return Information and communications for international visitors? Both in trip of 4.5 hours from the Melbourne management Victoria and interstate Convention Centre and it must have a • Documenting organising processes, • What are your favourite dining and reasonable cost attached to it (or be free keeping files and records drinking places in Melbourne? if possible) • Maintaining a database of useful • What types of technical visits would contacts you like to see on the program?
No 124 March 2013 9 The Meaning of Materials in Modern and Contemporary Art
LabThe Meaningand People of Materials News in Modern and Contemporary Art
AICCM Painting SIG + 20th Century in Paint Symposium, December 2012
Symposium Review
Alex Ellem Conservator of Paintings, CCMC
The 2012 Painting SIG Symposium ‘The Meaning of Materials in Modern and Contemporary Art’ was a grand success. The event coincided with the opening weekend of the 7th Asia Pacific Triennial (APT7) at QAG | GOMA, which was a hive of activity with swarms of curators buzzing through exhibition galleries. The proceedings commenced with keynote addresses by the Director and the Assistant Director of the National Robyn Sloggett addressing the December symposium. Photograph by Natasha Harth, QAGOMA 2012 Museum of the Philippines, namely Jeremy Barnes and Ana Labrador that touched on themes of the Symposium & Projects, Artlab Australia, spoke nitroxides to switch fluorescence on and APT7. They spoke about ethical about how experimentation with new and off, which could make them highly and practical conservation issues materials, especially synthetic emulsion useful in research to identify materials concerning historic and contemporary paints, was encouraged at art schools or chemical or biological processes. artworks in the museum in the tropics. in Auckland and Adelaide from the Nitroxides were discussed by Stefanie Barnes’ exploration of strategies for mid-twentieth century. Exposure –Ann Alexander, who is researching preventive conservation highlighted to international contemporary art their use in controlling biofilms that the necessity of preserving both stimulated the exploration of new damage cultural materials. Caroline tangible and intangible elements of art materials, which now provide today’s Kyi, on the other hand, talked about works and cultural heritage. Ana drew conservators with a host of issues to her research into nitric oxide and its use from anthropology and her interest grapple with. to reduce bio-deterioration of cultural materials and thus the need for toxic in the intersection of indigenous and Among the presentations a strong chemicals. We will continue to watch contemporary art to develop a scientific contingent of papers emanated from this space with interest! approach to artist interviews within the research at the University of Melbourne museum context combining traditional with findings from ‘The Twentieth Robyn Sloggett, Director, Centre and innovative strategies. Together their Century in Paint’, Australian Research for Cultural Materials Conservation presentations reflected the spectrum of Council (ARC) Linkage Project, the (CCMC), University of Melbourne, complexities in conservation today. ARC Centre of Excellence for Free presented a keynote address co-authored Although the symposium papers Radical Chemistry and Biotechnology, with Marcia Langton, Professor looked at conservation issues in and staff and students of the Centre for and Chair of Australian Indigenous different contexts and times, they Cultural Materials Conservation. Studies, University of Melbourne highlighting an exhibition that revealed often revealed repeating patterns and Nitroxide and nitric oxide were the ongoing influence in 20th century problems. In a bracket of talks focused the subjects of three papers by PhD Aboriginal art of trading and cultural on understanding artist materials from candidates of the ARC Centre of links between the Chinese, Macassans 1940 to 1970, Sarah Hillary, Principal Excellence for Free Radical Chemistry and Indigenous Australians that started Conservator, Auckland Art Gallery and Biotechnology. Melina Glasson in the 18th century. Toi o Tãmaki, and Helen Weidenhofer, explored the ability of profluorescent Assistant Director, Paintings, Objects
10 AICCM National Newsletter The Meaning of Materials in Modern and Contemporary Art
Echoing this historic cultural exchange, of finding a massive repository of useful organizers. No small feat as many were the exhibition was shown in Shanghai documents when going to an interview. preparing and installing artworks just as part of the “Year of Australian Culture Moments like these are treasures that prior to the opening of the APT. in China’. Two other papers dealt with keep researchers enthralled after so The symposium was a joint venture Aboriginal art. Jenny O’Connell, many lost files, missing pages and other between AICCM, QAG | GOMA, Paintings Conservator, CCMC, spoke negative results. and ‘The Twentieth Century in Paint’, about her thesis project that centered The Symposium wrapped up with Australian Research Council (ARC) around developing a conservation/ reflections on the ‘The Twentieth Linkage Project headed by the Centre preservation strategy to meet the needs Century in Paint’ ARC Linkage for Cultural Materials Conservation of Aboriginal community art centres Project. It started by bringing many (CCMC), University of Melbourne. in preserving their collections in a partners together to fill some of the culturally appropriate and effective gaps in knowledge of 20th century paints manner. Sharon Alcock, Paintings and has resulted in the broad array of Conservator, National Gallery of Another view findings discovered at the symposium. Australia explored the use of traditional Matters for future exploration include materials in contemporary Aboriginal Jennifer Walker, Asian Paintings the archiving of information and art, providing insights into the artist Conservator enabling access to it, finding our links intention, technique and conservation with scientists, developing partnerships problems of works by River Thomas, across disciplines and cultures, and Australia’s place on the world map Lindsay Harris and Christopher Pease. the need to grow the discipline and among arts experts has been highlighted Their research has made important advocate for it in institutions and to again in this remarkable symposium. contributions to our understanding the public. It is just a matter of time, The Meaning of Materials in Modern of contemporary Aboriginal art and one imagines, before the next CCMC and Contemporary Art at Queensland’s associated conservation issues. project kicks off. Gallery of Modern Art (QAGOMA) Gillian Osmond, PhD candidate, brought together presenters from the Overall, it was an excellent symposium: University of Queensland and Twentieth Century in Paint Australian a feast of ideas and information. Paintings Conservator, QAG| Research Council (ARC) Linkage Presentations highlighted and promoted GOMA, has been investigating the Project, and the AICCM Paintings the collaboration between conservators deterioration of zinc oxide in oil Special Interest Group, along with and curators, scientists, artists, artists’ paintings for some time. Her research national and international arts assistants, and indigenous communities concerning this issue in five paintings specialists. Celebrating diversity and in word and practice. The event ran of the 20th century Vietnamese artist, connections between Asia-Pacific and well thanks to the labours of the Nguyen Trang Kiêm, revealed works Australian arts, evolving perspectives rich in ZnO and obvious deterioration. Even as a minor component, ZnO is strongly reactive and drives deterioration. She discussed the likelihood that the formation of zinc stearate is a trigger for instability. Some of her comments had all of us thinking we should revisit our cross-sections for zinc. Nicole Tse, ARC Post Doctoral Fellow, CCMC used a case study of Yong Mun Sen’s use of materials in his oil paintings to highlight the complexities of accessing archival material in Malaysia thanks to the destruction of war. She outlined a full palette of strategies to identify artists’ materials, ranging from oral histories through economic histories and directories of trade and tariffs in other countries to scientific analysis. She Tour of QAGOMA Conservation lab with Paintings Conservator Anne Carter, December 2012. recounted a magic research moment Photograph: Sarah Hillary
No 124 March 2013 11 The Meaning of Materials in Modern and Contemporary Art
were presented regarding cultural the next Cleaning Acrylic Paintings Having previously attended an influences on artists’ choice of materials, (CAPs) Workshop in Sydney in late international symposium on their techniques, and scientific case 2013. Conservation Ethics held in Seoul, studies for preserving contemporary arts. the American Textile, and Art Australian conservators contributed Conservators’ conferences held in The audience of nearly 80 people was informative dialogues on 20th century Honolulu, I consider this symposium taken for a tour of continuing influences painting materials used by local artists. in Queensland highlighted the value of on Aboriginal arts, activated along Advances in Synchrotron imaging of actively engaging in dialogue with our early trade routes between Sulawesi Streeton (and Degas) paintings in the colleagues near and abroad. As my first and northern coastlines of Arnhem National Gallery of Victoria collection, time attending an AICCM Paintings Land, by University of Melbourne conducted by senior conservator David Group conference, I gained a new Professors Robyn Sloggett and Marcia Thurrowgood, revealed unexpected appreciation for sharing information Langton. Travelling vicariously with underpaintings. National Gallery between artists, curators, scientists, curator of Pacific Art, Ruth McDougall, of Australia conservator, Sharon and art conservators. Further, gaining we discovered how QAGOMA Alcock, discussed Rover Thomas’ new resources inspires my own research commissioned Papua New Guinea techniques for ochres, binders, and and work on early arts traditions of artists to create spirit house exhibits the use of local resins and gums. Art passing on skills and knowledge for for the 7th Asia Pacific Triennial, with Gallery of New South Wales’ head of conserving paintings on paper and silk. consideration for future conservation paintings conservation, Paula Dredge, Many thanks for the excellence that needs. I remain impressed with the in detecting binders using Fourier organizers and participants brought to significance of these artworks which Transform Infrared (FTIR) and Gas this noteworthy symposium. carry creation stories, as outstanding chromatography-mass spectrometry examples of active preservation of (GC-MS), has confirmed that Sidney contemporary arts from their inception. Nolan’s iconic painting of Ned Kelly’s black helmets required a departure With New York MoMA paintings from his usual Ripolin® brand oil based conservator Michael Duffy, we paint. QAGOMA conservator Anne experienced sub-surface X-ray views Carter gave a behind-the-scenes tour of for treatments on the encaustic wax the conservation lab. Her presentation sculpture and painting techniques of discussed unconventional artist Ian artists including Jasper Johns. From Fairweather’s life in relation to his the Getty Conservation Institute, Tom use of some unstable artist pigments. Lerner presented conservation repairs Conserved Fairweather paintings now for viscous surface texture of a large (12 on exhibit illuminate degrees of overlap x 8 feet) cast resin sculpture, aligned between disciplines of paintings and with a living artist’s original intent. paper. These information exchanges on TATE Britain’s Senior Conservation recent artist materials, techniques, and Scientist, Bronwyn Ormsby, detailed developments in conservation science, research strides and aqueous cleaning are significantly complementing impacts on modern acrylic paintings, conservation treatment processes. sparking discussions about slating
12 AICCM National Newsletter Conference Report
LabConference and People Report News
AIC Photographic Materials Group & ICOM-CC Photographic Materials Working Group Joint Meeting, Wellington, NZ
11-15 February 2013 Cheryl Jackson with Pip Morrison, Andrea Wise, Jennifer Lloyd, Alice Cannon, Kerry Yates and Shingo Ishikawa For one week in February, the second EVER Joint Meeting of the AIC Photographic Materials Group, and the ICOM-CC Photographic Materials Working Group was held between several venues in Wellington, centred around the National Library of New Zealand and the Museum of New Zealand Te Papa Tongarewa.
Figure 2: Colour photo ID session, Te Papa Paper Lab
Tuesday’s workshop was held at the Backscattered Diffraction (EBSD) National Library of New Zealand to a which allowed the examination larger audience, and concentrated on of the orientation of gold crystals contemporary photographic materials on a gilded daguerreotype surface, and their preservation, eg. how does one used in combination with Energy conserve an image made of grass? One Dispersive X-ray Spectroscopy to interesting observation from this talk is show the chemical composition of that with digital materials, new products the surface. These two analytical Figure 1: Te Papa Tongarewa are being produced and becoming techniques allowed, for the first time, The week started with a choice of obsolete before any permanence testing the mapping of the crystal structure workshops and tours on the Monday can be carried out, and before their on the daguerreotype and how these and Tuesday. The workshops I components can be analysed. The crystals may allow silver particles to attended were both on modern colour science of preservation can’t keep up! migrate between them, which explains photographic materials and were why gilded daguerreotypes still tarnish The Joint Meeting was officially opened presented by Sylvie Penichon from the (I think). This was followed by that night at the Library – a Mihi Amon Carter Museum of American Art extraordinary images of mould growth Whakatau was performed to welcome in Fort Worth, Texas. on daguerreotype plates: us all. A female Maori elder sang us into The first day saw a small group of us the Library foyer, and was, in return, having a review of colour photographic welcomed by another elder singing techniques, their physical make- us into the space. Speeches followed up, their identification and their from a local Maori elder, the Minister preservation needs. This was followed responsible for the Library, the Director by a practical session in the Te Papa of the Library, and Mark Strange, the Paper Conservation Lab where stations Head of the organising committee. were set up to practice our identification Wednesday brought the start of the skills, have a play with solvents papers, and they hit with a bang. We and surface cleaning and also to try were introduced to Electron retouching chromogenic materials. Figure 3: The bio-receptivity of the Daguerreotype surface continued on next page
No 124 March 2013 13 Workshop Review
Workshop Review
AICCM Objects SIG Conservation of Outdoor Sculpture and Monuments Workshop
November 13-16 2012, Melbourne, Victoria
In November 2012, I attended the discussions) and digital (streamed These intensive sessions were followed workshop on the Conservation of webinars) formats with hands on by a walking tour of some Melbourne outdoor sculpture and monuments lab sessions and walking tours, the city sculptures so that the theory gained organized by the AICCM Objects workshop was designed to keep all in session 2 could be applied practically. SIG with the support of the Gordon participants highly engaged and active Walking around the city was a fantastic Darling Foundation and hosted at over the intensive four-day period. opportunity to reacquaint oneself with Museum Victoria. Aimed at the mid- the diversity of sculpture available The first two sessions on Day 1 were career conservator, participants for to the inhabitants of Melbourne and presented in a traditional format, this workshop came from a range of its surrounds. Animated discussions with guest presenter Eddie Butler- backgrounds and across Australia and took place at each of the sculptures Bowdon, Program Manager of the New Zealand for this rare opportunity addressing their condition and the City of Melbourne’s Art and Heritage to work with Katharine Untch, subsequent decision-making processes Collection, speaking on his experience Director of Conservation at ARG that would take place when developing dealing with managing a public outdoor Conservation Services, who has over a conservation plan. No wonder a well- collection and some of the specific 25 years experience in the conservation deserved break was required at a local issues faced by public art managers such of three-dimensional art, architecture café for afternoon tea! as the lack of funds and staff, developing and archaeological materials and has and ensuring the performance of conducted similar workshops of this maintenance plans and importantly nature in the USA as professional for us, where and how conservators fit development for AIC members. into that process. It was great to gain The workshop covered topics a different perspective on how public including the current best practices art collections are managed, especially for preserving outdoor sculpture, for those of us who work primarily preventive conservation measures and within the museum environment. working within the varied contexts Session 2 emphasised the importance of museums, galleries, public art and of conservation methodology and the private collections, as well as, graffiti decision-making process in preserving Group discussions on walking tour protection and removal, cleaning, outdoor sculpture collections: that the Photo: Michelle Berry coatings and materials substrate repair. final treatment was not the focus as Utilising a number of traditional (face much as how the decision was arrived at to face lectures, seminars and group and why. continued from previous page
Fortunately, it all got easier from there All of the Australian papers were including 25 conservators, four of whom – fantastic papers about collaborative fantastic, of course, imparting are dedicated Photo Conservators. outreach programs assisting to preserve information not just on their topics, but The opportunity to catch up with the documentary photographic history also on how different the environment friends and colleagues from here and of countries all over the world, various for preservation activities and research overseas is always welcome, and the exhibition mounting techniques is here in the southern hemisphere informal exchange of information over from daguerreotypes to contemporary compared to our far better funded morning coffee is as valuable as the talks large format prints, more achievable northern cousins. We just don’t have themselves. analytical techniques using XRF on the luxury of time, staff or money to image forming materials and FTIR carry out such in-depth analysis of on varnish layers on tintypes and the materials in our collections. For digitisation and photographs in the example, the Library of Congress has digital era. 150 staff in its Conservation Division,
14 AICCM National Newsletter Course Review
a situation in which all aspects of the object was discussed with a view to creating a plan that was functional and Course Review had scope to cater to different levels of resources available to the owner of the Preserving Outdoor object. Sculpture and Monuments
Preserving Outdoor Sculpture and Monuments, Presented by the Group discussions on walking tour Photo: Michelle Berry AICCM Objects Special Interest Group with the generous support Days 2 and 3 began with online of the Gordon Darling Foundation, webinar sessions with Andrew Melbourne Museum, 8-9 November Lins, Head of Conservation at 2012. the Philadelphia Museum of Art, I attended this two day course with the who is a leading expert in metals hope of learning more about outdoor corrosion and protective coatings sculpture and monument preservation and Lorraine Schnabel, a private as a possible occupational field. The conservator specializing in stone and course was aimed at individuals masonry conservation. As a first responsible for the care of outdoor timer to the use of webinars, I found sculpture and monuments and while it an incredibly effective method for the majority of participants were accessing expertise outside of Australia collection managers from local with workshop participants able to government councils I was glad to ask questions freely of the presenters see a small number of conservators which were answered in real time. It Hands on lab session in the group. This two-workshop certainly appeared to open up avenues Photos: Michelle Berry was led by Katherine Untch, a for further collaboration and an San Francisco based conservator The last day of the workshop was spent exchange of ideas with the use of such who has worked in the field of reviewing the various treatment and technology becoming more widely outdoor sculpture and monument maintenance plans that each group available. conservation for over 25 years. The had developed and had time to discuss first day of the course was devoted to The afternoons on these days consisted other sculptures and objects that understanding the preservation issues of heading out to Museum Victoria’s workshop participants had previously of outdoor work. Katherine covered Moreland complex to conduct hands worked on at various institutions. All issues such as maintenance programs, on testing of anti graffiti materials in all, the four-day workshop proved to commissioning new works as well and protective coatings and doing be very intensive with a lot of material as what to look for when seeking some practical work at a number of that was covered but was so rewarding conservation advice. sculptures located at the University of in terms of the knowledge that was The second day of the course began by Melbourne. In the lab, a number of obtained from the presenters and our breaking the participants into small products had been sourced for testing fellow professional colleagues. groups, ensuring the conservators on pre-made mock-ups involving I would like to thank Helen Privett, were equally dispersed. Our groups different media on various surfaces. Objects SIG Convenor for her time then set about creating a process Working in small groups, it was great in organizing this workshop, as well for assessing a proposed sculpture to step away from the theory and look as all the volunteers who helped installation. Groups considered at the practical aspects of cleaning make this workshop run smoothly possible installation, preservation and evaluating coating systems to and cater to all of the participants and maintenance guidelines as well determine how well these could be as discussing the stages at which needs. Special thanks to Katy Untch applied, removed and maintained conservation advice should be sought. who was so generous with her time in a number of situations. At the Katherine Untch led an informative and knowledge, as well as, to all the University of Melbourne, again, the and often entertaining course which other presenters who took part in the workshop participants were divided in created a fascinating opportunity for workshop. to small groups to discuss a sculpture conservators and council collection and come up with a treatment and managers to discuss and share ideas. Reviewed by Isa Loo maintenance plan for the object. This Objects Conservator, Western Australian Jane Manallack, Objects Conservator session was invaluable as it provided Museum
No 124 March 2013 15 The 2012 winners of the ADFAS/AICCM Prize for Conservation Student of the Year
The 2012 winners of the ADFAS/AICCM Prize for Conservation Student of the Year
The Association of Australian Lisa Yeats Decorative and Fine Arts Societies (ADFAS) generously sponsors Give us a brief biography of yourself awards for Conservation Student of the Year for both university I am a recent graduate of the Masters programs, Canberra and Melbourne. of Materials Conservation course at the Centre for Cultural Materials The prize is awarded to a student Conservation, The University of who achieves a high academic Melbourne, Australia, where I specialised standard in their studies, and who in objects conservation. I have a passion has also been actively involved in for textiles and Southeast Asian art the profession in a meaningful way. and artefacts, and am specifically In 2012 the awards were presented interested in the conservation of home to Lisa Yeats from Melbourne and wares and domestic objects. I am also Sara Freeman of Canberra. interested in the relationship between the conservation of cultural materials We asked each of them some and development and as have recently questions about themselves, the returned from a research trip to Timor- archaeologist but after my undergraduate profession and their aims and Leste. I have completed an internship degree I was a bit disillusioned with what ambitions. in the textile conservation laboratory that actually involved. When I found out at Artlab Australia in Adelaide. I have about conservation it seemed to combine also held volunteer positions at Heritage many different areas I really love and the Victoria, The Australian Institute of prospect of being able to make a career Archaeology, The Melbourne Jewish doing something I am passionate about Museum, and RSL ANZAC Village War was extremely appealing. Museum. I have an undergraduate degree in History and after graduating hope Why is conservation important? to secure an internship at a museum or I think conservation is important as gallery in the USA. a way of establishing, celebrating and maintaining connections with our When did you first find out about histories and cultures. conservation? When I was an undergraduate What was your favourite student volunteering at the Australian Institute experience? of Archaeology wondering what an earth It’s too hard to choose just one! Being I was going to do with an Arts degree in involved with the RSL ANZAC Village History and Archaeology. The Director War Museum Narrabeen conservation there suggested the course, initially I was and cataloguing project throughout put off by the chemistry component but I the last year has been a really unique found out about the Chemistry Bridging and rewarding experience. It was such Course and the rest is history! a privilege to be allowed access to the Village museum collection, residents and What made you decide you wanted to be staff to complete my thesis research. a conservator? I was also fortunate enough to travel to I have always loved museums, artefacts Timor-Leste in January of this year as part and learning about different cultures. of the Building Legacy in Contemporary Growing up I wanted to be an Art Programs in Timor-Leste research
16 AICCM National Newsletter The 2012 winners of the ADFAS/AICCM Prize for Conservation Student of the Year project. The whole trip was Sara Freeman incredible but the highlight for me was catching a 6-seater plane Give us a brief biography of yourself up into the hills to help with an exhibition Timor Aid had I was born in London, and grew up in organised in Maliana. Melbourne in a family of writers and painters. Studied music until halfway thru Both very different but very a BA I realised I wanted to paint more amazing experiences that gave than anything. So I set off to see the world, me a great insight into the wide travelling and painting throughout my applicability of conservation 20’s living in Europe, India, Japan before training. returned to live on the far south coast of NSW, painting, exhibiting and working What do you see as the big part time. In 2002 I came to Canberra issues facing the conservation School of Art to study print media and field? drawing. In 2009 I enrolled in the first As a recent graduate job intake of the new UC Conservation availability and job security course. Within a year of commencing the treatments that enables us to do our job of seem to be issues of valid course I was lucky to work as a preventive preserving endangered objects to forever concern, I guess this reflects the conservation assistant with Lisa Addison finer levels. It complements my endeavours undervaluing and underfunding at the NGA for a year, then as an assistant as a painter. of the arts in general. conservator at Art and Archival with Kim Morris, and on various other projects in Why is conservation important? Finding new and improved wallpaper conservation with Rosemary Objects hold memories and significance ways to raise the profile of the McDonald and Sarah Bunn in Sydney. that can make them important to preserve profession is important also. I still have a few more units of the UC for as long as possible. I think cultural course to complete this year, and now memories are important to all of us, giving What are your future plans? work full time as a paper conservator at shape and richness to our personal lives in I am heading off to America the National Library of Australia. I still countless ways. Whether we are talking in May to present a poster on find time to paint and have one or two about an exquisite painting or a letter or a my thesis research at the AIC exhibitions a year as well. map, these things might be very important Conference in Indianapolis. to someone in the future, trying to unravel I am currently applying to do When did you first find out about something lost. It is amazing how much a few internships at different conservation? can be learned from a forensic examination institutions while I am over there After art school, while concentrating of a physical object. and I will just see where the year on my career as a painter, I had a stint takes me. of working at the National Gallery of What was your favourite student Australia in visitor services. This is when experience? Where would you like to be in I learned about this wonderful out of There were so many! I loved the chance 10 years? bounds place called the conservation the UC course gave us to do a semester I’m not entirely sure, hopefully laboratory, where works were examined of practical training in so many different still enjoying my work! microscopically and restored for institutions, giving us experience of the exhibition or preserved to save them from I hope to have spent some time different approaches to conservation work disintegration. I was determined to get into working in the American South, in archives, museums, galleries, libraries that lab! at the Historic Royal Palaces in and private practice. the UK and in Southeast Asia. What made you decide you wanted to be What do you see as the big issues facing a conservator? What would you tell a young the conservation field? person thinking of entering a Conservation was the first job that I ever There seems to be a lot of conservation conservation course? heard of that could use the 20 years of institutions and training facilities closing knowledge gained from an art practice, Don’t let the chemistry deter down around the world as part of the GFC plus had the qualities of focused, patient, you, if you’re passionate about it insecurities, but at the same time I think quiet work including investigation and then go for it. we are moving into an era where climate problem solving. I love the ongoing quest change and extreme events are causing for mastery of materials and refinement of more threat to cultural materials. I believe
continued on next page
No 124 March 2013 17 Christmas in the divisions
Christmas in the divisions
NSW AICCM 2012 incredible 60 plus people attended everyone who attended and to all NSW Christmas party the event, representing a wide range committee members. We look forward of professions and workplaces. It was to the 2013 party and hope it will be as great to see the diverse members of our enthusiastically attended. Sheldon Teare, Silvia da Rocha, profession mingling and socializing, Adam Godijn seeing skilled professionals, sole privateers, dedicated institutionalists, The 2012 NSW AICCM Christmas new blood and old blood chatting away party was held at History House; a over cosmos and quiches. The food beautiful heritage listed building located itself was a spectacle to behold, with on Macquarie St, Sydney across from dishes prepared by a number of keen the Botanical Gardens. The event itself committee member chefs. The plates was held in their Victorian drawing were numerous, varied and delicious. room amongst period furniture, grand A huge thank you must be said to those oil paintings, antique pianos and who provided the committee with excellent company. The turnout was far prizes for the raffle. Your support is greater than anticipated, some fearing greatly appreciated! One last thank you we would need to turn people away! The committee had a difficult task ahead of them when organising the party, feeling the strain of meeting high expectations set by the success of the 2011 Christmas party held in Darling Harbour aboard the tall ship James Craig. While the venue didn’t have the view of the James Craig, it certainly made up for it in atmosphere. Nearly half of NSW members turned up! An continued from previous page the skills of conservators will be needed What are your future plans? painting in my south coast studio, or more and more to preserve what remains I am hoping to find somewhere in India pottering in the garden! important to us through changing times. to do an internship on Indian miniature What would you tell a young person The threat to conservation education is painting conservation with the help of thinking of entering a conservation growing as universities become primarily my ADFAS prize money. I hope to open course? driven by economic motives. As the up conservation connections into asia, universities are demanding unlimited where I would love to have the chance Go for it! If you like fine, focused, class sizes, maybe we have to accept that to work on occasional projects. detailed hands on work, I think we we supplement broader conservation conservators have one of the best jobs training with apprenticeships and Where would you like to be in 10 in the world. Take advantage of being ongoing master classes to keep the years? a student to offer yourself as a volunteer skills being handed on. I think having a I would like to have enough good everywhere you can think of. The wider base to ones initial conservation training and experience under my belt more experience you can get the more training has definite advantages over to be working as a private conservator appealing you’ll be as a prospective diving straight into a narrow specialized on periodical projects in exotic employee. field. locations and closer to home, with good chunks of time in between to focus on
18 AICCM National Newsletter Christmas in the divisions
ACT Division Christmas Emails ethnomusicology degree to be with you. Trivia Night (and Ken has a new home and a new girl! I know the language barrier has been an issue, but from things she has said to introducing Konservator Romance was in the air last night me, she truly loves you Ken. I know she Ken…) when confirmed bachelor Conservator is a little older, she’s been around and Ken met Palaeontologist Barbie at the maybe she needs a new battery, but she The Canberra AICCM community AICCM ACT Division Xmas party. is such a sweet person. I have never seen gathered at the National Archives for Ken and Barbie will have plenty of her without a smile on her face, even their traditional quiz and pizza night time to get to know each other in their in the most unpleasant circumstance on the 27th of November, hosted by Ian new home at the UC Cultural Heritage (AICCM Christmas party for example, Batterham, Trivia Master. laboratory. It is hoped that they might where you behaved very badly flaunting also spend some time ‘in the field’ in the your new “relationship”). The party itself was a great success with coming year. It might be too early to say, more attendees than usual. The quiz but do we hear wedding bells? Will Ken, Wake up and smell the methyl cellulose was judged to be a difficult one, but with trembling voice, pop the question Ken! This Paleo Barbie, what has she got that Leilani doesn’t? Fine, she contestants rose to the occasion and over a brontosaurus femur? Only time has nicer legs and looks good in khaki ultimately the team from the University will tell. You can see the chemistry micro-shorts but have you seen the of Canberra were declared victorious. between the two in the attached photo. accessories? Who will be carrying her For their efforts, the UC students Pay no attention to the Polynesian bags at the airport and in the field? received our perpetual trophy: floozy (Leilani) lurking behind the Who is going to pay for her hand-made Konservator Ken! couple - she was never in the race! stiletto desert boots? And do you really All the best for the Christmas Season! know who she is? Does she? How many For non-ACT people, here is a potted well documented careers has she had biography of Konservator Ken: Ian Batterham, AICCM ACT Division over the years? Teacher, doctor, vet, His origins are now lost in the mists President astronaut, starfleet officer, for God’s sake she’s even been a mermaid! It says of time, but we think Ken became the Paleontologist on her shiny, new box, Trivia Night Prize sometime around the but that’s just a label. Show me the year 2001. Following his presentation piece of paper. None of it is real Ken, to successive winning teams, it has not even her looks. We all know she’s become traditional for Ken to travel had “work” done. How much of her is widely, and as a result he has been to plastic, eh? Don’t let her perky breasts such far-flung places as the middle east, and tiny waist fool you, she’s over fifty. Europe, the US and New Zealand, Bet she hadn’t told you that. returning with photographic evidence (much of it scandalous). Still I know Leilani can stand on her own one foot, and she will always have Ken’s personal life has been varied a home at UC. Let’s hope this Barbie Konservator Ken meets Paleontologist Barbie and sometimes troubled. He has with Leilani looking on girl can keep up with your non-stop, experimented with a punk period and party lifestyle. Don’t come limping back being a Bali beach bum as well as facial if it all goes horribly wrong, that’s all I glitter and guyliner, before trying to can say. settle down with Polynesian dancer Leilani whom he met on a previous From A Friend visit to the UC Conservation labs. After the great meeting of minds last However, Leilani failed to hold Ken’s night, we are now proud to be hosting interest, and he has now gambled his Ken as a guest scholar. His new partner future happiness on mail-order bride will also be encouraged to participate in Paleontologist Barbie. research and scholarship. So, once again, UC is proud to be Somewhat disappointed in Ian’s hosting Ken as a guest scholar, and his Ken in Paris - when he was single floozieist remarks. We have a very new partner will also be encouraged to strong equal opportunity policy here, participate in research and scholarship. Open Letter to Ken, back to some awareness work for Ian!. Will this new relationship be a solid Oh Ken, what have you done? I know rock or will Ken will once more leave All the best for Christmas and watch when you met Leilani it seemed like the straight and narrow path…we will this space. some casual holiday fling, but she left find out at this year’s Christmas party! her home and family and deferred her John Greenwood
No 124 March 2013 19 Institutional News – NSW
LabInstitutional and People News News
to take care of frames for the Gallery’s on paintings for the Sydney Moderns New South Wales photographic collection. exhibition including researching Roy de Maistre’s complex colour music Marina Terwald, a student from the works. Simon Ives has been examining University of Applied Sciences and Frederic Leighton’s painting Winding Sydney University Museums Arts Hildesheim (HAWK), Germany, the Skein and using the Gallery’s new is completing her five month internship In support of the Macleay Museum’s IR camera technology has revealed in both the Frames and Paintings “Victorian Taxidermy” project we have much information regarding the artist’s sections. She is currently working on been able to employ two conservators working practice. Andrea Nottage and a complicated frame treatment for for short term contracts in the Michelle Wassall are currently working Lamberts painting Still life (Pan is dead). Conservation Lab. Sasha Stollman is on a Society funded project involving After removal of several layers of over- working full time, assessing natural the conservation of some large painting, Marina is now working on history specimens and proposing decorative panels by Roy de Maistre. replacing missing ornamentation, after conservation treatments. From early Four of the six panels are to be hung in which she will commence the final March, she will start treating those with Society to coincide with the upcoming stage of treatment; gilding using non- high priority, both in terms of curatorial Sydney Moderns exhibition. Melissa traditional techniques. significance and conservation needs. Harvey has been busy fitting out a Malgorzata Sawicki is finishingBraque work going on loan in addition Ana Barros Soares has been working treatment of the frame of Etienne to preparing works for the upcoming two days a week, using an XRF analyser Dinet’s painting Snake Charmer in Sydney Moderns exhibition. loaned by Bruker Elemental, gathering addition to managing the Frames data on residual chemicals on bird, Conservation Section. Margaret is mammal and fish skins. While Ana Paper Section also coordinating frame conservation/ has been running the data collection, Carolyn Murphy has been busy in the reproduction projects for the Sydney Alayne Alvis has been pointing the role of Acting Head of Conservation Moderns exhibition. Regretfully, analyser at the points of interest. Once in addition to working on a number Stephanie Limoges has finished her the data analysis is complete, Ana will of new acquisitions and collections contract employment in the Frames move onto devising and fabricating conservation projects. Analiese Conservation Section, although we all storage and handling supports for Treacy has recently been preparing hope that her departure is temporary. selected natural history objects. Alayne works for display in an exhibition is now finishing off preparation of Tom Langlands (conservation on The fashion of Helmut Newton and objects for the Macleay Museum’s “True department mount-cutter), has Bettina Rheims in addition to preparing to Form” exhibition of teaching models commenced a part-time traineeship works for changeover in the Kaldor from the 18th to 20th centuries. Her with David Butler (conservation Contemporary Galleries. Analiese is next project will be preparing for the department reproduction frame- also working on a number of regional re-working of the Nicholson Museum’s maker), making reproduction frames and international outward loans. Sarah Middle East section, which will feature for the AGNSW collection. His Bunn is preparing works on paper for an archaeological sites associated with the three-year training, which has been exhibition to coincide with the launch University. sponsored by the AGNSW benefactors, of a Gallery publication on our Lloyd involves two days per week working at Rees collection. Sarah is also planning David’s workshop in Katoomba. Lydia the upcoming exhibition of Aboriginal Art Gallery NSW Dowman has joined the conservation drawings from Yirrkala, on loan from team in mount-cutting two days per the Berndt Museum of Anthropology in week, replacing Tom while he is Perth. Frame Section training. As of January 2013 Basia Dabrowa Asian Section has returned to her permanent part- Paintings Section Lily Yang has been working on a time employment of 2.5 days per week. Paula Dredge has returned to full number of Asian new acquisitions, Currently she is working on frames for time work with her thesis almost including a collection of scrolls. Lily is the Sydney Moderns exhibition in the complete. She is currently working also completing treatment of a Helen middle of the year, and is continuing
20 AICCM National Newsletter Institutional News – NSW
Johnson artwork consisting of four The Amaze gallery has been purpose the art works for which the artists are panels on paper which were previously built with the total renovation of an renowned. adhered to a wall at a private home. area once used for staff accommodation The sketchbooks require extensive and has involved new flooring, ceiling, treatment and rehousing for proper and air-conditioning systems. The Exhibitions Section display, as they are in poor condition. fitout involved custom built Designcraft Frances Cumming has recently been showcases to give us a flexible display Conservator Kate Hughes commenced involved in the installation of the system for the very large and small work on the Garling Conservator exhibition We used to talk about love in items in the collection. In addition Project in January. This is a year-long the contemporary galleries, and is now to being involved with the project project that will include treatment preparing for de-installation of the control group and having input on of and analytical research into the Francis Bacon exhibition. materials used for the build and the TAL Dai-ichi Life Derby collection of showcases, Preservation staff, led by natural history watercolours (PXD 1098) Objects Section senior conservator Nichola Parshall, and related First Fleet-era pictures Kerry Head is managing the are actively completing the preparation collections. Kate has begun condition conservation work for the Gallery’s of the items to be seen when the Amaze reporting the 900-plus individual New Guinea Highlands exhibition, gallery opens in April with Dixson 60. watercolours included in the project. This project is funded by the State due to open in May 2014. As part of Dixson 60 celebrates the 60th anniversary Library Foundation. this work, Kristel Smits has conserved of Sir William Dixson’s bequest to the a ceremonial sing sing mask, with State Library of New South Wales. This Dana Kahabka has treated two funding provided by the Gallery’s exhibition will showcase 60 treasures watercolour panoramas for the Conservation Benefactors. This object from Sir William Dixson’s extensive and upcoming Dixson 60 exhibition and was made by villagers from Nupatha diverse collections, which he donated to completed preparation for the display of and Kaveve, Goroka district, Eastern the Library upon his death. glass plate negatives and accompanying Highlands Province and was danced albumen photographic contact prints in the 1968 Goroka Show. Donna In preparation for the exhibition, the for the current exhibition The Greatest Hinton continues to prepare objects Library’s book conservator, Guy Caron, Wonder of the World. for outgoing loan, assesses objects for has carried out treatments on some proposed acquisition and handles the original artists’ sketchbooks. Amongst Dana has begun work in her new day to day conservation needs of the them are three sketchbooks belonging position as Senior Conservator, objects collections. to Norman Lindsay, Lionel Lindsay Digitisation Project as part of the (patronized by Sir William during his Library’s Digital Excellence program. lifetime) and Arthur Ernest Streeton. This project focuses on the conservation State Library of NSW Mostly of figure studies, the sketchbooks activities required for the digitisation of depict the daily lives of the three a large selection of the Library’s historic The Library will shortly be opening Australian artists: characters, members collections. its new Amaze gallery. This space of their own family, actors, fellow artists, The Queen Mary 2 is scheduled to which runs along the back of our and situations. The three sketchbooks return to Sydney Harbour again this existing gallery spaces will enable the reflect Streeton’s and the Lindsays’ year on 7 March before its inaugural Library showcase its treasures, and also keen sense of observation, composition circumnavigation of New Zealand maintain an open gallery space while and ideas. The drawings are fresh and calling at the Bay of Islands, Auckland, major changeovers are happening in intense in their executions. They are Wellington, Akaroa and Milford Sound. the Dixson and Mitchell galleries. a rich collection of studies made for
Streeton sketchbook before treatment Streeton sketchbook after treatment
No 124 March 2013 21 Institutional News – NSW
For this voyage Cunard have requested a Powerhouse Museum is also available through the Museum’s number of items from the State Library’s book shop. collection to travel on board the vessel, Object preparation for the Powerhouse Every two years a fashion conference including Captain Cook’s tea caddy and 25th Anniversary celebration is is held in Florence Italy. It is an spoon used on board H.M.S Resolution underway. There will be two main interdisciplinary meeting where during his voyage around New exhibitions: Upcycled, which will numerous aspects of fashion, Zealand in 1770. Other items include celebrate the Museum’s quirky and history, museology, conservation correspondence from Captain Cook diverse collection; and Technology that and reproductions are discussed and to John Walker describing his voyage, changes our mind with a selection of explored. Onsite visits and excursions to Cook’s personal notes describing items with mind-changing technologies. several museums around Florence after events in the Cook Islands and New their closing hours are always greatly Zealand, and correspondence in 1768 Objects were installed at the Australian appreciated. The newly opened Gucci in preparation for Cook’s voyage on Cinematography Society, Macquarie Museum invited the conference goers to the Endeavour. Aileen Dean-Raschilla, Group Banking Chambers. Objects were a viewing and cocktail party on the first Steve Bell and Anna Brooks have collected from Alstonville, ANMM and night! been busy preparing the items for loan NGV. including the preparation of condition Travelling exhibitions are on the move. This year, we were fortunate to have 2 reports and the design and manufacture Vanessa Pitt dismantled Odditoreum Powerhouse staff members present their of custom supports for display of the and Suzanne Chee installed Frock stars papers to an international audience. items on board QM2. Steve and Anna at the GEO Centre in Broken Hill. Sarah Pointon’s talk on the Australian will also install the items on board the Dress Register (ADR) drew much vessel and we hope that this year it Exhibition installations of Access to Life attention and praise. The ADR team will take less than two hours to clear and 30 years of HIV/AIDS in Australia received many congratulations from all. Security. The registration component and Aids quilts were carried out by The audience was absolutely amazed of for this loan, including the Outward Rebecca Ellis, Teresa Werstak and the work and the coordination of this Loan Agreement, has been meticulously Gosia Dudek. Wallace and Gromit’s project at large. prepared by Catherine Thomson and World of Invention was installed by Skye Agata Rostek-Robak. Mitchell and Vanessa Pitt. Suzanne Chee presented her paper Speedo a Race against Time alarmed Trish Leen and Agata travelled Bronwen Griffin dismantled the people on the fragility of some man- to Newcastle to install material Powerhouse Museum’s permanent made fibres. The audience was interested for Treasures of Newcastle from the music gallery, Music Made and Played, to in the research of the deteriorating Macquarie Era (2 March – 5 May 2013), coincide with building works in the 1980s swimmers and were pleased that a a State Library of New South Wales Museum. Now that the construction solution was found. Many did not realise and Newcastle Art Gallery partnership work is over and the dust has settled, that Speedo was originally Australian! exhibition. The exhibition provides she has reinstalled the larger keyboard The next Costume Colloquium in an insight into the early colony of instruments and several showcases. 2014 will have the theme of colour in Newcastle, and includes significant Gosia Dudek and Teresa Werstak fashion. items such as the Macquarie Collectors are also working on objects for the Chest, Corroboree at Newcastle by exhibition, including a number of violin Following on from the research Joseph Lycett, Panorama of Newcastle maker’s tools and materials relating into the Speedo collection and by Edward Close, ivory miniature to Australian makers. We expect to the deterioration of the polyester portraits of Lachlan, Elizabeth and install the remaining cases shortly. polyurethane or PUR(ES) components. Lachlan junior, as well as various works Sue Gatenby has been assisting the Kate Chidlow and Teresa Werstak MUDE – Museu do Design e da Moda, by colonial artists James Wallis, Joseph attended a seminar at the AGNSW. Lycett, Richard Browne and Edward in Portugal with their research into the The topic was “Managing the Halston’s swimwear collection and their Close depicting scenes from around unexpected: Collection Management the Newcastle region. A highlight of Conservation Options for Polyurethane and disasters”, given by Gina Irish a Garments the exhibition is the Library’s recently Registrar from the Christchurch Art acquired Wallis album which has had Gallery. This fascinating talk gave Sue Gatenby and Teresa Werstak an extensive three month conservation us lots of information which will be have finalised a Conservation Display treatment by book conservator Steve useful with our disaster preparations. Guidelines. This will be heavily Bell. Other items were prepared by Before this meeting Kate attended the scrutinised by the department before it Aileen, Silvana Volpato, Bronwen DISSYD meeting. These events gave is circulated. Glover, Jessica O’Donnell, Cathryn us the opportunity to promote the ‘All Over the previous eighteen months, Bartley, Trish and Agata under the is not Lost the collection recovery book’ Rebecca Main and Amir Mogadam coordination of Cecilia Harvey. produced by Conservation. This book (Intern at PHM and Conservator at
22 AICCM National Newsletter Institutional News – NSW
University of Newcastle) have been Heather Mackay has recently worked condition reporting, cleaning and on a Crocodile mask from the Torres rehousing a collection of large (515 Strait Islands made from tortoise shell, x 415mm) 19th Century glass plate bamboo, wood, feathers, goa nuts, negatives produced by the Freeman cloth and plant material. The plates of Brothers Studio. tortoise shell which have been heated and shaped over a wooden armature are Amir reassembled the image on one partially secured with a natural resin blank plate from pieces of separated which had cracked and become loose. A emulsion, and with the assistance of Japanese tissue pulp was used to stabilise James Elwing, conducted re-adhesion these areas to allow the mask to go on tests using gelatine and Klucel on display in the Indigenous Australians sacrificial non museum object samples. Kate Jones repairs a ceramic pot from Palau Gallery. Michael Myers took documentation photos and recreated the original images Michael Kelly has been working on using Photoshop. the installation of Menagerie which went into the refurbished Indigenous From this project Rebecca and Amir Australians gallery in February. Michael produced a poster “Preservation of is also helping with the preparation of historic glass plate negatives with objects and specimens for the upcoming limited resources” which was shown Armour display. at the joint meeting of the AIC Photographic Materials Group and the ICOM-CC Photographic Materials Working Group which was held at Te Australian National Papa New Zealand from 11-15 February Sheldon Teare repairs a Japanese Kabuto Maritime Museum 2013. The poster covered the stages of testing and treatment, and showed Sheldon Teare is currently coordinating We are hosting a USA Gallery before and after treatment images of the a range of objects for a display on Fellowship recipient, Rebecca Torsell “Mr Taylor” plate. Armour due in March. Armour from Ohio, USA, who is spending combines man made armour pieces next four weeks in conservation working on Dave Rockell and Dee McKillop have to animals with plates, spines, scales maritime archaeology-related projects. returned to work. With another round and other defensive adaptations. Larger Rebecca will also be visiting other of Voluntary Redundancies hitting the animal mounts are being prepared for institutions around Australia as part of museum we regretfully said goodbye to Wildlife Photographer of the Year, and her research into maritime archaeology four of our greatly valued colleagues, Sheldon is looking forward to touching conservation methodology. who had all worked at the museum up at least one of the rhinos in the for many years: Margaret Juraszek, collection. Planning for upcoming exhibitions 27 years as Paper Conservator; Nadia and core gallery object changeovers McDougall, 16 years as Assistant Silvia da Rocha has been helping to continues. Objects Conservator; James Elwing, install Menagerie after its long tour As part of the new museum structure 17 years as Archival Conservator; and around Australia. Silva has just started all position descriptions have been Ross Goodman, 28 years as the Head of the mammoth task of carrying out a drafted into a new format and a new the Steam team. type specimen condition survey put together by Sheldon. Silva and Sheldon performance management system will will be physically inspecting every type be introduced later this year. Australian Museum specimen in the collection, a task they During the first quarter of this year Julie will have for quite some time to come. O’Connor completed a hat survey and Kate Jones is currently reconstructing Over the past few months Megan Dean- storage of footwear from the collection two archaeological ceramic pots that Jones has been diligently working for the textile storage project. With the were excavated from Palau last year. The through the painstaking process of continuing assistance of our volunteers pots are estimated to be 3000 years old, creating bespoke rehousing for the the textile project is 80% complete an extraordinary find for that location. Blaschka glass marine invertebrate excluding approximately 300 textiles The restoration process is being filmed collection. Fifteen full boxes later, in other storage areas. Mark Hayes from with a view to include the footage in a she has declared the job done. Since msclogistics.com has converted the display of the pots once the treatment then, she has been assisting Heather remaining shelving in the compactus is complete. The vessels will be then be Mackay in preparing material for the for boxed, hanging and/or rolled storage returned to Palau later this year. Indigenous Australians Gallery upgrade. as required. During December last year,
No 124 March 2013 23 Institutional News – ACT & SA
Julie also attended the “20th Century in attempting to salvage the photographic Paint” symposium at in Brisbane. ACT history of strife-torn nations. Paper conservation student Leah Cheryl’s trip was fully funded by the Williams from Melbourne University’s National Archives of Australia, and she CCMC Masters program spent two National Archives of thanks them for their support. weeks in January doing work experience Australia – Canberra Office with Caroline Whitley. Leah spent her time working on a variety of treatment The Conservation team, and in South Australia types, condition reporting and particular Tania Riviere and Emily photography that will hopefully prepare Birks, has been extremely busy for the for her well for the year of study ahead. past few months as preparations for the Artlab Australia, SA Caroline is also continuing to prepare Canberra Centennial exhibition Design Artlab has already had a busy start to paper-based items from the ANMM 29: Creating a capital got into full swing. the year, with much activity across collection for our June 2013 temporary This exhibition features the original and all of the labs. The Paper Lab has exhibition East of India: forgotten trade rarely displayed designs for Canberra by been heavily involved in exhibition with Australia, prior to many loan items the 1911 Federal Capital City Design preparation over the last few months arriving. Competition finalists – these intricate artworks and plans include the winning and has recently received quite a few Rebecca Dallwitz is preparing to work entry Number 29 submitted by Walter works from various grants to arts and on an anchor retrieved from the wreck Burley Griffin. historical organisations. Many of these of HMS Sirius in the 1980s. The anchor jobs have quite tight deadlines and so is on display in the Museum building. All of the Griffin designs, as well as most of the Lab is involved in meeting The project will be undertaken during the entries of the other placegetters, these. Anna Austin and Aquila Evill museum opening hours and will be were removed from their frames and have been busy preparing works for the visible to and interpreted for visitors. condition-checked. Each one was major rehang in the Elder and Melrose The existing coating will be removed digitised at high resolution to enable Wings of the Art Gallery of South and replaced, and a range of other the development of an iPad app that Australia. conservation interventions undertaken. will be used within the exhibition. Almost all of the Paper Lab staff HMS Sirius was the flagship of the The works were then reframed in new, members were involved in the very First Fleet. The loss of the vessel at matching mouldings. Supplementary speedy and complicated rehousing of Norfolk Island in 1790 was a major material related to the search for a site a major work by Gilbert and George, blow to the new colony of New South for the nation’s capital, and paperwork Dark Shadows No 9 which consists of Wales and posed a serious challenge to sent to competition entrants, has also 19 photographs hand cut to varying the settlement’s viability. The anchor been prepared. All the works will be sizes. Anna and Aquila are now is on loan to ANMM from Norfolk on display at our Parkes building from working through the conservation of Island Museum. Rebecca is also 1 March – for further information a collection of etchings by Piranesi, contributing to East of India: forgotten see http://www.naa.gov.au/visit-us/ which is a delightful experience. Peter trade with Australia, and continues to exhibitions/design-29/index.aspx Mitchelson has been making numerous work on ANMM’s recent maritime Cheryl Jackson was lucky enough and complicated book supports for rare archaeological finds. to attend the AIC – PMG/ICOM books now on display in the Maritime This month Sue Frost has been – CC (PMWG) Joint Photographs Museum and is currently preparing catching up on backlog, condition Conservation Meeting held in several items for the National Motor reporting objects removed from display Wellington, NZ in February. The week Museum’s Sunburnt Country. and preparing them for storage. This long event started with two days of Andrew Cuch (conservation assistant) will clear the way for work on the workshops and/or tours of the cultural has recently finished the conservation of forthcoming East of India: forgotten trade institutions in and around Wellington, two elephant-sized volumes of etchings with Australia exhibition which will then moved in to three days of papers of Egypt and is currently cleaning and have a number of beautiful textiles on presented at the Museum of New rehousing a group of bound editor loan from various institutions. Many Zealand Te Papa Tongarewa. The papers proofs of etchings made after William prop (unregistered) textiles will be were diverse, encompassing full-on Light’s drawings of Pompeii. Jodie included in the display. Preparation of analytical investigation of the corrosion Scott has been working on a group of these objects will include mannequin of gilded daguerreotypes, exhibition cased daguerreotypes and collection manufacture and the application of mounting methods from daguerreotypes maintenance for the SA Museum. hanging mechanisms. to large format modern prints, and outreach programs around the world Helen Halley and Liz Mayfield enjoyed
24 AICCM National Newsletter Institutional News – Vic
condition checking watercolours and Justin Gare, who can sling, load and sketchbooks in Turner from the Tate direct a crane load move by use of Victoria before it opened on the 8th of February walkie talkie, hand signals or whistles – and Liz has also been working through should prove useful for some of the big her regular list of books and bibles. memorial moves anticipated later this year, as well as when reorganizing the National Gallery of Victoria Members of the paintings team at treatment lab! Artlab have commenced a project at Ayers John Payne has completed work on House, the sole surviving 19th century The Textiles Lab is presently still all five paintings which make up the ‘grand’ mansion on North Terrace, named undertaking the treatment of a Trade NGV’s Netherlandish Triptych with the after the five-time Premier of South Union Banner for the Coachbuilders Miracles of Christ of the late fifteenth Australia and wealthy industrialist, Sir South Australian Union on behalf of century. The treatment has been timed Henry Ayers. The decorative internal the Australian Manufacturers Union. to coincide with its inclusion in an surfaces display a high level of technical They have devised a unique head exhibition entitled “The Heritage of accomplishment and are considered rare support to enable them to work face Rogier van der Weyden” in Brussels in South Australia. During the initial down over the large and extremely later this year. Michael Varcoe-Cocks stages of the project, a number of specialist fragile banner from a physiotherapists’ has been busy preparing works for consultants have been engaged to assist with investigations into the cultural massage table. the upcoming exhibition dedicated to Australian Impressionist painters significance, substrates and fabric, and Mary-Anne Gooden is undertaking the in France, including paintings by J. P. causes attributing to the deterioration treatment of a large tiger skin in need Russell and E. Phillips Fox’s The Bathers, of all decorated surfaces. Treatment will of tooth repair and tail reattachment. which he has recently cleaned. Carl focus on the State Dining Room and The next exciting textile is from Villis has completed treatment on Summer Sitting Room, where monitored Wangaratta, the Marianne Gibson Correggio’s Madonna and Child with the deterioration has been observed. Crazy Quilt, which is in need of support Infant St. John the Baptist, and recently where weighted silk has degraded in Preventive conservators Anne Dineen gave a presentation on the painting to a number of patches. The story goes and Kasi Albert have been applying the international symposium entitled that Mrs Gibson’s husband owned a their now well-honed Disaster “The Power of Luxury: Art and Culture hardware store and the quilt is decorated Preparedness training skills to the staff at the Italian Courts in Machiavelli’s throughout with little embroidered at the South Australian Museum. They Lifetime” held at the University of hoes. have also been assisting the Art Gallery Melbourne. He is about to start work of South Australia to prepare for the Kristin Phillips is carrying out a survey on a seventeenth-century portrait by Sir major Turner from the Tate exhibition of the blinds and curtains at Carrick Peter Lely. by producing a special disaster plan for Hill in order to determine treatment the loaned items and by ramping up the Holly McGowan-Jackson undertook priorities for the collection. New environmental monitoring in the space. treatment of the very large original sacrificial blinds and curtains are being Some Preservation Needs Assessments cushion frame for a landscape painting hung behind originals to protect them are also on the cards this month, by Alexandre Nozal, prior to its return from light. with Kasi surveying the Nora Heysen to public display after many years. Foundation collection at the Cedars In the Objects lab Justin Gare has won The frame, in which the painting in Hahndorf, and Anne travelling to a Copland Foundation Scholarship for was displayed at the Paris Salon in Naracoorte to survey the collection of the Attingham Summer School, which 1891, largely retains its original gilded the Sheep’s Back Museum. means he will be departing Adelaide surfaces. The treatment focussed on in July for 18 days to attend a series of the repair of cracking in the ground Projects said two good byes this month: lectures and tours of approximately layer due to the separation of frame to the Favourite motorcycle, a long term 25 stately English homes. Whilst components, and splitting wood at the project finally returned for display to the there he will have the opportunity to inner flat. The simple frame styles used National Motor Museum, Birdwood; examine the architectural and social by artists such as John Peter Russell and to Nick Flood, who commences a history of the historic house in Britain, and have provided MaryJo Lelyveld post in Canberra. study the contents of these buildings, and Holly McGowan-Jackson a chance Abby Maxwell-Bowen attended the and participate in debate on problems to work on their frame-making skills. four day AICCM Outdoor Sculpture relating to the conservation and Under the guidance of Rob Murdoch & Monuments Conservation course presentation of the country house and MaryJo, Holly and Michael Varcoe-Cox in Melbourne as well as getting her its contents. have machined the moulding for several Dogman High Risk Work ticket. Artlab frames in the lead up to the Australian now has two licensed staff, Abby and Impressionists in France exhibition. Suzi
No 124 March 2013 25 Institutional News – Vic
Shaw has been preparing Burmese There’s not much show and tell at this which is considered to be one of the lacquered betel boxes for display, and stage seeing as we are at the half-way greatest archaeological finds of the 20th assisting with the development of point of the project which involves century. hazardous materials documentation on-site conservation of artefacts as well Sam Hamilton participated in a associated with some of them. Also, planning for some more complex in-lab workshop hosted by Museum Victoria many of the gallery spaces in both treatments which will be conducted at in association with the Victorian buildings have been rehung in recent the Conservation Centre after the dig is Aboriginal Child Care Agency months with almost all of the furniture completed in early March. [VACCA] for children in foster care collection being changed over or aged between 5 and 13. Forty children moved, keeping Suzi on her toes with and carers attended the day-long event complex deinstalls and installs. Museum Victoria which included the opportunity to In the Paper and Photographs wear ‘museum gloves’ and touch and Davina Hacklin has taken several conservation studio Pip Morrison and hold objects from their own country. months leave from Museum Victoria Sarah Brown have just returned from The children were very interested and and will be returning in April 2013. Wellington, after presenting a paper excited about the role the conservator In her absence Helen Privett is acting ‘Re-visiting Strip Lining of Large Format had in caring and treating objects Manager and Elizabeth McCartney is Photographs’ at the AIC & ICOM- and thoroughly enjoyed this unique backfilling Helen as Senior Conservator, CC Photographic Conservation Joint experience. This workshop is part of a Collection Development and Access. Meeting 2013. The paper received a greater possum skin cloak project which wonderful response and has opened up a In other recruitment news we are will see the children make their own new dialogue in regards to this hinging currently undertaking interviews for the possum skin cloak with inspiration from system, which is regularly employed Conservator, Natural Sciences position. the Museum’s collections. The cloak by institutions around the country Erina McCann and Danielle Measday will be on display in the temporary and the world. A working group is have recently filled two contract exhibition space Birrarung when currently being devised to continue this positions in the team, working on a Bunjilaka is reopened to the public in discussion. variety of loan and exhibition projects. July 2013. Sarah Babister has recently completed Sam also participated in the final treatment of the 1975 Ilinga sports car deinstallation of the travelling Heritage Victoria’s for long term display at Melbourne exhibition Ancestral Power and the Conservation Centre Museum. The treatment, which took Aesthetic which saw twenty highly place over several months, involved significant and fragile bark paintings The conservators of Heritage Victoria extensive cleaning, stabilisation, from the Donald Thomson collection (Susie Collis and Lauren Keating) retouching and preparation of the return home after two years on the road. have been ‘heads down’ working on the engine for display. Sarah was assisted Sam reports that the barks travelled artefact management process for the by volunteer Jill Lythgo who recently extremely well with minimal loss and latest archaeological excavation that is completed her Masters in Cultural no real damage due to the levels of taking place in Melbourne’s CBD. The Materials Conservation. Thanks to Jill protection put in place for this tour. (former) Carlton and United Brewery for her valuable contribution. site takes up the entire block at the junction of Swanston and Victoria Sarah has also been occupied with Streets, Melbourne, and is currently preparation for the upcoming touring being developed into a new public Hall exhibition Afghanistan: Hidden space. The scale of the development Treasures from the National Museum, at the site has triggered The Heritage Kabul. The exhibition features 230 Act in that the archaeological heritage objects, but over 1500 pieces! The of the site must be fully investigated artefacts date from the Bronze Age and any significant artefacts must through to the rise of trade along the be retained and conserved. Heritage Silk Road in the first century AD, and Victoria has been ably assisted in include a collection of priceless gold this pursuit by Karina Acton of ICS. objects from the famed Bactrian Hoard
26 AICCM National Newsletter Trawling the Internet
Trawling the Internet
Bringing you useful, interesting or provocative sites on the Web. This time we have a number of sites to let you know about: 1. In the Artifact Lab – Preserving 3. The Iraqi Institute for the of paper in Europe, expertise for Egyptian Mummies Conservation of Antiquities and paper documents, measurement of (http://www.penn.museum/sites/ Heritage (http://www.artcons.udel. structural characteristics of paper, artifactlab/) edu/public-outreach/iraq-institute) support for the creation of new This blog is a companion to In The Iran-Iraq war of the 1980s, paper databases and introduction the Artifact Lab at the University the 1991 Gulf War, decades of into digital paper studies. of Pennsylvania Museum of disinterest in cultural heritage on 5. Museum of Australian Democracy Archaeology and Anthropology. the part of a repressive government, at Eureka In the Artifact Lab is a new exhibit and the sanctions of the 1990s (http://www.made.org/) at the Penn Museum featuring a resulted in a precipitous reduction Located in Ballarat, this Museum working conservation space. In this in Iraq’s professional heritage staff, will open in May 2013. With space, visitors have the opportunity and neglect and deterioration the evocative Eureka Flag as its to watch a conservator at work of museum collections and centrepiece, M.A.D.E’s interactive conserving Egyptian mummies archaeological and heritage sites. and immersive exhibitions will and related funerary items. The Iraq’s heritage crisis culminated explore the evolution and the future exhibit also includes cases of with the highly visible looting of of democracy – looking at culture, Egyptian artefacts, a Proscope the Iraq Museum in 2003. The civics, history and citizenship. station, where visitors can view Iraqi Institute for the Conservation samples of new and deteriorated of Antiquities and Heritage is This is a regular newsletter segment. materials under magnification, and training Iraq’s museum and heritage If anybody knows of sites that may be a Smartboard, with information professionals in the preservation interesting to the membership please let about the conservation process and conservation of their national us know. and ongoing activities. Twice daily, treasures, ranging from Babylonian the conservator is available to archeological sites to exquisite ivory speak with the public and answer figures from Nimrud and golden questions. jewelry from Ur. A great model of collaboration between governments 2. Conservation Reel and universities. (http://conservationreel.org/) Sharing the knowledge to preserve 4. The Memory of Paper and conserve works of art, cultural (http://www.memoryofpaper. objects, and historical artefacts eu:8080/BernsteinPortal/appl_ through video content developed start.disp) by museums and conservation A website created by the Bernstein organizations internationally Consortium, Commission for to educate one another. Recent Scientific Visualization (VISKOM), additions include: Examining a Austrian Academy of Sciences. 17th Century Frame, Lab Tour: The website is about paper, Conservation Science and The paper study, and paper history. It Light Bulbs in Robert Irwin’s Light provides various resources in the and Space III. following areas: historical research
No 124 March 2013 27 List of SIG Convenors
As all SIG convenor positions are open for election every two years, over The SIG convenors listed here are the past 6 months there has been numerous elections and nominations congratulated on their commitment with the following results. to the ongoing activity of their SIG Contact Election group. As a member of several SIGs I look forward to all the upcoming Antarctic Heritage Julian Bickersteth SIG cancelled 2011 events in 2013 and encourage all Book & Paper Caroline Murphy Elected 2012 forms of activity that will enrich our Conservation Framers June Andersen Election 2011 membership of AICCM. Conservation Science Deborah Lau Re-Elected 2011 It was decided this year that 3 SIGs Education Eric Archer SIG Cancelled (Antarctic Heritage, Education, Exhibitions Catherine Earley Re-Elected 2011 Private Practice) were to be Gilded Objects MaryJo Lelyveld Re-Elected 2011 dissolved due to various reasons. Objects Helen Privett Re-Elected 2011 A new SIG has also been formed Paintings Andrew Durham Elected 2011 by Peter Shaw regarding the Digital Photon Stephanie Bailey Elected 2011 & Audio-Visual Heritage. Please Preventive Conservation Sarah-Jane Rennie Elected 2011 contact Peter to be a part of this Private Practice Kay Söderlund SIG cancelled 2011 SIG. Textiles Jessie Firth Re-elected 2011 Tegan Anthes Digital & Audio-visual Heritage Peter Shaw Established 2011 SIG Coordinator
AICCM National Council Executive and Officer Contacts 2011-2013
National President Kay Söderlund Tel: 02 9557 2395 Fax: 02 9557 2390 [email protected] Vice-President Maryjo Lelyveld Tel: 03 8620 2122 Fax: 03 8620 2555 [email protected] (acting) National Secretary Rachel Spano Tel: 07 3842 9060 [email protected] National Treasurer Robin Hodgson Tel: 03 5989 1199 Fax: 03 5989 1144 [email protected] Membership Services Officer Fiona Tennant Tel: 02 9417 3311 Fax: 02 9417 3102 [email protected] Publications Officer Cobus van Breda Tel: 03 6211 4164 [email protected] AICCM Secretariat Michelle Berry Tel: 02 6100 8618 [email protected] Professional Membership Officer Cushla Hill Tel: 03 9348 5700 [email protected] Public Officer Ian Batterham Tel: 02 6212 3424 Fax: 02 6212 3469 [email protected] Web Editor Carole Best [email protected] Bulletin Editor Nicole Tse Tel: 03 8344 0354 [email protected] Newsletter Editor Ian Batterham Tel: 02 6212 3424 Fax: 02 6212 3469 [email protected] SIG Convenor Tegan Anthes Tel: 02 9557 2395 Fax: 02 9557 2390 [email protected]
AICCM National State Presidents 2011-2013
ACT President Ian Batterham Tel: 02 6212 3424 Fax: 02 6212 3469 [email protected] NSW President Adam Godijn Tel: 02 9417 3311 [email protected] QLD President Anne Carter [email protected] SA/NT President Kasi Albert [email protected] Tas President Michelle Berry Tel: 02 6100 8618 [email protected] Vic President Davina Hacklin [email protected] WA President Natalie Hewlett [email protected]