2012 AICCM Paintings Group + 20th Century in Paint Symposium The Meaning of Materials in Modern and Contemporary Art 2012 AICCM Paintings Group + 20th Century in Paint Symposium The Meaning of Materials in Modern and Contemporary Art

Cinema B, Gallery of Modern Art, Brisbane 10-11 December 2012

1 2 3 Contents Supporters

Supporters / 5 Jointly organised by ‘The Twentieth Century in Paint’ Australian Research Council (ARC) Linkage Project headed by The Centre for Cultural Materials Conservation at the University Welcome Message / 6 of Melbourne, the Queensland Art Gallery | Gallery of Modern Art Centre for Contemporary Art Conservation and the Australian Institute for the Conservation of Cultural Materials General Information / 9 (AICCM) Paintings Special Interest Group.

Program / 10 The organizing committee would like to acknowledge the support of the Ian Potter Foundation. Tru Vue, the manufacturer of high-performance glazing for framing and Symposium Abstracts / 15 display applications is also pleased to support this symposium. For more information on Tru Vue glazing products, contact Jared Davis, Megawood Larson Juhl at JDavis@ Author Profiles / 32 megawoodlarsonjuhl.com.au or visit www:tru-vue.com/museums. Acknowledgments / 42 Location Map / 44

4 5 This is particularly interesting in painting media through revolutionary art contemporary museum practice. The practices in the 20th century in Australia Welcome processes by which artists transfer and parts of Southeast Asia. The project knowledge to institutions and collectors for concludes shortly and has involved a the care of their works are discussed, as is strong interdisciplinary team, including the common conflict faced by conservators ten investigators, four PhD students and With a focus on Australia and its region’s traditional concerns of conservation practice between maintaining artist’s intent and ten collaborative partners from Australia, diverse history and climate, The Meaning to examine the underlying meanings behind finding solutions to the practicalities of this Malaysia, Thailand, the Philippines, the USA of Materials in Modern and Contemporary the materials used in the production of maintenance. and UK. The PhD students Gillian Osmond Art symposium aims to explore questions modern and contemporary works of art. (QAGOMA, UQ), Paula Dredge (AGNSW, around artists’ intentions towards the Also of prime importance is the chemistry UoM), Melina Glasson (UoM) and Suleiman materials they use and subsequent effect In attempting to highlight the wider artistic responsible for the deterioration of Odat (UQ), and Post-doctoral fellow Dr on conservation decisions. For example, and social meanings of the materials in works modern and contemporary works of Nicole Tse (CCMC, UoM) have made a how are aspects of material choice framed of art, the Symposium in no way endeavors art, specifically the effect of the diverse significant contribution to the project by availability, geography, culture and to define them. Rather it acknowledges the climates in Australia and Southeast Asia. and ways to interpret art making in the artistic intent? How do contemporary art diversity of choices acted out by artists and As art making materials have become more twentieth century. The project would like to materials age and how does this influence that material choices are often made as complex, detailed scientific and IT tools for thank you for your commitment. A special relationships between artists, collectors and a result of their availability, chronology of understanding their characterisation and thanks also goes to Associate Professor those involved in the care of artworks? uptake, location, cultural significance and degradation is required. Collaborations with Robyn Sloggett who initiated the project and related training opportunities. This occurred expert scientists from the ARC Centre of provided opportunities for all those involved. This symposium is jointly organised by the at a time when new materials were on Excellence in Free Radical Chemistry, The Australian Institute for the Conservation offer, particularly modified oil paints and Australian Microscopy and Microanalysis Finally the committee would like to of Cultural Materials (AICCM) Paintings the introduction of synthetic polymers and Research Facility and the Australian thank the presenters and participants Special Interest Group, the Centre for colourants from the mid twentieth century. Synchrotron has enabled some of this for their involvement in the symposium. Cultural Materials Conservation (CCMC) at Artists were free to engage and experiment research and is represented by a number We particularly acknowledge the support the University of Melbourne (UoM) and the with such materials outside the traditional of Symposium papers. of the University of Melbourne’s Centre Centre for Contemporary Art Conservation domains of painting practice, and as a for Cultural Material Conservation, ‘The (CCAC) Queensland Art Gallery I Gallery of result diversify their techniques and The theme of this Symposium is ambitious Twentieth Century in Paint’ Project and all Modern Art. It also constitutes the final year decision making. but also clearly demonstrates how its partners, the AICCM, The Queensland symposium for ‘The Twentieth Century in conservators can contribute to theoretical Art Gallery I Gallery of Modern Art’s Centre Paint’ Australian Research Council (ARC) Papers that discuss the Australian and scientific discussions beyond for Contemporary Art Conservation, the Linkage Project. Modernists Sidney Nolan and Arthur Boyd, conservation’s core directive. Materials Ian Potter Foundation and TruVue Optium as well as Ian Fairweather and parallel characterisation and understanding Museum acrylic glazing. Thanks must This is the 13th AICCM Paintings Special studies from New Zealand, all explore such associated degradation, has long been part also go to Suhanya Raffel, Acting Director, Interest Group symposium, which as issues. Other papers explore how both the of our job description but by working in strong Queensland Art Gallery I Gallery of Modern always, focuses on paintings but also historical and more recent trade in materials collaborative teams and increasing our skills Art for support of this symposium. includes discussions about other media. influenced material usage in the context base, we are able to contribute to relevant Such symposia have been an important of Aboriginal and Torres Strait Islander discussions outside the traditional domains We look forward to the collaborations mechanism for communication and capacity communities, Malaysia, Tibet and Vietnam. of conservation. that can grow out of this event. building amongst the relatively small group By widening discussion on the diversity of Australian Paintings Conservators and of materials used in production of works Many of the papers presented at this From the Organising Committee their colleagues, and this year also includes of art, the theme brings to the fore the Symposium are the result of a three year The 2012 AICCM Paintings Group + contributions from heritage practitioners artists’ intent and aims to understand the Australian Research Council (ARC) Linkage 20th Century in Paint Symposium from abroad to widen our discussions. The significance of these choices and how this Project led by the CCMC on ‘The Twentieth The Meaning of Materials in Modern theme for the Symposium extends the affects conservation decisions. Century in Paint’. From 2008 to 2012, the and Contemporary Art project examined the introduction of new 6 7 General Information

Symposium Venue Speakers The symposium venue is Cinema B, Please speak with a member of the Gallery of Modern Art, Stanley Place, symposium organising committee at the South Brisbane. The Queensland Art Gallery registration desk to arrange a time to (QAG) and Gallery of Modern Art (GOMA) upload your presentation. are located 150 metres from each other, on the south bank of the Brisbane River. Food and drinks The symposium venue is located in the Morning and afternoon tea is included as GOMA building. part of your symposium registration. Lunch venues are located in the QAGOMA precinct Registration desk or in nearby South Bank. A pre-dinner drink The registration desk will be located at from 5-6pm Monday 10 December is also Cinema B GOMA, from 8.30am Monday included in your registration fee. 10 December. Entry will be through the front doors of GOMA. Symposium Dinner The symposium dinner will be held on Name Badges Monday 10 December from 6.30pm at All delegates will be given a name badge Granada Restaurant, 154 Melbourne Street, on registration. We ask that you wear your South Brisbane. Phone 3844 4757. The name badge at all times as this is the cost of the dinner is $85 and requires pre- official entry pass to the symposium and registration and payment. its receptions.

8 9 Program UNDERSTANDING MATERIALS OF THE MID TWENTIETH CENTURY: 1940–1970 13.30–13.55 Paula Dredge (PhD Candidate, University of Melbourne, Head of Paintings Conservation, Art Gallery of New South Wales) Sidney Nolan’s Adventures in Paint: Ripolin®, MONDAY 10 DECEMBER DULUX®, DUCO® and Everything Else 13.55–14.20 Vanessa Kowalski (Paintings Conservator, Centre for 8.30–9.00 Registration Cinema B GOMA Cultural Materials Conservation, University of Melbourne) 9.00–9.10 Introduction Artist Materials during the 1940s, with a Focus on Arthur Boyd’s Paintings in the Heide Museum of Modern Art 9.10–9.20 Welcome Maud Page, Acting Deputy Director, Collection Curatorial and Collection Development, QAGOMA 14.20–14.45 Anne Carter (Paintings Conservator, Queensland Art CONTEMPORARY MATERIALS AND CONTEMPORARY CONCERNS Gallery I Gallery of Modern Art) The Materials of Ian Fairweather: 1953–1974 9.20–9.45 Keynote Jeremy Barns (Director, National Museum of the Philippines) Conserving an Artistic Treasure: Preventive 14.45–15.10 Sarah Hillary (Principal Conservator, Auckland Art Gallery Conservation and Treatment of National Artist Carlos Toi o Tāmaki) Liberation Down Under: The Early Use of Francisco’s ‘Progress of Medicine’ Synthetic Emulsion Paints by New Zealand Artists

9.45–10.10 Keynote Ana Labrador (Assistant Director, National Museum of 15.10–15.25 Helen Weidenhofer (Assistant Director, Paintings, Objects the Philippines) The Paradox of Conserving the Paintings & Projects, Artlab Australia) The Introduction of New of Manuel Ocampo: Contemporary Issues of Traditional Painting Materials in Adelaide in the Mid Twentieth Century Concerns in Artists’ Material Choices 15.25–16.00 Afternoon Tea 10.10–10.40 Morning Tea

TOOLS FOR UNDERSTANDING MATERIALS (10 minute presentations) CONTEMPORARY MATERIALS AND CONTEMPORARY CONCERNS 16.00–16.15 Melina Glasson (PhD Candidate, ARC Centre of Excellence 10.40–11.05 Sabine Cotte (Paintings Conservator, Private Practice for Free Radical Chemistry and Biotechnology, University Melbourne) Materials in Tibetan Contemporary Art: of Melbourne) Radical Techniques and Investigations into Continuity and Contrast with the Local Painting Tradition Modern Materials

11.05–11.30 Jenny O’Connell (Paintings Conservator, Centre for 16.15–16.30 Stefanie–Ann Alexander (PhD Candidate, ARC Centre of Cultural Materials Conservation, University of Melbourne) Excellence for Free Radical Chemistry and Biotechnology, Waringarri Aboriginal Arts Centre: Addressing conservation University of Melbourne) The Use of Nitroxides in the meaning through the needs of a community art centre Control of Biofilm Formation on Cultural Materials

11.30–11.55 Sharon Alcock (Paintings Conservator, National Gallery of 16.30–16.45 Caroline Kyi (PhD Candidate, ARC Centre of Excellence for Australia) Painting Country: Australian Aboriginal Artists’ Free Radical Chemistry and Biotechnology, University of Approach to Traditional Materials in a Modern Context Melbourne) From Test–Tube to Treatment: Conservation Considerations in the Development of an Alternative 11.55–12.20 Ljiljana Puskar (Beamline Scientist (IR), Australian Approach in the Control of Biodeterioration Synchrotron) Review of Data Analysis Methods for Synchrotron FTIR microscopy: Application to Twentieth 16.45–17.00 David Thurrowgood (Senior Conservator Metals and Century Paints Conservation Science at the National Gallery of Victoria) The Continuing Development of Synchrotron based X– 12.20–13.30 Lunch Ray Fluorescence Elemental Mapping Techniques for Understanding Paintings

10 11 17.00 – 18.00 Pre-dinner GOMA (included in registration fee) MATERIALS , INSTALLATION AND CONSERVATION drinks 13.30–13.55 Jane Hunter (Research Professor and Director of the 18.30 Symposium GRANADA Restaurant, 154 Melbourne Street, South eResearch Lab within the School of ITEE at the University Dinner Brisbane. Phone 3844 4757 of Queensland) Providing Decision Support Tools for Art Conservators Through a Shared Knowledge Base TUESDAY 11 DECEMBER 13.55–14.20 Sherryn Vardy (Paintings Conservator, University of Melbourne) and Sophie Lewincamp (Paper Conservator, CULTURE, GEOGRAPHY AND CONSERVATION CHOICES Centre for Cultural Materials Conservation, University of 8.30–9.00 Registration Cinema B GOMA Melbourne) Decision Making Strategies for the Long Term Preservation of Contemporary Art by Living Artists: Case 9.00–9.25 Keynote Marcia Langton (Professor and Chair of Australian Study – ‘Made to Last: The Conservation of Art’ touring Indigenous Studies, University of Melbourne) and exhibition Robyn Sloggett (Director, Centre for Cultural Materials Conservation, University of Melbourne) A Conversation: 14.20–14.45 Hanna Hölling (Ph.D Researcher, Conservator for Treppang – How the History of North-South Trade Contemporary Art and New Media, University of between Indonesia and Australia Continues to Exhibit in Amsterdam) Seeking the Authentic Moment: De- and Contemporary Aboriginal Art Re-Materialisations in Paik’s Video and Mixed Media Installations – A Conservation Inquiry 9.25–9.50 Ruth McDougall (Curator, Pacific Art, Queensland Art Gallery | Gallery of Modern Art) Material Matters: 14.45–15.15 Afternoon Tea Commissioning Contemporary Artworks from Papua New Guinea for the 7th Asia Pacific Triennial of MATERIALS , INSTALLATION AND CONSERVATION Contemporary Art

9.50–10.20 Morning Tea 15.15–15.40 Tom Learner (Head of Modern and Contemporary Art Research, Getty Conservation Institute) The Polyester Sculptures of De Wain Valentine: Meaning, Intent and CULTURE, GEOGRAPHY AND CONSERVATION CHOICES Conservation Issues

10.20–10.45 Keynote Bronwyn Ormsby (Senior Conservation Scientist, TATE) 15.40–16.05 Tamar Maor (Sculpture Conservator, TATE) The Artist’s Artists’ Acrylic Emulsion Paints: Materials, Meaning and Role at the Point of Installation Conservation Treatment Options 16.05–17.00 Discussion 10.45–11.10 Michael Duffy (Paintings Conservator, MoMA, New York) Contemporary Encaustic Techniques – Johns, Marden, Thek

11.10–11.35 Gillian Osmond (PhD Candidate, University of Queensland, Paintings Conservator, Queensland Art Gallery I Gallery of Modern Art) Zinc Oxide Centred Deterioration in 20th Century Vietnamese Paintings by Nguyen Trong Kiêm

11.35 – 12.00 Nicole Tse (ARC Post Doctorate Fellow, Centre for Cultural Materials Conservation, University of Melbourne) Material Sources Before and After the Second World War in Malaysia: A Case Study of Yong Mun Sen’s (1896–1962) Oil Paintings

12.00–13.30 Lunch

12 13 Symposium Abstracts

Painting country: Australian the case of some materials little is known aboriginal artists’ approach about their long term stability. Different to traditional materials in a conservation approaches may need to be used for different areas of a painting and modern context materials traditionally used in paintings Sharon Alcock conservation are often not suitable. Traditionally, materials used by Aboriginal Treatment decisions also need to take into artists are sourced from the local account the artist’s intention towards the environment. Rock, bark, wood and materials, their significance and their aging human skin are painted with ochres characteristics. bound in material such as saliva, blood and plant gums. The intent of particular artists towards their materials is discussed and the ethical In the 1970s, synthetic polymer paints and practical implications for paintings were introduced to Papunya Tula artists. conservators are explored. Its availability, ease of use and colour range have made acrylic paints a popular The use of nitroxides in the choice of material for many contemporary control of biofilm formation indigenous artists. Some artists, however, on cultural materials continue to use traditional pigments and Stefanie-Ann Alexander, Robyn Sloggett, binders. The reasons for this vary. Artists Carl Schiesser may choose these materials because they are familiar and close to hand, because they Aesthetic and structural damage can have a particular significance to the artist, or occur to culturally significant materials perhaps represent the country from which as a result of the growth and activities of they are sourced. The materials chosen micro and macro-organisms. This process become, therefore, not only a vehicle for is referred to as biodeterioration and expression but an integral part of the artistic embodies a complex series of interactions expression itself. that in many cases are accelerated by the temperature and humidity of tropical Contemporary indigenous artists often climates. Biofilms are surface-associated experiment with these materials and use assemblages of microorganisms that them alongside acrylic or oil paints. The facilitate colonisation and infection. Damage innovative use of these traditional materials to culturally significant materials can be and their interaction with layers of acrylic initiated by the growth of biofilms and or oil media can result in unstable paint the production of harmful metabolites by surfaces which are particularly challenging microorganisms which additionally promote from the conservator’s point of view. In successive colonisation and damage by

14 15 organisms such as mould. Bacterial biofilms Conserving an artistic treasure: Upon completion of the treatment, the The materials of Ian Fairweather: at times undergo regulated and coordinated Preventive conservation and paintings were once again installed at the 1953-1974 dispersal events where sessile biofilm main entrance hall of the Hospital. The treatment of national artist Carlos Anne Carter, Gillian Osmond cells convert to free-swimming, planktonic conservation of The Progress of Medicine in Francisco’s Progress of Medicine bacteria. In a model organism, Pseudomonas the Philippines was hailed as a significant In 1957, artist James Gleeson (then art aeruginosa, nitric oxide (NO), used widely as Jeremy Barns achievement for Filipino conservators and critic at the Sun newspaper) wrote that the a signalling molecule in biological systems, The Progress of Medicine in the Philippines restorers and for all supporters, workers paintings of Ian Fairweather would never has been identified as an elicitor of biofilm comprises four oil paintings on canvas and advocates of culture and history. last. Reputedly using whatever materials dispersal, its action linked to the generation executedby National Artist Carlos ‘Botong’ However, concerns as to the environment came to hand within his itinerant lifestyle, of oxidative and nitrosative stress inside Francisco in 1953, through a commission by surrounding the paintings remained, and the the paintings of Ian Fairweather (b.1891 microcolonies. four doctors. Upon completion, the paintings conservators of the Museum observed that d.1974) are renowned as much for their were installed in the main entrance hall of deterioration would again accelerate and fragility as for their beauty. Another class of molecule, the nitroxides manifest itself if they were to remain in the the Philippine General Hospital. During 2011-12, a small study of (R(NO•)R1) have also been shown to same environmental conditions as before. Fairweather’s paintings was begun by promote oxidative and nitrosative stress Indeed, paintings displayed or stored in The Hospital’s entrance, however, is widely conservators at QAGOMA. A donation of upon bacterial cells. We demonstrate uncontrolled environments would invariably open to the surrounding environment, paintings through the Josephine Ulrick here the ability of certain nitroxides to deteriorate over a period of time, no matter and with exposure to air pollution and and Win Schubert Foundation had recently behave in a similar manner to NO, and what precautions might be taken to arrest the traffic of people through the hospital expanded the Gallery’s collection. discuss possible biodeterioration treatment together with termite infestation and minor the process of damage. The story of Fairweather’s use of materials regimes utilising nitroxides as the active incidents of vandalism, the paintings began is complex. He formally trained at the component. In addition, we investigate the to deteriorate, such that restoration was This gave rise to the idea of transferring the Slade School in London, and his early works formation of reactive nitrogen and oxygen performed by Professor Tomas Bernardo original paintings to a gallery of the National contain leached oil mediums on cardboard. intermediates and associated changes in in 1974 and again in 1991. Nevertheless, Museum, in exchange for high-quality He began to avoid using oil paint in the late redox states within microcolonies. These the paintings continued to endure rapid reproductions that would take their place. 1930s due to an allergic reaction, probably types of changes can be quantified and deterioration. This would maintain the historical and visualised using a sensitive technique institutional association of the paintings to turps. War rationing and poverty also affected his material choices. Interviews involving spin-trapping with profluorescent By the first decade of the 21st century, yet with the Hospital, for which they had been and letters describe his use of unusual nitroxides (PFN), molecules which another restoration of the paintings was specifically commissioned and where they materials from the 1940s until 1958. These incorporate a radical and redox-sensing clearly needed, and a joint project was had prominently hung for over fifty years. include, soap, casein, ‘Clag’ starch paste nitroxide moiety. The ability of nitroxides undertaken by the National Museum of Such an initiative would be unprecedented and ‘Reckitts’ blue washing agent. Paintings to interconvert between three oxidation the Philippines and the Philippine General in the Philippines, but was made possible by from the 1940s are among the most fragile states: the nitroxide, the hydroxylamine Hospital, with financial support from the shared recognition of all stakeholders of his oeuvre. In 1953 Fairweather settled on and oxo-ammonium derivatives, allows the the U.S. Department of State through that the paintings were highly significant Bribie Island, near Brisbane, and developed probe to monitor redox changes in both the Ambassadors Fund for Cultural and clearly formed part of the nation’s his late style using ‘plastic paints’. Murray oxidising and reducing conditions. We report Preservation. The objective of the project artistic and cultural heritage. Bail (Fairweather. 2nd edn., Murdoch Books, here the synthesis and use of a novel PFN was to restore and conserve the paintings Sydney, 2009) theorises that Fairweather within a biofilm system and its crucial role and retard deterioration. for determining the efficacy of potential only started painting his larger late works from 1958 once synthetic polymer water- biodeterioration treatments for cultural In July 2006, the National Museum based dispersions were available to him. materials. conservators conducted detailed analysis

and documentation and restored the Using Fourier Transform Infrared paintings over fifteen months in a specially Spectroscopy (FTIR) for initial designated area of the Nurses Home at the characterisation, the earliest use of Philippine General Hospital. synthetic polymer is found in a painting from 1956 in the form of an oil modified

16 17 alkyd paint. Industry research and material artistically represent identity are reflected mixed commercial paints was exceptional, they remain vulnerable unless glazed or analysis so far supports Fairweather’s in stylistic and technical choices. The use additional evidence has been uncovered somehow protected. Some solutions to the predominant use of poly vinyl acetate based of materials that are radically different to suggest that Nolan was also engaged problems encountered when dealing with paints from 1959 (no works from 1957 or from the thangka tradition allow them in processing oils and using driers to encaustic and oil-wax paint films will be 1958 have yet been analysed). This study to subtly comment upon their status as manipulate the properties of his paints. offered, based on the author’s experience also reveals his continued use of alkyd and an ethnic minority. At the same time, the And just as we are beginning to unravel the with the Jasper Johns Retrospective other as yet uncharacterised paint media reappropriation of the traditional technique extent of Nolan’s engagement with these (Museum of Modern Art, New York, 1997) into the 1960s. FTIR analysis of media from and iconography leads to its reinterpretation commercial ready-made paints, we also and recent research into Paul Thek’s paintings dated before 1956 has proved in a 20th century context. The career of find evidence of artist’s tube oil paint on a methods and materials. Examples where difficult due to the small amounts of binder artist Gongkar Gyatso, spanning from TAR number of early paintings. These findings artists or the artist’s assistant have restored present. However, a significant finding is that to London via Dharamsala, illustrates how have outcomes for the cataloguing of their own works will be noted. Materials and Fairweather was not exclusively using water both technical and iconographic tools are medium descriptions for his paintings and methods from past treatments of encaustic based paints in the late 1950s. used to produce statements of cultural, their future conservation treatment. The works from MoMA’s collection will be political and philosophical value. The reference materials obtained from Nolan’s discussed as well as more recent treatment Fairweather’s technique continues to elude successive choices of materials in Gyatso’s studio are a useful analytical dataset for strategies. a simple understanding. He was an artist work, together with the evolution of his future studies of these types of materials. whose work was directly influenced by artistic style, reflects his exploration of a The re-emergence of encaustic technique the availability of materials. This paper fractured identity intimately connected to as a contemporary art medium has been explores how access to materials affected Contemporary encaustic many different cultures (Chinese, European, the subject of several recent books and his technique, and of course, the stability of techniques: Johns, Marden Tibetan, Indian) and various images of his exhibitions. While wax-based techniques his paintings. and Thek own cultural authenticity. were used by a variety of artists throughout

Michael Duffy the 20th century, it wasn’t until the ‘50s and Materials in Tibetan contemporary Sidney Nolan’s adventures in This paper focuses on the materials and ‘60s that the medium came to be exploited art: Continuity and contrast paint: Ripolin®, DULUX®, DUCO® techniques of three American artists for its versatility and compatibility with a with the local painting tradition and everything else working in wax-based mediums: Jasper wide range of techniques, methods and Sabine Cotte Johns (born 1930), Brice Marden (born materials. Paula Dredge 1938), and Paul Thek (1933-1988). As early Tibetan contemporary creative painting The results of the analysis of a large as the 1930s, artists such as Arthur Dove, Encaustic Methods and Materials, published is not very well known. Parallel to a living collection of paint products from Sidney Hilaire Hiler, Diego Rivera and David Alfaro in 1949 by Frances Pratt and Becca Fizel, tradition of thangka (religious scroll Nolan’s Wahroonga studio has provided a Siqueiros were embracing this medium and helped spur interest in the technique. painting), maintained and promoted by the critical reference collection for the analysis praising wax for its pleasing brightness and They described encaustic as a “burning in” Tibetan Government in exile, contemporary and study of paint materials used by the clarity. In the mid 1950s Jasper Johns used process “wherein the heat from the action artists are slowly emerging from the Tibet artist. This reference collection has enabled encaustic techniques almost exclusively for of the fire is used to fix or seal the quality Autonomous Region of China (TAR). Born the positive analytical identification of his paintings of maps, flags, and targets. of the painting, both during the progress after 1959, these artists were trained in oil-based Ripolin® paint on his works and Johns directly influenced artists such as of the work and after completion as a final Chinese style art schools and were taught its distinction from Australian-made alkyd Paul Thek to follow suit in the 1960s. By preservative against the inroads of time.” artistic vocabularies such as Socialist paints such as DULUX® which Nolan also the 1970s Brice Marden exploited a molten Realism. Operating in the controlled used from at least 1942. To our knowledge, wax and oil medium to produce the lustrous Artist and educator Karl Zerbe (1903- environment of the People’s Republic’s this is the earliest use of alkyd by an artist surfaces of his monochrome paintings. 1972) was one of the first adherents of the work units, Tibetan groups such as the that has yet been reported. encaustic technique. His formula consisted ‘Sweet Tea Artists Association’ show While the incorporation of wax has its of 8 parts beeswax, 1 part dammar and original expressions of an identity torn There have also been unexpected findings optical advantages it may result in a 1 part Venice turpentine. He would apply between their Chinese education and their for nitrocellulose-based paints on several surface that is susceptible to marring or pigment in this medium in thin layers and cultural heritage. The growing awareness paintings by Nolan dating from 1941. abrasion. Since the encaustic surfaces then fuse them with a final burning in of their cultural difference and the quest to Although Nolan’s commitment to ready- are not compatible with surface coatings, process with an electric heat lamp.

18 19 In the ‘50s encaustic paint began to be Liberation down under: The early and crafts propagated by the Government’s preserve art objects in their original state in offered in a more user-friendly format. use of synthetic emulsion paints Education Department contributed to a the best way possible. At a time when art This advertisement from Joseph Torch by New Zealand artists revitalisation of Māori art. There was a objects, by their very nature, have more than in New York City appeared in Art News strong sense had by the emerging avant- one identity and the notion of authenticity in November 1950: “Encaustic Paints, Sarah Hillary, Katherine Campbell, Melanie garde that a new art required different can have multiple meanings, we still have previously difficult to obtain and laborious Carlisle, Herant Khanjian, Tom Learner approaches, and this included new to struggle with conventions that ‘freeze’ to use, now offered in stick form along with A new approach to painting in the 1960s in materials. an artwork in its one particular condition. an electrically heated palette, a combination New Zealand was linked to an exploration On the other hand, our understanding of the which promises to simplify greatly the of new materials and ways of using them. This paper presents the findings of a original artwork in the field of technology- process of working with this ancient and New synthetic emulsion paints had become study looking at the early use of PVA and based art and mixed media installations permanent medium.” available with properties quite distinct from acrylic paints by New Zealand artists in appears to be increasingly flexible in those of traditional oils. These were taken the collections of Auckland Art Gallery comparison to in traditional art. This allows Radical techniques and up with gusto as their versatility and ease and Museum of New Zealand, Te Papa more freedom in the re-execution and investigations into modern of use appeared to provide further liberation Tongarewa. replacement of an artwork’s elements, but materials from past methodologies. has inevitable consequences for the integrity Seeking the authentic moment. of an art object and its meaning. Melina Glasson, Carl Schiesser, Robyn The approach to materials was conditioned Sloggett, Stephen Best De- and re-materialisations in Paik’s by availability, as New Zealand is a video and mixed media installations My paper shall discuss the questions of re- The twentieth century saw the creation small country that is relatively isolated — a conservation inquiry installation, exhibition and conservation and of many novel synthetic materials. Some geographically and manufactures few their impact on the meaning of artworks, Hanna Hölling of these new materials were taken up supplies for artists. Import restrictions in with examples from a number of selected by artists and conservators and have the 1960s were intended to encourage In recent decades, the discussion of installations by the Korean artist Nam consequently found their way into modern local production, but instead resulted in ephemeral, mixed-media artworks in June Paik, which constitute a large part collections. However, as these synthetic art materials being scarce and expensive, museum collections and on temporal of my doctoral research at the University materials are relatively new, there is or of poor quality. Since the war years, displays has become increasingly of Amsterdam. As I shall demonstrate, often uncertainty in how they will behave New Zealand artists had been forced to widespread. As the theoretical discourse Paik’s oeuvre is particularly interesting over time. As such, understanding their supplement their art supplies with home- turned towards the incorporation of art to our inquiry due to his versatile attitude fundamental chemistry is crucial as it can made paints and commercial products, into life, the museum still remained a towards the medium - his installations being provide valuable insight into their stability. so innovation during times of scarcity was representation of static and historical technological and performative entities on Moreover, by observing the chemical not new, but by the 1960s an experimental construction. However, the ubiquitous the one hand, and traditional sculptural changes that occur during controlled approach to materials was much more presence of transient, fugitive and elements, occasionally painted in an degradation, important information can widespread, and was done with a certain contingent artworks that are understood as autographic gesture, on the other. When it be gained rapidly. Utilising profluorescent amount of revolutionary pride. ongoing processes rather than completed comes to the moment of their conservation, nitroxide technology, the stability of objects, has provoked the opening of static the dualism of their allographic and polyvinyl acetate (PVAc) based materials The greater acceptance of innovation was regulations within the museum domain. The autographic character is revealed, posing has been investigated. The results of these based on an increasing confidence by the preservation and conservation of art objects the most challenging dilemma in decision- studies will be presented. local art community. In the 1960s, public art has become a process constructed by the making. Can historical evidence be replaced galleries had become professionalised and multidisciplinary collaboration of different for the sake of functionality? dealer galleries had begun to open in the specialisations. main centres. Contemporary New Zealand Further, I shall problematize and juxtapose art was being taken seriously for the first The contingent, variable character of mixed- the notion of conceptuality in early media time, and artists had an infrastructure to media artworks is mostly attributable to the art with a material-bound approach in support their careers. In addition, a new changing character of their constituents. conservation. How far may installations exploration of the cultural dimension of arts This challenges the classical understanding be changed during their re-executions, of the conservation pursuit - namely to following which regime of values, and who is

20 21 entitled to allow for these changes? Should to mistakes or to share case studies that Artist materials during the 1940s, and diverse range of ageing characteristics artistic intention which interferes with the document errors and help to prevent future with a focus on Arthur Boyd’s which now require conservation attention. life of the artefact after it has entered a similar mistakes being made. paintings in the Heide Museum of museum collection still be considered? Using conservation treatments undertaken What is the relationship between material This paper describes information technology Modern Art Collection at the CCMC as case studies, together with change and the change of the meaning of research undertaken at the eResearch Lab Vanessa Kowalski primary source evidence from the Heide the object? at the University of Queensland as part of The Heide Museum of Modern Art collection archives, this paper draws attention to our collaboration within the ARC Twentieth essentially began in 1934, when John circumstances which might have influenced Providing decision support tools Century Paint Project. We firstly describe and Sunday Reed opened their home to the selection of painting materials used by for art conservators through the common ontology or data model that like-minded individuals, such as artists artists in Melbourne during the mid-twentieth a shared knowledge base we have developed to integrate relevant Sidney Nolan, Albert Tucker, Arthur Boyd century, with a focus on Arthur Boyd. cross-disciplinary data on the Web – Jane Hunter, Suleiman Odat and Danila Vassilieff. The 1940s were a the OPPRA Ontology for Paintings and period of change and development in art From test-tube to treatment: Painting conservation has evolved into PReservation of Art. in Australia, and Heide was the hub for Conservation considerations in a highly multidisciplinary research topic avant-garde artists and writers in Melbourne the development of an alternative that requires the integration of knowledge We then describe the services that we have throughout this period. Since that time, the approach in the control of developed, based on this ontology, that about art history (artworks, artists, artistic Heide collection has continued to evolve and biodeterioration techniques), the physical and chemical have been designed to support decisions is now considered one of Australia’s most Caroline Kyi, Carl Schiesser, properties of paint and pigments, paint made by painting conservators: a Web important cultural collections, representing Robyn Sloggett conservation treatments and sophisticated Portal that provides an integrated search a broad range of mid-century art genres interface to related online collections and characterisation techniques that can from figurative to abstract, expressionist to To facilitate the successful alignment of databases of relevance to paint preservation help determine the precise cause of the realist. Many of the artists represented in scientific endeavours in a cultural materials including: INCCA Database for Artists’ degradation that is occurring. the Heide collection are now regarded as conservation context, an understanding of Archives, Winsor and Newton Archive, central figures in Australian modernism. an object across all levels of its physical, NIST Chemistry WebBook, IRUG Spectral The challenge is that relevant data and chemical and cultural significance is Database; an Experimental Data Repository metadata is highly heterogeneous and Recent conservation treatments of key required. Therefore, when looking to a that enables experiments and data distributed across databases, scholarly paintings from the Heide collection, scientific discipline such as chemistry to (characterising changes in microstructure, publications and the Web. Expertise, specifically Arthur Boyd’s South Melbourne contribute to a conservation treatment, the chemical reactions and other properties), also, is distributed across art galleries, series, dating from the early 1940s, requirements of the object should direct associated with art conservation research to conservation centres and universities raised questions regarding materials the intervention response and application be documented, discovered, shared and re- around the globe. Although it is possible the artists were using. The conservation methodologies. to find some concentrated authoritative used; a Publication Repository that provides treatments, largely focusing on grime a metadata store that links publications collections of information on this topic on and varnish removal, presented various This review discusses the approach distributed across many sites on the Web, the Web (e.g., Journal of the American challenges. These challenges led paintings currently adopted — and insights gained — and extracts structured knowledge from Institute of Conservation, Smithsonian conservators at the Centre for Cultural in the merging of a range of conservation publications so that the implicit knowledge Museum Conservation Institute (MCI), Getty Materials Conservation to consider whether practices and scientific techniques in the can be easily discovered, re-used and Conservation and Research Institutes, the materials being used by Boyd and his investigation of an alternative approach to correlated; an online Wiki that can be used CAMEO materials database and Forbes contemporaries related to their access and the treatment of biodeterioration. Pigment database), the information is to submit and collaboratively discuss case availability, especially through the period of often embedded within databases or within studies about specific paintings, genres or World War II, or whether the materials were highly unstructured textual documents conservation issues. chosen for a desired effect and particular and the relevant information is difficult finish. Their use of non-traditional materials to extract, re-use, interpret, correlate or has consequently resulted in the paintings compare. Moreover, it is often the case from the Heide Collection exhibiting a wide that conservators are reluctant to admit

22 23 The paradox of conserving the the drips were intentionally added by the The polyester sculptures of De the responsibility to preserve the integrity paintings of Manuel Ocampo: artist and are vital to his work. There is a lot Wain Valentine: Meaning, intent of the original materials. Contemporary issues of to be said for encouraging conservators and and conservation issues others in the art world to take advantage This paper describes the technical story traditional concerns in artists’ of artists being able to articulate about Tom Learner, Rachel Rivenc, behind Gray Column, as well as the complex material choices their practice. Conservators could take Emma Richardson conservation challenges it faces. Ana Maria Theresa P. Labrador heed of tendencies to insist upon traditional De Wain Valentine (born 1931) was one methods in caring for them and may be A work in progress, this paper looks of a number of artists during the postwar The artist’s role at the point judicious in treating these as they would into using an ethnographic approach in era in Los Angeles who adopted new of installation collections classified as ethnographic art. conservation decisions that are made materials and highly innovative fabrication Tamar Maor for contemporary art. Cases could be processes for their work, many of which argued for getting the artist involved A conversation: Treppang — were being developed locally for use in The acquisition process in many museums especially since contemporary art making how the history of north-south the aerospace, boat, automobile, and even currently involves an approach which aims increasingly involves little-studied materials trade between Indonesia and surfboard industries. However, none of the to obtain all information necessary for and techniques. This approach would Australia continues to exhibit in commercially available polyester resins the ongoing installation of artworks while include documenting from interviews contemporary aboriginal art could be cast in large volumes — anything avoiding the commitment and necessity and observations, the artists’ style and more than a thin layer of resin would crack of long term artist involvement. There Marcia Langton and Robyn Sloggett media, as well as their social and cultural badly during the curing process due to the are more and more artworks in museum contexts. The production, distribution Documented trade routes have existed high levels of heat released. Unwilling to collections and being made which are and consumption of their art would be across the continent of Australia for accept this limitation, and with much trial challenging this protocol. These are works considered. tens of thousands of years. These trade and error, Valentine was able to develop where the artist or artist assistant’s input routes have resulted in innovative art a new polyester resin with a local resin and presence is needed for the optimal An example would be the works of Manuel practice and theory in Aboriginal and company that would allow him to create, installation of the acquired artwork. These Ocampo and his colleagues, whose art Torres Strait Islander communities. The with a single pour of resin, luminous artworks by nature require the artist most often slips categories despite the innovation resulting from the more recent artworks of much larger proportions. One to either recreate the work to suit each form (in his case, painting) being seemingly trade in Western artists’ materials is well of the largest polyester pieces he made was gallery or perform or be involved with a conventional. Besides Ocampo, I will be understood and well documented. Less well Gray Column in 1975-6, which measured performance, or require the artist’s hand discussing briefly the works of Gerardo understood is the innovation that developed over 3.5 metres in height and 2.4 metres in or touch for each installation. These works Tan, Ringo Bunoan, Geraldine Javier, as a result of another important and much width, and weighed over 1500 kilos. do not fit into the current acquisition Gaston Damag and Juan Alcazaren. These earlier international trade route that framework and at the moment museums artists are now considered mid-career in brought cultural material and commodities Although polyester appears to be a and galleries are either at risk of installing the streams of contemporary art. I have traded from China through the Indonesian relatively stable material, Valentine’s them incorrectly and not to the artist’s worked with them variously as a curator and archipelago to and from the northern sculptures are easily marked and scratched, standards, or they are requiring the artist’s art writer from the 1990s to early 2000s, coastline of Australia. This paper examines and the resin itself continues to move continued involvement but currently learning the value of engaging with them how these two important trade routes from after curing, so the pristine surface of his without a clearly defined plan or approach in understanding their creative processes the West and the East have introduced work – which is so crucial to its function for sustainability and the inevitability of and other intangible information that the materials and the content for artistic – is difficult to maintain. In fact, the usual mortality. serves as background for considering their practice that is still used in contemporary procedure for conserving his work would be artworks. These modes could prevent the art making today. to re-sand and re-polish the surface prior to This paper will focus on those artists consequence of one Philippines-based art display, thereby regaining the work’s original where a specific artistic technique, such dealer‘s ignorance about Ocampo’s painting, appearance, but at the expense of removing as the careful application of pigment in looking for a ‘restorer who could clean a its surface; as such, it offers an excellent Anish Kapoor’s pigment sculptures or the painting she is about to sell because it was example of the common conflict faced by mud application to a wall in Richard Long’s dirty from paint dripping on it.’ In this case conservators between an artist’s intent and paintings, is ideally (or only) performed by

24 25 the artist or an artist appointed assistant. more stable, non-traditional materials. This To establish conservation issues, how these properties may change with The question arises as to whether paper will explore this process and the deterioration factors of Aboriginal art in age, the risks associated with conservation conservators should be changing or shifting artists’ responses to these new materials. the region of the East Kimberley were treatments such as surface cleaning, the the acquisition process to allow for an In doing so the paper will engage with considered. It was found that limited risks associated with applying more invasive ongoing artist relationship where knowledge cultural differences that exist in aesthetic documentation was one of the key protective measures such as varnishing, and technique is gradually transferred. The appreciation as well as the tensions conservation issues. In addition, the and the risks associated with inappropriate risks and long term commitment of such between the process of collecting objects issues related to problems such as lack of preventive conservation measures. a change will be discussed alongside the created from organic materials and ideas infrastructure, resources and funding. A challenge of documentation of these artist of permanence which lie at the heart of database was designed and created as part We also have a more pragmatic techniques, with possible solutions also western collecting practices. of this research and provides a template understanding of the potential ethical and addressed. for collections in art centres. Short term aesthetic issues associated with the use Waringarri Aboriginal Arts Centre: recommendations relate to a significance of (primarily wet) cleaning systems on Material matters: Commissioning Addressing conservation meaning assessment, preventive conservation these paint films, and in particular, changes contemporary artworks from through the needs of a community program and detailed documentation in the occurring at the paint surface - on both Papua New Guinea for ‘The art centre form of an extension of the database that model test films and case study works of art 7th Asia Pacific Triennial of was created as part of this research. - such as the removal of original migrated Jennifer O’Connell, Robyn Sloggett, surfactant material from paint surfaces, Contemporary Art’ Lyndon Ormond-Parker In addition to these recommendations, a the extraction of original material from Ruth McDougall, Kevin Apsepa The conservation profession has well much larger strategy is recommended that paint films and more recently, preliminary involves a national approach to conservation investigations into cleaning system residues. In July 2011, the Queensland Art Gallery established methods and practices for documentation of Indigenous art from a I Gallery of Modern Art embarked on addressing preservation needs. The body such as the Australian Institute for the Recent collaborative efforts between the a project looking at contemporary art practicality of these, however, can be called Conservation of Cultural Material (AICCM) conservation community and industry have created in Papua New Guinea. A particular into question when they are applied outside in the form of a Special Interest Group, begun to produce new cleaning systems focus was to look at performative and an institutional environment, particularly much like the Archives Society of Australia’s designed to minimise these inherent risks, architectural structures created out of in a different cultural context. This paper Indigenous Issues Special Interest Group. including aqueous-based and non-polar ephemeral materials. As well as collecting a will explore the meaning of conservation This would involve collaboration with solvent options and recently developed number of masks, which would customarily through the experience of addressing the representatives from art centres and water-in-oil micro emulsions. This paper be destroyed at the end of a ceremony, needs of an Aboriginal community art develop a framework for training, resources summarises each of these aspects, the Gallery commissioned two major centre. and funding. and broadly introduces both the new architectural structures from artists based methodological approaches and cleaning in the East Sepik. In both Abelam and Aboriginal community art centres hold system options now becoming available to Kwoma villages the men’s spirit house significant art collections, which require Artists’ acrylic emulsion (and evaluated by) conservators, while also is the main focus of artistic production. conservation care for their long-term paints: Materials, meaning and presenting case study works of art where Yet these structures are created out of preservation. Following documentation of conservation treatment options possible and highlighting areas requiring unstable organic materials, and in the case the community collection at the Waringarri Bronwyn Ormsby, Tom Learner further investigation. of the Abelam Korumbo are left to rot after Aboriginal Arts Centre, Kununurra, Western

completion of the initiation cycle for which Australia, a method is presented for Conservation issues surrounding the use of the house was created. the assessment and care of permanent artists’ acrylic emulsion paints have now collections at community art centres. been investigated - largely from a scientific After many discussions between Background research examined the history perspective — for more than 10 years. As Conservation, Exhibition and Curatorial of the area and the collection. A literature a result, we have a better understanding staff at the Gallery and return visits to talk review assessed available conservation and of several important aspects pertaining to with the artists in Brikiti and Tongwinjamb documentation methodologies. the care and understanding of works of art villages, a decision was made for the artists made with these paints including typical to travel to Australia and to work with paint constituents, physical properties and

26 27 Zinc oxide centred deterioration The presence of zinc oxide in the paintings Review of data analysis Studio Archive at the Art Gallery of New in 20th Century Vietnamese remains ubiquitous, despite Trong Kiêm’s methods for Synchrotron FTIR South Wales. The emphasis is on the paintings by Nguyen Trong Kiêm stated preference for titanium whites. Microscopy: Application to best data analysis to reveal information Widespread flaking and structural instability of the components of heterogeneous Gillian Osmond, Bettina Ebert, is an ongoing concern. twentieth century paints mixtures and even the trace components, John Drennan Ljiljana Puskar, Stephen Best, Robyn Joyce particularly if they are present in an The paintings of Nguyen Trong Kiêm (1933- This paper draws on close physical Sloggett, Nicole Andrea Tse, Paula Dredge, apparently ‘homogeneous’ paint film. These 1991) reflect the mid-20th century practices examination and detailed technical Gillian Osmond, Mark Tobin include chemometric methods such as evident in Northern Vietnam, encompassing investigation of 5 paintings by Trong Kiêm. The twentieth century saw the uptake PCA, PLS and MCR and also Unsupervised influences of French modernist painting Optical microscopy, electron backscatter of industrial paints in modern works of Hierarchical Cluster Analysis (UHCA) technique, traditional indigenous ‘folk’ imaging and energy dispersive X-ray art in both Australia and Southeast Asia. and Artificial Neural Network (ANN) traditions and socialist realism. Although analysis, synchrotron Fourier transform Composed of new media, pigments, dyes classification for spatial localisation of art education and the exhibition and sale of infrared (FTIR) mapping and conventional and additives in varying proportions, specific components. paintings during the war years in Vietnam FTIR of paint samples are used to elucidate industrial paints are complex in structure. was controlled by the Viêt Minh and details of Trong Kiêm’s materials and the Now some fifty years later, identification The continuing development directed towards production of paintings deterioration occurring in his paintings. methodologies to serve conservation of Synchrotron based x-ray with nationalist themes or as socialist Of particular interest are the presence practice are being developed. fluorescence elemental propaganda, the influence of French of zinc carboxylates, zinc carbonate and mapping techniques for zinc sulphate as products of deterioration. salon techniques which had dominated Synchrotron techniques, including Fourier understanding paintings Vietnamese art education during the The competing reactions involving zinc transform infrared (FTIR) microscopy have David Thurrowgood Colonial period from 1923 remained strong. oxide which lead to the formation of these increasingly been used in the analysis of compounds are discussed. Trong Kiêm was a loyal and respected complex materials of cultural heritage. The This paper details advances in the use of Trong Kiêm’s materials and techniques show member of the Government controlled high brightness of the synchrotron beam x-ray fluorescence mapping of paintings many parallels to early 20th century French Arts Association, but he also maintained allows chemical investigation of very small made since the work presented at the AICCM painting practice, however, the limited connections with non-sanctioned artists sample areas (3-5 square microns in mid IR Paintings Special Interest Group symposium availability of painting supplies in Vietnam, and found opportunities to experiment with spectral region) often without compromising in 2010. Substantial advances have been exacerbated by decades of communist modern art styles. data quality. In addition, raster scanning made in the technique, and published at isolation, has inevitably resulted in material of a sample allows for generation of 2D international forums in the intervening period. substitutes. The hot, humid conditions and Two of Trong Kiêm’s paintings from the “chemical maps” which provide information Researchers at the Australian Synchrotron high pollution levels in Vietnam, coupled 1960s have been the subject of detailed on the lateral distribution of molecular (AS) are now able to generate the world’s with Trong Kiêm’s use of lithopone-based investigation within the University of functional groups and therefore of highest resolution elemental maps and false ground layers, paints containing zinc oxide Northumbria Conservation program in different components. Preparation of paint colour representations of complete painted of different grades and in varying pigment 2007–8. This paper describes further samples for FTIR microscopy is often very surfaces and underlying earlier paintings. combinations and the presence of water- investigation of these paintings and others challenging and plays a large role in the The paper details recent results obtained based size layers and hygroscopic fillers, by Trong Kiêm now in the care of Witness data quality. at the AS and outlines advances made in are all significant factors in the current Collection, an important collection of the development of pigment identification condition of these paintings. modern and contemporary Vietnamese The limitations and advantages of different and interpretation. It outlines the areas of

art. It forms part of a broader study into sampling and measurement techniques applicability for the technique, and details deterioration of paintings linked to the will be reviewed on several paint samples successful outcomes. It will be proposed that presence of zinc oxide. The deterioration recently studied at Australian Synchrotron the technique is sufficiently advanced that it described in Trong Kiêm’s paintings to date IR beamline. These include samples of has become a viable option for undertaking is reassessed and deterioration observed the Silpakorn paint range from Thailand high level studies on important artworks and in paintings from the 1960s is compared studied by the Centre for Cultural Materials for revisiting questions where conventional with that evident in works from the post- Conservation and University of Melbourne techniques have been unsatisfactory. Vietnam War period (late 1970s-1980s). and Ripolin® paint samples from the Nolan

28 29 Material sources before and after These results are correlated against the original intent and the importance of The introduction of new painting the Second World War in Malaysia: technological and business history of tangible and intangible concepts to assist materials in Adelaide in the A case study of Yong Mun Sen’s material supply and production in Malaya in the long-term preservation of their Mid-Twentieth Century from 1935 to 1955 to determine the impact practice. This can then inform treatment (1896-1962) oil paintings of the war on artistic production. Paint or preventive conservation decisions Helen Weidenhofer, Eugene Taddeo, Nicole Tse, Amerrudin Ahmad, supply in Malaya was dominated by ICI regarding the storage and display of Chris Payne, Tim Ould Claire Heasman, Musrizal Mat Isa (Malaysia) from when it was established in contemporary work. The impact of new painting materials The pioneer Malaysian artist, Yong Mun 1930. Paints were imported from the UK introduced in the 1950s and 1960s in Sen (1896-1962) painted in oils from the until local production commenced in 1959. This research aims to determine decision Adelaide is examined through the work of 1920s until his death in 1962. He produced From 1931 there were also two art supply making strategies for the long term artists active in the South Australian School paintings before and after Malaysia’s Second distributors in Penang and Kuala Lumpur, preservation of contemporary art by living of Art. The mid-twentieth century was a World War (1939-1945) and Japanese who mainly stocked Winsor & Newton and artists, using the case study of the National period of rapid change in contemporary occupation (1941), at a time when there Rowney materials. Yong Mun Sen himself Exhibitions Touring Support (NETS) Victoria art practice and the availability of new were massive changes and interruptions supplied artists’ materials at his photo touring exhibition ‘Made to last: The materials allowed artists to push the in material production, trade and studio. These materials were obtained from conservation of art’. An interdisciplinary boundaries. In the small Adelaide art distribution practices. This paper reports ‘Straits Commercial’ in Singapore. The trade approach to decisions regarding scene, a core group of local artists eagerly on the examination of eight Yong Mun Sen concessions provided to English products preservation is required and reaches experimented with the new ideas emanating paintings belonging to the National Visual under British colonial rule also meant these beyond information from the artist. The from Europe and New York, and influenced Arts Gallery of Malaysia and investigates products dominated the market, but were artist’s intent is foremost when considering the next generation of artists through their their materiality to consider how supply restricted during Japanese occupation, the preservation and conservation of teaching. impacts on artistic choice and production. until they were re-instated again after the contemporary art, but there are other These paintings are of particular interest war. Lastly, the availability of local hard stakeholders in the decision making process: as their dates of production, between 1935 woods and fabrics through the Chinese artists, directors/curators, conservators and 1955, correspond to the advent of the retailers were material options for artists. and the public. To what extent do these Second World War. Consequently war time These wide ranging sources highlight the stakeholders have influence or can assist restrictions on trade and painting supplies material choices available to Yong Mun Sen in developing appropriate decision making may have affected the artist’s choice of and are used to assess the impact of war strategies? materials. and the wider social, economic and cultural influences on his practice. This paper will collect and review An examination of Yong Mun Sen’s works information surrounding the chosen highlighted the re-use of artists’ colourmen Decision making strategies artist’s practice, materials and intent. supports and the use of a thickly woven for the long term preservation Also discussed are the outcomes of recent cotton fibre support, characteristic of a of contemporary art by living liaisons with artists, professionals and proprietary source rather than artists’ artists. Case study — Made to the viewing public, which focussed on colourmen. A study of the materiality of the questioning knowledge of conservation last: The conservation of art approaches to contemporary art. Through ground layer found inert fillers across all, touring exhibition and lead white in only the 1935 and 1941 further research and a greater knowledge paintings. The media layers were identified Sherryn Vardy, Sophie Lewincamp of the expectations of gallery professionals and visitors regarding the appearance and as oil, and efforts were made to distinguish Contemporary artists use traditional, longevity of work by living contemporary commercial from artists’ colourmen sourced modern and sometimes unconventional artists, informed decision making strategies paints through an investigation of their white materials, chosen because they are an for long-term preservation can be pigments. integral part of their conceptual practice, developed. Indicative of the venues to which workable or readily available. This paper Made to last will tour, small and regional highlights the significance of the artist’s galleries are referred to in this research.

30 31 Jeremy Barnes is Director (Director IV) and Katherine Campbell is a paintings Trustee ex officio at the National Museum of conservator at Te Papa Tongarewa Museum Author profiles the Philippines. He has worked as Assistant of New Zealand. She graduated from the Secretary at the Office of the President, University of Canberra with a Bachelor of Director at the Malacañang Museum, Office Applied Science in Materials Conservation in of the President and at the Presidential 2000, after which she worked both in private Museum, Office of the President. He practice and at the Art Gallery of New South Amerrudin Ahmad has been working as a Cultural Materials Using Free Radical-based completed a Master of Science in Economics Wales. In her work at Te Papa since 2005 Curator for Conservation at the National Treatments looked at the effect of bacterial (De La Sale University, 2002), a Bachelor of she has undertaken many major treatments Visual Arts Gallery (NVAG) of Malaysia microorganisms on the biodeterioration Arts (Russian and Chinese) and a Bachelor on both historical and contemporary since 1997. He has a Bachelor in Art and of cultural material and investigated new of Commerce (University of Queensland, paintings in the national collection, including Design (Fine Art) from the University treatment methodologies involving free- 1995). Publications include The SSS Legacy: technical examination, with Sarah Hillary, Teknologi MARA, Shah Alam, Malaysia radicals. Over the last two years she has Fifty Years of the Social Security System in to contribute to the Rita Angus catalogue. (1994) and undertook conservation studies worked at the Centre for Cultural Materials the Philippines: 1958-2008 (2008), Assembly at the National Research Laboratory for Conservation as an assistant paper of the Nation: A Centennial History of the Melanie Carlisle graduated from the Conservation of Cultural Property, Lucknow, conservator where she has participated House of Representatives of the Philippines: University of Canberra with a Bachelor India in 1999. He is currently undertaking in many exciting treatments. Since 1907-2007 (2007) and Malacañan Palace: of Applied Science specialising in the his Masters in Conservation in the United commencing her PhD she has received the The Official Illustrated History (2005). He Conservation of Cultural Materials in 2002. Kingdom. Amer has curated many Melbourne Abroad Travelling Scholarship, was awarded The Presidential Medal of She has worked at the Australian War exhibitions at NVAG, abroad and with the Bio21 Institute Postgraduate Student Merit, conferred by the President of the Memorial in Canberra and the National private galleries. Travel Award and the T.W. Healy Award that Philippines, 2010 and The Order of Isabel Gallery of Victoria (NGV) in Melbourne in have allowed her to travel most recently la Católica, with the rank of encomienda, Paintings and Exhibitions Conservation. Sharon Alcock graduated from the to the 11th International Symposium on conferred by the Minister of Foreign Affairs In 2006 Melanie began the 2-year University of Canberra in 2004 with Organic Free Radicals in Berne, Switzerland, and Cooperation of the Government of H.D.T. Williamson Foundation Paintings a Master of Applied Science in the and the 2nd International Conference on Spain, 2007. Conservation Fellowship at NGV which Conservation of Cultural Materials, Chemistry for Cultural Heritage in Istanbul, focused on the treatment and technical specialising in paintings conservation. Turkey. Earlier in 2012 the outstanding Dr Stephen Best is a senior lecturer in the examination of Australian paintings. From the beginning of 2005 until October academic excellence in her Master’s degree School of Chemistry at the University of Upon completion of the Fellowship, 2008 she worked in various contract was recognized with a Dean’s List Honours Melbourne and has a long term interest Melanie became a Paintings Conservator positions as a conservator with Museum Award, presented by the Dean of Arts at the in cultural materials conservation. He is at Te Papa Tongarewa Museum of New Services Australia Pty Ltd, the Australian University of Melbourne. a Chief Investigator on the ARC Linkage Zealand in Wellington. War Memorial and the National Gallery of Grant ‘The Twentieth Century in Paint’ and Australia. Since October 2008 Sharon has Kevin Apsepa is a member of has been the key driver in the application of Anne Carter has worked as Paintings worked as a paintings conservator at the Tongwinjamb’s Wanyi (cassowary) clan. A vibrational (IR) spectroscopy to twentieth Conservator at the Queensland Art National Gallery of Australia. dedicated spokesperson for Kwoma culture, century paint films at the Australian Gallery I Gallery of Modern Art, Brisbane Papua New Guinea, Apsepa has created Synchrotron. While at University College since 2000, undertaking the role of Head Stefanie-Ann Alexander began her PhD his own company, Kwoma Primitive Arts. London Best, together with Professor R.J.H. of Conservation from 2002-2006. Anne candidature in 2011 after an unusual He regularly exhibits work as part of the Clark (Chemistry Department, UCL), led a studied a Bachelor of Applied Science journey from Science to Conservation and Ambunti puk puk (crocodile) festival and research team conducting some of the early in Conservation of Cultural Materials back again. She completed a Bachelor has been commissioned with his elder investigations using Raman microscopy to (Paintings) at the University of Canberra of Biomedical Science with Honours in brother Daniel Kouminja to create works for identify pigments on mediaeval manuscripts. (1996), after completing a Bachelor of Chemistry in 2007 and a Masters of Cultural organisations such as the Department of Art (Art History) from the University of Materials Conservation in 2010, both at the East Sepik, Division of Education. Apsepa’s Queensland (1988) and a Diploma of Art University of Melbourne. Her Master’s thesis, work is represented in numerous private (Illustration) from Queensland College of entitled Controlling the Biodeterioration of collections. Art (1986). Anne undertook a two year

32 33 internship at the Museum of Modern Art, Professor John Drennan is Director of twentieth century artist materials as part of Conservation of New Media and Digital New York in 1997-9 where she studied the Centre for Microscopy and of the ARC Linkage project ‘The Twentieth Information in the Collection Management the devarnishing of modern oil paintings. Microanalysis, University of Queensland, Century in Paint’. program at the Rheinwardt Academy, and Her interests continue to include the and Node Director and Scientific Chair of at the University of Amsterdam in the conservation of modern and contemporary the Australian Microscopy and Microanalysis Claire Heasman completed her Masters program ‘Material Art History’ as well as paintings. QAGOMA is a participant in the Research Facility. in Cultural Materials Conservation in 2010 in ‘Preservation and Presentation of the ARC-funded ‘The Twentieth Century in and is currently employed as an Assistant Moving Image’. She was a research group Paint’ research project. Michael Duffy received his Bachelor of Arts Paintings Conservator with International participant at the Courtauld Institute of Art in Art History from Rutgers College and a Conservation Services in Sydney. In 2010 project ‘The Material Life of Things’ and a Sabine Cotte has degrees in conservation Master of Science in Art Conservation from she completed her Minor Thesis on the guest researcher at the Netherlands Media of paintings from the Institut Français de the University of Delaware / Winterthur materials and techniques of Yong Mun Sen’s Art Institute NIMk in Amsterdam within Restauration des Oeuvres d’Art (Paris, program in 1988. As of 1993 he is a oil paintings. the project ‘Obsolete Equipment Packed’. France), ICCROM (Italy) and University of conservator at The Museum of Modern Currently she is a PhD research fellow in Melbourne (Australia). Since 2001 she has Art where he specializes in the treatment Sarah Hillary is the Principal Conservator the interdisciplinary project ‘New Strategies been working as a freelance conservator of modern and contemporary paintings. at the Auckland Art Gallery Toi o Tāmaki. in the Conservation of Contemporary Art’ in Melbourne after working ten years in In 2004 he conserved Picasso’s Les She graduated with a Masters in Applied at the University of Amsterdam, Maastricht Paris, both on Western and Himalayan Demoiselles d’Avignon for the reinstallation Science in the Conservation of Paintings University and Dutch Cultural Heritage art, for museums, institutions and private of the MoMA galleries. The treatment is from the University of Canberra and her Agency, working on Nam June Paik and clients. Since 1992 she has completed presented on MoMA’s website and in the first degree was a Bachelor in Art History new media. various missions for UNESCO and private IIC publication Modern Art, New Museums from the University of Auckland. Sarah’s foundations in Bhutan and Nepal, and and was featured in the Smithsonian and first 14 years at the Auckland Art Gallery Professor Jane Hunter is a Research trained a number of regional people in The New Yorker magazines. Michael has (AAG) were focused on the outreach Professor and Director of the eResearch Lab heritage conservation. She has published interviewed artists including Lee Bontecou program providing a conservation service within the School of ITEE at the University several articles and posters on Himalayan and Brice Marden on their materials and for regional museums and art galleries, and of Queensland. She is Deputy Chair of the thangkas in international journals and techniques. He is a professional associate eventually, the general public. Her work has National Academy of Sciences Committee conferences. She recently completed her of the AIC was recently elected a fellow been more focused on the AAG collection for Data in Science (NCDS) and Deputy Chair Masters in Conservation at Melbourne of the IIC. since she became Principal Conservator in of the Academy of Humanities – Executive University on Tibetan paintings: conserving 1998. Sarah has specialised in the technical Committee for Australasian Association for a living religious heritage in Australia. Bettina Ebert is Senior Paintings examination of paintings and has published Digital Humanities (AADH). She is also on Conservator at Asiarta Foundation in Kuala work on the techniques of New Zealand the Editorial Boards of IEEE Multimedia, the Paula Dredge is Head of Paintings Lumpur, Malaysia, where she is in charge artists Colin McCahon, Rita Angus, Frances Elsevier Journal of Web Semantics and the Conservation at the Art Gallery of New of collections care and conservation of Hodgkins and Gottfried Lindauer, as well International Journal of Digital Curation. South Wales. This research formed part of the Witness Collection, a comprehensive as international artists James Tissot and She has published over 100 papers in the her PhD thesis undertaken in 2009-2012 collection of modern and contemporary Guido Reni. fields of digital libraries, Semantic Web and on the subject of Sidney Nolan and paint: Vietnamese art. Bettina holds an Master e-Research. A study of an artist’s use of commercial of Arts in Conservation of Fine Art from Hanna Hölling is a conservator and a ready-made paints in Australia from Northumbria University, and specialises in researcher in the field of contemporary art Musrizal Mat Isa has a postgraduate 1938-1953. This project was undertaken the treatment of Southeast Asian paintings. and new media. She trained at the Academy degree in Art and Design Study, Mara under the auspices of the research group of Fine Arts in Warsaw, University of Applied University of Technology Malaysia (2002). ‘The Twentieth Century in Paint’ which Melina Glasson graduated from the Science in Cologne and Central Institute He undertook a short training course for 6 was funded under the Australian Research University of Melbourne in 2009 with for Conservation in Rome. Until 2009 months at the National Research Laboratory Council Linkage grant program. The a Bachelor of Science with Honours in Hölling was Head of Conservation at the for Conservation, Lucknow, India on wall Art Gallery of NSW partnership funding Chemistry. She is currently a doctoral ZKM Centre for Art and Media in Karlsruhe. painting conservation. He has worked as a was provided by the Art Gallery of NSW candidate at The University of Melbourne She has lectured at the State Academy of Curator for Conservation at the National Conservation Benefactors. investigating the chemical degradation of Art and Design in Stuttgart, Department Visual Arts Gallery, Malaysia. Recently,

34 35 he completed the conservation of the mural Vanessa Kowalski graduated from the also holds an Master of Arts in Museum of the Australian Institute of Aboriginal painting of Ibrahim Hussein at Malaya University of Canberra in 2002, with and Gallery Management from the City and Torres Strait Islander Studies and University, Malaysia and is involved in the a Bachelor of Applied Science degree University London, UK. She is the vice patron of the Ngaanyatjarra Pitjantjatjara research of Mural Painting at Old Machap (Conservation of Cultural Materials), president of South and Southeast Asian Yankunytjatjara (NPY) Women’s Council. Mosque and Stadhuys Gallery, Melaka with specialising in the conservation of Studies for Culture and Religion (SSEASR) She has published widely across academic Science University of Malaysia, Penang as paintings. She also holds a BA in Creative and is a member of the Board of Editors fields including texts on Indigenous rights part of his Masters study. Arts from the University of Melbourne of the Journal of Museum Management and justice, the representation of Aboriginal (1998). Vanessa initially joined the Centre and Curatorship (Routledge). She has people in film, and the production of Herant Khanjian received his degree in for Cultural Materials Conservation in written and edited a number of books and Aboriginal art in the face of globalization chemistry from California State University, 2003, as a post-graduate intern, and has international journals on anthropology, and cultural difference. Northridge. His research interests involve subsequently continued working with the art and museology. Her most recent the detection and identification of organic Centre as a paintings conservator. Vanessa contribution is in the 2011 UNESCO Dr Tom Learner is Senior Scientist and media found in historical objects including also assists with the academic and training publication Community-based Approach to Head of Modern and Contemporary Art paintings, photographs, sculptures and programs. Vanessa’s main research interest Museum Development in Asia and the Pacific Research at the Getty Conservation Institute decorative art pieces. He has investigated is the conservation of contemporary and for Culture and Sustainable Development. Dr (GCI) in Los Angeles. He has a PhD in the composition of wall paintings from modern art. Her past research projects Labrador was a Fellow of the International chemistry (University of London, 1997), a King Tutankhamen’s Tomb in Egypt and include a study into the use of pyrolysis- Centre for the Study of the Preservation and Diploma in conservation of easel paintings Buddha caves in China. He has also gas chromatography-mass spectrometry Restoration of Cultural Property (ICCROM) (Courtauld Institute of Art, London, 1991), examined the makeup of 3.6 million year for analysing alkyd resin paint binders, in Rome, Italy in 2007 and has been and an Master of Arts in Chemistry (Oxford old hominid footprints in Africa and the first and investigations into the materials and involved with the CollAsia 2010 programme University, 1988). At the GCI, he oversees photographic image created in 1826. techniques of a number of twentieth century since 2005, which ICCROM runs jointly a number of research projects on modern artists. Vanessa was a Helena Rubinstein with SEAMEO-SPAFA based in Bangkok, art materials, including how modern paints, Caroline Kyi completed a combined Arts/ intern at the Museum of Modern Art in New Thailand. From February 2008, she took plastics and outdoor painted surfaces can Science Degree at Deakin University, York (2006) and a Samuel H. Kress Fellow up a three-month Visiting Scholarship at be scientifically analysed, how they will Geelong (1997). She then commenced a at the Solomon R. Guggenheim Museum the University of Melbourne’s Centre for alter with time, and how to best conserve degree in wall painting conservation at the in New York (2007-08). While in New York, Cultural Materials Conservation (CCMC). them. Before joining the Getty in 2007, he Courtauld Institute of Art, London (2000). Vanessa continued to focus on the analysis, She was also the recipient of the Australian was Senior Conservation Scientist at Tate She has since worked both in Australia preservation, conservation and presentation Leadership Awards Fellowship in 2010 for in London, where he worked for 14 years. and overseas on the conservation issues of contemporary and modern art. which she was able to conduct 6-months Learner sits on the advisory committees for presented by this form of immoveable field research in Australia, investigating the INCCA (the International Network for the heritage. Caroline has been involved in the Dr Ana Maria Theresa P. Labrador is impact of mineral resource extraction to Conservation of Contemporary Art), RPM teaching of conservation science at the Assistant Director of the National Museum local communities. (Rescue Public Murals), and is coordinator Centre for Cultural Materials Conservation of the Philippines. She was formerly for the Modern Materials and Contemporary and is currently pursuing her research associate professor of anthropology at Professor Marcia Langton AM is Professor Art working group of ICOM-CC. interest in biodeterioration of cultural the Ateneo de Manila University, lecturing and Chair of Australian Indigenous Studies materials by undertaking a PhD at the on economic anthropology and visual at the University of Melbourne. Her doctoral Sophie Lewincamp has a Bachelor of ARC Centre of Excellence for Free Radical anthropology. She also taught for 20 fieldwork was conducted in Eastern Cape Applied Science majoring in Conservation Chemistry and Biotechnology. Her thesis years in Art Studies at the University of York Peninsula during the 1990s, and her of Cultural Materials from The University topic is Controlling biodeterioration of the Philippines and was Director for seven experience of the statutory land claim of Canberra. She is a paper conservator cultural materials: The use of free radical- years at the University Museum, the Jorge and native title system in this region was and lecturer with the Centre for Cultural based treatments to inhibit communication B. Vargas Museum and Filipiniana Research informed by a decade of administration and Materials Conservation, University of pathways of microbial biofilms. Center. The University of Cambridge, fieldwork in the Northern Territory. She was Melbourne and is currently undertaking PhD UK, awarded her an M.Phil and Ph.D. in awarded a PhD from Macquarie University research of the Middle Eastern Manuscript Social Anthropology, focusing on ritual, in 2005. She is a Fellow of the Academy of Collection at the Baillieu Library. Sophie museology and material culture. She the Social Sciences of Australia, a member has worked in many of Australia’s leading

36 37 cultural institutions including the National London and was a recipient of the inaugural Lyndon Ormond-Parker is Researcher graduated in paintings conservation Library of Australia and the Australian War round of Samstag Visual Arts Scholarships at the Centre for Cultural Materials from the University of Canberra in 1992, Memorial. In 2005/06, Sophie was awarded in 1994. Conservation and Centre for Health having first studied biochemistry and been the Harper-Inglis paper conservation and Society, MSPH at the University of employed in paper conservation. fellowship at the Library of Congress, Suleiman Odat is currently undertaking a Melbourne. Lyndon has worked nationally Washington DC. PhD degree in Information Technology - and internationally on Indigenous cultural Gillian Osmond has been a Paintings Semantic Web at the University of heritage and human rights issues for Conservator at the Queensland Art Gallery Tamar Maor is an ICON accredited Queensland. During his candidacy, Aboriginal communities and organisations. I Gallery of Modern Art since 1988. She conservator working at Tate in the sculpture he has been building a scalable and He has undertaken research, published and has a degree in Applied Science - Paintings conservation department. Her role focuses secure knowledge base and Information lectured on issues in relation to curation, Conservation from the University of on the conservation of sculptures from the Technology services for the teams within storage and return of indigenous human Canberra (1988). During 1991-92 she was Tate collection prior to loan to national and ‘The Twentieth Century in Paint’ project. remains and cultural materials. His current a research intern at Tate, London, using international institutions. She has worked His prior qualifications include Master of academic interest is in the application of fluorescence microscopy of paint cross closely with Anish Kapoor’s Studio on Information Technology (Professional) from multimedia as a tool for preservation of sections to investigate the influence of developing pigment substitutes for works the University of Southern Queensland, and social and cultural histories. different exposure environments on oil paint within the Tate Collection. This research and Bachelor of Computer Science from Irbid ageing. Gillian has had a long term interest ongoing relationship with the artist’s studio National University, Jordan. Dr Bronwyn Ormsby has been employed in the technical investigation of paintings has raised research questions involving the as a Senior Conservation Scientist at Tate and is currently completing a PhD at the artist hand and long term artist involvement Jenny O’Connell is a recent graduate of since 2007, specialising in the scientific University of Queensland on the topic of with collection works. Tamar is also a the Masters program at the Centre for analysis of works of art and the evaluation zinc oxide centred deterioration of oil based guest lecturer at the Royal Academy of Cultural Material Conservation, University of conservation treatments on modern and paints. Her research forms part of the Arts where she lectures on artist materials of Melbourne, specialising in paintings. She contemporary art. From 2003, Bronwyn held Australian Research Council Linkage Project and techniques, as well as providing also completed the Postgraduate Certificate the AXA Art (2006-2007) and Leverhulme ‘The Twentieth Century in Paint’. ongoing advice to students regarding the in Photographic Materials Conservation. Trust (2003-2006) postdoctoral Research construction and longevity of their work. Jenny recently won the ADFAS Student Fellowship positions at Tate, carrying out Tim Ould works as a research officer and Conservator of the Year (University of research into the effects of surface cleaning tutor at the Centre for Cultural Materials Ruth McDougall is Curator, Pacific Art at Melbourne) for achievements in academia, treatments on acrylic emulsion paint films. Conservation, The University of Melbourne. the Queensland Art Gallery I Gallery of community outreach and support of the Bronwyn and her team won the 2010 ICON He is currently completing his PhD on Modern Art. In this role she curated the Australian Institute for the Conservation Anna Plowden Trust Award for Research Jacopo Zucchi’s frescoes in the Palazzo exhibition ‘Threads: Contemporary textiles of Cultural Material (AICCM). Jenny is and Innovation for the Tate AXA Art Modern Ruspoli in Rome. He is also one of the and the Social Fabric’ (2011). She has currently assisting at the Centre for Cultural Paints Project (2006-2009). Bronwyn has founding co-editors of emaj (electronic also worked on the development of the Material Conservation and concentrating published over thirty papers, newsletters Melbourne art journal), which is the only exhibitions: ‘Unnerved: The New Zealand on a flood damaged collection of Aboriginal and journal articles and is currently an online, refereed art history journal published Project’ (2010), ‘Paperskin: Barkcloth from Art. Throughout her studies, Jenny gained Assistant Coordinator for the International in Australia. across the Pacific’ (2009) and the ‘Pacific a variety of conservation experience Council of Museums – Conservation Textiles Project’ for the ‘5th Asia Pacific by working at the National Archives of Committee (ICOM-CC) Scientific Research Chris Payne is Senior Paintings Conservator, Triennial of Contemporary Art’ (2006). Prior Australia, visiting two Aboriginal art centres Working Group (2008 -). Prior to embarking ArtLab. He has worked at ArtLab for many to this she was curator of the exhibitions in Western Australia and by undertaking her on her career in heritage science through a years and has a long standing interest in ‘Readymade’ (2003) and ‘Fresh Cut’ (2001) University internship at the Museum and Art doctorate at Northumbria University (2002), artistic practice in South Australia. at the Institute of Modern Art, Brisbane, Gallery of the Northern Territory (MAGNT) Bronwyn was employed as a painting as well as the University of Queensland in Darwin. Jenny’s research project was conservator at the National Gallery of Dr Ljiljana Puskar is Beamline Scientist Art Museum touring exhibition ‘Close Ties: based on conservation documentation in Australia (1993-1998) during which time she for Infrared Microspectroscopy beamline Kay Lawrence and Marcel Marois’ (1999). remote Aboriginal community art centres. completed a 2-year conservation science at the Australian Synchrotron and is key McDougall has a Master’s Degree in Visual internship at the Hamilton Kerr Institute, contact for Cultural Heritage activities at Arts from Goldsmiths College, University of Cambridge, UK (1995-1997). Bronwyn the facility. She has undertaken beamtime

38 39 at other synchrotron facilities including Professor Carl Schiesser is Professor of for Accounting and Industry Partnerships Dr Nicole Tse is an Australian Research Soleil and the SRC Wisconsin and has Chemistry in the School of Chemistry at Advisory Board. In 2003 she was awarded Council Postdoctorate Fellow at the Centre presented work from the Australian the University of Melbourne and Director of the AICCM’s Conservator of the Year Award for Cultural Materials Conservation, the Synchrotron IR beamline at conferences the Australian Research Council Centre of for ‘Services to the Conservation Profession’. University of Melbourne investigating ‘The in Italy, Croatia, Canada and Japan. She is Excellence for Free Radical Chemistry and Twentieth Century in Paint’ that includes experienced in high resolution gas-phase Biotechnology. He received his PhD in 1987 Eugene Taddeo is Principal Conservator ten collaborating institutions across six far-IR spectroscopy, Raman microscopy from the Australian National University Paintings, ArtLab. He has worked at ArtLab countries and nine researchers. On the with acoustic levitation, and mass and a DSc in 2000 from the University of for many years and has a long standing project Nicole is continuing to investigate spectrometry. She has been responsible Adelaide for his contribution to knowledge. interest in artistic practice in South research questions raised as part of her for the development of data handling and Professor Schiesser is a major international Australia. doctoral thesis on The Characterisation of processing at the IR Microscope beamline, player in the field of free radical chemistry Canvas Paintings in Tropical Environments in particular multivariate statistical analysis with expertise that ranges from synthesis David Thurrowgood is Senior Conservator (submitted in 2008). training for beamline users. through to molecular modelling. In 2007 Metals and Conservation Science at the he was awarded the A J Birch Medal of National Gallery of Victoria (NGV). For Sherryn Vardy has a Bachelor (1998) and Rachel Rivenc is Assistant Scientist at the the Royal Australian Chemical Institute. the past four years he has been working a Graduate Diploma (1999) of Visual Arts GCI, with the Modern and Contemporary Professor Schiesser leads a team of collaboratively with Australian and majoring in painting from Monash University Art Research group. She holds an Master researchers that is currently working on international colleagues to advance the and is completing her Master of Cultural of Arts in paintings conservation (Paris I the development of new pharmaceutical application of synchrotron studies to the Material Conservation at The University Sorbonne, France, 2001). She has been a products that combat the damaging effects understanding of cultural heritage, by of Melbourne. As part of her studies she paintings conservator in private practice of free radicals, the development of new making use of one of the world’s newest completed a three week internship with and taught paintings conservation with the reagents for the detection of free radicals, synchrotrons located in Melbourne. David the Queensland Art Gallery Paintings University of Malta before joining the GCI in and the understanding of the role that free is a Graduate of Deakin University, followed Conservation Department in 2011. Sherryn 2006, where she studies paints and plastics radicals play in the deterioration of cultural by the University of Canberra Conservation has a diverse background in the gallery used in contemporary art. She is currently materials. Professor Schiesser is a Fellow of of Cultural Materials program. He worked sector gained through over 10 years assistant coordinator for the Modern the Royal Australian Chemical Institute and in Canberra at the National Museum of experience in regional galleries, and is Materials and Contemporary Art Working the Royal Society of Chemistry. Australia for ten years, prior to commencing currently Exhibitions Manager at National Group of ICOM-CC. work at the NGV five years ago. David has Exhibitions Touring Support (NETS) Victoria Associate Professor Robyn Sloggett is consistently undertaken and published where she assists in the delivery of their Dr Emma Richardson is currently a Director of the Centre for Cultural Materials technical studies during this period, and, extensive touring exhibition program. lecturer in the History of Art Department Conservation (CCMC) at the University for any students in the room, is particularly at University College London. At the time of Melbourne where she teaches into the open to supporting student research Helen Weidenhofer is an Assistant of this project, she was a postdoctoral Masters Program in Cultural Materials projects. Director at Artlab Australia, where she Research Fellow at the GCI. She has a Conservation. CCMC delivers one of has worked for 23 years as a paintings PhD in conservation science (University of Australia’s largest commercial conservation Dr Mark Tobin is Beamline Scientist at conservator and conservation manager, and Southampton, UK, 2009) and an Master of programs. Robyn is a member of a number the Infrared Beamline of the Australian is currently responsible for the Paintings, Science in analytical chemistry (Sheffield of government committees. She is an Expert Synchrotron. He has a background in cell Objects and Projects (large objects/site Hallam University, UK, 2004). In recent Assessor under the Protection of Movable biology and imaging and has developed conservation) programs. Helen completed years her research has included the non- Cultural Heritage Act, and a member capabilities for experiments in this field at her conservation studies at the University invasive characterisation of polymers by of the Australian Commercial Galleries the Australian Synchrotron, and previously of Canberra and worked for 5 years at the near infrared spectroscopy, the in situ Association Forgery Focus Group. At the worked at the Daresbury Synchrotron National Library of Australia before moving monitoring of tensile stresses in textile University of Melbourne she is a member Radiation Source in the United Kingdom. to Artlab. Artlab is the South Australian artifacts, and the effects of plasticiser of the Cultural Collections Advisory Group, Government’s conservation agency, and migration on the mechanical properties in Associate Investigator in the ARC Centre is a participant in the ARC-funded ‘The cellulose acetate based film. of Excellence for Free Radical Chemistry & Twentieth Century in Paint’ research project. Biotechnology, and a member of the Centre

40 41 Acknowledgments

Symposium Organising Committee Australian Research Council Linkage Project (2008-2012) ‘The Twentieth Century in Paint’ Anne Carter, Conservator, Paintings, Queensland Art Gallery | Gallery of Modern Art Jocelyn Evans, Conservator, Paintings, Queensland Art Gallery | Gallery of Modern Art Chief Investigators: Associate Professor Robyn Sloggett, CCMC, UoM; Dr Nicole Tse, ARC Gillian Osmond, Conservator, Paintings, Queensland Art Gallery | Gallery of Modern Art Post Doctorate Research Fellow, CCMC, UoM; Professor Carl Schiesser, ARC Centre of and PhD candidate 20th Century in Paint Excellence for Free Radical Technology and Biochemistry, UoM; Dr Stephen Best, School Tim Ould, Research Assistant, Centre for Cultural Materials Conservation, of Chemistry, UoM; Professor John Drennan, Centre for Microscopy and Microanalysis, UQ; The University of Melbourne Professor Jane Hunter, ITEE, UQ. Katherine Rosenthal, Paintings Conservator David Stein & Co, Sydney Nicole Tse, ARC Post Doctorate Fellow, Centre for Cultural Materials Conservation, Partner investigators: Dr Tom Learner, Head of Modern and Contemporary Art Research, The University of Melbourne Getty Conservation Institute, USA; Andrew Durham, Director, ArtLab Australia; Amerrudin Ahmad, Curator, National Visual Arts Gallery, Malaysia. Australian Institute for the Conservation of Cultural Materials Industry partners: Art Gallery of New South Wales, AGNSW; Andrew Durham and Helen Andrew Durham, AICCM Paintings Special Interest Group Convenor and Director, Weidenhofer, ArtLab Australia; David Thurrowgood, National Gallery of Victoria; Anne Carter, ArtLab Australia. Queensland Art Gallery I Gallery of Modern Art. Queensland Art Gallery I Gallery of Modern Art International partners: Amerrudin Ahmad and Musrizal Mat Isa, National Visual Arts Gallery Suhanya Raffel, Acting Director Malaysia, Balai Visual Seni Negara; Associate Professor Supanee Chayabutra, Silpakorn Maud Page, Acting Deputy Director, Curatorial and Collection Development University, Thailand; Dr M R Rujaya Abhakorn, Southeast Asian Ministers of Education Russell Storer, Curatorial Manager, Asian & Pacific Art Organization Regional Centre for Archaeology and Fine Arts (SEAMEO-SPAFA); Dr Bronwyn Ruth McDougall, Curator, Pacific Art Ormsby, Tate Modern, UK; Dr Tom Learner, Getty Conservation Institute USA. Amanda Pagliarino, Head of Conservation Jenna Hoskin, Senior Graphic Designer PhD students: Gillian Osmond, QAGOMA, UQ; Paula Dredge, AGNSW, UoM; Melina Glasson, Steve Gooding, Cinema Technical Co-ordinator UoM; Suleiman Odat, UQ. Danielle Hastie, Conservation Administrator/Technician Mandy Smith, Conservation Technician, Paintings Research Assistant: Tim Ould, CCMC, UoM.

42 43 Location map

Kurilpa Bridge

Cinema B, Brisbane River Gallery of Modern Art State Library of Queensland CITY

Montague Rd Stanley Place Grey St

Victoria Bridge

QueenslandQueensland Peel St Museum Art Gallery

Queensland Performing Arts Queensland Centre Art Gallery

Melbourne St

Granada Restaurant South Brisbane 154 Melbourne St Train Station

44 All images: Items from Sidney Nolan Wahroonga studio Artists’ Materials Archive, Conservation Department, Art Gallery of New South Wales Gift of Jinx Nolan 2006 Photograph: © AGNSW