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The Meaning of Materials in Modern and Contemporary

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The Meaning of Materials in Modern and Contemporary 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
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