AICCM Bulletin

The rock-art11 The hyphenated use of ‘rock-art’ is used as a preference to the unhyphenated ‘rock art’ throughout this paper, as it responds to Taçon & Chippindale’s (2004 Taçon, PSC & Chippindale, C 2004, ‘An archaeology of rock-art through informed methods and formal methods' in Chippindale C & Taçon PSC (eds) The Archaeology of Rock-Art, pp.1–10, Cambridge University Press, Cambridge. [Google Scholar], p. 6) analysis of the term. The term is used as a form of portmanteau, to encompass the various forms that rock-art may take, without diminishing the nature of any one of those forms. at Gariwerd (Grampians National Park) is the most significant in Victoria and presents over 90% of the State’s known rock-art Places. Growing recreational use of the national park over the last 50 years has been threatening the safety of the rock-art, among other significant Aboriginal cultural places, with Traditional Owners concerned for the future of their valuable and irreplaceable cultural heritage. Recent closures of special protection areas throughout Gariwerd have allowed conservation professionals to take stock of the damage and assess the level of work required to conserve and rehabilitate some of the significantly impacted rock-art locations throughout the national park. While the rock-climbing community are concerned for the future of their recreational ‘heritage’, the future of Gariwerd rock-art grows increasingly uncertain. This paper examines the issues raised by the history of conservation at Gariwerd to identify if and how conservation of the rock-art at Gariwerd can be achieved. This paper discusses how ongoing closures to recreational activity may be the only solution to protect the significant cultural assets located throughout the Gariwerd landscape.

Lucy Elizabeth Talika Welsh

The conservation of rock-art at Gariwerd: a response to recreational impacts

加里韦德岩石艺术的保护：对休闲活动影响的回应

Small museum collections reflect the vast history of their communities and are vital in maintaining that ongoing history. The imperative of continuing to collect contemporary history to fulfil their ongoing mission has now become, with the advent of technology, much more difficult, and quite different in its execution. The first part of this paper presents an overview of challenges faced by small, community, volunteer run museums and collections. It portrays a recognisable ‘small, community, volunteer run museum or collection’, referred to throughout as ‘small museums’. It is we sincerely hope a characterisation, not a caricature. Personal experience informs the second part of this paper.

Susan Reynolds

Trevor Matthews

Small museums — more tango than foxtrot (the salsa gets you nowhere!)

小博物馆——探戈胜过狐步舞（萨尔萨舞毫无进展！）

Frames conservation is based as strongly on materials science and technical art history as on practical art and craft skills. Few conservation training courses prepare students for future work as a gilded/polychrome objects conservator, which also includes the role of a frame conservator. Preventive conservation and collection management activities are prioritised in institutions, and consequently are seen as progress of the profession impacting education and training of conservation students, diminishing the importance of hands-on practical training. The specialised conservation training gave the space to the cross-disciplinary knowledge and development of ‘general conservator’ skills. Shifting trends in cultural institutions and in conservation profession endangers the high-level conservation skills and undermine prospects to undertake future complex interventions. With a generation of senior conservators reaching retirement, it is inevitable tthe opportunities to learn the necessary skills for high-level hands-on conservation will be lost. Partnership and collaboration between the universities and the cultural institutions are proposed in defining the structured hands-on training of future conservators, particularly frames conservators. Through close partnership with universities, and by engaging in the education of future conservators, cultural institutions could take on an active role in promoting conservation to the community, while assuring that the collections will be appropriately treated.

Malgorzata Sawicki

New challenges for frames conservation in Australia: a pragmatic vision of future hands-on training

澳大利亚框架保护面临的新挑战：未来实践培训的务实愿景

In 2017 the AICCM received a Community Heritage – Peak Organisations grant from the NSW Office of Environment and Heritage. With funding for two years the AICCM and its project partners, Bathurst Regional Council and the Grimwade Centre at the University of Melbourne, trialled a new locally-led model of community conservation which links conservation students and graduates with local communities in rural and regional Australia. This paper reviews the outcomes of the programme in terms of its ability to demonstrate how, with appropriate support, the promotion and preservation of local cultural heritage can inspire community programmes, provide novel loci for educational activities, generate social and economic benefits, and demonstrate regional leadership. Initial findings indicate that the project provides a demonstration model for an expanded national conservation program to begin to address one of the key, but as yet under-examined, recommendations of the 1975 Pigott Report.

Marcelle Scott

Jennifer O’Connell

Sustainable conservation: linking conservation students and graduates with local communities to build a sustainable skills-based heritage preservation model in rural and regional Australia

可持续保护：将保护学生和毕业生与当地社区联系起来，在澳大利亚农村和地区建立可持续的技能型遗产保护模式

Nicole Tse

Editorial

社论

This paper is the result of a collaborative effort that investigates the practice of contemporary art conservation at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Brisbane. Our research has been shaped by our active participation in the Asia Pacific Triennial of Contemporary Art (APT) over the past three decades. Through interviews with QAGOMA conservators and gallery colleagues, we have identified the influences of the APT on our workflows. These influences have led to the emergence of areas of challenge, such as the logistics of artwork shipping, integrated pest management, collaboration with artists, preparation of artworks for display, considerations of scale, complexities of conserving contemporary art, and the evolution of documentation systems. The lessons learned from these challenges, as illustrated through case studies, provide valuable reference to other practitioners caring for contemporary artworks.

Anne Carter

Samantha Shellard

30 years of Conserving the Asia Pacific Triennial of Contemporary Art

30年保护亚太当代艺术三年展

This paper reflects on the National Gallery of Victoria and its Exhibitions Conservation section over its 30-year history, and assesses the development of sustainable approaches within its programming. The author has managed the section since its inception, providing a unique insider opportunity to examine three decades of exhibition management within a large state institution, working with lenders and borrowers to manage both local and international loans. The paper describes the Exhibition Conservation section before reviewing a selection of exhibition files spanning the period 1975–2020 to evaluate 'change' with respect to the mid-range environmental parameters. Relative Humidity, usually considered the most significant issue for lenders, will be the main focus. Experience gained in lending to non-compliant environments is described and the Exhibition Conservation library is reviewed for discussions of sustainability of the profession more generally. Change is discussed in light of the fundamental rethink of collection management occurring within the profession. Finally, tools are offered to assist in the management of loans between differing environments.

Catherine Earley

Managing Loans in a More Sustainable Future

管理贷款以实现更可持续的未来

A large medical sea chest was investigated to identify the composition of the various medicines contained within. During the investigation, the complex history of the chest was also revealed, from its likely use on migrant ships travelling from England to Australia to its later use on various rural properties in Victoria and New South Wales. Infrared spectroscopy (ATR-FTIR) and X-ray fluorescence spectroscopy (pXRF) were used in combination to investigate 21 medicines in the chest, to confirm labelled contents and to identify unknown substances and the composition of mixed medicines. Synchrotron micro-infrared analysis was used as well to identify individual particles in two complex mixtures (Dragons Blood and Dover's Powder), revealing the medicines' original formulas and the use of adulterants to extend expensive substances. Both toxic and controlled substances were identified within the sea chest, enabling the museum to develop detailed storage and handling plans to reduce the risks to collection users and to conform with legislative requirements.

Rosemary A. Goodall

Confirmation of the composition in complex mixed pharmaceuticals by micro-synchrotron infrared spectroscopy during the investigation of a medical sea chest, c1850

通过微型同步加速器红外光谱法确认1850年医疗海箱中复杂混合药物的成分

The twenty-first century conservator is more regularly involved in collection-based community engagements. This is in response to and influenced by the revised roles of cultural institutions as social spaces that recognise the importance of inclusivity, community participation and sustainability. Despite this focus on communities, the practical details and the care needed to undertake this work are not adequately documented. The challenge for conservators, needing to stay relevant and connected, is how best to engage participants from diverse backgrounds in structured and meaningful ways. This research sought to develop practices around conservation that is engaged with communities, working with culturally diverse groups in an exhibition setting.

Sophie Lewincamp

Asli Günel

Leila Alhagh

<i>Didar</i> : Activating Exhibition Spaces With Diaspora Communities In Melbourne

《Didar》：激活墨尔本展览空间与散居社区

The world of collections storage is changing. While storage is often a challenging problem to solve because of the ever-increasing footprint requirements and associated resource costs, there is a shift within the Galleries, Libraries, Archies and Museums (GLAM) sector involving greater public access to our vast and hidden collections. This is causing some discomfort but also many opportunities. Purpose-built facilities are being designed using sustainable materials and methods, and the behind-the-scenes is being revealed. This is bringing the back-of-house to the front and generating greater awareness, value, new investment, and partnership models. This paper will share the transformational storage project at Arts Centre Melbourne referred to as the APAC Reveal. It will present the challenges and issues of developing, managing, preserving, and sharing a significant State Collection within Australia's largest performing arts organisation. It will also impart the journey of change through innovation and how building relationships, working collaboratively, thinking creatively, and testing revised ways of working, can produce opportunities which unlock the potential for a collection, staff, industry, stakeholders, and communities.

Samantha Hamilton

Amanda Meiklejohn

<i>Apac Reveal</i> : unlocking the potential of the Australian Performing Arts Collection through open and visible storage

《Apac Reveal》：通过开放和可见的存储解锁澳大利亚表演艺术收藏的潜力

ISSN	1034-4233, 2204-4183
h-index	11

涉及主题	历史计算机科学地理艺术考古视觉艺术生物工程类材料科学艺术史哲学物理化学政治学
出版信息	出版商: Taylor and Francis Ltd.，出版周期: ，期刊类型: journal，开源期刊: 否
基本数据	创刊年份: 2011，原创研究文献占比: 0.00%，自引率:N.A.， Gold OA占比: 0.00%

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