Pub Date : 2018-07-03DOI: 10.1080/10344233.2018.1491090
Lisa M. Nolan
In the past, various mounting systems have been developed with no real consensus on the most appropriate system to display bark paintings that also considers the cultural values of Aboriginal Traditional Owners. In addressing this gap, the Museum and Art Gallery of the Northern Territory (MAGNT) has been reviewing their current mounting systems and the preparation of bark supports with Injalak Arts to enable the development of evidence-based best practices for the display and preservation of bark paintings. A holistic study was undertaken to fully understand the life cycle of bark supports from when they are first made, to their display and collections trajectory in the cultural institution context. This paper examines Eucalyptus tetrodonata’s bark properties and harvesting techniques used by the Injalak Art Centre artists from the Aboriginal Traditional Owners’ perspective. With a holistic understanding of the material and cultural contexts, past display techniques were subsequently assessed which informed improvements of current bark painting mounting methods deployed at MAGNT. The purpose of this paper is not only to inform the development of appropriate mounting systems, but also to provide insight for the development of best practice decision-making and ‘proofed concepts’ of preventive conservation for the preservation and display of Aboriginal bark paintings.
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Pub Date : 2018-07-03DOI: 10.1080/10344233.2018.1593589
N. Tse
Volume . presents a mix of conservation papers and viewpoints from an Australian professional context. What draws the papers together is their focus on living cultural collections and heritage that connects people and communities and not only the static objects that we are commonly accustomed to in institutionalised contexts. Such a trend is not new in museology. The representation of living heritage, object biographies and knowledge acquisition in the broadest sense have long been in the public domain and the topic of exhibitions. While in conservation, the theme was explored at the ICOM CC th Triennial Conference Building Strong Culture through Conservation in Melbourne in and the Hamilton Kerr Institute conference on Migrants: art, artists, materials and ideas crossing borders in . Essentially, the papers and conferences are all exploring identity, how it is constructed, acknowledged and (mis)represented which naturally has implications for how we conserve objects. The four papers in volume . are concerned with how to engage with living heritage systems and their fluid dynamics. It is encouraging that submissions to the AICCM Bulletin are focussing and exploring these themes. The paper ‘What is the Object? Identifying and describing time-based artworks’ by Carolyn Murphy, Asti Sherring and Lisa Catt from the Art Gallery of New South Wales (AGNSW) examines the challenges of cataloguing time based artworks in an institutionalised context. The AGNSW having collected such works since the s, discusses how the use of standard terminologies in their earlier database records may have misrepresented or not captured the artworks defining properties and iterative processes. Their goal therefore has been to re-evaluate their documentation and decision-making processes through a focussed project and a number of case studies in their collection. Carolyn Murphy and Analiese Treacy’s paper ‘Drawings you can walk on—Mike Parr and the th Biennale of Sydney ’ likewise explores the challenges of iterative works of art and ones that are ‘intentionally unstable (both physically and conceptually)’. The title itself challenges conservation practice from a conventional point of view but champions the experience and the living artists agency. The authors discuss how to best manage the various ideologies while also using the familiar modes of conservation documentation in the process. While Lisa Nolan’s paper on ‘Bark paintings conservation: Eucalyptus tetrodonta properties, bark harvesting and various mounting systems in the Northern Territory indigenous bark paintings’ provides a historical account of bark painting mounting systems and the way attitudes have evolved and changed. Informed through oral history accounts, the paper aims to understand the ‘full life cycle of bark supports from when they are first made, to their display and collections trajectory in the cultural institution context’. Working with Injalak Arts, the author has docum
体积. 介绍了澳大利亚专业背景下的保护论文和观点。将这些论文结合在一起的是，它们关注的是连接人们和社区的活的文化收藏和遗产，而不仅仅是我们在制度化背景下通常习惯的静态对象。这样的趋势在博物馆学中并不新鲜。最广泛意义上的活遗产、实物传记和知识获取的表现长期以来一直是公共领域和展览的主题。在保护期间，该主题在ICOM CC上进行了探索年在墨尔本举行的“通过保护建设强大文化”三年一度会议 以及汉密尔顿·克尔研究所移民会议：跨越国界的艺术、艺术家、材料和思想. 从本质上讲，这些论文和会议都在探索身份，以及它是如何被构建、承认和（错误）表示的，这自然对我们如何保护物体有影响。卷中的四篇论文. 关注如何与活的遗产系统及其流体动力学互动。令人鼓舞的是，提交给AICCM公告的材料正在关注和探索这些主题。论文“对象是什么？”？新南威尔士美术馆的Carolyn Murphy、Asti Sherring和Lisa Catt的《识别和描述基于时间的艺术品》探讨了在制度化背景下对基于时间的作品进行编目的挑战。AGNSW自s、 讨论了在其早期数据库记录中使用标准术语可能会歪曲或没有捕捉到定义属性和迭代过程的艺术品。因此，他们的目标是通过一个重点项目和他们收集的一些案例研究，重新评估他们的文件和决策过程。Carolyn Murphy和Analiese Treacy的论文《你可以走的画——Mike Parr和第届悉尼双年展’ 同样探讨了迭代艺术作品和“有意不稳定（物理和概念上）”的艺术作品的挑战。该标题本身从传统的角度挑战了保护实践，但支持这种体验和在世的艺术家机构。作者讨论了如何最好地管理各种意识形态，同时在这个过程中使用熟悉的保护文件模式。Lisa Nolan关于“树皮绘画保护：河豚桉树的特性、树皮收获和北领地土著树皮绘画中的各种安装系统”的论文提供了对树皮绘画安装系统以及态度演变和变化方式的历史描述。通过口述历史记录，本文旨在了解“树皮支架从最初制作到在文化机构背景下的展示和收藏轨迹的整个生命周期”。作者与Injalak Arts合作，记录了树皮的准备过程，以加深我们在北领地博物馆和美术馆保存树皮的专业知识和决策。该论文强调了参与和代表Injalak艺术知识的愿望。同样，布朗温·邓恩（Bronwyn Dunn）的论文《移动藏品：共济会维多利亚藏品的文件、运输和储存问题》（Moving a collection:Issues in the documentation，transport and storage of the Freemasons Victoria collection）介绍了共济会的参与情况，以及代表藏品价值的保存策略，这些藏品往往“被保密和误解（正确或错误）所笼罩”。很高兴在AICCM公报上发表这四篇论文，编辑委员会感谢作者的贡献和修改。
{"title":"Editorial","authors":"N. Tse","doi":"10.1080/10344233.2018.1593589","DOIUrl":"https://doi.org/10.1080/10344233.2018.1593589","url":null,"abstract":"Volume . presents a mix of conservation papers and viewpoints from an Australian professional context. What draws the papers together is their focus on living cultural collections and heritage that connects people and communities and not only the static objects that we are commonly accustomed to in institutionalised contexts. Such a trend is not new in museology. The representation of living heritage, object biographies and knowledge acquisition in the broadest sense have long been in the public domain and the topic of exhibitions. While in conservation, the theme was explored at the ICOM CC th Triennial Conference Building Strong Culture through Conservation in Melbourne in and the Hamilton Kerr Institute conference on Migrants: art, artists, materials and ideas crossing borders in . Essentially, the papers and conferences are all exploring identity, how it is constructed, acknowledged and (mis)represented which naturally has implications for how we conserve objects. The four papers in volume . are concerned with how to engage with living heritage systems and their fluid dynamics. It is encouraging that submissions to the AICCM Bulletin are focussing and exploring these themes. The paper ‘What is the Object? Identifying and describing time-based artworks’ by Carolyn Murphy, Asti Sherring and Lisa Catt from the Art Gallery of New South Wales (AGNSW) examines the challenges of cataloguing time based artworks in an institutionalised context. The AGNSW having collected such works since the s, discusses how the use of standard terminologies in their earlier database records may have misrepresented or not captured the artworks defining properties and iterative processes. Their goal therefore has been to re-evaluate their documentation and decision-making processes through a focussed project and a number of case studies in their collection. Carolyn Murphy and Analiese Treacy’s paper ‘Drawings you can walk on—Mike Parr and the th Biennale of Sydney ’ likewise explores the challenges of iterative works of art and ones that are ‘intentionally unstable (both physically and conceptually)’. The title itself challenges conservation practice from a conventional point of view but champions the experience and the living artists agency. The authors discuss how to best manage the various ideologies while also using the familiar modes of conservation documentation in the process. While Lisa Nolan’s paper on ‘Bark paintings conservation: Eucalyptus tetrodonta properties, bark harvesting and various mounting systems in the Northern Territory indigenous bark paintings’ provides a historical account of bark painting mounting systems and the way attitudes have evolved and changed. Informed through oral history accounts, the paper aims to understand the ‘full life cycle of bark supports from when they are first made, to their display and collections trajectory in the cultural institution context’. Working with Injalak Arts, the author has docum","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"75 - 75"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1593589","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43632728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Early 2011 Freemasons Victoria decided to prepare the many historical and significant objects in their collection for relocation to premises in Prahran, Melbourne. This temporary storage facility would house the museum, portraits and library until a new Masonic building was constructed and a new museum established. This task unfolded as a complex series of steps requiring the organisation of the highly diverse collection before packing and transportation. These objects were in varying condition and with minimal or no associated documentation. This article outlines the process of bringing together this collection within a coherent framework, in preparation for its relocation and with the broader aim of improving future access to the collection and potential for museum accreditation. This process proved to be a challenging endeavour which evolved as more objects were located and identified. While many of the steps described in this paper are routine, the paper aims to present the journey of moving a large collection of objects within an institution historically shrouded in secrecy and misunderstanding (rightly or wrongly) and the challenges encountered along the way.
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Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1522779
W. Reade
The Kuthodaw Pagoda complex in Mandalay, Myanmar is listed on the UNESCO Memory of the World Register, valuable for its 729 marble stelae each housed in a white-washed mini-pagoda and inscribed with Theravāda Buddhist texts written in Pali, and known as the ‘World’s Biggest Book’. In 2013 Australia’s Nan Tien Institute, Wollongong, and the University of Sydney worked with the Myanmar Ministry of Culture, the Mandalay Department of Archaeology and the custodians of the Kuthodaw Pagoda site to conserve, photograph, digitise and make a freely available database for the study of the inscribed texts. This paper describes the collaborative conservation project that included condition assessment, documentation, conservation work to the stelae and site, local staff training, and provision of a practical maintenance plan. The successful development and execution of this preservation project was due to a productive cultural dialogue that was based on consultative discussion between all parties, willingness to co-operate, and consideration of Buddhist customs, traditional crafts, local practice, and the impact of visitors and natural agencies on the site.
{"title":"The Kuthodaw Pagoda, Myanmar: collaborative conservation of a UNESCO Memory of the World site","authors":"W. Reade","doi":"10.1080/10344233.2018.1522779","DOIUrl":"https://doi.org/10.1080/10344233.2018.1522779","url":null,"abstract":"The Kuthodaw Pagoda complex in Mandalay, Myanmar is listed on the UNESCO Memory of the World Register, valuable for its 729 marble stelae each housed in a white-washed mini-pagoda and inscribed with Theravāda Buddhist texts written in Pali, and known as the ‘World’s Biggest Book’. In 2013 Australia’s Nan Tien Institute, Wollongong, and the University of Sydney worked with the Myanmar Ministry of Culture, the Mandalay Department of Archaeology and the custodians of the Kuthodaw Pagoda site to conserve, photograph, digitise and make a freely available database for the study of the inscribed texts. This paper describes the collaborative conservation project that included condition assessment, documentation, conservation work to the stelae and site, local staff training, and provision of a practical maintenance plan. The successful development and execution of this preservation project was due to a productive cultural dialogue that was based on consultative discussion between all parties, willingness to co-operate, and consideration of Buddhist customs, traditional crafts, local practice, and the impact of visitors and natural agencies on the site.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"55 - 64"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1522779","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43054569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1489455
A. Pagliarino
In 2018, the Australian Institute for the Conservation of Cultural Material (AICCM) embarked on the ambitious Environmental Guidelines Project. As the project gets underway, the author looks back at the formative research undertaken by Emeritus Professor Colin Pearson from 1990 through to the early 2000s. His approach to the management of the collection environment was both culturally and environmentally aware and led to the development of climate-specific environmental guidelines and collection care strategies. In this paper, the author recounts personal reflections on Professor Pearson’s enlightened and progressive teaching and looks at the ongoing global debate on sustainable cultural heritage practices within the Australian context.
{"title":"Environmental Guidelines—An Australian Perspective","authors":"A. Pagliarino","doi":"10.1080/10344233.2018.1489455","DOIUrl":"https://doi.org/10.1080/10344233.2018.1489455","url":null,"abstract":"In 2018, the Australian Institute for the Conservation of Cultural Material (AICCM) embarked on the ambitious Environmental Guidelines Project. As the project gets underway, the author looks back at the formative research undertaken by Emeritus Professor Colin Pearson from 1990 through to the early 2000s. His approach to the management of the collection environment was both culturally and environmentally aware and led to the development of climate-specific environmental guidelines and collection care strategies. In this paper, the author recounts personal reflections on Professor Pearson’s enlightened and progressive teaching and looks at the ongoing global debate on sustainable cultural heritage practices within the Australian context.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"19 - 25"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1489455","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46017721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1515809
Bruce L. Ford
The lightfastness of approximately 100 randomly selected red, black and blue inks was surveyed using the microfade technique. The inks’ responses were recorded at 55% and at 1% relative humidity (RH) in air, and in a low oxygen environment (<10 ppm O2) at 55% RH. Their light sensitivity in air was highly unpredictable, ranging from the detection limit of the technique to several times greater than the most fugitive ISO Blue Wool Fading Standard (BW1). With very few exceptions, the response of blue and black inks was markedly suppressed in anoxia, and the opposite was true of a significant proportion of red inks tested. The correlation between RH and light-sensitivity in air was weak, with highly variable responses in both directions. The results show that it is not possible to make useful display (light exposure) recommendations for ballpoint pen inks without prior fade-testing.
{"title":"A microfading survey of the lightfastness of blue, black and red ballpoint pen inks in ambient and modified environments","authors":"Bruce L. Ford","doi":"10.1080/10344233.2018.1515809","DOIUrl":"https://doi.org/10.1080/10344233.2018.1515809","url":null,"abstract":"The lightfastness of approximately 100 randomly selected red, black and blue inks was surveyed using the microfade technique. The inks’ responses were recorded at 55% and at 1% relative humidity (RH) in air, and in a low oxygen environment (<10 ppm O2) at 55% RH. Their light sensitivity in air was highly unpredictable, ranging from the detection limit of the technique to several times greater than the most fugitive ISO Blue Wool Fading Standard (BW1). With very few exceptions, the response of blue and black inks was markedly suppressed in anoxia, and the opposite was true of a significant proportion of red inks tested. The correlation between RH and light-sensitivity in air was weak, with highly variable responses in both directions. The results show that it is not possible to make useful display (light exposure) recommendations for ballpoint pen inks without prior fade-testing.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"26 - 34"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1515809","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49413396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1544328
R. Sloggett, Janelle Middleton
There are two challenges currently faced by communities in Australia in the protection and preservation of their cultural, historical and scientific heritage. An exploration of these serves as the basis for this paper. The first is the need to provide sustainable economic support for the preservation of built and movable cultural heritage. The second is the need to develop infrastructure that can support preservation activities. This paper examines how Bathurst Regional Council is addressing these significant issues. It examines the impetus for Council to develop a broader vision around its built and movable heritage and the strategic framework that is scaffolding current initiatives. This case study of Bathurst Regional Council’s response to the need to preserve, invest and best use its cultural heritage assets demonstrates why conservation partnerships are critical both for community development and for the development of the conservation profession.
{"title":"For mutual benefit: cultural materials conservation and local government—a case study","authors":"R. Sloggett, Janelle Middleton","doi":"10.1080/10344233.2018.1544328","DOIUrl":"https://doi.org/10.1080/10344233.2018.1544328","url":null,"abstract":"There are two challenges currently faced by communities in Australia in the protection and preservation of their cultural, historical and scientific heritage. An exploration of these serves as the basis for this paper. The first is the need to provide sustainable economic support for the preservation of built and movable cultural heritage. The second is the need to develop infrastructure that can support preservation activities. This paper examines how Bathurst Regional Council is addressing these significant issues. It examines the impetus for Council to develop a broader vision around its built and movable heritage and the strategic framework that is scaffolding current initiatives. This case study of Bathurst Regional Council’s response to the need to preserve, invest and best use its cultural heritage assets demonstrates why conservation partnerships are critical both for community development and for the development of the conservation profession.","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"65 - 73"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1544328","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48865110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1544877
I. Cook
Colin Pearson was an internationalist. From his debuts as a metals scientist into a long and fruitful career in the field of conservation of cultural materials, he used his expertise internationally and made a significant contribution to the establishment of materials conservation in Southeast Asia and the Pacific. His role in the creation of the UNESCO Regional Conservation Centre in Canberra, to assist with the development of conservation in Southeast Asia and in the Pacific, and the assessment visits that he carried in partnership with UNESCO and ICCROM, were essential. Respecting and fostering local agency, long before this became part of the official heritage discourse, Colin and his institutional partners believed in building and nurturing relationships. This resulted in an international professional network, built through publications and numerous workshops delivered across Asia and the Pacific, with many of the students and colleagues becoming key actors in the regional conservation developments programs. It led to the establishment of regional centres that are today able to collaborate in further conservation training and projects. This article recounts Colin’s contribution to the first two decades of the Asian Pacific program and reflects on his vision for sustainable conservation centres throughout the region.
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Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1553128
N. Tse
In at the ICOM CC th Triennial Conference in Melbourne, Professor Colin Pearson established the AICCM award for the most ‘Outstanding Research in the Field of Material Conservation’ published in the AICCM Bulletin. Some three years later at the AICCM National Conference in the Blue Mountains Sydney, a Gedenkschrift dedicated to Professor Colin Pearson celebrated his life and contribution to cultural materials conservation was organized by the then AICCM President, MaryJo Lelyveld. Colin, the ‘Father of the Conservation Profession in Australia’ had passed away the previous year, on April . Friend and mentor to generations of conservators both in Australia and overseas his passing was keenly felt across the heritage sector and beyond (Lyall & Batterham ). In honour of the immense contribution that Colin made throughout his -year career, this memorial publication of the AICCM Bulletin is dedicated to Colin and captures the themes and papers explored during the Gedenkshcrift and the AICCM National Conference. The papers exemplify Colin’s legacy and an Australian conservation profession that he valued. As such the focus of this volume . explores the areas important to Colin covering materials research in conservation, conservation education and training, preventive conservation and environmental guidelines, and conservation in the Asia Pacific. As considered in all the papers, Colin was very much central to the formative period (–) and growth period ( to the present) of conservation in Australia. We see this examined in Marcelle Scott’s paper ‘Professor Colin Pearson: one of the most versatile and capable conservators of his generation’ that considers Colin’s contributory role as an educator over the two periods. In Colin joined the Canberra College of Advanced Education (CCAE) to establish a conservation training program, the first in Australia and one of earliest programs to include an ethnographic conservation specialization (Figure ). Under his tenure, the CCAE (later the University of Canberra) program offered courses at Bachelor, Master, and PhD levels graduating students over its year history (Figure ). Scott’s paper fleshes out the issues of ‘what an “ideal” conservation course might be’. The paper points out the challenges faced by Colin working across the University and professional contexts, and more importantly the ‘tensions between the need to prepare students for the future while wanting new graduates to be work-ready’. This is akin to managing diverse expectations while building disciplinary bodies of knowledge that are grounded by ethical and conceptual responsibilities to collections, culture and society. As such, Scott also recognizes that Colin may model what a future educator should look like and one that fully combines research, teaching and practice. In doing so, Colin ‘was able to construct such a rigorous, and internationally recognised and recognisable professional con
{"title":"Editorial","authors":"N. Tse","doi":"10.1080/10344233.2018.1553128","DOIUrl":"https://doi.org/10.1080/10344233.2018.1553128","url":null,"abstract":"In at the ICOM CC th Triennial Conference in Melbourne, Professor Colin Pearson established the AICCM award for the most ‘Outstanding Research in the Field of Material Conservation’ published in the AICCM Bulletin. Some three years later at the AICCM National Conference in the Blue Mountains Sydney, a Gedenkschrift dedicated to Professor Colin Pearson celebrated his life and contribution to cultural materials conservation was organized by the then AICCM President, MaryJo Lelyveld. Colin, the ‘Father of the Conservation Profession in Australia’ had passed away the previous year, on April . Friend and mentor to generations of conservators both in Australia and overseas his passing was keenly felt across the heritage sector and beyond (Lyall & Batterham ). In honour of the immense contribution that Colin made throughout his -year career, this memorial publication of the AICCM Bulletin is dedicated to Colin and captures the themes and papers explored during the Gedenkshcrift and the AICCM National Conference. The papers exemplify Colin’s legacy and an Australian conservation profession that he valued. As such the focus of this volume . explores the areas important to Colin covering materials research in conservation, conservation education and training, preventive conservation and environmental guidelines, and conservation in the Asia Pacific. As considered in all the papers, Colin was very much central to the formative period (–) and growth period ( to the present) of conservation in Australia. We see this examined in Marcelle Scott’s paper ‘Professor Colin Pearson: one of the most versatile and capable conservators of his generation’ that considers Colin’s contributory role as an educator over the two periods. In Colin joined the Canberra College of Advanced Education (CCAE) to establish a conservation training program, the first in Australia and one of earliest programs to include an ethnographic conservation specialization (Figure ). Under his tenure, the CCAE (later the University of Canberra) program offered courses at Bachelor, Master, and PhD levels graduating students over its year history (Figure ). Scott’s paper fleshes out the issues of ‘what an “ideal” conservation course might be’. The paper points out the challenges faced by Colin working across the University and professional contexts, and more importantly the ‘tensions between the need to prepare students for the future while wanting new graduates to be work-ready’. This is akin to managing diverse expectations while building disciplinary bodies of knowledge that are grounded by ethical and conceptual responsibilities to collections, culture and society. As such, Scott also recognizes that Colin may model what a future educator should look like and one that fully combines research, teaching and practice. In doing so, Colin ‘was able to construct such a rigorous, and internationally recognised and recognisable professional con","PeriodicalId":7847,"journal":{"name":"AICCM Bulletin","volume":"39 1","pages":"1 - 3"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10344233.2018.1553128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46998315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/10344233.2018.1543146
N. Tse, M. Soriano, A. Labrador, Roberto Balarbar
Esteban Villanueva’s fourteen 1821 paintings, the Basi Revolt Paintings of Ilocos, are valued for their representation of the conflict between the Spanish colonial administration and Filipino Ilocano insurgents. As pictorial documents representing the emergence of secular artistic practice in the Philippines, they possess significant social and historical narratives of national independence and the Ilocano’s strength of character. Damage, previous restorations and the effects of tropical climates have not been kind to the Basi Revolt paintings and their visual reading is complex. This paper reports on the technical and materials analysis of the paintings, documentation, digitisation and image analysis as a conservation model to broaden perspectives on knowledge acquisition in conservation. Conservation decision making in the Philippines is an additional focus of the paper, with an examination of localised values, and the trajectory and life of the paintings to inform conservation actions and creative processes.
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