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INITIATIVES AND SERVICES
QUEENSLAND ART GALLERY ANNUAL REPORT 2007–08 41
CONSERVATION RESEARCH
The Gallery's Centre for Contemporary Art Conservation
(CCAC) — in conjunction with the University of
Melbourne's Centre for Cultural Materials Conservation,
the University of Queensland's Centre for Microscopy and
Microanalysis (CMM) and other partners — received an
Australian Research Council grant for a research project
on the twentieth century in paint. The focus of the project
is to examine new media, pigments, dyes and additives
which enabled technical innovation and change in art-
making in the twentieth century in both Australia and
South-East Asia. The CCAC and the CMM will specifically
study Australian artists' use of house paint and
implications for the stability of these works. Initial
research will focus on artists with a Queensland
connection, including Ian Fairweather and Charles
Blackman.
The CCAC co-hosted Contemporary Collections, the
Australian Institute for the Conservation of Cultural
Material (AICCM) National Conference from 17 to 19
October. The conference brought together conservation
colleagues from all Australian states and territories, as
well as New Zealand, Hong Kong, Cuba, the United States
and the United Kingdom. Conservators and conservation
scientists from the Tate Gallery, London, and the Getty
Conservation Centre (GCI), Los Angeles, also attended the
conference and presented papers. Gallery conservation
staff delivered a paper, 'Documentation of Installation Art
at QAG/GoMA', and presented a poster, 'Framing the
"Assembly Hall" Series', at the conference. Following the
conference Tom Learner, Head of Contemporary Art
Research at GCI, gave a public lecture, 'Modern Paints:
Uncovering the Choices', at GoMA on 20 October.
Conservation staff continued to share their expertise with
the industry. Conservators travelled to regional venues
to assess the condition of Collection works on tour, and
provided conservation advice to colleagues working in
regional galleries. Behind-the-scenes tours and external
lectures for high school, university and other groups also
continued during the year.
RESEARCH AND PROFESSIONAL DEVELOPMENT
Critical research related to the development of the
Collection, future exhibitions and programs was
undertaken during the year, with staff travelling
internationally to complete this work.
Tony Ellwood, Director, and Lynne Seear, Deputy Director,
Curatorial and Collection Development, travelled Europe
and North America to negotiate several major international
exhibitions for the Queensland Art Gallery.
Research towards 'The 6th Asia Pacific Triennial of
Contemporary Art' was also undertaken. Suhanya Raffel,
Curatorial Manager, Asian and Pacific Art, travelled to
China, Taiwan and Japan to meet with artists, galleries,
dealers, writers, academics and staff at key art
institutions. Russell Storer, Curator, Contemporary Asian
Art, undertook research in Singapore, Vietnam, Cambodia,
Laos, Thailand and the Philippines. Maud Page, Curator,
Contemporary Pacific Art, visited New Zealand, Fiji, New
Caledonia and Vanuatu to research Pacific artists and
performers, and to attend the Oceanic Art Symposium in
Vanuatu. Asia Pacific Triennial of Contemporary Art
research travel is supported by the Visual Arts and Craft
Strategy, an initiative of the Australian, state and territory
governments.
In connection with the Gallery's display of historical Asian
works on loan from prestigious international institutions,
Amanda Pagliarino, Acting Head of Conservation, travelled
to the Shanghai Museum to condition report 20 works to
be loaned to the Gallery. To ensure the safety of these
valuable works, she supervised the packing in Shanghai
and accompanied the shipment to Brisbane. Elizabeth
Wild, Conservator (Sculpture), accompanied the works
on their return to Shanghai and undertook condition
reporting.
INITIATIVES AND SERVICES
Mario Giacomelli
Italy 1925–2000
Lo non ho mani che mi accarezzino il
volto (There are no hands to caress my
face) (Pretini 70)
1961—63,
printed c.1980
Gelatin silver print
Purchased 2008 with funds derived
from the Blanche Louise Buttner
Bequest and the Godfrey Rivers Trust