School of Historical and Philosophical Studies - Theses
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ItemBeyond the pale of the law : refugees and the myth of human rights(University of Melbourne, 2010)
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ItemThe integration of art technical sources relating to Australian impressionist Arthur Streeton( 2015)Arthur Streeton is arguably one of the most significant landscape artists in Australia's history. The study of this artist's materials and techniques is vital, not only because of the value of art historical documentation to the development of the Australian impressionists, but also the protection of the artist's legacy. Several studies have already been undertaken addressing Arthur Streeton's materials and techniques, however these studies do not always approach this topic as their primary focus, and because of this the art technical information available on the artist is often disparate and limited in scope. The primary objective of this thesis was to re-examine the findings of Sarah Boundy's 2013 thesis study, and those of the collaboration of researchers who worked under the title The Arthur Streeton Project. The data from these two projects were collated and analysed, during which process two main points were addressed; firstly, whether the paint tubes found in the artist's paintbox could conceivably have been used to paint any of the works sampled during The Arthur Streeton Project. The secondary objective concerned whether the integration of existing data could reveal new information concerning the artist's media use. Without comprehensive information on an artist's use of materials, conservation treatments cannot be undertaken without unacceptable risk to a work's cultural, aesthetic and monetary value. The necessity of information of this kind drives researchers to seek material that will address specific research gaps. This thesis discusses the precedence of art technical source research, and employs elements of this discipline in collating several existing data sets with the intention of drawing new conclusions from the integration of multiple sources of existing information. Information was extracted from both documentary and material sources, which were approached in a critical and analytical manner. The material was collated and tabulated in order to increase the information's accessibility, and a comparison was made between the two main data sets; one from Sarah Boundy's thesis on the Arthur Streeton paintbox, and the other from The Arthur Streeton Project. During the process of understanding and integrating the variety of sources, very few matches could be made between samples of paint from works studied during the Arthur Streeton Project and samples from tubes of paint found in the Streeton paintbox. Possible matches were identified, however more data would be needed to arrive at any concrete conclusions.
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ItemConserving queerness( 2015)This thesis asks about the ways in which the practice of conservation as intervention in the life of an object reproduces or redresses the marginalisation of minority communities. Contemporary conservation theory recognises the potential of conservation to serve marginalised communities through access to a cultural record that reflects their experiences. The question posed by this thesis focuses on the treatment of queer objects in order to address two gaps in contemporary conservation theory. First, the development of values-based conservation has focussed on the needs of Indigenous people and minority ethnicities, but has not recognised the specific needs of the queer community. Second, consultation with stakeholder communities has not re-theorised the position of the object in conservation treatment. In reference to conservation theories of the object and queer theories of the museum, this thesis critically reviews the treatment of queer objects against the desire of conservation to be a socially responsive discipline. Key words: queer, conservation methodology, values-based conservation, cultural diversity
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ItemAssessment and reconstruction of knowledge: a case study of twelve metal coins from Heritage Victoria( 2015)In the past two decades, a collection of metallic coins excavated in urban Melbourne as well as in the surrounding suburbs has come into Heritage Victoria in batches. Although generally believed to originate from China, they bear little further information pertaining to specific dates, source materials, manufacturing techniques, and original function. The lack of provenance has considerably limited their historical and social values and potential educational functions. With the aim of giving the objects their due scientific, historical and cultural values, research in historic records and material characterisation in terms of technical examination and analytical investigation have been employed to provide Heritage Victoria and a wider community with diagnostic findings for further research, education and other kinds of usage. The findings identify the coins were made in early Qing Dynasty (1644-1796) as official circulating currency, which subsequently migrated to Australia in nineteenth century with the Chinese labourers. The rich history behind the coinage manufacture was also included in the thesis to provide a big picture. The results positively show the primary material is brass (copper alloy with zinc). Although percentage of compositional elements has not been made quantitative because of lack of controlled samples, results from other relevant research projects have been provided as references. This project has paved the way for further research regarding to the element analysis of copper-based coins and other brass product from similar background. Keywords Provenance, Numismatics, material identification, copper alloy, X-ray Florescence (XRF) analysis
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ItemConservation of Peranakan porcelain from Southeast Asia( 2015)This study aims to investigate the materials and techniques of Peranakan ceramics to inform the traditional approaches to the conservation and restoration of high-fired porcelain from Southeast Asia. It takes a scientific positivist stance towards the use of authentic conservation techniques. This research develops practical treatment methodologies to inform conservation decision-making and future maintenance. Currently, there is an absence of conservation literature involving Peranakan porcelain with regards to the restoration materials used and how they deteriorate. Hence, the study seeks to bridge this gap in understanding through a discussion on various infill materials (Plaster of Paris, Polyfilla, Liquitex Modeling Paste and Fl�gger Acrylspalter), paints (GOLDEN Heavy Body Acrylics, Schmincke PRIMAcryl and Gamblin Conservation Colours) and glazes (GOLDEN Porcelain Restoration Glaze and Lascaux Transparentlack 1 Gloss Varnish) used during the treatment processes. Comparative ageing conducted further assessed the deterioration of the tested treatment materials over time under temperature and relative humidity (RH) levels of 90 C and 78.50 +- 1.0% respectively. The control and aged samples were then analysed using digital microscopy and chromameter measurements. Results suggest that Liquitex Modeling Paste, Schmincke PRIMAcryl and GOLDEN Porcelain Restoration Glaze are the most appropriate materials for infilling and retouching.
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ItemAn investigation of artists' paint formulations at Waringarri Aboriginal Arts Centre( 2015)Following observed consistent cracking in the paintings of some senior artists at Waringarri Aboriginal Arts Centre (WAA), this research investigates the possible causes of cracking in ochre-based artist-mixed paints. Although there are myriad potential causes for cracking on canvas paintings, the scope of this research is limited to the different ratios of pigment to binder employed by senior Waringarri artists. After observing the artistic processes of artists during a fieldwork trip in mid-2015, test formulations were replicated in the laboratory at the Grimwade Centre for the Conservation of Cultural Material. Samples based on the paints of three senior artists and one studio worker were aged, then analysed to determine which paint formulations may be susceptible to cracking. The concepts of pigment volume concentration (PVC) and critical pigment volume concentration (CPVC) were important in the analysis of samples. The analysis of data provided valuable insights into the cracking phenomenon experienced at WAA and it is planned that the results of this testing will be discussed with Waringarri artists and staff upon completion of this thesis. This research aims to fill a perceived gap in current conservation literature regarding contemporary Indigenous painting materials and practice.
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ItemChemical and optical changes in modern oil paint: An investigation into the white haze on Colin Lanceley?s a midsummer night and testing of cleaning methods( 2015)Three oil on canvas paintings by Australian artist, Colin Lanceley, are part of the Arts Centre collection in Melbourne. The three works were created in 1991, 1996 and 1997, and are part of a garden series, containing patterns of cultivation and nature. The three represent Day, Night and Dusk a particular interest of Lanceley as he notes, "I often have a reoccurring image of the Composer, Bela Bartok exploring a garden at night, amidst the rasping, chirping, rustling and twittering of unseen insects, frogs, animals and birds, slightly sinister because their presence is felt but not seen" (Colin Lanceley, 1997, see Appendix II). All three works have remained on permanent display in the Amcor Lounge in Arts Centre Melbourne since their acquisition. While Between the Mountains and the Sea and The Air is Full of Noises are in excellent condition, on at least two occasions the black media on A Midsummer Night exhibits a white surface phenomenon. Given that the works are by the same artists, of the same apparent material composition, production histories, and housed in the same location, this study examines the unique degradation mechanisms of the latter painting. An inquiry will be made into why the phenomenon had only occurred on one painting in the series, and was localised to the bottom half of the painting. The aim is for findings to inform the removal of white surface deposit from A Midsummer Night. This study investigates the deterioration process with focus on the possible causes of the optical whitening, the characterisation and origin of the migrating component and the effects that the surrounding environment have on the paint film. Experiments were carried out to identify artist materials and to categorise the white deposit on the paint media with Fourier transform infrared (FTIR) with attenuated total reflectance (ATR). An investigation into the surrounding environmental conditions influencing this degradation was fulfilled with the monitoring of temperature and relative humidity in the Amcor Lounge. The monitoring and documentation using digital microscopy when oil paint is exposed to solvents was undertaken to determine solubility parameters and better understand the effects of swelling, leaching and moisture sensitivity. Various dry-clean materials were tested as an alternative to wet cleaning, and observations recorded to find the most appropriate cleaning technique. This data informed the treatment pathway and the conservation treatment conducted on A Midsummer Night, and completed in May, 2015.
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ItemFrom theory to practice: the conservation of three time-based media installations by Auckland collective et al.( 2015)The term "time-based media" refers to artworks that rely on technology or have time as a dimension. By incorporating technology in their creative practice, artists dramatically alter the time-frame in which their work is expected to remain viable. As a result, many artists now stipulate how they expect their work to change over time. While some allow for little change, others, like et al. allow for multiple, overlapping iterations to occur. The aim of this project was to document four installations (o studies, 2001, simultaneous invalidations - second attempt, 2001, and the fundamental practice, 2005) currently in the care of Auckland Art Gallery and interview the artist(s). Findings were analysed to determine defining characteristics (what elements are essential to the meaning of the artworks) and limits of variability (to what extent can elements change over time or from one installation to another).
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ItemIntegrating condition surveys and risk assessments outside the museum environment: a public sculpture case study( 2015)Collection surveys and risk assessments are two key elements of preventive conservation and when the two procedures are integrated, they can provide data on the current state of an object and also predict potential risks. Building on the research by Joel Taylor, this research attempts to apply this concept of integration to a condition survey of 11 public sculptures belonging to the University of Melbourne. Public sculptures usually exist outside the boundaries of the museum environment and are freely exposed to risks, yet risk assessment models are not commonly used as a part of the approach of care in terms of preventive conservation. The objective of this research is to see if elements of risk assessment models can adapt to the needs of public and outdoor collections during the context of a condition survey. Keywords: condition survey, risk assessment, public sculpture, preventive conservation
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ItemAn investigation into conservation treatment methodologies for marine archaeological artefacts with specific reference to a 19th century hopper closet( 2015)The Historic Shipwrecks Act 1976 is dedicated to the protection and conservation of shipwrecks and associated relics of historic significance in Australia. At the time that the Act was developed the growth in popularity of the field of marine archaeology as both an academic and amateur pursuit lead to an increase in scuba diving and the discovery of historic shipwrecks and associated relics. Though most maritime based artefacts at risk of chemical and physical degradation often require complex and heavily interventive treatments, few references in conservation literature discuss treatment methodologies for artefacts that do not require extensive conservation treatments. This research gap is problematic for conservators as it can be difficult to judge what should be expected from a 'successful' treatment when extensive cleaning and treatment intervention is not required. This thesis examines the history of conservation treatments, values, material characteristics and difficulties experienced when attempting to conserve composite material marine archaeological artefacts, in order to refine future conservation treatment methodologies. Specific reference to the treatment of the Marine Hopper Closet (CCMC registration number 406.001) will form the basis of this discussion. This document will present a full condition survey of the object, supported by a consideration of the ethics involved in considering such an artefact and marine artefacts in general. This will be discussed within the context of conservation treatment decisions, specifically relating to biologically derived marine accretions and the potential of these to be of aesthetic, scientific and contextual significance.