School of Historical and Philosophical Studies - Research Publications
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ItemNo Preview AvailableEditorial(Informa UK Limited, 2015-06-01)
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ItemEditorial: AICCM Bulletin 2014 Vol 35 Issue 1(AICCM Inc, 2015)
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ItemAuthentication in a legal framework: Methodologies that underscore art authentication in practice(International Council of Museums, 2014-09-14)The ideal of art authentication in practice stems not solely from a need to protect market interests, but from a need to protect the interests of artists and the integrity of their artistic legacies (Spencer 2004). This paper looks at the legal context for the methodologies that underscore art authentication in practice, and the legal framework that should preposition the gathering of evidence, external to a court proceeding. Essentially, it seeks to explore the question: Should the potential for litigious action bind the process of art authentication to a legal evidence-based framework? This paper is presented with regard to the investigations of the oeuvre of the contemporary Australian artist Howard Arkley (1951–1999), currently being undertaken as part of the author’s PhD thesis at the University of Melbourne, Australia.
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ItemIn-situ, non-invasive investigation of an outdoor wooden sculpture(International Council of Museums, 2014-09-14)This paper reports on the development of a radio- frequency sensor unit for the non-invasive monitoring of Bruce Armstrong’s outdoor wooden sculpture constructed from River Red gum (Eucalyptus camaldulensis). This technique collects realtime data in situ in outdoor environments. Sensor units employing electromagnetic radiation in the microwave to radio frequency part of the spectrum can detect moisture changes, mould growth and termite infestation in specimen Australian timbers used in works of art. Model experiments using wood samples showed that moisture changes,decay levels, invasion of wood by insects such as termites and wood deterioration due to fungal attack can be detected with both ‘look through’ and radar-based microwave sensors. The monitoring provided information on the time response, temporal and cyclic activity of an outdoor, exposed wooden sculpture to moisture. A radio-frequency sensor is applicable for the monitoring of cultural materials to inform damage functions and dose values.
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ItemNo Preview AvailableArtist oil paints in Thailand(International Council of Museums, 2014-09-14)The deterioration of artist paints and paintings in Thailand’s tropical climate is unique. This paper outlines the research and production of Pradit oil paints by Thailand’s Silpakorn University, which are manufactured in collaboration with artists, researchers, scientists and conservators. Following eight years of natural ageing in Thailand and three years in Melbourne, Australia, the paint films were technically and analytically examined to identify the oil paints more susceptible to the effects of climate. Lightfastness, solubility, crack patterns, contact angle and the real time response of oil paint films to moisture identified the more susceptible paints. Fourier transform infrared (FTIR) with attenuated total reflectance (ATR) and synchrotron radiation FTIR microspectroscopy (SR-μFTIR) identified the signatures associated with chemical changes in the paint films. Given the harsh climatic conditions in tropical Thailand, the integrated study aims to provide artists with a wider range of painting choices and for materials scientists and conservators to approach preservation issues in the region from a proactive, informed position.
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ItemNo Preview AvailableEditorial: AICCM Bulletin 2015 Vol 36 Issue 2(Maney, 2015-12-30)
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ItemNo Preview AvailableGLOCALISING CONSERVATION(Ironbridge International Institute for Cultural Heritage, University of Birmingham, 2015-04-29)
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ItemEditorial: AICCM Bulletin 2015 Vol 36 Issue 1(Maney Publishing, 2015-06-03)
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ItemHans Heysen’s art materials: an investigation into suppliers, knowledge and choice(Archetype Publications, 2014-11-12)The Cedars, belonging to the estate of the renowned Australian landscape painter Hans Heysen (1877–1968), in the Adelaide Foothills, South Australia, was transformed into a museum in the early 1990s. Consisting of the artist’s home, studio and personal collections, it has provided a rich source for research into the artist’s sources of supplies, his technical knowledge and choices of material. During his lifetime, he maintained meticulous financial receipts, invoices and correspondence, and the collection includes his notebooks, trade directories and catalogues, and a significant study collection of related works and art materials. This evidence makes for a better understanding of Heysen’s technical practice, the making of his works of art and the merchandising, distribution and uptake of art materials in the British colony of South Australia. Previously, very little was known of the history of trading in art materials in Adelaide. The use of complementary written and object-based sources served to identify both patterns in Heysen’s purchases of artists’ materials and his preferred suppliers of materials. Between 1898 and 1918, there were no businesses trading exclusively in artists’ materials in South Australia, so Heysen bought materials through hardware and building suppliers, stationers and music sellers. Study of financial records along with exhibition catalogues and trade directories together with remaining artists‘ materials in Heysen studio confirmed the predominant presence of British manufactured artists’ materials that had been suspected. Suppliers advertising in exhibition catalogues indicate that Winsor & Newton was the principal brand of paints available in Adelaide.
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ItemArthur Boyd’s painting materials in the 1940s: a case study of works from the Heide Museum of Modern Art Collection(Australian Institute for the Conservation of Cultural Material, 2014-06-01)Recent conservation treatment of Arthur Boyd’s paintings from the Heide Museum of Modern Art collection has raised questions about his studio practice and material preferences. Four paintings on muslin board from Boyd’s 1943–44 ‘South Melbourne’ series appear to use unconventional materials, which may highlight the practical realities of wartime shortages of artist paints and the alternative use of proprietary materials. The conservation treatments of Boyd’s paintings initiated scientific investigations using Fourier Transform Infrared and Scanning Electron Microscopy, which is assessed in the context of Boyd’s archival documents and personal correspondence. This paper presents new findings on Boyd’s material choices and his intentions early in his career. Evidence suggests that Boyd used an oleoresinous varnish and experimented with new organic colourants. The use of non-traditional materials has consequently resulted in the Heide paintings exhibiting unusual ageing characteristics and by necessity, their conservation treatment. This highlights future preservation problems for 20th century Australian works of art.