- School of Historical and Philosophical Studies - Research Publications
School of Historical and Philosophical Studies - Research Publications
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ItemNo Preview AvailableSpeckle and ConservationMiles, E ; Roberts, A ; Tse, N ; Sloggett, R (International Seminars, 2008)The aim of this research is to demonstrate the usefulness of speckle, a trait of an expanded laser beam, for the non-destructive testing of artwork in both the imaging of subsurface structure and the quantitative detection of physical movement of canvas. Laser Speckle Contrast Method (LSCI) is a useful method for the viewing of subsurface layers and movement. By investigating the statistical properties of dynamic speckle it is possible to reveal drawings that are hidden beneath scattering layers such as the primary layer of paint or adhered paper. This is achieved by taking a series of speckle images captured in a short time frame and applying one of a number of post processing algorithms. We explore the limitations of this method when applied to various paper samples that have a sketch executed in various media beneath the top layer. The ability to resolve gray scale images was examined as well as looking at the dependence of the contrast of the revealed drawings to the temperature of the surface. Current work is being done on using LSCI to reveal indentations in artwork caused by the application process. The successful use of Electronic Speckle Pattern Interferometry (ESPI) both in the laboratory and in-situ for the detection of in-plane movement of painted canvas due to humidity fluctuations and the out-of-plane movement of paint as it dries has also been demonstrated. Canvas paintings can be very susceptible to movement due to changes of the environment. ESPI is a non-destructive technique yielding sensitive results that can detect displacement on a surface of less than the wavelength of the illuminating coherent light source. While ESPI has been successfully applied to the in-situ study of painted frescoes, previous studies have employed tensile testers as a support for painted canvas. We have shown a portable version of ESPI to be of use in tropical environment in the Philippines, Malaysia and Singapore with original artworks where variations in humidity occur and the samples have not undergone special preparation before analysis, revealing significant directional movements. Furthermore, a simple variation in the direction of beams paths permits the characterisation of out-of-plane movement, specifically as the height of paint shrinks due to the drying process. We have used ESPI to view the drying process of alkyd resin paints over the time period of 24 hours.
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ItemNo Preview AvailableBuilding evidence for use in criminal cases – standard practice and methodologies: a case study in AustraliaSloggett, R ; Kowalski, V (AiA, 2014-05-07)In criminal and civil investigations relating to art fraud, the question of how evidence is gathered is as relevant as the question of what is gathered. The sensitive nature of the evidence also means that often the sharing of information between professionals, such as curators, gallerists and art historians is minimal and restricted. Sometimes art historical accounts provided as evidence can be difficult to verify against properly referenced data, while the materials analysis data can be open to various interpretations. In addition, assertions of art fraud have been met with action for libel. As a result, the lack of an integrated analytical and investigative methodology can hamper investigation, making conviction difficult. As an interdisciplinary study conservation is seen to provide ‘objective’ scientific data that can explicate and verify propositions about the source or history of an artwork. Drawing on work undertaken at the University of Melbourne’s Centre for Cultural Materials Conservation (CCMC) this paper discusses the development of standards, methodologies and guidelines for data collection to strengthen prosecution procedures and meet the evidentiary requirements of the courts, and explains why conservation provides the critical and objective procedures useful in bringing forward a successful prosecution for art fraud.
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ItemAssessment of the effect of nitric oxide-based treatments on biofilm formation: A comparison with biocides used in paint formulations and the treatment of cultural heritageKyi, C ; ROUSE, E ; Sloggett, R ; Cather, S ; SCHIESSER, C (Centre National de la Recherche Scientifique, 2013-10-22)Biocides are chemical substances used in the treatment of damaging biological growth. They are commonly added as ‘preservatives’ to paint formulations to prevent biofouling. They are also applied in the control of organisms responsible for the biodecay of cultural material. The demand for sustainable, low-toxic alternatives to conventional biocide use, requires a more sophisticated approach to biocidal systems (Denyer & Stewart 1998). We have investigated how the anti-bacterial properties of the free-radical molecule nitric oxide (NO•), when used in combination with commercial biocides, can enhance their efficacy.
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ItemBuilding a legacy in contemporary art in Timor-LesteYEATS, L ; PATERSON, F ; Sloggett, R ; Danabere, I ; Simaun, M ; Bridgland, J (Pulido & Nunes; ICOM-Committee for Conservation, 2014)Arte Moris is an artists' collective that was established in Dili after the destruction that resulted in the aftermath of the Popular Consultation. In 2012 a series of interviews were conducted with staff in Arts Moris. These interviews identified youth-oriented art programs as an effective framework for building cultural and educational product in a future Timor-Leste.
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ItemNo Preview AvailablePreserving the Past: How to ensure the development of the conservation profession in Australia is preserved for the futurePearson, C ; Lyall, J ; Sloggett, R ; Cook, I (AICCM, 2011-10-19)The first AICCM conference “Conservation in Australia”, which was held in Canberra in 1976 at the Australian National University, was organised by the few conservators located in Canberra. The intervening 35 years have seen changes in the organisation and conservation profession. This 2011 AICCM National Conference, “Conservation in Australia: Past, Present and Future”, now back in Canberra, will allow us to view where we have come from, and examine the challenges for the future development of the AICCM and Australian conservation profession.
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ItemA preliminary understanding of oil paintings in tropical Southeast AsiaTSE, N ; ROBERTS, A ; SLOGGETT, R (Allied Publishers Pvt. Ltd., 2008)
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ItemSoutheast Asian Oil Paintings: Supports and Preparatory layersTSE, N ; SLOGGETT, R (Archetype Publications, 2008)
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ItemPainting Practice in the Philippines: Two Institutionalised Practices and their Materials and TechniquesTSE, N ; Labrador, A ; SLOGGETT, R (University of Melbourne, 2009)
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ItemAuthentication in a legal framework: Methodologies that underscore art authentication in practiceMorden, A ; Sloggett, R ; TSE, NA ; Bridgland, J (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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ItemA preliminary comparative technical analysis of earth-based pigments used by Aboriginal artists from the Kimberley region and other natural, synthetic or commercial sourcesNEL, P ; Sloggett, R ; Casey, H ; Lau, D ; Hay, D ; Laird, J ; Ryan, C ; Bridgland, J (International Council of Museums, 2014)Developing non-destructive analytical methodologies for Indigenous Australian cultural heritage is of critical interest for art historians, curators, artists and conservators. Prompted by an observed increase in the number of Australian Aboriginal artworks with problematic provenance, highlighted in a ground-breaking authentication case, and technical questions raised by the need to treat flood damaged artworks, research was undertaken to determine the best methods for analysing ochrebased paints. As many Aboriginal paintings and artefacts are predominantly composed of earthbased pigments, samples of synthetic pigments and naturally occurring ochres were obtained from a range of commercial and geographic sources, including Australia’s East Kimberley region. A combined methodology based on particle induced xray emission (PIXE), Australian Synchrotron powder diffraction (AS-PD) and microscopy was developed to explore the ability of a complementary data set to differentiate between synthetic and natural earth-based pigments from Australian and overseas sources. In addition, such investigations will ultimately be used to generate a database of elemental, mineralogical and microscopy data with the aim of establishing provenance and informing conservation treatment approaches.