CONSERVATION RESEARCH - arts.unimelb.edu.au · Barichara, Colombia : Dr Robert Lane & Holly Jones-Amin . 17:00-17:30 : Master of Cultural Materials Conservation – Awards Ceremony:

CONSERVATION RESEARCH

Grimwade Centre PhD and Minor Thesis Presentations Thursday 31 October 2019, 9:00am - 5:30pmArts West rooms 253/453, Parkville Campus

School of Historical and Philosophical Studies Work-In-Progress Day 2019

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Grimwade Centre for Cultural Materials Conservation WIP Day Timetable – Thursday 31 October 2019

Arts West –453 Arts West– 253 Name Type Thesis Title Supervisors Name Type Thesis Title Supervisors

Chair: Professor Robyn Sloggett Chair: Dr Petronella Nel 09:00- 10:30

Catherine Gill MCM Investigation into and proposed conservation of the portrait "Jack Wetherly a Victorian

Native"

Dr Nicole Tse Ashley Hayes MCM Acquiring the Ephemeral: An Exploration into the Conservation of

Performance Art

Dr Robert Lane

Jessica Walsh MCM Cleaning painted surfaces with green chemicals: Investigating

the sustainable removal of natural and synthetic resin

varnishes from oil-based painted surfaces

Dr Nicole Tse Rachelle Bridges

MCM To clear or not to clear: Comparison of the long-term effects of the A to F

aqueous washing system on two types of paper

Dr Petronella Nel

Constantina Iacovou MCM Investigating Australian bromoil prints within a large

photographic donation: a case study from the Monash Gallery

of Art (MGA) collection

Professor Robyn Sloggett

Kate Ritchie MCM Identifying plastics in the musical instruments collection of the

Grainger Museum

Dr Petronella Nel

Toni Sampson MCM Building a Toolkit for community-based conservation

education


Margaret Barclay

MCM Sustaining a future: An examination of sustainable collection

management at the Castlemaine Art Museum

Dr. Marcelle Scott

10:30-11:00

MORNING TEA

11:00-12:30

Chair: Dr Nicole Tse Chair: Dr Jonathan Kemp Evan Tindal PhD

COMP 3D-printing in art: Material

susceptibility and strategies for long-term preservation

Dr Petronella Nel (Principal Supervisor),

Dr. Nicole Tse, Professor Andrea O’Connor, Dr

Deborah Lau (Co-Supervisors)

Annabel Livingstone

MCM Version Control: How and Why Things are Conserved

Dr Jonathan Kemp


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Catherine Nunn PhD CONF

Transnationalism and Australian artists materials 1885 -1914

Dr Nicole Tse (Principal Supervisor), Associate Professor Alison Inglis

(Co-Supervisor), Professor Michael

Arnold (Chair)

Bella Lipson-Smith

MCM Version-control: a study of why and how things are conserved at a

particular moment and the extent to which a model based on version-

control might effect change in processes both within and beyond

conservation.

Dr Jonathan Kemp

Melissa Holt MCM Technical examination and treatment options for the pillar blocks from the

Tomb Chapel of Mose (18th-20th Dynasty).

Dr Jonathan Kemp

Michael K. Davies

MCM GAPS IN THE LEAVES: A re-conceptualisation of the item record, as a public document, based on the

version control system.

Dr Jonathan Kemp

12:30-13:30

LUNCH

13:30- 15:00

Chair: Dr Petronella Nel Chair: Professor Robyn Sloggett Grace Barrand MCM Targeting Specialist Skill

Deficiencies through Work Integrated Learning: a Case

Study in Frames Conservation at the Art Gallery of New South

Wales

Dr Marcelle Scott Kathleen Tara

Rowbottom

MCM Making Meaning of Material from the La Mama Fire


Kaleigh Kenney MCM Virtually Conserved: Digital Reproduction in the Modern

Museum

Holly Jones-Amin Alice Hackworth

MCM The Investigation and Treatment of an 18th Century Japanese Woodblock-Printed Map


Patrice Holstock MCM Archaeological Plastics: An experimental study of how a

soil/burial environment might affect the deterioration of plastic

artefacts.

Dr Petronella Nel Jessica Rachel

Brennan

MCM The characterisation of pigments and resins from church panel paintings in

Wadeye, NT


Jessica Gray MCM Keeping Our Spirits Up: Analysis and Case Study Treatment of

Fluid-Preserved Botanical Specimens at the Australian

Museum

Dr Petronella Nel Jessica Doyle MCM Daylesford Historical Society and Museum: Developing sustainable actions for the management of a

small community museum.

Dr Nicole Tse


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15:00-16:00

Chair: Dr Jonathan Kemp Chair: Dr Robert Lane John David Morrison MCM Problems with the Plasticiser: In

search of ideal cleaning methods for Plasticised Poly(Vinyl

Chloride)

Dr Petronella Nel Juanita Kelly-Mundine

MCM Safeguarding Australian Indigenous Performance

Dr Robert Lane

Heather Berry MCM Closing the Gap: Conservation and Community Run Museums

Dr Marcelle Scott Murphy Bouma

MCM Invasion of Melbourne: An investigation into the condition and

cultural significance of Invader’s street art in Melbourne


Lia Sumichan MCM Affandi’s Materials and Techniques: A Preliminary

Technical Art Study of Paintings from the 1950s

Dr Nicole Tse Caitlin Knight MCM Knowing the Original through the Remnants: Authenticating the Binding of a 1577 Holinshed’s

Chronicles from the University of Melbourne Collection.


16:00-17:00

Chair: Dr Nicole Tse Chair: Dr Robert Lane

Rebecca Delaney MCM Artists acrylic paints exposed to high humidities: Evaluating suitable cleaning systems to

remove dirt pick-up

Dr Nicole Tse Daniel Schwartz

MCM Repatriation as Conservation Dr Robert Lane

Anurati Krishnamurthy MCM Mould removal techniques on artist acrylic paint: comparing

the use of 70% ethanol in water against enzymatic cleaning and

the use of short wavelength ultraviolet (UV) radiation.

Dr Nicole Tse Laura Daenke

MCM The Investigation and Conservation Treatment of an Albrecht Dürer

woodcut: The knight and the lansquenet, a Case Study


Leon Rong Wei Sim MCM Examining and investigating the acoustical qualities of musical

instruments using a non-invasive acoustical characterisation

technique.

Dr Nicole Tse & Dr Gea Parikesit

Maité Robayo

MCM Intergenerational pottery practices in Barichara, Colombia

Dr Robert Lane & Holly Jones-

Amin

17:00-17:30

Master of Cultural Materials Conservation – Awards Ceremony


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Grimwade Centre Program

Thursday 31 October 2019

Margaret Barclay

Sustaining a Future: An Examination of Sustainable Collection Management at the Castlemaine Art Museum

Cultural materials collection management relies on the integration of numerous factors to provide a wholistic and practicable

approach to care, incorporating personnel, economics and expertise as well as the features of natural and built environments.

Currently, in Australia and internationally, data, guidelines and approaches to collection management are available with the intent to

create resilient and sustainable futures for collections. However, the widespread application of such frameworks is limited due to the

broad nature of the cultural materials, the stakeholders involved and the physical surrounds as well as debate on how ‘sustainable

collection management’ manifests in a practical context. In order to address this gap, this research uses a case study undertaken with

the Castlemaine Art Museum (CAM), to examine the past, current and future methods of sustainable collection management at a

regional Australian institution. A survey of the current standards and thought on collection management is contextualised with current

circumstances at the CAM. The results from examining the context of the CAM and the literature available are then used to inform

what a concept of sustainable collection management is, and its future potential in collection management at the CAM.

Margaret holds a Bachelor of Arts, majoring in History and French, and is a current student in the Masters of Cultural Materials

Conservation program at the University of Melbourne. Over the course of the Masters program, Margaret has focused mainly on the

field of object-based treatments and has enjoyed undertaking minor thesis research which has incorporated a number of long-term

interests.

Grace Barrand

Targeting Specialist Skill Deficiencies through Work Integrated Learning: a Case Study in Frames Conservation at

the Art Gallery of New South Wales

This research investigates the use of work-integrated learning approaches to target areas of identified skills deficiencies within the

cultural materials conservation sector. The research follows a case study method, using a 12-month pre-graduate position in frames

conservation at the Art Gallery of New South Wales to centre the examination. The motivations, structure and outcomes of this

position are analysed using semi-structured interviews with key members of the AGNSW staff. Self-reflection is then employed to

consider what skills have been learned, specifically practical conservation skills, how these skills have been cognitively developed, and

how this relates to professional competency. The research demonstrates that the work-integrated learning approach taken by the


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AGNSW in frames conservation, characterised by strong intergenerational mentorship, is a forward-looking model that actively

responds to the need for specific conservation skills required for the ongoing care of its collection. The results are used to argue that

by building on the breadth of theoretical and disciplinary knowledge developed at university, work-integrated learning is an effective

means of training conservation graduates in specialised skills where depth of material and practical knowledge is required.

Grace Barrand completed her Bachelor of Arts at the University of Melbourne in 2015 before starting the Masters of Cultural Materials

Conservation in 2017. Grace decided to specialise in frames conservation following numerous internships in Australia and the United

States, and has a passion for specialised skills and education in conservation. From February 2018 to July 2019 Grace was the Project

Coordinator of the Heritage Skills Initiative on behalf of the International Specialised Skills Institute, and is currently employed at the

Art Gallery of New South Wales as the Assistant Frames Conservator (November 2018-). Grace will be presenting the outcomes of her

Minor Thesis at the AICCM National Conference 2019 during a panel discussion on the future of conservation skills from the perspective

of an emerging professional.

Heather Berry

Closing the Gap: Conservation and Community Run Museums

Community and volunteer run museums all over Australia hold precious heritage in their collections. Conservation resources are freely

available through major institutes, but still these small museums are uncertain about where to begin applying their knowledge. This

paper will investigate the question of how communities can effectively apply conservation knowledge to practice. A case study

methodology is used to interrogate the question. Members of a group focussing on a burgeoning collection relating to specialist ships

within Australia are the focus of this study, and their conservation needs and what conservation resources they have accessed are

examined. This case study will inform recommendations and frameworks that can be applied to other volunteer run museums in order

to apply their conservation knowledge. The aim of this paper is to assist both metropolitan and regional community run organisations

to achieve the best conservation outcomes possible.

Heather graduated from the University of Melbourne with a Bachelor of Arts with Honours, double majoring in Psychology and Ancient

World Studies. After university she pursued her love of diving and volunteered conserving coral, as well as working in a dive shop.

Realising she could blend her love of history and diving led her to conservation, where she is specifically interested in maritime

archaeological conservation. Heather recently completed an internship at the Shipwreck Museum in Fremantle.

Murphy Bouma

Invasion of Melbourne: An investigation into the condition and cultural significance of Invader’s street art in

Melbourne

In 2002, the French street artist, Invader, visited Melbourne and placed 25 mosaic tiles inspired by the game Space Invaders. This

research will use digital preservation strategies to document and assess the current condition of the 11 remaining street art works. It

will question the value of Invader’s street art and Melbourne’s street art as cultural heritage. Also it will assess the important role that


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Victorian Heritage Register can have for documentation and preservation for street art. It will analyse the cultural and historical

significance of Invaders works to the city of Melbourne through the assessment criteria of the Victorian Heritage Register.

Murphy Bouma graduated with a Bachelor of Creative Arts from the University of Wollongong in 2013, majoring in painting. In 2015,

she completed her first postgraduate degree at the University of New South Wales in a Master of Art. Prior to starting her studies in

conservation, she was a working artist whose work explored the relationship between the Australian landscape and its cultural

identity. Her work has been exhibited in a number of group exhibitions and art prizes in Wollongong and Sydney. During the Masters

of Cultural Materials of Conservation, she has been interested in paintings and contemporary art conservation. She aims to continue

her studies and developing her conservation and management skills. She is also an advocate for street art and digital preservation.

Jessica Rachel Brennan

The characterisation of pigments and resins from church panel paintings in Wadeye, NT

In Wadeye (Port Keats) around 1960, Nym Bunduk and a group of senior Murrinh-patha men produced a series of paintings to

embellish the church altar. Leo Melpi, who witnessed their creation as an adolescent, said the artists acquired their red, yellow and

white pigments from local ochre and clay quarries, and the binding resin from the Peanut tree (Sterculia quadrifida). A multidisciplinary

and community- driven approach was taken to inform this investigation, engaging both ethnographic and scientific data sets. A

combined methodology of FTIR-ATR, XRF and SEM-EDS was used to determine the elemental composition of the paint samples to

confirm whether they were based on natural earth pigments and resins sourced from the Wadeye area. The aim of this enquiry was

to expand on local knowledge from historical accounts and to provide a comprehensive understanding of the materials, their

properties, behaviour and history, with the sight to assisting the long-term conservation of the unique artworks.

Jessica Rachel Brennan is a second year master’s student at the Grimwade Centre for Cultural Materials Conservation at the University

of Melbourne. She completed her undergraduate studies in archaeology with a focus on paleolithic archaeology, Australian Indigenous

archaeology, and population and evolutionary genetics. Her research interests in conservation include analytical science,

archaeological conservation and Indigenous cultural survival across the globe, particularly in Australia.

Rachelle Bridges

To clear or not to clear: Comparison of the long-term effects of the A to F aqueous washing system on two

types of paper.

Six aqueous preparations, labelled A to F, have been developed to create a washing system for treatment of paper-based cultural

heritage objects. These solutions aim to assist in the removal of deterioration products in paper and improve aesthetics. The solutions

also aim to be more environmentally friendly, less toxic and safer than some other methods used for cleaning paper objects. There is,

however, limited research on the impacts of using this washing system on paper-based cultural materials in the long-term. This study

aims to address the gap in the research and build on the findings of a previous minor thesis examining the washing system. Analysis

of paper samples was undertaken to examine the long-term effects of the A to F washing system on paper. This was accomplished by


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comparing two different types of paper, after they were washed in the six solutions and underwent accelerated aging. Whatman®

grade 1 qualitative filter paper and an aged book paper were washed in the six washing solutions. Half were washed and cleared twice,

whilst half were washed once and left uncleared. The samples were then artificially aged using ultraviolet and thermal techniques to

simulate natural aging. Control samples that were unwashed, and also washed but unaged, were created for comparison. Visual

observation, microscopy, FTIR, pH and colourimetry were used to analyse the samples to determine whether the washing solutions

had any impact on the paper’s properties. The paper samples were also analysed for any residue potentially left by the washing

solutions and whether clearing had an impact upon this.

Rachelle Bridges is a second year Master of Cultural Materials Conservation student at the University of Melbourne, specialising in

paper conservation. Rachelle has volunteered and interned at a number of Australian state and national organisations. Rachelle has

an interest in paper and preventive conservation, as well as engaging communities in conservation.

Laura Daenke

The Investigation and Conservation Treatment of an Albrecht Dürer woodcut: The knight and the lansquenet,

a Case Study

The Poynton Collection at the University of Melbourne’s Baillieu Library is home to one of Albrecht Dürer’s enigmatic early woodcut

prints, The Knight and the lansquenet (c. 1496). This magnificent woodcut by the master printmaker depicts a knight on horseback

and a lansquenet (foot soldier) in the woods. Unfortunately, past repairs on the print’s verso had caused considerable aesthetic and

physical damage. Review of the literature and a detailed examination of the print were undertaken to provide a deeper understanding

of its authenticity, provenance, significance, fabrication and condition. The information collected was used to assist in the decision-

making process regarding conservation treatment and suggested future preservation. Conservation treatment was undertaken to

enhance the print’s condition and aesthetics, and to stabilise it for display and storage. Techniques are discussed.

Since graduating from the University of Canberra with a Bachelor of Heritage, Museums and Conservation in 2014, Laura has

committed herself to furthering her skills as a paper conservator. She has worked in several conservation studios around Australia,

including the National Archives of Australia, the State Library of Queensland and ArtLab Australia. Currently, she is undertaking an

internship at the Rijksmuseum in Amsterdam with the specialised prints and drawings conservation team. Laura has a keen interest in

developing greater knowledge in the fabrication and characteristics of materials through a variety of methods including literature

research, technical examination and conservation treatments.


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Michael K Davies

GAPS IN THE LEAVES: A re-conceptualisation of the item record, as a public document, based on the version

control system.

This thesis re-conceptualises the item record as a public document, based on the version control system. As a public platform for

steward and stakeholder documentation, provisionally called the Leaf System, it attempts to redress some ‘gaps’ in the cultural record,

primarily those consequent of conservation processes inside the public museum program.

Michael K. Davies is enrolled in the Master of Cultural Materials Conservation program at the Grimwade Centre, University of

Melbourne. He has completed an internship in the paper laboratory, at the Australian War Memorial annex (Canberra). He was

awarded a BA (English, major; Legal Studies, minor) from LaTrobe University and a Graduate Certificate in Arts (Advanced) from the

University of Melbourne.

Rebecca Delaney

Artists acrylic paints exposed to high humidities: Evaluating suitable cleaning systems to remove dirt pick-up

The cleaning of artists acrylic paint films have proposed concerns for conservators as cleaning causes the removal of original material.

The materials in the formulation of acrylic paints are susceptible to various environmental factors such as high humidities which result

in the movability of these materials in the paint film. The research study focuses on the surfactants (a material of the acrylic paint)

which causes dirt to be drawn in and out of the paint film due to humidity fluctuation under various degrees of artificial soiling. A

micro emulsion and an aqueous cleaning solution were tested in their effectiveness at removing dirt pick-up from acrylic paint films

that were subjected to the movement of surfactant under high humidities. Both cleaning solutions removed dirt pick-up at various

extents, resulting in slightly different visual outcomes for the acrylic paint films.

Rebecca Delaney has a Bachelor (Honours) degree in Fine Arts from the University of Newcastle. Her Fine Art degree reflects her

interests in paintings conservation and in particular the difficulties involved in the cleaning of acrylic paintings.

Jessica Doyle

Sustainability in Practice: Evaluating Sustainability in Regional Collections - The Daylesford & District Historical

Society and Museum.

The relationship between museums and sustainability is complex. In recent years, sustainability has become a primary concern for

collecting institutions. The professionalised processes linked to preventive conservation for collections is often resource intensive and

knowledge specific. In the context of heritage, the role of museums in preserving their collections for future generations, makes them

one of the primary proponents for advocating sustainability. The Daylesford & District Historical Society and Museum (DDHS) is a

small, volunteer-operated regional museum, who recently conducted an environmental audit to establish a risk-informed


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understanding of the museum environment in order to make sustainability focused decisions regarding their collections care. This

research will focus on the practice-based implications of sustainable conservation approaches in small regional collections.

Jessica Doyle is a graduate from the University of Western Australia and holds a BA Hons. degree in Archaeology. She is currently a

student at the University of Melbourne, enrolled in the Masters of Cultural Materials Conservation program. Jessica has previously

worked as an archaeologist in the Pilbara region of Western Australia and on a volunteer basis at Fremantle Prison, working extensively

on their archaeological collection. In 2017, she held an internship at ICCROM in the field of Disaster Risk Management, which led to

opportunities training and working with several international civil protection agencies as part of the PROMEDHE Project, in addition

to collaborating on the ICCROM publication First Aid to Cultural Heritage in Times of Crisis Handbook and Toolkit. Her interests lie in

archaeological conservation, preventive conservation and engaging with communities in managing their cultural heritage.

Catherine Gill

Investigation into and proposed conservation of the portrait "Jack Wetherly a Victorian Native"

Cultural materials conservation renews, shares and extends knowledge. It does so ‘with the aim that cultures will be preserved,

sustained and strengthened’ (Lewincamp et al 2012, p. 33). This thesis focuses on the investigation of the painting Jack Wetherly a

Victorian Native. The artwork was created in 1840 by Thomas Napier, a colonial artist in Tasmania and Victoria, and is now held in the

Royal Historical Society of Victoria (RHSV) collection. This research examines the historical context in which this artwork was created,

the artist Thomas Napier and archival documents about Jack Wetherly. Within this framework the study considers the portrayal of

Jack Wetherly through a western and colonial gaze to form an understanding about the portrait. Research about materials used at the

time of the artwork’s creation, as well as preliminary investigations into the actual materials used, have been studied. The aim of the

research and investigations is to develop an understanding of the artwork through an object-based learning approach. Bringing

together the historical and material knowledge has assisted in informing the approach to treat this damaged portrait to enable it to

be displayed. A treatment plan to conserve the portrait has been devised based on the research and investigations. The knowledge

that this portrait holds and that has been revealed through this investigation provides opportunities for information-sharing with a

wider audience to contribute to understanding of historical portraits of Aboriginal figures in Victoria.

Jessica Gray

Keeping Our Spirits Up: Analysis and Case Study Treatment of Fluid-Preserved Botanical Specimens at the

Australian Museum

In the course of the move of the Pacific collection at the Australian Museum, a group of thirty fluid-preserves botanical specimen from

Funafuti were identified as requiring assessment to address their condition. A lack of documentation about the preparation of the

specimens indicated the need for analysis to determine their material components. Furthermore, a specimen at risk of evaporation

and deterioration was highlighted as requiring immediate conservation treatment. Literature research and the analysis of eight fluid

samples was undertaken to identify treatment pathways that would address the individual needs of each specimen while not


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compromising the significance and integrity of the group. The specimen at risk was chosen for a case study treatment that

implemented the findings of the analysis and research. This paper aims to provide a resource to be drawn on by the institution for

future conservation treatments and maintenance of these specimens.

Jessica Gray has a background in Ancient History and Archaeology, and decided to study conservation after finishing her undergraduate

degree. She has since worked with a number of institutions, including Australian Museum, and is now working on the relocation of

the Powerhouse Museum. She is an objects conservator with an interest in plant materials and metals.

Alice Hackworth

The Investigation and Treatment of an 18th Century Japanese Woodblock-Printed Map

This study presents the technical examination, treatment and digitisation of an Edo period Japanese woodblock-printed map from the

University of Melbourne’s Baillieu Library (UoMBL). The print is a concertina-folded map depicting the Japanese archipelago and its

major highways, cities and prefectures, as well as sightseeing destinations. It was published in 1748 during the Edo period; when

Japan’s arts and culture evolved in unique directions with relatively little influence from the outside world. The aim of this investigation

is to address the issues of conserving a particularly long and fragile paper woodblock print. Where interventive conservation treatment

is limited based on these size and condition-related challenges, digitisation presents a legitimate solution as both a final step in the

treatment process, and a means for providing future access to the object for teaching or study purposes. Case study research is used

to frame this investigation and develop understanding of the map through theory-based research. A multidisciplinary approach is

applied to desktop historical research, drawing on information from socio-political history, paper conservation, digitisation,

papermaking, mapmaking and printmaking research. The study utilises Appelbaum’s (2007) Conservation Treatment Methodology

and Fiske’s (1993) condition categorisation of the Metropolitan Museum of Art’s Japanese print collection to establish both context

of the Tōkaidō map’s significance, and form a working foundation for its examination and conservation treatment. These processes

seek to ensure a holistic pathway to the Tōkaidō map’s long-term preservation.

Alice Hackworth is a MA of Cultural Materials Conservation student specialising in the field of paper conservation. Prior to this degree

she completed a BA of International Studies at RMIT. She is currently undertaking a three month paper conservation internship at the

National Museum of Sweden in Stockholm. After graduating, Alice hopes to gain work in paper conservation overseas and develop her

knowledge and practice in sustainable conservation methods.

Ashley Hayes

Acquiring the Ephemeral: An Exploration into the Conservation of Performance Art

Performance art has existed within galleries, museums, and even outside of the context of the art institutions for decades. However,

the shift towards acquiring live performance works by institutions is only a recent development. Traditional fine art conservation,

acquisition, and archiving methodologies are not structured to easily allow for the inclusion of performance art. Newer developments

in time-based media art conservation has enabled the creation of frameworks to include variable media within collections; however,


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this thesis will argue that performance art conservation may benefit from being considered as a separate field to time-based media

conservation. Through an examination of current academic research into performance art conservation and interviews with industry

professionals, this thesis will explore the processes involved in the acquisition and conservation of performance art.

Ashley Hayes completed a Bachelor of Visual Art at the University of South Australia specialising in sculpture and installation in 2015,

receiving First-Class Honours. She has specialised in objects conservation through the Master of Cultural Materials Conservation

course, and has a particular interest in time-based media conservation. Recently, she completed an internship at the Christchurch Art

Gallery in New Zealand.

Patrice Holstock

Archaeological Plastics: An experimental study of how a soil/burial environment might affect the deterioration

of plastic artefacts

With the mass production of plastics since World War II, plastic materials are becoming more predominate in archaeological

excavation sites. It is important to understand how this environment can change the deterioration of plastic material, both physically

and chemically. These changes could alter the type of conservation treatment required to stabilise the plastic material. This thesis

aims to observe and record the deterioration of varying plastic materials through two accelerated ageing experiments and a collection

survey. The accelerated ageing experiments will be conducted in compost and potting mix in a 100˚C oven. The collection survey will

focus on the Brisbane Commissariat Store excavation plastic artefacts, housed at Queensland Museum.

In 2014 I completed a Bachelor of Archaeology at La Trobe University and currently undertaking my Masters of Cultural Materials

Conservation at the University of Melbourne. As an Archaeologist my experience has been quite diverse, being Australian and

Internationally based. The first introduction to conservation was while working on a Historical Archaeology dig at Little Lonsdale street

in Melbourne, with Andrew Long and Associates in 2014. During this dig I had the privilege of working alongside and observing the

work of the onsite conservator. It was intriguing to see the care and multiple methods used when working on a leather shoe, which

had been removed from underneath a wall of the structure. After this experience I decided to specialise as an archaeological

conservator. This would enable me to oversee an archaeological site and protect important artefacts as they are being excavated and

processed.

Melissa Holt

Technical examination and treatment options for the pillar blocks from the Tomb Chapel of Mose (18th-20th

Dynasty).

Within the Nicholson Museum at the University of Sydney a collection of pillar fragments from the Tomb Chapel of Mose (18th-20th

Dynasty) are kept. These fragments currently have an unknown coating on them that the custodians of the blocks wish to be removed

before they are placed on display. The accession numbers for the blocks are NMR.1131, NMR.1132, NMR.1133 and NMR.1135, and

for the fragments are NMR.1134.1, NMR.1134.2, NMR.1134.3, NMR.1134.4, and NMR.1137. This research aims to establish the


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significance of the blocks, understand the nature of the coating through solvent testing and perform technical analysis to identify the

coating. This leading to a treatment plan with the goal to remove the coating. The analysis done on these fragments included Diffuse

reflectance infrared fourier transform spectroscopy (DRIFTS and reflectance) and Raman spectroscopy.

Melissa Holt is a graduate student at University of Melbourne, completing a Masters in Cultural Materials Conservation. Her

background includes classical archaeology and art history which has driven the specialisation in stone conservation. Currently she is

employed part time at the Australian Museum as an Assistant Conservator.

Constantina Iacovou

Investigating Australian bromoil prints within a large photographic donation: a case study from the Monash

Gallery of Art (MGA) collection

This thesis focuses on the conservation assessment and preservation strategy of eighty-seven photographs donated anonymously to

the Monash Gallery of Art: The Australian Home of Photography (MGA) in 2019. Entering the collection with various issues regarding

condition and provenance, an initial assessment using visual examination techniques and microscopy was used to establish

information regarding process type. An unknown print within the donation assumed to be either silver gelatine or bromoil lead to a

larger study including bromoil prints already held within the MGA collection. This donation also provided an opportunity to extrapolate

on broader priorities for conservation within the institution.

Constantina Iacovou is a student of the Masters of Cultural Materials Conservation course at The University of Melbourne. She has

previously completed a Bachelor of Fine Arts from Monash University. Currently she works as a gallery assistant at the Monash Gallery

of Art: The Australian Home of Photography.

Juanita Kelly-Mundine

Safeguarding Australian Indigenous Performance

There has been substantial discourse surrounding the definition and significance of Australian Indigenous performance but there has

been limited research into the approaches for its safeguarding. This research aims to reaffirm the existing literature which discusses

the broad definition and description of Australian Indigenous Performance as well as states its significance and need for protection.

Moreover, this thesis aims to build on the literature aimed at understanding the methodologies used within the interdisciplinary field

of cultural maintenance for the safeguarding Intangible Cultural Heritage. Rather than focusing on the interpretation and valuation of

Indigenous performance, this research seeks to outline existing models for safeguarding of intangible cultural heritage, as developed

among conservation professionals, ethnomusicologists, anthropologists, linguists and other professionals in the cultural management

space. In doing so, the intention is to highlight these current frameworks and demonstrate their relevance for the maintenance of

Australian Indigenous performance maintenance. In addition, this paper seeks to investigate the place of performance and intangible

cultural heritage within major cultural institutions and to consider their historical role in the field of cultural heritage collection and

preservation. The Tate Modern project ‘Performance at Tate: Into the Space of Art’ will be used as a case study to examine the place


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of performance within museums and the ways in which research, documentation, collection and exhibition of performance can be

used to tackle the insoluble issues of maintenance arising from the temporal qualities of the form. Furthermore, the aim of this paper

is to outline the current governance relating to Australian Indigenous content within Australian cultural institutions and to examine

the position of Australian Indigenous performance within these same collecting institutions. Finally, this paper will explore the

potential for collecting organisations to play a supporting role in the safeguarding and facilitation of Australian Indigenous

Performance through appropriate exhibition and acquisition of Indigenous performance works. The conjecture being that institutional

support, exhibition and acquisition of Indigenous performance could help to encourage the safeguarding of Australian Indigenous

Performance and cultural practice.

Juanita is a Widabel woman from the West Bundjalung Nation. Juanita is currently completing a Master of Cultural Materials

Conservation at The University of Melbourne, specialising in paintings conservation. Prior to her Master’s, Juanita completed a

Bachelor of Arts at the University of Melbourne, double Majoring in Art History and Italian Studies. In future, Juanita hopes to be

employed within the Cultural Heritage/ Art Conservation field and has a particular interest in engaging with Australian Indigenous

cultural heritage projects. In addition to this, Juanita hopes to travel overseas for potential employment opportunities and/or further

study to gain insight into global attitudes towards conservation and cultural maintenance, particularly with regard to the cultural

heritage of minority groups and Indigenous peoples.

Kaleigh Kenney

Virtually Conserved: Digital Reproduction in the Modern Museum

This project examines the use of digital representations and 3D digital models as substitutes or replacements for originals in the

museum context, for the purpose of increasing access to objects that cannot travel or which are too fragile to be displayed.

Additionally, the project explores the use of digital 3D reconstructions to facilitate understanding of fragmentary originals in cases

where conservation treatment or other physical alterations run counter to the object’s values assessment. Data on visitor interest and

understanding was gathered through the use of voluntary surveys during a short-term public exhibit exclusively featuring digital object

representations.

Caitlin Knight

Knowing the Original through the Remnants: Authenticating the Binding of a 1577 Holinshed’s Chronicles from

the University of Melbourne Collection.

This is an object-based study working to authenticate the binding of a 16th Century, first edition copy of the Holinshed’s Chronicles.

The book was rediscovered in the University of Melbourne’s rare book collection and lacked substantial provenance. In 2002, there

began a project to conserve the book. This next stage undertakes a materials and techniques analysis alongside historical research to

understand the origins of the Holinshed’s Chronicles leather binding. Following the initial conservation work, the book is currently in


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a state of transition, and this project has become an intriguing case study of how the work of another can be examined through the

evidence of interventions.

Caitlin Knight is a Master’s student at the Grimwade Centre, beginning the Cultural Materials Conservation program in 2018. Caitlin

previously studied Fine Arts at UNSW Art and Design, majoring in painting textiles, but developed a passion for bookbinding working

in commercial bookbinderies in Victoria in New South Wales. This industry experience motivated Caitlin’s focus on book conservation

and frames their understanding of books as important cultural objects in an individual’s personal history.

Anurati Krishnamurthy

Mould removal techniques on artist acrylic paint: comparing the use of 70% ethanol in water against

enzymatic cleaning and the use of short wavelength ultraviolet (UV) radiation.

Artist acrylic paints are known to be sensitive to wet cleaning, and are highly sensitive to a broad range of solvents (Ormsby &Learner

2009, p. 32). The deactivation of mould in conservation utilises 70% ethanol in water, which puts the acrylic paint film at risk.

Comparing this with the use of Lysing and UV radiation at a wavelength of 245-254 nm may deactivate the mould efficiently and could

work as a viable alternative.

Anurati Krishnamurthy has a Bachelors degree in design from the University of New South Wales. Her passion for science and art

compelled her to pursue a career in conservation. She finds the complex nature of cleaning acrylic paints intriguing, as well as finding

resolutions for problems faced by museums in tropical climates, prompting her to research this topic for her minor thesis.

Bella Lipson-Smith

Version-control: a study of why and how things are conserved at a particular moment and the extent to which

a model based on version-control might effect change in processes both within and beyond conservation.

Decisions made in conservation treatments are based on a range of considerations, including the condition and intended use of the

object, our understanding of its value and meaning, and relevant professional codes of practice. However, there is often conflict

between the ethical ideals and what is possible in reality. This thesis posits that a conservation model based on version control may

help bridge that gap. Elements of version control concepts have entered the conservation lexicon, largely in discussions concerning

contemporary art. This thesis examines the ‘version-control’ related literature in contemporary conservation, and examines how it

may be usefully applied to practice and theory in regards to traditional objects. It examines how a version control based methodology

may function as a cross-disciplinary conservation process.

Bella Lipson-Smith is a second year Masters of Cultural Materials Conservation student. She holds a Bachelor of Arts with majors in

Art History and Screen and Cultural Studies, also from the University of Melbourne. Bella’s undergraduate studies in both disciplines

led to a curiosity about the links between media histories and the creation of meaning, and identity, through art and culture. This,

together with an ongoing interest in the sciences, led her neatly into conservation. Since commencing the conservation course, Bella


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has focused on objects conservation, with interests in a broad range of material specialisations. She is undertaking an internship in

the National Gallery of Victoria’s Frames and Furniture conservation department in September. She has volunteered with the

Grimwade Centre for the Cultural Materials Conservation Commercial Services’ Heritage Roadshow, as well as on a textiles

conservation project, and is also volunteering on a textiles conservation project with the National Conservation Program.

Annabel Livingstone

Version Control: How and Why Things are Conserved

This thesis will critically examine the concept of version control to study how and why things are conserved at a particular moment or

in a particular way. Version control is a way of managing different copies, or versions, of data while protecting “original” data from

corruption or change. It also allows for comparison between ‘versions.’ Conservation seeks to manage change in physical cultural

materials and preserve the ‘version of record’, but this thesis will argue that a singular ‘version of record’ can obscure or negate the

plural meanings or voices of a cultural thing. Considering the codes of ethics and practice that define and guide the performance of

conservation work, this thesis will bring in concepts from version control to develop a decision-making framework for conservators

that better recognises the interactions of authenticity, authorship, intangibility and meaning.

Annabel Livingstone completed a Bachelor of Arts at the University of Melbourne in 2016, majoring in Classics and Ancient World

Studies. She is currently in her final semester of the Master of Cultural Materials Conservation. Although passionate about the field of

archaeology, she decided to pursue conservation as she is fascinated by the (im)materiality of cultural heritage, and the ways in which

heritage is theorised and constructed. In the course, Annabel has focussed on the conservation of objects, with a particular interest in

historic textiles.

John David Morrison

Problems with the Plasticiser: In search of ideal cleaning methods for Plasticised Poly(Vinyl Chloride)

Cheap and readily modifiable to meet a range of purposes, plasticised Poly(Vinyl Chloride) (PVCp) is one of the most ubiquitous, and

equally problematic, plastics in cultural collections. PVC blends usually contain significant amounts of plasticisers. Over time, these

oily materials migrate from the bulk material and form sticky films on the surface. These already unsightly films attract and bind grime

and particulate matter. PVC blends also absorb oily soiling materials under ordinary display conditions. Cleaning PVC is thus a major a

problem, for it is extremely difficult to pry away soiling materials without also leaching the plasticisers. There has even been

speculation that it is best to not clean PVCp at all, for it may compromise the stability of the polymer. This thesis strives to resolve

these dilemmas by determining the best method to clean PVC, if it should be cleaned at all. Using a series of experiments, the research

applies principles of polarity, chelation, rheology and colloidal interface to arrive at the ideal cleaning methods for PVC. A combination

of FTIR-ATR, optical microscopy, colorimetry and accelerated ageing are used to evaluate the effectiveness and damage incurred by

the cleaning process, and the cleaning agents are also considered for their practicality and sustainability.


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John Morrison (know by most as Jackjohn) is principally interested in the preservation and exhibition of the history of the

present: modern materials, modern art and above all else, modern culture and history. With a background in Social

Anthropology, John’s conservation ideals are rooted in the contemporary world, and the diffuse, bizarre and insurgent

cultural lifeworlds that emerge through its complex socio-political landscapes. Believing firmly that the history of the

twentieth century is cast from synthetic resin, and the history of the twenty-first century is written in C++ code, John

wishes to dedicate his career to preserving and ensuring access to the history of the present. For John, this means

promoting a dynamic, progressive and research-oriented strategies to address the conservation and exhibition challenges

of modern materials, and unconventional exhibition spaces.

Kate Ritchie

Identifying Plastics in the Musical Instruments Collection of Grainger Museum

The aim of this thesis is to identify the amount, and type of any plastics found in the University of Melbourne’s Grainger Museum

Musical Instruments collection using non-invasive analysis techniques; the condition of these plastics will also be reported, with future

recommendations given. This will contribute to a larger, Australia-wide project, PolyMuse, which is developing a national framework

for managing malignant plastics in museum collections.

Kate has been interested in the field of conservation since her high school years. Originally from Sydney, she holds a double Bachelors

degree in Arts/Art Theory, majoring in Sociology, from the University of NSW and the College of Fine Arts. During her time studying at

the Grimwade Centre, Kate developed an interest in 3D objects, particularly metals and plastics. She has been involved in a number

of volunteer projects during her studies, including the recent Public Art audit at the Arts Centre Melbourne, the Bathurst RE-ORG

project, and the War Heritage Roadshow.

Maité Robayo

Intergenerational Pottery Practices in Barichara, Colombia

Pottery production started before colonisation in the town of Barichara in Colombia, where traditional knowledge about pottery

making continues to be handed down from generation to generation. Despite this, there is very little documentation of the tradition,

its materials and techniques in a practice that has been developed and used by generations of locals. This thesis investigates the

regions intergenerational pottery practices and fills the existing gap in the literature about their pottery production. The project

involved fieldwork with the artisans of the town and surrounding villages, as well as the documentation of materials and manufacturing

methods developed by artisans from a conservation point of view.

Maité Robayo is originally from Colombia. She holds an undergraduate degree in Arts with an emphasis in Fine Arts (Sculpture), and a

minor in Biology and History of Art from the Universidad de Los Andes (2016). Maité is currently studying a Masters in Cultural

Materials Conservation, specialising in object conservation at the University of Melbourne. She is volunteering with the National Trust


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of Australia (Victoria), and she has completed a professional internship with the Grimwade Centre for Cultural Materials Conservation

Commercial Services in July of 2019. Her primary areas of interest are ceramics, community engagement in conservation and

documentation of cultural practices. She hopes to continue research on these topics after graduation and create a bridge to develop

further investigations concerning South America, Australia and Asia-Pacific regions.

Kathleen Tara Rowbottom

Making Meaning of Material from the La Mama Fire

There is a conventional notion within the conservation discipline that oral history, being intangible in its form, is a source of auxiliary

information used to explicate existing tangible knowledge of objects. Contrary to this judgment, this research proposes that oral

history should be considered a primary source of historical and cultural information; providing the foundation for an ethical and

accurate analysis of an object, its significance, meaning and authenticity. The focus of this research is upon the independent La Mama

Theatre in Carlton, which was levelled by fire in 2018 after over 50 years of creative use. Through analysis of data collected from

community member interviews and scientific investigation of the remaining paint fragments salvaged from the theatre walls, this

research project explores the practices and materials used by the La Mama community during the theatre's lifetime. The aim of this

research is to recontextualise the salvaged paint fragments as the physical manifestation of social values, cultural development and

historical narratives. Thus, through the exploration and analysis of both the intangible and tangible heritage of the original La Mama

Theatre, the value of the theatre and a sense of the La Mama ethos will be conserved despite the loss of the physical space.

Kathleen Rowbottom is a student of the Master of Cultural Materials Conservation at the University of Melbourne, specialising in

paper conservation. Kathleen is currently interested in exploring the relationship between conventional and emerging philosophies

within the conservation discipline and exploring the shift in focus within institutional practice. In particular, the area of research

Kathleen is primarily drawn to is the evaluation of the effect of globalisation and anti-colonialist theory upon ethical development and

accessibility within institutions. Kathleen’s objective in her current research project is to observe the effect of alternative social and

conservation theory on conservation methodology and procedure within the professional sphere. Kathleen recently completed an

internship with the Conservation Department at the State Library Victoria working with a variety of materials and objects, whilst being

part of decision-making processes and discussions regarding object authenticity and significance.

Toni Sampson

Building a Toolkit for Community-Based Conservation Education

It is the intent of this research to understand the gap or lack in community-based cultural material conservation education; to identify

the need for such services and how best to deliver a simple effective toolkit (hard copy/online/literal) that fills this gap in conservation

engagement and education. Utilizing literature review, participatory community research, engaging with collectors and visiting varied

collection institutions through all their gateways, physical and online, will help inform; 1. Where and what the shortfall is; 2. Three

simple practical strategies to secure cultural material in a domestic situation; 3. Formulate an effective delivery method; 4. Support


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and grow professional conservation services. The premise of this work is not to turn the general public into cultural material

conservators but to help small, private collectors prevent the loss of cultural material through education and participation, knowing

that there are services available that can provide support. Understanding that loss of cultural material is a loss to society and culture,

and the many different values applied to cultural materials will also underpin the design process. (Appelbaum 2012.pp. 66)(Caple

2000.pp.12)

Toni Sampson is a student in Masters of Cultural Materials Conservation, University of Melbourne. Specialising in objects and textiles,

current conservation participation includes; volunteer Grimwade CCMC South African tapestry, Warrnambool Conservation Road

show as student demonstrator, Warmun Arts Centre deceased estate recovery, liaison for private museum with Australian National

Veterans Arts Museum (ANVAM).

Daniel Schwartz

Repatriation as Conservation

Indigenous voices from communities around the world are continuing to grow stronger asserting their right for control of their cultural

materials held in national heritage institutions – notably reified in the demand for repatriation. The field of conservation, in a self-

reflexive attempt to define itself and its ethics in universalist and positivist terms, has conventionally externalised the practice of

repatriation from the canon. By contextualising the theories, laws, and ethics of repatriation within the conservation canon, and within

a methodology of decolonisation, the thesis argues that repatriation is, in fact, embedded in the conservation ethic and critically

valuable to achieving a primary goal of the profession – namely the long-term preservation of cultural heritage. Ultimately, the thesis

breaks down the moral licensing that situates the profession as gatekeepers to the return of cultural heritage to originating

communities and builds a conservation ethos of repatriation focused on restorative justice and cultural continuity.

Daniel Schwartz is a master’s student at the University of Melbourne Grimwade Centre for Cultural Materials Conservation. He holds

a Bachelor of Arts in Honours Art History from the University of British Columbia, specialising in Indigenous and South Asian art and

critical cultural anthropology. Before beginning his graduate education, he previously worked in Public Art Conservation with the City

of Seattle and has completed internships in both private and public institutions in Australia, Canada, and the United States. Daniel

primarily works in objects conservation with a focus on Indigenous art and artefacts, public art, and preventive conservation. He

received the 2018 Willem Snoek Conservation Award and the 2019 LGNSW Leo Kelly OAM Arts & Culture Award for implementing the

RE-ORG Bathurst – the first ICCROM RE-ORG project in Australia.


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Leon Rong Wei Sim

Examining and investigating the acoustical qualities of musical instruments using a non-invasive acoustical

characterisation technique

Musical instruments are valuable cultural materials that warrant the need for conservation and preservation. Based on the approach

by Parikesit et al. (2019), the research aims to provide an additional perspective on the conservation of musical instruments by

investigating the intangible significance of musical instruments encompassed by its acoustical quality through the adaptation of a non-

invasive acoustical characterisation analytical technique. Two experiments were involved in the investigation of the acoustic qualities

of musical instruments. The first experiment seeks to further test the approach by Parikesit et al. (2019) in the identification of cultural

provenance of a musical instrument to a broader range of musical instruments to justify the findings. The second experiment seeks to

provide quantitative analysis/ measurement, allowing examination on the effect of conservation/restoration practice has on the

musical instruments’ original acoustical integrity. Result of experiment one revealed the possibility of cultural provenance

identification of a used/ regularly performed musical instrument through the frequency spectrum, of which its natural resonating

frequency identified correspond to a musical scale correlate to its cultural background. This could be related to the “evolution” or

natural ageing of the organic material that is achieved by constant vibration of the musical instrument, resulting in a resonance

preference of various specific pitches. Results of experiment two revealed the change/shift in the original acoustical integrity of a

musical instrument upon undergoing mechanical damage (crack and loss). Further, acoustical characterisation of the musical

instrument revealed that the original acoustical integrity had differed though it was restored to its playable state. Although both

experiments have demonstrated the value of the research aim by providing an additional perspective on the conservation of musical

instruments through investigating the acoustical quality, further experimental testing could be developed to examine the approaches

further.

Leon Rong Wei Sim is a graduate student from the Grimwade Centre of Cultural Materials Conservation, University of Melbourne.

Leon is a frequent performer and a music arranger for guitar ensembles in Singapore, which this passion informed his specialisation in

object conservation and his thesis dissertation.

Lia Sumichan

Affandi’s Materials and Techniques: A Preliminary Technical Art Study of Paintings from the 1950s

Affandi (1907-1990) is an influential figure in Indonesian art history, particularly in the birth and development of modern Indonesian

art. His oeuvre, widely recognised among public institutions and private collectors both locally and internationally, remains of

undoubted importance and prominence to date. A self-taught artist with expressive style, Affandi is mostly known for his

unconventional method of painting technique using artists’ oil paints of buttery consistency directly squeezed from their tubes and

straight onto the canvas, resulting in strong strokes of impasto. The aim of this thesis is to contribute to Affandi’s existing scholarship

that is mostly situated in an art historical and curatorial discourse through an object-centred technical analysis approach. This results

in the preliminary findings on Affandi’s material choices, informed understanding of the artist’s creative practice, insight into the


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paint’s degradation pathway and how conservation can contribute to the respect and longevity of his works. It also highlights the

importance of interdisciplinary collaboration in technical art study in order to achieve a robust and comprehensive result. In order to

sufficiently achieve the aims in understanding his materials and techniques, findings and results are insightfully placed within each

artwork’s proper historical framework, context and future implications.

Lia Sumichan holds a Bachelor of Commerce from the University of Melbourne and is currently in her second and final year in the

Cultural Materials Conservation Program at the Grimwade Centre for Cultural Materials Conservation. Her specialisation is in paintings

conservation, but she is also particularly interested in conservation in the tropics, preventive conservation and materials science.

Recently, she was awarded with the Student Engagement Grant from the University of Melbourne in 2018 to undertake a preservation

needs assessment survey project with Jakarta Museum of Fine Arts and Ceramics and presented the work at the AICCM Environmental

Risk Conference in Melbourne in February 2019.

Jessica Walsh

Cleaning painted surfaces with green chemicals: Investigating the sustainable removal of natural and synthetic

resin varnishes from oil-based painted surfaces

The conservation profession has recently seen an increased awareness in the necessity to become a more environmentally responsible

and sustainable practice (de Silva & Henderson 2011). Accordingly, wherever the performance and capabilities of green chemicals are

considered equitable to their volatile solvent counterparts, these materials should be utilised. Green chemicals have the ability to

alleviate quantifiable hazards posed by solvents and the level of exposure caused by application methods traditionally utilised in

conservation practice, both environmentally and for conservation professionals (Tundo et al. 2000, p. 1211). As one of the most

environmentally hazardous and invasive aspects of cleaning painted surfaces, varnish removal materials and methodologies will be

reviewed against green chemicals for their measurable success with three common-use varnishes – Regalrez® 1094, ParaloidTM B-72,

and damar. Chemicals to be reviewed include cyclomethicone D4, isopropyl myristate, d-limonene, and dibasic ester. ‘Green’ label

classification of these materials will be presented against a controlled framework, which considers the hazardous properties of these

materials and exposure risks in direct comparison with those currently being utilised in the conservation profession. To understand

the benefits and limitations of utilising green chemicals in the cleaning of painted oil-based surfaces, QUV® Accelerated Weathering

Tester UV-A (ultraviolet wavelength 340nm cycle at 60ºC with an irradiance of 1.2) aged samples of oil-based painted surfaces have

been examined using a variety of analytical techniques including gloss-spectrometry, cross-sections analysis with visible and ultraviolet

fluorescence (UV), fourier-transform infrared spectroscopy (FTIR), and scanning electron microscopic (SEM) observation (Pereira 2012,

p. vii). Results from this analysis reveal whether green chemicals provide a suitable alternative to traditional chemicals for the removal

of natural and synthetic resin varnishes from oil-based painted surfaces.

Jessica Walsh has a Bachelor of Arts (Hons.) from the University of Western Australia, with a double major in the History of Art and

Archaeology. She is a current student of the Masters of Cultural Materials Conservation at the University of Melbourne, specialising in

the conservation of painted materials.

Documents

CONSERVATION RESEARCH - arts.unimelb.edu.au · Barichara, Colombia : Dr Robert Lane & Holly Jones-Amin . 17:00-17:30 : Master of Cultural Materials Conservation – Awards Ceremony: