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STUDIO ARTS UNIT 4 – ART INDUSTRY CONTEXTS
EXHIBITION SPACES, ROLES, RESPONSIBILITIES
In this Unit you explore:
Different types of exhibition spaces Different roles and responsibilities of professionals working in the art industry How exhibition design contributes to the viewer’s experience How exhibition curatorship contributes to the viewer’s experience The importance of conservation, handling, storage and display of art works How art spaces market or promote their exhibitions or artists At least 2 exhibition spaces to compare and contrast in all aspects of exhibition
The content for this unit is assessed through a written Outcome, and the end of year written examination. This is a fantastic unit in preparing you for a career in the arts industry in any of the roles we explore, from artist to curator, to ICT staff, to packer to Gallery Director! It is also very interesting, and really gets you to engage with 2 art exhibition spaces as a viewer – ENJOY!
Artist: Ai Weiwei, China, “Forever Bicycles”, silver bicycles, installation, 2015, NGV forecourt, Melbourne, Exhibition: Andy Warhol/Ai WeiWei, NGV, 2015-2016, curated by Max Delany
The forever bicycles installation is HUGE, it is the first thing viewers see when they enter the gallery, and draws them in. It is also free. On either side of the installation are gallery areas that viewers
need to purchase a ticket to enter. The placement of the artwork would have been carefully thought out by the curator and the artist to create the biggest impact on the viewer.
This booklet contains information, examples and questions to consider to deepen your understanding of art industry contexts. The 2015-2016 exhibition Andy Warhol/Ai WeiWei is used e to provide examples and explanations of some of the content covered in Studio Arts. You will attend 2 different exhibitions and should use your PERSONAL experience for your Outcome and exam. Use this booklet in conjunction with your textbook, exhibition comparison sheets and individual research as part of your exam preparation and revision!
Different types of exhibition spaces
Public Gallery/Museum – A public gallery is wholly or partly owned and funded by the government (State or Federal). They are galleries for the people, the artworks are purchased by the galleries and collected. These galleries collect artworks, they store artworks and exhibit artworks. Some art is donated to the gallery, some is purchased and some have public fundraising campaigns. Some Public galleries, especially regional ones, have a focus on a particular art form, for example Bendigo Art Gallery holds many “blockbuster” exhibitions with a focus on fashion and textiles. Larger regional public galleries also host major art prizes/competitions, for example in Ballarat the Rick Amor drawing prize. Some key examples are listed here, but there are many very good public galleries in Australia, the more you can look at either in person or having a look at their website will be an advantage:
National Gallery of Australia https://www.acmi.net.au/ ,
National Gallery of Victoria https://www.ngv.vic.gov.au/ ,
Ballarat Fine Art Gallery http://www.artgalleryofballarat.com.au/ ,
Bendigo Art Gallery http://www.bendigoartgallery.com.au/Home
Kunsthalle- A Kunsthalle is similar to a Public gallery in that they are partially funded by the government, partially by sponsors and members. The main point of difference is that the gallery does not collect artwork. They have an exhibition program and the purpose is to present artwork to the public. Kunsthalle is a german word meaning art hall. Example: ACCA (Australian Centre for Contemporary Art) https://www.accaonline.org.au/
Private Gallery/artist studio – A private gallery is owned and operated by the artist, or by a director/manager who represents an artist or group of artists. Some private galleries include a studio so visitors can see where the artwork is made, and possibly even see the artist at work. Private galleries operate as a business, they may have extra services such as picture framing, art classes as well as art for sale. Examples: South Yarra Art House and Hawthorn Studio Gallery (which is also a studio for artist Graeme Foote) http://hawthornstudiogallery.com.au/about/
Commercial Gallery – A commercial gallery is very similar to a private gallery, but the main purpose of the gallery is to exhibit artists work, make sales, and operate as a business. A commercial gallery usually represents several key artists at any one time, although they may have solo exhibitions showcasing just one artists’ work. Commercial galleries often have an ongoing relationship with the artists they represent. A successful commercial gallery in Melbourne is: Anna Swartz http://www.annaschwartzgallery.com/works/exhibitions?current=1&c=m
Specialist Art Gallery – Some galleries specialize in a particular art forms such as photography, moving image or tapestry. They may operate as a public, private or commercial gallery. Some examples include: Centre for Contemporary Photography http://www.ccp.org.au/about.php , ACMI (Australian Centre for the Moving Image) https://www.acmi.net.au/ and the Australian Tapestry Workshop http://www.austapestry.com.au/about-us/our-story
Artist Run Space – An artist run space is open to the public, and is run by artists, for artists. It is often a good way for new and emerging artists to get their work shown and known. Their work may then be picked up by commercial or public galleries once they become more established and successful. A successful artist run gallery or Artist Run Initiative (ARI) in Melbourne is Blindside
which is a not for profit organisation managed by a group of professionals who volunteer their knowledge and skills http://www.blindside.org.au/about-us/. Blindside also have a great education booklet for Unit 4: http://www.blindside.org.au/wp-content/uploads/2015/07/Blindside-EducationKit-2015.pdf
Online Gallery – An online gallery is a “virtual” gallery, where the audience views the artwork via a website. The artworks are often curated by the person who creates the gallery/website. There are different purposes of online galleries (just as with physical galleries), including not for profit galleries to educate, to promote a certain artist or group of artists, to promote oneself as an artist, to promote an art studio and some online galleries act as private galleries to sell artwork and make a profit. These galleries are distinct from websites for physical galleries (i.e. the public galleries also all have a website to promote themselves) in that there is NO physical gallery space that people can visit. Some examples include Bluethumb https://www.bluethumb.com.au/about where any Australian artist can put their work into the gallery for sale, Artstack https://theartstack.com/ where any artist or art lover can curate their own collection for others to view, Olga’s Gallery http://www.abcgallery.com/index.html an American online art museum which runs as a not for profit site to educate people about art.
Q Imagine you are the owner/curator/director of each different type of exhibition space. What are some considerations you would need to think about when you promote or market the artwork? What are some considerations you would need to think about when designing an exhibition?Others: Pop Up Gallery, Shop Front Gallery, Laneways, Public/Open spaces, Sculpture Parks – these exhibition spaces are very accessible and often seen by the public as “passers-by”, they therefore often have a big and varied audience, not necessarily people who may attend more traditional types of gallery spaces.
Q Can you find an example for each of these other exhibition spaces?
Different roles and responsibilities of professionals working in the art industry.
Q Write a brief summary of each role below. You may need to refer to your textbook, gallery websites or other research to gather information.Gallery Director
Curator
Exhibition Designer
Conservation Staff and/or Restoration Staff
Marketing Personnel and/or Promotions Personnel
Education Officer
Memberships Staff
Public Programs Manager
Graphic Design Team
AV/ICT Team
Packers and Handlers
Public
Others: Exhibition builders, Volunteer guides, Security, Ticketing, Information, Cleaners.
How exhibition design contributes to the viewer’s experience
What does the space look like? How is it arranged? What colour are the walls? Where are the exhibition labels placed? How big is the space? How are the artworks arranged? What is on the floor?
Q What are some initial observations you can make about the exhibition design above?
The Andy Warhol/Ai WeiWei exhibition used the entire ground floor of the National Gallery of Victoria. There were many “rooms”, each with a different theme. Each room looked different to the one before it. Wall coverings were an important feature of the exhibition design – some rooms had wallpaper designed by one of the artists, some were painted, some rooms were very dark (to show movies or projected images) and others very light and spacious. Even corridors were used for installations such as the floating balloon shapes. Some floors were concrete, some were carpet, some were timber laminate and one was made of lego type blocks covered in Perspex. This exhibition took the viewer on a visual adventure!
The different sized, shaped and coloured rooms were carefully designed to highlight a certain aspect of the art work being shown, to create a certain mood and to enhance the thematic approach to the display of artworks. Some rooms felt playful, some shocking, some sumptuous, some beautiful, some confronting and serious.
See the attached exhibition floor plan/guide. https://www.ngv.vic.gov.au/wp-content/uploads/2015/12/ANDY-WARHOL-AI-WEIWEI-EXHIBITION-GUIDE.pdf
Q For each exhibition you visit, ask if photography is allowed, and if it is take lots of photos! Also, either ask for a floor plan, or even draw one up yourself after your visit, so when you are preparing for your exam this can help you “re-visit” the exhibition and visualize the design. Ask yourself, “what mood or feeling do I get in the exhibition
space/s?”, and “how does the design of the exhibition help me understand the art work?”.
How exhibition curatorship contributes to the viewer’s experience
What artist or artists’ work is being shown? What artworks have been chosen to be displayed? How are the artworks arranged – themes, chronologically, styles, other? What aspects of the artists’ work has been highlighted in the exhibition? Is there a catalogue written by the curator? Has the curator given public talks about the artist?
The Andy Warhol/Ai Wewei exhibition showcased the work of two of the 20th and 21st Century greatest and well-known artists of popular culture. The curator (Max Delany) consulted with The Andy Warhol Museum (in Pittsburgh, America) and directly with the artist Ai WeiWei (China). Andy Warhol died in 1987, Ai Weiwei is living and working today. What gave the Curator the idea to put these artists together in an exhibition, and how was he going to show the work? These would have been really important questions that both artists’ (or their trusts/managers) would have wanted to know before they agreed to a joint exhibition – a Curator needs to have excellent negotiating and diplomacy skills, as well as an excellent knowledge and understanding of art history, artists, art movements and styles!
The curator explained that these 2 artists share many things in common, in terms of their artwork, and that showing the work through common themes was a way to showcase their work and make it accessible and more easily understood by an audience. Some of the themes included: China/America, flowers, film, social media, political figures, popular culture and mythology. This exhibition even extends into the children’s gallery space with the common theme of cats! The children’s gallery is interactive and fun and free.
All information panels from the exhibition were published on the NGV website.
https://www.ngv.vic.gov.au/wp-content/uploads/2015/12/AndyWarhol_AiWeiwei_Labels.pdf
Flowers: Ai Weiwei bicycle with flowers in basket, and photographic wallpaper documenting each different day with different flowers in the basket (left) and Andy Warhols famous
screen prints of flowers (right.)
Image of Studio Cats, the childrens interactive gallery that forms part of the Andy Warhol/Ai Weiwei exhibition at the NGV. As part of Studio Cats, artist Ai Weiwei invited families to
come in to the gallery and take selfies with him. The images were displayed in the gallery. The curator and NGV education staff have also written and published a children’s book
about Warhol and Weiwei, and the NGV website included a page just about the children’s gallery: http://www.ngv.vic.gov.au/exhibition/studio-cats-andy-warhol-ai-weiwei-for-kids/
Q Why do you think the curator and the gallery have given such importance to children as audience members for this exhibition?
Ai Weiwei: “selfies” with NGV visitors, Dec 2015.
The exhibitions you see may display the work of a single artist (one man/one woman show), or two or more artists (group show).
Q Consider the role of the curator in putting together the exhibition, choosing the artist/s, the artworks and how they show their work.
The importance of preservation, conservation, handling, transportation, storage and display of art works
Some art works are hundreds or even thousands of years old, others are newer. Some are made from extremely durable long lasting materials, while others are more fragile or easily damaged by light, changes in humidity, temperature, water, insects or being touched. In order to maintain art works for the future, there are different methods of preservation. You will need to know about the SPECIFIC issues and methods of conservation for AT LEAST one ART FORM for the exam. For example for Drawing, Painting, Ceramics or Textiles, you will need to know the best ways to store it, transport it, carry it, display it, what humidity level and what light level etc.
Ai Weiwei, ceramic flowers – this large, fragile art work was placed on a small platform about 30cm off the floor. What would be the considerations for display, handling, storage, transportation?
Below are some valuable resources, in addition to your textbook, to help you better understand the history and importance of conservation issues
National Gallery of Australia conservation department http://www.nga.gov.au/Conservation/index.cfm
National Gallery of Victoria conservation department http://www.ngv.vic.gov.au/explore/collection/conservation/
National Museum of Australia http://nma.gov.au/research/understanding-museums/ICook_etal_2011.html
National Gallery of Victoria, conservation project http://www.ngv.vic.gov.au/conservation-live-the-john-herbert-public-conservation-project/
Australian Institute for the Conservation of Cultural Materials https://aiccm.org.au/
http://www.imamuseum.org/blog/2014/01/08/how-horse-hair-helps-conserve-art/
The following article highlights some of the challenges conservators face when working with contemporary artists using non-traditional art materials and mediums – very interesting!
“Postcards from the Edge of Desire: the varied role of the conservator in contemporary art exhibitions.”By Vanessa Roth
The evolving nature of contemporary art also requires the process of conservation itself to change, with conservators taking on a range of non-traditional roles. Five case studies of contemporary art installations are presented in order to illustrate the evolving role of the contemporary art conservator. LN Tallur’s Made in England is an inflatable PVC sculpture, which was technically challenging to inflate. A long-lasting and realistic fake blood solution was formulated for Shilpa Gupta’s Blame. Sharmila Samant’s A Handmade Saree is constructed from obsolete Coca-Cola bottle caps and can tabs, some of which required replacement. Experiments in milk preservation, carried out for Wolfgang Laib’s Milk Stone installation, proved to be contrary to the artist’s intention. Quarantine regulations required that Laib’s Pollen from Hazelnut be gamma irradiated before it could be displayed, with an associated risk of colour change. An understanding of, and respect for, the artist’s intent is essential in the conservation of contemporary art. However, there are instances when other priorities, such as safety concerns, must be placed above artistic intent.
Introduction
Contemporary art installations can be considered as ‘living art’, as they are in a constant process of evolution. Installations are often experimental in nature and may need to adapt according to the exhibition space, the artist’s wishes or the need for a safe and secure display. There is also an ongoing need for maintenance, repairs and replacements. The evolving nature of contemporary art also requires the process of conservation to change, often being interventive in nature. In contemporary art, the meaning of the work is generally of more importance than its material constituents.
The huge variety in contemporary art means the conservator must take on a great range of roles and skills. The conservator may become part of the creative process itself; taking on the role of artist’s assistant and the holder of materials information. Conservators may advise on likely problems
caused by public interaction with artworks, as well as safety concerns. Contemporary artists themselves are becoming increasingly aware of the usefulness of the conservators’ ability to advise on technical issues, while remaining sympathetic to artistic intent. It is not so much that contemporary artists want their work preserved forever; they may need assistance in creating and displaying their vision within the confines of the gallery environment.
The following case studies, featuring five contemporary artworks from two exhibitions, illustrate how very different the role of the contemporary art conservator is from that taught in traditional conservation courses. Each is intended as a snapshot, providing a brief glimpse into the contemporary art conservation field, rather than a detailed or scientific report.
The Edge of Desire: recent art in India.
The Edge of Desire was one of the most technically challenging exhibitions ever held at the Art Gallery of Western Australia (AGWA). It featured a large number of unusual installations, some of which arrived with little information on how they should be displayed. Many works had not been displayed before and did not have display fittings or other mechanisms for their installation.
‘It’s shaped like a what?’
LN Tallur’s Made in England – A Temple Designed for India comprises four main sections made from stitched and glued polyvinyl chloride (PVC) (Fig 1). Unlike bonded PVC inflatables, it is not fully sealed and requires constant inflation.
Made in England had been inflated in the UK using two separate ½ hp blowers, but these did not travel with the work. Curatorial staff wanted to use existing equipment, such as a portable compressor, or a vacuum cleaner operated in reverse mode, to inflate the work. I was not convinced that either would stand up to three months of constant use and wanted to determine the best system for inflating the sculpture. There was little information on inflatable sculptures in the conservation literature and a request for information sent to the Conservation DistList e-mail discussion list went unanswered. While I began corresponding with an inflatable sculpture artist, he was not keen to advise on the specifics of inflation equipment.
Tallur was concerned that the seams of the sculpture would need repair, as the sculpture had been kept folded in storage for some time before arriving at AGWA. It was necessary to attempt a trial inflation in the weeks preceding the exhibition in order to advise the artist of the extent of work necessary. An attempt was made to inflate the sculpture using a portable air compressor (2.2 hp, 12 cfm, 1100 kpa), but the compressor overheated within minutes.
A representative from Roof Top Balloons was asked to provide advice on inflating the sculpture. However, when the representative saw the sculpture, he told us that their blower equipment would be too powerful and would cause the sculpture to burst. Roof top balloons are single-wall, requiring a greater volume of air than Made in England, which is of double-wall construction.
Advice was then sought from companies in Perth dealing in air compressors. Most were not able to help, as they only deal with large equipment suitable for mining companies. In the end, only one company, Advanced Pneumatics, was willing to assist with the inflation of the sculpture. There had been conflicting advice from other companies over whether a compressor or a blower was more appropriate. According to Advanced Pneumatics, a blower was the better choice, as blowers produce a larger volume of air at lower pressure, while compressors produce a smaller volume at higher pressure. However, there were no blowers of a suitable size available in Australia.
An alternative was to inflate the sculpture using the large compressor in the AGWA plant room that runs the compressed air outlets in the conservation laboratories and carpenter’s workshop. While the use of a compressor was not ideal, a regulator could be used to control the air pressure. Bringing the compressed air into the exhibition gallery would entail drilling through a very thick wall in an awkward location and the use of a long air hose. Fortunately, it was not necessary to attempt this option, as we were able to purchase a blower that had been imported by another customer and accidentally sent to Western Australia.
The machine obtained was a Gast R5125-2 Regenaire regenerative blower (2.5 hp, 133 cfm, 12.4 kpa & 75 dB (A)), with 12 mm internal diameter air hoses (1.6 MPa working pressure). A splitter was attached to the blower to connect the air hoses to each part of the work. This allowed for adjustments to be made so that the different sized components could receive different amounts of air.
We were initially unsure whether the work should be kept inflated only during exhibition hours, as it had previously been turned off at night. During the initial set up, the blower was switched off momentarily to move it, causing the main section of the sculpture to fall over. It was then deemed necessary to wire the main section to the ceiling using the brass loops that the artist had attached to the top. The loops did not appear to be secured well enough to support the weight of the sculpture for very long, so the work was kept inflated 24 hours a day. While Tallur was not happy with the sculpture being wired to the ceiling, in this case, it was decided that safety concerns were of more importance than artistic intent.
The blower was located in a corridor on the outside of the exhibition gallery so it could not be heard in the display area, although it proved to be somewhat annoying to gallery staff. Advanced Pneumatics had constructed a plywood box lined with soundproofing foam to fit over the blower, but it was not used as it did not allow sufficient air intake and could lead to overheating and the possibility of fire. Also, the box did not greatly reduce the sound level. A filter / muffler (F15 1 ½” male) was attached to the blower to make it somewhat quieter, but the sound level was similar to that of a vacuum cleaner. I investigated making a larger soundproofed partition around the blower so that the area could be used for gallery functions. A simpler solution proved to be lengthening the air hoses so that the blower could be temporarily moved outside when the space was needed.
I want to make your blood
Shilpa Gupta’s work Blame is both performance art and installation. As a performance, Gupta invites passers-by to take home a small bottle of ‘blame’, containing a red blood-like fluid. The same bottles are also displayed alongside a video of Shilpa’s performances as part of the Edge of Desire exhibition (Fig 2).
AGWA staff made the ‘blood’ using a recipe containing sugar, cornstarch, water, cordial, milk and food colouring.1 Not only was the solution time-consuming to produce, soon after the exhibition opened, the contents of the bottles began to settle out and take on an opaque pinkish colour. While no biological growth was observed at AGWA, the solution could not be expected to be long lasting.
The challenge of coming up with a more realistic and longer-lasting fake blood for the exhibition tour was irresistible. The aim was also to find a blood recipe that was cheap, easy to prepare and not attractive to biological growth.
It was initially suspected that the food colouring in the bottles on display was fading and a more long-lasting dye was necessary. Sample bottles of ‘blood’ were prepared to test different colouring methods and bases and lined up along a windowsill to test their light fastness. Red liquid fabric dye was not successful as the dye particles settled out. Watercolours were also not effective as the solution was too opaque. The samples prepared with food colours did not perceptibly fade after six weeks on the windowsill. Adding a small amount of blue food colour along with pillar-box red food colour produced the most realistic colour.
The three bases tested were: methylcellulose in water, undiluted dishwashing detergent and blue liquid laundry detergent.2,3 The liquid laundry detergent was opaque and did not produce a realistic-looking blood even when diluted. Methylcellulose had an advantage in being able to adjust the thickness of the blood as required. However, methylcellulose would have been more difficult for the various exhibition venues to obtain and prepare than the detergent. Although the methylcellulose did not support biological growth after six weeks in this experiment, there was some risk that this could occur. Dishwashing detergent was a much simpler solution that was unlikely to support biological growth. Both blue and green coloured dishwashing detergents produced good results in regards to colour.
Searching for the ‘Real Thing’
Sharmila Samant’s A Handmade Saree is constructed from 1800 Coca-Cola bottle caps linked together with steel shackles and fringed with Coca-Cola can tabs (Fig 3). The saree arrived at AGWA missing three tabs and one bottle cap.
The artist requested that replacement parts be found, but this proved a difficult task as neither the bottle caps or tabs had ever been available in Australia. The artist had obtained the missing components from the Netherlands. The missing cap was from a Coca-Cola Light bottle and was white with red writing, while the tabs were embossed with a picture of a Coca-Cola bottle. I did not receive any reply from the Coca-Cola collectors club; and a representative from the main office of Coca-Cola Amatil told me that it was against company policy to allow the use of their products in artworks. Finally, I spoke to a representative from the WA branch of Coca-Cola Amatil who was sympathetic to our cause and attempted to source the items for us. He found one of the tabs for us on a can that had been at the back of his fridge for some years. One of my colleagues was holidaying in the Netherlands, so I asked her to send some caps to us by courier. Unfortunately, the caps were no longer in production. Eventually, the Coca-Cola representative managed to get hold of some white Coca-Cola caps through one of his European contacts. They weren’t exactly the same as those on the saree, as they had more red writing on them. An airbrush was used to disguise the writing, but the amount of white paint necessary to mask the writing gave a noticeably raised appearance to the airbrushed area. Fortunately, this was not visible under display conditions. Both replacement components were marked ‘AGWA’ with felt tip pen on the underside, and attached to the saree following the artist’s instructions.
Seeking Transcendence
The Seeking Transcendence exhibition featured the works of five renowned international historical and contemporary artists. Three of the works were by the German contemporary artist, Wolfgang Laib. Laib is known for his installations made from simple natural materials such as pollen, milk, rice and beeswax. Laib was present at AGWA during the installation of his work, which proved to be an opportunity to learn his views on the display and maintenance of his work.
A litre and a half of full-cream dairy milk
Wolfgang Laib’s Milk Stone is a flat white marble tablet with a very fine lip around the edge; during display the tablet is filled with milk (Fig 5). The Milk Stone displayed at AGWA was on loan from the National Gallery of Australia.
When Milk Stone was displayed at the NGA, the milk was changed every second day. The milk changing process seemed to be quite fiddly and time consuming. Before Milk Stone arrived at AGWA, I experimented with preserving milk so that it would not need to be changed so often. The requirements for the preservative were that it would be non-toxic, would not damage the stone or alter the appearance of the milk, and would be easy to add to the milk. The most promising method was found in an article from Pakistan that suggested the addition of small quantities of hydrogen peroxide (0.04 – 0.05% of the 30 % w/v solution) to preserve unrefrigerated milk (Saha et al. 2003). This study had been carried out on raw milk, but it was assumed that the hydrogen peroxide would have a similar effect on pasteurised and homogenised milk.
A rough experiment was conducted to compare the deterioration of a beaker of milk treated with hydrogen peroxide with an untreated beaker of milk. The beakers were left out in the conservation laboratory over the weekend and then examined. The untreated milk was in an advanced state of decay and had become quite solid. The treated milk was obviously not fresh, but was still liquid under the surface skin.
At the suggestion of Jaishree Srinivasan from the NGA, another experiment was set up to look at the preservation of thin films of milk and whether UHT (ultra-heat treated) milk would last longer at room temperature than fresh milk. The experiments were inconclusive as the thin films dried out when left in the laboratory over the weekend.
The NGA agreed to let me use hydrogen peroxide treated milk, with the condition that I gain the approval of the artist. However, Laib was not interested in my attempts at milk preservation. He told me that the whole point of the artwork was to pour the milk (which must be fresh full cream) everyday and clean the stone every night. I was initially surprised, as here was a complete rejection of the idea of preservation, even for a few hours. It was obvious that I had not taken the time to understand the artist’s intent, before proceeding with the experiments.
Quarantine matters
Laib’s artwork Pollen from Hazelnut is a floor installation made entirely from pollen (Fig 6). Quarantine regulations regarding the importation of pollen to Australia are extremely strict; and it was essential for the pollen to be fumigated before it could be released to the Gallery. Quarantine offered us the choice of three fumigation treatments: ethylene oxide, heat treatment and gamma irradiation. The first two methods were quickly rejected. Ethylene oxide treatment would require the jars of pollen to be opened and the pollen fumigated at elevated temperatures. This would probably cause significant changes to the pollen’s structure, as well as posing a potential health hazard to anyone handling it. Similarly, heat treatment was likely to affect the appearance of the pollen. That left gamma irradiation, and there was no certainty that this would not damage the pollen.
Gamma rays and x-rays are both types of short-wavelength electromagnetic radiation, which only differ in their source.4 Gamma irradiation is a physical means of sterilisation that kills bacteria and inhibits bacterial growth. It is commonly used to sterilise foodstuffs and surgical equipment.5 The
amount of energy absorbed by a substance being irradiated is measured in kiloGray (kGy).6 Most items treated for quarantine purposes are irradiated at 25 kGy, but AQIS (Australian Quarantine and Inspection Service) permitted us to have the pollen treated at 10 kGy. Although gamma irradiation is considered to be a ‘cold process’, there is a slight temperature increase in the material being treated. The pollen would be less likely to undergo temperature and other changes at the lower irradiation level.
A scientist from the Department of Agriculture advised that pollen irradiated at 25 kGy has a tendency to clump together, but it can easily be separated again. While the scientist had not seen any colour changes, changes may occur if there is a high level of natural oils in the pollen.7 A representative from AQIS also informed us that although gamma irradiation would not cause structural damage to the pollen, there would be a slight risk of colour change. Laib had exhibited a pollen installation in Sydney in 1996, but AQIS no longer had records of how the pollen was treated.8
The initial advice from Steritech, the company to perform the gamma irradiation treatment, was that irradiation could cause an increase in volume of the pollen, known as ‘foaming’. If the jars of pollen were more than seventy percent full, there was a risk of them exploding. However, we were later informed that foaming would only occur during the irradiation of pollen-starter, a pollen / wax product, and not with dry pollen. Irradiation also darkens glass; fortunately, the jars containing the pollen were not part of the artwork. Two local beekeepers that had imported pollen were also contacted. Neither had noticed any colour changes to pollen following irradiation.
There was little choice but to take the slight risk of discolouration caused by the irradiation treatment. There was a general sigh of relief when the pollen arrived at AGWA without any detectable colour change.
Discussion
The five artworks all presented unique challenges to the conservator, demonstrating the variety of non-traditional roles that the conservator may be called upon to perform.
One of the main differences in working with contemporary art is the chance to work with living artists. While this poses its own challenges, it should be regarded as an important opportunity to learn about the artist’s views on the display and ongoing maintenance of their work. Artistic intent should generally be considered to be the most important consideration when displaying contemporary art. Conservators should always try to understand this aspect so that their work is not in conflict with the artist’s intent, as occurred with Milk Stone. However, there are instances when artistic intent must be compromised. For instance, during the installation of Made in England, safety considerations had to be placed above the artist’s wishes.
Acknowledgements
I would like to thank my colleagues from AGWA, especially Robyn Walton and Natalie Beattie who conducted much of the background research into pollen irradiation; Paul Hunt and Sean Byford for their assistance with Made in England; and Greg Woodward for the use of his photographs. Thanks also to the team from Advanced Pneumatics and Ken Langthorn of Coca-Cola Amatil.
Endnotes
1. 1998, blood recipes, revised 7 February 1998, Nightshade's Pain-in-the-Neck Vampire Page, viewed January 2005, <http://www.shades-of-night.com/painneck/blood.html>
2. Exposure, 2004, eejit's guide to blood, The Complete Eejit's Guide to Film-Making, viewed February 2005, <http://www.exposure.co.uk/eejit/blood/blood.html>
3. First Aid Café, 2005, special effects, First Aid Café, viewed February 2005, <http://www.firstaidcafe.co.uk/specialEffects.asp>
4. Wikipedia 2005, revised 19 May 2005, gamma ray, Wikipedia, viewed 25 May 2005, <http://en.wikipedia.org/wiki/Gamma_ray>.
5. Steritech 2005, frequently asked questions, Steritech, viewed 25 May 2005, <http://www.steritech.com.au/faq.asp>
6. Robertson RE, Hoy J, Johnson, R and Smith, J., 2000, Report to congressional requesters. Food irradiation available research indicates that benefits outweigh risks, United States General Accounting Office, Washington, viewed 26 May 2005, <http://www.gao.gov/new.items/rc00217.pdf>
7. Manning, R. 2004. Scientist, Department of Agriculture, Perth, personal communication.
8. Sly, A. 2004. Scientist, Australian Quarantine and Inspection Service, Canberra, personal communication.
References
Saha, BK, Ali, MY, Chakraborty, M, Islam, Z and Hira, AK. 2003. Study on the preservation of raw milk with hydrogen peroxide (H2O2) for rural dairy farmers. Pakistan Journal of Nutrition 2(1), pp 36-42, <http://www.pjbs.org/pjnonline/fin75.pdf>
Asia Society and Art Gallery of Western Australia. 2005. Edge of Desire: recent art in India. London: Philip Wilson.
Vanessa Roth, Objects Conservator, art Gallery of Western Australia, PO Box 8363, Perth Business Centre, Perth WA 6849
Vanessa Roth graduated from the University of Canberra in 1995 with a Bachelor of Applied Science in Conservation of Cultural Materials, specialising in objects and metals. She has worked in a number of government and private conservation laboratories around Australia, as well as spending a year at the Belau National Museum in the Republic of Palau. In 2002, she was awarded a Bachelor of Cultural Studies (Hons) in Marine Archaeological Conservation from the Evtek Institute of Art and Design in Finland. Vanessa first ventured into the strange world of contemporary art conservation in 2003, when she took up her current position at the Art Gallery of Western Australia.
Q select one art form (at least) to research the specific and current methods of preservation, conservation, storage, handling and display requirements. Submit a paragraph or dot point summary of your findings.
Example of the type of information you may find:
“Preventive Conservation for Works on Paper”
Reducing deteriorationWorks on paper encompass a wide variety of media – watercolours, prints, drawings, maps, documents, screens and scrolls, to name a few. This range of media is found on many types of paper support. Works on paper will deteriorate at different rates, depending on when they were made and the materials and techniques that were used. However all processes of deterioration are affected by the environment – control of light, heat and humidity levels can significantly slow down the rate of deterioration. Museums and galleries have strictly monitored environments in order to minimise damage to collections.
Inherent instabilityA high level of acidity is probably the single most damaging factor for paper. Paper can become acidic for a number of reasons. Prior to the late eighteenth century, paper was usually made from fibres such as linen and utilising processes that resulted in a chemically stable product. However, many papers made after this date are subject to the use of bleaches, loaders, fillers and acidic sizes. In the nineteenth century the inclusion of woodpulp became commonplace. These changes led to the production of paper that were of generally poorer quality. When paper deteriorates there are a number of clear visual signals that indicate problems – typically it may become discoloured, brittle and develop disfiguring brown spot stains, known as foxing. Foxing usually evolves as a result of metallic impurities and micro-organisms in the paper. Sometimes the inks and pigments applied to the paper are acidic, resulting in localised loss or fragmentation of inscriptions or images where the paper is attacked. Acidity can also migrate into a work on paper from poor quality mounting and framing materials. Some of these problems can be dealt with through professional framing and conservation treatment.
The environment
LightAll light causes irreversible damage to works on paper. Natural light and fluorescent light sources are rich in ultra-violet radiation, the most active and damaging part of the spectrum. Sustained exposure to light can cause paper to become brown and brittle; pigments and inks can fade rapidly. The combined effect of darkened paper and dulled image can alter the appearance of a work beyond recognition.
Display works on paper in low light levels, well away from windows and strong light sources. The recommended museum level is 50 lux.
Reduce light levels by drawing the curtains during the brightest part of the day. Prevent sunlight from falling directly on works. Install UV filters on fluorescent tubes. Never spotlight a work on paper.
UV filters can be used on windows and glazing in frames.
Relative humidity and temperatureExcessive levels of heat and moisture in the air can be extremely damaging to works on paper. High humidity and temperature will accelerate the rate of acidic degradation of paper, in addition to encouraging mould growth. In an environment where the humidity and temperature fluctuate
dramatically, a cycle of expansion and contraction can be generated in the work o art, causing the support to cockle and the pigments to flake and crack.
Display and store works on paper in a cool, dry environment. The recommended museum levels are 20ºC and 50%RH.
Try to avoid marked fluctuations in temperature and humidity – hang framed works on paper on inside walls, well away from direct sources of heat such as fires and radiators.
External walls tend to be damper. A stopper placed behind a framed work, at each corner, will allow air circulation and reduce the risk of mould growth.
Avoid hanging works on paper on walls in close proximity to kitchens and bathrooms.
Dust, insects and pollutantsInsects will thrive in an undisturbed, dusty environment. Paper, together with sizes, adhesives and binders provide an ideal food source for insects. Dust can be abrasive and can retain chemical contaminants, which will degrade works on paper. Airborne pollutants found in city atmospheres compound acidic degradation problems in paper and can engender colour changes and fading in pigments. Unsealed wooden furniture and fresh paint and varnish also emit pollutants.
Keep works on paper in a clean, dust-free environment. Inspect stored material regularly for signs of insect activity or other damage. Isolate any suspect material from the rest of the collection.
Restrict dust, insects and pollutants by using well-made storage boxes and frames that provide a good seal against the environment.
Always use archival quality, acid-free framing and storage materials.
HandlingPaper is easily torn, creased and punctured. A great deal of damage has been caused to works on paper through rough handling and inappropriate repair.
Always handling unframed works on paper carefully, preferably using clean cotton gloves. Support unmounted works on rigid board.
Never repair tears or punctures with pressure-sensitive tape, animal glue or rubber cement. These quickly degrade, causing repairs to fail. Adhesive can migrate into the paper causing staining and embrittlement.
Archival quality repair adhesives and tapes are available from conservation suppliers – these are useful for some simple tear repairs on archival material, but are not always appropriate for works on paper.
StorageWorks on paper should be stored in a clean, cool, dry environment, using archival quality materials. Storage systems depend on the media and whether the works are framed, mounted or loose.
Store framed works, vertically and with the image the right way up. Separate frames with rigid cardboard and protect intricate mouldings with bubble-wrap.
Mounted, unframed works should be stored horizontally in rigid, acid-free folders or archival boxes. Store similar sizes together or larger works on the bottom. Do not over fill boxes.
Interleave works with acid-free tissue. Attach an inventory to the lid of the box or the front of the folder.
Mounting and framingPoor quality mounting and framing materials become acidic. When works on paper are placed in close proximity to sub-standard materials, acidity will migrate into the paper engendering discolouration, staining and embrittlement. There may also be tonal changes and fading of certain pigments. Fixatives and varnishes are sometimes suggested as a means of sealing the surface of friable media such as pastel, chalk and charcoal drawings on paper. Unfortunately, fixatives cause irreversible texture and colour changes – delicate matte surfaces can become shiny and compacted and colours can take on a harsh, saturated appearance. Tonal balance can be further altered by the darkening effect of the varnishes and fixatives on the paper support. Both fixatives and varnishes will discolour on ageing.
Mount works on paper using 4 ply, 100% rag board, buffered with an alkaline reserve. The mount should comprise a backboard, to which the work is hinged, together with a window to separate the surface of the work from the interior of the glazing. Archival quality tape or paper hinges should be used to secure the work to the backboard. Never attach a work to the underside of the window.
The frame moulding should be sturdy enough to support the glazing, the mounted work and a backboard. Seal the backboard in the frame using brown-gummed tape or similar to restrict dust and insects.
Never use fixatives or varnishes on your work on paper. The best protection for woks in friable media is to mount and frame them to conservation standards. Always use glass in the frame and a window mount to separate the delicate surface of the drawing from the glazing. Never roll a work with a friable surface.
Never use acrylic glazing such as Perspex or Plexiglas when framing works with a friable surface. Acrylic glazing carries an electrostatic charge and will attract and disrupt loosely bound particles of media.
Never attempt to treat a damaged work of art on paper yourself. Consult a conservator, who will be happy to provide advice and information.
(Information from the National Gallery of Australian Conservation Department)
Q When comparing your exhibition spaces, keep an eye open for any equipment that might be used to monitor temperature, light levels or humidity. Also ask a staff member about how the artworks were transported.
Did you know a hygrothermograph is used to measure humidity and temperature in some galleries?
It uses human or horse hair to react to the relative humidity in the air! https://artmatters.ca/wp/2012/08/conservation-notes-get-to-know-a-hygrothermograph/
How art spaces market or promote their exhibitions or artists
Depending on the type of gallery space, and the size and budget, each gallery will have their individual approach to marketing or promoting themselves or the artists they are showing. Some of the main methods include:
Media – use of print media (newspapers, Art magazines, free or paid art listings), online media (website, online art listings, Facebook, twitter, Instagram), transmitted media such as television and radio advertisements. Other types of media now include mobile apps and e-newsletters. Some media is free to place, such as in Art Almanac, whereas others must be paid for by the gallery.
Invitations – either printed and mailed, or becoming more common, email invitations. These are sent to subscribers or people placed on mailing lists, people who have given their details because they are interested in getting information from the gallery.
Promotional material – large scale posters in bus shelters, at train stations, billboards on the gallery wall or other location, or smaller scale publications such as brochures and flyers. In house or outsourced graphic designers create these communication designs.
Publications – exhibition catalogues, essays (online or print), books written by members of the exhibition team, often the curator, media releases (online or print).
Marketing to specific audiences – educational facilities, businesses, philanthropic organisations. Targeted marketing is also used to develop relationships to attract funding or sponsorship to the gallery as a source of revenue, or to receive goods or services.
Word of mouth and interactive promotions - building up a good reputation, encouraging visitors to share their experiences – for example the Andy Warhol/Ai Weiwei exhibition had a children’s interactive “Creative Cats” computer game where you could make a funny cat meme and email it to a friend or relative! Clever marketing!
Artist Networks or organisations – where artists and galleries can meet to discuss their work, work together, make connections, build their professional network and apply for grants, funding and get information on promoting their art. Government arts organisations will also have gallery links or listings.
Competitions – Some exhibition spaces and organisations hold large art competitions to attract both artists and visitors. Prize money and exhibitions are awarded to the winners. Often these are sponsored by the government, and or private sponsors.
An interesting article about marketing strategies of the Smithsonian (American Museum) http://www.si.edu/Content/opanda/docs/Rpts2001/01.10.MarketingArt.Final.pdf
Marketing strategy of the Victoria and Albert museum in London http://www.vam.ac.uk/content/articles/m/marketing-the-v-and-a/
Q Consider some interesting and engaging ways you could promote a particular artist or exhibition? What would you do differently to promote work in a public gallery to work in an online gallery, an artist run space and a commercial gallery? Why are the needs different?
At least 2 exhibition spaces to compare and contrast in all aspects of exhibition
Q Complete the questionnaire sheet for each exhibition. Write a detailed comparison of the 2 exhibitions in terms of: the type of gallery/space, the type of exhibition, the exhibition design, the artwork shown, the meanings and messages in the work and the mood or atmosphere of the exhibition. Submit your completed question sheets, summaries of different roles of art industry professionals and written comparison for assessment.
