Name:_________________________________

Studio Arts Exam Revision 10am – 2.30pm Thursday 22 September, 2016

Notes prepared by Helen Attrill, Education Officer, Bendigo Art Gallery

Tel: 5434 6082 Email: h.attrill@bendigo.vic.gov.au

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Schedule 10 -10.30 Exam criteria; tips for writing about artists

View examples of exams and learn about structure and content

10.30 -11.15 Unseen examples; applied and recalled learning; analysis tips and practice

11.15-11.30 Break and view Skylab exhibition at VAC 11.30-12.00 Copyright and Appropriation – licensing agreements examples at galleries 12.00-12.30 Comparing exhibitions;

Exhibition Design, Sponsorship, Publicity and marketing Case Studies: Maticevski: Dark Wonderland Role of a Curator: Leanne Fitzgibbon, Senior Curator, Bendigo Art Gallery

12.30-1.30 Lunch and free viewing time – note: lunch is not provided 1.30 – 2.30 Optional Afternoon activities on offer:

1.30-2.00 & 2-2.30 (repeat talks) Conservation view items with Simone Bloomfield, Collections Manager in Bolton Court Maticevski: Dark Wonderland exhibition viewing – Helen Attrill to answer questions and explain exhibition design Complete evaluation forms and prize draws

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Studio Arts Examination Criteria: http://www.vcaa.vic.edu.au/vcaa/vce/studies/studioarts/publications/studarts-samp-w.pdf

Criteria The following criteria/ key skills will be used in context to assess the VCE Studio Arts examination paper.

1. using appropriate art language and vocabulary

2. identifying legal obligations and ethical considerations involved in the use of the work of other artists in the

making of new artwork

3. describing and comparing the roles of various galleries and other art spaces

4. identifying and discussing methods and considerations involved in presenting, promoting and conserving

artworks in a variety of exhibition spaces

5. analysing ways in which artists from different historical and/or cultural contexts undertake artistic practices,

employ materials, techniques and processes

6. analysing ways in which artists from different historical and/or cultural contexts develop aesthetic qualities

and styles in their artworks

7. understanding ways in which artworks reflect the artists’ interpretation of subject matter, influence cultural

contexts and communicate ideas and meanings

8. discussing artists’ practices relating to a particular artform(s)

Task:

1. underline or highlight the key words for each criterion 2. paraphrase your understanding of each point

1. Art Language and terminology: (for example) using Studio Arts terms such as aesthetics,

monochromatic colour; techniques such as gestural brushstrokes, etc. 2.

3.

4.

5.

6.

7.

8.

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9. Checklist for writing about your chosen artists What points do you need to revise?

Unseen artworks – what points do you need to know?

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Analysis practice tasks: Question 3 Select one artwork from the detachable insert. Discuss how aesthetic qualities contribute to the style of the artwork.

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Analysis practice tasks: Select one artwork from the detachable insert. Explain how the artist has communicated ideas and meanings.

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References: Become Fluent in the language - David Williams (Education Age 2011) http://www.vcaa.vic.edu.au/Pages/vce/studies/studioarts/studioindex.aspx http://www.vcaa.vic.edu.au/vce/studies/studioarts/exams.html http://www.vcaa.vic.edu.au/Documents/exams/studioarts/2012/2012studioarts-cpr-w.pdf http://www.vcaa.vic.edu.au/Documents/exams/studioarts/2012/studioarts_assessrep12.pdf

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Introduction Copyright in a work of art is automatic and exists from the moment the work is begun by its creator. Copyright always belongs to the creator of a work unless he/she assigns copyright to another party. It is important to remember that owning a work of art does not mean owning the copyright in that work and having the right to reproduce it without the owner’s permission. Australian copyright law is contained in the Copyright Act 1968 and, in the case of most works of art (except photographs), copyright lasts from the year of creation until 70 years after the death of the creator. (Note: the copyright act was amended in 2005 as part of Australia’s free trade agreement with the United States of America. Copyright changed from 50 to 70 years after the death of the creator. However, works which were already out of copyright on 1 January 2005 remain so, while for works still under copyright acquired the additional 20 years.)

Photography

If a photograph was taken before 1955 then copyright has expired. A photograph taken after 1 January 1955 is now covered by the same copyright laws as other artworks, i.e. 70 years after the death of the creator. Obtaining permission to reproduce a work of art Except in the circumstances listed under fair dealing, copyright permission must be obtained from the owner of the copyright, by any party wishing to reproduce a work of art in any way. Copyright owners can assign or license their rights. Assigning these rights means that another party becomes the owner of the copyright.

Licensing copyright

Licensing copyright means that another party is entitled to reproduce copyright material, with the copyright owner’s permission, for a specific purpose (a license is what is effectively granted to a museum or gallery that receives permission to reproduce a work of art). As well as seeking copyright permission to reproduce from the copyright holder, it is also a courtesy to seek the permission of the owner of the work of art. Moral Rights These rights impose certain obligations on parties reproducing copyright materials. A creator’s moral rights are:

The right to be attributed as the creator of his or her works (meaning that, at the least, any reproduction of his/her work must be accompanied by his/her name and the title of the work).

The right to take action if his/her work is falsely attributed to someone else.

The right of integrity. This is the right to take action if the work is (in reproduction) distorted in any way or treated in a way that is prejudicial to the creator’s reputation (for example, cropped or reproduced as a detail without acknowledgement as such).

COPYRIGHT BASICS Art galleries and museums

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Fair dealing There are a number of circumstances where a work in copyright may be reproduced without copyright clearance having been obtained. These fall under the ‘fair dealing’ exception in the Copyright Act, and are as follows:

Individuals are permitted to copy material for their own use for ‘research and study’

A journalist or other writer contributing to the print or digital media may reproduce copyright material for the purpose of ‘reporting the news’

A journalist or other writer contributing to the print or digital media may reproduce copyright material for ‘criticism and review’, but must specifically mention in his/her text the artist and title of work being reproduced.

Sculptures, exteriors of buildings, and other works of artistic craft on ‘permanent public display’ may be photographed, filmed or drawn and then reproduced.

Additional copyright information Additional information and advice on copyright matters may be obtained from the website of the Australian Copyright Council, which includes a series of useful information sheets covering a vast array of copyright issues. You will find them at www.copyright.org.au Information courtesy of Jennie Moloney, Rights and Permissions Officer National Gallery of Victoria

Case Study Potential copyright issue involving Australian artists Polixeni Papapetrou and Bill Henson and American artist Sally Mann appropriated by Australian artist Cash Brown: http://www.smh.com.au/entertainment/art-and-design/appropriated-or-just-inappropriate-20110507-1ed4j.html

Notes:

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Licensing case study Gallery Shop merchandise

In mid-2009 the Gallery decided to produce a new range of shop merchandise highlighting key works in the Gallery’s permanent collection. The curators and director selected a number of historic and contemporary art works for possible inclusion in this range of merchandise. Once the selection was made curator, Tansy Curtin, determined which works would need copyright approval. Of the nine works which were still covered by copyright, only one artist’s work was managed by Viscopy – Emily Kame Kngwarreye. Viscopy

Greeting card featuring the work of Emily Kame Kngwarreye

To obtain permission to reproduce an artwork licensed by Viscopy, an online application is made first. In this application the Gallery stipulated the type of use for the image, print run and estimated retail cost. Viscopy’s licensing fee in the case of greeting cards is 10% of the total retail value. For the card in question the Gallery utilised a cropped image on the front with the image reproduced smaller on the reverse. Because of the use of a detail image Viscopy required that a proof be sent to them before going to print. Viscopy also required that the caption for the artwork include: Licensed by VISCOPY.

Direct licensing from artists and gallery representatives For the remainder of the works still covered by copyright, the Gallery worked directly with either the artists of their agents. Because the Gallery is a not-for-profit for organisation the artists were happy to be given a selection of the merchandise rather than charging a licensing fee. The Gallery provided artists with the opportunity to proof the work prior to going to print and any galleries or agents were duly acknowledged along with the artwork caption.

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Practice Question

Question 5 Discuss a legal obligation and an ethical consideration that an artist may consider when using another artist’s work to make a new artwork. You may refer to a specific example in your response. Legal obligation

Ethical consideration

5 + 5 = 10 marks

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Role of public gallery staff Note: these roles are for Bendigo Art Gallery (a large regional Gallery with a staff of approximately 10–14) only; at larger galleries roles may be more specialised.

Gallery management City of Greater Bendigo Bendigo’s local government works with the Director to oversee all management issues including capital works, staffing and resources. Gallery Board The Board oversees acquisitions and manages the investments of donated funds/bequests which are then used for the purchasing of artworks for the collection. The Board meets every second month at the Gallery and assists in the assessment of the above and and review of policies relating to the collection. The Board also has formed a Foundation for the purpose of raising money for special projects for the Gallery.

Gallery staff Director Directors in public galleries lead staff in managing the collection, exhibition program and long term development of the gallery. Their role usually needs to be both creative and strategic, and is also concerned with securing supporters and sponsors. Directors work with their team to determine directions in public programming, audience development, marketing, promotion. This may involve regular trips to Melbourne, interstate or international venues to facilitate liaisons with major galleries and to bring back ideas for program development. Curatorial staff Curators in public galleries are usually involved in developing and maintaining the art collections, including acquiring artworks and planning and organising exhibitions, programs and events. Bendigo Art Gallery employs a Curatorial Manager, a Senior Curator and two Curators. Some of the tasks curators may perform may include preparing exhibitions both from the permanent collection and external sources. As Bendigo Art Gallery’s exhibition program comprises both exhibitions curated in-house and travelling exhibitions, a curator may be involved in researching artists for an exhibition or project managing a travelling exhibition. When artworks are acquired, the curators oversee documentation and may liaise with artists or dealers, visit artist studios or galleries to view or research artworks and facilitate the Cultural Gifts Program. Curators use their communication skills when liaising with other institutions and galleries, in presenting public programs such as curator talks or floor talks relating to exhibitions they have researched. Preparing exhibitions may involve researching and selecting works for inclusion, designing the layout of the exhibition, writing grant applications and loan requests, essays, catalogues and labels, budget management and financial reporting, and handling copyright and reproduction requests. Other tasks may include liaising with our Gallery Publicist in Melbourne, designing a marketing plan, liaising directly with the media, training and coordinating volunteers, strategically developing the Gallery’s audience through a variety of programs and events, coordinating social media, advertising and articles for publications for the promotion of the Gallery. Most recently, the additional role of Curator, City History and Collections has been introduced; this curator works on exhibitions that explore different aspects of the history of the City of Greater Bendigo, which are displayed at the Gallery’s satellite space, Post Office Gallery on Pall Mall.

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Education Officers Education Officers are usually teacher trained and are responsible for expanding public understanding of the gallery and art through education. They use their communication skills to interpret art for a variety of age levels for students and teachers through tours, workshops, Professional Development and printed resources. Collections Manager (formerly Registrar) A Collections Manager or Registrar is mainly responsible for collections management. This includes care of the art collection both onsite and off; management of loans; incoming and outgoing exhibitions; storage; packing; documentation; and handling of the collection. Bendigo Art Gallery’s Collection Manager coordinates the installation and de-installation of all exhibitions, and organises transport and insurance required for the movement of collection or exhibition material. They supervise the technicians’ duties, and are responsible for the maintenance and monitoring of environmental control systems and the integrated pest management program within the Gallery, and supervise contractors onsite in dealing with issues such as the environmental controls, as well as any maintenance within the building.

Other roles usually held at public galleries Administrative Officers Processes invoices and purchase orders for supplies, manages databases for membership and volunteers, records minutes of meetings, manages administration files, merchandising records and correspondence, and provides ongoing general administration support to all the staff. Technicians Technicians are responsible for the installation and deinstallation of exhibitions - mounting and display of works - from the collection as well as touring/incoming exhibitions. They set up technical equipment for functions and workshops. They also have the important role of assisting with gallery maintenance and presentation. Receptionists They manage all aspects of Gallery Reception, greeting the public as they enter the Gallery and handling initial customer enquiries, telephone calls, memberships, shop sales and updating/replenishment of stock, security, plus administrative duties. Volunteers Guides The Gallery encourages an active volunteer program. Volunteer Guides complete a minimum of a year’s training before taking public tours. Free guided tours are given every day of the week. The guides also provide tours for special events and may assist the Education Officer with school tours. The guides meet regularly, participating in an ongoing training program coordinated by a senior curator and a small team of representatives from the Guides, in addition to visiting other galleries and exhibitions. Friends of the Gallery The Friends are a committee of Gallery members who support the Gallery through fundraising events, administrative assistance such as collating mail outs, assistance at openings and other activities. Post Office Gallery volunteers Post Office Gallery volunteers are the public face of Bendigo Art Gallery’s satellite social history space Post Office Gallery. These volunteers provide a customer focused front-of-house presence in the Gallery and assist with the provision of information for visitors relevant to current exhibitions; these volunteers

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are also a practical support for programs and events at Post Office Gallery such as exhibition openings, talks and large group bookings. Gallery staff roles – not currently on staff at Bendigo Art Gallery Conservator A Conservator is responsible for the condition, repair, examination and conservation of the collection held in a gallery/museum. Many specialise into particular fields such as paintings, objects, paper or buildings. The role of a Conservator is to advise Gallery/ Museum staff on the appropriate handling, display and storage techniques for the collection, which include the environmental constraints. They also examine works prior to loan/ display to check condition and any possible changes will be noted. At Bendigo Art Gallery, this role is outsourced Exhibition Designer Exhibitions designers are responsible for the overall design, construction and installation (if required) of the exhibition. This includes a floor plan or layout of the proposed exhibition with the locations of the various exhibits or works. The role includes conferring with Curatorial staff on content, themes, interpretations and overall information to be presented as well as the budgets and other limitations. The Exhibition designer may also oversee the final layout to completion. This year two different exhibition design companies were employed to deliver the exhibition design for the exhibitions Bendigo Art Gallery and Twentieth Century Fox present MARILYN MONROE and Maticevski: Dark Wonderland. At Bendigo Art Gallery, this role is integral to the role of Curators, Collections Manager and Technicians. Visitor/ Public Program Officer Public Programs Officers are responsible for planning the yearly calendar of events within the public spaces of the Gallery, in conjunction with the Curatorial team. This includes the presenting of talks, events, demonstrations and other activities organised by the institution. Quite often the VP interprets the themes & ideas demonstrated within the exhibitions, enhancing, educating and entertaining the experience of the visitor. At Bendigo Art Gallery this is integral to the role of the senior curator who coordinates the program and delivers the events and activities with the support of key staff. Marketing & Public Relations Publicists are responsible for developing marketing strategies to develop and enhance the Gallery’s image. They identify potential sponsorship, supporters and special project funding within corporate and community contacts on behalf of the Gallery. They develop and disseminate public relations materials, such as media releases to promote the Gallery and special exhibitions. At Bendigo Art Gallery, a freelance publicist is employed. Publicity is organised in consultation with the Director and managed by the Senior Curator. Recently a Marketing and Audience Engagement Officer has been employed at the Gallery. Visitor/ Public Program Officer Public Programs Officers are responsible for planning the yearly calendar of events within the public spaces of the Gallery, in conjunction with the Curatorial team. This includes the presenting of talks, events, demonstrations and other activities organised by the institution. Quite often the VP interprets the themes & ideas demonstrated within the exhibitions, enhancing, educating and entertaining the

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experience of the visitor. At Bendigo Art Gallery this is integral to the role of the senior curator who coordinates the program and delivers the events and activities with the support of key staff.

Diagram indicating Bendigo Art Gallery staff structure

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The classification of gallery/exhibition space, for example, public or commercial gallery, alternative art space or online exhibition The La Trobe University Visual Arts Centre (VAC) is a public art gallery and events venue owned and operated by La Trobe University. The VAC seeks to be the best small contemporary art gallery in the region, and forms part of the University’s cultural mission and community engagement agenda in Central Victoria. The role of the exhibition curator, gallery curator, graphic designer and web designer The exhibition curator is responsible for:

Preparation and submission of exhibition proposal

Co-coordinating the artists

Choosing the works

Catalogue design

Transport and logistics The exhibition designer is responsible for:

Exhibition Layout and installation The gallery curator is responsible for:

Scheduling the exhibition

Exhibition management

Installation

Promotion

Media liaison

Maintenance

Public programs The VAC works with an external graphic designer to develop the exhibition collateral, display advertisements and invitations. The VAC administers its own website. It presents the ‘hero’ image for current exhibitions on the landing page, with links to more images and detailed information. How the exhibition space deals with conservation issues The VAC is a contemporary art gallery, not an art museum. Conservation issues rarely arise as the exhibition period is six weeks. If a work is damaged or compromised in any way, the Managing Curator will discuss an appropriate course of action with the artist or exhibition curator.

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Handling The utmost care is taken when handling artworks. White gloves are used, and installations are carefully planned to ensure no works are at risk of damage. VAC Staff are required to understand the Occupational Health and Safety issues relating to lifting heavy objects, working at height and the use and testing of electrical equipment. Transportation The VAC does not generally provide transport for exhibitions. It is the responsibility of the exhibitor to arrange the delivery and collection of artworks. How the gallery deals with the promotion and marketing, exhibitions, artists and artworks: Promotion and marketing To promote the exhibition the artists, exhibition curator and gallery curator select a “hero” image that represents the key ideas and the aesthetic of the exhibition. This image is used consistently in advertising, invitations, and the VAC’s exhibition calendar. The University allocates an annual operating budget for the VAC. This is supplemented by revenue from venue hire and other initiatives at the Centre. The overall budget is small, so relationships with media and external networks are important to help promote the VAC’s exhibitions and public programs. The VAC promotes the annual exhibition program in several ways:

Display advertisements in Broadsheet magazine and Art Guide Australia

Line listings in Art Almanac, Trouble, and Art Guide Australia

Emailed invitations and a monthly ‘what’s on’ guide to visitor mailing list

A quarterly exhibition calendar distributed throughout the region

Increasingly, through social media (Facebook and Twitter) For each exhibition the VAC prepares a media release based on the artist statement and exhibition proposal. The VAC has developed contacts with local media and national arts journals, and coordinates interviews with the artist or curator for radio, newspaper and television. Exhibitions, artists and artworks The VAC seeks to present the best in contemporary art and provide a focus for discussion relevant to contemporary ideas and art practice. The annual exhibition program is mostly chosen from artist’s applications. Other exhibitions are by invitation or arranged as part of a touring exhibition program. From February to March each year the VAC calls for submissions from artist’s wanting to exhibit. The VAC Selection Committee then reviews the written proposals describing the artist’s work and outlining the curatorial rationale for exhibitions. The Selection Committee looks for highly resolved work that exemplifies contemporary practice. The University supports VAC Gallery exhibitions financially by providing the gallery, staff, an exhibition launch, media support and installation technician. Artists and curators are encouraged to present a floor-talk, public lecture or workshop during the exhibition.

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Artworks are insured by the University while at the VAC. A loan agreement between the VAC and the exhibitor is prepared for each exhibition declaring the value of the work. This legal document also defines the exhibitor’s expectations in relation to the public’s interaction with the work, including whether photography is permitted. The main characteristics of the exhibition space The exhibition is presented in Gallery One the VAC. The gallery space is large and rectangular with white walls and high ceilings. There is a choice of two entrances. Depending on the nature of each exhibition either a large central entranceway or a smaller side door can be used. The small entrance is used for this exhibition to create a darkened intimate space. Sound escapes the gallery space and permeates the foyer creating a sense of curiosity and interest inviting visitors to discover the exhibition. The wall text, introducing the exhibition, is placed close to the left of the doorway indicating the point of entry. The gallery has a number of lighting options:

Evenly dispersed fluorescent lighting

Wall wash lighting emphasizing the ceiling design and height

Spotlights (with or without beam shapers) for highlighting and dramatic effects

Natural light For this exhibition, natural light has been excluded from the space in order to best display the projections and only dimmed spotlights are employed to highlight the theatrical trees. The floor of the gallery is polished bluestone which contributes to the contemporary ambience of the space. Exhibition title:

How has the exhibition design influenced your viewing experience?

Prepared by Paul Northam, Managing Curator, La Trobe University Visual Arts Centre, Dr. Karen Annett-Thomas, Artist, and Helen Attrill, Education Officer, Bendigo Art Gallery.

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View a current exhibition; research aspects of the preparation and presentation of the exhibition with reference to: The classification of gallery/exhibition space, for example, public or commercial gallery, alternative art space or online exhibition. Bendigo Art Gallery is a public art space, owned and operated by the City of Greater Bendigo (local government) and retaining an independent Board of Management who oversees investment of funds for acquisition. The exhibition has been curated by the Gallery’s Senior Curator Leanne Fitzgibbon and is displayed exclusively at Bendigo Art Gallery. The works have been sourced primarily from the extensive archive of the designer, with some additional loans via the Australian Ballet, BalletLab, Ryan Storer and Sydney Dance Company. One of Bendigo Art Gallery’s goals is to push the boundaries of what a regional gallery can offer, providing exhibitions of international significance; this also reflects the changing role of The City of Greater Bendigo, as a provider of quality programs that attracts audiences locally, nationally and internationally. The Gallery presents fashion and textile design exhibitions as part of its commitment to offering a diverse array of content, from historical to contemporary, across all media. How does Bendigo Art Gallery, through this exhibition, provide access to a range of audiences?

The main characteristics of the exhibition space The exhibition is displayed across seven exhibition spaces, the majority of spaces being part of the Gallery’s most recent redevelopment (completed in 2014). The Gallery employed an exhibition designer to assist with the layout and design of the exhibition spaces. The exhibition curator presented the designer with a number of ideas/concepts to incorporate into the overall aesthetic of the exhibition. Colour and lighting had an important role to play – the concept was to present an exhibition that moved from darkness through to light, with considered, dramatic use of lighting. The importance of Maticevski’s use of surface pattern was highlighted through the vinyl used in the ‘orchid room’. Moving image also forms a component of this exhibition, with a large scale runway presentation projected in the first room of the exhibition providing an introduction to Maticevski. Excerpts from three performances (for which Toni Maticevski designed the costumes) are included, plus interview footage, including a short documentary produced by the Gallery for the exhibition. The light levels are set at 50 lux throughout the exhibition, the international standard for textiles and works on paper.

Studio Arts Unit 4 Outcome 3 exhibition focus Maticevski: Dark Wonderland

13 August – 20 November 2016

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Exhibition design plans and diagrams

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Discuss the effect of spreading the display of the artworks across seven rooms:

Analyse the effect of the black vinyl in the space; do you think the walls compliment the artworks or detract from them? Discuss:

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The approach for displaying artworks The exhibition presents an overview of the career of renowned Australian fashion designer, Toni Maticevski, and is an opportunity to view Maticevski’s practice in a museum context. It reflects his love of the past balanced with cutting edge innovation, presenting garments that are exquisitely crafted and completely contemporary. The result of four years of discussion and planning, Dark Wonderland illustrates the evolution of Toni Maticevski’s oeuvre, with 63 complete ensembles plus jewellery. The majority of works have been selected from the designer’s own extensive archive. The current configuration utilises 800 square metres of gallery space, with the exhibition content presented thematically as follows -

Introduction

Undertones

Palette and texture

Performance

Surface and pattern

Process and presentation

Culmination

The curator has chosen a mix of open and cased display, incorporating large raised plinths, boxes and turntables. The objects are displayed on mannequins, with the exception of one very fragile garment displayed flat in a floating case, and two garments floated on clear Perspex 2D forms in a case. The use of vinyl to wrap sections of wall in the exhibition transformed the gallery spaces, complementing the display.

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Explain the effect of the spacing and grouping of the artworks and the way in which they are hung or displayed on plinths; how does this differ from the artworks on display in the (Salon Style/ 19th century) Bolton, Drury and Abbott Courts at Bendigo Art Gallery?

What was the intention of the curator in displaying the objects? This exhibition presents an overview of the practice of Toni Maticevski, highlighting recurrent themes, and techniques, and demonstrating the breadth of his career to date. The exhibition design reflects the darker elements in his work, his interests in high tech fabrics, his use of drape and tailoring, and his ability to sculpt with fabric. The exhibition is designed to showcase his design aesthetic and the evolution of his work over the past 20 years. Grouping thematically allows the visitor to engage more broadly with the design approach of Maticevski and develop an appreciation of his skill. How does the exhibition design influence your viewing experience?

The role of the curators, exhibition designer, graphic designer and other staff The Curator (Leanne Fitzgibbon, Senior Curator, Bendigo Art Gallery) worked with Toni Maticevski and staff from the Maticevski studio, as well as private lenders and institutions to deliver the exhibition at Bendigo Art Gallery. This involved considerable access and research into the Maticevski archive, sourcing relevant objects, images, film footage, loan documentation, freight, copyright permissions, installation requirements, and providing details on infrastructure and installation details. Bendigo Art Gallery worked with an independent Graphic Designer to develop a ‘Look and Feel’ for the exhibition. This was subsequently developed into a style guide for the exhibition including fonts and colours and has been used on all marketing materials. The graphic designer then used this guide to design ads and other promotional material including an exhibition catalogue. A sign writer was engaged to install the vinyl wall wraps, contextual images, exhibition graphics, introductory text panel, and title wall.

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The Curator researched and wrote the text and information about the objects and the exhibition sections for use in newspapers, journals, social media, interviews etc to give the public an idea of the content of the exhibition. The information was also transformed into label text for individual objects and exhibition sections in the gallery spaces, for diverse audiences. The Curator developed public programs and events to complement the exhibition and enhance the visitor experience, such as guest lectures, artists’ talks, practical workshops, film events, family events and more. The Curator liaised with the Collections Manager and Technicians regarding transport and installation aspects of the exhibition. An Exhibition Designer was appointed to assist with the layout of the exhibition, designing exhibition furniture (plinths), developing a colour palette as well as creating floor plans and elevations to show the overall layout of the exhibition. The installation of the exhibition was coordinated by the Collections Manager and the Curator, with support from the Maticevski studio. All labels and extended text panels were supplied by the Curator. How the exhibition space deals with conservation issues Handling: The objects were all handled with nitrile gloves to ensure they were not damaged and kept clean. The garments and jewellery was installed onto the custom-built mannequins by Toni Maticevski, the Curator and a Maticevski staff member. Some preventative conservation was undertaken in the lead up to installation by Toni Maticevski. Lux Levels: Textiles and work on paper are extremely light sensitive and so must be display at 50 lux. All works in this exhibition are displayed under these conditions.

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Transportation: Transportation was organised by Bendigo Art Gallery, utilising an experienced art handling Freight Company. The works were soft packed by qualified Maticevski staff. The works were transported by air in climate controlled storage and then in trucks from the airport with specialist art handlers. What else has been included in the exhibition to reduce the likelihood of deliberate or accidental damage to artworks?

Travelling crate

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How the gallery deals with promotion and marketing The Gallery’s approach to promotion and marketing differs with each exhibition, and in accordance with its budget. The Gallery also works closely with the City of Greater Bendigo’s Tourism Department to market its exhibitions. For this exhibition, the Gallery focused on a diverse audience as well as the traditional arts engaged audience. The Gallery developed campaigns in news media (print and online) street advertising (posters, collaborations with local traders). The Gallery and Tourism also utilised social media platforms – Facebook, Twitter, Instagram, and engaged with fashion and travel bloggers to promote the exhibition, as well as producing online short docos and a TV commercial. The Publicist created the media release in consultation with the Curator and targeted a range of journalists and publications from metropolitan and national newspapers to arts magazines, niche lifestyle publications and local media. Hero Image Hero images selected for promotion usually has a strong shape and focal point that can be reproduced large or small. They should sum up what the exhibition is about and communicate that to a wide audience. Usually at least two or three hero images are selected for promoting an exhibition.

Online advertisement

Toni Maticevski Doona Dress AW 07/08 Photographer - Justin Edward John Smith Image - Australian paper campaign by 3 Deep

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PRESS RELEASE

August 2016

MATICEVSKI

Dark Wonderland 13 AUGUST – 20 NOVEMBER 2016 For the first time in his celebrated 20 year career, renowned Australian fashion designer Toni Maticevski opens up his archives for an exhibition that reveals the beauty and breadth of his oeuvre, and the gowns that have made him an international fashion icon. Toni Maticevski has achieved world-wide acclaim for his masterful approach to the manipulation of traditional fashion silhouettes and innovative use of materials, colour, texture and fabrics. Dark Wonderland, curated by Bendigo Art Gallery, celebrates his unique skill in dressing the female body, his obsessive attention to detail and his continued interest in tailoring, line, and reinventing classic forms and techniques. Since he first launched his label in 1999, Toni Maticevski’s garments have been worn by revered fashion icons and featured in some of the world’s most prestigious fashion magazines. Yet he retains a strong hands-on approach to his work, draping and sampling his designs himself, balancing a ready-to-wear label alongside a bespoke practice that caters to one-off commissions. His look books are full of elegant and ethereal objects juxtaposed with bold sculptural garments. Twisted, draped and structural designs are underscored by contrasting fabric textures and weights, creating a sense of drama and a transformation of the human form. Mixing high glamour and exacting technical know-how with a desire to continually experiment, Maticevski has created a catalogue of work that is highly diverse and focused on ideas and creative challenges rather than trends and commerciality. Tony Maticevski has collaborated with institutions such as Phillip Adams Ballet Lab (for which he won a Helpmann Award in 2011, with milliner Richard Nylon), contributed to campaigns for The Australian Ballet, and in 2013 was selected for the National Gallery of Victoria’s exhibition Melbourne Now. He is represented in the collections of the National Gallery of Victoria, Powerhouse Museum Sydney, the Fashion Institute of Design in Los Angeles (FIDM), and numerous private collections. This exhibition will include objects from Maticevski’s early practice through to his most recent creations. Highlights include the Monaco Gown design worn by Crown Princess Mary to the King’s 80th birthday, and the specially commissioned gold and silver lame gown worn by Jessica Mauboy for Eurovision 2014. It will coincide with the launch of The Elegant Rebel, a visual archive featuring more than 200 images and illustrations, spanning the designer’s fashion career, published by Thames & Hudson. It will be complemented by a series of public programs, events and workshops. Maticevski: Dark Wonderland 13 AUGUST – 20 NOVEMBER 2016 Bendigo Art Gallery. Bendigoartgallery.com.au For further media information: Katrina Hall Publicity/Communications

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Publicity Staff In larger state public galleries a full-time publicity officer may be employed. At Bendigo Art Gallery, which is a regional public gallery, we employ a Marketing Officer who manages promotional opportunities as well as outsourcing some requirements to a freelance publicist. The curators also take on publicity as part of their role and must be able to write media releases and liaise with the media. Sponsorship Bendigo Art Gallery has a number of ongoing sponsors and supporters such as Creative Victoria, City of Greater Bendigo, International Art Services (freight support) and Bendigo Advertiser (media support). This exhibition also has a number of additional sponsors (specific to the exhibition), including Myer, Symes Motors, Art Series Hotels, Australian Turntable Company, Jools For Jim, Libertine, Make Your House a Home, Mei and Picchi and Vline. Government Sponsors: Government sponsorship assists in an ongoing sense with the operation of the Gallery, for the purpose of delivering exhibitions and programs via Creative Victoria. The Gallery is owned and operated by the City of Greater Bendigo, and as such is largely supported by local government.

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Logo Tree: Prepared by Leanne Fitzgibbon, Senior Curator, and Helen Attrill, Education Officer, Bendigo Art Gallery

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View a current exhibition; research aspects of the preparation and presentation of the exhibition with reference to: The classification of gallery/exhibition space, for example, public or commercial gallery, alternative art space or online exhibition. Bendigo Art Gallery is a public art space, owned and operated by the City of Greater Bendigo (local government) and retaining an independent Board of Management who oversees investment of funds for acquisition. How does Bendigo Art Gallery, through this exhibition provide access to a range of audiences?

The exhibition spaces

The Paul Guest Prize is displayed in one large space within the Gallery. The Paul Guest Collection is displayed in two smaller spaces alongside the Prize. Part of Simone’s role is to liaise and communicate regularly with the benefactor, Paul Guest. Paul initiated the prize back in 2010 and it is held every two years. Not every time, but occasionally when the prize is being held, Paul requests an exhibition of works that he has collected over the years. This year, Simone has selected some works for display using the following curatorial rationale: This selection represents a small highlight of works from Paul’s expansive collection that focuses on the notion of ‘line’. Line is arguably the most basic element of art. Given Paul’s appreciation of drawing – an inherently linear practice – these works have been chosen based on the premise that each artist utilises the line in vastly different ways; creating an interesting and dynamic selection of works. The following image is of the exhibition layout. To help determine the layout, Simone uses thumbnail images of the selected works and places them onto a map of the Gallery spaces. This is not to scale but helps give the curator a visual impression of the possible layout of the space.

Studio Arts Unit 4 Outcome 3 exhibition focus

Paul Guest Prize 2016 27 August – 16 October 2016

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Exhibition layout – Paul Guest Collection

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Installation images – Paul Guest Prize

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Analyse the effect of the white cube space; do you think the white walls compliment the artworks or detract from them? Discuss:

The approach for displaying artworks The Paul Guest Prize presents 45 artworks – finalists in the drawing prize. A prize is like no other exhibition; while the works have been viewed and selected beforehand, it was done so by viewing jpeg files, not through viewing the works first hand. In this sense, sometimes works arrive and are not what we were first expecting. It can be quite challenging to finalise a layout, to make sure all the works sit at ease with one another and to ensure it is ‘equal’ – equal and consistent lighting and equal and consistent spacing. Given it is a prize that will be judged, every effort is made to ensure all works are displayed in an even and fair manner. Explain the effect of the spacing and grouping of the artworks and the way in which they are hung or displayed on plinths; how does this differ from the artworks on display in the Bolton, Drury and Abbott Courts at Bendigo Art Gallery?

The role of the Curator The Paul Guest Prize and Paul Guest Collection exhibitions have been curated by one of the curators, Simone Bloomfield. This particular prize is exclusive to Bendigo Art Gallery. The Paul Guest Prize is a non-acquisitive cash prize of $12,000 which is held every two years, highlighting contemporary drawing practice in Australia. The Prize was initiated by former Family Court Judge and Olympic rower, the Honourable Paul Guest QC and encourages artists from across Australia to engage with the important medium of drawing and to create challenging and unique art works. The prize requires a considerable amount of administration work. While the exhibition itself begins in August, the process commences back at the beginning of the year. The following steps briefly outline the process, coordinated by the Curator:

Develop a timeline

Decide upon and invite a potential judge

Liaise with Graphic Designer to create entry form 2016 was the first year that online entries were available; this meant no hardcopies were printed. We did however need to create the entry form for online use

Receive entries up until closing. Generally we get more than 300 entries in total

Collate entries/images for pre-selection

Pre-select 40-45 finalists from total entries

Notify all artists of outcome

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Confirm with finalists their intention to participate

Organise opening event (official speakers, technical requirements, catering, staff etc.)

Organise delivery date of finalists’ works through International Art Services (Artists must organise their own transport but they are also welcome to deliver their work in person)

Arrange layout in exhibition space

Technical team to hang works and finalise lighting

Judging

Arrange the prize money

Opening and announcement

Liaise with publicist and media

Paul Guest Prize 2016

Entry forms available Jan/Feb

Applications close 4pm Friday 3 June

Judge's pre-selection Thursday 23 June

Artists advised of selection Friday 8 July

Final delivery of artworks Week of Monday 8 - Fri 12 August

Judging tbc

Announcement and opening Friday 26 August

Exhibition dates 27 August – 6 November

Collection of artworks Week of Monday 7 – Fri 11 November

Paul Guest (benefactor), Peter Grziwotz (winner 2016), Godwin Bradbeer (judge) Prepared by Simone Bloomfield, Curator, and Helen Attrill, Education Officer, Bendigo Art Gallery

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Dos and Don’ts for exhibitions and art spaces

Know the correct names and spelling of the art spaces and exhibitions you are referring to

If the art space is relatively unknown, add in detail e.g. Chancery Lane, (a public laneway in the

CBD of Bendigo)

Give dates of exhibitions to prove you visited an exhibition this year e.g. February to April 2016

If asked to compare, do so; find similarities and differences; don’t write a ‘chunk’ on each and

sum up at the end; make these comparisons and differences interesting. For example, each of

your art spaces might show art in a ‘white cube’ space but the public gallery may provide

curated extended (didactic) labels to explain the exhibition to a general audience, whereas a

commercial gallery may only provide detail on the artwork through a pricelist.

If asked for your opinion, write in the first person (e.g. how the exhibition design influenced your

viewing)

Write with significance! Each art space you have chosen fulfills a role to display art to an

audience; consider the different audiences each space may cater for and the audiences they

may attract. Try to demonstrate this specialist knowledge in your answer; don’t just sum up

similarities and differences.

Use arts terminology such as

Salon style

Eye-level

Spotlighting/ wall wash lighting

Symmetry/ balance

Plinth (pedestal)

White cube space

Extended (or didactic) labels

Juxtaposition

Hero image

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Bendigo Art Gallery

Mission Statement

Bendigo Art Gallery is a permanent establishment administered in the public interest whose primary functions are to collect, preserve and display works of art and to elucidate their history and background for the pleasure and education of the public. The Gallery carries out this task by performing the following primary functions as ends in themselves:- 1. To acquire appropriate works of art for its collection. 2. To ensure that works for which it is responsible are adequately housed, documented and cared

for. 3. To display its collections to their fullest advantage. 4. To supplement museum owned material with exhibitions and loans from other sources. 5. To expand public understanding of art. 6. To ensure that the premises are accessible to the public and are safe and attractively

maintained. 7. To provide an appropriate level of ancillary services, such as shops, restaurants and public

programs which will attract the public and increase its enjoyment and understanding of the Gallery and its purposes.

In order to perform these functions effectively, a Gallery may also concentrate on other areas such as the following, as means to the ends listed above. A. To encourage the active development of staff skills and professional expertise. B. To publicise its activities so as to maintain a high level of attendance. C. To provide research facilities and services to document works and to offer source material

primarily for educational programs and publications. D. To raise funds for Gallery purposes. E. To maintain a positive relationship with individuals and organisations both public and private,

which are relevant to the Gallery.

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Chancery Lane and Pennyweight Walk, Bendigo

The classification of gallery/exhibition space, for example, public or commercial gallery, alternative

art space or online exhibition.

There are two open air galleries located in Bendigo, one in Chancery Lane the other located in Pennyweight Walk (between Bath Lane and Hargreaves Street ) Chancery Lane is located within the central business district between Hargreaves Street and Pall Mall. Chancery Lane is a central hub for contemporary café culture and a popular location used by artists to exhibition temporary paper based 2D street art – Paste Ups. The City of Greater Bendigo commissioned its first paper based artwork in 2009, a paper wall created by printmaker Carly Preston. In 2010 Greater Bendigo, Latrobe University in partnership with the owner of El Gordo Café launched Ground Level. Ground Level provides artists with an opportunity to display new work on the walls in Chancery Lane. Pennyweight Walk is curated space managed by the City of Greater Bendigo. Pennyweight Walk is located between Bath Lane and Hargreaves Street with artworks changed approx. every two years.

What are the goals of Public Art projects such as Chancery Lane and Pennyweight Walk? What sort of artists do they cater for? Public art - both permanent and temporary enhance experiences in public spaces. When artists place artwork in public locales they are creating inspiring and interesting places to be. Greater Bendigo developed Public Art policies in 2008, thereby providing a framework for developing public art in Bendigo. Projects such as Ground Level and Pennyweight Walk have been highly successful and have provided a pathways and opportunities for approximately 100 artists.

The main characteristics of the exhibition space How is this space different to a public gallery? How do you as a viewer interact with the artworks? Art work is displayed within a public space. The artworks attract a varied audience for this very reason.

The role of the curator, conservator, exhibition designer, graphic designer, web designer In the absence of paid staff mentioned above, how is the gallery staffed? Most buildings along Chancery Lane are privately owned and permission is needed to display new artwork. The City of Greater Bendigo enforces strict local laws; chalking, advertising posters and graffiti will be removed. Only paper based 2D artworks have been approved in this location. Some painted art works exist, where the artist has negotiated directly with the property owner. For artists wishing to display new work in Chancery Lane it is advisable to contact City of Greater Bendigo Co-ordinator Arts and Culture, Maree Tonkin m.tonkin@bendigo.vic.gov.au

What’s not permitted?

Advertising signs including ALL posters

Artworks containing offensive language, racism, pornography and nudity

Painting and /or spaying paint directly onto walls

Obstruction of pedestrian access/flow to nearby cafes and shops along Chancery Lane * artists are reminded that Chancery Lane is a busy public space and to be respectful of others using /trading in this space.

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How the exhibition space deals with conservation issues Is conservation of concern in this space? Why/ why not? Longevity is not as much of a concern for these works due to weather and environmental factors. Should artwork be significantly damaged the City may remove the artwork completely. Paper based street art weathers and fades overtime and may be vulnerable to vandalism and damage. How the gallery deals with promotion and marketing List the different ways artists promote their artworks. How does this differ with a large public gallery? What is the target audience? Promotion and marketing is entirely up to the exhibiting artist/s. Artists often promote their art through websites, Facebook and artists blogs. If an artwork is directly commissioned by the City of Greater Bendigo artworks may be promoted on the City of Greater Bendigo website and in other Council publications.

Be Free ‘Untitled’ Paper Stencil Commissioned by CoGB 2012 Image by Maree Tonkin 2012

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Launch day of Pennyweight Walk’s Open Air Gallery 2013

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B E N D I G O A R T G A L L E R Y CONDITION REPORT

Condition Report PAINTING

ARTIST TITLE MEDIUM DIMENSIONS ACCESSION NUMBER

PAINTING SUPPORT Tension/Strength Surface Plane Damages AUXILIARY SUPPORT PAINT FILM Craquelure Pattern Cleavage/Cupping Losses Scratches/Abrasions SURFACE Appearance Surface Dirt Abrasions/Damages FRAME Rigidity Splits Cracks Losses Gilding Paint Losses FITTING Secured By Backing Board Glazing Alignment GENERAL COMMENTS

EXAMINED BY

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EXAMINATION DATE

Gal lery and Museum Conservation

Pract ices

Galleries and museums world-wide are responsible for the care and preservation of an immense variety

of (often irreplaceable) objects and artefacts.

Artworks held by galleries can include paintings, prints, drawings, sculptures, ceramics, textiles, and

decorative arts. The mediums (materials) used to create these artworks can be extremely diverse, and

each requires particular conditions in order to ensure its preservation for generations to come.

An international standard of care exists, and is recognised as providing the optimum conditions for the

preservation of any artwork or artefact, no matter what it is made out of. These standards take into

account the various elements which can affect an artwork, and are used in conjunction with additional

gallery and museum practices.

1. Environmental Controls

2. Light Levels

3. Integrated Pest Management (IPM)

4. Manual Handling

5. Storage

6. Other: Collection Management, Lending, Security

Images: left – Bolton Court, December 2014, right – Gallery 7, March 2014

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1. Environmental Controls

The environment (essentially, the air) within a gallery space is controlled as strictly as possible, as

prolonged exposure to inadequate conditions or sudden and extreme fluctuations can be extremely

detrimental to a collection. Bendigo Art Gallery has a computerised air-conditioning system, which is

programmed to maintain a steady temperature and humidity at all times: 24 hours per day, 7 days per

week.

The system:

o Temperature and humidity readings are taken every 15 minutes from small wall mounted

thermohygrographs.

o The database uses this information to run the Air Handling Unit (AHU) or Fan Coil Unit (FCU) for

each area of the gallery, whether it is storage or display.

Temperature

o Optimum temperature for the majority of mediums is 20 degrees Celsius, with an allowance of +

or – 2 degrees.

o Mediums most susceptible to changes in temperature include paper, textiles (particularly

natural fibres), wood, paint, rubber, and celluloid (film).

o Long exposure outside of the target temperature of 20˚C, can result in paper, textiles, lacquer,

leather, natural fibres, bone, wood and paint can darken, and become brittle. Rubber can

crumble.

o Celluloid requires a lower temperature than other art forms, or it can yellow, and fade.

o Higher temperatures will also speed up decay in natural fibres and materials.

Humidity

o Relative humidity (RH) is the percentage of water found as vapour in any given volume in the air.

Images: Today’s wall mounted thermohygrograph (left), and an older example (right), still used in some museums and galleries

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o The ideal climate for most mediums is 50%, with an allowance of + or – 5%.

o Below 45% organic materials such as paper, wood, leather, animal glue, and shell all

become brittle, dry out and may split or warp.

o Above 65% mould will grow, veneers will detach, metals may corrode and paint may

flake.

o Fluctuating relative humidity is extremely damaging; organic objects that constantly absorb and

de-absorb moisture literally swell and shrink, which will result in the object weakening, splitting,

buckling and flaking.

o A combination of materials can also result in an extension of damage, due to the different stress

levels of materials:

o Wood and painted surface – when the stretcher of a painting expands or contracts, the

paint will crack and flake.

o Wood and textile – textiles become stained/ brittle

o Metal and paper – metal corrodes, paper becomes stained.

Example of damage incurred due to temperature and humidity fluctuations:

JC Morris, Landscape and sheep 1860, oil on canvas, Bendigo Art Gallery 1902.6

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2. Light Levels

Light damage is cumulative and irreversible, so management of both light levels and duration of

exposure is very important for the preservation of artwork.

Some mediums are affected by light more drastically than others, and so by limiting either one or both

of these factors, potential damage to the work can be avoided.

o Light in this context refers to both light that can be seen, and ultra-violet (UV) exposure.

o Standards differ depending on the composition of the work.

o Works on paper and textiles require a lower light level of 50 lux

o Acrylic and oil paintings can accommodate up to 120 lux.

o Stone, glass, ceramic and metal can accommodate almost any range of light level.

o UV is very damaging due to its high energy. This is why Gallery and Museum standard lighting

tends to use Tungsten (halogen) bulbs rather than Fluorescent tubes. However, Tungsten is

hotter than Fluorescent, so they must be kept a greater distance from the works.

o Because light damage is cumulative, ideally artworks that are most susceptible to light damage

have restricted availability for exhibition. An allowance of 3 months on display out of every 12

months is standard, particularly for work on paper and textiles.

Images: View of the Maticevski: Dark Wonderland exhibition, with level of 50 lux (left), and a light meter (luxometer), used to measure light levels within the gallery (right).

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3. Integrated Pest Management (IPM)

Integrated Pest Management is used in most galleries and museums to protect collections from insect

and rodent damage.

The practice comprises aspects of good housekeeping:

o Cleaning both Front of House (the public areas of a gallery) as well as Back of House (the

administration and storage areas).

o Laying and monitoring of indicator traps to record the types of activity and potential infestations

that may occur.

o Regular surface fumigation of the exterior perimeter of the building, loading bay areas, as well

as the inside the gallery if required.

Prevention is better than cure; a successful IPM program also includes rules for the public.

o Conditions of entry for most galleries and museums include ‘no food or drink allowed’; if

attractants such as sugary substances and food crumbs are not introduced pest infestation is

much less likely.

Different pests are attracted to different mediums

o rodents will potentially feed on any material

o some moths and beetles feed on canvas and textiles

o silverfish and other insects feed on paper-based products.

Image: Indicator traps, use in back of house areas to show any insect activity.

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4. Handling

To ensure their safety, artworks and artefacts require different approaches to handling.

To glove or not to glove?

Gloves are worn to prevent the oils and acids from

your skins from marking and damaging the surface

of the work.

Fingerprints may not show up immediately; in the

case of photographs and silver, it may take several

years to etch into the surface. However, once the

fingerprints are there they cannot be removed.

o Nitrile gloves – Framed work, metals, textiles, some ceramic (unglazed) and glass.

o Riggers gloves (nitrile/latex) – heavy objects

o Bare hands – glazed ceramic, unframed work on paper (with paper corners)

o Cotton gloves were once used extensively, however they do not provide adequate tactility and

grip to safely handle many object types or mediums

o If works are in packing material they are carried without gloves as this is allows for a safer grip.

Images: Top, from left to right – nitrile, riggers, and cotton gloves. Above: a view of the movement of a gown in preparation for the installation of the White Wedding Dress exhibition.

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Handling and movement of artworks and artefacts is minimized wherever possible, as this reduces the

risk of any damage to the work.

Processes are put in place to assist with safe movement:

o Use of mechanical aids – trolleys, dollies, a-frames, pallet jacks – wherever possible, as this

minimise accidents due to human error.

o Whenever moving an artwork ensure the path is clear of obstacles.

o The artwork should not be handed to another person. Instead put the work down (on a clean

surface), and allow the other person to pick it up.

o When moving large and/or heavy works, ensure there are enough people available to move the

work safely. A team leader is appointed, who will assess the movement required, and give clear

concise instructions to the team at the beginning of each movement.

Images: Framed artworks are moved throughout the gallery on an A-Frame (left), and smaller boxed 3D works (ceramics, sculpture) are kept in their boxes and moved on trolleys.

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5. Storage

The environmental conditions within a museum or

gallery’s storage facility should be the same as the display

areas.

Lighting may be fluorescent; however, they would only be

turned on when a member of staff required access to the

space.

o Framed works are stored on space-saving movable

racks, which have enough space between them to ensure that artworks will not come into

contact.

o Unframed work on paper is stored in plan drawers or solander boxes, depending on the size of

the work. Archival (acid-free) card and tissue is used to separate one artwork from another.

o 3D work – large sculpture, small sculpture, ceramic, decorative art – can be stored on open

shelving, in crates or boxes, or palletised.

o If open shelving or pallets are used, ideally dustcovers are placed directly over the work (large

sculpture), or over the shelving, to minimise any build-up of surface dirt.

Images: Framed works on movable racks (top); unframed work on paper in solander boxes (above left); decorative arts on open shelving (above right)

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6. Travelling

Crating is most often used when sending an artwork away on loan; the crate can then also be used to

permanently store the work.

o Crates are made to suit an individual artwork, and will have supports and foam blocks and

padding inserted for the safety of that specific work.

o Framed works that travelling short distances may only be soft packed, depending on the number

of destinations, and fragility of item.

o Soft packing is the use of soft materials such as bubble wrap, cellaire, foam, and tissue with or

without the use of boxes or a surrounding framework for objects.

Images: Crate used for the transport of artworks for a past exhibition – this particular crate travelled from overseas, by sea.

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7. Other

Conservation and preservation is taken into account in other aspects of the administration of a

collection:

Collection Management System (CMS)

o A CMS is a database designed specifically to manage a collection; here is stored all information

about a work, including name, artist, medium, location, damage, treatment, exhibitions,

Condition Reporting

o A condition report is written for a work that is going out on loan; it includes photographs of the

work, and descriptions of any damage or areas of concern. This document is then checked on

arrival at its exhibition venue, at the close of the exhibition, and on return to the gallery.

Lending

o A Facilities Report is completed by any institution borrowing a work from another institution. It

outlines the gallery or museum’s environmental, lighting, security, IPM and other controls, to

ensure that the work will be safe in its temporary location.

Transport

o Artworks and artefacts are transported by specialist art handler

companies, who have extensive experience in moving precious

and fragile objects, and also use climate controlled trucks.

Security

o Vandalism/ Theft – these possibilities are controlled and

minimized by the installation of a camera and security alarm

system.

Image: Unknown artist, The Broken Platter, 19th century, marble Bendigo Art Gallery 1901.2

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Name:

School:

1. Please rank the day in terms of providing revision for the Studio Arts 2015 Exam

EXCELLENT GOOD FAIR UNSATISFACTORY

2. What was the best thing you learnt today that you can apply to your exam revision?

3. What else was useful/ stimulating about the day for you?

4. Can you suggest any way the day could have been made better?

Thank you very much for your time!

Studio Arts Exam Revision Day Thursday 22 September, 2016

EVALUATION FORM