In March 2022, I was accepted into the J. Paul Getty Museum’s fully funded ‘Color on Paper’ workshop, as one of 12 mid-career curators and conservators. This opportunity was developed in conjunction with the Getty Foundation’s Paper Project Initiative to promote cross-regional and cultural dialogue between curators and conservators, and deepen learning about technical art
Louise Lawson Masterclass held at the University of Melbourne Arts West building in August 2022: Image Hayley Nolle Louise Lawson, Head of Conservation at Tate, visited Melbourne in August 2022 as part of the ‘Precarious Movements: Choreography and the Museum’ research project. Tate is one of the project partners of the ARC-funded
Throughout 2022, I attended a suite of pattern-making courses in the Fashion, Sewing and Design department at the Centre for Adult Education (CAE) in Melbourne as a recipient of the 2021 AICCM & ADFAS Mid-career Scholarship, supported by the Australian Decorative and Fine Arts Societies (ADFAS) and the Patricia Robertson Fund. Background As a
On 25 November 2022, a workshop dedicated to non-conservators was hosted at the Jervois Room at the State Library of South Australia by conservators from Artlab Australia. The workshop was a part of the AICCM Exhibitions SIG symposium ‘Exhibitions: Inclusive and Sustainable Practice’. The day consisted of a presentation on the preventive care of collections
Catherine Collyer, Queensland Art Gallery | Gallery of Modern Art The Art with a Plug (AWAP) webinar series is billed as a ‘workshop for art conservators encountering work that runs on electricity’. The third in an ongoing series run by New York University (NYU) since 2019, this online edition involved a brief introduction to the
The Big Picture workshop focused on the unique challenges in the presentation, display, and collection care of large contemporary photographs. Over four days in June, 18 participants from a variety of public institutions and private practice, mostly US-based, gathered to discuss issues related to the preservation and conservation of large-scale works. To my surprise and
In 2021, the Ligatus Summer School program was held, offering two courses over two weeks, and one of which, European Bookbinding 1450–1830, tutored by Professor Nicholas Pickwoad, I was fortunate to attend. The course is supported by the Ligatus Research Centre, University of the Arts London, and the Saint Catherine Foundation. Sixteen participants tuned in
This recent Zoom-based webinar ran over three alternate days in October presented via FAIC and hosted from the US. Despite the unfriendly timezone of 0330–0600 for the live sessions, for anyone interested in this area the content was worth an early start. The program sessions ranged from entry level introductions to 3D-print technology, to applied
Downward Force on Upward Moving Objects (2018), Wang Luyan. Image: ANMM Thanks to the generosity of the Association of Australian Decorative and Fine Arts Societies (ADFAS) and the Patricia Robertson Fund, I attended the Australasian Corrosion Association’s Coating Selection and Specification training program in early 2021. ADFAS’s Mid-career Scholarship provides financial support for
1 Introduction The move towards exclusively online content dissemination has, as recently as this landmark year, become the norm. Indeed, this year has marked the first fully online congress in the history of the International Institute for Conservation (IIC) and is but one of many symposia that has adapted itself to a virtual platform. This
