Dear members, It has been a huge few months for AICCM and, as we roll into the second half of the year, I want to take a moment to share the work we have been doing behind the scenes, the energy and insight shaping our direction, and how your voices are leading the future of
A four-day deep-dive into the challenges and innovations in conserving kinetic art, hosted by UCL, GCI and Tate. 20–23 May 2025 Kasi Albert; Conservator, Objects, National Gallery of Victoria The way things work is by admitting or opening away. … Wheel, kinetic flow, rising and falling water, ingots, levers and keys, … —excerpts
A collection from the History Trust of South Australia, featuring various early manufacturing companies in Adelaide, was sent to Artlab’s paper conservation team for treatment. Among the items was a photograph entitled A. Simpson & Son’s Cricket Club 1889 of A Simpson & Son’s tinware company, an important piece of local Adelaide industrial history. After
The Paintings Special Interest Group, a part of the Australian Institute for the Conservation of Cultural Material (AICCM), held a successful Modular Cleaning Program (MCP) workshop led by Chris Stravoudis. This took place from 17 to 21 March and was generously hosted by the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) in Brisbane.
With an inadequate appreciation of the microclimate within a sealed box frame, where a stable relative humidity was required for the display of vellum documents and wax seals, the author fabricated a model with the same characteristics fitted with a small datalogger and analysed the RH stability via the resulting graphs. Recently (2025), Elwing &