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Role of Gallery Question:
2011 EXAM QUESTION
Identify an art gallery or other art space where you viewed an art exhibition this year and discuss the following: • the role of the art gallery or art space • the intention of the curator or artist • the presentation of the artwork(s) 15 marks |
EXPLANATION
This question asked students to identify and discuss the role of an art space, the intention of the artist or curator and the presentation of the artworks. Students who had studied generic information about the National Gallery of Victoria and did not refer to a specific exhibition had difficulty fitting their general information to the question. Many responses were basic; for example, ‘some artworks were hung on walls and other artworks were put in glass boxes’. It was concerning that some responses appeared to have been prepared from notes rather than a visit to an art gallery or other art space. Students need to examine a variety of exhibition spaces and review the methods and considerations involved in the preparation, presentation and conservation of artworks. It is a requirement that students visit at least two different exhibition spaces in their current year of study. Some students wrote about the role of the curator in general instead of the curator’s intention in relation to a particular exhibition. The question did not ask about the role of the curator but their intention for a specific exhibition. The discussion needed to focus on the curator’s or artist’s intention for the exhibition. |
EXAMPLE
The Brunswick Street Gallery is a commercial gallery and is therefore run as a business. The gallery’s main purpose is to generate revenue through the sale of art and the hiring of exhibition space. The gallery does not receive government funding or hold educational tours for schools like a public gallery as its main audience are art buyers. Earlier this year the gallery had a feature exhibition for Sean O’Carroll and his collection of artwork called ‘Ritalin’. The exhibition was in the largest room of the gallery and the walls were painted white. On the walls were 13 similar artworks differing in size. The artworks were photographs on canvas of small boys in cages representing the social response to young boys with ADHD. (Ritalin is a drug given to those diagnosed with ADHD). The lighting in the room was bright to match the brightness of the photographs. The curator would need to consult with the artist as to how bright the lights could go without causing damage to the artworks. As printed on canvas the light must be less than 150 lux. Temperature was also controlled in the room using an air-conditioner to maintain a temp. of 20 degrees centregrade + or - 2 degrees and RH of 50% + or - 5%. The curator would have set up the exhibition with the help of the artist to ensure the artworks look their best to maximise sales. Around the gallery soft acoustic music was playing to calm viewers, however in the Ritalin exhibition it was silent. The exhibition did not only aim to sell the art but promote a message and feeling. Therefore the lights were bright,, the room was quiet and the walls were white. The room had a cold feeling that matched the expressions of the boys in cages. This created a very successful atmosphere. |
Conservation Questions:
2010 QUESTION
Select one artwork from the detachable insert. Artwork number..... In order to preserve or conserve this artwork in a public gallery, what could each of the following people do?
9 marks |
EXPLANATION
This question asked students to select an artwork from the insert and discuss what the artist, curator and public could do to preserve or conserve the artwork in a public gallery. Many students were able to apply their knowledge to this question and gave innovative and appropriate answers to propose the responsibilities and actions of the artist, the curator and the public. For example, in artwork number 4 the artist would ensure that the canvas was properly prepared and sealed so that the oil paint would not rot the canvas and that the colours were permanent, not fugitive, and had been finely ground and mixed with a suitable medium such as linseed oil. The artist could ensure that there was no bitumen in the dark colours and that the painting, when fully dry, was protected with a non-yellowing varnish. The artist would store the painting carefully to ensure that the canvas was not dented. If the canvas became slack, the artist would tighten the stretcher with wedges. In artwork number 9 the sculptor would choose the block of marble carefully in order to ascertain that it was without flaws and was of an acceptable grain and quality to allow fine detail. The sculptor designed the artwork with a tree trunk attached to the left leg of the figure to strengthen the lower part of the sculpture so that it would not break, and for the same reason has not detached the right knee and the left hand of the figure. Kristin Leek, in artwork number 8, could ensure that her cotton or silk thread was of sufficient strength to hold the material, and make sure the scarlet dye was permanent, lightfast and sympathetic to the silk. She would ensure that the feathers and grass plumes were securely attached to the fabric of the costume. Most students understood that the public could help preserve an artwork in a public gallery by not touching it and by not running, carrying bags, eating, drinking or using flash photography. Others suggested that making a financial donation to the gallery was a good way of ensuring that the artworks were looked after properly. Responses about the curator or artist were, on the whole, well done, although it is highly unlikely that a curator would put an oil painting or a marble sculpture in a solander box. Weaker responses tended to be rote-learned lists of information about temperature, humidity and lux levels, which were inappropriate for the conservation of the particular artwork under discussion. |
EXAMPLE
The following is an example of a high-scoring response for Question 5 (artwork number 2). The artist could use archival quality materials to produce their linocut such as cotton rag paper for longevity. They could place the artwork in a frame under glass to ensure that damage from pests and rodents as well as high light levels was minimised. If the artwork was placed beneath mount card the artist could specify that the material should be acid-free to ensure that the life of the linocut was prolonged. They could liase with the curator to ensure that the public gallery followed conservation standards. As the artwork is on paper it is in the highly sensitive to light category and the curator would need to place it under lux levels of no more than 50. They would also use tungsten or halogen light globes as they have no UV output. The curator would ensure that the temperature in the gallery was 20-22 degrees and that the humidity (controlled by a thermo-hydrograph) was 50 + or - 5% as at 67% mould grows. White, cotton gloves would be used by the curator when handling the artwork. The public wouldn’t consume food or drink in the gallery space in case it spilt and damaged the work. They wouldn’t carry large bags into the gallery in case they caused accidental damage to the artwork. They could not touch the artworks as perspiration from hands can cause damage marks to appear on paper and hand-coloured linocuts. The public should adhere to the standards of conservation specified by the gallery and not take photographs of the artwork or bring any harmful or sharp objects into the gallery space. |
2012 EXAM QUESTION
Select one artwork from the detachable insert. artwork number............. Explain three conservation methods the artist or a gallery curator could use to preserve the artwork.
9 marks |
EXPLANATION
This question asked for an explanation of three conservation methods an artist or curator could use to preserve the artwork. Most students were well prepared for this and had knowledge to suit the question. Common responses cited methods such as levels of illumination, temperature and humidity control, storage and pest control. It was clear that many students had studied the conservation requirements of a particular artform in an art gallery by conducting research or talking with a curator. These students gave accurate, detailed and technical information specific to the artform. They included correct measurements and the name of the measuring machine. These students discussed specific issues; for example, damage caused by light, humidity, handling, transportation and pests, together with appropriate methods of prevention. The more successful students also described the appropriate conservation methods for the artwork they had selected. Other students gave generic, rote learnt information that did not relate to the artwork selected from the insert. For example, oil paintings are not stored in solander boxes and natural light will not make the paint run. |
EXAMPLE
Artwork number 9 LIGHT would need to be controlled when exhibiting this work as extreme light can cause fading and discolouration of the garment. To ensure the colours remain the same it would need to be exhibited at 50 lux as well as a 1:3 ratio for exhibiting and storage. TEMPERATURE and HUMIDITY would need to be controlled by a thermohydragraph to ensure that due to extreme heat it didn’t become brittle and due to high humidity, like 67%, mould did not grow. It would therefore need to be exhibited at around 20+2 degrees C and 50%+5% humidity. INSECTS and VERMIN would need to be considered as insects feed on organic materials, rats gnaw at fabric and insect droppings stain fabric permanently. To ensure its conservation this garment would need to be protected by glass or damaging insects would need to be attracted by synthetic pheromones and killed. |
2014 EXAM QUESTION
Question 2 (6 marks) Select one artwork from the detachable insert. Artwork number Describe conservation considerations and methods involved in storing this artwork. |
EXPLANATION
This question asked students to select an artwork from the insert and describe conservation considerations and methods involved in storing the artwork. The key word in this question was ‘storing’. This is a question about conserving artworks in storage. Many students seemed not to appreciate this fact and wrote at length on such things as lux levels and crowd control. Artwork number 2 was a popular choice for this question but many students did not understand that an oil painting of that size would not be stored in a solander box. |
EXAMPLE
The following is an excerpt from a high-scoring response to Question 2. Artwork number 8 As a charcoal work, when in storage, Mylar paper, which carries a slight static charge, should not be used as it may draw powder particles from the work. Instead an acid-free, stiff card paper should be used. Sensible gallery design, atmospheric control, rotating an artwork between display and storage and being especially considerate to the charcoal material will preserve this work. |