National Gallery of Australia

ABSTRACT Works by Walmajarri artist Jimmy Pike are distinct amongst contemporary First Nations Australian art, due to his palette of bright colors and use of modern materials such as Artline fiber-tip pen on paper. From 1980 to 2002, Pike created hundreds of drawings on various papers. With little literature available on the display and preservation of fiber-tip pen on paper, the aim of this investigation is to better understand the condition of the works of Jimmy Pike, issues experienced by conservators and custodians and the vulnerability of displayed fiber-tip pen drawings. This study of fiber-tip pen drawings by Jimmy Pike involved: research of materials, techniques, practice, history, and a survey of his collected works; consultation of key stakeholders, and experts in the field of materials conservation; and a light aging experiment of similar materials used in Pike’s drawings such as selected contemporary Artline permanent marker and fineliner pens. Results analyzed using visual documentation and color spectrophotometry revealed a broad range of light sensitivity from fugitive to moderately light sensitive. Samples were found to also be slightly affected by temperature and relative humidity in the absence of light, which may contribute to subtle color change observed in media over time during storage.

ABSTRACT In 2022, the authors presented the first stage of implementing a revised climate control strategy at the National Gallery of Victoria, monitoring collection object response in collaboration with the Getty Conservation Institute using acoustic emissions (AE) monitoring. The research and education, motivating factors, and interdepartmental alignment required for adopting the Bizot Green Protocol (BGP) were discussed, as well as the experimental design and set-up of the AE system on a large Flemish altarpiece in an active gallery. This second and concluding paper presents the results of the AE monitoring study along with energy used by the HVAC system for the gallery housing the AE monitoring study, during the transition from traditional environmental parameters through to broadened parameters as defined in the BGP. The project highlights the importance of understanding individual gallery and building behaviour as well as the HVAC system in place. In the case of the gallery housing the AE study, the implementation of BGP parameters resulted in smaller environmental fluctuations than expected. That HVAC energy efficiency could be improved with a relatively low impact on the gallery environment was an unexpected but welcome outcome. This case study describes some common challenges faced when considering such a change operationally, including resourcing and communication needs. Identifying points of resistance, framing problems clearly, and identifying common goals were essential to making progress. In this case, sustainability has compelled many stakeholders into alignment and enabled a shift in institutional culture.

[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)

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Gerakan Seni Rupa Baru (GSRB—New Art Movement) was an art movement that emerged in Indonesia in the mid-1970s. GSRB was established during a period when younger artists had become dissatisfied with the lack of social and political consciousness in art, coupled with the perceived arrogance of power endemic at institutional and state levels in Indonesia. From the mid-1970s the movement instigated new contemporary art discourse and re-defined art making in Indonesia. GSRB continued to gain momentum in the latter half of the 1970s, issuing a publication in 1978, organizing exhibitions in various Indonesian cities from 1975 to 1979 and in the mid-1980s, and involving an increasing number of artists in the movement, among whom Jim Supangkat, FX Harsono, Dede Eri Supria, Nyoman Nuarta, S. Prinka, Wagiono Sunarto, and Bachtiar Zailoel were prominent members. These artists experimented with found objects, installation, and ready-mades, largely addressing conceptual approaches in their making. GSRB articulated a new path for practice; its spirit of experimentation and opposition inspired, influenced, and laid a foundation for the next generation of artists in Indonesia.