1. PART 2 Liz Wild Conservator, Sculpture Conservation Department, Queensland Art Gallery | Gallery of Modern Art Illustrated Case study QAG | GoMA’s Contemporary Art Collection
2. WANG Qingsong / Night revels of Lao Li 2000 / Type C photograph on paper / ed. 7/9 / Purchased 2002 with funds from James C Sourris through the Queensland Art Gallery Foundation / 127 x 972cm
Wang QINGSONGs’ Night revels of Lao Li . QINGSONG’s Night revels is a chromogenic or colour photographic on paper and measures 127cm high x 972cm long. Due to it’s length it is physically impossible to have this work permanently mounted for a number of reasons, primarily that it would not be able to be moved around the building. This display is the third time the work has been installed and on all three occasions it has been pinned. It will be installed again in November as part of the James Sourris collection exhibition at GoMA in November.
The work is stored rolled on a large rigid core in the rolled storage area (415mm diameter)
This artwork did require some minor treatment prior to being installed. As with all pinned works the previous pinning had resulted in enlargement of the pinholes, with minor tears to some. Enlarged pinholes were reinforced on the back The minor treatment that was first carried out involved closing up all the pinholes mechanically. They were then re-enforced on the verso of the work. This was done using small 10mm diameter circles of Tyvek® (75gsm, smooth finish on both sides) using Lascaux 360:498HV ® (2:1) adhesive as a heat set film. After each Tyvek®/Lascaux® re-enforcement patch was placed in position it was bonded with a heated spatula set at 70 C.
The work was then prepared for attachment to the roll of the mechanism. Securing tabs were adhered to the back of the photo to allow the work to be secured to the roll to ensure it did not slip during installation and also to assist in retaining tension on the rolled work so it did not become uncoiled. The work was then secured to the mechanism roll by attaching the Mylar tabs to the roll with tape.
This is the mechanism with the rolled work in place ready to install.
The work had been transferred from its storage roll onto the installation roll Double strips of paper, were wrapped around the work and secured with tape. This was done to ensure the work stayed secure and tensioned on the roll. The central rod was then placed through the centre of the roll. Screws were used to secure the hilt and plywood disk to the roll. A 50mm wide strip of Cell-air was wrapped around the lower edge of work and secured with cotton tape below the artwork to ensure there was no slip of the work. All of the above preparation work was carried out in the conservation lab. The rolled artwork and the mechanism were then taken separately to the gallery space and assembled there.
The top platform was threaded through the ends of the central and 2 supporting rods and secured.
An upper edge sightline and corner locations had been marked on the wall. The mechanism was lined up so as to run along the wall. The height of the hydraulic table was adjusted to align the top edge of the work with the sightline on the wall. When the work was aligned correctly, the mechanism was positioned along the wall to sit approximately one metre from the corner edge markings on the wall. The paper strips preventing the photo from unravelling off the roll were then removed while one person held the work to keep the roll tensioned. An additional two people assisted to support the photo and hold it on the wall. Then, approximately 1m of the work was unrolled with the mechanism stationary, it was set against the markings on the wall and then pinned.
It is crucial to hold the roll firmly during the process so that it does not unroll unnecessarily or slip down during the installation process.
The work is pinned using the same pinholes as were previously used. In this case commercially available clear headed map pins were used. This same device will be used again when the work is removed from display. It will then be re-rolled onto a larger diameter roll for storage.
Launched in 2006, the CCAC was developed as an initiative of the Gallery of Modern Art. The CCAC aims to become a resource for conservation of contemporary art both within Australia and throughout the region internationally. Besides research programs, the CCAC provides a professional workshop program, internships and tertiary student support, and a conservation public program.
MISSON Understanding properties of new materials used by artists. Managed by the Head of Conservation and conducts activities in addition to the day to day conservation duties of collection management, exhibition, loan preparation, and research and restoration of the pre 1970 collections. Based at the GoMA. Also has a professional workshop program, internships and student support, and a conservation public program
