Introduction
The Gallery's fundamental goal is to acquire, collect and present to the public the finest works of art available. To ensure the collections will be available for future generations the Conservation Department consults, advises, plans and implements strategies that will protect each object. Time changes the condition of a work of art. Although the Gallery itself provides physical protection for the artworks, this isn't enough on its own to preserve them, as many are made of fragile materials, which are vulnerable to decay and damage and may require extensive treatments.   
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Who we areThe Art Gallery of New South Wales employs around a dozen people in its Conservation Department. Professionally trained, most specialise in one area of art conservation. They are members of the Australian Institute for the Conservation of Cultural Material. The Conservation Department is recognised nationally and internationally as a centre of excellence.
^ Top What we doThe conservator's role is to prevent, slow down, remedy or reverse decay and damage to objects, safeguarding them for the future. To these ends conservators deploy detailed knowledge of how individual works of art are constructed and the effects of potentially destructive elements, such as excessive light, temperature, relative humidity dust, vibration, insect pests and vandalism. The conservator's responsibilities include research and developing specific treatments for oil paintings, watercolours, prints, drawings, photographs, scroll paintings, picture frames, mixed media objects, outdoor sculptures, and library and archival material. Sometimes the Gallery's conservators carry out preventive conservation, working with other Gallery staff to ensure that artworks are safely displayed, stored or - when necessary - transported. At other times they perform remedial conservation, halting or reversing some of the effects of inherent deterioration and physical damage. Before beginning remedial conservation, conservators carefully document the artwork's condition. They might use microscopy, x-ray or infra-red photography. This investigation also increases our understanding of how the artist created the work. Sometimes preservation, or controlling the environment and conditions of use of an artwork, is not sufficient to allow it to 'speak' as the artist intended. In this case, restoration - action taken to modify the artwork to represent its intended state - is undertaken by reconstructing missing or damaged areas. For an example of the techniques employed by conservators, especially during restoration, see progress reports on Edouard Detaille's spectacular painting Vive l'Empereur! Research is an important part of the conservator's work. New art mediums, materials and technology present constant challenges to conservators, particularly those working on contemporary art. ^ Top ProjectsMost conservation treatment undertaken by the Gallery's conservators is unobtrusive. It often occurs in the course of preparing artworks for exhibition. Sometimes, however, the conservators have the opportunity to focus on a major work of art whose condition demands attention. The Department's most recent major project, funded by the Friends of Conservation, has been the restoration of Edouard Detaille's spectacular painting Vive l'Empereur! Another large project currently under way, also funded by the Friends of Conservation, is the restoration of the frame around one of the Gallery's most popular paintings, Alphonse de Neuville's Defence of Rorke's Drift ^ Top How to support conservation at the GalleryPublic support for conserving artworks in the Gallery's collection is as important as public support for new acquisitions. The Gallery welcomes and values new Collection Benefactors. Donations are tax-deductible and may be directed to conservation projects. For more information contact Stewart Laidler, the senior paintings conservator, at stewartl@ag.nsw.gov.au, and see below for Friends of Conservation. ^ Top Friends of ConservationIn 1994 a core group of conservation supporters initiated fund-raising events for the department and later formed the Friends of Conservation to support the preservation, conservation and restoration of specific projects identified by the Conservation Department. The purchase of analytical equipment has also been possible. More information ... ^ Top Preserving your works of artThe Art Gallery offers an appraisal morning to the public every Thursday from 10 am to midday, where advice can be given on conservation issues. To an extent, though, everyone can be a conservator by carrying out simple, preventive conservation: Most artworks are susceptible to deterioration from light, humidity, temperature, insects, dust, salt and vibration as well as the dents, knocks, chips and tears that come from contact with human beings. Light: Stone and metal are unaffected by light, but dyes and paints fade in both sunlight and artificial light. Artworks made with watercolours and inks are especially vulnerable. Light damage is irreversible - which is why most galleries lower their lighting. Keep light-sensitive artworks out of sunlight and reduce artificial lights where possible. Humidity: High humidity for long periods can damage all works of art by encouraging mould, insects and corrosion. Prolonged low humidity is a good environment for metals, and thus for some sculpture, because it hinders corrosion, but it can warp and split wood and lift paint from canvas. Keep artworks made of metal and stone in a relative humidity lower than 35% if possible, and artworks made of wood, canvas, paper and other organic materials in humidity between 40% and 60%. Try to avoid fluctuating changes in humidity and avoid hanging any artwork on outside walls. Watch for mould and insect damage. Temperature: Indoors, heat generally lowers humidity while cold raises it. Hanging a painting or textile on a cold wall thus risks the problems that come with high humidity. Wax and acrylics have low melting points, and dust can adhere to acrylic paintings in hot weather. Avoid extremes of temperature and changes in temperature. Place corks behind the frame to provide an airflow. Dust can encourage corrosion and adhere to acrylic paint in hot weather.Keep artworks free of dust - in the case of flat works, ideally by protective glass or acrylic. Take special care not to abrade the surface when dusting artworks. Salt in the air - a problem for seaside homes, as salty air absorbs more moisture -can encourage corrosion. Only air conditioning can reduce this danger. Vibration, usually when moving artworks by vehicle, can be damaging. Avoid transporting artworks without compensating for vibration by careful packing and support. Contact with human beings, even the most well-intentioned ones, can cause immediate damage. Avoid placing artworks in thoroughfares and, when carrying an artwork, do so at all times as though you might drop it. Bark paintings are subject to warping and flaking paint. Changes in humidity may encourage the bark to return to its natural shape, resulting in warping or splitting. Stabilising the bark and consolidating flaking paint requires the attention of a professional conservator. Paintings, textiles and works on paper should be protected with glass or acrylic where required, kept out of direct sunlight and strong artificial light, and kept away from high humidity (for example bathrooms) and low humidity (around heaters). Hanging on inside walls rather than exterior walls reduces the effects of humidity and temperature changes. Storage should be secure, clean, dry and pest-free. For further details on how the enemies of artworks operate and what you can do to thwart them before calling on a professional conservator, see the Links section, below (under "Caring for artworks"). ^ Top ResourcesDVD: ZhuangbiaoWithin the conservation department is a specialised scroll mounting studio, where Sun Yu conserves and remounts Chinese paintings and calligraphy. His expertise, unique in Australia, has been filmed with the generous support of the Friends of Conservation and made into a DVD. This DVD follows the traditional process of zhuangbiao, or mounting a hanging scroll, and with it is an explanation of each step, which includes paste making, lining and stretching the artwork and silks to attaching the decorative silk borders, rollers and finally the hanging cords. A short history of the materials used and clear photographic detail of the craft is provided for the first time for artists, scroll mounters, art historians, educators and conservators. All proceeds of sales are returned to the Conservation Department to be used for future projects. Duration: 103 min.
Available from the Conservation Department and the Gallery Bookshop
Cost: AU$85 within Australia (inc. GST) or AU$90 internationally.
Purchase Zhuangbiao DVD online LinksGeneral:Caring for artworks:^ Top | 
