Conservation

The role of the Conservation Department is to ensure the legacy of the collection via the long-term preservation of the works that reside here or are on loan to the Gallery.

Each work of art requires intimate and specialised care. Conservators use a range of processes including documentation, analysis, treatments and preparation for exhibition. They conduct research and scientific analysis into the unique histories, materials, manufacture methods and conditions of works that come into the collection.

Conservators are highly skilled, with individuals focusing on specific areas of collection management. These include paintings, textiles, work on paper, electric and kinetic works, as well as object-based works such as bark paintings, installations and sculpture.

The Conservation Department staff are also responsible for maintaining the condition of the collection as a whole, ensuring a stable environment and providing advice on storage and display techniques.

Photograph of object conservator using flashlight to inspect cylindrical sculpture — Ewa Pachucka *Landscape and bodies* 1972

Objects

Objects of art in the national collection vary immensely in size, material and form. The Object Conservators are responsible for the care, preservation and restoration of the Gallery’s sculptures, decorative art pieces and cultural objects.

Paper

The National Gallery collection comprises a diverse range of works on paper, including prints, watercolours, photographs, scrolls, screens, drawings and more.

Painting

Made of organic materials, paintings change as they age. Painting Conservators are responsible for their maintenance and preservation, as well as advising on hanging, handling and installation.

Photograph of textile conservator working on three hanging robes on display — Henri Matisse *Costume for a chamberlain* c 1920, *Costume for a mourner* 1920 & *Costume for a mandarin* c 1920 from Les Ballets Russes de Serge Diaghilev production of Le Chant du rossignol. Purchased 1973 ©️ Succession H Matisse / Copyright Agency

Textiles

Maintaining the vision and intent of the artist is at the forefront of textile conservation. All textile objects have a natural deterioration process — slowing that down while retaining original features is the key aim of Textile Conservators.

It's a portrait image of Urs Fischer from in front and below, so he's looking at his phone. Not yet melted enough to have any dripping wax bits — Urs Fischer, *Francesco*, 2017, National Gallery of Australia, Kamberri/Canberra, Purchased with the assistance of the National Gallery of Australia Gala Fund 2019. © Urs Fischer. Courtesy of the artist and Sadie Coles HQ, London.

Time-Based Media Art

Time-based media art describes works of art that are dependent on time, duration, or function including video, film and audio artworks.

Two women enclose a paper-wrapped object in a plastic bag to undergo preventative conservation

Preventive

The Preventive Conservation team’s aim is to preserve all works of art by controlling the environment in which they are displayed, stored and transported.

Objects

Paper

Painting

Textiles

Time-Based Media Art

Preventive

Related

On demand videos

Conserving bark paintings

The Rajah Quilt – 1841

Conserving a crazy patchwork quilt

Caring for your art collection with Lisa Addison

Claes Oldenburg’s ‘Profile Airflow’ gets some TLC

Blue poles: a new perspective

Seeing Red The Art and Science of Infra-red Analysis

Abracadabra The magic in conservation

Ask a Conservator: 2020 #AskaConservator

Seeing Red
The Art and Science of Infra-red Analysis

Abracadabra
The magic in conservation

Ask a Conservator: 2020
#AskaConservator