Unit 4 Outcome 3: presentation, conservation and care of artworks (VCE Art Making and Exhibiting)

(a) Watercolour: risk of fading from light; care: display under low light levels behind UV-filtering glazing, with limited display periods.

(b) Bronze sculpture: risk of corrosion from moisture and pollutants; care: regular cleaning and a protective wax coating.

Marking guide: 1 mark per risk and 1 mark per care method.

Any one of: keeping light at low levels; ultraviolet-filtering glazing or window film; displaying the work away from windows and direct sunlight; limiting how long the work is displayed.

Name the method itself. VCAA's 2023 examination report gave the example that 'handling' is a conservation method, while 'gloves' is a technique used within that method.

Marking guide: 1 mark for a relevant, clearly named method.

Any two, each with its damage:

• Light, especially ultraviolet: fades dyes and weakens fibres.
• Pests such as clothes moths and carpet beetles: eat natural fibres such as wool and silk.
• Incorrect relative humidity: high humidity encourages mould, and fluctuations make fibres swell and shrink.
• Dust and pollutants: soil and discolour the surface.
• Physical force: tearing, stretching or abrasion, for example when a heavy textile hangs without enough support.

Marking guide: 1 mark for each agent correctly linked to its damage.

Gallery

the oil painting is hung securely with appropriate fixings, lit at controlled levels, kept in a climate-controlled room with stable temperature and humidity, protected by barriers or alarms, and monitored by conservators with condition reports.

Own acrylic painting

hung away from direct sunlight and heaters, on secure hooks, with a varnish layer to protect the surface; handled with clean hands or gloves by the edges; stored upright, wrapped in acid-free tissue, away from damp.

Comparison

both reduce light, climate and handling risks, but the gallery can control conditions and monitor them professionally, whereas a school display relies on simple placement choices and careful handling.

Marking guide: 1 mark for gallery methods, 1 mark for own methods, 2 marks for a clear comparison.

A strong response:

• Identifies the artwork, artist, materials and exhibition (venue and space).
• Discusses presentation choices and how they protect the work (glazing, plinths, cases, barriers, hanging methods).
• Discusses environmental controls: light levels and UV filtering, temperature and relative humidity, pest management, pollutants.
• Discusses handling (gloves, trained staff, supporting the object correctly), storage (acid-free materials, racks, climate control) and transportation (crating, cushioning, condition reports, climate during transit, couriers).
• Links each consideration to the inherent properties of the materials (light-sensitive dyes, brittle ceramics, flexible canvas).
• Uses accurate conservation terminology.

Marking guide: 2 marks for presentation, 2 marks for environmental controls, 2 marks for handling, storage and transport, 1 mark for links to materials, 1 mark for terminology.

A strong response applies conservation knowledge to these materials, this space and this display rather than listing generic gallery methods:

• Light: dried flowers and handmade paper are very light sensitive, so daylight from the large windows would fade their colours and weaken the fibres. Methods: ultraviolet-filtering film or blinds on the windows, low light levels, no direct sunlight on the work, and regular light monitoring.
• Temperature: beeswax softens when it is warm, so the work is kept away from direct sun, heaters and hot lamps, in a room with stable air conditioning.
• Relative humidity: high humidity can cause mould on the flowers and paper and make the paper cockle, while very dry air makes dried plant material brittle. Methods: stable relative humidity, checked with data loggers.
• Pests: dried plant material and paper can attract insects, so the work is inspected before installation and monitored with pest traps during the exhibition (integrated pest management).
• Physical risks: the fragile suspended elements can be damaged by touching, by air currents from doors and vents, and by dust. Methods: secure fixings checked by staff, barriers or floor markings, 'do not touch' signs, invigilation, and gentle cleaning only by trained staff.
• Artist's intention and documentation: because the materials are ephemeral, the curator and conservator ask the artist whether gradual change is acceptable, write condition reports at installation, during the exhibition and at deinstallation, and photograph the work.

Marking guide: 1 mark for each of six relevant considerations with a matching method (light, temperature, relative humidity, pests, physical risks, artist's intention and documentation), and 2 marks for linking them to the specific materials and space. Generic lists that are not applied to this artwork earn few marks.

A strong response covers each stage and explains why each method protects the painting:

• Condition reports: the painting's condition is recorded and photographed before it leaves, on arrival and on its return, so any change or damage in transit can be identified.
• Handling: trained staff wear gloves, keep the painting upright, carry it by the frame rather than the canvas, and use two people for a large work, which prevents knocks, fingerprints and pressure on the canvas.
• Packing: the painting is wrapped to keep out dust and moisture and packed in a padded, purpose-built crate that absorbs shock and vibration and slows changes in temperature and humidity; the crate is marked with handling instructions.
• Transportation: a specialist fine art carrier with a climate-controlled vehicle; for some loans a courier from the lending gallery travels with the work.
• Arrival: the crate is left to acclimatise before it is opened, so the painting adjusts gradually to its new environment, and the painting is checked against the condition report before installation.

Marking guide: 1 mark each for relevant, explained methods covering condition reports, handling, packing, transportation and acclimatisation, and 1 mark for linking the methods to the materials (paint layers and canvas can crack or flake with knocks and with changes in humidity).