In the lead-up to ‘The 8th Asia Pacific Triennial of Contemporary Art’ (APT8), QAGOMA’s conservation staff applied their skills and knowledge to several artworks that are on display. We share some background information on one of the exhibition’s major works, which required the collaboration of the Queensland Museum. Collaboration with the Queensland Museum Rosanna Raymond’s APT8…
Surely the last place you would look for the soap is in your favourite oil painting? Not so, as over the past decade conservators and conservation scientists have been investigating the peculiar phenomena of soap formation in the rich, oil-laden layers of paint used in the paintings and masterpieces we love to look at. But…
George W. (Washington) Lambert was commissioned by the Australian Government and concentrated on set-piece battlefield paintings in Palestine & Turkey. Conservation on one of these works, Walk (An incident at Romani) 1919-22 has involved examination and removal of a discoloured dirt and grime layer from the picture surface. Lambert served as an Official World War One artist…
Continue reading » “From the battlefield to the home front: Conservation secrets revealed”
To truly appreciate the epic work that is TERRA SPIRITUS … with a darker shade of pale 1993–98 (illustrated), you must immerse yourself and absorb this expansive installation which reaches almost 40 metres in length. This work has been described as Bea Maddock’s ‘Magnum Opus’1, indeed it is the accumulation of not only years of dedication…
Continue reading » “Experience the Journey: Bea Maddock’s TERRA SPIRITUS…”
Watch our time-lapse as Anthony Alder’s original colours are restored in Heron’s home 1895 showing the full tonal range and sharpness of colour. A final varnish layer on a finished painting has been an artistic practice for centuries. Artists often apply a transparent varnish to give saturation and their desired level of gloss to the painting,…
Continue reading » “Watch as we clean Anthony Alder’s ‘Heron’s home’”
The image of the artist working in his Bribie Island hut was taken late in Ian Fairweather’s career. Due to ill health he had virtually stopped painting by 1972. This image (illustrated), plus images taken in the 1960s show the artist working with many open tins of commercially made house paints. Paintings were either worked…
We acknowledge the Traditional Owners of the land on which the Queensland Art Gallery | Gallery of Modern Art stands and recognise the creative contribution First Australians make to the art and culture of this country.