Detail: Giles Bettison Vista #96 2000 glass assembled in murrini technique National Gallery of Australia click detail to view full image

Objective
The National Gallery maintains and preserves its collection of works of art in order to enhance the community’s understanding and enjoyment of the visual arts, now and in the future.

Strategies
The National Gallery cares for its works of art by applying the highest professional standards of collection management and conservation. The collection is maintained and preserved by:

• ensuring that all works of art are secure;
• providing high quality environmental conditions in display and storage areas;
• developing and using appropriate handling techniques and storage facilities; and
• applying preventative and restorative conservation practices.

Security of the collection
Throughout the year the collection was maintained in safe and secure conditions. The National Gallery’s active security policy, delivered by staff trained in safety and security procedures ensured a safe and secure environment for all works of art, the building, the visiting public, and staff.

Security officers are crucial to the safety of the public and staff and are trained in safety and security procedures. In 2000–2001, security staff continued their training program in the areas of art education, emergency procedures and first aid.

Building evacuations are practised on a regular basis consistent with Australian Standard AS 3745, including a full evacuation involving the public. This activity is vital to ensure the safety of patrons and staff, and the Gallery is grateful to the public for their continued cooperation.

A security presence on-site 24 hours a day, seven days a week, monitors materials objects, and staff entering and leaving the building, as well as the Gallery alarm systems. The action plan proposed in the Protective Security Risk Review, conducted in January 2000, was further implemented with a contract being awarded to a security provider to upgrade the Gallery’s security systems.

Environmental conditions of display and storage areas
The highest standards of environmental conditions for the display and storage of works of art were maintained. The prescribed environmental conditions are closely monitored and building operations are significantly influenced by the environmental conditions required to be maintained.

Routine pest control inspections and treatments were undertaken throughout the year, and disaster recovery plans were reviewed and revised for each major exhibition. The Materials Safety Data Sheet file for chemicals used by the Gallery continued to be developed.

Handling and storage of the collection
Works of art were handled and stored in accordance with established practice. Textile storage facilities were improved and over 500 large works on paper were relocated to new storage drawers, increasing their accessibility and minimising the risk of damage.

A review of art storage facilities was initiated in the latter part of the year in line with plans for refurbishment of the building. The opportunity will be taken to refurbish some storage areas and to improve art storage at the time of building refurbishment.

Conservation of the collection
Accepted preventative and restorative conservation practices were applied to the 925 works of art treated in the year. Works of art from all areas of the collection including paintings, objects, works on paper and textiles were treated.

Field trips to Aboriginal communities were undertaken to collect bark, pigment and other samples and to document artists’ techniques in the production of bark paintings.

Paper conservators contributed to Seeing Red: The art and science of infra-red analysis, an Ian Potter Museum travelling exhibition in October 2000. Seeing Red opens at the Gallery on 17 November 2001.

Research on the origin and date of the Ambum Stone, the Gallery’s extraordinary prehistoric stone figure from the Western Highlands of New Guinea, was undertaken in conjunction with repairs that were necessary after the sculpture was damaged while on exhibition overseas.

Condition reports were prepared on works of art which travelled and on works of art included in Gallery exhibitions. Advice was provided in response to public inquiries, and Gallery staff participated in conferences, seminars and other professional activities directed at sharing and improving knowledge about the conservation of works of art.