Conserving the expanded art object for Margel Hinder: Modern in Motion

References

• Bartram A, El-Bizri N & Gittens D eds 2014, Recto verso: redefining the sketchbook, Ashgate, Surrey.
   Google Scholar
• Chanin, E 2016, Hinder Margel Ina (1906–1995), Australian Dictionary of Biography, National Centre of Biography, Australian National University, viewed 27 September 2020, <http://adb.anu.edu.au/biography/hinder-margel-ina-18079>.
   Google Scholar
• Copper Development Association 1951, The welding, brazing and soldering of copper and its alloys, Copper Development Association, London.
   Google Scholar
• Cornford I 2013, The sculpture of Margel Hinder, Phillip Matthews Book Publishers, Willoughby, Sydney.
   Google Scholar
• Cotte S, Tse N & Inglis A 2016, ‘Artists’ interviews and their use in conservation: reflections on issues and practices’, AICCM Bulletin, vol. 37, no. 2, pp. 107–118.
   Google Scholar
• Derrick, MR, Stulik, D & Landry, JM 2009, Infrared Spectroscopy in conservation science: Scientific tools for conservation, Getty Conservation Institute, viewed 27 September 2020, <http://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/infrared_spectroscopy.pdf>.
   Google Scholar
• Dykstra SW 1996, ‘‘The artist’s intentions and the intentional fallacy in fine arts conservation’, Journal of the American Institute for Conservation, vol. 35, no. 3, pp. 197–218.
   Web of Science ®Google Scholar
• Emerson, M 2014, Guide to the papers of Margel Hinder (1906-95), manuscript listing for Margel Hinder archive, AGNSW Research Library and Archive, viewed 27 September 2020, <http://website.ag.nsw.gov.au/ManuscriptPapers/MS2012.14.pdf > [Viewed 27 Sep. 2020].
   Google Scholar
• Geismar H & Laurenson P 2019, ‘Finding photography: Dialogues between anthropology and conservation’, in J Bärnighausen, C Caraffa, S Klamm, F Schneider & P Wodtke (eds.) Photo-Objects: On the materiality of photographs and photo archives, Open Access, Max Planck Institute for the History of Science, Berlin, pp. 177–198. viewed 27 September 2020, <https://www.mprl-series.mpg.de/studies/12/11/index.html#fn8>.
   Google Scholar
• Gordon, R & Hermens, E 2013, ‘The artist’s intent in flux’, Conservation, Cultures and Connections Interim Meeting ICOM-CC Theory and History working group, Copenhagen 16–17 May 2013, viewed 27 September 2020 <https://journals.openedition.org/ceroart/3527#tocto2n3>.
   Google Scholar
• Guggenheim Conservation Department 2012, Iteration Report, Viewed 27 September 2020, <https://www.guggenheim.org/wp-content/uploads/2015/11/guggenheim-conservation-iteration-report-2012.pdf>.
   Google Scholar
• Hendrix, JS 2011, ‘Palimpsest’, Architecture, Art, and Historic Preservation Faculty Publications, no. 14, Roger Williams University, Bristol, viewed 20 September 2020, <https://docs.rwu.edu/saahp_fp/14>.
   Google Scholar
• Hinder F, Hinder M & Blackman B 1984, Frank and Margel Hinder interviewed by Barbara Blackman, sound recording, National Library of Australia, Canberra.
   Google Scholar
• Hinder, M 1965, Construction details of Reserve Bank sculpture, manuscript, papers of Margel Hinder, National Art Archive, The Art Gallery of New South Wales, Sydney; MS2012.14, Box 10.
   Google Scholar
• Hinder, M 1966, Civic Park Fountain Newcastle manual, manuscript, Margel Hinder - correspondence files concerning sculptures 1958-1994, State Library of New South Wales, Sydney; ML MSS 6088/1.
   Google Scholar
• Hinder, M 1972, Margel Hinder interviewed by Esther Corsellis about sculpture, sound recording, Margel Hinder sound recordings 1972-1992, State Library of New South Wales, Sydney; MLOH 198.
   Google Scholar
• Hinder, M 1992, Interview with Margel Hinder about her career as a sculptor by Betty Marshall 1992, sound recording, State Library of New South Wales.Margel Hinder sound recordings 1972-1992, State Library of New South Wales, Sydney; MLOH 95, 1992.
   Google Scholar
• Hinder, M n.d., Report - Western Assurance, manuscript, Margel Hinder - correspondence files concerning sculptures 1958-1994, State Library of New South Wales, Sydney; ML MSS 6088/1, 1958-1994.
   Google Scholar
• Ingold T 2013, Making: Anthropology, Archaeology, Art and Architecture, Oxfordshire, Routledge.
   Google Scholar
• Irvin S 2005, ‘‘The artist’s sanction in contemporary art’’, The Journal of Aesthetics and Art Criticism, vol. 63, no. 4, pp. 315–326.
   Web of Science ®Google Scholar
• Kavda S, Dopatkar N, Angelova L, Richardson E, Golfomitsou S & Dinojwala A 2015, ‘Surface behaviour of PMMA: Is gel cleaning the way to go?’, Studies in Conservation, vol. 61, no. sup2, pp. 297–299.
   Google Scholar
• Kavda S, Richardson E & Golfomitsou S 2017, ‘The use of solvent-gel systems for the cleaning of PMMA’, MRS Advances, vol. 2, no. 39–40, pp. 2179–2187.
   Web of Science ®Google Scholar
• Kopytoff I 1986, ‘The cultural biography of things: Commoditization as process’, in A Appadurai (ed.) The social life of things: Commodities in Cultural perspective, Cambridge University Press, Cambridge, pp. 64-92.
   Google Scholar
• Lagana A & van Oosten TB 2011, ‘Back to transparency, back to life: research into the restoration of broken transparent unsaturated polyester and poly(methyl methacrylate) works of art’, in Tim, B (ed.), Future talks 009: The conservation of modern materials in applied arts and design, Die Neue Sammlung, The International Design Museum, Munich, pp.1–9, viewed 30 July 2020, <http://www.kennisvoorcollecties.nl/dmsdocument/88>.
   Google Scholar
• Laroque C 2000, ‘Transparent papers: A technological outline and conservation review’, Studies in Conservation, vol. 45, no. 1, pp. 21–31.
   Google Scholar
• Mcclellan A 2008, The art museum from Boullée to Bilbao, University of California Press, California.
   Google Scholar
• McDonald, A 1973, In Report of Town Clerk Number 1 submitted to Council meeting Held 13th November 1973, manuscript, Margel Hinder - correspondence files concerning sculptures 1958-1994, State Library of New South Wales, Sydney; ML MSS 6088/1.
   Google Scholar
• McElhinney, J 2020, Informal discussion, Melbourne, 29 May.
   Google Scholar
• McLees, F. n.d., Archives & access project: Up close and personal with Graham Sutherland’s sketchbooks: By Fiona McLees, Paper Conservator – Behind The Scenes, blog, Tate, London, viewed 27 September 2020, <https://www.tate.org.uk/about-us/projects/transforming-tate-britain-archives-access/archives-access-project-close-and>.
   Google Scholar
• Mimmocchi, D 2020, Informal discussion, Sydney, September 11.
   Google Scholar
• Muñoz-Viñas S 2009, ‘Beyond authenticity’, in E Hermens & T Fiske (eds.) Art, conservation and authenticities: material, concept, context, Archetype, London, pp. 33–38.
   Google Scholar
• National Portrait Gallery 2020, Margel Hinder AM, viewed 30 July 2020, <https://www.portrait.gov.au/people/margel-hinder-1906>.
   Google Scholar
• Noake E, Lau D & Nel P 2017, ‘Identification of cellulose nitrate based adhesive repairs in archaeological pottery of the University of Melbourne’s Middle Eastern archaeological pottery collection using portable FTIR-ATR spectroscopy and PCA’, Heritage Science, vol. 5, no. 1, pp. 1–15.
   Google Scholar
• Ottley D 2010, Grace Crowley’s contribution to Australian Modernism and geometric abstraction, Cambridge Scholars Publishing, Newcastle upon Tyne.
   Google Scholar
• Penrith Regional Gallery 2017, Emu Island : Modernism in place / Penrith Regional Gallery & The Lewers Bequest, viewed 20 July 2020, <https://www.penrithregionalgallery.com.au/wp-content/uploads/2018/11/PRG_Spring_Suite_Catalogue_2017-1.pdf>.
   Google Scholar
• Plate C 2014, ‘The Universal language of abstract art’ in Sydney 6: Hinders, Lewers, Plates, abstract artists, friends, partners, siblings 1940s-1970s, Newcastle Art Gallery, Newcastle, pp. 4–6, viewed 20 June 2020, <https://www.nag.org.au/getattachment/Exhibitions/Current/Archives/2015/SYDNEY-6-Hinders-Lewers-Plates-Abstract-artists,/Sydney_6_catalogue_pageview_SML.pdf.aspx>.
   Google Scholar
• Snee, C 2020, Informal discussion, Sydney, September 11.
   Google Scholar
• Soper, F 2016, Why arts archives?, viewed 28 September 2020, <https://medium.com/project-art360/why-arts-archives-450a04a08bb2>.
   Google Scholar
• van de Vall, R, Holling, H, Scholte, T & Stigter, S 2011, ‘Reflections on a biographical approach to contemporary art conservation’, in ICOM Committee for Conservation, 16th Triennial Conference, 19-23 September, Lisbon, Almada, Critério.
   Google Scholar
• van Saaze V 2009, ‘Doing artworks. An ethnographic account of the acquisition and conservation of No Ghost just a shell’, Krisis Journal for Contemporary Philosophy, vol. 1, pp. 20–32.
   Google Scholar
• Wharton G 2015, ‘Artist intention and the conservation of contemporary art’, in E Hamilton & K Dodson (eds.) The American Institute for conservation of historic & artistic works (AIC), objects Specialty group (OSG) Postprints, vol. 22, pp. 1–12, OSG & AIC, Washington, D.C. viewed 29 November 2020 <http://resources.culturalheritage.org/osg-postprints/wp-content/uploads/sites/8/2015/05/osg022-01.pdf>.
   Google Scholar
• Wilson H 2015, ‘A decision framework for the preservation of transparent papers’, Journal of the Institute of Conservation, vol. 38, no. 1, pp. 54–64.
   Web of Science ®Google Scholar