While paper conservators beaver away in the lab treating any prints that might be foxed, and painting conservators clean and treat any works that need attention before being put on display, the curator steps up the pace, finalising any public loans.
For The Enchanted Garden we are borrowing from several dealer galleries, so loan letters have to go out, contracts drawn up and any requirements on the part of the artist or dealer recorded carefully prior to the works being delivered.
We’re also borrowing decorative art objects from Auckland Museum, and our conservators have photographed the works and written condition reports. This happens with every loan work, both into and out of the Gallery, as it is important to have a record of any blemishes, damages etc especially when dealing with fragile porcelain or historic paintings.
As part of this process, the logistics of transporting and displaying individual items are carefully worked through. Two of the paintings in our collection are also getting new frames, so the curator’s job is to select the mouldings and liase with the framer. Meanwhile, research into selected works is taking place, and regular meetings with the designer, education and public programmers all have to fit into the mix.