REFERENCES

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Albano, A.1996. Art in transition. In Historical and philosophical issues in the conservation of cultural heritage, ed.N.S.Price, M. K.TalleyJr., and A. M.Vaccaro. Malibu, Calif.: J. Paul Getty Trust. 176–84.

Althofer, H.1981. Historical and ethical principles of restoration. ICOM Committee for Conservation preprints, 6th Triennial Meeting, Working Group: Theory and History of Restoration, Ottawa. Paris: ICOM. 81/1/1–4.

Bromfield, D.1991. Identity: A critical study of the work of Mike Parr, 1970–1980. Perth: University of Western Australia Press.

Bromfield, D.1995. Mike Parr: The immortal instant. In Antipodean current: Ten contemporary artists from Australia, curated by Julia Roberts. New York: Guggenheim Museum. 92.

Davenport, K.1995. Impossible liberties: Contemporary artists on the life of their work over time. Art Journal54(2):40–52.

Derrick, M., D.Stulik, and E.Ordonez. 1993. Deterioration of cellulose nitrate sculptures made by Gabo and Pevsner. In Saving the twentieth century: The conservation of modern materials—Proceedings of a Conference Symposium ′91. Ottawa: Canadian Conservation Institute. 169–82.

Dykstra, S. W.1996. The artist's intentions and the intentional fallacy in fine arts conservation. Journal of the American Institute for Conservation35(3):197–218

Gates, M., and M.Parr1991. Mike Parr, Artist-in-Residence 1990/91. Melbourne: University of Melbourne.

Goist, D. C.1980. Twentieth-century artists: Surface characteristics and original intent. Abstracts of the International Symposium on the Conservation of Contemporary Art. Ottawa: National Gallery. 28–9.

Parr, M.1993. Mike Parr: The Self-Portrait Project. Art Monthly61: 33–43.

Parr, M. and R.Sloggett1991. Interview [unpublished tapes and typed transcript], University of Melbourne.

Pomerantz, Louis. 1980. The role of the conservator in advising artists. Abstracts of the International Symposium on the Conservation of Contemporary Art. Ottawa: National Gallery. 15–17.

Rothfus, J.1993“Foirades/Fizzles”: Jasper Johns's ambiguous object. Burlington Magazine135(1081):269–76.

van deWetering, E., and D. H.vanWegen. 1987. Roaming the stairs of the Tower of Babel: Efforts to expand interdisciplinary involvement in the theory of restoration. ICOM Committee for Conservation preprints, 8th Triennial Meeting, Sydney. Paris: ICOM. 561–65

Wilson, Peter, and S.Nairne1980. The installation file. Abstracts of the International Symposium on the Conservation of Contemporary Art. Ottawa: National Gallery. 17–19.

FURTHER READING

Althofer, H.1984. Modern art and the new restoration. Abstracts of the Conservation of Contemporary Art, ICCM 1984 National Conference. Sydney: ICCM. 3–5.

Domergue, D.1980. Contemporary paintings: A sampling of artist's methods and conservator's constraints. Abstracts of the International Symposium on the Conservation of Contemporary Art. Ottawa: National Gallery. 24–5.

Parr, M. and G.Coulter-Smith. 1995. Mike Parr: The Self-Portrait Project. Melbourne: Schwarz City.

AUTHOR INFORMATION

ROBYN SLOGGETT is chief conservator at the University of Melbourne's Conservation Service and is an associate of the Department of Fine Arts. She is a graduate of the Materials Conservation course at the University of Canberra and has a B.A. Combined Honours majoring in Fine Arts and Philosophy. Her research interests currently include Raman spectroscopic analysis of manuscript material and forgery and identification issues relating to the materials and techniques of 19th-century Australian artists. Address: University of Melbourne Conservation Service, Ian Potter Art Conservation Centre, University of Melbourne, Parkville, Victoria, Australia, 3052