Bark paintings conservation: Eucalyptus tetrodonta properties, bark harvesting and various mounting systems in the Northern Territory†

Abstract

In the past, various mounting systems have been developed with no real consensus on the most appropriate system to display bark paintings that also considers the cultural values of Aboriginal Traditional Owners. In addressing this gap, the Museum and Art Gallery of the Northern Territory (MAGNT) has been reviewing their current mounting systems and the preparation of bark supports with Injalak Arts to enable the development of evidence-based best practices for the display and preservation of bark paintings. A holistic study was undertaken to fully understand the life cycle of bark supports from when they are first made, to their display and collections trajectory in the cultural institution context. This paper examines Eucalyptus tetrodonata’s bark properties and harvesting techniques used by the Injalak Art Centre artists from the Aboriginal Traditional Owners’ perspective. With a holistic understanding of the material and cultural contexts, past display techniques were subsequently assessed which informed improvements of current bark painting mounting methods deployed at MAGNT. The purpose of this paper is not only to inform the development of appropriate mounting systems, but also to provide insight for the development of best practice decision-making and ‘proofed concepts’ of preventive conservation for the preservation and display of Aboriginal bark paintings.