SOH-C1435: Northern Foyers Artworks Conservation

⁠⁠⁠This RFQ relates to the Northern Foyers Art Conservation Project and includes conservation and public engagement activities for two significant site‑specific works located at the Sydney Opera House.

Project goals

The SOH Northern Foyers Art Conservation Project includes conservation and public engagement activities of two significant site-specific artworks: Possum Dreaming (1988) by Michael Nelson Jagamara and Salute to Slessor’s 5 Bells (1971) by John Olsen located in the Concert Hall Northern Foyer. They are site-specific artworks that are part of the Opera House’s cultural heritage significance. Commissioned for these spaces, both paintings are situated in environmentally variable, high use areas, subject to light and temperature variations.

The SOH seeks the services of a conservator for the two paintings to undertake their assessment and provide recommendations for future conservation and management.

The SOH seeks a Request for Quote (RFQ) in relation to these services by responding to the Returnable Schedules.

Scope:

The Sydney Opera House Northern Foyers Art Conservation Project includes conservation and public engagement activities of two significant site-specific artworks: Possum Dreaming (1988) by Michael Nelson Jagamara and Salute to Slessor’s 5 Bells (1971) by John Olsen located in the Concert Hall Northern Foyer. They are site-specific artworks that are part of the Opera House’s cultural heritage significance. Commissioned for these spaces, both paintings are situated in environmentally variable, high use areas, subject to light and temperature variations. Further details on their location and context is provided.

The SOH seeks the services of a conservator for the two paintings to undertake their assessment and provide recommendations for future conservation and management.

• Stage 1: Initial Assessment and Reporting

• Condition report and analysis of the paintings including paint film analysis and mounting assessment.
• Risk assessment for both artworks.
• Develop a report documenting the above.

• Stage 2 – Environmental Monitoring & Reporting. As a priority develop and implement:

• A 12-month monitoring program methodology for both paintings to understand any potential impacts the environmental conditions could have on their ongoing condition. The methodology should track relative humidity (RH), temperature, and UV/light exposure in both foyers, and other factors as recommended by the conservator.
• Recommendations for environmental sensors to be located and the types of data to collected for both northern foyers. Liaise, advise and coordinate with SOH and their relevant contractors regarding specification, selection, and placement of monitoring devices (noting the conservator will not purchase these sensors, SOH will acquire what is recommended/required). Sensors and monitoring data must be fully compatible and integrated with SOH existing Building and Energy

Management System (BEMS). The captured data will be made available to the conservator for review, analysis, and reporting as required throughout the project.

• Implementation of the environmental monitoring program.
• Analysis of data captured by the sensors during the monitoring period. Including quarterly email updates about the tracking and progress, and initial findings.
• At the conclusion of the monitoring period, deliver a report including condition reports, technical assessment, analysis results, and formal recommendations for conservation treatments and other recommendations consistent with the SOH Conservation Management Plan.

• Stage 3: Conservation Management

• Contributing to the development of a Conservation Management Plan, for the artworks being prepared by SOH. The Conservator will contribute to policy development and identify the physical and environmental risks to the artworks and set out options for mitigating these risks as well as outline ongoing conservation maintenance and interpretation requirements.

• Stage 4: Conservation Treatments

• As recommended by the conservator, may include surface cleaning, and localised consolidation of loose paint to protect the artwork’s long-term physical integrity, etc.

• First Nations Engagement

• Allowance for conservator engagement (organised by SOH) with representatives of Jagamara’s and Olsen’s families, such as meetings on site or online at hourly rates as required.

Site Visits

The Respondent may request a site visit to view the location of the artworks by contacting the Contact Officer during the RFQ Period.

Any site visit will be subject to availability and will normally be conducted between 08:00 and 17:00 Monday to Friday. Please email tenders@sydneyoperahouse.com to enquire about this.