Outdoor Collections

Guidelines for Use with Survey Form

PART 1: Basic descriptive information

This survey will include any three-dimensional artwork or artefact which is cast, carved, modelled, fabricated, fired or assembled in materials such as stone, wood, metal, ceramic or plastic, located in an outdoor setting, is free standing and accessible to the public.

1.1 Category

'Sculpture' is any work of art carried out in three dimensions.

'Fountain' is an important category of sculpture linking art and hydraulics. Figures, animals and other objects are combined to deliver jets, sprays and waterfalls. This includes drinking fountains for humans and animals.

'Monument' is usually in dedication to the memory of a person(s), founder(s), institution or government, which will usually be stipulated upon an accompanying plaque.

'War Memorial' is dedicated to involvement in any war, usually stipulated on a plaque as part of the memorial.

'Mural' is a decorative item. However, our interest lies with works executed by artists, rather than minor decorative embellishments. What one needs to look for is a signature or plaque commemorating the work of the artist(s).

'Mosaic' is a design made by cementing small pieces of hard, coloured materials (eg. marble, glass, ceramic or semi-precious stones) to a base.

'Terrazzo floor' is a mixture of marble chips and cement used for flooring. It is laid in situ, ground smooth and then polished.

'Artefact' is an item which is related to historical events, and may include items such as a cannon, anchor or horse trough.

The following items will not be included in the AICCM's current project: plaque, gate, fence, step, an architectural feature—part of a building, rock art, outdoor site, engineering structure, mining equipment, agricultural machinery, garden, 'big' thing—advertising material, street furniture, playground equipment and cemeteries. These items are not priorities for this survey. However, you may decide to use this form for your own record-keeping about these items.

1.4 Overall Description Briefly describe the work including its subject/theme. For figurative works, use the abbreviations PR—proper right—and PL—proper left—to indicate the right or left side of the statue from the perspective of the statue, that is your right or left side if you were positioned on the base facing in the same direction as the statue. For abstract works, describe the predominant forms, colours, shapes and textures. For descriptions of either abstract or figurative pieces, avoid judgemental language.

1.5 Overall Condition What is the overall general appearance or condition of the work? Please indicate any broken or missing parts and describe evidence of cracks. Are there obvious signs of deterioration which require urgent treatment, or is it well maintained?

1.6 Primary Artist(s) Is(are) the person(s) responsible for the overall conception and creation of the work. Frequently the artist's name will appear toward the back, lower edge or another inconspicuous place on the sculpture, followed by the abbreviations 'Sc', 'Sculp' for sculptor/sculpted.

1.7 Foundry/Fabricator If the piece was cast, the foundry name or monogram symbol, as well as cast date, may appear on the base of the sculpture or another inconspicuous place.

'Base' is the support on which the object is placed. Some works will include a plinth as well as a base; however, for the purpose of this survey they should be described jointly.

1.10 Media

1.11 APPROXIMATE DIMENSIONS Always measure the tallest and widest points. Do not climb on objects or lean ladders against them while measuring. A simple diagram or drawing of the object identifying where measurements were taken from would be of assistance. Please include this on the back page of the Survey Form. Taking a photo of someone of known height next to a sculpture can help to estimate height—measure against them with a ruler on the photo.

PART 2: Location/jurisdiction information

2.3 Environmental Setting of work The general vicinity and immediate locale surrounding an object play a major role in its overall condition. The size of the work can be an important factor here. The Archibald Fountain in Hyde Park, Sydney is very much a focus of space, whereas a small bust on a low pedestal between shrubs in a garden is unlikely to be a focus. But size alone is not the determining factor. For example, the Richard Johnson Obelisk in Bligh/Hunter Streets, Sydney, though smallish, is a focus of the space it occupies—the little square at the street intersection.

PART 3: Condition information

3.1 Surface Coating

1. Applied patina—chemicals applied to the surface of metal to create a desired colour.

2. Electroplated—the process of depositing metal from a solution of its salts onto a surface, using an electrical current.

3. Gilded—thin layer of gold laid on as gold leaf.

4. Glazed—smooth lustrous coating usually applied to ceramics.

5. Painted—usually applied by brush or spray.

6. Polished—smooth and glossy surface produced by friction.

7. Textured—rough surface, applied as part of the original design.

8. Waxed or lacquered—clear, protective coating, often appears shiny.

9. Other—please specify.

3.2 Surface Appearance

1. Guano—bird droppings, insect or animal remains.

2. Dirty—accumulation of dust and dirt.

3. Graffiti—applied over the surface with paint, felt pen or a similar material.

4. Graffiti—scratched into the surface, damaging original object and exposing fresh material below the surface.

5. Abraded or gouged surface.

6. Cracked surface.

7. Discoloured—a faded or darkened surface.

8. Dented.

9. Corrosion—iron is indicated by rust red but can be orange/brown; copper is indicated by green or black; aluminium is indicated by a dull silver colour.

10. Organic growth—this can be moss, algae, lichen, vines or any other plant matter.

11. White crusts—caused by crystallised salts on the surface.

12. Chalky or powdery surface—loose material is easily transferred to your hand when touched.

13. Spalling—small pieces breaking away from a surface.

PART 4: Owner/Administrator

4.1 It is very important to establish who owns the work, because that agency or body are responsible for its long-term care and maintenance. The researcher will need to check local Council records and, if the owner cannot be clearly identified from these records, it may be necessary to carry out a Land Titles search. It is usually the case that whoever owns the land is responsible for the maintenance of any structure on that land.

PART 5: History and importance—or significance—of the work

This section is to be completed at your local library, historical society or Council.

5.3 What is the history of the work?

(a) Why was it made?

(b) Are there any original drawings or records of the work? Who owns these materials?

(c) Are there any historical photographs of the work? For example, of the opening ceremony; and any others which may illustrate changes to the work or its surrounds.

(d) Are there any books or other references to the work?

(e) Has the work been altered in any way-other than through decay? For example, have parts been added—plaques perhaps—or have the surrounds been changed—was there once a fence?

5.4 What is the importance-or heritage significance—of the work?

Is the work:

(a) associated with events, or developments in history?

(b) associated with important people?

(c) rare?

(d) of high aesthetic quality?

(e) a creative or technical achievement?

What value does the work have for the local community?

(a) Observe how people react to the work.

(b) Listen to people's comments about the work.

(c) Ask them whether the work is of special value to them.

(d) How does the community use the work? Is it the focus of events?