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NEW ZEALAND MUSEUMS JOURNAL

Volume 21 Number 1 1991 Journal of the Art Galleries and Museums Association of New Zealand EDITORIAL

This volume is the first of a new series of what was once called the AGMANZ Journal. Its new name and the change in editorial base do not, however, signify a major change in the reasons for such a publication or in the aspirations of the editors and the Council of the Association. The material contained herein is presented in the hope that some, if not all, will be of interest and of value to the museum profession. to trustees, to the 'Friends' and to the funding bodies of the nation's many museum institutions.

Because of the major development of graduate courses in museum studies at Massey University (See Butts in this issue) it is logical that the editorial servicing of the journal should be carried out at the University. The programme is already producing essays of such quality (S cc McCredie and Marc‘. in this issue) that their publication is believed to be important not only for a much wider readership but also for the furtherance of academic study of areas of concern to all who possess a serious interest in the development of institutions acknowledged as vital to the social and cultural health of New Zealand.

The co-editors are grateful to those individuals whose papers are included in this issue. Comments on the format and content of the journal would be welcomed as would all offers of contributions for further issues.

The opinions expressed by authors in this journal are not necessarily those of the AGMANZ or the Editors.

Keith W. Thomson.

AGMANZ: TE ROPU HANGA KAUPAPA TAONGA

Sherry Reynolds, AGMANZ President, Auckland Institute and Museum In May 1991 the AGM of the AGMANZ saw unanimous support for substantial refocusing and revitalisation of the Association‘s structure and services. The new name of the Association is to be “The Museums Association of Aotearoa New Zealand Incorporated - Te Ropu Hanga Kaupapa Taonga”. The new statement of purpose reads: “He kura tangata e kore e rokohanga. He kura whenua ka rokohanga. The Museums Association of Aotearoa New Zealand - Te Ropu Hanga Kaupapa Taonga (MAANZ) is the national body dedicated to the advancement of New Zealand museums and their work towards the care and appreciation of cultural and natural heritage”. The new aims of the Association fall broadly into three categories of advocacy, communications and standards and development.

The composition ofCouncil will change substantially to demonstrate the Association's commitment to a bicultural partnership with the tangata whenua. The new Council will comprise ten elected members from the Association’s membership and ten members appointed by the Kaitiaki Maori.

The membership benefits for 1991/92 year include a regular quarterly newsletter, the biannual New Zealand Museums Journal, the opportunity to participate in the annual conference to be held in September 1992, as well as offering the opportunity to be part of the national organisation that promotes museums and their work and provides a broad forum and support network for museum peoples concerns and interests.

During the 1991/92 year the Council will continue its advocacy role to promote museums as essential community resources at the national level and as requested at the local level. Council will monitor and where appropriate make recommendations to Gmernment and other agencies on policy impacting on museums. As well the Council will continue to cooperate with other bodies in New Zealand or elsewhere that have similar aims to those of the Association. Direct access to Council is encouraged from the museological Special interest and professional groups, while regional membership groups are also being promoted.

A new draft Code of Ethics has been referred to Kaitiaki Maori for comment and once this feedback has been received Council will circulate the revised draft to the general membership for comment. Training opportunities and requirements are viewed as very important by Council and are currently being reviewed. Recently several informal discussions have been held to pursue issues ofexisting availability of courses and scope of training, content, levels and methods of delivering.

In the “foreseeable” future the way ahead generally for museums and museum workers is likely to become more difficult not easier. S uch times however also ironically offer new challenges and opportunities: opportunities to review old “givens”; opportunities for change; Opportunities for creativity and opportunities to form new relationships and partnerships. The recently formed partnership with the Department ofMuseum Studies from Massey University to produce the New Zealand Museum’s Journal is an excellent example of how the Association has begun to respond to the environment in which it is now operating.

NZJM 21(1): 1 RECENT DEVELOPMENTS AT THE OTAGO MUSEUM

Richard Cassels, Director, Otago Museum, Dunedin

Introduction exhibitions had been held in the Museum this shows. Labels are bilingual; a seven Foyer, which had become increasingly projector audiovisual is popular, a ‘moveable Over the last four years visitor numbers to unsatisfactory. The new venue was much glass wall’ display system looks splendid; the Otago Museum went from about 70,000 larger, and was a very attractive hall in its and the Hall incorporates a study room for pa. to over 200,000. Museum expenditure own right. It enabled the Museum to groups and classes, together with study increased by over 70% with most of the continue its programme of community collections. This facility is becoming increase coming from sources other than exhibitions (principally craft groups and increasingly significant as in-depth use of local authority levies - the traditional funding educational institutions who hired the hall the collections and displays by educational base of the Museum. Programmes like the and set up their exhibitions); but, more groups increases. ‘Build-a-Bug’ and ‘Make-a-Mask' importantly, it gave the Museum a suitable competitions, the ‘A-Z Show’, and ‘What venue for travelling exhibitions, and for its In 1990 the Museum engaged Mr. Cliff the Tide Brought In’ combined with new own special-theme exhibitions. Whiting to direct a community carving facilities such as ‘Discovery World’, the project, which resulted in a magnificent Museum Cafe, the Craft Council Gallery The expansion of the special (or short- contemporary gateway to part of the new and the new Maori Hall ‘Tangata Whenua’, terrn) exhibitions programme will have an Maori displays. raised the public profile of the Museum effect on the development of the ‘permanent‘ enormously. (or long-term) exhibitions. However in Issues of biculturalism, repatriation, the years 1987-91 the Museum also opened (particularly resulting from the Ngati Awa So, what happened? How was it made new ‘insect’ displays (the Forster Hall. claim for the return of the meeting house possible? And why did it happen? actually including a wide range of ‘Mataatua’) and political representation invertebrates), the new Maori Hall display continue to be of key importance for the 1. What hamneg? ‘Tangata Whenua’, and, in 1991, the new Otago Museum. Science Centre ‘Discovery World’. (a) The public front The Science Centre ‘Discovery World - The ‘Te Maori’ exhibition was held at the Matauranga Pu Taiao - Otago’s Window The ‘A-Z Show’ of 1987-8 amassed an Otago Museum in 1986-7 and necessitated on Science’ developed somewhat amazing array ofobjects from the Museum’s the complete dismantling of the old Maori unexpectedly as a result of several unrelated collections under each letter of the alphabet displays. The resulting empty hall demanded factors, principally (1) enthusiasm for (e.g. anteater, amethyst, argillite, antelope, that the Museum urgently address the matter developing a local science centre, and tiger, toilet, tsuga and tapa); this very of a new exhibition. particularly among University staff; (2) a popular exhibition showed the Museum desire to develop interactive exhibits and 21 taking a very light-hearted look at itself, Te Maori was an incredibly important Discovery room at the Orago Museum; (3) but also showed offthe magnificentwealth catalyst: Maori reasserted their primacy the rapid growth of science fairs, which and diversity of the Museum ’3 collections. over ethnologists’ visions of New Zealand’s were originally held at the Otago Museum; history. Museum conventions were (4) the opportunity to buy the assets of the A series of annual creative competitions - shattered by swarms of people talking, failed Auckland venture ‘Microworld’; (5) ‘Build-a-Bug’, ‘Make-a-Mask’ and ‘Build- arguing, demonstrating, eating and resting the willingness ofthe Museum Trust Board a-Bird’ - involved the whole community, in the museum; the tangata whenua asserted to take risks. particularly school children, in an their culture, their language and their imaginative and enjoyable way ofthinking presence in a way that meant that New When Lottery funding became available about natural history and ethnology. The Zealand museums could never be the same in 1990, the whole project shifted from resulting display of creations were extremely again. being a relatively small museum-university popular. ‘Exploratory’, toa regional science centre, The Otago Museum’s ‘Tangata Whenua’ a co-operative venture between the Museum, In 1989 the old Great King Street gallery display was planned in consultation with University, Polytechnic, local businesses was converted into the venue for a the Otago tangata whenua, who discussed and Otago science organisations. programme of special (or ‘temporary’) all principal issues. It was however carried exhibitions. Previously these short-term out by a predominantly pakeha staff, and

NZMJ 21(1): 2-5 Other important developments on the public particularly the Yellow-eyed Penguin. In the management, time and skills necessary from have been the refurbishment of the a similar vein, the scope of Humanities for successful community projects should foyer, the opening ofthe cafe, the expansion collecting has been broadened to include not be underestimated. of the shop (including its extension to contemporary Maori material culture and include the Crafts Council Gallery, a co- contemporary craft/decorative arts. The (0) Risk Taking operative venture with the Dunedin Chapter Otago Museum does not wish to condemn of the Crafts Council), the completion of itself to focussing only on dead cultures Discovery World, the expanded shop and market surveys (of both users and non- and extinct species! the Cafe only happened because the Museum users), publication of a quarterly newsletter Trust Board was prepared to take the risk and revival of the annual report. Advertising 2. Wm? that these ventures might or might not pay expenditure has increased from $709 in for themselves. The courage of the Trust 1986-7 to $10,861 in 1989-90. Also (a) Money Board is notable, and is a good argument significant has been collaboration with for museums to be administered by bodies other Dunedin attractions in publishing Table 1 speaks for itself. The local at arms length from the funding bodies. the ‘Dunedin Naturally’ and 'Dunedin: authorities continued to fund the Museum, Discovery World would not have happened Heritage Alive’ brochures; a dynamic even approving increases above the level if the Otago Museum had been a department programme ofactivities for schools, and a of inflation. This was undoubtedly due to of the Dunedin City Council. popular weekly ‘Nature File’ column in the evident enthusiasm ofthe Board, Director the Otago Daily Times. and staff to implement changes. The most 3. Wish? significant other source of income has (b) behind the scenes been the New Zealand lottery Grants Board, It is hard to be analytical about such recent with grants or subsidies of$109,572 towards events. The following key factors can be A formal departmental structure was the Maori Hall, $940,000 for Discovery identified: established, with Heads of Departments World, and an annual subsidy for the (e.g. Sciences, Humanities, Display, Museum Liaison Service of $30-40,000. (a) pressure for change after 30 years of the Maintenance, Administration, Security and previous Directorship; Discovery World) regularly reporting to Other principal sources have been Trusts, the Director. The scope of the two curaton'al the University, the Dunedin City Council (b) reform of local government; greater departments was deliberately broadened and the Museum’s own Trust Funds, and a accountability, efficiency and by changing them from Zoology and remarkable legacy of generosity and professionalism in this area; Anthropology to Sciences and Humanities commitments by the people of Dunedin respectively. The mission ofthe Museum that owes its origins particularly to Willi (c) greatly increased public expectations was defined as focusing on nature, culture, Fels from the 1920s onwards. of museums, particuarly because of and science, with two principal cultural increased overseas travel. Our visitors themes - Otago's Polynesian heritage and Fund-raising events have been insignificant. will now compare the Otago Museum to its European/world heritage. the Powerhouse in Sydney or the Natural (b) Community Power History Museum in London, rather than A successful annual corporate planning with the Canterbury or North Otago process was begun, using outside facilitators. A science centre like Discovery World Museums; ' The plans are kept as operational and would not have been possible, nor would it practical as possible and have developed have been undertaken, without the (d) necessity to develop self-funding gradually in a more theoretical direction. involvement of groups like the University, commercial enterprises, with all the highly Polytechnic, and local business and service significant flow-on effects on the nature of A major 4-year programme of urgent organisations. The Crafts Council Gallery museum organisations, of which the most building maintenance was started, and the is a co-operative venture with the Dunedin important is the concept of SERVICE which planning began for the next stage, climate Chapter of the Crafts Council as is the comes to dominate the entire museum control. Maritime Hall with the Otago Maritime operation; Society. Three University Lecturers are The price of emphasising the public front honorary curators (in Classics and Costume). (e) the Maori renaissance and an of the Museum has been lack of progress The carved gateway resulted from co- accompanying backlash or swing back to on registering, housing and researching operation with Otakou marae in particular. ‘traditional’ values among the pakeha collectiOns, except in the field of The Friends ofthe Museum are active with population; entomology. support programmes and social events. (f) the remarkable growth of local history The scope of museum research was however Community involvement is the only way museums; in 1955 the Otago Museum was, broadened to include research on the ecology that the present size of the Otago Museum ’3 in many people’s minds, the only museum and conservation of living animals, operation can be maintained. However in Otago;

NZMJ 21(1): 2-5 OTAGO MUSEUM: A view of part of Discovery World, the museum's new Science Centre.

NZMJ 21(1): 2-5 (g) the growth of tourism; Table 1 WWW

(h) the increasing use of museums by educational organisations; Expenditure 1987-8 88-89 89-90” 89-90 % increase 1-4 4. m 15 mths (12/15)

The last four years have seen the dramatic (a) Ex Local Authority $854,864 978.301 1,334,623 (1,067,698) +24.9% revitalisation of the Otago Museum as a levy (b) Other Funds: dynamic andexciting community resource and community centre. Special Funds 36,715 1,066 25,781 Shop stock purduses 17,632 29,439 43,469 At the same time, and indeed partly as a Discovery World - 593 355,272 Trust Funds 14,149 44,026 70,581 result of these services, the profile ofother Conservation grant - 6,972 265 museums, particularly local history Maori Hall- 42,950 128,824 museums, art galleries, visitor centres and other heritage attractions has been raised Subtotal (b) 68,496 125,046 624,192 (499,354) +629% significantly. It is in the context of these TOTAL (a) + (b) 923,360 1,103,347 1,958,815 (1,567,052) +69.7 local developments that the future role of the Otago Museum will be mostdrastically re-examined and the matter of the ‘ 15 months period. due to change in financial year. international cultural and scientific significance of its collections most seriously Table 2. WWW reconsidered. (A) Local Authorities‘

Ordinary levy $1,183,321) Interest from levies 33,921

SUB TOTAL (A) $1,256,241 54%

(B) Other Sources

Fundraising - Maori Hall (span in year) 128,824 Fundraising - Science Centre (spent in year) 355,272 Shop Gross Profit 21,320 University rentals 18,100 Lottery Board and Government subsidies 43,936 Other Museum income 21,022 Bequests and legacies 165,702 Other grants 5,500 Interest from Special & Trust funds 153,706 Government ‘Restart' subsidies 39,309

Value of voluntary work: Deloitte Ross Tohmatsu 20,000 Other Dunedin businesses 10,000 Trust Board (no fees) 44,000 Honorary curators 45,000

SUB TOTAL (8) $1,071,691 46%

TOTAL (A) + (B) $2,327,932

‘ Proportions are approximately:

D.C.C. 85.2%; Cuitral Otago D.C. 2.5%; Clutha D.C. 7.2%; Waitaki D.C. 5.2%

NZMJ 21(1): 2-5 RELATIONSHIPS BETWEEN CONSERVATORS' CODES OF ETHICS AND THE CONSERVATION POLICIES OF INSTITUTIONS - COMMON THREADS, CONFLICTS AND FAILINGS.

Athol McCredie, Consultant Curator, Wellington

Conservators’ codes of ethics provide rules actions of the conservator must be governed in terms, “for in most cases it can only be for individuals, intended to ensure consistent by an unswerving respect for the physical, prosthetic or cosmetic. It can never actually and professional behaviour and to thereby historic and aesthetic integrity of the object” replace what is lost". Codes of ethics help define a particular profession. Much (ICCM). Any intervention risks affecting disallow restoration which modifies or of their content is a prescription for these aspects of the object. In fact Ward conceals the “true nature" of the object. professionalism in the general sense (19883) goes so far as to say that all Restoration must be detectable so that concerning avoidance ofconflicts of interest, intervention diminishes originality. Codes original and repair can be distinguished. refraining from criticising the work of ofethics therefore emphasise that treatments otherconservators, and so on. Institutional which entail a minimum of alteration to Whereas codes of ethics focus on minimum conservation policies, on the other hand, the object should be used. alteration ofthe object, the content of most are formulated as guides for action which institutional policies almost entirely will help realise an institution’s aims and From a philosophy of minimum intervention addresses the reduction of damaging objectives. They are about ways ofbringing follows the principle of reversibility. influences on collections. Their informing collections to the public with a minimum Preferable treatments or materials are those principle is to ensure that when other of harm. which can be removed or otherwise important functions of the museum are “undone” without damage to the object. carried out - acquisition, research, exhibition, In many situations codes and policies must (However, reversibility has become and interpretation - thatpreservation ofthe interface. Conservators working for an debatable in recent years. Common and collection is a primary consideration. Policy institution have to follow its policies as routine techniques, such as spot bleaching content is therefore less (or not at all) well as their own professional code of crwashing worksonpaperarenot reversible. concerned with individual laboratory ethics. Institutions, in turn, expect that And reversibility is usually a matter of treatment options but with preventive where matters fall outside the scope of degree. Removable consolidants applied conservation at the macro level‘. their policies the conservators codes will to archaeological wooden material, for continue to preserve the interests of the example, will still leave traces, or those of Typical policy topics are: climate control institution and its objects. In practice, their solvents, which might contaminate and lighting levels in storage and exhibit despite their functionally different radiocarbon dating.) areas; storage and display supports and intentions, the two types of document m housings; pest control; periodic collection largely compatible, sharing a number Caution, in fact, has to be applied at every checks; condition reporting and other philosophical approaches in common. turn. The long term stability of treatments documentation of collection and loans However, there are also problem areas is never 100% certain. Accelerated aging (inward and outward); protection of material where they do not seamlessly connect or tests provide substantial evidence of loaned to other institutions; packing and complement each other, and respective permanency but do not constitute a freight standards for loans; standards of interests conflict or are not followed through. watertight guarantee. And treatments which staff handling; protection from fire, water, Finally, there are certain issues of non- appear reasonable today may also mislead, theft; and disaster planning. material value which neither manage to hinder, (I prevent fuune research. Renshaw- deal with. Beauchamp (n.d.: 194) mentions the case Decision Making of traces of blood on 3,000 year old THE COMMON THREADS microblades. New techniques of analysis Who has the final say on whether treatment have allowed researchers to determine the ofan object is to proceed, and the nature of Prevention vs Intervention species ofanimal lastcutwith these blades. such treatment, is an important matter to If these artefacts had been routinely washed address. Obviously the owner should have, Both codes of ethics and conservation by ultrasound cleaning this evidence would or share in, this authority butnotonly may policies stress a preference for prevention have vanished. the Owner have insufficient specialist of damage rather than repair. For knowledge to make a judicious conservation conservators, the principle which informs Respect for the object also includes a decision, the ownership of museum objects this attitude is one ofrespect for the object. presumption against restoration. As Ward is a question which can be broader than The ICCM, AIC and IIC-CG codes of (1988: 60) says, restoration is a contradiction simple physical, legal possession. (An ethics, almost identically state that “all issue discussed later.)

NZMJ 21(1): e9 Of the conservators’ codes of ethics, the ethics invariably stress that conservators DISCONTINUITIES AIC alone is not very clear on the issue of have a duty to improve their own knowledge decision making. The ICCM, NZPCG, and skills and to share this information Responsibility for Preserving Meaning and lIC-CG all explicitly state that the with their fellows. Being a profession also consent of the owner/custodian is necessary implies some form of public service Museum policies tend to leave issues of before any intervention which may alter orientation and most codes of ethics the alteration of the object’s nature by the object. AIC and NZPCF say that additionally mention a responsibility to treatment to be covered by conservators’ sincere and honest advice is to be given if promote awareness and understanding of codes of ethics, yet this is an area in which the owner/custodian is unable to judge an conservation amongst the general public. they have a strong interest: a museum’s object’s conservation requirements. (Curiously, the NZPCG saysnothing about very purpose and activities concerns the a responsibility to educate the public, not meaning ofphysical objects. The treatment Regarding institutional policies, the British even to train future conservators and of an object, as codes of ethics implicitly Columbia Provincial Museum policy says, technicians.) acknowledge, can alter or obscure any one “The care ofcollections is clearly a curatorial of a number of different meanings and responsibility [and that] before any treatment For institutions, educating the public is significances an object may hold. Codes is undertaken there must be consultation narrowed to training ofall staffwho handle of ethics require the conservator to and agreement with the curator responsible or whose actions may affect the welfare of understand these different meanings, to be for the object” (19822). The primary collection material. Educating here becomes “governed by an unswerving respect for responsibility of conservators in this museum a matter of crucial importance, since the physical, historic and aesthetic integrity is to provide information on standards and deterioration of objects can be adversely ofthe object” (ICCM). And, in restoration, to actively participate at the request of caused by any one of many incorrect to consider which previous state of an curators. museum practices. The conservator is the object’s existence to represent.2 person at whosedoorthe onus on providing Correcting the curator’s lack ofconservation this education usually is placed. Institutional policies do not seem to knowledge with good advice is one thing, explicitly support this philosophy. A u'ivial but this advice needs in turn to be informed Documentation but indicative example is an experience I by understandings of the historical, cultural had recently in bonowing original historical or aesthetic significance and background Both codes ofethics and policies insist that illustrations for an exhibition. It was ofthe item - neitherparty alone can possess records of the physical conditions of objects apparently Archives’ policy that all material full knowledge of the object. Although are written and preserved. Codes of ethics loaned out be “conserved” but this both the ICCM and IIC-CG assign final concern themselves with the creation of conservation was not just to prevent decision making to the owner-custodian, examination and (if applicable) treatment immediate exhibit damage or for cosmetic they do also make the philosophical point reports for objects entering the laboratory. reasons. It included general preventative that conservation and treatment is a shared Examination reports are to include treatment - removal of acid mounts, rubber responsibility of owner and conservator. information on historic or cultural cement, sellotape, etc. While undoubtedly The best way to formalise this in an significance and causes of deterioration beneficial to the work’s long term physical institution, and to ensure a two-way flow (NZPCG) as well as on details of survival, it did mean that all traces ofbeing of information, is to make conservation composition and physical condition. artwork in the publishing sense were decisions bipartite. The National Museums Treatment reports document the materials removed. In their new, individual. acid- of Canada go even further than this, to and processes used, as well as including free housings and squeaky clean condition, include a third person from whichever user observations and justifications. Both are the drawings became elevated to the status area is currently most relevant - research, to be held as permanent records so that of artworks. The curators (typically) seemed design, education, or registration. This reversal of treatments can be performed happy with this - they were keen to bathe stems from the museum’s philosophy that and the pre-treatment nature of the object in the prestige of now owning artworks. it has three equal fields of responsibility can always be ascertained. heedless of the subtle change in meaning. with regard to collection items: for what the object means - historimlly, scientifically, Institutions stress that both the physical Codes of ethics, let alone policies, have aesthetically; for what it is - physically and condition and any treatment needs of little to say on spiritual meaning, although for ensuring its physical integrity is collection items should be routinely most include a section about the necessity protected; and for its appropriate and recorded. This provides information on of maintaining a balance between the effective use - in exhibits, research, the state of the collection as a whole as cultural needs of society (which society?) education, etc. (Ward, 1988: 5-6). well as a record against which individual and the preservation of cultural material. deterioration or damage can be detected. Mibach and Wolfe (1986) have written Training and Propagation of Knowledge Material entering or leaving the building is about this issue in relation to the demands always required to be condition-reported of American Indian groups for the use of In encouraging high standards of so thatcauses ofdamageandresponsibility sacred objects held in museums; for their professionalism, conservators’ codes of for it can be traced. performance of spiritual maintenance of NZMJ 21(1): 6-9 the objects; and Concerns about spiritual curators?) These policies frequently take CONCLUSION damage and its reversibility. New Zealand as their starting point or raison d’étre, the conservators, and institutions, face very ICOM definiIiOn of a museum‘, claiming In summary, codes of ethics and policies similar issues — whether museum-held cloaks that preservation is a prime (if not the should recognise their functional should be used for tangi and the spiritual prime) function of a museum. But to say, relatiOnships more fully. Museums cannot effects from the handling of sacred objects as Ward (1988: i) does, that preservation just leave the preservation of meaning up by female museum workers, for example. is a first priority because without to conservators’ codes of ethics and they preservation there is no point to collecting need conservators to be able to limit their Extended Ownership and that there would be no collections to commitment to the “one standard“ (with research or present is a chicken and egg appropriate safeguards). Although not as Related to these issues is that ofownership argument, for obviously without a collection strongly oriented to private consaltancy as of ethnological material. Mention of there is nothing to preserve. (Lack of some codes, there is nothing in the NZPCG spiritual or other senses of extra-legal proper preservation never bothered code to acknowledge that the majority of ownership or interests in objects seems museums in past — they functioned perfectly New Zealand conservators work in absent from policies and codes of ethics. well in the terms of their own time.) institutions. The orientation ofmost codes lf,asishappeningin New Zealand, museums Moreover, if one takes “researches, to laboratory treatment also seems are beginning to recognise that they are no communicates, and exhibits” to read as particularly out of place when so many more than custodians of ethnographic “interprets" in the ICOM definition of a censervators are finding that the bulk of material then conservation treatments should museum, the functions do not represent a their time is taken up with advising on and require the consent of the originating people sequence. Collecting is itself an act of Overseeing environmental conditions, as well as of curators. interpretation. In summary, the “a museum’s handling and other forms of non- purpose” argument justifying conservation interventionist conservation. The interests of artists in their work are policy assumes and emphasises the less supportable but also deserving of physicality ofcollection material. taking it Even with the best codes and policies there reSpect. Only the IlC-CG code mentions as an a priori fact, a uniform, equal valued is still a need for high levels of dialogue. that conservators have a duty to understand, collection of objects to be treated - rather With conservators and curators/owners)‘ as part of an object’s meaning, the intentions than recognising the constantly negotiated custodians better informed of each other' 5 of its creator. In some situations, more and negotiable values and meanings of perspectives not only can the objects than just the intentions could be considered. these objects. themselves benefit, but greater access by Artists often feel a strong identification users can ensue: too often what is merely a with, and sense of spiritual ownership of, These issues make themselves felt in the general recommendation by a conservator their artworks. To consult with, or at least fact of the “one standar ” philosophy of is passed on to researchers and public as an inform them about proposed treatments of conservators codes of ethics. This requires all encompassing edict set in stone. The their creations demonstrates sensitivity, that the quality of treatment is never limited conservators receive a reputation as maintains good artist/institutional relations, by the quality or value ofan object, “although unreasonable dictators when the blame is and will probably provide useful circumstances may limit the extent of often due to curators, librarians, or archivists information3 treatment” (IC-CG). Vitale et al (1985) who possess insufficient knowledge to be Suggest that, like reversibility, this is a able to judge individual cases on their A difficult issue which this consultation valuable ideal to aim for, but that irt practice merits. can raise is the attitude of the creator who it can be difficult to follow. “Extent" and has no inclination to see his/her work actively “quality” are not always easily separable, Footnotes preserved. Some artists even deliberately and curators simply do assign relative values intend their work to self-destruct. Karel to collection items. Although preventive 1. This is a relatively recent development Peters (1983: 12) cites the case of an conservation measures such as climate and in the past restoration in museums elderly Maori woman who felt that ancestor control can be applied across large volumes was more dominant. On purely carvings should die a natural death, of collectiOn material, laboratory treatment economic grounds it obviously makes presumably in the belief that this was a in most institutions does have to be more sense to prevent deterioration more respectful way of treating them than prioritised, and, especially with multiple than repair it. Awareness that past restoration. works, treatments limited. All items are treatments have failed is another factor not equal, as codes of ethics and most in this shift in practice, as is a change in Taking Account ofValue and Significance policies seem to propose. (This proposal is public perceptions. in an age of the taking the argument that today’s rubbish artificial and imitation - the simulacra Conservation policies tend to concentrate could be tomorrow’s treasures and vice of postmodern existence - museum almost exclusively on the physical aspects verse to an extreme. Naturally caution audiences demand evidence of of objects. (Perhaps because they are must be constantly and rigorously exercised, authenticity - thoseobjects which show often written by conservators rather than but it is precisely a curator’s job to try and their age. gain a perspective on those relative values.)

NZMJ 21 (1): 6-9 2. Usually to the state existing at the end Heritage Administration branch, Ministry of its useful life, though for art works it of Citizenship and Culture, n.d., may be the original appearance intended Developing a conservation policy for by the artist. the museum, Museum notes for community museums in Ontario. 3. An example is Anne Noble‘s iron toned photographs held in a number of NZ ICIIM Code of Ethics, 1986, ICCMNational public gallery collections. These were Newsletter, 19, June. originally blue in colour but have slowly and unevenly changed to an blotchy International Institute for Conservation - green. I suspect that the photographer Canadian Group (TIC-CG) & Canadian would not want these works to be Association of Professional exhibited in their present state and I Conservators, 1989, Code ofethicsand think curators shoulddefer to this wish. guidancefor practicejbr those involved For technical reasons treatment options in conservation ofcultural property in may not include restoring the original Canada, Ottawa. colour — they may be resu'icted to removing tone altogether or else creating Mibach, Lisa and Sara J. Wolfe, 1983, a uniform green. The photographer Ethical considerations in the would be able to suggest which would conservation of native American sacred be closest to her intentions. To ensure objects, Journal ofthe American Institute that the artist’s original intention is for Conservation 23(1), 1-5. followed, not theircurrent feelings, the final decision should be the curator’s. National Library of N2, 1988, Safeguarding the collections ofthe NationalLibrary: 4. “a non-profit making institution in the a comprehensive approach to their service of society and its development conservation. (Internal policy and open to the public, which acquires, document). conserves, researches, communicates and exhibits, for the purposes of study, New Zealand Professional Conservators' [This article was originally submitted as education and enjoyment, material Group (NZPCG), 1988, Code ofethics: evidence ofman and his environment”. New Zealand Professional Conservators’ an essay for the Graduate Diploma in Group, AGMANZ Journal 19(3), 14- Museum Studies, Massey University in 5. Though some, such as the National 15. 1991] Library’s, do outline broad priority groups of collection types. Peters, Karel M., 1983, The conservation of a Maori meeting house: a “living” References artefact,AGMANZNews 14(2), 12-15.

American Insiurte for Conservation of Renshaw-Beauchamp, Richard B, n.d., The Historic and Artistic Works (AIC), 1987, conservation ofethnographic material, Code of ethics and standards of practice, Museum, 194-197. (A passed on AIC 1987-88 directory. photocopy - source unavailable.)

British Columbia Provincial Museum, 1982, Vitale, Timothy, et.al., 1985, A Book and Conservation policy statement of the Paper Group discussion on ethics. AIC British Columbia Provincial Museum: Book and Paper Group Annual, 116- prepared by the conservation division, 136. Museum information: British Columbia Provincial Museum. Ward, Philip, 1988, A conservation philosophy for the national museums Christensen, Georgina, n.d., Conservation of Canada. Exhibition: the co-operative ofculturalproperty: a guidefizr museum venture, llC-CG, Toronto. conservation policy making, Department of Internal Affairs, Wellington.

NZMJ 21 (1): 6-9 10

BOLA AND BEYOND: SOME RECENT DEVELOPMENTS AT THE GISBORNE MUSEUM & ARTS CENTRE

Wayne Orchiston - Director, Gisbome Museum & Arts Centre.

1. INTRODUCTION interests and expertise lay in children’s In terms of strategy development, the critical museums, computer applications in aspects of this definition were the regional March 1988 witnessed the simultaneous museums (e.g. see Bhathal and Orchiston, focus, specified target audiences, and role arrival in Gisbome of Cyclone Bola and 1981), fund-raising, marketing, museum and function elements. Furthermore, as a yours truly (though no causal relationship architecture, the musernn-tourism interface, public institution, funded to a large extent should be inferred). After nearly twenty public programs, and science centres (see by rate-payer contributions, the Gisbome years in Australia, I found a very different Orchiston and Bhathal, 1984), but as the Museum had a primary responsibility to New Zealand, and a regional museum and foundation Headofagraduate Department service the needs of the local (Gisbome arts centre of which the staff were justly of Museum Studies for nine years I had a District) population. As Hooper-Greenhill proud (see Thomson, 1981: 93-98). more than passing familiarity with other (1990: 215) has pointed out, the concept areas of museology. that museums are consumer-oriented, user- My predecessor, Warner Haldane, had left friendly, and there to serve their public(s), a fine legacy: a complex comprising the The challenge, then, was to harness the is a relatively new one. main museum building (opened in 1977), available resources, marshal! new resources, two historical houses and associated and assist the Executive Committee in Over the last thirty years or so, progressive outbuildings, and “The Star of Canada planning an exciting and vibrant future museums worldwide have experienced an Maritime Museum” (opened in 1986); a direction for the Gisbome Museum & Arts interesting quantum shift in primary function popular art/craft changing exhibitions Centre (henceforth “Gisbome Museum”, towards increased public usage and program; historic “photoboolts” which had for convenience). This paper summarises relevance, as a more knowledgable public drawn international recognition (Haldane, some ofthe developments that have occurred with increased leisure time on its hands, 1979); the widely-read “Museum during the intervening three and a half has sought education, enjoyment and Miscellany” column in the W years, and is a witness to the dedication of recreation in once hallowed halls (see a well-patronised educational service; a the staff and the support and vision of the Alexander, 1979; Levin, 1983). The professional collections management Executive Committee. perceived chronological focus of the modern system; and a recently renovated, though museum has also changed in the mind’ 3 eye already congested, collections store. The 2. SIGNIFICANT DEVELOPMENTS of the public to a place which helps people collections themselves had been rationalised become aware of the past, wand through the introduction of a “Collections 2.1 Strategy Considerations fume ofthe area in which they live” (Hudson, Policy”, and particular strengths were 1977: 11, my underlining). costume and historical records and archives. By accommodating the Constitution ofthe Gisbome Museum and Arts Centre Modern museums discuss contemporary Staff comprised a Director, Deputy Director, Incorporated and adapting the [COM issues (Hancocks, 1987; Prakash and Historian, Exhibitions Officer, and Registrar definition of “a museum”, we arrive at a Shaman, 1987), and serve as local (all full-time), and part-time Education viable working definition for the Gisbome information centres and tourism orientation Officer (0.6), Supervisor (with front—of- Museum: centres. They espouse - at least in part - a house responsibilities), Technician, Cleaner, .. a non-profit making regional “hands-on” approach (see Cleaver, 1988), and Weekend Supervisors (two of them). institution forresidents ofand visitors and should not be afraid of taking the best to the Gisbome District, which elements of all progressive museums and I came to Gisbome with a smorgasbord encourages practising artists and modifying and adapting them to their own background in astronomy, ethnohistory, crafts people, and acquires, specific requirements (e.g. see Berrin, 1978; ethnology, geology, museology, conserves, researches, comm- Henderson, 1986; Phillips, 1986). Where palaeoanthropology and prehistory, and unicates and exhibits, for the possible, modern museums should exploit an employment history spanning a state purposes of study, education and the latest technological innovations to their museum, a government research enjoyment, information about and own advantage (see Beniger and Freedman- department, and academia (including the material evidence of mankind and Harvey, 1987; Besser, 1987; Femenias and curatorship of a major university’s the local environment. Mansfield, 1985). Modern museums should ethnographic and archaeological be alive! collections). My particular museology

NZMJ 21(1): 10-15 ll

l Museums of the future will focus essential. These aspects, and other inter- significant increases in both the Gisbome ‘ increasingly on public education and related developments, are discussed below. District Council annual grant and non- 1 enjoyment (Museumsfor a New Century, Council funding and non-monetary support I 1984), and adopt a “modern" as opposed to 2.2 Administration and Funding in kind have been obtained. l “traditional” stance to ensure their vitality and survival. Hudson (1977: 91) elaborates: The Museum is operated by an autonomous The healthier financial situation allowed incorporated society through a Council us to improve the staffing situation and The most fundamental difference and an Executive Committee of that Council. gradum bring salaries in line with those between an old-fashioned and a After a year of discussion, planning, and typical of other regional museums. We modern museum lies in the limits huis, a Maori Advisory Committee was were also able to purchase microcomputers within which it permits itself to formed to provide input to the Council on (three, to date), a VCR and monitor, a fax operate. An ‘art' museum which is museum matters of relevance to Maori machine, a new Kodak carousel slide concerned entirely with the aesthetic people. Practising artists and crafts persons, projector, and a range of other essential and technical aspects of painting is the District Maori Council, and both local modern equipment. A number of staff old-fashioned, no matter how nrnanga are represented on this Committee. attended introductory computer courses at modernitsbuilding,itslightingand As Museum Director, I am also a member, the Tairawhiti Polytechnic, and most staff air-conditioning may be. So too is ex officio. now have an elementary level ofcomputer a natural history museum which literacy. excludes living creatures or recorded A staffing structure and promotional sounds or ecology, and a museum hierarchy was developed (Table l), and A new public relations campaign was of science and technology which some existing staff positions were renamed developed using the “FOB Formula” which fails to include people and human in line with international terminology. was piloted successfully in Australia and problems in its displays Equally, Honorary curators were appointed for Singapore (see Bhathal et al., 1983). A a ‘don’t touch’ museum is not a decorative arts and namral history, collectiOn range of different niche markets was modern museum, no matter how areas in which there were inadequate salaried identified, and some of these are already wonderful its galleries and staff. Consultants were appointed to service being addressed. Large monthly equipment. newly developing areas, such as public advertisements summarizing the “public relations and publishing. In 1991, the menu” are now inserted in the Gisbome Any attempt to further modernise the Museum‘s first Visiting Fellow, Dr Ragbir Herald at the commencement of each month Gisbome Museum called for prioritizing Bhathal of Sydney (former founding (in addition to other more specialised ’ decisions and the development of a staged Director ofthe Singapore Science Centre), advertisements during each month), and implementation strategy. It was decided, was appointed and commissioned by the close links have been established with the given the basic soundness of the existing Executive Committee to carry out a study twonewsreporters from radiostation ZZG. ‘ collection management systems, that of aspects of the Museum’s operations The local media have been very supportive collections-related matters would be (Bhathal, 1991). of developments at the Museum. i assigned minimal priority and initial efforts should centre on acquiring the resources to Contacts were established with local From time to time, brochures that immediately improve the corporate image resource people, other local museums and specifically target children and families and develop the public facilities (especially tourism ventures, and local government are produced in support of selected public The Shop) and public programmes (but and local branches of central government programmes, and these are distributed to particularly the exhibitions, displays, other departments. By networking in this way, all dairies, fish and chip shops, motor support programmes, and publications). particularly with DOSLI, the Eastland camps, takeaway outlets and video shops Of secondary priority was the substantial Promotion Council, the Geological Survey, in Gisbome and adjacent Makaraka and expansion of the main museum building. the Forest Research Institute, MAF Wainui. Such a strategy is only possible Both of these objectives focussed directly (Fisheries Branch), and the Tairawhiti Area because of the relatively modest population on better-serving the existing client-base, Health Board, a range of joint ventures (34,000) and areal extent of the city. In a expanding the local clientele, and improving involving public lectures, temporary number of instances, the contacts established . the level of repeat visitation. displays, field trips, and publications was when personally distributing these posters? developed. On a widergeographical front, have proved in valuable. In order to achieve the primary objective, the establishment of the Gisbome-Rotorua- increased funding and manpower resources Hawkes Bay regional directors’ group has The public relations strategy calls for staged would be required, and the introduction of allowed networking on an inter-regional implementation, and while most local microcomputers (for word-processing, basis, to the mutual benefit of all institutions markets are now targeted, elements of the desktOp publishing, and financial involved. campaign relating to non-local visitors are management) and refined administrative still being developed. procedures and structures also were deemed Through aggressively marketing the Museum to targeted niche audiences,

NZMJ 21(1): 10-15 12

In order to generate an improved corporate partnership, and the response to the changing Commission. Funding came predominantly image, Museum house colours were selected exhibitions program from local Maori from the Commission and Inprint (a branch (blue and white), and new stationery and communities has been heartening. of INL), which publishes the Footrot Flats publicity brochures were designed. Some books. Because of its catholic appeal. this new external signage was introduced, but Visitors to the Museum interested in topics Exhibition was accepted by both museums this is an area requiring further development. other than art had on various occasions and galleries during its almost 2-year tour been heard to exclaim “Just the same as of New Zealand. Arrangements are being 2.3 Exhibitions and Displays last time!” when catching their first glimpse fmalised for the Exhibition to tour Australian of the history and natural history part of museums and galleries for two years betwtxm The already-established changing art/craft the main building, and this prompted an 1992 and 1994. exhibitions have been embellished from immediate response on our part. As a time to time through the screening ofrelevant result, many of the cases housing long- 2.4 Holiday Programs videotapes and the running of workshops, term or so-called permanent displays have public lectures and other supporting been changed (some of them a number of One of the major innovations at the Museum activities. In order to attract artists times) in the course of the last three years has been the introduction of special holiday (particularly emerging artists) intimidated Or so, and there is an on-going program of programs designed for primary school and by the size and scale ofa major exhibition display changes. pre-school children, and families. The in The Gallery, a smaller, more intimate emphasis throughout has been on temporary art exhibition space was A policy of changing mini-displays has participatory experiences, and this hands- established in The Concourse, and this has also been implemented, involving the on approach has been enthusiastically proved popularand significantly increased display panels (and occasionally mobile adopted by local visitors. The success of the range of new exhibitions mounted tabletop display cases) in The Concourse these holiday programs, and their high monthly. area. Most ofthese mini-diSplays last only public profile has meant that sponsorship 1-2 months. Some have documented the has been relatively easy to secure. Following discussions with staff and the history and achievements of local clubs Maori community, the Executive and societies; others have expounded the The “Sand and Sea Holiday Centre” is Committee decided to dismantle the old, virtues of our local tourism colleagues typical of the December-January programs. somewhat tired permanent exhibition in (e.g. at Eastwoodhill Arboretum). There It occupied a section of the main exhibitions the Maori Wing and institute a changing are mini-displays that have commemorated gallery, and included various maritime exhibitions program. Following significant local anniversaries (e.g. the paintings from the Museum’s Art Collection, representations from Nga Tamanuhiri, an centennial of Morere Springs thermal an aquarium tank with marine plants and exhibition on tribal links between the East developments), while others have focussed variOus small fish, displays on whale Coast and Canterbury was opened in October on important local events (e.g. the Eastland strandings and the dangers to birds and 1988 to supporta hui atMuriwai involving Disabled Games). A number of displays marine mammals of plastic, and an Kai Tahu visitors. Since then there have prepared jointly with government assortment of hands-on objects and been temporary exhibitions on Maori Folk departments have dealt with issues oflocal specimens (including “disposable” seabirds, Art, and Cloaks. The present exhibition, community concern, such as pollution, which through wear and tear will eventually “Te Taonga a Ruatepupuke - Carvings of erosion, and endangered species. be deaccessioned - all are duplicates, and the East Coast”, is scheduled to close in represent readily-available species). The October and will be replaced by “Nga One of these latter “issues” displays, co- signs say “please touch”, and encourage Mahi a Rehua - Maori Games and Pastimes”. sponSOred by the Tairawhiti Area Health our little visitors to explore and participate Board, dealt with smoking and lung cancer, in the exhibition. The sight ofan engrossed All Maori Wing exhibitions are now and including the continuous screening of four year old with “my little duckie” under organised by a Maori Wing Planning three related videotapes. Special events arm, examining other “treasures” in the Committee, CDmposed of four were arranged forWorld Smoke Free Day, exhibition, is unforgettable! representatives of the Maori Advisory including the arrest of “Smoking Suzie” Committee and four museum staff. The (for contravening the Museum’s 1991 Each day over a two week period children latter are the Exhibitions and Assistant Smoking Policy) - see Figure 1. involved in the District Council‘s “Summer Exhibitions Officers, the Registrar, and Fun” program at four different local beaches the Director; two ofthese four are ofMaori In a bid to “take Gisborne to the people of collected unusual shells, pieces of driftwood ancestry. The run-time of exhibitions has New Zealand", in 1989 the Museum and all the plastic they could locate. All of been set at 10 months to one year, and prepared its first major national touring the plastic, and the “top ten" shells and funding for the present exhibition and the exhibition. This focussed on that well- pieces of driftwood, as judged by the children following two has been previded by a local known New Zealand icon, Footrot Flats, themselves, were brought back to the philanthropic trust. The Maori Wing the product ofGisborne cartoonist Murray Museum and displayed in the Holiday developments at the Museum demonstrate Ball, and was approved as an Official Centre. The plastic accumulated throughout the enormous value of a bicultural Project by the New Zealand 1990 the two weeks, and the press recorded the NZMJ 21(1): 10-15 13

.. Haggfzg @- ‘makrzrrfl? wskafm 13

Figure 1: Arresting 'Smoking Suzie' (Photograph — Gisbornc Herald)

MAY AT THE m GISBORNE MUSEUM & ARTS CENTRE MAIN EXHIBrrIONS: works by Museum & Arts Centre Honorary Lite Members' (unfit May 5). "mar \Gew There' —Works by H New Zeatand Women Arms (May 4-27) 'Thu Great Indoors' — Recent Paintings 9y Jan Shane (Ma Nuns 3) ‘Te Whalu Kakahu' — 'The Woven H300 Cloak (all month). NEW DISPLAYS AND MlNl-DISPLAYS: M's: ol' the Month [Anists‘ Society). 'Early Frying Days on the East Goasr (unul r. 2). ‘Gisborne Purchases tram the Gomrnan Sum iennate' (until May 2) _ 'Pieccs u! Hisrury: Fflmena from the Benin Watl' (until May 2'7). 'PchM-Rawm — Birthday“. 'Por or the Month' [Pomery Group). ‘Hecenr Acquigitions' Urom May 10) 'Vmonanz Mrscellany‘. INTERNATIONAL MUSEUMS DAY-—- MAY 18: Free entry In the Museum Complex tD.OJGM-4.00pm. Guided tours 'bahind Ute scenes' at 10.03.11.530 and 2.30. PUB LIC LECTUR E: Thursda .Ma 31,2t72") at. “All about the New Zealand Diajma or ' ra ‘ Dr cnficia lame. Eran}? $2.00. Suppzr provided. q Brag phy by VIDEOS AT THE MUSEUM (supplied by the Tairawhi‘ti Figure 2: May 1990 Monthly Advertisement Polytechnic): Continuous screenings trom Ham: from the Gisborne Herald. 'Bushcrarl — Satan- in the Mountains' plus '30 You want To Go Kayaking' (May 5, 13 and re) 'Bu‘l I'm Not An Aacicr‘ Stay 6. 12 and 20) 'The M at Surviving in razil' (May 26 and 2?]. TH E SHOP: For local 'pwallery. hanciaatrs. was and postrards, Maori ans and crafts, and various books on Mean culture and local narory. TH E D ECK: NW operated b" Wehurst Manor Restaurant and open to: lunches Tuesday to Friday bemoan I 1.13d 2.00m. Mtseum sxafl can prwxde fight reh-eshmenson weekends. HOURS OF OPENING: 5 _ 'aJ longer hours during Maj: uesday to Friday and Man ays 7 3a H May ...... t0.man4.mpm Saturda s and Sundays ...... ,. . .1100am430pm Other .tonuays ______Caused ENTRY CHARGES TO THE COMPLEX: {Mam Budding, The Star and Wynie 60.1399) Adulls ...... $150 Cnrldren 5. Sludenis ...... SUM FURTHER DETAILS Phone 83-832

NZMJ 21(1): 10-15 14

growth of our “Plastic Pile”! At the end of professional journalist employed under Meanwhile, although it is easy to view The each week judges selected the most contract. In 1990 this same journalist and Shop solely as a profit centre, it also has interesting shells and pieces of driftwood ourSeniorCuratorofHistory and Archives educational and public relations functions, from those on display and their collectors teamed to produce our most ambitious and must be seen as a vehicle for the received prizes in the form of food vouchers publication to date, Gisbome Exposed: promotion of local arts and crafts. from a number of local businesses. Each The Photographs ofWilliam Crawford 1874- participating child also received a 1913 (Robinson and Berry, 1990). 2.8 Pure Research McDonalds French Fries voucher, and the Gisbome Herald provided free advertising 2.6 Activation and Support Activities Unlike many regional museums, the of the program; both sponsors have Gisbome Museum & Arts Centre has an supported most of the Museum’s special Over the last three years or so, the Museum active, albeit small-scale, pure research holiday programs. has sought to provide the public with an program. The Honorary Curator of Natural enhanced range of supporting activities History is a former Director of Fisheries 2.5 Publications and events. Video-screenings occur each Research in Sri lanka and a world authority weekend, on public holidays and throughout on aquaculture (i.e. fish-farming). Apart In addition to the Bird, Bug and Tree school holidays; there are occasional music from his research into the potential for Information and Activity Booklets referred afternoons (to date these have included farming fish in the Gisbome District, as to above, the Museum has produced a piano, harpsichord, violin, folk music and part of the District Council’s economic range of other publications. The starting Choral Society performances); fieldtrips development strategy, he has been carrying point for the publications programme was to sites of historical and/or geological out research on two new species of deep to develop a publications strategy based significance; guided historic walks round water crab collected in 1989 and 1990 on on a matrix listing differentMuseum target central Gisbome buildigns, sites and behalf of the Museum by staff on one of audiences against the types ofpublications monuments; interpreted marae visits; public Fletcher Fishing’s Gisbome-based nawlers. required to get specific messages across to lectures, seminars and workshops; and other these audiences. occasional activities, such as antiques As time permits I have continued to research Appraisal Days, and book auctions. terminal prehistoric East Coast Maori After a succession ofquanerly or bi-monthly culture, on the basis of published and word~processed news updates for members 2.7 The Museum Shop unpublished literary and pictorial accounts of the Museum society, in 1991 an A3 size derived from Cook’s first and second desktop-published Newsletter was From the end of 1990 there has been a voyages. This on-going project has already introduced. dramatic development of the Museum Shop. resulted in the appearance of seven different The floor area occupied by the Shop has specialist Museum Information tfi, with The Museum has also instituted the been increased by 370%, new furniture others in the pipeline. It is hoped ultimately Irg‘amratr'on Sheet series to provide specialist manufactured, and stock lines diversified tocombine these asaMuseum In formation information on topics of local interest. enormously. Bmklet. Thus far 20 of these Information Sheets have been produced, the majority of them Careful research was carried out over more 2.9 Building Extensions on aspects of the physical environment, than two years on potential stock lines that natural history, and Maori culture. The would appeal to the different niche markets From the very time ofmy appointment, the Information Sheets are currently sponsored that most frequently visit the Museum, and space limitations of the main Museum by a local businessman, and are sold virtually care has been taken to include a range of building dictated that building extensions at cost. local arts and crafts as well as the usual pot were inevitable. The storage facility, while pom-i ofbooks, cards, omaments, postcards, modern and adaptable, was filled virtually The Museum’s first Occasional Paper on and collectors’ curiosities. Reasonably to capacity; there was no base from which the early history of oil exploration in the priced quality products have been sought, the Education Officer could plan or conduct Gisbome District, is nearing completion, representing good value for money, and her classes; opportunities for introducing as is the first in a series of 22 to 28-page when purchasing product for our large-scale non-artjcraft or Maori culture Information Booklets (this deals with rare international tourist clientele the special changing exhibitions were non-existent; and endangered birds in the East Cape profile ofourtypical European backpacker and public access to the Museum’s valuable region). mid-way through a tour of the country has collection of historical records and coloured our stock-selection decisions. photographs was often severely curtailed In order to support the FootrotFlats touring through lack of adequate accommodation exhibition the Museum embarked on its The Shop, which has also served as an for visitors. first book, and produced Footrot Flats in important outlet for the Museum’s Focus - A 1990 Perspective (Berry and expanding range of publications, is regarded In 1989 an Extensions Committee was Orchiston. 1989). This was prepared with by increasing numbers of local residents as formed, and a two-stage Building Extensions financial support from the New Zealand a worthwhile place to visit in its own right. Project was decided upon (Figure 4). Dame 1990 Commission and the assistance of a This is an attitude that we actively encourage. Kiri Te Kanawa kindly consented to be the

NZMJ 21(1): 10-15 15

Project’s patron, and in 1990 a Fund—Raising The national Swedish policy will probably FEMENIAS, B. and Mansfield, P.K., 1985. Committee was established to pursue the be used as the role model. And with the ARTSearch: an interactive laser vide- target cost, which exceeded $800,000. A purchase ofa fourth microcomputer in the odisc computer system for museum grant of more than $200,000 from the course ofthe next year or two, the Museum collections. Museum Studies Journal Winifred Lysnar Charitable Trust allowed will be poised to implement the Vernon 2(1): 50-58. a start to be made on Stage 1 in October, collections management system. HALDANE, W., 1979. Viewed in com- and in April 1991 the Winifred Lysnar fort: a photographic display at the Discovery Centre was officially opened Other plans call for the further development Gisbome Museum. AGMANZ News by His Worship, the Mayor. The Education ofthe museum grounds and adjacent Kelvin 10(4): ll»13. Service at last had a permanent home! Park, in order to accentuate the “indoor- HANCOCKS, A., 1987. Museum exhibi- outdoor museum dichotomy" and offer a tion as a tool for social awareness. Cu- Further fund-raising ensued, and in more effective interpretive environment rator 30(3): 181-192. September 1991 a start was made on Stage for botanical classes, and the upgrading of HENDERSON ,M., 1986. Artin anon-art 2 (the new gallery, Regional Archives and the 0.7 Education Officer’s position to a museum. MuseumNews 65(1): 42-47. Records Centre, and collections store). full-time post. HOOPER-GREENHILL,E.,1990. Count- This considerable, two—part extension (see ing visitors or visitors who count? In Figure 4), is expected to take one year to Bola may have come and gone, but at the Lumley, R. (ed.). The Museum Time complete, and that should be ample time in Gisbome Museum the challenge remains... Machine. London: Routledge. Pp. which to eliminate the funding shortfall, 213-232. which at the time of writing stood at less References HUDSON, K., 1977. Museums for the than $100,000. To secure more than 1980s. A Survey of World Trends. $700,000, mostly from local sources, in ALEXANDER, ER, 1979. Museums in London: Macmillan. these trying economic times, has been one Motion. An Introduction to the His- LEVIN, M.D., 1983. The Modern Mu- of the Museum’s major challenges and tory and Functions ofMuseums. Nash- seum - Temple or Showroom. Tel triumphs. ville: American Association for State Aviv: Dvir. and Local History. Museums for a New Century- Washing- 3. CONCLUSION BENIGER, LR. and Freedman-Harvey, ton: American Association of Muse- G.,1987. High tech: the dilemma for ums (1984). The Gisbome Museum & Arts Centre has museums. Museum Studies Journal 3 ORCHISTON, W., and Bhathal, R., 1984. evolved markedly during the last three (1): 66-73. Introducing the science centrum: a years or so, and in some areas of the BERRIN, K., 1978. Activating the art mu- new type ofscience museum. Curator discipline is now at the cutting edge of seum experience. Museum News 56(4): 27(1): 33-47. intemational museology. This circumstance 42-45. PHILLIPS, D., 1986. Science centres: les— vindicates Hudson‘s 1977 prediction (page BESSER, I-I., 1987. Digital images for sons for art galleries. International 16) that“... within the next ten or twenty museums. Museum Studies Journal JournalforMuseumManagement and years the most adventurous, exciting and 3(1): 74-81. Curatorship 5: 259-266. socially relevant work [in museums] will BERRY, J. and Orchiston, W., 1989. PRAKASH, M.S., and Shaman, 5.5., 1987. be taking place in provincial centres Footror Flats in Focus - A 1990 Per- Long-range planning for museums: rather than in the capital cities. In the spective. Gisbome: Gisbome Museum promoting public escapism or educat- short-term, further significant progress is & Arts Centre. ing for public responsibility? The forecast in some existing growth areas, BHATHAL, R., 1991. Report on the Museologist 51(176): 11-16. such as international touring exhibitions, Gisbome Museum & Arts Centre. ROBINSON, S., and Berry, 1., 1990. publications, and niche marketing. Gisbome: Gisbome Museum & Arts Gisbome Exposed: The Photographs Despite the progress to date, much has yet Centre. of William Crawford 1874-1913. to be achieved, and this will occur gradually BHATHAL, RS. and Orchiston, W., 1981. Gisbome: Gisbome Museum & Arts as new components of the implementation Public access to camputers in science Centre. strategy rise to the fore. For instance, a centres and science museums. Sin- THOMSON, K.W., 1981. Art Galleries changing role and function for The Star of gapore Scientist 7(3): 56-59. and Museums in New Zealand. Wel- Canada Maritime Museum is vital if the BHATHAL, R., Fry, R., and Orchiston, lington: Reed. Gisbome Museum complex is to optimize W., 1983. Designing public relations its recreational and educational potential programs for museums. In Confer- and The Star is to attract repeat visitation ence Papers. Melbourne: Museums from a local clientele. On another front, Association of Australia (Annual Na- completion of the new collections store in tional Conference, Melbourne). Pp. 1992 will refocus attention on the 21-26. collections, and the need for a revised CLEAVER, 1., 1988. Doing Children’s AcquisitiOns Policy which includes the Museums. Charlotte: Williamsou. collecting of contemporary local culture. NZMJ 21(1): 10—15 16

DEACCESSIONING AT THE GOVETT-BREWSTER ART GALLERY

Barbara Maré, Registrar, Govett-Brewster Art Gallery, New Plymouth.

Museums acquire objects for posterity and for the Gallery, no Council money is used reassessed and some works may hold them in public trust. This makes for acquisitions. The Govett-Brewster is have to be disposed of." deaccessioning a controversial issue. If unusual among New Zealand galleries in the decision is made to deaccession an that it adopted a deaccession policy quite But he added: object, many questions of ethics arise: near the start of its history: Even if the museum’s legal right to “I made sure that potential was deaccession an object has been established, “That after a period of five years there. Whether or not it’s done is it may have to decide how to deal with from the date of acquisition, the really a matter for whatever precatory restrictions placed on gifts. A [GBAG] Committee shall have the administration there is around at decision will have to be made about when right to deaccess and dispose of the time.”2 to seek outside appraisals or opinions about however they see fit, any work of aproposed deaccession. Itmustbedecided art recommended by the Director Altogether 59 artworks have been how donors are to be advised of the as dispensible within the structure deaccessioned by the Govett-Brewster. This deaccession; and to what extent information of the collection”. (1968) is 6.6% of the collection. is to be made public. One of the most difficult issues is the disposal of The Committee also has the right to In April 1982 Director Dick Bett invited deaccessioned objects. The means of deaccession gifts andbequests. Thepolicy two of the former Directors, Ron O’Reilly disposal depends on such variables as the states that deaccession funds can only be and John Maynard, to review the collection, financial value of the object, its cultural or used for further acquisitions. There has which was put on exhibition under the title scientific value, its condition, as well as its never been any detailed written procedure ‘The Great Deaccession Exhibition’. To means of acquisition. Perhaps the most to guide the Director and staff through the many people, it sounded as if the whole controversial issue surrounding many ethical issues and administrative collection was going to auction. Instead, deaccessioning is the use of the proceeds. details involved in deaccessioning. after much deliberation, 21 artworks were Some museums use funds from deaccessioned. Any radical collection deaccessioning solely for new acquisitions. There is some evidence that initially the management ideas which may have been Sometimes these funds are used for the Govett-Brewster’s deaccessioning policy held in the early 19705, had been replaced conservation of the existing collections. was part of a radical approach to collections by a more conservative approach. One With museums today struggling to meet management. Writing about the Gallery in press reporter raised the question: rising costs, there is much debate about 1981, Derek Schultz noted: whether deaccessioning proceeds should “Should a gallery like the Govett- fund operating expenses or capital works. “The original intention was to Brewster be involved at all in the Some fear that collections are coming to develop a collection that was fluid: buying and selling of art?”3 be viewed as financial assets instead of i.e., works would be purchased, held being retained for their cultural significance. for a period, and then sold. In so Although admitting that the $10,000 or so Ifa museum is to approach deaccessioning doing it would always be available per year for purchases, was in an informed, objective, consistent and representative of contemporary art”.l “peanuts”, the Directors and City thorough manner, it must have a written Councillors took some pains to point out policy which establishes guidelines for This contradicts what is often held to be that obtaining money was not the prime the resolution ofthese issues. A policy can one of the prime functions of museums, objective. The DailyNews reported a City also act as an acknowledgement of public “to acquire objects and keep them for Councillor as saying that a lot of people accountability. posterity” (ICOM Code of Professional thought the artworks “would be ‘hocked Ethics). Discussing the 1968 policy in off’ to get ‘gold’. However he said this The Govett-Brewster Art Gallery opened 1982, John Maynard, the first Director of was the wrong impression and that the to the public in February 1970. The Gallery the GOVett-Brewster, stated: gallery was not short of funds"." Altogether collects contemporary art from the Pacific 9 of the 21 works were sold, for a total of region, with particular emphasis on New “ . to be truly contemporary. $13,180.00. However, $12,000.00 of this Zealand art. While the New Plymouth somewhere along the line the came from the sale of one work. One District Council provides operating expenses collection would have to be painting sold at auction locally fetched only $1.00. NZMJ 21(1): 16-17 In 1982 the Gallery deliberately made its The Govett-Brewster has a policy which deaccessioning review a public issue. A enables it to carry out a far more radical public forum was held on 22 April 1982, programme of deaccessioning than has so which was attended by about 80 people. far been the practice. There are signs that The Sunday Express reported that reactions in the 19903 the Gallery may be obliged to to the Gallery’s deaccessioning programme adopt a more radical deaccessioning “have ranged from quiet acceptance of the practice; not for the reasons originally situation to mind-boggling horror”? One envisaged in the 19703, but under the writer demanded to know “why the pressure of economic necessity. The collection is to be vandalised”.‘ A few permanent collection storage area is almost [This paper is a revised version of part of local artists asked to reclaim their work filled to capacity, and it seems unlikely an essay submitted for the Graduate Diploma from the Gallery's collection. The Gallery that funding will be available to extend it. in Museum Studies, Massey University, received several letters from past donors The Govett-Brewster may be forced to 1991.] concerned that their donations would be deaccession in order to pay for this itself. deaccessioned. As a result, a clause was The Gallery may have to face the choice: added to the Policy on Gifts and Bequests deaccession or stop collecting. Which saying that donated works willbe disposed would be the more ethical option? of: a) If the original donor is still alive, by giving the donor the choiceofrepossessing Footnotes the work, or; b) by any method that the Council sees fit.” 1. Derek Schultz. “The Govett-Brewster Art Gallery”, Art New Zealand, No. From 1985 to 86 the Coven-Brewster staged 20, 1981, p. 50. a series of sculpture installations. In July 1987 Director Cheryl] Sotheran asked 2. “The Great Deaccession Debate”, permission to purchase four of these works. GBAG, 22 April 1982, two C60cassette The total cost was to be approximately tapes. $52,500.00. Jeffrey Smart’s Public Notice. Hove had been singled out in 1982 as a 3. “Why sell good pictures?”, Sunday possible deaccession. Sotheran stated: Express. 17 April 1982. “When John Maynard bought thepainting, it was quite realistic for us to think about 4. “Collection moves ‘could take years'”, collecting works by mid-career Australian Daily News, 22 April 1982. painters, but [this is] no longer appropriate to the policy of the gallery”.7 5. “Why sell good pictures?", Sunday Express, 17 April 1982. In March 1988 the painting was sold through the Ray Hughes Gallery in Australia for 6. ‘Ars Gratia artis' , Taranaki Herald, 19 the sum of$N2A0,023.7S. This was eleven April 1982. times the amount the Gallery had paid for the work in 1970. . 7. “Painting profit fa gallery". DailyNews, 17 March 1988. The Gallery did not see the need to give this deaccession any particular public advertisement. In response, a local artist put forward a submission to the New Plymouth District Council asking among other things, that artworks to be deaccessioned by sale be illusu'ated in the media, and the public should have a month to make submissions. The Cultural Committee said that this would be impractical. Both the Gallery and the City Council rejected the idea ofgreater public participation in deaccessioning decisions.

NZMJ 21(1): 16-17 18

THE GRADUATE DIPLOMA IN MUSEUM STUDIES, MASSEY UNIVERSITY 1989-1991

David Butts, Director of Museum Studies, Massey University.

The Museum Studies Programme in the The recommendations included the Paper. One core paper 44.644 Museums Social Sciences Faculty at Massey employment of a paid coordinator, and the Public (now numbered 67.644) University was established in 1989 with strengthening the connection with Massey was offered in 1989 and twenty eight students the financial support of the New Zealand and that faculty be paid on a contractbasis. enrolled. Sixteen of these students were Lottery Grants Board. The funding from Dr. Tramposch stressed the value of employed in museums or related the New Zealand Lottery Grants Board developing the relationship with Massey organizations. Twenty five students enrolled ends in December 1991. From January University because of the expertise and in the undergraduate paper ‘Introduction 1992 the programme will be fully funded experience Massey had in the delivery of to Museum Studies'. by Massey University. extramural programmes and the academic credibility the association would give to The first year ofthe programme was difficult It is important ' to record briefly the the programme. This was also a recognition for both staff and students. Study Guides developments that led to the establishment of the contribution Massey University had and Readings had to be written and printed of the Museum Studies Programme at already made to the AGMANZ Diploma quickly. This task was made more difficult Massey University. Throughout the 19803 by the fact that Massey Library had very the Art Galleries and Museums Association After consideration of Dr. Tramposch’s few of the necessary books. The Auckland had administered a Museums Diploma and recommendations the AGMANZ Council Institute and Museum Library was very Certificate programme offering in-service decided that it would not be possible to helpful in loaning books and providing training to museum staff and volunteers. provide the funding necessary and that photocopies of journal articles. Massey The programme was administered by other options would need to be explored. Library interloan service was helpful and Professor Keith Thomson and the first In 1987 the conceptofa Graduate Diploma the acquisitions department processed orders tutors included Luit Bieringa, James Mack, in Museum Studies at Massey University for new books with remarkable efficiency. Stuart Park and Dr. Rodney Wilson. The began to develop and initial discussions Still students had difficulty getting access Diploma consisted of three components: were held between Professor Keith to some of the required reading for the academic papers. theory papers, and Thomson, Dean of Social Sciences at course. One can only admire their co- practical workshops. The Certificate was Massey University, (also a member of operation and initiative in this regard. To a awarded to people who completed the theory AGMANZ Council from 1962 to 1987) lesser extent access to books has continued papers and workshops but not the required and an AGMANZ Council subcommittee, to be a problem during the first three years number of university papers. By 1988 more regarding curriculum and funding. In 1988 although it is anticipated that forward than one hundred people had been enrolled Massey University agreed to support planning will eliminate most of these in the Diploma and the Certificate and by AGMANZ in an application to the Lottery problems in 1992. The Museum Studies 1990 about 25 had been awarded either the Grants Board for sufficient funding to initiate collection at Massey University Library Diploma or the Certificate. the Museum Studies programme from 1989 has been enhanced by the purchase of to 1991. The University agreed to fund the books funded by grants from the Cultural AGMANZ had always relied on senior programme if sufficient students enrolled Conservation Advisory Council and the members of the museum community to in the 1989-1991 period. Museum of New Zealand/Te Papa tutor the theory papers voluntarily. By Tongarewa. 1986 the Association was experiencing In February 1989 David Butts was appointed some difficulty with the provision of the to the position of Director of Museum Students working in institutions have been programme and it was decided to ask Dr. Studies. The Museum Studies programme supported by their colleagues and have William Tramposch from Colonial was to consist of a Graduate Diploma in access to institutional resources. Students Williamsburg, Virginia. to undertake an Museum Studies and one 100 level not working in museums have been required investigation of the training programme undergraduate paper. For the first three to nominate an institution with which they and to make recommendations for future years the Graduate Diploma programme can associate during their period of study developments. Dr. Tramposch submitted has been available only as an extramural for the Graduate Diploma. Those directors his findings to AGMANZ Council in ‘A course. The undergraduate met is available and staff who have made this scheme Review of the Museum Studies Diploma to internal students only. The Graduate possible are making a major contribution Programme in New Zealand and Diploma consisted offourcore museology to the training of the future generation of Recommendations for its Enhancement”. papers, at Research Project an Optional museum professionals. The continued

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success of this scheme of nominating Significant new developments are planned Although the Museum Studies Programme institutions is dependent on students for 1992. The Graduate Diploma will be is now firmly established at Massey respecting the fact that directors and staff offered as an internal program for the first University there is a need for the museum are very busy people and that established time. Mina McKenzie (Director of the community to initiate and develop other institutional policy and practice must be Manawatu Museum) and Julie Catchpole training programmes. In particular there is observed. (Director of Manawatu Art Gallery) have aneedforaCertificate ofMuseum Practice been appointed as Associate Lecturers and for people wanting to acquire a range of In 1990 two Graduate Diploma papers each of them will be teaching one of the basic practical skills appropriate for museum were offered to extramural students.Thirty core papers. Students will be spending a work. Equally urgent is the need for mid- six students enrolled in 67.641 Historyand significantproportion oftheir time at these career and management training. The Philosophy ofMuseums and twenty seven two institutions involved in seminars and development of training in these areas will enrolled in 67.644 Museums and the Public. practical exercises. confirm the growing maturity of the museum One student also completed the Research industry in Aotearoa/New Zealand. Project. There will also be significant changes in the 100 levelpapa'which hasbeen renamed Reference In 1991 there are thirty five extra mural 67.101 Cultural Heritage Preservation in students enrolled in 67.642 Collection Aotearoa/New Zealand. This paper will Tramposch, W. Review ofMuseum Studies Management (24 are employed in a museum examine the national and local strategies Diploma Programme in New Zealand or related organization) and twenty five in developed to date to preserve our material and recommendations for its 67.643 Museum Management. Thirteen cultural heritage with particular focus on enhancement. Unpublished Report 1986. students are taking two papers. One of museums, historic buildings and (Copy available on interloan from Massey these students is also enrolled in the Research archaeological sites. 67.101 will be available University Library.) Project. This level of enrolments has been to extramural students in 1993. A new sufficient to demonstrate the viability of paper will be introduced internally in 1993 the programme. and extramurally in 1994 at 200 level entitled 67.201 Contemporary Issues in Extramural study requires a high level of Museum Studies. 67381 Special Topic will commitment at the graduate level. Each also be introduced internally in 1993 and paper is designed with the expectation that extramurallyin 1994.11uspaper'willpovide students will allocate eight hours every an opportunity for senior students to pursue week to study. Those students who have a particular topic in more depth. Two done very well in their papers to date topics that will be offered are Cultural demonstrate this level of commitment in Property Control Legislation and the assignments submitted. Extramural Repatriation. students must also be well organized Books and journal articles for assignments must The Museum Studies Programme at Mmsey be requested and time must be taken to is now clearly established as a viable reflect on the assignment topics. Employers academic programme and it is anticipated can be sure that extramural students who thatwith increasing enrolments the faculty have completed the Graduate Diploma have could grow and teaching facilities be further had to come to terms with their own time developed. management and forward planning skills. ItisimpmanttorememberthattheMusemn An important aspect of the extramural Studies Programme is only onecomponent courses are the compulsory on-campus in the full range of museum training services courses in May for all Graduate Diploma required by the museum industry in papers. The on-campus course is an Aotearoa/New Zealand. A number of opportunity for students to discuss the course agencies are currently involved in examining topics with a group of experienced museum their policies in relation to museum industry professionals who are invited to participate training. AGMANZ Council is reviewing as tutors. The evidence to date is that it’s role in training policy and delivery and students value these courses as an Mike Capper of the Museum Of New opportunity to meet fellow students, Zealand/Te Papa Tongarewa is co- participate in small discussion groups, use ordinating a group of museum people the book and audio-visual resources in the involved with training which will explore library and to discuss problems with the options for the delivery of training at various course controller. levels.

NZMJ 21(1): 18-19 20

EXHIBITION REVIEW

NGA TUPUNA, AUCKLAND INSTITUTE AND MUSEUM.

Robert Jahnke, Lecturer, Department of Maori Studies, Massey University.

“At early dawn on 10 September, While it is not the intention of this article demands of an imposed aesthetic and not 1984, the Metropolitan Museum of to critically examine the issue of aesthetics, by the imposition of tapu as indicated by Art, New York, witnessed for the it remains a fact of history that the public Docking. The artistic licence afforded to first time the opening of a traditional perception of art continues to be essentially painters in the meeting house continued Maori exhibition. Te Maori, a monocular under the dogmatic through into the 19205 before its collection of Maori artefacts, the institutionalisation of Western aestheticism. retrenchment under the march of first ever to leave its homeland with ‘traditional’ Maori art sanctioned by an act the approval of the Maori people, The study of Maori art has remained to a of Parliament in 1926. had arrived in the United States of large extent the prerogative of the America. And, in accordance with ethnological fraternity whose perception Eight years later Peter Cape tentatively ancient customs and traditions, the of art well into the twentieth century has offers an insight into a blossoming Maori exhibition was opened with the been clouded by the ‘classicist’ vision of art-form “by bringing together paintings rituals and chants handed down from personalities like Augustus Hamilton. His by Maori artists and Maori-orientated ancestors long departed Thousands distilled vision of Maori art published in paintings by Europeans” in order that “we who participated have described the 1901 provided a compendium ofart-forms may bring into focus something which will experience as incredible. Te Maori that was to determine the appearance of tell us a little bit more about a particularly has broken attendance records. It Maori art for half a generation. It was an indigenous cultural development”. Like has drawn comparison with and appearance which shunned the liberal Docking before him, the rock-drawings paralleled those great world extravagancies of painted houses like prove to be the closest approximation to exhibitions, the Tutankahmen and Rongopai at Waituhi and the alien effigies the European tradition of “making marks the terracotta figures of China. On of Te Mana o Turanga at Manutuke. The on a flat surface and hanging the results on 8 June, 1986, Te Maori. ended its recent writings of Roger Neich and Alan a wall” (Cape, 1979: 88). The fact that the tour of North America and began Taylor have helped to dispel some of these artists ofPompeii and Florence painted on the journey home” (Statement by delusions but it is difficult to alter an walls and ceilings tends to undermine this Tamati Reedy, 1986, In: Te Maori: entrenched perception of ‘traditional’ Maori rather exclusive definition. Te Hokinga Mai). art. The inclusion of the contemporary Maori On its return to Aotearoa Te Maori, subtitled One does not have to look much past the artists within the mainstream of the New Te Hokinga mi. The Return Home, was proliferation of writings of Art Historians Zealand European artistic tradition was welcomed home at four exhibition venues to find that the development of New Zealand pre-empted in 1976 by a series of articles which included two Museums and two Art painting begins with the discovery of this for the Department of Education school Galleries. The response from its New country by Captain Cook in 1769 dismissing journals by Frank Davis. The perceptions Zealand audience was equally ecstatic with the fact that people and art were part of the of Davis place the contemporary art forms attendance records falling in its wake. landscape that was Aotearoa within the context of Maori culture while Cape struggles to rationalise the emergence It appears somewhat ironical that the In his introduction to ‘Two Hundred Years of an indigenous painting style according artefacts that constituted Te Maori had to of New Zealand Painting’, Gil Docking to the conventions of the ‘New Zealand be elevated on an international stage before casually dismisses Maori rock painting as aesthetic’. However, one must not decry New Zealanders could appreciate an artistic ‘highly interesting’ but ‘outside the scope the fact that Cape attempted to redress the heritage that existed in their own backyards. of study'. According to Docking, New absence of a Maori artists within the However, such apathy may be traced to the Zealand painting ‘begins with the arrival landscape of ‘New Zealand art'. imposition of a European art aesthetic in 1769 of the commissioned artist Sidney transplanted from foreign shores which Paddnson, who sailed on Cook’s first Pacific Since Te Maori, several books on continues to perpetuate a fallacious voyage, ...’ (Docking, 1971:11). However, ‘traditional’ and ‘contemporary’ Maori art demarcation between art and craft on the the acknowledgement of the painters of have emerged and Art New Zealand, the one hand and Gallery and Museum on the Rongopai amidst a dominantly Euro-centric aesthetic adjudicator of art and artists, has other. concentration is some small tribute to a discovered Maori art. One only has to painting tradition that was stifled by the survey the articles prior to 1984 and after

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to discover a dramatic change in cultural commendable. However, as a member of In several instances in this exhibition the focus. This newfound awareness has the Maori advisory panel who might be label detracts from an appreciation of the motivated some Art Galleries and Museums cited as having made some contribution to object that it is meant to compliment. into exhibiting ‘traditional’ and the structure and appearance of the Although the juxtaposition of object and ‘contemporary’ Maori art forms in exhibition I must protest. label in close proiximity allows for the juxtaposition to reveal a continuity of most intimate co-relationship, it negates tradition. While such exercises in artistic In the first instance, the recommendations aesthetic deliberation as one is forced to revelation are to be applauded and I made are not evident and, secondly, it is visually divorce the object from the encouraged it is evident that there still my impression that the panel's role was impingement of its immediate environment. exists beneath the veneer of cross-cultural merely one of endorsement to provide the This contextural relationship between object artistic awareness a persistence of aesthetic substance foran ideological display which and label, together with dilemma over subjugation. is essentially European in terms ofconcept content and its extent continues to provide and context. a major design problem for museums. This While some institutions attempt to redress problem could be eliminated if the aesthetic their perceptual monopoly on Maori In view of the innovative displays ofMaori priority of the object is maintained as the aestheticism through the consultative art that have preceded ‘Nga Tupuna’ like most critical determinant for exhibition. process one is led to wonder whether such Te Hokinga mai during its national circuit In order to realise this objective the labels a process is aimed at an objective evaluation in 1986 and the exhibition ofNga Tukemata: must be placed outside the line of of the criteria for exhibition or as a Nga Taonga 0 Ngati Kahungunu which contemplation and related to the objects convenient means of supporting their opened at the Hawkes Bay Museum in the through a system of graphic codification selection with a list of consultants that same year, it is apparent that the cloistered which permits unencumbered visual may be cited if the exhibition should draw embodiment of artefact still prevails as relativity between object and content. An criticism. part of the Auckland Museum's exhibition extension of such a system to exploit the philosophy. Although the design of this potential for comparative graphic analysis The Auckland Museum School Service new environment offers the viewer a logical could also pemiit a more critical selective Bulletin introduces ‘Nga Tupuna’, an progression through the display of tribal process to be actioned to reduce the penchant exhibition of Maori artefacts in the Auckland artefacts, such a conservative approach to for overcrowding that predominates in Museum, as “a celebration of the diversity exhibition layout is conceptually ‘linear’ museums throughout the country. of tribal expression in art, material culture which tends to reinforce a predisposition and history. The display is intended to towards the formality of historical succession As suggested previously, the organisation give visitors a feeling and understanding and linearity. A more holistic approach of displays to coincide with geographical of the ways in which tribal identities are that attempted to endorse Maori kinship distribution of tribal regions is ‘linear’ in defined through these differences. Thus, with land and sky could have provided a orientation and merely intensifies ones the stories told about the artefacts arejust welcome alternative. Although such a inability to comprehend stylistic differences as important as the artefacts themselves”. concept might seem insurmountable, the because physical distance imposes barriers fact that art forms may be linked to perception through spatial isolation. One In view of the fact that one of the prime symbolically to such aspirations and that may argue that these limitations may be functions of any Museum is the presentation the scale of objects can be used as an overcome by negotiating the imaginary of artefacts for ‘educational’ and ‘aesthetic’ abstract denominator to generate sensations boundaries between one tribal area and purposes the objectives outlined in the of evolution, growth and ascendancy another in order to appreciate the “art Bulletin are indeed admirable. However, suggests that such an approach is not beyond styles characteristic of each group”. a brief survey of this exhibition highlights the realms of possibility. But the realisation However, the ability to retain retinal imprints some of the anomalies in aesthetic of a cultural dimension demands of images is a gift of but a few. For most conditioning alluded to earlier while consultation with the Maori artists, educators of us we need images in juxtaposition to revealing a eurocenm'c bias in the criteria and elders at the conceptual stage of decipher even the most basic elements of for artefact selection despite a deliberate exhibition design rather than after the composition, let alone the overwhelming attempt by the designers to present the foundations have been set in concrete. complexity of inter-related elements that artefacts in a more culturally sympathetic can be manifested in some Maori carvings. environment. One may also question whether or not the With due cognizance of the fact that the student of Maori art or culture is able to imposition of label may some times The attempt by the Auckland Museum to gain a sense of the differences in tribal undermine an aesthetic consideration of establish a Maori advisory panel of styles presaged in the introduction. If the the object, it is possible to disseminate “individuals rather than tribal purpose of such a display is to educate one information thrOugh a strategic deployment representatives”, who would “advise” the needs more than a map and a few stories to of real object, reproduction of object, and museum on “the processes of consultation negotiate one's way through the complexities label. with various tribal groups concerning the of form and content. exhibition" must be viewed as

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In keeping with accepted design practice the designers ofthis exhibition have opted for neutral shades of pastel vogue against which objects are placed with a change in tonality defining the vertical perimeter of vision. The latter technique with its psychological reinforcement is both slick and erudite. However, one has the uneasy feeling that this visual delineator merely reinforces the architectural severity of the space and its neoclassical omnipresence. This is further highlighted by illumination that evokes an overall clinical patina. It would be instructive for the designers to visit the exhibition at the Hawkes Bay Art Gallery and Museum designed by Sandy Adsett to witness an innovative use of colour and light. In this case, the priority of the object takes precedence over label while light helps to invoke a mood of intimacy.

It is the element of intimacy afforded by Adsett’s environment that should be the goal of any exhibition of Maori ‘taonga’. Such an intimacy permits an aesthetic communication with the object unencumbered by extraneous visual considerations. And, if enlightenment is sought, one can avail oneself of ‘korero’ unobtrusively sited to enrich the total experience.

References

Cape, Peter. (1979) New Zealand Painting since 1960. Auckland: Collins.

Docking, Gill. (1971) Two Hundred Years of New Zealand Painting. Wellington: A.H. & A.W. Reed.

Simmons, David and Penfold, Men'meri. (1986) Te Maori: Te Hokinga mi. The Return Home. Auckland: Auckland City Art Gallery.

Te Maori: Te Hokinga Mai. The Return Home. (1986) Auckland City Art Gallery and the New Zealand Te Maori Management Committee.

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BOOK REVIEW HISTORYCURATORSHIP by Gaynor Kavanagh published 1990 by Leicester University Press and Smithsonian Institute Press; 183pp; illust.

Reviewed by Rose Y0ung, Project Officer, Museum of New Zealand/Te Papa Tongarewa

Introduction history curatOrship. The second considers of ideas about the past, may simply be a theories and methods for history curatorship, sign of intellectual chaos perpetuated by Author Gaynor Kavanagh urges that history emphasizing the importance of lack of training in theory or method where curators, “pause to consider what it is that documentation and fieldwork in the “history curatorship staggers abOut in search informs the choices they make in their own development and study ofcollections. The of a viable name, common purpose and work and in what way they discover the third section discusses the organisation approach”. theory which underpins it”. Her book is and interpretation of history exhibitions, intended as part of an ongoing debate on and considers the processes of learning in History in History Museums? the “nature and direction of current history museums. A final chapter in this professional practice” and proposes to section considers the future for history In discussing history in museums, and strengthen history curatorship by giving it museums in terms of the market place and advocating a theoretical framework for a theoretical foundation. changing curatorial roles. curators I had a strong suspicion that the author does not have great sympathy for The book History Cwatorship is provocative The stated objectives ofthis book focussed history. To my surprise it is suggested and demanding but I found the author’s my attention, and expectations as a mater, that, in the main, the “history museum’s central thesis unclear. She notes, but fails and conSequently my criticism as a reader, period of concern begins with the birth to adequam address, the diversity of history upOn the section dealing with theory and of consumption and consumerism - the museums. The need for a more flexible methodology. mid eighteenth century”, and that the English and integrated approach is suggested but past before that is more the business of not developed, instead Kavanagh proposes History of History Museums archaeologists and medievalists“ (p. 76). a single theoretical framework. The problem of dealing with history is resolved by In summarizing the development of history Furthermore, while acknowledging the proposing a theoretical model which museums the author argues that the major growing dominance of the term 'history‘ in acknowledges theongoing debatebetween shifts are shaped by Current configuratiOns museums over recent years the anther history and anthropology and which of popular interest, ideological suggests that the history banner is Simply excludes ‘history’ as such. circumstances and the direction of an historical accident, that the potential of professional curatorship. In this section folk-life studies in history museums has Gaynor Kavanagh lectures in Museum there is an underlying suggestion that the been ousted by self~styled historians who Studies at the University of Leicester and proper focus for history museums is folklife frequently have no clear idea of what they this book is one of a series of texts aimed studies as exemplified in Sweden by the are doing anyway. at graduate students. In that context one early work of Hazelius at Skansen and the supposes the Overall course structure serves . Nordic Museum. I felt this preference “Whether curators are actually to provide additional understandings, to curtailed a fuller examination of the diversity engaged in historical studies is Open pose some of the unasked questions, to of history museums and the implications to question: ‘history in museums give practical examples, and to suggest of current thinking about material culture may, in fact be nothing more than applications which link the theory outlined studies and history in museums. a catch-all term, a title of in this book to museological realities. As convenience rather than a deliberate a text for those outside the university and While there is acknowledgement of the affirmation of intellectual intent. perhaps less familiar with the UK tradition liberating effect of regional museums in Hence, professional selfdefinition of academic studies it may be less satisfying. opening opportunities for broad—based and has been a consistent problem” (p. Nonetheless it will be valuable if readers provocative studies which cross disciplinary 53). care to take up the challenge and enter the boundaries and permit a more open debate. chronological span in both collections and “In past 20 years or so, history exhibitions, the potential of a curatorship has become in many The book is arranged in three parts. The multidisciplinary approach is not seriously senses a prisoner of its own self- first discusses the development of history examined. Elsewhere the author suggests justification and language... Despite museums in the UK, exploring the that a diversity of academic approach, the influence of Scandinavian background and ideas which have informed rather than reflecting a conscious discovery schools of ethnology and of

NZMJ 21(1): 23-24 24

historical geography in Ireland, Unfortunately the author fails to clearly suggestions and I believe her advocacy for Scotland and Wales the skills of show how this model might work in practice, imaginative, intellectually aware curatorship the geographer, sociologist, or and does not show how it might be applied is vitally relevant. The discussions she cultural anthropologists were set to museums which currently employ a puts forward are wide—ranging and aside in an effort to operate under different approach. I was particularly demanding. I hope they will provoke the ‘history’ banner and a new disappointed that there is no attempt to curator readers to examine their basic generation ofcurators emerged self- integrate being and becoming, synchronic curaton'al assumptions, to identify more styled as ‘social historians’ who and diachronic, at this theoretical level. closely the values they ascribe to objects, consolidated the immediate The recommended “slice of life’ approach and to think more carefully about what language of ‘history’ in the is not the only one which has a place in they interpret and why. I also hope readers museum” (p. 58). history museums. Why a single theoretical will test Kavanagh’s theory, apply the framework? Is the author saying that all methodologies she outlines and then What is needed, suggests Gaynor Kavanagh, history museums should conform to this communicate the results. This, after all, is is a theoretical foundation which provides approach? How useful will this model be? what this book is really about a basis for curatorial activity, and gives Is the problem of dealing with history in some definition to the nature of history in museums resolved by not dealing with it? museums and how knowledge of the past can be put together there. In proposing This focus on a single chapter is perhaps such a foundation the author suggests that unfair. The book includes valuable museum historians need to move away discussion on other aspects ofcuratorship. from conventional history which imposes It proposes various methods, mainly derived a narrow and inappropriaterangeofinterests from the Swedish SAMDOK upon the museum. History, she says, leads (Contemporary Documentation) model, for to questions which cannot be answered by defining fields of study, for documenting objects. New questions are needed. contemporary society, and for analysing Historians should look to the current debate and thinking about museum collections. between the disciplines of history and The final section on the public takes up the anthropology and borrow ideas and concepts increasingly common themes of caring from arangeofotherdisciplines and fields. about visitors, addressing audiences in In fact only one discipline and set of ideas appropriate ways, and being relevant. I is put forward for consideration: appreciated the discussions on ways of anthropology with its emphasis on social organising and interpreting history relations and social interaction. exhibitions but would have like to have had these linked more closely to the earlier “For the historian and the museum chapters on methodology, research and this prompts adjustments: the event fieldwork. giving way to action, story to episode, the diachronic to In these discussions the author comes back synchronic, sequence to structure to notions of history and ofbecoming, and and relationships. Shared or many of the socially relevant research common experiences become projects and historical interpretations she the central concern in the effort to cites do express change through time. I read past action and to get inside wondered what framework was applied by an episode. But to make any sense the curators involved in these projects and ofthe past, the cultural context has why these examples were not linked back to be reconstructed" (p. 64). to the discussion on theory? In fact, as I read these laterchapters and tried to follow History museums, it is argued, need to through the thread of the author’s argument address questions concerned with being I also wondered whether this book is more rather than becoming, and what is needed a compilation of lectures rather than the is a framework within which these questions result of a carefully developed theoretical can be addressed. Such a framework, argument based on the conceptofcommunity, on the role of individuals, and on networks of So, the stated objective of creating a relationships within a community, is briefly satisfactory theoretical framework was not outlined. achieved for this reader. However, I was provoked to think hard about the author’s

NZMJ 21(1): 23-24 Te Ropu Hanga Kaupapa Taonga

Art Galleries and Museums Association of New Zealand Museums Association of Aotearoa/New Zealand

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The financial year of the Association runs from July lst to June 30th. Annual subscriptions, inclusive of Goods & Services tax, for the 1991-92 and 1992-93 financial years have been set as follows:

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Warner Haldane Cl- Otago Museum P O Box 6202 DUNEDIN. Published twice a year by Museum Studies, Massey University, Private Bag, Palmerston North, New Zealand, for the Art Galleries and Museums Association ofNew Zealand. Printed at Massey University Printery, Palmerston North. New Zealand. Typesetting by Tom Snowball, Secretary Museum Studies, Massey University

The Editors and the Art Galleries and Museums Association assume no responsibility for the statements expressed by the contributors to the New Zealand Museums Journal.

Co—Editors: Professor Keith Thomson David Butts

Editorial Committee: David Butts, Julie Catchpole, Elizabeth Hinds, John Takarangi, Keith Thomson.

The New Zealand Museums JOumal was formerly known as the Art Gallery and Museums Association Journal.

The New Zealand Museums Journal will be published in June and December each year. Copy deadlines are 30 March and 30 September. All papers will be reviewed by the Editors and may be referred to confidential referres at the Editors disaretion. Address all correspondence or contributions to:

New Zealand Museums Journal C/- Museum Studies Massey University Private Bag Palmerston North

ISSN 0112-6210

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Cover Photograph: Otago Museum: the new 'tangata whenua‘ displays use a moveable glass wall system. This exhibit is a reconstruction of a sixteenth century settlement at the Shag River Mouth (Photo by Lindsay McLeod). NEW ZEALAND MUSEUMS JOURNAL (formerly the Art Galleries and Museums Association Journal)

Volume 21 Number 1 Summer 1991

CONTENTS

Professor Keith Thomson 1 Editorial

Sherry Reynolds 1 AGMANZ

FEATURES

Richard Cassels Recent Developments at the Otago Museum Athol McCredie GM Relationships between Conservators' Codes of Ethics and the Conservation Policies of Institutions - Common threads, conflicts and failings. Wayne Orchiston 10 Bola and Beyond: Some Recent Developments at the Gisborne Museum and Arts Centre

COMMENTS

Barbara Maré 16 DeaccessiOning at the Govett-Brewster Art Gallery David Butts 18 The Graduate Diploma in Museum Studies, Massey University: 1989-1991

EXHIBITION REVIEW

Robert Jahnke 20 Nga Tupuna

BOOK REVIEW

Rose Young 23 History Curatorship