MUSE Issue 12, October 2015

Issue 12, October 2015 ). Photo by R Blackburn.

Platax orbicularis A cleared and stained 35mm juvenile round batfish (

Magazine of Sydney University Museums In this issue

02 Beautiful stranger 19 Elephants never forget 32 Drawn together Which classical figure is The Macleay Museum’s stairs Architecture students were the depicted by this statue: have long been guarded by the invited to sketch museum items Hermes; Apollo; Meleager; imposing skull of Ghandi, a in a historical/cultural context. Major progress or Hadrian’s lover Antinous? bull elephant. This is his story. The results were unexpected. on new museum 05 Independence Day 22 Mirror, mirror 34 Making history Papua New Guinea is Jacky Redgate’s exhibition, Read our latest news on talks, David Ellis. Photograph celebrating 40 years of utilising the art of refracted acquisitions, VIP visits, new A word from the Director by Martin Ho freedom from British rule. light, is nothing short of staff, and theatre productions. We trace its rich history. illuminating.

09 Women in Power 24 The line of beauty 36 Find your muse A unique exhibition comprises Lynette Jensen recently Find out what’s coming up at I am absolutely thrilled to share with you This project has long been in planning. artworks from the Power donated two plate engravings Sydney University Museums some wonderful news. In fact, it has been the hope and wish of collection – created by by William Hogarth to the over the next three months. many past curators to see the museums women; selected by women. University. She explains why. We recently secured significant funding move or expand as visitor numbers rise that will facilitate the development of the and the use of collections in teaching landmark Macleay and adjacent Edgeworth and research increases. 13 One fish, two fish, 26 All that glisters is not gold The Nicholson Museum holds David buildings into a new University museum. red and blue fish From tiny gobies to huge several Bronze Age replicas This will bring together the collections of To assist in planning the new museum gropers, sleek tunas and linked to two skilled artisans: the Macleay and Nicholson Museums and I am equally delighted to announce the fantastic seadragons – meet Émile Gilliéron and his son, the University Art Gallery. appointment of Dr Paul Donnelly to the new the Acanthomorpha family. also called Émile. position of Associate Director, Museum A very generous and far-sighted gift of Content. Dr Donnelly will lead the curatorial $15 million by Chinese-Australian team in planning the content for the 16 To restore or not to restore 29 Work together entrepreneur Dr Chau Chak Wing will enable new museum. Tourism is putting more We pay tribute to Dr Gumbula, From the cover: A cleared and stained 35mm juvenile us to proceed with our plans, finally do pressure on governments to a Yolŋu community elder, round batfish (Platax justice to our important collections and We look forward to providing you with further reconstruct ancient sites. University of Sydney scholar, orbicularis)(detail). Photo by R Blackburn. enable us to showcase some of Australia’s details on the development of this project in But what are the risks? and eminent musician. See page 13. most inspiring artistic, scientific and the next edition of Muse. archaeological artefacts. In the meantime our programs continue. The flexible exhibition and teaching spaces in At the University Art Gallery, Women in the new Chau Chak Wing Museum will create Power, comprising 25 works by women Sydney University Museums Macleay Museum This edition of Muse contains images of Comprising the Macleay Museum, Macleay Building, Gosper Lane Aboriginal people who have died. We an opportunity for the University to display artists selected from the University’s Power Nicholson Museum and University Art Gallery (off Science Road) acknowledge that seeing names and extensive parts of its collection, currently in collection by influential women opens on +61 2 9036 5253 photographs of dead people may cause distress Open Monday to Friday, 10am to 4.30pm and +61 2 9351 5646 (fax) and sadness in some Aboriginal communities. storage due to the lack of appropriate space. 4 December. Women in Power is generously the first Saturday of every month 12 to 4pm [email protected] This will provoke new and inspiring ways for supported by the University’s Power Institute Closed on public holidays. Muse edited by Michael Turner. Produced by Nicholson Museum Marketing and Communications, the University the growing number of students, staff and and the Chancellor’s Committee. Written in General admission is free. In the southern entrance to the Quadrangle of Sydney, October 2015. 15/5173 the broader public to understand and enjoy stone and Lego Pompeii will continue at the Become a fan on Facebook and +61 2 9351 2812 ISSN 1449‑0420 ABN 15 211 513 464 follow us on Twitter. +61 2 9351 7305 (fax) CRICOS 00026A art, science and history. Macleay and Nicholson Museums. [email protected] Sydney University Museums Administration +61 2 9351 2274 University Art Gallery Forest Stewardship Council David Ellis +61 2 9351 2881 (fax) War Memorial Arch, the Quadrangle (FSC®) is a globally recognised [email protected] +61 2 9351 6883 certification overseeing all fibre Director, Museums and Cultural Engagement +61 2 9351 7785 (fax) sourcing standards. This provides [email protected] guarantees for the consumer that Education and Public Programs products are made of woodchips To book a school excursion, an adult education from well‑managed forests, other tour or a University heritage tour controlled sources and reclaimed +61 2 9351 8746 material with strict environmental, [email protected] economical and social standards.

1 Opposite: The Nicholson Hermes (NM35.120)

Left: Detail from Plate 1 of William Hogarth’s The Analysis of Beauty, 1753. Donated by Lynette Johnson in honour of the Philosophy Department, University of Sydney, 2015

Right: Hermes in the Museo Pio-Clementino, Vatican, Rome

An observant visitor to the Nicholson They are all, with one or two By the 18th century, the Grand Tour Museum might be forgiven for asking contemporary exceptions, copies of was at its peak. Young aristocratic how we know that the large Roman the famous statues of Antiquity. The gentlemen visited Rome and, of marble statue of Hermes (pictured Apollo Belvedere, the Medici Venus, course, the Papal collections. On left) that greets visitors as they enter and the Farnese Hercules can all be their return they commissioned is really Hermes. seen, as can the Antinous Belvedere, sculptors, as appears in Hogarth’s with a potential buyer standing etching, to make copies of the Missing his lower legs, there are admiringly at his side. Our observant statues they had seen. no winged boots to identify the viewer might notice that the statues messenger god, no messenger are all back-to-front, a result of The Antinous, together with the staff, no winged hat – in fact, no their engraved image. Apollo Belvedere, was considered Beautiful iconographic identifying symbols to be the most perfect example of at all. So how do we know? The The original Antinous Belvedere male beauty. Hogarth wrote: “I feel answer is that there are other, (pictured above right), named it will be difficult to raise a very stranger more complete, surviving, copies of after the Vatican’s Belvedere clear idea of what constitutes, or this same statue. And therein lies Terrace in which it stood, was composes the utmost beauty of – the story. discovered in Rome in 1543 near proportion; such as is seen in the the Castel Sant’Angelo, formerly the Antinous; which is allowed to be the Who is depicted by the In 1753, English painter, printmaker, mausoleum of the emperor Hadrian. most perfect in this respect of any social critic and cartoonist William of the antique statues … a manly statue at the entrance to Hogarth published The Analysis of Given where it was found, and its strength in its proportions is equally Beauty, of which Plate 1 shows a beauty, the statue was thought to expressed from head to foot in it.” the Nicholson Museum? stonemason’s yard in London (see represent Antinous, Hadrian’s lover, Michael Turner above left; and the story on pages who had drowned in the Nile in Just 10 years later, all had changed. 24-25). A mason is at work mysterious circumstances in 130 AD. In 1764, German connoisseur considers its curious and surrounded by finished statues, The devastated Hadrian had made Johann Winckelmann published his complex identity. waiting for delivery to the great the young man a god, and so it was monumental History of Ancient Art, houses and gardens of 18th century thought fitting that the statue should in which he rightly pointed out that England (where many of these have decorated his own tomb. the statue could not possibly be statues can still be seen today). Antinous. Roman sculptors of the

2 3 much was lost. Not, however, the statue, which stood in his garden and so avoided the flames. In 1934 it was given to the museum by Nicholson’s three sons.

The Rousham Apollo in the Apart from these surviving statues, garden at Rousham House, there are also the copies made in Oxfordshire 18th century stonemasons’ yards. One, dating to the 1730s, is today at Rousham (pictured left), a stately house in Oxfordshire, where it was included by the great Georgian designer William Kent as one of the focal points of his new Arcadian Landscape garden for General Port Moresby at the time of the declaration of the British Protectorate, 1884. Photo: John Paine studio (HP82.41.31) 2nd century AD were not capable, had winged boots and carried a James Cottrell-Dormer. he argued, of producing such winged messenger staff, and was perfection. It was clearly a copy clearly Hermes. And in this manner, The statue is now generally known of a much earlier, and therefore Antinous became Hermes. as the Rousham Apollo (only rarely Greek, original. Hermes/Mercury) – and herein Four other examples are currently lies a conundrum. We know that “The Antinous in the Belvedere,” known. One, badly damaged, it is not Antinous, and yet when he wrote, “so named for no good formerly standing in Kew Gardens, it was installed at Rousham in reason, is generally declared the is now in the British Museum; one is the late 1730s, both Kent and most beautiful monument of art in the Glyptothek in Munich; another Cottrell‑Dormer would have Independence Day under Hadrian, based on the false on the island of Andros; and the thought that it was. It was certainly assumption that it is the statue of last, dating from between the 2nd an important element of the many his lover … The head is indisputably century BC and the 1st century AD used to make this richly symbolic – one of the most beautiful youthful is in the Nicholson Museum. garden. To understand the meaning heads from Antiquity. In the face of of the garden today therefore, the As Papua New Guinea celebrates 40 years of Apollo [Belvedere], majesty and pride Intriguingly, however, not one of figure must be Antinous – it cannot prevail; but here is an image of the these four show sign of even one be Apollo. independence, Jude Philp traces some of the grace of lovely youth and the beauty of the attributes of Hermes, or his rich cultural, political and natural history of of flourishing years, joined with Roman equivalent, Mercury. Which brings us back to our own pleasing innocence and soft allure.” statue, which once too stood in a Australia’s closest neighbour. The Nicholson version was acquired garden. Can we be absolutely certain So if it was not Antinous, who was it? by explorer Sir George Macleay in it is Hermes? One thing is certain: Winckelmann suggested the Greek Turkey in the 1870s and later given it is unfortunately not Antinous. hero Meleager. People soon realised to his friend Sir Charles Nicholson, that an identical statue, standing then living in London. In 1899, Michael Turner is Senior Curator outside the Farnese Palace in Rome, Nicholson’s house burnt down and at the Nicholson Museum.

4 5 Left: Performers at the Highlands Goroko show, 1970s. Photo: Robert Mitton (HP2010.10.437)

Below: Enga highlands women photographed at the Goroka show, 1970s. Photo: Robert Mitton (HP2010.10.434)

The modern nation of Papua spread incredible distances across Above left: Vanapa river looking towards New Guinea (PNG) is a land of the Pacific Ocean. Evidence of the Mount Yule, 2009. superlatives. It is one of the Lapita people’s culture has been Photo: Robin Torrence greatest accelerated projects of found in New Caledonia, Vanuatu, Above right: Shout our name from the cross‑cultural negotiation. With southern Solomon Islands, Fiji, Fairfax harbour, Port Moresby 2009. mountains to seas more than 800 spoken languages, Wallis and Futuna, Tonga and Samoa, Photo: Robin Torrence it is a linguistic superpower. It along with PNG and its islands. Papua New Guinea; also has one of the world’s oldest Let us raise our voices farming traditions, with evidence of This year PNG’s people will celebrate and proclaim banana and taro cultivation in the 40 years as an independent Papua New Guinea highlands more than 7000 years ago. commonwealth nation. Australia’s colonial interest in the island began (chorus, PNG National Anthem) This ancient past may surprise some, in the 1870s, with discussion in until it is remembered that the the colonies of New South Wales, extraordinary geography of the place Queensland, South Australia and prevented Europeans from knowing Victoria about whether the land was of the existence of the highlands’ suitable for foreign settlement. extensive populations until the 1930s, despite many efforts to map the PNG’s riches were already drawing Macleay, when asked, firmly stated and ‘blackbirding’ – the practice Governor of British New Guinea island from the late 1600s. missionaries and commercial men the country was not suitable of taking people to work in foreign (1888-98), saw the benefit of and women to its shores. Although for European settlement, citing plantations as indentured laborers. educating, training, and socialising From excavations in New Caledonia gold was yet to be found, timber, the ruggedness of the country, the populations towards a time in the 1950s it was slowly realised fisheries, bird feathers and people mosquito-borne diseases, the It took the persistence of three when the Protectorate would be that 1000-3000 years ago people were seen as ripe for exploitation difficulties of transport and the Australian colonies, NSW, wholly theirs to govern. of PNG’s coastal areas were part by many. The return of expeditions, large populations that already Victoria and Queensland, for the of an extensive maritime trading such as William John Macleay’s inhabited the coast. His friend and British Government to co-fund Following the tumultuous world system named ‘Lapita’ after the 1875 Chevert scientific voyage, were colleague, Russian scientist Nikolai a Protectorate; in part because wars of the 20th century, both the distinctive dentate stamped eagerly awaited for news of novel Miklouho-Maclay, had lived and these colonies wanted to prevent British Protectorate and German pottery they made. Lapita culture specimens or products for potential travelled extensively throughout the any other European nation from New Guinea came under Australian is thought to have originated in commercialisation. island in the 1870s and 1880s. He colonising the island. Sir William administration. Australians PNG’s Bismarck Archipelago where it too spoke out against settlement Macgregor, Protector and first increasingly worked in the colony by

6 7 Women in Power – In curating a unique exhibition, the University Art Gallery’s Dr Ann Stephen invited

This labour ship 14 prominent women to select bears the same name as the Government station at Rabaul, artworks by women from the ‘Namanua’. Photo: Burns‑Philp (HP84.60.153) University’s Power collection.

1960 and more than 5000 men and You can see objects from all these women worked in the colonial civil turning points in PNG’s history in service, hundreds more in Australian the Macleay Museum. mining projects. Jude Philp is Senior Curator, By this time, the long-held idea Macleay Museum; and a Chief of an independent nation gained Investigator on the Australian true momentum. On 16 September Research Council Discovery 1975 the peoples of Papua and New Project ‘Excavating Macgregor’ Guinea joined together to form the DP150103518 (2015-2017). modern nation state of Papua New Guinea with Sir Michael Somare the sydney.edu.au/museums/ Margaret Gindjimirri, Mindirr first Prime Minister. research/macgregor-team (pandanus palm collecting bag) c.1984, ochres on pandanus palm, hand spun bark fibre string, 24.5x14cm, JW Power Collection, the University of Sydney, managed by the Museum of Contemporary Art

8 9 Helen Frankenthaler, Spoleto 1972, screenprint, 101x74.9cm, JW Power Collection, the University of Sydney, managed by the Museum of Contemporary Art

Mary Ellen Mark, Untitled 1976–78, silver gelatin photograph, 41x56cm, JW Power Collection, the University of Sydney, managed by the Museum of Contemporary Art

The Women in Power exhibition These form part of the remarkable Others have played leading roles in is the culmination of a year-long Ramingining collection acquired by philanthropy and art history, among program at the University Art Gallery Djon Mundine in 1984 and because them Emeritus Professor Virginia to celebrate the 40th anniversary of its comprehensive taxonomic Spate; Director of the Museum of International Women’s Year. approach, included for the first time of Contemporary Art Australia many Indigenous women. Elizabeth Ann Macgregor; Lynette The exhibition recognises the Fern, whose support of the Power achievements of women, featuring Today, women are High Court Institute’s Cité Internationale such major contemporary artists as judges, corporate chief executives des Arts Residency has enabled Marina Abramović, Bridget Riley and and university professors – artists’ fellowships in Paris; and Cindy Sherman alongside leading all influential positions. The Dr Gene Sherman of the Sherman Australian artists such as Lindy Lee, exhibition’s selectors are leading Contemporary Art Foundation. Janet Burchill and Jenny Watson. figures drawn from the world of business, law and the arts. With a focus on women’s education, The exhibition also acknowledges the Chancellor of the University Yolŋu weavers with a collection Among them are University alumnae: of Sydney, Belinda Hutchinson, of baskets by Rosie Rodji, Judy architect and philanthropist selected Labyrinthe diagonal by Baypungala, Ada Balayarra, Elizabeth Penelope Seidler; Justice of the Martha Boto (1925-2004), with its Gamalanga, Julie Djelirr, Margaret High Court Virginia Bell; and art industrial and geometric design. Gindjimmi and Rita Gukulurruwuy. historian Professor Susan Best. Hutchinson said she was “inspired by women in the fields of science,

10 11 One fish, “They pit the body two fish, against the cold, hard machine of the state.” red and Linda Michael, Deputy Director and Senior blue fish Curator, Heide Museum of Modern Art, Victoria, on the work of photographer Mary Ellen Mark –

technology, engineering and Architect and philanthropist mathematics and our need to create Penelope Seidler’s selection is more opportunities for women based on a personal connection in these fields”. Boto’s work was with artist Helen Frankenthaler only one of three by women artists (1928–2011). among the 31 artworks acquired in 1967. “Helen Frankenthaler was the lone female member of the great Another acquisition from that first New York school of abstract year is the dazzling op art painting expressionists of the 1950s and Static 3, by Bridget Riley, selected by 60s – she was primarily known as philanthropist Naomi Milgrom AM, a great colourist and as one of who has recently been appointed the early stained painting artists,” Commissioner of Australia’s pavilion Seidler writes. “My relationship with at the 2017 Venice Biennale. her dates from 1971 when Harry [Seidler; architect] and I bought her Linda Michael, who is Deputy large stained work, Hillside, for the Director and Senior Curator at Heide entry in our Killara house and where Meet the acanthomorpha: a Museum of Modern Art in Victoria, it still hangs today; it is similar in has selected Mary Ellen Mark’s composition to the Spoleto print. huge family of fish comprising Untitled photographs, taken inside more than 16,000 species – Oregon State Hospital in 1976. Penelope and Harry Seidler later commissioned Frankenthaler to about half of all known fish Michael made her selection partly in create a tapestry for the new Hong species, and a quarter of all response to hearing of Mark’s death Kong club, designed by Harry Seidler on 25 May 2015 and recognising the and completed in 1984. vertebrates, writes Tony Gill. challenge these images still pose to us as viewers. As she describes Women in Power will be shown at them: “they pit the body against the the University Art Gallery from cold, hard machine of the state” and 7 December 2015 to 8 April 2016. “while her disturbing photographs elicit empathy, they also confront Dr Ann Stephen is Senior Curator A cleared and stained 23mm juvenile Müller’s coralfish (Chelmon muelleri). us with our voyeurism.” at the University Art Gallery. Photo: Rob Blackburn

12 13 Much of my research as a fish Essentially, the quest for natural These are preserved museum A cleared and stained 20mm juvenile taxonomist is centred on the taxa involves a search for uniquely specimens that have had their fanbelly leatherjacket (Monacanthus chinensis). classification of acanthomorph shared, specialised features. flesh digested away with an enzyme Photo: Rob Blackburn fishes (spiny finned fishes). The (trypsin), their cartilage selectively group is particularly diverse in size My work mostly concentrates on stained blue (with alcian blue) and form, ranging from tiny gobies bones, which in acanthomorphs and their bones stained red (with to huge gropers, from sleek tunas are a rich source of potential alizarin red). to fantastic seadragons. characteristics for defining natural taxa. The bones of acanthomorph These specimens are superior for The aim of my research is to species can differ in shape, bone studies because the soft produce a natural classification, to presence or absence, or in how connective tissues, such as the bring together species into natural they articulate with each other. For skin, ligaments and tendons, are groups. Natural (or ‘monophyletic’) example, one group has a unique still intact, allowing the specimens taxa are those in which all member way in which teeth develop. to be manipulated to observe species are more closely related how the different bones function to each other than to members Fish bones can be studied in together, or dissected into smaller of any other taxon. The evolution various ways, such as by laborious components for more detailed of modern methods to define dissection of whole specimens, dry study and illustration. The ability and identify natural taxa can be skeletons (often prepared using to differentiate easily between traced back through a long line of museum beetles, which eat away the cartilage and bone is another scholars, a lineage that includes, flesh) or non-invasive scans (such important attribute. By preparing among others, Aristotle and as x-radiographs and CT scans). My series of specimens of different William Sharp Macleay. studies are based almost entirely sizes, it’s also possible to study how on cleared and stained specimens. various bones develop.

Although in the past 30 years I have They appear like miniature works prepared several thousand fishes, I of art, with intricate sculpturing never tire of studying them. Often and complex interplay of blue and I find myself dissecting species that red. This appeal has been reflected have never been studied before, and in recent years by the emergence I feel like an explorer, peering down of several websites and museum my microscope into the unknown. It exhibitions devoted to cleared and is, of course, exciting to discover a stained fishes and other vertebrates. new variation that may help define a natural taxon. But it is perhaps Such exhibitions allow the public a more exciting to confirm a suspicion, glimpse into a world of otherwise A trio of cleared to find a previously discovered hidden beauty, and a deeper and stained juvenile tongue soles (family characteristic where I had hoped appreciation of nature’s diversity. Cynoglossidae). The it would be. relatively large degree of cartilage is due in Dr Tony Gill is an expert in the part to their small size (10-12mm) and Aside from their important scientific identification and classification of associated incomplete value, cleared and stained fish fishes and Curator of Natural History ossification of bones. Photo: Rob Blackburn specimens have an aesthetic appeal. at the Macleay Museum.

14 15 As the Nicholson The Hellenistic-Roman theatre at Nea Paphos in the The reconstruction process may reveal valuable In relation to authenticity, the reconstruction Republic of Cyprus has been the subject of ongoing information, while the restoration provides an of archaeological remains … is justifiable only Museum‑supported archaeological excavation by the University of Sydney educational tool for the public. Reconstruction in exceptional circumstances. Reconstruction excavations of the ancient since 1995. With tourism such an important part of also enables reactivation as a functioning building, is acceptable only on the basis of complete the Cypriot economy, it is inevitable that as more of whether by continuation of its original use (in the case and detailed documentation and to no extent theatre at Paphos in the site becomes exposed, pressure to interpret the of a theatre as an open-air multi-purpose venue) or on conjecture. Cyprus continue, project theatre site for the visiting public will increase. adaptation for a new use. The Venice Charter 1964 (International Charter for the architect Geoff Stennett How archaeological sites are presented to the public in Reasons for not reconstructing archaeological remains Conservation and Restoration of Monuments and Sites) raises a vital question. the modern world of mass tourism is an ever-present include the possibility of inaccuracy which may then is more stringent. While stating it is desirable to make issue for archaeologists and heritage practitioners. convey misleading information; the near impossibility of use of conserved buildings for socially useful purposes, Rather than the typical two-dimensional wall displays recreating an authentic version of the original; and the the charter requires in Article 15 that: and written texts, the physical reconstruction of destruction or obscuring of the original archaeological archaeological remains is a means of providing a more evidence. The high costs of reconstruction, often All reconstruction work should however be ruled out dynamic, three-dimensional encounter with history to funded by government authorities who may have aims “a priori”. Only anastylosis, that is, the reassembling which tourists can more readily relate. at variance with accepted archaeological and heritage of existing but dismembered parts can be permitted. management practices, can also be prohibitive. Several ancient theatre sites in Cyprus have undergone With some local politicians no doubt wishing to exploit To restore partial reconstruction, including the Kourion theatre, As a party to the United Nations Educational, Scientific the popular appeal of reconstructed buildings for the 60 kilometres to the east of Paphos, the Salamis theatre and Cultural Organization (UNESCO) World Heritage promotion of tourism, it remains to be seen how these or not to and the Soli theatre in Northern Cyprus and Odeon in Convention, Cyprus is obligated to protect and conserve mandated principles can be maintained at the Paphos Paphos, very near to our site. its cultural heritage sites. The ruins of Paphos are theatre (and other ancient monuments worldwide). inscribed on the UNESCO World Heritage List. Certainly some principles will need to be adhered to if restore? There are a number of good reasons for reconstructing UNESCO’s World Heritage Convention (1972) states some reconstruction is to take place. – ancient buildings known from excavated evidence. the following in its Operational Guidelines:

A computer‑aided design reconstruction of the stage building of the Paphos Above: Geoff Stennett (left) theatre created guides internationally by Geoff Stennett. acclaimed archaeological Unlike physical architects Jean-Charles Moretti rebuilding, virtual and Amelie Perrier around reconstruction the ancient theatre site in creates no damage to Nea Paphos in Cyprus. Photo: the archaeological Craig Barker site and can be altered as new Left: The theatre of Soli in evidence comes the north of Cyprus, which was to light and physically restored in the new theories 1960s Photo: Geoff Stennett are developed.

16 17 That the theatre, or parts of the theatre have phases. We have done this to some degree been reconstructed must be made clear at the Paphos theatre through a series of to the visiting public. Many reconstructed hypothetical virtual reconstructions. sites throughout the Mediterranean, do not disclose this fact, which both misleads and Interpretation of the theatre, whether misinforms the public. involving reconstruction or by other means, should give reference to the process of Surviving evidence about the theatre site excavation and the many people involved. must be fully documented as a scientific archaeological record for future reference It is a challenge for the future and the way that (this has certainly been the case at Paphos). ancient sites are to be used in engagement Importantly, the surviving evidence, including with visitors. all different historical phases, should not be obscured by any reconstruction. Geoff Stennett is a heritage architect with Otto Cserhalmi and Partners, Sydney. He has Lastly, before any physical reconstruction is worked on archaeological projects in Jordan, contemplated, consideration should be given Syria and Cyprus and is the project architect to a virtual reconstruction, which would not of the University of Sydney’s excavations at only conserve the original fabric, but enable Paphos. He is a member of the Friends of the greater scope for communicating the various Nicholson Museum. possibilities of the theatre’s developmental

Elephants never forget –

The elephant skull at the top of the Macleay Left: A marble Above: The Corinthian excavated capital from the theatre of Nea Museum stairs has been greeting visitors Antonine phase Paphos. As can be of the stage seen, the stage building of the building and since 1984. What’s the story behind this large theatre of Nea the cavea were Paphos, 2nd badly damaged century AD. in antiquity specimen? Chris Jones investigates. Photo: Geoff with most Stennett architectural stone robbed away. Photo: Bob Miller

Alfred Percival Bullen and Ghandi. Image courtesy of Robert Cunningham

18 19 remained at the zoo until he was Opposite: Skull of Ghandi on display in Macleay euthanised on 19 April 1968. Museum (NHM.1596)

Below: Cleo Bullen and The University of Sydney’s Dental Ghandi. Image courtesy of School requested to have Ghandi’s Robert Cunningham skull, intending to use it to demonstrate dentition.

The then Head of Oral Surgery, Professor Mark Jolly, was called in to separate the head from its torso. Once removed, the head was placed on a truck using a mechanical lift. At Professor Jolly’s request, to avoid a terrifying spectacle, a tarpaulin was placed over the head as it was driven through the streets of Sydney.

No records were made in 1968 regarding the treatment used to preserve the skull. For many years a rumour circulated that the head was chained below the Athol Buoy in Sydney Harbour to remove the flesh – certainly the idea of placing the head in the harbour and allowing fish to eat the flesh was explored.

However, given the logistics and questionable legality of such a method, it is more likely that it was immersed in an old rainwater tank and bacteria digested the remnants of soft tissue. The skull would later The Macleay Museum’s striking skull the elephants, on tour through involved in a serious accident when have been bleached and defatted is from an Asian bull elephant called southern Africa in 1926-28. The his truck was hit by the Overlander in hydrogen peroxide. These various Ghandi, born in Thailand circa 1914, circus returned to Australia with the Express train while crossing tracks at possibilities hint at the difficulty of and imported to Australia by Sole elephants because they couldn’t Mt Larcom. Trapped and drifting in working with such large specimens. Bros Circus. Ghandi certainly had sell them in Africa. and out of consciousness, Stafford an interesting and noteworthy life. called out instructions to Ghandi. The skull remained with the Dental Sole Bros eventually sold Ghandi The elephant ripped the wreckage School until the 1980s when it Sole Bros circus was formed in 1917 to Bullen Bros Circus in 1936 for apart to allow rescuers in, saving was transferred to the Veterinary by husband and wife William and Eliza £50. Bullen Bros Circus was started Stafford’s life. Anatomy Museum. However, the Sole. By 1925 they were promoted by Alfred Percival Bullen and his museum did not have room for it, as the Sole Bros Circus & Elephant wife Lillian in 1923, and during the Bullen Bros struggled to control and it was offered to the Macleay Herd, with elephants performing 1930s they travelled extensively Ghandi as he got older. In 1950, Museum, where it has been dances and balancing stunts, as throughout Queensland. at the age of 36, he was sold to displayed ever since. well as transporting duties. Sydney’s Taronga Zoo. While at the The Bullens’ son, Stafford, had a zoo he lost both tusks (the ones in Chris Jones is Assistant After William’s death in 1923, special affinity with the elephants. the image above are prosthetic and Collections Manager at Eliza took the circus, including On 3 December 1945, Stafford was were added post mortem). Ghandi Sydney University Museums.

20 21 Left: Jacky Redgate Mirrors (transcription from Ralph Balson Painting, 1941) 2009–12 Opposite, left: Jacky Redgate Light Throw (Mirrors) #1, 2009 Opposite, right: Jacky Redgate Light Throw (Mirrors) Fold #1-8, 2014, Courtesy Arc One Gallery, Melbourne and William Wright. Artists Projects, Sydney

Like a magician’s stage act, a pair of Redgate used the reflective surface of rebounding light from the sharpen under scrutiny it creates “There are glimpses of my kitchen in Mirror, hands emerges from the blackness of her Balson mirror to generate a mirror against my wall is kinetic. a sensation of optical pulsing like the mirrors … although I attempted supporting a large flat object that remarkable series of photographic As I triggered these light flashes, that produced by much op [optical as much as possible to block it out.” is held or worn like a shiny Bauhaus prints. Like a ventriloquist, she used caught between the mirror illusion] and kinetic art. mirror costume of circles, squares and her hybrid Balson mirror prop to and the wall, my retinas could Redgate rarely shows her hand and diagonals. A slight movement of throw and rebound light. not adjust to each flash and The most recent series Light Throw almost never her face, thus it is – regular breathing is recorded sometimes I had to close my eyes. (Mirrors) Fold #1-8 (2014) is also surprising to see the artist, albeit on video as the reflective plane The set is basic: a single light illuminated by rebounding flashes almost hidden, holding up her of mirrors refracts light, though mounted in the corner of a dark The first photographic print Light across two white-hinged panels weighty Balson mirror prop as if it nothing other than a small circle room and aimed at the mirror. Its Throw (Mirrors) #1 (2009) made from that progressively open outward, were a photograph for inspection. Artist Jacky Redgate moving slightly near the centre of reflections generated by multiple gleams of light bounced off many reducing the black space on Her act is non-expressive, and is renowned for the mirror, which is the camera flashes, thrown onto the facing small mirrors, is reclusive. Soft silver, either side. all attention is directed to the lens reflected, occurs on the loop. wall, are recorded on analogue grey and bronze pools loom out of a image. Out of the blackness the manipulating mirrors, film by a 4x5-inch large‑format deep black field. With concentration, When the sequence is fully inscrutable tablet of mirrors is objects and light in Jacky Redgate, whose hands we camera attached to a tripod aligned the viewer can discern through open, the viewer is exposed to a offered for contemplation, as see, enacts a curious masked form parallel with the plane of the wall. the photographic particles an razzle‑dazzle riot of stripey red and the artist provides the viewer her photographic of self-portraiture with her Balson The disorienting, even temporarily inner circular or rectangular light black zigzag plates suspended amid with an opportunity to consider and sculptural work, mirror object that began life as a blinding, effects are conveyed by the beam within each shape, with all circular and rectangular mirrors, what animates, even illuminates studio prop for her photographic artist’s description of the process: suffused in a dim shimmer. Such variously gleaming or blacked out. the work while simultaneously writes Dr Ann Stephen. series Light Throws (Mirrors) 2009. blurring is counter‑intuitive to the The optical intensity conceals their masking herself. Redgate has used mirrors of various I am in darkness and animated sharp focus generally associated circumstances of production. A new exhibition is kinds for making art over the past by the flashing studio strobes. with photography. The Mirror Works illuminating. two decades. However, I am not recorded on “The lights are jammed up against of Jacky Redgate the photographic emulsion … The eye involuntarily attempts to the stove … in my own domestic University Art Gallery The effect of the multiple flashes pull the shapes into focus, to make space, although this might not be 3 October – 27 November 2015 a correction. As they refuse to immediately obvious,” Redgate says. Curated by Ann Stephen

22 23 Chancing upon two plates from artist William Hogarth’s renowned 1753 work The Analysis of Beauty, alumna Lynette Jensen was inspired to give a memorable gift. She explains why.

Heath, historical engraver to King George III. They have been mounted and framed in Sydney by the Antique Print and Map Room to full conservation standard. Lifetime impressions of Analysis of Beauty are in various major collections, including those of the British Museum and the Metropolitan Museum of Art.

The discipline of philosophy underpins all other academic and intellectual disciplines, being literally, “the love of wisdom”. Like Hogarth’s work, it challenges us to reassess our perceptions of life, morality, The line of beauty aesthetics, and reality itself.

As a non-academic, I have – nevertheless been constantly dependent on, and grateful for, my undergraduate study of philosophy. It has helped steer me through ordinary life and its challenges, Painter, printmaker, satirist and Analysis of Beauty is a satirical collector or connoisseur clearly as which in my case included medical social critic William Hogarth visual essay on the nature and impressed with himself as he is with retirement at 30 years of age. (1697‑1764) was a man of perception of beauty. The plates the artwork. A grasp of logical and considered independent thought. In many form the centrepiece of a number thinking, and a way of seeing beyond ways, he was to visual art what of engravings Hogarth made Plate II is a scene from a country oneself, is essential to any balanced Charles Dickens was to literature. throughout his life to illustrate ball, in which Hogarth compares and satisfying life, and philosophy themes of art, beauty, and the assumed contemporary elegance gives us that. Known equally for his engravings as public’s relationship with its artists. with the more apparently grotesque. for his paintings, most of Hogarth’s I hope that this gift in honour of engravings are satirical works that Both plates, originally published in In both plates, the uncompromising the Department of Philosophy William Hogarth, The Analysis of Beauty, Plate I (top) and Plate II challenge us to reassess the way 1753, present a savage juxtaposition satire forces us to challenge our symbolises the central role and (directly above), 1753. Original we see and think about things. of accepted taste and perceptions of perceptions and wonder about our importance of philosophy in all our copper engravings on thick wove paper, 39x50cm. Donated by Lynette beauty with cruder human conceit. own prejudices and conceits. lives, and the pivotal, founding place Jensen in honour of the Philosophy Department, the University of Philosophy does the same thing. it holds in intellectual endeavour of Sydney, 2015 When I came upon the two Analysis Plate I depicts a sculptor’s yard, The University of Sydney plates are every kind. of Beauty plates in Italy, I acquired in which there are various famous from the ‘Heath Edition’ of 1822, them for the University of Sydney classical statues such as the which was the last printing from Lynette Jensen presented the in honour of the Department Farnese Hercules, the Laocoon Hogarth’s original copper plates, Hogarth plates to the University of Philosophy. group and the Medici Venus, with a restored for publication by James of Sydney on 5 June 2015.

24 25 All that glisters is not gold –

Several replicas in the Nicholson Museum purchased in the 1920s are closely connected with renowned archaeological restorer, Émile Gilliéron. Dr Craig Barker examines the electrotype copies.

Émile Gilliéron (1850-1924) was a the excavations The Gilliérons took moulds from Swiss-born artist and archaeological at Tiryns original antiquities and then illustrator who was highly influential from 1910-12, made accurate copies and also in the spread of Aegean Bronze before being reworked versions of their concept Age iconography in the early appointed chief restorer at the of the pieces’ original, undamaged 20th century. Palace of Minos at Knossos on Crete form. As such they sold two by its excavator, Sir Arthur Evans. reconstructions of the famed Mask Trained in art academies in Basel, For more than three decades, of Agamemnon from Grave Circle Munich and Paris in the 1870s, he Gilliéron and his son, also called A in Mycenae: one representing relocated to Athens, beginning his Émile (1885-1939), created the mask as it looks today (this is career designing commemorative thousands of reproduction frescoes the copy the Nicholson Museum postage stamps for the 1896 Athens and other artefacts from the site, purchased; pictured left); and the Olympic Games, serving as an art many of them mired in controversy other restored to how Gilliéron tutor for the Greek royal family today, but highly acclaimed at the believed it looked originally. Above: The Nicholson Museum’s Gilliéron and producing illustrations for time. The two founded a family replica of the gold death mask found by archaeological excavations. business, Émile Gilliéron & Son, By 1911, the pair had published a Heinrich Schliemann at selling original watercolours and catalogue of the 144 electrotype Mycenae (NM30.63). Working with Heinrich Schliemann at electrotype reproductions of copies of ancient Aegean art they Opposite: A number of the excavations at Mycenae, he was museum items copied from the could have manufactured for the electrotype copies of Mycenean gold foil regarded by his peers as the finest originals through their shop at them by the Wurtemburg Electro discs in the Nicholson Museum collection archaeological illustrator in Greece 43 Skoufa Street in Athens. Plate Company in Germany. The (NM30.64.1-7) at that time. Eventually he would Electrotyping is a method of catalogue, Galvanoplastische work as a restorer of the frescoes at creating precise metal copies. Nachbildungen Mykenischer und

26 27 Work together Kretischer (Minoischer) Altertümer Gilliéron electrotypes. In the 1920s, at least two lots, with the Vapheio – (Galvanoplastic Copies of then Nicholson Museum curator cups amongst the earliest acquired. Mycenaean and Cretan (Minoan) William John Woodhouse acquired Antiquities) came with an essay on many teaching copies including Of the Vapheio cups, a copy of the Dr Gumbula, a Yolŋu community elder, musician and the importance of Bronze Age art plaster casts, so the purchase so-called “Violent” cup remains published in German, English and of electrotypes was normal in the collection (NM30.98). It was scholar at the University, made a vital contribution French, and a catalogue with scaled museum practice. stamped at its base ‘E Gillieron to Australia’s rich and shared cultural heritage. images of the copies of Minoan and Athenes’ and is found in the Mycenaean metal artefacts that they In his 1927 Report on the Nicholson Gilliérons’ catalogue on pages 4 Rebecca Conway and Julia Mant pay tribute. offered their customers. Museum for the University Senate, and 5, no. 1a. Its matching cup Woodhouse referred to coloured (presumably no. 1 in the catalogue) Although the two were influential reproductions of the Snake Goddess was deaccessioned from the in the study of Aegean Bronze Age and votive offerings found at Nicholson collection many culture, the validity of their fresco Knossos supplied by Gilliéron of years ago. reconstructions at Knossos have Athens, and wrote of his desire On 19 August, distinguished Yolŋu his learned status, the University His work has involved music and been heavily criticised Many of the museum’s elder and honorary graduate of the of Sydney awarded him a Doctor language recording projects, in more recent decades replicas were given to University of Sydney, Dr Gumbula, of Music (honoris causa) in 2007. advising cultural centres, and where it is clear that they schools in the 1960s, and passed away surrounded by family at researching collections in archives added contemporary this was the case with his home on Galiwin’ku (Elcho Island). Dr Gumbula was born at Miliŋimbi in and museums to both better 20th century elements some of the Gilliéron 1954 when the community was still capture and document Aboriginal and incorrectly restored electrotypes and fresco A Yirritja man of the Gupapuyŋu managed by the Methodist Mission. knowledge. Dr Gumbula’s Yolŋu shapes and figures. There copies, along with the clan, he was an eminent musician He had an incredibly diverse career: identity and dedication to the have also been questions Gilliéron replica snake and intellectual. Within his first a carpenter; then policeman interests of his community were as to whether some items goddess figurine. We community, Dr Gumbula was a commended for bravery; musician always at the heart of his work. from the excavations were still use many of those leading authority on Yolŋu Rom with the seminal Yolŋu rock band Soft Dr Gumbula was the University of indeed forgeries created by copies that were kept (law) and culture. In recognition of Sands; and cultural heritage adviser. Sydney’s first Australian Research the Gilliérons. in the museum’s School Education Program, Contested works of including a series of art include the famed copies of gold foil discs chryselephantine snake found in Mycenaean graves goddess figurine and the (pictured previous page). Phaistos disc. The younger

Gilliéron was eventually These, along with their Far left: Djäpana gorruŋal, named “Artist of all the more famous Bronze Age Galiwin’ku – sunset at Galiwin’ku (Elcho Island). Museums in Greece” by cups, serve as a lovely Photo: J Mant, 2007. Taken during University the Greek government, a position to obtain a cast of “the very reminder of the role of replicas Archives research trip he held for 25 years and gave interesting archaic Warrior, possibly in museum education and display to Arnhem Land. him unparalleled access to new representing Leonidas himself, in the early 20th century and of Left: Liyapuy, headband (detail). Made in Sydney by archaeological discoveries. found by the British Archaeological the unique artistry of the two Yolŋu artist B Baŋuyarri School at Sparta”, electrotype Émile Gilliérons. Burarrwaŋa, 1976. Photo: Michael Myers (Macleay Museum Such was the fame of the Gilliérons copies of “the two great gold ET85.26.2). Feathered body that institutions such as the bowls of Minoan art found by the ornaments are a vital aspect Craig Barker is Manager, Education of Yolngu ceremonial events. Metropolitan Museum of Art in New Crown Prince of Sweden in Argolis” and Public Programs, Sydney Left below: Miku, red ochre. York would commission them to (NM30.97 is one; pictured above), University Museums Collected by Yolŋu at Laŋarra make copies of recently discovered which “rival in interest the two gold (Howard Island), Northeast Arnhem Land. Acquired by LW finds, while other museums and cups from Vaphio [sic] (Sparta) of Warner, 1927-1929. Photo: Michael Myers (Macleay collectors purchased directly from which we possess electrotypes” Museum ETP.1800 & ETP.1801). the catalogue. This was how the (NM30.98). This suggests the The base of the Gilliéron copy Miku has many important of the Minoan gold bowl from associations to Yolŋu, Nicholson Museum acquired its Gilliéron replicas were purchased in Argos (NM30.97) including Djäpana, sunset.

28 29 Warramiri and Wangurri clan gathering for Makarrata (Peace making ceremony) at Milingimbi. Photo: TT Webb, 1926-1939. University of Sydney Archives (P130.18.37.60). Dr Gumbula’s research has enabled a number of men in this image to be identified by name.

Council Indigenous Research include curating the Macleay “I hope we can continue to all Fellow and from 2007 to 2009 Museum exhibition, Makarr-garma: work together and to take this he principally researched Yolŋu Aboriginal collections from a message forward for our young collections held within the Yolŋu perspective, which was people, it is a collaboration University Archives. shown November 2009 – May for the future,” Dr Gumbula 2010; and the publication of the wrote in the introduction to the In 2010 Dr Gumbula was awarded book, Mali’ Buku‑Ruŋanmaram: exhibition catalogue. an Australian Research Fellowship – Images of Milingimbi and surrounds Indigenous grant for a further three 1926 – 1948 (2012). Dr Gumbula’s work ensures he will years to address broad Aboriginal be remembered and hopefully many community concerns in Australia The book in which Dr Gumbula others will follow in his footsteps. surrounding rationales, policies selected and described images He was a respected colleague and and processes for the repatriation from the University of Sydney will be sadly missed both personally of Indigenous cultural heritage Archives won an Australian Society and professionally by the many he materials in the contemporary of Archivists Mander Jones award, worked with both within and well global context. Yolŋu collections and more than 4500 people visited beyond the University. are scattered worldwide and his innovative exhibition which The Great Drought. Ochres on Dr Gumbula’s research often combined historic photographs, bark. Artist: Tom Djäwa, circa Rebecca Conway is a curator at the 1961 Miliŋimbi. Macleay Museum took him far from home. cultural artefacts and natural history Macleay Museum and Julia Mant is (ET2015.1). The Macleay recently purchased this painting by specimens to explain the Yolŋu a former archivist at the University Dr Gumbula’s father. Two major achievements during world for the novice. of Sydney. his time based at the University

30 31 Drawn together –

Every year, architecture All students in the Bachelor of Design in Architecture to generate an atmospheric and and Bachelor of Architecture and Environments fragmentary composition. students visit the Nicholson programs are encouraged to attend architectural Museum to develop their sketching and drawing workshops. Weiwin Qin played with scale, focusing on a section of the drawing skills – an unusual In these workshops we emphasise keen observation, museum’s Parthenon model. The pairing that produces experimenting and engaging with the history of columns become a stage for small drawing in architecture. We look at how architects museum objects also rescaled surprising results, writes and artists use drawing as a device to test ideas and as monumental, partially buried Melody Willis. document discoveries. forms. The drawing balances archaeological ruins with a new, Near the end of the workshop, first-year students visit speculative composition. the Nicholson Museum to use their analytical drawing skills and respond to the wonderful museum collection. form. It is a critical day for students, as the drawings At its essence, the visit to the Nicholson Museum assists from this visit need to be rich enough in detail to be in the drawing of organic and irregular forms – the The group arrives ready to draw with sketchbooks, used for a more extended study. amphorae on display are a classic subject for practising drawing boards and their favourite portable drawing curves in perspective, and the ancient Egyptian and materials. Participants are gearing up to produce six The visit allows students to work with the museum’s Etruscan wrapped figures are fantastic for studying study drawings in the museum that contrast in scale and dynamic collection and to understand the processes contour lines. of archaeology and curatorial presentation. It challenges students to engage in a process of “reverse Participants also use the project to adapt their archaeology”: students note the cultural origin of analytical techniques – they play with the tradition of objects and sites, but can also overlay these histories architectural study drawing and the concept of the in playful ways. fragment and the ruin.

Some students recorded evidence of archaeological In 2015, the course was taught by Melody Willis, digs presented in the museum and used their acquired Peter Nelson and Sue Pedley. understanding of perspectival space or isometric space to contextualise the drawings. Manipulating scale also resulted in small objects assuming architectonic proportions.

The resulting drawings reveal the layered connections that a good museum collection makes between cultural products through time.

Left: Si Young, Elida Guntan selected the graphite on Quadrangle building that houses paper, 594x841mm the museum as the context for Opposite, top: her drawing series. She used Weiwen Qin, ink pen on paper, earlier tonal drawing exercises 594x841mm

Opposite, bottom: Elida Guntan, charcoal, white conte on paper, two images: 594x420mm each

32 33 Making history –

2 4

1 3

Please help us to conserve and grow

6 7 Name: �� Address: �� Please accept my: �� £ Cheque £ Money order £ Credit card 1. The Vice-Chancellor, 3. The Macleay Museum 5. Mitchell Barker in Roman 7. The Nicholson Museum’s (Please make payable to The University of Sydney) Dr Michael Spence, and exhibition, Points of legionnaire armour teaching Candace Richards, left, Phone: �� David Ellis, Director Focus, was on show at the education team about in Ephesus with Mary Sydney University Museums, Burrinja Cultural Centre, the roman military in the Beard, Professor of Email: �� Credit card details in the Nicholson Museum in the Dandenongs, Nicholson Museum. Classics at the University £ Visa £ MasterCard being photographed for Victoria, from 1 August to of Cambridge. Mary, Please accept my gift of: the Sydney Morning Herald 20 September 2015. Macleay 6. Lynette Jensen (left) immortalised in the Card No: �� ahead of the announcement curator Rebecca Conway presents her donation Nicholson Museum’s Lego £ $50 £ $100 £ $250 £ Other $ �� Cardholder’s name: �� of Dr Chau Chak Wing’s (here with Burrinja’s JD to the University of Pompeii, was in Ephesus (Donations of $2 or more are tax deductible) donation on 23 September. Mittmann) visited to give engravings of the two filming for her new Expiry:...... Signature: �� a talk on 16 August. Photo plates from William four‑part BBC series 2. In May the Macleay by Barbara Oehring. Hogarth’s Analysis of Meet the Roman Empire. I would like to allocate my donation to: Museum became the stage Beauty (see story pages £ Digitisation Program £ Acquisitions £ Please send me information about how I can remember the for Living Room Theatre’s 4. Wilson Fan Ting Fung, 8). With Lynette are £ Macleay Museum £ Conservation University of Sydney in my will. production She Only centre, with Candace Professor Rick Benitez, Barks at Night. Seen here Richards and Nicholson Head of the Department £ Nicholson Museum £ Research are performers mid-song Museum Senior Curator of Philosophy and £ University Art Gallery £ Museums and Art Gallery priorities £ I confirm that I have included the University of Sydney in my will. wearing Rosie Boylan’s Michael Turner in the Dr Ann Stephen, Senior millinery creations. Nicholson Museum. Wilson Curator, the University Photo by Sharon Smith. worked at the museum for Art Gallery. two months as the 2015 Sydney University Museums, A14/H120 +61 2 9351 2274 [email protected] ABN 15 211 513 464 intern from the Chinese University of Sydney NSW 2006 Australia +61 2 9351 2881 (fax) sydney.edu.au/museums CRICOS 00026A CFN 10369 University Hong Kong.

35 Follow us on Twitter at Find your muse at twitter.com/sydneyunimuseum Heritage tours and or find us on Facebook education programs Sydney University Museums by searching for ‘Sydney University Museums’. – The Nicholson Museum, Whether you would like to view an exhibition or attend a Sydney University Museums offer extensive Macleay Museum and school (K–12) and adult education programs talk, we have plenty on offer. For further information and to University Art Gallery have and group heritage tours. view the latest timetable, visit sydney.edu.au/museums their own Facebook pages and Twitter feeds. and click on ‘What’s on’. For more information, email us at museums. [email protected]

November December January February Free children’s school – – – – holiday activities Saturday 7 November, 2-3pm Wednesday 2 December, Saturday 9 January, 2-3pm Saturday 6 February, 2-3pm – Montaigne goes to Rome: 6pm for 6.30pm start Women in power: art talk The Capitoline Hill in history – a 16th‑century traveller Afterlife and life after the Cost: free surveying the Capitoline from We hold school holiday activity days with arts and craft activities extraordinaire* Romans: Etruscan art in Venue: Philosophy Room, Quadrangle the Etruscan wolf to Mussolini* for children aged 5–12. Entry is free. Public talk by Frances Muecke the Nicholson Museum Public talk by Robert Veel (University of Sydney) Public lecture by Michael Turner Saturday 16 January, 2-3pm (Academy Travel) Cost: free (Nicholson Museum) Women in power: art talk Cost: free January – February Venue: Nicholson Museum Cost: $30 Friends of the Nicholson Cost: free Venue: Nicholson Museum Museum and their guests; Venue: Philosophy Room, Quadrangle – Saturday 7 November, 3-5pm $40 general admission Saturday 6 February, 2-3pm Artist talk and exhibition launch Venue: Nicholson Museum Wednesday 20 January, 5pm Women in power: art talk Tuesday 12 January, 10am-4pm Thursday 21 January, 10am-4pm Artist Jacky Redgate in Agatha Christie’s archaeological In conversation with Bernice Murphy Powerful women 3D Printing Workshop for Children conversation with Ann Stephen, Saturday 5 December, 2-3pm life: the adventures of the queen and Linda Michael Join us for a free kids art Join us for a 3D printing workshop at followed by exhibition launch by Monks, pilgrims and manuscripts: of crime in the desert Cost: free workshop in conjunction with the Macleay Museum. Judy Annear (AGNSW). Romanesque frescoes on the Lecture by Dr Craig Barker (Sydney Venue: Philosophy Room, Quadrangle the exhibition Women in Power. Cost: free Cost: free Camino de Santiago* University Museums) Cost: free Venue: Macleay Museum Venue: University Art Gallery Public talk by Dr Kathleen Olive Cost: $30 Friends of the Nicholson Thursday 11 February, 5.30-6.30pm Venue: University Art Gallery (Academy Travel) Museum and their guests; The Aboriginal toolkit – Saturday 6 February, 12-4pm Wednesday 11 November, Cost: free $40 general admission stone, shell, bone and resin Chinese New Year: 6pm for 6.30pm start Venue: Nicholson Museum Venue: Nicholson Museum A talk on the material assemblage Thursday 14 January, 10am-4pm Year of the Monkey Discovering the classical tradition in of Aboriginal tool making and its Written in stone Celebrate the Year of the Monkey the Baltic States Saturday 5 December, 2-3pm Friday 22 January, 5.30-6.30pm contemporary applications in art, Handle Indigenous stone tools with a series of activities in both Public lecture by Associate Women in power: art talk The first Australians day – a day in craft and architecture. at the Macleay Museum and Mandarin and English in a children’s Professor Kathryn Welch (University In conversation with Penelope the life in Sydney’s deep past Cost: free discover Indigenous culture. arts and craft afternoon. of Sydney) Seidler AM and Naomi Milgrom AO A free lecture on the prehistory Venue: Macleay Museum Cost: free Cost: free Cost: $30 Friends of the Nicholson Cost: free of Sydney. Venue: Macleay Museum Venue: Macleay Museum Museum and their guests; Venue: Philosophy Room, Quadrangle Cost: free Thursday 18 February, $40 general admission Venue: Macleay Museum 6pm for 6.30pm start Tuesday 19 January, 10am-4pm Venue: Nicholson Museum Thursday 10 December, 5.30-6.30pm Friends of the Nicholson Museum Centurions on parade: Community consultation for Saturday 23 January, 2-3pm summer party daily life for a Roman soldier Thursday 19 November, 5.30-6.30pm archaeologists in NSW Women in power: art talk Thievery, fakery and plunder: What was it like to be Indigilab – art/science/technology Steve Miller (MGNSW) and Anthony Cost: free an excursion into the murky a Roman centurion? All details Luke Briscoe (NITV) and Marcus Walker (Regional Arts NSW) give an Venue: Philosophy Room, Quadrangle world of art crime Cost: free are correct at the time of Hughes (MAAS) present on the overview of working with Aboriginal Public lecture by Dr Duncan Venue: Nicholson Museum publication, but events may potential of research collaboration community groups in NSW. Saturday 30 January, 2-3pm Chappell (University of Sydney) change due to between scientists and Aboriginal Cost: free Women in power: art talk Cost: $50 Friends of the Nicholson circumstances *Sponsor of beyond our communities. Venue: Macleay Museum Cost: free Museum and their guests the Travels in control. Cost: free Venue: Philosophy Room, Quadrangle Venue: Nicholson Museum Art, History and Culture Venue: Macleay Museum lecture series.

For Aboriginal and Torres Strait Islander Written in stone people today, stone tools are tangible evidence of occupation, ingenuity, 17 August 2015 – June 2016 resilience and survival.

Macleay Museum Macleay Building, Gosper Lane (off Science Road)

Open Monday to Friday, 10am to 4.30pm and the first Saturday of every month, 12 to 4pm Closed on public holidays.