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2016. a Cultural Cacophony: Museum Perspectives and Projects

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2016. a Cultural Cacophony: Museum Perspectives and Projects A CulturalCacophony Museum Perspectives&Projects Identity Communication Culture Crisis Andrew Simpson Gina Hammond Editors: We ask that you please consider the environment before printing any part of this publication. Thank you TABLE OF CONTENTS TABLE OF CONTENTS ........................................................................................................................... 1 INTRODUCTION ........................................................................................ Error! Bookmark not defined. A professional cacophony ................................................................................................................... 3 Andrew Simpson and Gina Hammond ........................................................................................ 3 PERSPECTIVES ....................................................................................................................................... 14 Sowing the seeds of wisdom and cultivating thinking in museums ................................................. 15 Janelle Hatherly ......................................................................................................................... 15 The challenge of contemporary relevance in a digital era ................................................................ 28 Kim Williams ............................................................................................................................. 28 Museums and freedom of speech .................................................................................................... 38 Alec Coles .................................................................................................................................. 38 Mining media content in museums: Digging deep for new opportunities ....................................... 48 Kim McKay ................................................................................................................................ 48 Museums, mausoleums and muniments rooms: Letting in the light on university collections ....... 56 John Simons ............................................................................................................................... 56 Fit for the future: Reflections on regional spaces in a changing world ............................................ 63 Sally Watterson ......................................................................................................................... 63 More on the museum diet: Ten strategies for sustainable museums and collections ..................... 71 Kylie Winkworth ........................................................................................................................ 71 PROJECTS .............................................................................................................................................. 85 “To the city for dancing”: The Women Artists collection and the birth of commercial art practice at Yuendumu ......................................................................................................................................... 86 Scott Mitchell ............................................................................................................................ 86 Art on the way to the theatre: Performing arts centres and their art collections ......................... 103 Steven Tonkin .......................................................................................................................... 103 From Bucharest to Hobart: A legacy of Romanian art ................................................................... 112 Rachael Rose ........................................................................................................................... 112 The power and the passion: The Forced Adoptions History Project .............................................. 120 Kathleen Anderson .................................................................................................................. 120 An expedition into the changing world of museum collections: Are they vital or a thing of the past? ........................................................................................................................................................ 125 Christina Hardy........................................................................................................................ 125 Creating new forms of value with Indigenous customers: Auckland War Memorial Museum, a case study ................................................................................................................................................ 133 Sally Manuireva ....................................................................................................................... 133 Music museum curatorship: Reclaiming rights and responsibilities for musicking on Minjerribah (North Stradbroke Island), Australia ............................................................................................... 143 Sandra Kirkwood ..................................................................................................................... 143 How to cope when you open your digital doors ............................................................................. 158 Paul Rowe................................................................................................................................ 158 19,000 glass plate negatives: Algernon Darge’s First World War legacy ........................................ 165 Joanne Smedley ....................................................................................................................... 165 A cultural renaissance in museums and collections at the University of Oklahoma ...................... 176 Michael A. Mares .................................................................................................................... 176 Reframing the small university museum ........................................................................................ 194 Jane Thogersen, Gina Hammond and Andrew Simpson ......................................................... 194 Real and virtual: The role of computed tomography and 3D imaging in museum practice ........... 208 Jaye McKenzie-Clark and John Magnussen ............................................................................. 208 Reminiscence Cottage: A multisensory space for people living with dementia ............................. 222 Sara Pearce ............................................................................................................................. 222 Museums and memory: The power of story .................................................................................. 233 Doreen Lyon ............................................................................................................................ 233 BIOGRAPHIES ...................................................................................................................................... 238 ACKNOWLEDGEMENTS ....................................................................................................................... 243 To cite this publication: Simpson A. and Hammond G. (eds). 2016. A Cultural Cacophony: Museum Perspectives and Projects. Museums Galleries Australia. Canberra. www.museumsaustralia.org.au/ma2015-sydney A professional cacophony Andrew Simpson and Gina Hammond The Australian printmaker, Rew Hanks, was recently awarded the Grand Prize at the prestigious Kochi International Triennial Exhibition of Prints. It was for his 2012 depiction of Krefft’s Chair at the Australian Museum. The Chair was once occupied by an early Director of the Australian Museum, Gerard Krefft. The Director was physically removed from of his office, still resolutely occupying the chair, and unceremoniously dumped on William Street on the orders of the Board of Trustees in 1874 amid claim and counter-claim of falsifying records, misuse of public funds and drunkenness. In the museum and gallery sector, how much has changed in the intervening 142 years? Krefft was at odds with his Board of Trustees all those years ago. This disconnect is not something that is unknown or even unusual in the museum world both in Australia and elsewhere. Krefft’s trustees were concerned that he dabbled too dangerously with modern scientific concepts such as biological evolution. Has the sector always been plagued with contestation, or was this event a historical outlier subsequently subsumed by the professionalism of modern museum practice at his former institution? Or did it represent a manifestation of social tensions caused by different world views of the time? Krefft’s Chair is in the Australian Museum, Australia’s first and oldest museum in the city that was the entry point for European occupation of Aboriginal lands. The chair is therefore a symbol of contestation and resistance. But even in modern times there are pressures for change at this oldest of Antipodean collecting institutions.1 The museum and gallery sector, from big city state funded institutions staffed by seasoned professionals to regional outposts staffed by dedicated volunteers are not immune from the tsunami of technological and socio-cultural change that is engulfing the modern world. Contestation is the new norm; different voices battle to occupy the heart of the public sphere, the differing interests and boundaries between those who fund, produce and consume culture in our museum and gallery
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