Communicating Culture National Digital Forum 2014 Otago Museum Sarjeant Transition Project Graham Turbott 1914–2014 Kaitiaki Hui February 2015 February Contents Museums Aotearoa EDs Quarter
EDs Quarter 3 Te Tari o Ngã Whare Taonga o te Motu Communicating Culture is the theme for our MA15 conference in Dunedin While in the vicinity, I visited Pompallier Mission this May. Some of our contributors for this MAQ have addressed this in Russell. This is another example of a heritage site Kaitiaki Hui 4 Is New Zealand’s independent peak professional organisation for museums directly, such as Maddy Jones and Jamie Bell, the two National Digital that has undergone substantial change. Heritage and those who work in, or have an interest in, museums. Members include Forum delegates that Museums Aotearoa sponsored. Digital is changing New Zealand has uncovered its intriguing history Behind the Scenes 5 museums, public art galleries, historical societies, science centres, people who nearly every aspect of communicating culture – not only our visitors' access in its sympathetic and understated restoration, work within these institutions and individuals connected or associated with to cultural information, but also what happens back-of-house to provide that and knowledgeable and friendly guides help My Favourite Thing 6 arts, culture and heritage in New Zealand. Our vision is to raise the profile, access. The Dowse Wikipedia project is an interesting example. to interpret it for visitors. Also on my travels, I strengthen the preformance and increase the value of museums and galleries enjoyed a wander around Headland sculpture on Dowse Wikipedia Project 7 to their stakeholders and the community As well as digital projects, there are many other ways of communicating the gulf. Initiated by Waiheke Community Art culture onsite. New projects underway around the country aim to enhance Gallery in 2003, Headland has grown into a major National Digital Forum 2014 8 the opportunities. The Len Lye Centre in New Plymouth, new museum at biennial event which contributes to the Waiheke Contact Details Waitangi, new Ashburton Art Gallery and Heritage Centre, Nelson's Suter Island economy as well as the cultural life of NDF 2014: The Conference Within 9 Level 8, 104 The Terrace, Wellington 6011 and Wanganui's Sarjeant gallery redevelopments, will all improve on existing greater Auckland. PO Box 10-928, Wellington 6143 facilities so communication as well as care can be more effective. And as Policy Matters! 10 Tel: 04 499 1313 we go to press Otago Museum has announced a major science engagement All these examples show that, while we work Fax: 04 499 6313 initiative that will install a new planetarium and immersive theatre, upgrade with history and heritage as well as contemporary Museum Profile – Otago Museum 12 Email: [email protected] the interactive discovery world, and redevelop the education suite. None of culture, time does not stand still. There is always Web: www.museumsaotearoa.org.nz these projects are extravagant – they are all necessary to ensure that the next a new approach or opportunity to be embraced, Sarjeant Transition Project 14 generation can enjoy and be inspired by our cultural expression and heritage. whether it is digital, physical or intellectual. Contributions Museums Aotearoa is here to work with our Evan Graham Turbott 1914–2014 16 We welcome article suggestions and contributions. For enquiries about It is good to see these developments happening in the current climate of members to make the most of every opportunity contributing to MAQ please contact us at [email protected]. financial constraint. They are hard fought-for, and they help keep those of to understand and communicate our rich and Phillipa Berkley Nilson 1933–2015 17 us who work in museums and galleries inspired, as well as our communities. diverse culture. Staff For me, seeing museums in action is inspiring. I was lucky to be at the Treaty Maddy on the Marae 17 Phillipa Tocker – Executive Director Grounds on 6 February this year on the 175th anniversary of the signing of Phillipa Tocker Talei Langley – Membership Services Manager the Treaty of Waitangi. The mix of reflection, commemoration, celebration, Executive Director Comonwealth Association 18 peaceful protest, pomp and ceremony was entirely appropriate, and something Advertising that I would encourage all New Zealanders to experience. The addition of the Staff Happenings 19 Enquiries about advertising in this publication, or mailing flyers, should be new museum will make Waitangi more of a destination all year round and addressed to the Museums Aotearoa office enable the stories to be told more fully.
Next issue May 2015: ANZAC / WW100
Disclaimer Cover Images The opinions expressed in this publication are not necessarily those of the Editor or of Museums Main: Aotearoa Science engagement at Otago Museum. Lower: ISSN 1177-7362 Rate books and valuation rolls are some of the most frequently used archives, especially by those interested in family history or genealogy; they are an excellent way of tracing ancestors, where they lived and for how long. Once a property location is established maps are used to show the location more precisely. (Detail of a rate book and detail of Dannevirke Map, 1953 TDC:00509:4) Back Cover: Waka being brought onto land at Waitangi 2015. Photo Ashley Cox Field Apart by Angus Muir and Alexandra Heany, Headland sculpture on the gulf 2015. Photo Ashley Cox
2 MAQ February 2015 2015 February MAQ 3 Kaitaki Hui Behind the Scenes
Kāhui Kaitiaki: He oranga taonga, he oranga tangata The hui heard a perspective on research for Treaty The exciting world of Tapu Te Ranga Marae, 10-12 November 2014 claims from Rongomaiaia Te Whaiti, who has been compiling an inventory of taonga connected archives Pūtaiao, mahi toi and mātauranga (science, the arts and education) within to Ngāti Kahungunu ki Wairarapa Tāmaki Nui a museums and galleries were the focus of the 2014 hui of Kāhui Kaitiaki: He Rua Trust. If you mention you work in an archive most people oranga taonga, he oranga tangata, a network of Māori staff working in the stare at you blankly for a moment before politely museum and gallery sector. Art was the focus of a number of sessions. asking you “what sorry?” or “but, isn’t that boring?” Margaret Aull, curator at Te Wānanga o Aotearoa, However, contrary to popular belief archives are Around 50 people gathered at Tapu te Ranga Marae in Island Bay near outlined the history of the tertiary institution’s actually pretty exciting things to work with. They Wellington’s South coast. The hui was fortunate to be joined by overseas art collection, spread across its different campuses hold tales from the past, giving us the chance to manuhiri, including Dempsey Bob, a Northwest Coast carver from British and embodying the its history (‘the collection view a snapshot from a time (often) beyond living Columbia, Canada; and Emily Crabtree, Aboriginal Program Manager at shows our whakapapa’); Nigel Borell spoke about memory. Emily Carr University of Art + Design in Vancouver. the Contemporary Māori Curators network; and Reuben Friend gave an overview of art being Not only are archives useful for finding The three days were a wonderful opportunity to find out about the variety of produced by Pacific Indigenous Australian artists information, there is also something lovely about amazing mahi underway around the motu and further afield. in Australia. gently leafing through the pages of a document which has existed much longer than you yourself As you’d expect for a Wellington-based hui, there was a good representation Closer to home, Nick Turoa from Te Papa Atawhai have or seeing the faces of men and women from from the Big House, Te Papa Tongarewa. Awhina Tamarapa and Dougal told the hui about the review of the Wildlife Act the past staring back at you from a photographic Vairous examples of North arrows. Austin ran an outdoor aurei (pāua shell cloak pins) and tūwiri (traditional 1953, underway as part of the ‘Outside In’ kaupapa, collection. drills) making session, setting people up so they could continuing making seeking to build and strengthen connections item is too large to be processed this way, but is not too fragile, it will be taonga throughout the hui. Rhonda Paku gave an update about the between DOC and tangata whenua. Archives share more than the words they contain: digitised using the plan scanner. repatriation of Te Hau ki Turanga to Rongowhakaata iwi, conveying a sense distinctive handwriting, finger smudges, spilled of the complexity of the project, as Te Papa works with iwi and others to Hui participants enjoyed the many and varied ink, tea stains on pages and annotations around There are number of visitors to the building - to lodge requests, conduct restore the whare to its original state. Khali Philip-Barbara ran a workshop spaces of Tapu Te Ranga and the manaakitanga key information all trigger a curiosity about who research or view our onsite exhibitions. Between digitising and assisting with session to wānanga ideas for Te Reo resources for museum educators. In her of Bruce Stewart and his whānau. We were also has handled the document in a different lifetime, requests one comes across many interesting stories, the odd mystery and a lot session, Dr Susan Waugh used stunning photography and engaging stories to fortunate to spend time with Bruce, listening to leaving a little bit of themselves behind. Below is of creativity. Many of these titbits are added to our Facebook page as I find traverse her career as a bird scientist, interspersed with meditations on ways of his own story and learning about the creation of a snapshot of just a few of the things I do with them, showing little snippets of what I love about archives. bridging the gap between science and Te Ao Māori. Birds, considered from the the marae. my time while working in one of these exciting a different angle – their feathers and how to identify them – was the topic of reservoirs of historic information. A recent example of this is a series of images of North Arrows found on a fascinating kauhau by Te Papa’s Bicultural Science Researcher, Hokimate MA Board members Tryphena Cracknell, Rhonda maps, plans and technical drawings of varying age being digitised by students Harwood. And Rangi Te Kanawa updated the hui on the scientific research Paku and others brought hui participants up to Archive Central aims to make archives more over the summer period. These vary greatly from one to the next and show a underway to stabilise traditionally dyed black muka in Māori textiles. speed with planning for MA15 in Dunedin, and accessible, without compromising their charming level of personality not able to be exhibited in the maps, plans and looking forward to the next Kāhui Kaitiaki hui. preservation. One way in which this achieved is engineers drawings themselves (some examples of these can be seen below). Rangi was followed by Kararaina Te Ira, another of the 11 Māori conservators, There was discussion about Te Māori Manaaki through the digitisation of key archives, which To me, part of the beauty of archives is looking beyond the intended content, who has recently completed the Masters of Cultural Materials Conservation Taonga Trust, and how this might assist the aims both opens access (through an online database) for the evidence of personality that creeps in while they are being created, or programme in Melbourne. Kararaina spoke about the recent ICOM-CC and aspirations of Kāhui Kaitiaki. One of the and minimises handling of the original objects. the spills and notes that signal the passing of the archive through the hands Conference, and the discussion around amending the International Collection trustees, Arapata Hakiwai, attended part of the hui This digitisation process varies dependant on the of others before they came to rest here. Care Standards and the implications of these changes for taonga Māori. and promised to raise this with the other trustees. kind of archive one is working with. I spend much of my time working with the camera rig (seen in Serena Siegenthaler-Brown Alongside the presentations, it was valuable to the image below), or with a flatbed scanner. If the Archives Support Assistant, Archives Central spend time together, getting to know each other, and about our respective mahi in diverse settings around the motu. It’s about supporting each other, continuing to grow as a group, and making our institutions and communities stronger.
The tagline for the hui was ‘Whaowhia ngā kete’ (fill the kete) – by the end of the hui our kete were indeed full, thanks to the wisdom of the speakers and the hard work from Tryphena and the team who pulled the hui together. He mihi mutunga kore ki a koutou katoa!
Paul Diamond Curator, Maori, Alexander Turnbull Library
4 MAQ February 2015 2015 February MAQ 5 My Favourite Thing Dowse Wikipedia Project
Whenever I’m asked what is my ‘favourite’ work As of the beginning of February 2015, 80 entries from our collection, my mind goes straight to had been written from a long list of nearly 300 the most recent piece we’ve acquired. It’s always names. Included are entries that provide context exciting discussing and debating this and that for artists such as the seminal contemporary New possibility and the collection is so much at the Zealand jewellery exhibition Stone, Bone, Shell and heart of what we do. With our gallery still being artist collectives like Pacific Sisters. By creating closed, however, it’s now more likely to be the last an entry for the Portage Ceramic Awards, there work I’ve seen. are links between all the artists for whom we've created pages, and the Award; likewise, we've been An early January trip to the National Art adding information to the Creative New Zealand School in Sydney to speak at their Bill Culbert and Arts Foundation of New Zealand pages about exhibition opening gave me the opportunity to various recognitions, awards and residencies. see our Pacific Flotsam in a different setting; so currently it’s my favourite. Bridget Reweti says the project has been incredibly satisfying. “I created an entry for Ngā Kaihanga A large floor piece initially created for an Uku, the Māori Claymakers collective and linked exhibition at Brisbane’s Institute of Modern Art in Courtney Johnston (February 2014) Photographer Billie Brooke them to entries we had made for each of the 2007 and then shown in New Plymouth’s Govett- founding members Manos Nathan, Baye Riddell, Brewster Art Gallery. We had few doubts when The Dowse / Ngā Taonga a Hine-te-iwa-iwa New Zealand craft artists Colleen Urlich, Wi Taepa and Paerau Corneal. it was proposed for purchase by gallery curators, Wikipedia project They’re important figures in the craft history of since wherever it is, this work holds the space with Aotearoa New Zealand”. absolute authority. That is proved once more by its Contemporary research into any topic begins today on the internet. However, current placement upstairs in this early Sydney jail when searching for information about New Zealand craft artists—historical Bridget is quick to point out that there are still (but now art school gallery) space. and contemporary—online researchers were, until recently, likely to be met lots of significant artists who still need an entry. by a gaping hole rather a wealth of information. She is hoping that the Art+Feminism Wikipedia Bill Culbert is one of New Zealand’s most Edit-A-Thon at the Dowse Art Museum on celebrated artists. He’s a sculptor, photographer A summer project driven by The Dowse Art Museum, with financial support Saturday, 7 March 2015 will bring out people and installation artist, who has enjoyed worldwide from Ngā Taonga a Hine-te-iwa-iwa A Treasury of New Zealand Craft interested in adding more entries to Wikipedia success over a number of years, culminating in Resources, has set to address this problem with an innovative Wikipedia to increase the number of women artists online. 2013 when he represented New Zealand at the project. Led by museum director Courtney Johnston, the project has employed “Robyn Kahukiwa is top of my list to add, she’s 55th Venice Biennale of Art. two Wikipedia researchers, Mackenzie Paton (who interned at The Dowse in such a prolific New Zealand artist, it seems crazy 2014 through Victoria University) and Bridget Reweti (the current Dowse she doesn’t have an entry on Wikipedia!” This artist combines light and other things with Blumhardt Curatorial intern). The core aim of the project is to increase the rare economy, producing austere and poetic works amount of accurate and up to date information about New Zealand craft Courtney says the Edit-a-thon is just one way of of art which invite us to focus our perceptions and artists —historical and contemporary—available online. extending the reach of the project. “Mackenzie, re-evaluate the familiar. In this case, some 240 Bridget and I have been blogging about what we discarded objects and 78 fluorescent tubes linked The Dowse has a nationally significant craft collection that represents an have been doing on the Dowse website so others by electrical cord make up the work, but they’re important community of artists. Courtney Johnston, director of The Dowse who might be interested in how we’ve done carefully ordered by the artist. We have a map for Bill Culbert Art Museum says “Surprisingly, a quick Wikipedia search revealed no entries it can follow our progress and learn from our their installation, as well as the freedom to adjust Pacific Flotsam, 2007 for established artists such as Warwick Freeman, John Edgar, Alan Preston, experience. I'm thrilled to have the opportunity to for the proportion of different settings. Fluorescent light, electric wire, plastic bottles Emma Camden, Donn Salt, Gordon Crook, or Malcolm Harrison. Others present about our Wikipedia project at the Public Collection of Christchurch Art Gallery Te Puna o Waiwhetu, purchased 2008 such as Ilse von Randow, Patricia Perrin, Dame Rangimarie Hetet and Ida Galleries Association of Victoria annual Summit Optimistic meanings can be drawn from the re- Photograph: Peter Morgan, National Art School, Sydney Mary Lough have 'stub' entries—a sentence or two drawn from official in Bendigo, at the start of February and we hope use and literal illumination of discarded objects in sources. These are significant figures in our cultural history and while there is to present on the project at the 2015 Museums Pacific Flotsam, but the idea of a sea of plastic waste our then new collections display with Auckland artist John Reynolds and I’ll information about all scattered around the web, no central collating point”. Aotearoa conference (April) and National Digital floating in the Pacific may also be disorienting and give the last word to him. He was hugely impressed with Pacific Flotsam, and Forum (October/November). Professionally even repellent; water and electricity are potentially a when it came into view, he said, ‘…as we enter the room, [this work] draws Courtney’s experience in the web industry and interest in international digital Mackenzie and Bridget have become skilled shocking combination. But overall, Pacific Flotsam us in. It’s an ocean, of course – it’s flotsam. Like us as an island nation, it’s museum practices motivated the decision to focus on Wikipedia as opposed Wikipedia editors which has been another terrific is an ordered meditation on the flow of light and adrift in the South Pacific. And there’s this cavalcade of gorgeous, plastic, to writing and adding these biographies to The Dowse's own website. The spin-off from this project”. its containment. The artist’s transformation of non-corroding containers.’ driver for the project, Courtney says, is ultimately about how we add value to everyday, discarded objects into an extra-ordinary the communities that we are part of ‒ people wo are interested in craft, artists, Katrina Smit ‘otherness’ is uplifting but, despite its sometimes It was great seeing Bill’s work in Sydney, but it will be especially good to see museums and galleries. “Wikipedia has some obvious advantages. It scores Communication & Relationships Manager, cheerful air of improvisation, nothing in his work it on display again in Christchurch. well in Google searches and articles can be updated by any interested person. The Dowse Art Museum is gratuitous. This takes the onus off The Dowse to keep these biographies up to date (a task Jenny Harper we're not resourced for). Ultimately we hope that people seeing this activity To find out more about the Dowse Wikipedia I enjoy hearing artists talk about other artist’s work Director, Christchurch Art Gallery might be inspired to start their own editing and adding of information in project visit dowse.org.nz/news/wikipedia and – back in 2009 – I took a public walk through Wikipedia. Long term we hope to use the information that is 'kept alive' on Wikipedia in our own future collection digitisation”.
6 MAQ February 2015 2015 February MAQ 7 National Digital Forum 2014 NDF 2014: The Conference Within
The two days I spent at the National Digital Forum The New Zealand Cricket Museum has, for the last couple of years, been at NDF – a reflection of the digital focus of the in November left me feeling totally overwhelmed. dealing with the challenge of operating out of an earthquake-prone building event. This high level of social media input created From gadgets and laser-scanning to the legal with no clear indication of how the future will play out. In order to keep a space where interactive, real-time discussions conundrums of digital assets, the NDF programme control of our own destiny, we’ve focused on building off-site and outreach of presentations were being held by people in the was varied and covered a huge amount of ground offerings. The heart of our approach centres on the internet and digital crowd. in a very short time. As a newbie I mostly sat back technology. It’s this new focus which led to my attendance at 2014’s National and listened to discussions and presentations, Digital Forum (NDF). In the development of the Cricket Museum’s encountering many questions and thoughts about online presence, the focus has been on creating the digital in relation to the GLAM sector. When I arrived at the Cricket Museum in 2013, our online presence an experience that is consistent with, and was limited to a page on a website hosted by someone else. In the time complimentary to, the physical Museum. The One major theme of the conference was the since, I’ve added the Museum to several social media platforms and built challenge for presenters, with most conferences difficulties of copyright and licensing, as well as our own website. The area where I’ve had the most success is on Twitter, now featuring official hashtags and social legal matters of ownership and who can access where the Cricket Museum’s content is shared more than any other New media accounts, is to create presentations which (and possess) what online. Some argued that Zealand museum. encourage and benefit from people joining the GLAM institutions should put everything conversation. they can online and only take content down if With that focus in mind, I was sure to take my own device (BYOD in industry requested, while others took a much more cautious speak) to join the conversation online, as well as in person, at NDF. While At NDF, Serena from Hvngry Magazine crafted route and argued that only content which was the participation at MA14 via Twitter was relatively light, it was much higher a presentation which was made for Twitter with known to be out of copyright should be online. short, pithy quotes that fitted into the medium’s A representative of the Creative Commons 140 character limit perfectly. Like the Quote- organization gave a comprehensive presentation A-Day Inspirational Calendar on your desk, the on their licensing which, along with other Twitter feed from her presentation was filled with presentations, explored some of the grey areas the concepts that caught the audience’s attention. of copyright law. What cultural sensitivity and Serena herself joined the conversation afterwards questions of ownership means to different parties to respond to comments - the perfect modern make the whole issue even more complicated, example of the convergence of a presentation on a and the discussions surrounding it even more stage and the presentation on Twitter. interesting. Evelyn Wareham’s talk about the power of big data brought privacy into the already However, with so much focus on the online extremely complex conversation, while drawing conversation, there’s the danger that it will take attention to the disparity between the speed at over. In an example like the Hvngry one, it was which technology advances and the very slow- so perfectly quotable that it could almost have moving nature of the law. happened solely on Twitter. In other cases, I witnessed people ask a question in person and then One of the best things about being at NDF was log straight in to Twitter to check the responses the fact that the delegates represented all sorts to their question there, rather than listen to the of GLAM institutions. I loved being at a truly #NDF2014 presenter’s answer. GLAM-wide conference where different kinds of institutions were sharing lessons learned and Conferences like this one allow for memory institutions to swap war stories In spite of that, the ability to engage in a real- swapping ideas for new projects. There seems to be and get inspired for new projects and get some good problem solving done. time conversation with other participants was as so much for the GLAM sector to learn from itself, The conference confronted instances of failure and unexpected or undesired inspiring and eye-opening as the presentations especially in the digital realm where everyone is outcomes, highlighting the lessons learnt from such situations and building themselves. It’s hard to see how any other medium working things out as they go and there remains sector-support as learning opportunities. Thank you to Museums Aotearoa for could encourage an open debate about the notion much to be discovered. It seemed to me that awarding me one of the 2014 NDF bursaries and allowing me to participate of museums being “dead” or actively challenge libraries and archives tended to be more technically in such an enriching and stimulating experience. institutions to up their digital game. In the end, equipped to deal with content and information what we are left with in the wake of NDF 2014, management, whereas museums tended to be Maddy Jones is a fantastic record of the conversation, the debate better at the human element, getting people Graduate, Museum Studies and the response through the hashtag #NDF2014. actually interested in their collections through Jump on Twitter and put that in to the search box digital means. Auckland Museum described a to experience one side of the event for yourself. project where kids were invited for a weekend of Minecraft, using the museum’s information about Jamie Bell WWI to create a digital version of Gallipoli which Director, New Zealand Cricket Museum the museum can now add to its collection.
#NDF2014
8 MAQ February 2015 2015 February MAQ 9 Policy Matters!
The start of a new year is a good time to think about what might be done The new standards are designed so that the Ashburton Art Gallery and Heritage Centre was opened by the Hon References differently. At the national level, NZ returned the John Key-lead government, requirement is to ‘tell our story’ rather than just Christopher Finlayson on 14 February. Although no longer Minister for Arts, and we have a new Minister for Arts Culture & Heritage, Hon Maggie Barry. count the beans. That is, those scrutinising the Culture & Heritage, Finlayson held that portfolio during the construction Charities Services – New Reporting Standards Roy Clare and I met with her in December, and she has already been out and work of our non-profits and charities will be able and fundraising for the centre, and approved $1.08m towards the centre. Workshops: about at a wide range of events and institutions. The Minister has accepted to understand the why and how as well as follow This came under criterion 6 of the Regional Museums Policy, on the grounds www.charities.govt.nz, (click ‘Events’ tab mid- our invitation to speak at MA15 in Dunedin in May, and we expect to meet the money flow. In practise, this means that there is of regional impact and to partially offset increased costs due to changes in page) with her again before that. likely to be more narrative alongside the numbers, design and building standards post-earthquakes. The project has been very especially for Tier 3 and 4 entities. For example, controversial locally, and difficult in terms of timing, budget and completion. Financial Reporting Standards information: The portfolio combination of Arts, Culture & Heritage with Conservation is a where Tier 3 requires a ‘Statement of Financial The cost blowout triggered a council-commissioned review (Morrison Low www.xrb.govt.nz click the green ‘Not-For-Profit new one, and could offer some interesting opportunities. For example, natural Position’, Tier 4 only needs to list significant items report), which highlights very poor project development, feasibility and Entities’ button. history research in the museum context, science and conservation education in a ‘Statement of Resources and Commitments’ management processes. The council-commissioned independent review of programmes, and cross-overs in the areas of natural and historic heritage which does not need to balance. MTG Hawke’s Bay took a different tack, focussing on the museum operation Museums Aotearoa Museum Sector Survey and and making sometimes problematic comparisons. National Visitor Survey: Financial Reporting Standards It should also be noted that more stringent www.museumsaotearoa.org.nz/research requirements may be specified in your constitution Both cases illustrate some of the potential pitfalls in such projects, and the Recent changes to the Financial Reporting and Charities legislation will or in grant conditions. For example, Museums need for open and effective working relationships with councils. Ashburton District Council review of Ashburton come into effect as of 1 April 2015. Many museums will be affected by these Aotearoa has opex under $500k and would sit Art Gallery and Heritage Centre – Morrison changes, which prescribe new Financial Reporting Standards (FRS) and in Tier 3 with no audit requirement – but our We all need reliable information on which to base our communications and Low report: audit requirements for charities and other ‘Public Benefit Entities’ (PBE). constitution requires us to be audited annually. work with council and stakeholders. Museums Aotearoa gathers data about www.ashburtondc.govt.nz/our-council/news/ It is essential that every museum and gallery institution fulfils the applicable museums and galleries, and our visitors, on a regular basis. You can access articles/Pages/Findings-of-independent-review-. requirements – if you have not already got to grips with the changes, please I recommend the free seminars being held by national museum sector data in the Museums Aotearoa Sector Survey and aspx seek professional advice. Your systems may already be up to scratch, and only Charities and XRB around the country. They can National Visitor Survey. The most recent sector survey was conducted late need minor adjustments to meet the new requirements. explain the concepts and the resources that are last year, and we are working on analysing that data and presenting it in a Napier City Council review of MTG Hawkes available such as templates for Tier 3 and 4. There user-friendly way. Bay – McDermott Miller report: However, it is clear that many will need to make some major changes to their are more coming up in March/April May, see the www.napier.govt.nz/our-council/news/latest-news/ processes. A recent random check of some museum records on the Charities Charities website for details. The 2015 National Visitor Survey is being conducted in February-March. article/104 Register came up with two that have annual operating expenditure (opex) Using a standardised methodology and our online database, any museum of well over $1 million that are using a cash accounting method. Besides Council Planning or gallery can gather their own visitor data and see it against the national not providing adequate management information for an operation of this aggregates. The data from 2014 has been summarised into an easy-to-read size, cash accounting will not be acceptable for opex over $500k under the If you want to influence change, you need to poster which you can download from our website. new standards. In addition, all registered charities with opex over $1m are be heard. The local council planning process is required to be audited. an important opportunity to influence council Phillipa Tocker decisions. Many council-affiliated museums and Executive Director Not For Profit and Charity FRS framework – minimum requirements galleries are familiar with submitting budget bids and arguing for their funding and resources. (The default is Tier 1 unless an entity qualifies for lower Tier; an entity can Whether your organisation is inside council or at ‘opt up’ from Tier 3 to Tier 2 for some types of transactions) arms length, achieving positive councillor attitudes is essential. There is a careful balancing act to be Tier Operating Standards Assurance for mastered. If you keep your head down and hope, expenditure Registered Charities you risk being overlooked. On the other hand, you don’t want to nag or be noticed for the wrong 1 ≥ $30m and “Public Full PBE Standards Audit reasons. If you don’t have a communications plan, Accountability” this is a good time to think about one. It should 2 < $30m PBE Standards Audit include stakeholders – such as council officers with disclosure and councillors – as well as news media and social concessions media. 3 ≤ $2m Simple Format Audit ≥ $1m Standard (accrual) Two prominent recent examples of poor communication and inadequate understanding 3 ≥ $500k Simple Format Audit or Review between council and museum/gallery staff have Standard (accrual) been in Napier and Ashburton. MTG Hawke’s Bay 3 < $500k Simple Format None came under fire from the new Mayor and council Standard (accrual) CE soon after re-opening, and the newly opened 4 < $125k Simple Format None Ashburton Art Gallery and Heritage Centre has Standard (cash) had a prolonged, expensive and difficult gestation and birth. If any of these terms are not clear to you, please seek professional advice! Data from 2012 Museum Sector Survey; breakdown of total opearational expenditure and revenue sources
10 MAQ February 2015 2015 February MAQ 11 Museum Profile
Otago Museum I met with staff and attended dozens of external meetings. I heard a wide These are some of the key changes that have been spectrum of opinions (both critical and supportive) about the Museum. To made as a result of our new strategic plan: Founded in 1868, the Otago Museum is one of better inform our new plan, in October 2013 the Museum held a one day New Zealand’s four major municipal museums. workshop where over 100 stakeholders worked with staff and Board to craft • Reduction of the number of directors and With an internationally important collection priorities for our future. investment of the resulting savings in new estimated at around 1.8 million objects and a staff front-line positions of over 100, the Museum is an important cultural The result is the Museum’s new strategic plan, Te Ara Hou – The Road Ahead, • Significant investment in our Collections and institution in Otago, and we very much look published and adopted by the Board in June 2014. The full document is Research team which is soon to double in size forward to sharing our taonga with colleagues available to read online at the Museum’s website. In summary, the Museum’s • Hiring of the Museum’s first Curator when we host this year’s Museums Aotearoa strategic priorities going forward are: Māori, creation of a Conservation team and conference. reinstatement of the Curator title • Developing, caring for, sharing and researching our collection • Creation of new leadership roles in Design, Change of leadership at the Museum is a • Engaging with and being driven by the needs of the communities we Marketing, Education, Programmes, Front of generational event; since its foundation there have serve House and Science Engagement. Staff have only been seven directors and when I became • Operating sustainably by securing our financial position and operating been empowered to develop these key areas in ‘Number Eight’ in May 2013, I was very much in an economically, socially and environmentally responsible manner line with our ambitions aware that I was taking a position which had been • Building and sustaining a culture of collaboration and partnership • Creation of a new temporary exhibition filled by some extraordinary people. programme that seeks to showcase hidden Strategic planning day in October 2013. These priorities now drive everything we do. treasures of our collection One of the most frequent questions I was asked • Development of a clear plan to invest in the University’s Dodd-Walls Centre for Photonic and Quantum Technologies after arriving in Dunedin was “What’s your vision In an era with such financial pressures on our funding bodies (annually the Museum’s infrastructure by redeveloping became a Centre for Research Excellence in 2014, and as their partner, we for the Museum?” I think quite a few people Museum receives a total of approximately $4 million in operational funding each of the Museum’s galleries over the next will deliver their education outreach in a new Centre of Illumination based were surprised by my standard answer, which was from Dunedin, Clutha, Waitaki and Central Otago District Councils) some decade at the Museum. ‘”Come back to me in six months and I’ll share it tough choices have had to be made in setting priorities for the next five years. with you.” From my perspective, as a newcomer to In the long term, we hope to open up the Museum’s In the run-up to the Otago Museum’s 150th birthday in 2018, I genuinely Dunedin and to Aotearoa it would have been the As well as making approaches to our major stakeholders to increase their collection store to the public and create a new feel excited about our future. With our collection as a key focus and engaging height of arrogance to rock up on Day One and annual levies, we hope to encourage further discussion about a nationally- user-friendly Research and Collections centre. the public as a priority, we are busy building a team that can deliver on our make changes just for the sake of it without first funded regional museum funding stream. Of course, we will also continue ambitious goals. Despite ongoing funding challenges, I’m confident that the understanding the organization and its history, its to focus on improving our already successful commercial activities to help us It became clear during our strategic planning Otago Museum is entering a new and exciting era! community and its collection. I recognized that achieve our goals. process that the Museum needed to work more before making any changes, I needed to learn closely with local research institutions to inspire Dr Ian Griffin how the Museum operated, and more importantly Since Te Ara Hou’s publication, I have worked with an entirely new interest in research, science and technology. The Director, Otago Museum how it was seen and valued by the communities it management team and implemented a plan to create an organisation focused serves. on delivering these goals.
With the full support of the Otago Museum Implementation has been an evolutionary rather than revolutionary process. MA15 | Communicating Culture | May 6 – 8 Dunedin Trust Board, who charged me with the creation Over the past year or so our organisation has changed significantly as we of a new strategic plan, I spent my first months reviewed our processes and aligned our staff structure with the Museum’s at the Museum in listening and learning mode. new directions.
While externally it is business as usual, internally the Museum is now a completely different organisation to the one I walked into in 2013.
Register now at www.museumsaotearoa.org.nz/ma15-communicating-culture MA15 Earlybird Service IQ New Zealand registration closes Museum Awards entries close 6 March 2015 19 March 2015 Bugs: the Mega World of Minibeasts, on now until 10 May 2015.
12 MAQ February 2015 2015 February MAQ 13 Sarjeant Transition Project
Sarjeant Gallery Te Whare o Rehua Transition The Lotteries Grant also funded the purchase holding back of house tours of both facilities so and installation of a HydeStor system of mobile the public can view the transition progress and see Project Update mesh racks for paintings, mobile shelving units for themselves the deteriorating conditions of the for small 3D and framed glazed works on paper, Queen’s Park building. We have invited our most “If at first, the idea is not absurd, then there is no hope for it.” Albert Einstein rolled storage and wall mesh. The racks allow us to vocal opponents for exclusive back of house tours make efficient use of the limited space available in and have benefited from their complete about- This quote is in the staff area at S arjeant on the Quay our temporary gallery the temporary collection store, which has climate turn and subsequent vocal support as a result. A premises near the Whanganui riverfront. It highlights what we’ve achieved control and restricted access. weekly column in the Wanganui Chronicle covers in our Redevelopment and Transition projects and inspires us to keep aiming varied topics including colourful figures from for a goal that seemed almost impossible at the outset. We are thankful for valuable support and advice the Sarjeant’s history, interesting facts about art from others, including Manawatu Museum works we have moved and people’s memories of Eight months ago the Sarjeant Gallery moved out of its iconic building Services Ltd, Auckland Art Gallery, Christchurch the Gallery. Other initiatives to engage with our in Whanganui’s Queen’s Park. The domed Oamaru stone building, which Art Gallery and MTG in Hawke’s Bay. Travel community include a stall at the Saturday River opened in 1919, was deemed earthquake prone in 2011 as it meets a mere frames for the paintings were designed and Traders market and a ‘meet our new neighbours’ 5% of the National Building Standard. This, combined with a debilitating constructed by Manawatu Museum Services Ltd function soon after we moved in. lack of storage space, no climate control and limited access to the collection, and are able to be reused repeatedly until the entire was the final impetus needed for the historic decision made by the Wanganui collection has been moved, then deconstructed for Just before the halfway point of the Transition District Council in Oct 2011 to allow the redevelopment of the Sarjeant minimal storage until the return to Queen’s Park. Project period we have inventoried and packed Gallery to proceed. Resource consent followed in June last year. The plans for transport 6,982 artworks and moved 5,084 include earthquake strengthening, installation of base isolation units under Volunteers have sewn pillows to pack out our to Sarjeant on the Quay. Just under 2,000 are Volunteers sewing calico pillows for packing small 3D and ceramics. the heritage building and construction of a new wing to the North. ceramics and small object collections and varnished awaiting transport at Queen’s Park (1,200 of the travel frames, while the local MensShed has these are works on paper packed out in the plan In Dec 2012 the Wanganui District Council agreed the Sarjeant Gallery made trolleys which have been invaluable. drawers). We have moved and rehoused all of would move its operations, exhibitions and collections to a temporary site the framed and glazed works on paper, about downtown at 38 Taupo Quay, to enable it to maintain a public face and Our Public Engagement Strategy has focused on 60% of the paintings, and 90% of the ceramics programmes until the redevelopment is complete. communicating to the public and stakeholders and small 3D. the rationale of why the redevelopment will be Sarjeant on the Quay opened to the public on May 24 2014, a month after beneficial to the community as well as the nation. In the next stages we will inventory and pack staff began moving the collections from the basement in Queen’s Park. From We are giving regular talks to community groups, the rolled canvases and move the remainder of the collection records available at the time, the collection was thought to both at their premises and at the Gallery, and the sculpture and the packed plan drawers from contain at least 5,500 artworks. By January 2015 we had moved over 5,000 Queen’s Park. The offsite store, where the largest artworks and we now believe the cramped basement had housed more than 3D works are located, will be inventoried and 7,000 works. cleared and we will research and resolve the 1,676 unaccessioned works found so far. Four Transition Assistants are completing collection documentation, packing for transport to the temporary facility, developing long term storage solutions The Transition Project ends on December 31 and implementing seismic restraints. Their positions are funded by a NZ 2015 and by then we estimate we will have Lotteries Grant and they are dedicated, efficient, and work together extremely documented and moved at least 8,000 artworks well in an intense and sometimes stressful environment. from both storage facilities. The collection will be Collection Transition Assistants Ben Davis and Te Maari Barham packing Mass, an oil on canvas by safely housed in a secure and climate controlled Julian Hooper, into a travel frame for transport. environment inside a building that meets 100% of the National Building Standard. Everything will be recorded on Vernon CMS and photography of the collection will be an ongoing process. It is exciting to see the new easily accessible mobile racks filling with paintings and works that were previously inaccessible and unable to be viewed.
Within 12 months we will turn our attention directly to the redevelopment plans and prepare for our return to Queen’s Park in time for the The Museum Services Directory for workers, Sarjeant’s centennial celebrations in September contractors and consultants in New Zealand 1919. Watch this space! museums and associated institutions Jennifer Taylor Moore Curator of Collections, Sarjeant Gallery http://www.museumworkshop.co.nz
Collection Transition Assistant Te Maari Barham packing a Collection Transition Assistants Kimberley Stephenson, Te Maari Barham, Ben Davis, and Jessica Kidd. framed photograph into a collapsible crate for transport.
14 MAQ February 2015 2015 February MAQ 15
Evan Graham Turbott 1914 – 2014 Phillipa Berkley Nilson 1933 – 2015
Graham Turbott, Director Emeritus of Auckland Institute and Museum It is with great sadness that the members, committee and the volunteers (Auckland War Memorial Museum), died in December 2014, aged 100 years. of Dannevirke Gallery of History have had to farewell their very much Graham was only the third director of the Museum since it had opened in valued and loved Researcher, Phillipa Nilson who passed away suddenly but 1874, due to the longevity of his predecessors – perhaps there’s be something peacefully on Tuesday 3rd February after only a few days in hospital. Her in the water in Auckland. last day of duty was on Thursday 8th January, however she was in the Gallery, quietly at times, completing research and it was only on the 20th January that Graham was born in Auckland in May 1914. He attended Auckland she asked for leave of absence. University College and graduated M.Sc. in Zoology in 1937, with a thesis on Hochstetter’s Frog. Graham was appointed Assistant Zoologist at Auckland Phillipa has been a committee member for some 21 years and most of that Museum in 1937, under its director Gilbert Archey. In 1940 he married time also a volunteer. She was of course our very much valued researcher Olwyn Rutherford, who was the Assistant Ethnologist at the Museum; they who could “unearth” amazing amounts of information for folk enquiring were to enjoy a long life together until her death in 1994. In 1942 Graham about their ancestral families who settled here. In the area of history she was published the first scientific description of ‘Archey’s Frog’, Leiopelma archeyi. very knowledgeable and contributed many articles to local newspapers and Several insect species, of which Graham had collected the first specimens, to “Memories” magazine. Her involvement with PROBUS led her to become were named (by others) ‘turbottii’. a founding member of their Antiques and Collectables Group. Phillipa, also, some years ago took part in a writing course and became part of a group Graham’s service at Auckland Museum was interrupted by World War II. entitled “D-scribes” (“D” is for Dannevirke). The skills she acquired were very He joined the code-named ‘Cape Expedition’ of coast watchers in the remote evident in the writing of her research material. Auckland Islands, under the leadership of colleague and mentor Robert Falla, formerly Ornithologist and Assistant Director at Auckland Museum, by that Phillipa was also, due to her background with an accounting firm, our long time Director of Canterbury Museum and later Director of the Dominion time Treasurer who faithfully guarded our finances and has left the records Museum. By 1944 when Graham joined the ‘expedition’, the Japanese his final years at Auckland Museum, Graham was in very good order. military threat that was the reason for their being there had receded and inspired by the use of new media he had seen in Dannevirke Gallery of History a lot of zoological exploration, and especially ornithology, was undertaken. the ground-breaking 1971 exhibition ‘Story of the She was a very caring person, strongly involved with her family but also The Gallery of History will not be the same Graham kept a diary for Olwyn to read later; this diary was published in Earth’ at the Geological Museum in London, and visited many folk in the town, especially those who were housebound. Her without Phillipa and in her honour we must, as a 2002 as Year Away; it’s a fascinating read. he carried on after his retirement to oversee the community activities included Knox Presbyterian Church, Fantasy Cave, team, strive to continue the great service she gave completion of the ‘Auckland Landscapes’ display Bridge Club and over the years many other organisations. especially in the research area. After the war Graham resumed his career at Auckland Museum, as gallery. Ornithologist/ Entomologist from 1946. In 1957 he was appointed Assistant Director and Keeper of Zoology at Canterbury Museum, where among other Graham maintained a keen interest in things he was involved in the development of the Hall of Birds there. Olwyn developments in museums nationally and Turbott became Ethnologist at Canterbury Museum at the same time. internationally. He was made a Fellow of the Art Galleries and Museums Association of New Maddy on the Marae In 1963, the World War II extension of the Auckland War Memorial Zealand in 1956, and was much involved in Museum was opened, and the following year Sir Gilbert Archey retired as museum affairs, as all the directors of the ‘big four’ its Director. Graham Turbott was appointed to succeed him as Director, a museums were. In addition, Graham was active In March 2014 I spent my first weekend on a marae. It was awesome. The got to know people, even though it was only for a position he held until his retirement in 1979. in scientific and popular publication, especially in hospitality that my group and I received when we stayed on the Hongoeka few days. The warm and social atmosphere made ornithology, with a substantial list of publications marae near Plimmerton was completely overwhelming. So when I was conference more fun, and made going home in the Graham led the development of the new display galleries in the Auckland to his credit. offered the chance to stay on the Pukemokimoki marae during the MA14 evening feel like going home, rather than going War Memorial Museum’s extension, most notably the Hall of Birds (opened conference in Napier I jumped at the chance. This was slightly more scary back to a cold hotel room. One of my favourite in 1972), with brilliant dioramas by Leo Cappel, whom Graham ‘encouraged’ Graham served Auckland Museum for 35 years because I didn’t know anyone else staying there, but I needn’t have worried. moments during the week in Napier happened to follow him north from Canterbury Museum. Other display galleries in all. Upon his retirement in August 1979 the When I arrived the group staying was mostly assembled, sharing a meal on the marae when someone got out their guitar opened during Graham’s directorship at Auckland were the Halls of Man, Museum conferred on him the title of ‘Director which they quickly made a space for me at. It was a lovely evening and a and a huge number of waiata were sung to try and Asian Art, English Furniture, Pacific Art and Pacific Canoes. Graham Emeritus’. He was awarded the Queen’s Service lovely way to kick off conference. pick some for the ceremonies of the following had an ability to recruit and retain a staff of significant museum curators Order in 1977 and as well as his AGMANZ day. Singing and listening along to a group of and technicians; under his leadership Auckland War Memorial Museum Fellowship was also a Fellow of the Ornithological The rest of the week flew by and I loved coming back to the marae at the wonderful singers was a treat, I learnt new waiata, became the largest and most visited museum in New Zealand, as well as one Society of New Zealand. end of the day. The wonderful Rhonda Paku was our designated driver who and it all added to the friendly cosy atmosphere undertaking significant collection development, research and publication in made sure we were on time in the mornings and made it back safely in the of the stay. natural sciences, ethnology and applied arts. Graham led the programme to Stuart Park, FMANZ evening. Being in an unknown city it was great to have someone who knew complete the War Memorial with the addition of the Auckland War Memorial where we were going and being with other people made the whole experience Staying on the marae was heaps of fun, I learned a Museum Auditorium in 1969 (subsequently demolished in the 2000s). In more of an adventure than a trial. During the conference networking times I lot and it saved me some pennies. So for all of you had a built-in bunch of friendly faces as I became acquainted with the others looking for accommodation options for MA15 all staying on the marae, and always had people to share a meal with, while at the you need is a sleeping bag and some ear plugs, and venue and back at the marae. I’ll see you there!
Some of the best discussions I took part in happened in the van, in our Maddy Jones sleeping bags or brushing teeth in the morning. The informal atmosphere and Graduate, Museum Studies the fact that you’ve seen everyone in their pyjamas made it feel like I really
16 MAQ February 2015 2015 February MAQ 17 Commonwealth Association
The Commonwealth Association of individuals and artifacts among Commonwealth the leadership criteria he identified: CAM is plenary; whereas ICOM’s triennial conferences are huge, with International nations has shaped both origin and arrival cities geographically representative of north and south, Committees meeting in parallel sessions and no time for meaningful Museums: Past, present – and future? and countries in ways that CAM is uniquely thematically broad enough to encompass all issues discussion in plenary. CAM’s authority comes from its membership and placed to explore. facing the world museum community, influential declarations drafted at CAM events and membership surveys give CAM the Following several years of discussion, the Commonwealth Association within the Commonwealth, and responsive to its authority to speak on behalf of members. of Museums (CAM) was established at the 1974 ICOM conference with Based in Canada since 1983, CAM has pan- members and colleagues. David Ride of Australia as president. The Commonwealth Foundation Commonwealth reach in both governance It is too soon to say what the future holds but CAM’s dedicated international supported the establishment of Commonwealth Organisations (COs) to and programmes, collaborates with other COs Eighty-five percent of ICOM’s membership board and secretariat are doing their best to navigate these troubled waters. improve communication and collaboration among professional associations, where appropriate (most recently with the is focused in Western Europe whereas CAM’s institutions and individuals throughout the Commonwealth. Initially based Commonwealth Human Ecology Council membership has strengths in Africa, Asia and the Catherine C. Cole in London, CAM is a recognised CO and until 2013 received core funding (CHEC), the Association for Commonwealth Caribbean, with fewer members in the United Secretary-General of the Commonwealth Association of Museums from the Commonwealth. CAM is also an Affiliated Organization (AO) of Literature and Language Studies (ACLALS), and Kingdom, Australia, New Zealand and Canada. ICOM (but receives no funding from ICOM) and until 1992 met during the Commonwealth Lawyers Association) and While based in Canada, CAM has never had a For further information about CAM or to join, go to ICOM triennial general assemblies. CAM workshops and events are now held supports efforts to develop a sustained engagement Canadian focus. CAM aims for smaller workshops www.maltwood.uvic.ca/cam/about/index.html apart from ICOM meetings in order to allow people to participate in both process. CAM has provided the Commonwealth and symposia where most if not all sessions are organisations and for CAM to hold events throughout the Commonwealth. with significant return on investment in accordance with Commonwealth values of democracy; CAM’s programmes include a triennial general assembly, periodic regional human rights; international peace and security; References workshops, a Distance Learning Programme in Basic Museum Studies, an tolerance, respect and understanding; freedom of international internship programme, research and demonstration projects, expression; separation of powers; rule of law, good i Commonwealth organisations and the Peoples’ Commonwealth: Common ii http://thecommonwealth.org/our-charter the bi-monthly CAM Bulletin (the predecessor of which was was edited by governance; sustainable development; protecting purpose or parting of the ways? The Round Table: The Commonwealth Journal founding member Keith Thomson of Palmerston North from 1987-1995), the environment; access to health, education, food of International Affairs, the Commonwealth Association (CA) and the Royal iii Museum Management and Curatorship, Vol. 27, website, and occasional publications (now e-publications). From 1997 to and shelter; gender equality; importance of young Over-Seas League (ROSL), London, October 24, 2014. No. 2, May 2012, 87-110. his death in 2013, Nelson Mandela honoured CAM with his patronage. people in the Commonwealth; recognition of the Sir ‘Sonny’ Ramphal and Dr Davidson Hepburn are current patrons. The needs of small states; recognition of the needs of Cowrie Circle honours museum people in the Commonwealth who have vulnerable states; and the role of civil society.ii contributed to CAM and to museum development in their own countries CAM’s programmes have also addressed related and internationally. themes of indigenous curatorship in post-colonial Staff Happenings societies, slavery, museums and national identity, CAM is at a crossroads, re-evaluating its relationship to both the Millennium Development Goals (MDGs) and Commonwealth and ICOM. The November 2015 Commonwealth now the post-2015 development agenda. Nyssa Mildwaters has taken up the new position of Nicole Bourke has joined the team at Ashburton Art Gallery as Heads of Government Meeting (CHOGM) in Malta will be critical Conservator at Otago Museum. Nyssa, originally Communications/Exhibition Assistant. for the Commonwealth, which is facing increasing criticism. In May CAM is exploring the potential relationship from Australia, was most recently conservator at 2014 the Commonwealth Broadcasting Association dropped the word between ICOM and Affiliated Organisations. the Royal Armouries Museum in Leeds, UK. Anneliese Stephens is now Education Officer at Lakes District Museum in 'Commonwealth' and changed its name to the Public Media Alliance. CAM Recently-formed museum organisations focus Arrowtown. has been advised by a key potential funder that it is not eligible because it is a on specific themes, such as The Federation of Te Tuhi will welcome Hiraani Himona as the regional association (albeit with a very large region of 53 countries and 2.38 International Human Rights Museums (FIHRM), newly appointed Chief Executive Officer of the Malcolm Anderson is now General Manager - Museum Experience at MOTAT. billion people, nearly a third of the world’s population). The Commonwealth the Social Justice Alliance for Museums, the gallery. Currently Deputy Director of the South has changed its strategic direction; the Foundation has withdrawn core and International Network of Museums for Peace, London Gallery, Hiraani returns to New Zealand Darryl Pike is now Collections Manager at the NZ Maritime Museum in project funding for COs and concentrated funding on a very narrow definition Sites of Conscience, and The Inclusive Museum. in March 2015, taking over the helm from James Auckland (aka Voyager). of participatory governance. The Foundation now supports civil society Unlike CAM, the majority of these organisations, McCarthy. organisations in the Commonwealth rather than the pan-Commonwealth if membership-based, have only institutional Vanessa Graham is now Venue Manager at Otago Museum, taking over initiatives of COs. The relationship between the Commonwealth and COs members. Since CAM was founded regional Ian Day has joined Howick Historical Village as from Jess Ralfe, who has moved to Central Otago. has suffered as it has become increasingly difficult to contribute to debate. museums associations (e.g., the International Manager. Commonwealth organisations have called for ‘a culture of openness’, Council of African Museums [AFRICOM], the Kararaina Te Ira is now Te Awe Junior Conservator at Auckland Museum. reinstating systems of consultation and information sharing and improved Museums Association of the Caribbean [MAC], Laura Vodanovich has left Tairawhiti Museum in Kararaina received a Mina McKenzie Scholarship in 2014 to help support her support. The Commonwealth Secretariat has reaffirmed its commitment to and the Pacific Islands Museums Association Gisborne, and is now Director of MTG Hawke's Bay. study towards a Masters of Cultural Material Conservation at the University COs but it remains to be seen whether communications and collaboration [PIMA]) have been established, often with of Melbourne. will improve.i Whether or not CAM’s continued affiliation with the CAM’s support. Although CAM’s resources are Moving north from Napier is MTG Hawke's Bay Commonwealth is an asset is a valid question. Without funding, and without extremely limited, a recent membership survey Public Programmes Team Leader Eloise Wallace Director Penny Jackson has resigned from Tauranga Art Gallery after 10 meaningful communication and influence, what does being a CO mean in confirmed that its programmes are highly valued to take over as Director of Tairawhiti Museum. years, the last 5 as Director and senior curator. 2015? throughout the Commonwealth. Deputy Director Helen Telford has resigned from Kath Purchas has left Hasting City Art Gallery after 7.5 years, the last two Yet, museums are heritage organisations and perhaps more appreciative In 2012, then Director of the Australian Museum the Govett-Brewster Art Gallery to take up a as Director, to pursue independent projects. than some of the shared colonial history and conflicted legacy, language and Frank Howarth posed the question “World quieter life in Dunedin. governance, legal and educational systems among Commonwealth nations. Museum Leadership: ICOM or AAM?”iii With John Furtak has retired as building manager and exhibitions technician at Each country has its own national narrative but there are common threads its extremely limited resources CAM cannot Kiwi North has welcomed ex-Londoner Shirley the Suter Art Gallery, where he had worked for over 32 years. and shared contemporary issues arising from our histories. The diaspora of compare to either organisation but it does reflect Peterson as LEOTC Educator.
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