ISSN 1177-7362 2010 November museums aotearoa quarterly Contents ED’s quarter
3: ED’s quarter. 4: My Favourite Thing. 5: Message from the board. 6: MA11 Conference. Useful websites. Museums Aotearoa ~ 7: Associate profile: Conservation Supplies. Te Tari o Ngā Whare Taonga o te Motu 8: Policy Matters! is New Zealand’s independent peak professional 9: Staff changes. organisation for museums and those who work in, or 10: Museum profile: National Rail Museum. have an interest in, museums. Members include museums, 11: National Digital Forum 2010. public art galleries, historical societies, science centres, 12: Gabriel’s Gully Jubilee. people who work within these institutions, and individuals 13: A to Js Online. connected or associated with arts, culture and heritage in New Zealand. Our vision is to raise the profile, strengthen 14: MA Australia Conference. the performance, and increase the value of museums and 15: Accreditation – your views. galleries to their stakeholders and the community.
Front cover Staff Clockwise from top left Executive Director: 1: Ceremonial key to the Wellington Town Hall. Photo: Phillipa Tocker Adrian Humphris, Wellington City Archives. Membership & Administration Officer: 2: Firetruck outside Christchurch Art Gallery after the Sophie de Lautour Kelly September earthquake. Photo: Christchurch Art Financial Manager: Gallery Gina Lumplecker 3: John Reynolds Table of dynasties at Christchurch Art Gallery. Photo: Christchurch Art Gallery Contact Details 4: Northland Museums Association exploring Kaikohe Level 8, 104 The Terrace, Wellington 6011 Heritage. Photo: Don Hammond, Far North Regional PO Box 10-928, Wellington 6143 Museum tel: 04 499 1313 fax: 04 499 6313 email: [email protected] web: www.museumsaotearoa.org.nz Advertising Enquiries about advertising in this publication, or mailing flyers, should be addressed to the Museums Aotearoa Do you need a copy editor or proofreader for office. your next exhibition, newsletter or brochure? DISCLAIMER If you would like help from someone who The opinions expressed in this publication are not necessarily those of has more than 17 years’ experience writing, the Editor or of Museums Aotearoa. editing and proofreading exhibition labels, publications, media releases and all the rest, I’d be delighted to offer my services.
Susan Bartel 37 Boundary Road PREFECT Kelburn, Wellington 6012 Phone 0-4-475 7673 Fax 0-4-475 7676 Mobile 027 223 5159 [email protected] www.wordprefect.co.nz November 2010 November
2 museums aotearoa quarterly ED’s quarter
Looking back TENNZ and the various exhibitions on or available to tour The MA Board and staff have been developing a new on our website (under Activities). membership plan this year. As part of this, we are Looking forward taking Board meetings out and about. When we met in The simplified membership structure for individuals, and Christchurch in mid-November, we were delighted to co- improved card benefits, is now being launched. Thank host a function with Canterbury Museum for members in you to all those museums and galleries which have the region. It was really good for the staff and elected generously offered free admission and other discounts to Board members to meet with local members, and to Museums Aotearoa members! This is intended to increase share some hospitality as well as serious and not-so- professional networking as well as give individuals a tangible serious discussion. You can read about this in our blog at benefit for their membership. Further information is http://blog.museumsaotearoa.org.nz. included with this mailout, and we encourage you to share We held a similar event when the Board met in Nelson in this with your colleagues. August – that time an informal lunch in the glorious sunshine We are now working on the Directory for 2011. With on the roof deck at Nelson Provincial Museum. We look printers already heavily booked in December, we may not forward to similar occasions in other parts of the country, be able to get this posted out until January. In 2011 we will the next will be in Rotorua in February. be putting additional information – including staff listings – In September another regional meeting was hosted online so they can be kept up to date and searched easily. by Heritage Kaikohe. I enjoyed a very full day with the The MA11 conference in Nelson, Collecting Culture, is taking Northland Museums Association, with other guest speakers shape see page 6 for more details. including Ian Wards from National Services Te Paerangi, and local mayoral candidate John Goulter advocating a strong Also in Nelson, we'll be celebrating the fourth annual tourism focus. The Northland group is very supportive, New Zealand Museum Awards. With the support of and it was good to see a revived commitment to working our principal sponsors Story Inc, the 2011 awards will on joint strategy for all museums in the region. We enjoyed be bigger and brighter than ever, with some new and Heritage Kaikohe's generous hospitality – as well as train expanded categories for you to enter. So make sure you've rides and dinner. documented all the great projects you've been doing over the past year, and think about who you might nominate for In October New Zealand Conservators of Cultural Material an individual award as well. (NZCCM) conferred in Christchurch with a very full two- day programme, including first-hand experience from the Another major project for MA is developing options for an September earthquake. NZCCM has been working on accreditation scheme for museums and galleries. We had a strategic plan, which was endorsed at their AGM. The a good response to our recent survey, and your comments meeting saw David Ashman re-elected President, with are really useful as we explore all the implications and Ute Larson taking over as Vice-President and Vicki-Anne opportunities of accreditation to bring to the 2011 AGM. Heikell as Secretary. This is reported more fully on page 15. October was National Digital Forum (NDF) month for us Reviewing the Code of Ethics was discussed at the last in Wellington. The 2010 NDF conference brought three AGM. Susan Abasa has prepared a background paper, and inspiring keynote speakers and 275 delegates together the scope and timetable for a review was discussed at the for two intense days at Te Papa. Thomasin Sleigh of City last MA Board meeting. We expect to be consulting the Gallery Wellington shares her impressions on page 11. A membership on this prior to the AGM at MA11. milestone for NDF was becoming an Incorporated Society, So it's full steam ahead for the next few weeks, as we put notified on the day of the conference and AGM. As a legal arrangements in place for the new year. We look back entity, NDF can now hold its own bank accounts, apply in sympathy with colleagues affected by the Canterbury for grants, and has more scope to undertake independent earthquake and West Coast mine disaster, and look activities outside of the conference. forward to a relaxing summer break and a reinvigorated A Board election for NDF brought in two new members: new year. Brenda Leeuwenberg of NZ On Screen, and Russell Briggs Ngā mihi o te tau hou, of Auckland Museum (and I was re-elected). Full details of the NDF, Board, Incorporation and video of the 2010 Phillipa Tocker conference keynotes can be found on the website at Executive Director http://ndf.natlib.govt.nz. Also in Wellington, the touring exhibitions network (TENNZ) met at Te Papa on 19 November to share ideas and exhibition proposals. There is more information about November 2010 November
3 museums aotearoa quarterly My Favourite Thing
Adrian Humphris Wellington City Archives The ceremonial key to the Town Hall is a tangible reminder of commenting in June 1908 that his work gave “sufficient an important milestone in the civic history of Wellington. At a indication that in that particular craft a very high standard of modest 14 cm in length, this gold and greenstone artifact marks excellence has been reached.”2 By 1910 he was employing the culmination of almost 20 years of debate and bureaucracy, five men in his workshop, including his two sons.3 A and is one of the legacies of a stalwart Wellingtonian. member of the first Council of the Academy of Fine Arts, Grady was also prominent in Masonic circles, a member of The opening of the Wellington Town Hall was a long- the Savage Club and Commercial Travellers Club, and one awaited event for the city. For much of the late 19th time president of the Wellington Bowling Club. Century the need for a large public hall had been discussed; as reported in 1886, “The capital city of the Colony should no Grady had already proven to be generous with his gifts to the longer be without its Town Hall … the erection of a suitable City Council. In 1893 he presented a key to commemorate building … would materially assist to sustain the dignity of the the opening of the first Central Library; and in 1901 a Corporation and to enhance the attractiveness of the City.”1 greenstone, silver and gold trowel that was presented to However, it would be nearly two more decades until, in the Duke of Cornwall and York for the laying of the Town December 1904, a newly completed Town Hall was ready Hall foundation stone.4 to be opened. Resplendent in their official robes, the Mayor (John Guthrie The opening day was one of much ceremony and Wood Aitken) and the Town Clerk (John R Palmer) celebration, and began with the presentation of the key to accepted the ceremonial key. His Worship then stepped the Town Hall, newly fashioned in the workshops of Frank forward, “…inserted the key, the doors flew back, and Mayor Grady. Born in 1840, Grady had come to New Zealand in and Councillors – with a cheer raised by themselves – passed 1880 from his native Birmingham, setting up as a jeweller within the building and out of sight. The waiting crowd surged and “importer of fancy goods” in Willis Street. He became onward, and through the doorway, and the outside ceremony well known and respected for his work, the Evening Post was at an end.”5 An inaugural concert was held, the hall declared open, and the building thrown open for public inspection, complete with afternoon tea provided in various rooms throughout the Hall. A further concert was held that evening, with a children’s musical carnival the following day. The key is part of the Wellington City Council’s heritage artifact collection, looked after by the City Archives. It is currently on display at the Museum of Wellington City & Sea as part of the on-going “Telling Tales” exhibition.
Cover from the Town Hall opening celebrations pamphlet, Wellington City Archives collection.
1. 00166:0:5, pp348-349, Report of Town Hall Committee to Wellington City Council, 3 December 1886 2. Evening Post 8 June 1908 3. http://collections. tepapa.govt.nz/theme. aspx?irn=1074 4. 00233:69:1901/754. His offer was accepted by Council on 19 April 1901 (00296:10:2, page 339) 5. Evening Post 7 December 1904
November 2010 November Ceremonial key to the Wellington Town Hall, Wellington City Archives
4 museums aotearoa quarterly Message from the Board
When Phillipa asked me to write for this MA Quarterly, I thought it was an opportunity to share a few of the early lessons from the 4 September earthquake in Canterbury. It was a wild ride, for sure, but I’m glad to say our highly- specified custom-built and relatively new art gallery emerged practically unscathed. The back-up generator came on as it’s designed to and – apart from needing to replace two of eight thermal people-counters on our entrances – all other systems were fine. Indeed, I suspect we shall trade for some time on the fact that we were the city’s civil defence HQ for the first nine days. Having civil defence in the gallery was quite an experience, for some days, but others were able came in or to work neatly summarised for me by an image used in The Press of from home. It is important to understand that family and a fluorescent-jacketed worker, on an emergency phone with home do come first, but also to enable key staff were free his foot firmly on the Ernst Gillick sculpture, Ex tenebris lux to be at the gallery. Lynley McDougall, acting operations in the foyer! Galleries are public buildings, however, and it manager, our registration and conservation staff and the felt good to play an active part in keeping the city’s heart exhibition technicians, were all fantastic. beating at this time (even if the smell of warmed food made From the first day at work, I made it a priority to contact all available all hours became faintly repulsive after a while). lenders to the Gallery and reassure them that their works Some gallery lights were temporarily skewed off their were safe. The blog on our new web-site came into its own specific art targets by the shake, but all collection items on at this time. Of course, we were especially conscious of display came through the ordeal well. We had to reposition lenders to ‘Ron Mueck’, which opened less than a month a number of the 1652 small individual canvases in John later. Some sculptures had already been dispatched by sea Reynolds’ Table of dynasties, however, and in due course – but others were still scheduled to come by air, as was the we came to recognise this work as an in-house Richter artist himself. I am so grateful to lenders to this exhibition scale of sorts. I think we’ve had some 2,400 aftershocks for ensuring we were able to open on time and become part but, while some have been significant jolts and are of the healing process in our community. And the move of unnerving, only about four have required us to reposition civil defence from the gallery after nine days to make way the John Reynolds. It’s now one of the first works we check. for Mueck – or so it seemed to us – helped to symbolize a recovery that will physically take a long time in some areas. It was incredible to receive many messages of collegial support and offers of help from within New Zealand and from our Australian colleagues, too. And we were delighted to receive contributions to the staff welfare fund from museum colleagues in Wellington (this is to be shared with Canterbury Museum and, through their new outreach officer, the region) – and a crate of wine from our very practical colleagues at Auckland Art Gallery. We felt part But some injuries were sustained: two more vulnerable, of a very caring professional group. Kirsty Mathieson, our free-standing works in Andrew Drummond’s exhibition business support leader, and I are both going to an art ‘Observation/Action/Reflection’ fell and will need gallery corporate managers’ group meeting in Canberra component parts renewed. It was good that both ‘Taryn in early December – disaster preparedness and business Simon’ (speedily de-installed to make way for emergency continuity are on the agenda and we’ll be happy to share staff on the Sunday morning) and Andrew’s show were at the experience further with our benchmarking partners the end of their of their display period and we were grateful there. It’s not something we wish on anyone, but it pays to more damage was not sustained to these borrowed items. think about and plan for the future whatever it holds. From my point-of view communication was a key issue. It Jenny Harper was important to ring as many staff as we could and to ensure they and their homes were in good shape (key Director to this effort is the upkeep of your staff lists and their Christchurch Art Gallery Te Puna o Waiwhetu availability in different formats). Front-of-house staff and November 2010 those in public programmes and education could not work November 2010 November
5 museums aotearoa quarterly MA11 Conference
Nelson, 13-16 April 2011
COLLECTING CULTURE what, why, when, how, where and who? Collections are at the heart of museums. • Why do we collect? • Whose collections are they? Kedleston Hall and Temple Newsam House. • What is the difference between object and taonga? www.attinghamtrust.org • Are we looking after them properly? Alec Coles – CEO, Western Australian Museum, Perth, • Who can access them? Australia • Do we have to keep them forever? Prior to taking up his position in WA, Alec was MA11 will bring together museum professionals, specialists Director of Tyne & Wear Archives & Museums, and private collectors to explore how we look after our which occupy twelve different venues in the collections. Be they art, heritage, natural history, geology, northeast of England. He is a staunch supporter of technology, architecture, archives or intangible culture, we the public value of museums, and has a particular all handle, exhibit, interpret and manage collections. interest in management, planning and policy. www.museum.wa.gov.au Conference themes include: • Māori collections Shane Simpson – Special Counsel, Simpsons, Sydney, Australia • governance and policy issues Specialising in copyright and music law, Shane established • special collections, eg decorative arts, technology, Simpsons law firm in 1986. He has lectured extensively natural history on the law relating to intellectual property, new • buildings as collections technology, publishing, visual arts, music and museums. • living/handling collections Shane has written numerous books including Museums and Galleries: a Practical Legal Handbook and The • deaccessioning and disposal Visual Artist and the Law in Australia, and is currently Keynote speakers: working on Collections Law: legal issues for Australian galleries, museums, libraries and archives. Much of Annabel Westman – textile historian, Director of Studies this forthcoming book is already available online at for the Attingham Trust, UK www.simpsons.com.au Annabel Westman lectures on the history, design and usage of furnishing textiles. She has been an independent Call for participation textile historian and consultant on the restoration Registration will open in December 2010. The programme of historic interiors for the past thirty years and has includes a marae pōwhiri and Kaitiaki hui, hands-on and worked on a large number of projects for heritage specialist workshops, plenary sessions and the annual bodies in country houses and museums in the UK and Museum Awards celebration. Special half-day workshops USA. Recent work includes Kew Palace, Chatsworth, will be held for decorative arts and governance. You will have the opportunity to visit local collections as well as hear from experts and colleagues, and engage in active debate. And on Saturday 16 April, National Services Te Paerangi Useful Websites will host a BarCamp to take the ideas explored at MA11 from inspiration to perspiration. If you would like to contribute – as a presenter, panellist, what is a BarCamp? session convenor, sponsor, supporter or volunteer – please http://en.wikipedia.org/wiki/BarCamp contact Museums Aotearoa as soon as possible. TENNZ (Touring Exhibitions Network NZ) – information Mark your calendar now – MA and our conference hosts about exhibitions available to tour Nelson Provincial Museum and The Suter look forward to http://www.museumsaotearoa.org.nz/Site/activities/ seeing you in Nelson! TENNZ/TENNZ.aspx Phillipa Tocker National Digital Forum – video of 2010 conference keynotes Executive Director
November 2010 November http://ndf.natlib.govt.nz Museums Aotearoa
6 museums aotearoa quarterly Associate Profile
Conservation Supplies
Conservation Supplies is a specialised company selling This has enabled us to expand our client base and to sell quality acid free storage and archiving products, eg board, outside of NZ as well – we have regular customers in New card, paper, tissues, films, folders, boxes, enclosures and Caledonia, Singapore and Australia. miscellaneous items. These are used by museums, archives, We are really fortunate to deal with such nice customers, libraries, universities, art galleries, schools, historic societies and have met a lot of the conservators at the annual and the general public who are taking care to preserve and conferences. It is a treat when we get visits from new conserve New Zealand’s heritage past and present for customers looking for products to house their really old future generations. letters, photos, bibles, land deeds and other memorabilia We became the owners of this business in 2002. Formerly dating back to the 1700 and 1800s, real treasures. Most based in Petone, we moved it to a purpose built warehouse come in with them stored haphazardly in an old cardboard on our property in Warkworth, where our carbon foot carton, and leave with them safely housed in long term acid prints are petite. free enclosures and boxes, ready to be passed on to the next generation of family members. Prior to this, Margaret worked in a tourist shop and Jim was a self employed electrician, but a fall from a ladder We recently had a couple who brought in a huge damask meant employment changes were needed. It was a huge table cloth dating from the mid-1800s. This came on the new learning experience… not knowing a thing about acid back of a ute, and left well rolled with tissue layers and a free, lignin free, buffered, unbuffered and an array of other Tyvek cover, but still on the back of the ute! strange terminologies etc, thank goodness for Google! One of our best assets, is a CAD-cutting box-making We have made a lot of changes over the years, adding machine, which has allowed us to custom make all sizes and new products into our stock range, and building a web site. styles of boxes and folders and keeps us really busy. Our service is growing. Our customer base now includes photographers, artists and jewellery makers. And we have a new staff member joining us this month – our son Callan. Formerly a printer, Callan is coming to work full time for us, helping out in the warehouse and with the box making. Do pop in if you’re passing in the neighbourhood, we’d love to meet you, Margaret & Jim Morrison Conservation Supplies
PO Box 646 , Warkworth 0941 81 Great North Rd. Warkworth 0984 New Zealand Ph +64 09 425 7380 Fax +64 09 425 7385 [email protected] www.conservationsupplies.co.nz November 2010 November
7 museums aotearoa quarterly Policy Matters!
Auckland and beyond
When the national-lead government came in two years Auckland Transition Authority and colleagues from many ago, it was clear that there would be belt-tightening in both other organisations to set up an Auckland Arts & Culture central and local government. We had already felt the initial Advisory Group to ensure they have a voice under the new impact of the global economic crisis, and some tax reform regime. was underway. Rodney Hide, as the new Minister for Local 321 DIA Government, was very vocal in his call for transparency and accountability for local councils – with an emphasis on Other recent legislation has paved the way for the ‘321’ ‘core services’. And then the rush was on to set in place integration of the National Library and Archives NZ into the structure for the amalgamated Auckland ‘super-city’ in the Department of Internal Affairs, to take effect from 1 time for this year’s local council elections. February 2011. The new structure is being promoted as the first part of a restructure in which ICT is not only an After much public and parliamentary debate, select enabler, but a driver for change – “it increases the possibility committee hearings and media input, as well as Minister of better productivity, and increases the pressure on the Hide’s mother telling him that libraries are core services, public service to perform.” the various pieces of legislation have been passed. It has been a fairly messy process: Those of us who argued for a higher level separation of National Library and Archives functions were over-ruled by • a Bill previously introduced to exempt the part of the power of ICT: both now sit within the new Knowledge, Franklin District which is in Waikato Region from Information, Research and Technology Branch, alongside contributing to Auckland Museum and MOTAT government information and technology services, ICT under their Auckland regional funding structures was supply and procurement. The roles of National Librarian superseded and withdrawn at second reading; and Chief Archivist will be at tier 3 of DIA, reporting to a • several local government bills have been debated and Deputy Chief Executive for the ‘KIRT’ branch, as will the put through the select committee process, dealing new Government Chief Information Officer and services with Auckland arrangements as well as changes to the general managers. These positions are currently being 2002 Act. There were over 1700 submitters to the advertised. Auckland Council Bill; While a restructure of DIA may not impact directly on • Rodney Hide’s first discussion paper very narrowly public museums and galleries, it is important in the wider characterised the core services of councils as GLAMS (galleries, libraries, archives and museum sectors) transport, water and public health and safety services. context. The National Library and Archives NZ are The Local Government Act 2002 Amendment Bill sister institutions to Te Papa, as the primary government debated in 2010 received 488 submissions, and the participants in these sectors. Each has a leadership and final list of core services that a local authority must national support role, and each produces resources for have particular regard to include “libraries, museums, their wider communities. Many museums have significant reserves, recreational facilities, and other community archive holdings and most have some kind of library, even infrastructure”. This Bill has just been passed under if it is only for staff use. urgency as we go to press. In a recent speech at the launch of two new archives There is likely to be further legislation necessary as the standards, Hon Nathan Guy, the Minister responsible for process continues. Archives NZ and the National Library (as well as DIA), was High-level structure has been announced for the new at pains to assure those present that these two institutions Auckland Council, including the various ‘super-CCOs’. will retain their independence and authority under the new Regional Facilities Auckland, which will have varying integrated Department of Internal Affairs. I trust that will degrees of responsibility for major regional institutions be the case, and that they continue to be well-funded, such as Auckland Art Gallery, Voyager Maritime Museum strong contributors to the wider cultural landscape. and MOTAT, will be Chaired by Sir Don McKinnon, with Philanthropy – government input Deputy Chair Dame Jenny Gibbs, which bodes well for developments – Minister’s taskforce, these cultural organisations. MCH workshop, Simon Bowden There is still some uncertainty for mid-sized cultural Another push by the National-lead government is towards organisations in the new Auckland Council area. With greater philanthropic support for the arts and culture. The local boards responsible for quite small areas, the position cap on tax rebates for charitable donations had already of those organisations which serve a wider area – but been removed in 2008, and payroll giving is now in place. In arguably not the whole of Auckland – is not yet clear. combination with tightening of the public purse, this clearly James McCarthy, Director of Te Tuhi, is working with the November 2010 November
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points to increasing emphasis on philanthropic sources of Philanthropy – new ideas funding for public museums and art galleries. Alongside these established initiatives, others are working Several recent initiatives are helping to build understanding on new ideas. Simon Bowden, Executive Director of the and explore opportunities. The Minister for Arts Culture Arts Foundation, recently went to the US to investigate and Heritage set up a Cultural Philanthropy Taskforce to some of their models of philanthropy for the arts, investigate ways to improve levels of philanthropic giving. supported by a US government travel grant. He came back The taskforce, which includes Peter Biggs, Margaret Belich, with lots of new possibilities and insights, and you can share Carolyn Henwood, James S Hill and Dame Jenny Gibbs, is his experience in his online video blog. due to report in early 2011. All this adds up to a changing environment, with lots of The Ministry has also been contributing to the available new possibilities. Some may be more relevant to one information in its report on Cultural Organisations: Giving organisation than another. And some may not deliver and Sponsorship released in April this year. This report as hoped. But every new possibility offers potential for takes a snapshot of philanthropic and other funding for someone, so be prepared to take your chances! cultural organisations prior to the tax changes of 2008, and Phillipa Tocker will provide a useful benchmark for evaluating the effect of Executive Director these and any other changes.
Philanthropy – Creative NZ related websites: Another important piece of research was released by Creative NZ in October. The art of the possible: Download Creative NZ’s The art of the possible report strengthening private sector support for the arts in New www.creativenz.govt.nz/resources/other_sources_of_funding Zealand identifies opportunities for increasing revenue Creative NZ Donations Toolkit to the arts from private sources, and concludes that our www.creativenz.govt.nz/resources/donations_toolkit greatest opportunity for increasing private sector support is from business. The report also sets out recommendations Ministry for Culture & Heritage report on to grow revenues from trusts and foundations and through http://mch.govt.nz/projects/culture/giving-sponsorship.html individual giving. Arts Foundation – Simon Bowden’s US blog Creative NZ worked with a wide range of organisations in http://www.thearts.co.nz/news.php&news_id=213 conducting the research behind the report, and has also put Archives NZ Continuum resource – standards, fact sheets information into a Donations Toolkit. This gives practical and information about archiving and recordkeeping, useful guidance for organisations wanting to increase their income both for archive collections and institutional records. from donations of all kinds. http://continuum.archives.govt.nz
Staff Changes
Lucie Paterson will take leave of absence from National Erica van Zon is Enjoy‘s new Curator and Manager. Erica Services Te Paerangi in 2011 to travel overseas for a year. takes over from Siv Fjaerestad who is on maternity leave. Jade Hadfield is leaving National Services Te Paerangi to Anita Hogan took up the new position of Collection study conservation in Melbourne in the new year. Manager Art – Photography and New Media at Te Papa in July. She has since been joined in the art team by Sarah Returning from working at Bolton Museum in the UK, New Farrar as Curator Contemporary Art, and Frances Speer as Zealander Daniel Smith has taken up the new position of Assistant Collection Manager Art. collections manager at Akaroa Museum. Chris Jones has left Auckland Museum to take up the Greg McManus has been voted president of INTERCOM, position as Senior Registrar at the National Gallery of ICOM’s international committee on museum management. Victoria in Melbourne. He takes over from David Fleming, who was keynote speaker at MA08. Greg is also president of ICOM New Director of the Police Museum, Kamaya Yates is stepping Zealand. down in 2011 to move to the West Coast. Auckland firm Porath Executive Search (PES) has started the David Reeves is leaving the Alexander Turnbull Library at recruitment process for a new Director for the Auckland the end of the year to become Director of Collections and War Memorial Museum. Research at Auckland Museum. Eva Huismans has added Museum Outreach Officer to her Libby Sharpe has returned to Whanganui Regional Museum role as volunteer and training coordinator at Canterbury on a short-term contract. Museum. 2010 November
9 museums aotearoa quarterly Museum Profile
Beyond “boys and their toys”
My colleague Colin Dash and I spent a couple of hours this morning showing a group of rail enthusiasts from the UK through the bowels of the carriage and steam locomotive sheds at Ferrymead Heritage Park that hold many of the larger objects that will eventually be displayed and help tell an important story in the National Railway Museum of New Zealand. In many ways the tour wasn’t remarkable, but one like many behind the scenes tours that we have given in the past, and explained a little about what we aim to achieve when the Museum opens in 2013. However, today I made my first attempt to test a theory that has been evolving over the past couple of years. That is that while there is great interest in “trains”, there is even more interest in the stories of how and why these magnificent pieces of engineering and manufacturing affected people’s lives. The “Red Terror” in its configuration as the Railway General Manager’s I began the way I usually do by showing off our Heritage personal vehicle Train, a complete working train set from the 1870s and That stopped our visitors dead in their tracks. I could see 1880s. I showed them the inside of a restored guard’s van them visualising the working of the train and a young Queen and noted that this van, along with most of the other pieces Elizabeth II standing on the back. in the train, had won national restoration awards. (The We then went on until I came to a rather plain looking red kind of detail and trivia that rail enthusiasts eat up.) The vehicle that looks like a cross between a railway wagon and tour party members dutifully scribbled details and carriage a delivery van. THIS car I explained is a converted Leyland numbers in notebooks and generally enjoyed themselves. bus, and before it was converted to work on overhead But when I came to two pieces of rolling stock in particular electric lines, it was the Railway General Manager’s car. I shifted gears to watch their reaction. Moreover, it was called “the Red Terror” because whenever Looking at a rather plain looking blue, 50 foot steel carriage, it showed up there was likely to be trouble. I pointed out that THIS carriage had been remodeled and Again my visitors were rooted to the spot. They could each used by the Queen on the South Island leg of her visit to visualise what it would have felt like for a railway worker to New Zealand in 1954, and that the interior was mostly still see the “big boss” coming. intact, with the kitchen, Queen’s bedroom, and sleeping compartment for the Queen’s ladies in waiting just the way In an instant I knew that we were on the right track and that they were in 1954. Further I pointed out that there was a as much of a draw (perhaps the best possible draw!) that pretty well known photo from that tour that showed the trains are, we had a far more important mission – that of Queen on the rear platform of a train, and that THIS was relating how the things we hold in our collection affected that carriage. people’s day to day lives in a very real way. These stories illustrate that while the times have changed the events of daily life remain very much the same. Every generation has the problems of distance, communication and logistics to overcome, and the ways they did those things in the past are as remarkable as are the stories of the people who used them and relied on them. The work of building the National Railway Museum of New Zealand goes on: it’s a long haul but there is light at the end of the tunnel. John Peterson Chairman National Railway Museum of New Zealand The Queen and Duke aboard the Vice Regal Carriage during their tour of the South Island in early 1954. Photo was taken south of Timaru and is from the All puns intentional! Canterbury Railway Society’s collection November 2010 November
10 Photos are: museums aotearoa quarterly NDF Conference
National Digital Forum 2010
The National Digital Forum (NDF) is a two-day conference Twitter, Facebook, a blog, Flickr and Youtube. Interestingly, which aims to “enhance electronic access to New Zealand’s social media was employed by the museum not only as an culture and heritage”. As Nick Poole, keynote speaker at interactive tool to engage audiences with the exhibition this year’s Forum stated, the internet has now been part but also to generate content. Audiences were asked to of our daily lives for two decades. As time passes, the contribute ’80s dress, music and memories which were challenge for the NDF is to remain relevant and responsive then included in the exhibition. to new technological conditions. What then can the NDF Listening to Mason speak, it was emphasised to me again offer that is new to the library, museum, archive and gallery the difference in the telecommunications infrastructure of sector? What ground hasn’t been covered and what new New Zealand compared to Australia, the UK and other problems are there to be solved? first world countries. I noticed this also on a recent trip to One role of the conference is to be inspirational; to stir Sydney and Melbourne—everyone was holding an ipod or its audience beyond what may be the mundane aspects of an ipad. Internet is cheap, fast and pervasive in Australia, day-to-day work. Michael Edson, the first keynote speaker and that coupled with a much larger population means a and Director of Web and New Media Strategy at the high level of interaction with social media in its myriad forms. Smithsonian Institution certainly fulfilled this brief. Edson’s Though the situation is different in New Zealand, and I feel ideas were grand—an integrated commons of information like we are really on the cusp of social media taking hold and images across all of the Smithsonian’s numerous (or ebbing away?), this presentation was most useful for me museums; a vast pool of data which anyone could use and in revealing how this particular institution works alongside interact with according to their own interests. Edson was its curatorial team to offer an integrated online and offline a fluent and eloquent speaker and did everything a first experience to its audience. Of course, for each particular keynote speaker should do: he filled us with a sense of the institution and exhibition the challenges will be different potential of accessible information and the power of our but the model of the institution working towards common institutions to democratise this information via the web. goals in this regard was enormously interesting. My role at the forum is slightly problematic in that I work as Nick Poole, CEO of the Collections Trust in the UK, the Publicist for City Gallery Wellington—a non-collecting rounded up the conference with his “Vision for a Post- contemporary art gallery. Discussions around digitizing Digital Culture”. Again, Poole filled the role of the keynote collections are not applicable to our institution, and the speaker admirably, bringing the audience back to the opening up of information to wider user groups is obviously grassroots of why we do what we do. Poole’s message was complicated when dealing with the copyright restrictions of contradictorily one of warning and encouragement—the twentieth century and newly commissioned artworks. Also, digital world can offer a plethora of positive possibilities, contemporary art speaks to different audiences than those but, he argued, it is necessary to take a step back and ask of heritage institutions and often the art will point directly yourself the all important: WHY?, before embarking on back to the institution which presents it; questioning its extensive digitisation or online projects. assumptions and modes of operation. The National Digital Forum needs to be careful not to fall The session which was most relevant to my work was Social into a national show-and-tell session for online projects Media—Where to Now? City Gallery Wellington operates and remain relevant as the internet shifts and changes. I Twitter, Facebook and Youtube accounts which I co-ordinate. found at this year’s forum that the keynote speakers were I am interested in new ways these can be used by the Gallery integral to the event, in that they were the ones who alongside our exhibition programme and I don’t want these raised important issues and possibilities rather than simply new technologies to be used simply because we can. I want informing audiences of what particular institutions had them to be engaging and to demonstrate the Gallery is a done with their project funding. discursive and informed institution. And most importantly, I want them to deconstruct the Gallery as an institution, for In saying that however, I found the two days stimulating them to subvert and by-pass the anaesthetised language of and refreshing. The educational model Michael Edson the press release, and ‘speak’ to our audience at a different proposed of an interconnected and contingent community level. So I was interested to see how other institutions were of knowledge-sharers was one which has stayed with me. using social media and to what ends. I took away the hope that City Gallery Wellington’s online presence can help the institution stay alert, responsive and Renee Mason from the Powerhouse Museum in Sydney hopefully as ‘un-institutional’ as possible. outlined the social media strategy her team has recently employed for the exhibition “The 80s Are Back”. This was Thomasin Sleigh a detailed and comprehensive programme comprising City Galley Wellington November 2010 November
11 museums aotearoa quarterly Gabriel’s Gully Jubilee
an opportunity for many museums
The Lawrence 150th Jubilee committee is facilitating an interactive heritage centre in Lawrence next year, from 18 to 21 March 2011, and would like to invite museums to contribute and participate. This will be a great platform not only for museums in the immediate vicinity, but also for museums and collectors nationwide. The project will be based in a purpose built temporary venue in the very location the story erupted 150 years ago The hand held scales of Mr Sutherland who left his South Otago property in Gabriel’s Gully. The intention is to present and share to take a claim at Gabriels Gully in 1861. One of the many items which we stories of the time, and their subsequent impact on today. hope to share with the public during the Lawrence 150th jubilee celebrations. A crucial extension to the exhibitions will be the sharing forming a tent city. It was this traffic that generated the first of heirlooms, and recording oral histories of the living wave of successful retail business in the town, and also the descendents. This project will be supported by the Tuapeka first crime wave. Goldfield Museum. Stories of lesser impact but greater appeal feature the The Tuapeka Goldfield Museum is in the centre ofa curious stampede known as the ‘Perkins false gold rush’, heritage precinct that celebrates this era and the pioneer where intentional use of false discoveries of gold was used to hardiness of the goldminers and their descendents. This is generate business. This act of deception cost lives and caused fully represented in the core exhibits in the museum which great consternation. It did not end well for Mr. Perkins. feature working models of the machinery of the period, the social history of the Chinese community, and unique Another colorful footnote to this era refers to a supply boat personal stories such as desperately lonely Helen Munro, laden with flour and gin on its way to the Riley claim being “the first woman in the area”. hauled against the current by seventy rustic characters that also met an interesting end. The Tuapeka Museum is preparing for the harvest of oral histories and archive material next March, with plans The wider impact for smaller communities district wide were for interactive digital content in the near future. The from two revenue streams generated by the prospecting community has played a major role as well, with many era. These came from settlers downing tools, closing family reunions being organised for next March to coincide businesses and seeking fortunes, as well as provincial taxes with celebrations. that were reinvested into expansion and infrastructure. The scope of the project encourages satellite communities The South Otago Museum is hoping to use the opportunity throughout Otago, impacted by the initial and subsequent presented by the heritage centre next year to collect rushes from 1861 onward, to contribute and even hold archive material and resources that relate to these local their own events on relevant jubilee dates. stories, as they have done for other recent exhibitions. This was one of the outcomes of their frozen meat exhibition, South Otago Museum in Balclutha plans to take full and the Amy Bock centennial. Both exhibitions generated advantage of this opportunity. As story tellers for the lower important donations of significant pieces to the museum. Clutha River the staff are often asked if there was gold in the area’s heritage. It is easy to say there is not, and that Most importantly, the South Otago Museum is excited by gold is the story of Lawrence and central Otago. This is the opportunity to take their stories on the road and share accurate based on the physical heritage of gold strikes and and connect them to the celebration of a crucial historical subsequent built heritage, however, once you dig deeper moment in the story of New Zealand. into the socio-economic impact and the effect of the If any other museums would like to be involved, please migrations of diggers, there is a diverse and colorful gold contact Elaine Herbert. Space is limited and sites will be rush heritage in and around Balclutha. allocated on a first-come, first-served basis. Applications must The Historical Society members have been busy in the archives be received by 31st January 2011. compiling content for a South Otago Museum display in the Peter and Elaine Herbert Goldrush Heritage Cenre Marquee for next March. Goldrush Heritage Centre organisers for Lawrence 150th The story with the greatest impact for the Lower Clutha Committee involves the rushes from 1862 onward, particularly the Nokomai and Switzers rushes that directed the flow Post: PO Box 518, Wanaka 9343 of prospectors onto the punt at Balclutha. They arrived Email: [email protected] in such numbers that they bottlenecked to the point of Mobile: Peter 027 292 9620 and Elaine 027 292 9621 November 2010 November
12 museums aotearoa quarterly life, from sketch maps of planned railway lines to photographs A to Js Online of living conditions in early-twentieth century housing.* Up until now, these volumes have only been available to researchers in hard copies in the few select libraries that Digitising the appendicies hold them. Now there is a programme of digitisation, beginning with the earliest volumes, that will make more In August I attended the launch of the AtoJs Online at and more of this fascinating material accessible. Parliament and have since had a good browse through the website; http://atojs.natlib.govt.nz – and discovered what a The online collection so far comprises: fascinating resource it is! • 27,219 pages The Appendices to the Journals of the House of Representatives • 1,807 reports (AJHR or AtoJs) are volumes of government-related reports • 24 volumes published every year from 1858. Many official reports and papers are presented to the House of Representatives by • 16 sessions ministers and government departments every year. These The first item to come up in a simple search on ‘museum’, documents relate to many subjects, and are essential to is a September 1866 memorandum from James Hector Parliament’s ability to make informed decisions. proposing the expansion of the fledgling Colonial Museum, on the grounds that it is necessary for it to collect and Papers tabled in the House are listed in the Journal of analyse the samples which were coming in from all around the House of Representatives, a publication which logs the country as the result of the Geological Survey, as well as Parliament’s daily business. All papers tabled before from private collectors. It summarises the 13,954 specimens Parliament are considered appendices to the Journal. in the collection at the time, and notes that there had been The House orders some of these papers to be printed, 1,600 visitors up to August 1866. Hector’s memo goes and these are published annually in the separate series of on to list the coal, building materials and metallic ores that volumes as the Appendix to the Journals of the House of had been analysed in the laboratory, including the presence Representatives. of platinum in Southland. He also makes the case for the The AtoJs have long been an important research resource. Colonial Museum to take on the role of scientific museum They include: for the colony, and to support the provincial museums:
Annual reports of government departments In this respect a scientific Museum differs from one intended only for popular diffusion of natural science – the former being a record Most government departments published annual reports office from which typical or popular Museums can be supplied with in the AJHR from the 1870s-80s onwards. These reports accurate information instructively arranged – a method which would cover the department’s activities over the year in question, prevent their lapsing as is too frequently the case, into unmeaning tracing developments and changes of policy and sometimes collections of curiosities. This division of museums into two classes is now clearly recognised personnel, and are a valuable source of information. They in England and its adoption has been strongly recommended in the often contain tables of statistics, maps, and illustrations. re-arrangement of the Natural History collections in the British Museum. Reports of commissions of inquiry It appears to me that an arrangement of this kind with regard Governments have regularly held commissions of inquiry to Museums is particularly applicable to New Zealand, as the most to address a variety of issues since the nineteenth century. favourable for the rapid development of its resources; and it is with this view that the Colonial Museum should be formed – not as a rival, The reports of most of these inquiries were published in but to assist the local typical Museums, the establishment of which the AJHR, sometimes along with the commission’s minutes should be encouraged in all the principal centres of population, and the testimony of witnesses. for the purpose of giving instruction respecting the resources and The Stout-Ngata Commission into Māori land tenure in 1907, natural history of the country, as well as acting as a stimulus and guide to local research in those branches of knowledge. and the Mazengarb report on “Moral Delinquency in children and adolescents” in 1954, are well-known examples. Hector’s vision of a Colonial Museum, focussing on scientific progress for the colony and leading a national network of Reports relating to broader government work provincial ‘popular’ museums, didn’t eventuate in quite the The AJHR includes other reports relating to a variety of way he advocated. However, it is a fascinating insight into subjects. Sometimes members of Parliament requested a the thinking that drove the establishment of museums in report on certain areas of government activity, and these this country. were prepared by the relevant department. Other times departments produced reports on the results of particular I am sure the AtoJs will become an even more valuable Acts, or research into proposed changes and innovations. resource to researchers and students now that they are The “Miscellaneous” (H) section published at the end of more readily accessible. They are well worth a browse. each year’s AJHR is always a rich trove of interesting and Phillipa Tocker unusual material. Executive Director Images and maps * Information drawn from Introducing the Appendices to the Many of the reports contain maps, plans, photos, sketches, Journals of the House of Representatives (AJHR), 1858-1999, Ministry for Culture & Heritage, accessed at http://atojs.
and diagrams. These illuminate many aspects of New Zealand 2010 November natlib.govt.nz,10 September 2010. 13 museums aotearoa quarterly MA Australia Conference
I recently attended the Museums Australia National Other interesting presentations included: Conference in Melbourne. • Gina Panebianco, Head of Education and Public Te Papa Educator Julie Noanoa and I presented at the Programmes at the National Gallery of Victoria, conference, and were kindly hosted by the Museums presented her Art Start programme. Art Start is an Australia Educational National Network (MAENN). This art resourse that demonstrates the museum’s role in huge event was held at the University of Melbourne and connecting artworks as a part of an online and social had a big emphasis on the new roles of collections. 650 networking learning package. She talked about the delegates attended over the three day national conference, physical and online museum visit, as well as access to and it also extended into a two day Regional and Remote collections and learning opportunities that are flexible, Museums programme. and a part of an online voice. Museum Educators therefore not only need to learn and have access to new technologies but we need to be aware of the impact of digital technology, and reflect this in our teaching pedagogy. • Professor Richard Sandell, Director and Head of Department of Museum Studies, University of Leicester Museum, discussed how museums can have a social conscience. This includes taking up humanitarian and social inequality topics, and questioning everyday values, beliefs, narratives, perspectives and standpoints. He discussed the GOMA Glasgow’s exhibition called Shout, which featured a contemporary arts exhibition on human rights issues centred on gay, lesbian, bi-sexual President of MAENN David Arnold, Schools Programme Manager, National and transgender communities. Another example was Museum of Australia, Canberra, Julie Noanoa, Margaret Tolland and Jason a curated exhibiton at the museum in Birmingham with Eades, Director, Koorie Heritage Trust, Victoria works from their collection that included images or We were warmly welcomed by Museum Educators from content of disabled people. The signage for this show around Australia, and especially David Arnold, President included curators’ labels and labelling from a disabled of the Museums Australia Educational National Network. person showing their interpretation of the artworks. There was a great range of presentations at the conference • Jason Eades from the Koorie Heritage Trust in Victoria that had Museum Education content and relevance. gave a presentation on managing collections that include Aboriginal and Torres Strait Islander items and records. The highlight for me was an outstanding presenter, Professor He also discussed a very innovative Aboriginal Youth Stephen Heppell. Heppell is a leading international expert programme using artists, designers and young people in on online education, as well as a policy and learning advisor a hoody design and fashion show visual arts programme. on projects for organisations such as the BBC, and UK While this was good, I would have liked to have seen government agencies. During his presentation he posed wider representation of Aboriginal people in conference the question ‘what do we want technology to do for us and opening and closing ceremonies, as well as in conference our visitors? and what will a future museum, as a learning attendance. space, look like?’ I came away from the conference with a bunch of I learnt about becoming a ‘digital native’, and that learning networking and internet research to follow up on, and I using a variety of social media is huge. It was interesting will also start some tweeting! Julie and I will be presenting also that during the conference I watched many delegates further experience gained from the Museums Australia using ipads and smartphones, blogging and tweeting during Conference at the MEANZ Roadshow 31 January to 4 presentations. February. Check out www.meanz.org.nz for more details. Heppell predicted that the longevity of the museum’s role Margaret Tolland will be challenged by social networking, and that we will be engaging with a post-Google and post-email generation in Education Coordinator and Public Programmes, Pataka, the future. Learning will be about social networking, and President, Museum Education Association of New the museum visit - and gaining knowledge from museums - Zealand (MEANZ) will be a constantly changing online and physical fusion. November 2010 November
14 museums aotearoa quarterly
Accreditation – your views? We analysed your answers to the open questions by putting them into one or more themes:
increased recognition 29% assurance for funders 26% In September we invited museum members to give us increased professionalism 25% feedback on accreditation for museums and art galleries. improved standards 19% This survey is part of the information gathering being assurance within sector 17% undertaken by the accreditation working group set up by Museums Aotearoa following consultation and discussion access to funding 12% at the time of the 2010 AGM. (The total is greater than 100% because some comments Just under 60 replies gave a resounding affirmation of the were across more than one theme.) benefits of accreditation. This is nearly 40% response Specific comments noted that accreditation would rate, covering a good spread of sizes and kinds of museum contribute to: organisations. Especially helpful were your well-reasoned and thoughtful comments. • recruitment and retention of staff and volunteers • credibility not just of individual institutions but of the Overall, you told us that the time has come for an sector as a whole accreditation scheme in this country, and that there are real benefits to be gained providing it is done appropriately. • benchmarking for councils • internal staff and volunteer development Main benefits • organisational planning and strategy Responses to the survey questions identified the most valued benefits as recognition, credibility and organisational • a symbol of trust development. Interestingly, the comments point towards A note of caution increased recognition, professionalism, and assurance for In addition, you raised a range of relevant issues and made funders – a slightly different slant on the same themes. other supportive or cautionary comments. Some aspects We asked you to identify all the perceived benefits that your we will need to consider carefully include: institution might gain from accreditation. The responses • the complementary relationship between accreditation you selected were: and the NZ Museum Standards Scheme • the relationship between accreditation and Qualmark CREDIBILITY AND ACCOUNTABILITY • the cost of participation must not exclude small National recognition of museum’s commitment 91% museums to best practice and professional standards • the levels set must be appropriate to, and achievable Public recognition of museum’s accomplishments 87% by, all kinds of museums and value to the community • regular review mechanism Increased credibility with funding agencies, 91% donors and stakeholders • administration and monitoring Badge of honour 46% It is interesting to note that comments from small museums that were not interested in accreditation were about equal BUILDING A STRONG MUSEUM in number to those that were positive. Give museum a clear understanding of strengths, 82% goals, and priorities What next? Check list for organisational health with 72% The working group is now looking into the detail of what an constructive and positive feedback accreditation scheme for New Zealand might look like, as well as the practicalities of how it could be implemented. Help provide clear direction for museum 90% development and improvement In summary, you endorsed accreditation as a valuable tool Build confidence and improve staff morale and 50% for museums. As a comment noted, one of the significant motivation benefits will be the effect on the museum sector as a whole – where benchmarking should lift performance across the board. LEVERAGE AND SUPPORT We look forward to working with you to bring these Tool for lobbying boards, local authorities and 86% benefits to all those who wish to meet the challenge. government Museums Aotearoa Accreditation Working Group Competitive edge for funding 75% Raise awareness of the value of museums 69% Lesley Colsell generally Jenny Harper Thérèse Angelo Increase professionalism 75%
Phillipa Tocker 2010 November
15 Join Museums Aotearoa today!
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