Events Weddings at Old St Paul's Matariki at Te Papa 1913 Great Strike Parade Nightmare at Rotorua Museum MA14 Reviews - Museums Aotearoa
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Events
Weddings at Old St Paul's
Matariki at Te Papa
1913 Great Strike Parade
May 2014
Nightmare at Rotorua Museum
MA14 Reviews
Contents Museums Aotearoa
EDs Quarter 3 Te Tari o Ngã Whare Taonga o te Motu
Davina Davis 1957 – 2014 3 Is New Zealand’s independent peak professional organisation for museums
and those who work in, or have an interest in, museums. Members include
NZ Museum Awards 2014 4 museums, public art galleries, historical societies, science centres, people who
work within these institutions and individuals connected or associated with
My Favourite Thing 5 arts, culture and heritage in New Zealand. Our vision is to raise the profile,
strengthen the preformance and increase the value of museums and galleries
1913 Great Strike 6 to their stakeholders and the community
Message from the Board 7
Contact Details
Staff Changes 7 Level 8, 104 The Terrace, Wellington 6011
PO Box 10-928, Wellington 6143
Ols St Paul's Weddings 8 Tel: 04 499 1313
Fax: 04 499 6313
Communication and Culture 9 Email: mail@museumsaotearoa.org.nz
Web: www.museumsaotearoa.org.nz
Associate Profile – STQRY 10
Contributions
Museum Profile – Hastings City Art Gallery 11 We welcome article suggestions and contributions. For enquiries about
contributing to MAQ please contact us at mail@museumsaotearoa.org.nz.
Dusting off the Code of Ethics 12
Staff
Nightmare at the Museum 15 Phillipa Tocker – Executive Director
Talei Langley – Membership Services Manager
Matariki at Te Papa 16
Advertising
Policy Matters! 17 Enquiries about advertising in this publication, or mailing flyers, should be
addressed to the Museums Aotearoa office
MA14 – Cindy Jemmett 18
MA14 – Alice Hutchinson 19
MA14 – Maddy Jones 20 Next issue
Immunity From Seizure 20
MA14 – Gary Ross 21 August 2014:
Reviewing the Business of Culture 22
Haere Rā Betty Nelly 23 People
Cover Images Disclaimer
Main: The opinions expressed in this publication are not necessarily those of the
Andrea du Chatenier, Denizens of the Deep, 2011 Editor or of Museums Aotearoa
Lower:
Attendees at MA14, MTG Hawke's Bay ISSN 1177-7362
Back Cover:
MTG Staff welcome MA14 delegates.
Guest judge Helma van den Berg with finalists for the
Best Museum Project (museum)
Credit: John Cowpland, Alphapix; for MA.
Joint Services on parade, Awards photobooth.
2 MAQ May 2014
EDs Quarter
With the MA14 conference and AGM now over, we're looking back on the to host. We want these to be both useful and fun
event in this issue of MAQ. Thanks to our colleagues who have shared their – as someone said at a Creative NZ workshop I
thoughts on the conference in these pages – they give a good flavour of our attended recently, we need more parties!
time in Napier, and hopefully readers who were not able to attend will be able
to pick up some of the vibe as well as some good ideas. While 'more parties' may at first sound like a
throwaway line, it is worth a bit more consideration.
While the annual conference is the major event in Museums Aotearoa's Gatherings of like-minded people – perhaps with
calendar, there are many others for museums and galleries. Some reach across a wild card or two – have many benefits. In a
the sector and beyond, such as WW1 commemorations and Matariki. Others workplace they help people to understand each
are particular to a locality or community, perhaps showcasing the work of local other so they can work together more effectively.
quilters or painters, or remembering an occasion such as the 1968 sinking of An outside contributor can offer new thinking to
the Wahine. And then there are private events that we host in the museum or help people think differently about what they do
gallery to raise revenue, including weddings, dinners and meetings. and evolve their practice. Meeting with colleagues
from another institution offers opportunities
Not all kinds of events are possible in every institution, and it is important to to learn, commiserate and enthuse – 'a problem
only do what works with the overall ethos, as well as the physical limitations shared is a problem solved', or at least better
of the spaces. A key message from MA14 speaker Laura Wright, CE of Tate understood. Or as the well-known whakataukī
Enterprises, was that Tate only take on events and projects that reinforce reminds us,
the Tate brand. This applies to everything from choice of sponsors and
merchandise, to the menus in their cafés. Naku te rourou nau te rourou ka ora ai te iwi.
With your basket and my basket the people will live
Museums Aotearoa events also have to fit with our mandate. When the
new Board met this month, they were keen to set strategic priorities for the Ngā mihi,
association, to ensure that we're doing the very best we can for our members.
Phillipa Tocker
Later this year we plan to hold some more regional meetings. We will be Executive Director, Museums Aotearoa
calling for suggestions for speakers and topics, as well as member institutions
Davina Davis 1957 – 2014
The South Canterbury Museum’s Curator of Collections, Davina Davis, died But it is who Davina was that meant the most
on 24 April following a very short battle with cancer. Davina had been with to us. She loved life and was a friend to so many.
us for 17 years, well-known to a number of colleagues around the country There was so much about her that drew people and
with whom she communicated and collaborated. made her a vital part of our team. We miss her so
much and struggle to believe that she has gone so
Following some contract work at the former Porirua Museum and completion quickly. Our thoughts are with her daughter Zarae
of her post graduate diploma in Museum Studies, Davina started work at and husband Michael, along with her wider family
the South Canterbury Museum in February 1997. She quickly came to and many friends, as they come to terms with what
grips with the Museum’s extensive collections, and completed her MA has happened.
in Museum Studies using the Museum’s Victorian and Edwardian dress
collection for research. Hei maumaharatanga ki te tino hoa.
Like many in smaller museums, Davina was adept at multi-tasking. Davina was
a life-long learner who sought to raise her skills and standards at the Museum.
As well as managing the social history collections, she was very involved in
the exhibition process. She was also active in public programmes, leading the
children’s Museum Explorers Club, and co-ordinating performances. Davina also
oversaw the efforts of many volunteers, temporary workers and overseas interns.
Her work led to a wider engagement with diverse sections of the community.
Davina was proud of her Ngai Tahu heritage and in recent years sought Davina Davis
to extend her te reo and work more closely with local Māori communities, preparing an historic
culminating in last year’s Te Hikoi exhibition with a focus on the last 150 boundary post for
years of local Māori heritage. exhibition in 2012.
2014 May MAQ 3
NZ Museum Awards 2014
Guests packed the Ballroom at Napier's War Memorial Centre on Thursday The exhibition categories drew some especially
3 April to celebrate the best of the best of museum and gallery projects from strong entries, and the judges had a difficult
around the country, including two local winners. task selecting the 6 finalists. The two winners
were Tauranga Art Gallery for Corrugations: the
MTG Hawke's Bay, the redeveloped museum, theatre and gallery complex art of Jeff Thomson, and Canterbury Museum for
deservedly won the museum project category for seamlessly connecting its RISE – Street Art. The judges were impressed by
old, not-so-old and new wings into a commanding new presence in the Corrugations in the under $20k category. It is an
cultural life of Napier, which can now give due attention to its venerable "ambitious undertaking for the small team in a
collection. regional gallery", beautifully presented and with
comprehensive public programme material and
Across the Bay, Hastings City Art Gallery won the new category for collateral, and currently touring other regions.
innovation in the use of Te Reo Maori. In Te Taniwha, the judges recognised
that HCAG had utilised Te Reo Māori in a significant and meaningful way In the over $20k exhibition category, RISE – Street
that captures and enhances the spiritual essence of the language and the Art stood out for its creativity, vigour and rigour,
historical, cultural and spiritual value of the stories, places and people. "a conceptual and practical challenge handled
professionally and bravely", said the judges.
Two other winners were collaborative projects. Rotorua Museum worked
with Wingspan National Bird of Prey Centre on the urban release of the Also honoured on the night was Bronwyn Simes,
NZ Falcon – a worthwhile and fun project for a museum and its community. winner of the Individual Achievement Award.
The judges were impressed by "the on-going 'falcon-ness' which is pervading Bronwyn is respected and appreciated by all her
Rotorua". colleagues for her dedicated contribution as a
project manager, most recently shepherding the
NZ Historic Places Trust worked with the NZ Film Archive to bring redevelopment of Toitu Otago Settlers Museum,
some unusual settings to life with historic film footage. Screening in listed and now helping Canterbury Museum with their
woolsheds, Reel Life in Rural New Zealand won the public programmes earthquake recovery.
category by "capturing a strong feeling of nostalgia and authenticity", and
playing an active part in those rural communities.
Best Exhibition over $20,000 Best Museum Project (museum)
WINNER WINNER
• Canterbury Museum, RISE - Street Art • MTG Hawke's Bay, MTG Hawke's Bay Redevelopment Project
FINALISTS FINALISTS
• Auckland War Memorial Museum, Moana - • Canterbury Museum, Quake City
My Ocean • Whakatane Museum, Te Kōputu a Te Whanga a Toi development
• Christchurch Art Gallery, Burster Flipper
Wobbler Dripper Spinner Stacker Shaker Maker Most Innovative Public Programme
WINNER
Best Exhibition under $20,000 • New Zealand Historic Places Trust and New Zealand Film Archive,
WINNER Reel Life in Rural New Zealand
• Tauranga Art Gallery, Corrugations: the art of FINALISTS
Jeff Thomson • Canterbury Museum, Red Zone Bus Tours
FINALISTS • Museums Wellington, Great Strike 1913
• Dunedin Public Art Gallery, Sir Frank • Voyager NZ Maritime Museum, Auckland Tall Ships Festival
Brangwyn: Captain Winterbottom and the
Billiard Room of Horton House Most Innovative use of Te Reo Māori
• Te Awamutu Museum, Toi Ki Roto - Art WINNER
inside from the Te Ao Marama Unit, Waikeria • Hastings City Art Gallery, Te Taniwha
Prison FINALISTS
• MTG Hawke's Bay, Ūkaipō - ō tātou whakapapa, Taonga Māori exhibition
Best Museum Project (activity) • Voyager NZ Maritime Museum, Kōrero Tipua
WINNER
• Rotorua Museum, On the Wing - Urban Individual Achievement Award
Release of the New Zealand Falcon WINNER
FINALISTS • Bronwyn Simes
• New Zealand Historic Places Trust, High
Street Stories
• Te Hikoi, Taonga Toki Project
4 MAQ May 2014
My Favourite Thing
Although the Hastings City As I write this, there is extensive media coverage of Gow Langsford Gallery’s
decision to exhibit a photograph by Jono Rotman of a mongrel mob member
Art Gallery doesn’t house a accused of murder. Gary Langsford is quoted as saying it is their gallery’s
policy "not to censor an artist's work", and the portraits "should be considered
collection, we have a broad in the context of fine art" (New Zealand Herald, April 29, 2014).
range of contemporary art It is easy to understand why the victim’s family deems it offensive to display
such an image; however it’s less clear why a three-dimensional representation
passing through the doors, from of a person’s head covered in seashells might cause offense.
sculpture to moving image. I too found looking at these faces by Andrea du Chatenier unnerving.
Individually neither human faces nor seashells are disturbing; it was a sum
Amongst the many shows that have come and of their parts that created unease. When we find ourselves challenged by
gone I’ve especially admired the perfectly formed an artwork it is healthy to question why. I wonder whether these artworks
bronze cast moths by Elizabeth Thomson; I’ve unsettled viewers as they represented ‘alien’, or ‘other’.
been wowed by the scale of David Trubridge’s
Icarus lights, which now feature in the Pompidou Edgar Degas stated “Art is not what you see, but what you make others see”.
collection; and I’ve enjoyed the sensory delight of So while not beautiful in the traditional sense, a relatively unassuming but
Tiffany Singh’s beeswax deities. But it’s not these surprisingly provocative artwork has lodged itself in my mind. The Denizens
works that immediately sprang to mind when Talei of the Deep by Andrea du Chatenier encouraged me to question our responses
Langley invited me to write about ‘my favourite to art, and in doing so these mollusc-encrusted faces have become objects of
thing’. It was instead a series of faces covered in affection and denizens of my memory.\
small seashells.
Kath Purchas
Chain of Being was a survey exhibition by artist Curator, Hastings City Art Gallery
Andrea du Chatenier, who is based in Whanganui.
We exhibited Andrea’s work in our large gallery
space in 2011 and used one of the shell-clad faces,
from the Denizens of the Deep series, as our hero
image for marketing the exhibition.
The face was very lifelike, with natural and
intelligent-looking eyes staring out from behind a
‘skin’ of shells. An image of the three-dimensional
artwork featured on our exterior signage and in
our magazine ads, and the response we received
from the public was intriguing. Many people
found the exhibition very unsettling; one person
even informed me that they refused to enter the
gallery as they found the image so disturbing.
There is a school of thought that art must endeavour
to shock or provoke. I’m not a proponent, as I
believe art can serve many different purposes,
from encouraging the audience to think more
deeply on an issue to simply being a pleasure to Kath Purchas and one of Andrea du Chatenier's Denizens of the Deep, 2011
behold. However while art doesn’t always have to Andrea du Chatenier, Denizens of the Deep, 2011
court controversy, I believe it’s beneficial for us
to reassess our values and challenge our comfort
zones.
Contentious art is nothing new, from ancient
Roman nude statues upsetting sensibilities to
contemporary works causing religious or racial
offence. Most will still recall the controversy
surrounding Virgin in a Condom, exhibited by Te
Papa in 1998.
2014 May MAQ 5
1913 Great Strike
The Museum of Wellington City & Sea has a As the day of the parade drew closer we were overwhelmed by the generous
mandate to share the stories of Wellington - the offers of behind the scenes help we received. This ranged from staff coming
centenary of the 1913 Great Strike was a story of in on their days off, through to large number of volunteers making lunch
both regional and national significance that was and even a commitment to pick up any horse manure left on the road. We
ripe for sharing. Responding to both mission and interpreted this generosity as evidence of the widespread enthusiasm for the
event, the Museum, with partners Labour History event, and also of individuals responding to the concept of solidarity within
Project and Alexander Turnbull Library, delivered the story of the strike.
eight weeks of innovative programming to share
the story with a wide and participatory audience. *Although it was impossible to record numbers crowds of well over 200
assembled for each of the speeches, and around 1500 newpapers were handed
Undoubtedly the commemorative parade was out. Media coverage was huge both before and on the day with television
the highlight of the series with all programming news coverage ensuring another wave of exposure for the centenary.
leading to this event. On November 5, the
anniversary of Massey’s Cossacks taking Queens The parade was supported by a range of other programmes, all partnerships.
Wharf, strikers, supporters, foot and mounted These included:
specials gathered for speeches outside the • An exhibition of historical images that served as a chronicle of the strike
Museum of Wellington City & Sea (home of the in Wellington, from the earliest days through the end of the strike and
Wellington Harbour Board in 1913) then paraded to the first Labour Government (this last showing the on-going reach of
through town to Parliament. The parade left the the strike, a key focus for the programme). The exhibition was financed
Museum to the music of Brass Razoo Solidarity entirely by the Maritime Union of New Zealand, who also provided the
Band. Museum staff handed facsimile newspapers Museum with a paper on the strike to be photocopied and available for
to the large crowds gathered on the streets, many visitors. {Well over 200 of these papers were taken.}
of whom accompanied the parade to its end point*. • A walk through the Wellington Sites of Struggle. This walk was put
At parliament, a striker addressed the crowd with together by a group comprising teachers, museum staff and historians,
the strident words of unionist Pat Hickey. While but particularly members of the Labour History Project and Walk
the specials were professional riders and actors, the Wellington. With the support of Wellington City Council and the Rail
make-up of the strikers and supporters illustrates and Maritime Transport Union they produced a pamphlet detailing the
the huge participatory aspect of the programme. sites of struggle. The walk could be taken either guided or on one’s own.
Strikers from across the community, and of all Having such a strong link to the story made the Museum of Wellington
ages, volunteered, offered, requested and pleaded City & Sea the perfect starting place for the walk – walkers began here
to be involved (of course they were all welcome). visiting the historic boardroom, the photo exhibition and the permanent
They came from unions, acting groups, general exhibition. The pamphlet remains available and will eventually be
public, Walk Wellington, as well as from within the reprinted so the walk has a long life (another goal of the project).
Museum, Labour History Project and Alexander • A series of talks that covered a range of related topics. These included
Turnbull Library. They came dressed in period considering the time before the strike and what was happening in
costume with suitable props and had rehearsed Wellington, Aotearoa, the world; 100 years of the PSA; What happened
slogans and phrases of the day (as provided to next – to key figures and groups: and finally the relevance of the
both sides by the Museum). On the walk back to strike 100 years later. The talks were held at either the Museum of
a lunch provided at the Museum for participants Wellington City & Sea or the Alexander Turnbull Library, and included
and avid followers of the parade alike, strikers and speakers from the Labour History Project. The launch talk contained
Museum staff spoke with public who were keen to a participatory singing aspect and each finished with an interactive
interact and find out more about the Great Strike. discussion where not just the speaker, but any of those in the room
shared their knowledge and experience of the topic.
The parade was tremendously successful –
particularly in terms of story sharing with the So what made this such a successful project?
local community {a reciprocal sharing of the story • Collaborative nature – new partnerships
between the community and the Museum}. We • Sharing of knowledge, resources and audience
talked with families who had taken children out • Invitation to public to become involved
of school to attend the parade, those who had • Variety of ways to convey and learn
family stories of both strikers and specials, and • Taking the museum outside
people who had had no knowledge of the event • Reaching a wider audience
prior to the parade. By taking the story outside • Acknowledging the importance of a key event in Wellington’s history
the Museum we engaged with people who are • Putting the event into context – both before and after the event
not necessarily museum goers, and made the story
relevant and accessible to them. Public Programmes team
Museums Wellington
6 MAQ May 2014
Message from the Board
Published in a Landfall issue of 1952, Bill Pearson’s 'Fretful Sleepers' describes partnerships, developing unique messages are all
a 'typical visit to a museum – if a New Zealander goes to an exhibition or a the language of marketing, and I found it easily
museum he withholds his interest, grudgingly stumps around every stand for transferred into museums.
fear of missing something, but comes away with relief, "There’s fuck-all to see."'
Having significant signature events, that the
I love that description and I wonder, over 60 odd years on, is this still what museum was known for, provided a building
our visitors think on leaving our place? block to work from, to grow its presence in the
community, to leverage potential publicity, but
My background is in performance (theatre, dance and music) so I came importantly to deliver more strongly defined
to work in museums from quite a different perspective than many of my programmes. We have partnered now with theatre
colleagues. I realised very quickly that museums have the potential to develop companies and practitioners, most professional
further in all the forms of storytelling that are the basis of our work in its but some amateur. We have worked with dance
most public sense. companies and students of dance. School students
have created moving accounts of personal stories
My first museum role was in marketing and communications, and I was developed from the stories we hold and performed
in a place that needed to radically improve its profile. It had had a major them in the museum. We have live music whenever
transformation, closed and redeveloped and opened under a number of possible, from small orchestras and choirs through
names. On top of that many people viewed the museum for what it was, not to solo singers or musicians. We have led animal
what it reopened as. General confusion in the marketplace is a marketer's blessings, held an exhibition in a suitcase,
worst nightmare but also a great challenge. Making connections, forging partnered an anarchist book launch, alongside
seminars on serious and non-serious subjects and,
most recently, a parade of wharfie strikers and
Massey Cossacks on horseback in recreation of
the 1913 waterfront strike. 'Beyond the expected'
is our catch cry in developing programmes, what
is yours?
Museums can offer multidisciplinary mediums
for our visitor to view history, art, music, culture
and beyond. We can provide different paths that
excite and involve our visitor. In the end we all
want our visitors to express something different
than Pearson’s visitor. Expletive or not, we want
them to feel teased and tantalized, excited and
invigorated, to have a response that is at the least,
"Fuck it, what a lot to see / do / feel."
Brett Mason
Director, Museums Wellington
Participants reenacting the arrival of Massey's constables outside the Cenotaph during the 1913 strike. Museums Aotearoa Board member
Staff Changes
Chief Executive Michael Houlihan has left Te Papa to be Special Adviser on Kristelle Plimmer is now Curator Community
Military Heritage at the Ministry for Culture & Heritage. As Mike will not Engagement at Te Manawa.
be returning to Te Papa, Arapata Hakiwai has taken over as Acting CE while
an international search for a new Chief Executive is undertaken. Chelsea Nichols is now Curator of Modern Art
at Te Papa.
Wellington Museums Trust has bid farewell to Kim Young, Marketing
Manager for Museum of Wellington City & Sea, Cable Car Museum Erin Flanigan, Museum educator at Puke
and Colonial Cottage Museum. She is returning to contracting as a Ariki, has been co-opted onto the MA Board
communications specialist. for the remainder of this term (to the 2015
AGM), nominated by the Emerging Museum
Lisa Tolich will leave her role in ICT at Auckland Museum to succeed Betty Professionals group.
Nelley as CEO of the Kauri Museum from June this year.
2014 May MAQ 7
Old St Paul's Weddings
A Fresh Spin on Tradition
For those who are yet to visit us, Old St Paul’s is one of New Zealand’s
greatest heritage places and one of the finest examples of timber Gothic
Revival architecture in the world. It was the parish church of Thorndon
and the Cathedral church of Wellington from 1866 to 1964, ensuring
a well-established tradition of beautiful wedding ceremonies. While
the ecclesiastical functions have transferred to St Paul’s Cathedral on
nearby Molesworth Street, Old St Paul’s remains a consecrated, non-
denominational historic church cared for by Heritage New Zealand
Pouhere Taonga. As such, we offer a unique solution for couples, who would
like to be married in a beautiful church but are not active members of a
congregation, as they can come into this place with a minister or non-
religious celebrant of their choice, and tailor their ceremony in any way
which suits them. It is a situation which I believe fosters diversity. I love
the moments when the soft afternoon light filters through the stained glass
windows, while the bride walks in to the pumping strains of a modern pop The Interior of Old St Pauls Cathedral. Credit: Grant Sheehan
classic just as much as a traditional Anglican mass with all the “bells and
smells”, as one of our regular ministers says. mirror at the front entrance, a glass of water for the
nervous groom, or the slight swish of a train as the
Over the years, we’ve become experienced in the art form of catering to bride turns out the door. It is the feeling that any
brides. We pride ourselves on being able to accommodate any unique request, emergency can be overcome by a quick phone call.
which sometimes means performing tasks well outside the usual domain of And I’ve had them all: from a no-show celebrant
a function venue. Late last year, for instance, we had a couple come back to and photographer, to a ring bearer’s tantrum at the
visit us who had been married here once before. As part of an elaborate plan end of the aisle (his screams would have made your
some years ago, they toured historic Wellington before popping into Old St ears bleed!), a dog that ran off with the rings, and
Paul’s for a “look around”. Several minutes later, they sprung the surprise of a torn seam that needed a few quick stitches. In a
a lifetime: in walks their celebrant who asked the Mums to please be seated matter of minutes, I become a bride’s best friend
while their children joined hands in marriage. You can imagine their shock! and councillor, and my job description expands
Well, five years on, and this young couple were now planning to include all exponentially. I have found that preparation really
of their friends and family in a re-enactment of their wedding day. There is of the utmost importance in such moments and
were special requests galore: Could we really blast Metallica’s Nothing Else so I like to prepare for absolutely everything.
Matters? Could we change the hymn numbers to significant dates in their
relationship? Could we print out maps with directions to their reception For a historic church like Old St Paul’s, weddings
venue? The answer, as always, was yes. really are part of the life blood of this place. It
matters to us that we’re part of the community
In an ever diversifying market, we cannot rest on our laurels - or should that be that fought so hard to save us. As times change,
wooden beams. As a Wedding Co-ordinator, it’s important that I’m not seen, we move with them. So, as weddings become
but that my presence is felt. Whether that is through a conveniently placed more personalised, we strive to accommodate
every new request. We have recently undergone a
major redevelopment where our pews, which were
once firmly fixed to the floor, can now be spun
around or removed. This transformation enables
us to accommodate a new stream of custom
from seated wedding receptions. Already we have
several bookings in the new year and, as a seasoned
venue, we look forward to accommodating a new
stream of brides with floral arrangements, table
settings, and flowing champagne. While the
fashions change, we strive to be consistent, the
accommodating support to every nervous bride.
Perhaps there are even more eventful work stories
to come, but my favourite part of the job is always
in the satisfaction of playing a small role at the
start of a lifetime of memories.
Liz Laing
Laura and Guy. Credit: Adrian De La Fuente, Duo Photography Weddings and Public Programmes Coordinator
8 MAQ May 2014
Communication and Culture
“I can't go back to yesterday because I was a Accompanying the blind visitors were two guide
dogs which climbed on Sphere Square and walked
different person then.” confidently through Periphery with their handlers.
At the end of the tour we sat in the foyer and
– Lewis Carroll, Alice in Wonderland talked a little about the experience.
The theme of the May issue of the Museums Aotearoa Quarterly is Events, Comments by blind participants on the tour:
so in this article I am going to discuss the ‘why’ of events and also use two
examples of effective events that were recent favourites of mine. “Oh, good I can feel how high they are! “(Oddooki
which are about 1.3metres high)
Firstly I would like to note that I am Visitor Programmes Co-ordinator, “This is fun…” (Sphere Square)
and although I often provide suggestions for the programmes that would “It’s really good to be able to touch something
be suitable for various exhibitions we may have at the time, I also rely on either side of my body rather than walking
colleagues to come up with ideas. My approach considers two main concepts: in an empty space and feeling uncertain of
Firstly, the notion that there can only be partial viewpoints or situated my steps” (Periphery when the shapes were
knowledge both of the audiences and of the museum personnel; this is the squeezed close together)
first step to opening new doors of perception, new ways of seeing. Secondly,
that narratives can be constructed in various ways to allow for these new ways Narrative has a powerful function in validating
of seeing, and in so doing, provide further possibilities and open audiences people’s lives: cultures and sub-cultures tend to
(and museum workers) to exciting opportunities for creativity. value some narratives over others, and events/
visitor programmes is a key area in museum
Situated knowledge is the recognition of the idea that there is no one practice where narratives can be created as an
dominant authority. For example, who we are, our beliefs, our upbringing adjunct to exhibitions or displays. The objective of
and all of our schemas (that is, psychological profiles or stereotypes that have the programme on offer: the floor talk, workshop,
developed through experiences and social interactions); these are what each screening or other event, is to provide the means
of us bring to particular situations. If museum educators recognise this, there for learning about the exhibition, and the choice of
is room for different schemas and alternative notions of ‘truth’ to emerge from event can impact in differing ways on the agency
narratives. It is also in the margins between one thing and another where of the visitor. The knowledge gained by museum
creativity and new possibilities can occur. personnel through such tours as that mentioned
above expands on their situatedness, creates a new
By way of illustration, in the current exhibition Seung Yul Oh: MOAMOA dimension to what is ‘seen’ by the blind visitor and
A Decade, some of the shapes one can see in the exhibition remind one enables fresh and thought-provoking narratives
of bubbles, with their large see-through circular forms. A popular exhibit, for future, similar visits.
The Ability to Blow Themselves Up, is a video which records various people
worldwide who have volunteered to blow up balloons to bursting and their Lynda Cullen
image is captured in the instant of shock and surprise. As an event over the Visitor Programmes Co-ordinator,
school holiday period, we offered a competition for something slightly milder Dunedin Public Art Gallery
– a bubble-blowing competition with balloons as the prize – providing fun,
interaction, and the opportunity for new narratives to arise with regards
bubble-blowing versus balloon-blowing. The event allowed our young visitors
to expand on the idea of what art is, what art does, and what if any new ideas
could develop within – or outside of – this framework.
The bubble-blowing competition, although it attracted a small crowd, was
highly successful. I would also like to use the same exhibition, MOAMOA,
to discuss a further past event that also produced positive results on the day.
In March the Gallery advertised an event for the blind and visually impaired:
14 Mar Friday 1.30pm INSIGHTFUL TOUR for the blindand visually
impaired of the Seung Yul Oh exhibition. Guide dogs welcome.
The fact that this exhibition has three interactive elements – a giant beanbag
Sphere Square which can be climbed on; shapes that remind one of chickens
and eggs, Oddooki, which require gloves to touch/gently push; and Periphery
made up of tall yellow blow-up shapes that visitors are encouraged to squeeze Megan Turnbull and Oban With Ron Esplin in the background
through – was absolutely perfect: By listening to our blind visitors over the in Oddooki.
past few years, I had learned that a tour of any sort should provide tactile
materials along with a sense of safety in the environment. 1. Otago Daily Times, Tuesday 22 April 2014, Page 3 (photograph).
2014 May MAQ 9
Associate Profile
STQRY
The multimedia guide
every museum can afford to
implement and every visitor
can access anywhere, any time,
for free.
STQRY (pronounced “story”) is a mobile story- using STQRY to share their histories and traditions, to tell their tales and
telling platform that any organisation may use to share their adventures, to help their visitors connect to their unique and
share their fascinating stories. meaningful stories.
For the user, STQRY is a free app, available across Connecting People and Organisations
multiple platforms, which provides a single source
for discovering and engaging with the art and The app’s explore feature includes a map and nearby list, on which every
cultural world around them. organisation features. The result is an ecosystem of cultural organisations
across cities, regions, countries, and the world that users are guided between,
For organizations, STQRY is a platform on which so every organisation’s fascinating stories can be explored and experienced.
multimedia ‘stories’ can be told and self-curated, Visitors to Wellington Zoo, for example, leave the Zoo with the app on
real-time demographic visitor information is their phone and are able to see stories of the Department of Conservation,
produced, charitable donations can be taken, Wellington City Council’s public art and waterfront features around the city,
additional revenue can be created through the Museum of Wellington City & Sea, New Zealand Fringe Festival, Carter
‘premium content’ and more! Observatory and more – limited only by the distance they want to explore!
The STQRY app is populated by organisations, Adding Content, Generating Revenue and
each with their own organisation ‘story’ and any
number of ‘stories’ of notable features, artworks, Associated Cost
buildings, people, animals or similar – anything
of interest with reasonable context to the All content on the STQRY app is self-curated and added through our
organization. In-app stories are multi-media rich, web based Content Management System. The CMS has been specifically
engaging information sources, which include text, designed to be incredibly intuitive and user friendly so anyone, regardless of
images, audio tracks, videos, and links to outside computing experience, can confidently create stories with minimal tuition.
websites or other external sources.
STQRY provides organisations the opportunity to generate revenue by
STQRY was first launched in New Zealand in assigning a price to stories they produce and display on the app, for audio
late June 2012 at the Wellington Zoo. Since then, tours or selling content that has been developed above and beyond the
STQRY has been rapidly expanding across, and standard experience. STQRY also provides the opportunity to procure
is becoming a recognized leader among, the art, charitable donations while visitors are engaging with content – notably more
cultural, historic, heritage and tourism market in successful than a collection box upon entry and/or exit.
New Zealand and the West Coast of America.
STQRY receives 200,000 unique users a month – STQRY’s top priority is to create the very best user experience. Our team will
a number that is continuing to grow. work with you at every stage of your STQRY journey to ensure your stories
are the most interesting, intriguing, fascinating and valuable as possible!
The platform is being used as the on-site mobile
app for over 50 organisations throughout New Access to the STQRY CMS to upload and share an unlimited amount of
Zealand, including: New Zealand Tourism’s stories, receive unlimited donations, reports and so on is $1000+GST per
i-SITE visitor centers; Department of year. This fee also includes customer support and access to our continuous
Conservation; Auckland, Bay of Plenty, Napier, improvements and system developments. STQRY is an immensely cheaper
Wellington and Christchurch City Councils; alternative to the development and upkeep of a custom app.
Venture Southland; Museum of Wellington City
& Sea; National Army, Auckland and Canterbury For more information ask hamish.mitchell@STQRY.com for an information
Museums; Auckland, Hamilton and Wellington pack, or call him on +64 21 434 858.
Zoos; and a number of other similar organizations.
These organisations of international repute are www.stqry.com
10 MAQ May 2014Museum Profile
Hastings City Art Gallery
Re-launched in 2008 after a previous life as the
Hawke’s Bay Exhibition Centre, the Hastings
City Art Gallery is Hawke’s Bay’s home of
contemporary art.
With the Hawke’s Bay Museums’ Trust collection stored in Napier by the
MTG, the Hastings City Art Gallery is free to focus on contemporary
exhibitions and programmes that challenge and excite both the local populace
and the many visitors to the region. So while not a collecting institution, the
gallery does play a major role in the regional arts scene as an exhibition space,
event venue and facilitator within the sector.
The Hastings City Art Gallery consists of three main exhibition spaces
and presents around 15 shows per year. Exhibitions include touring shows
and projects curated by gallery staff and guest curators. These range from
major survey shows of senior New Zealand artists to installations from local
emerging artists, to large scale group exhibitions.
Highlights from the last 6 months include the David Trubridge survey
exhibition, a collection of mixed media work by local contemporary artist Young art critics admire Elizabeth Thomson’s work,
Jo Blogg, Gerda Leenards’ Following the Blue Ribbon, Te Manawa’s Now La Planéte Sauvage, Another Blue World, 2011
and Then: Enduring and Developing Themes in Contemporary New Zealand
Photography, Advice From a Caterpillar by Ben Pearce, and Corrugations: The Hastings City Art Gallery is looking ahead to
Art of Jeff Thomson – developed and toured by Tauranga Art Gallery. exciting developments in the Civic Square – the
public park space around the gallery. Already
David Trubridge: So Far – A Maker’s Journey featured lighting, furniture, Nga Pou O Heretaunga – the collection of 18 pou
sculpture and early drawings by the internationally-renowned, locally-based each representing an ancestor of the region’s local
designer. The process was a collaborative one where the exhibition’s Curator, marae – have arrived in the square and provide the
Kath Purchas, worked closely with David and his team at the Trubridge central city with a significant presence of mana
Workshop. Many of the works exhibited were borrowed from David’s own whenua. Still to come is the main redevelopment
home. The exhibition is now touring, and will be seen in coming months at project which will upgrade the square’s facilities
Rotorua Museum and Pataka Art Museum. and landscaping, bring together the gallery and
the nearby library, and offer a cultural core for
Local artist Jo Blogg’s fresh and energetic summer exhibition entitled Pins the city.
and Needles was an intriguing body of work. Jo pulled together an eclectic array
of re-imagined rolling pins, ten-pin-bowling pins, plastic knitting needles, With only a handful of staff, the Hastings City
wool and tapestries to further explore themes of post-feminist indignation, Art Gallery continues to proudly punch above its
repetition, rebellion and the woman’s world. weight. The Gallery team were delighted to be
awarded the Museums Aotearoa 2014 award for
The latest exhibition to open at the Hastings City Art Gallery is Momo kauae: ‘The Most Innovative Use of Te Reo Maori’ for
Moko kauae in contemporary art. In it, guest Curator Tryphena Cracknell their work on Te Taniwha, an exhibition by artist
explores the many ways in which contemporary Maori artists are using Joyce Campbell and historian Richard Niania.
moko kauae in their practice and how this reflects identity, whakapapa,
mana wahine and whanau. Invited artists include Robyn Kahukiwa, Fiona By offering a diverse range of exhibitions and
Pardington, Manos Nathan and Stacy Gordine. public programmes, the gallery maintains a loyal
following and ensures there’s always something of
Coming up during the rest of the year are a range of enticing exhibitions, interest for all. So be sure to make time to visit
including At the Edge of a Mirror, consisting of 19 of Reuben Paterson’s 2 the Hastings City Art Gallery when you’re next
metre square paintings. Reuben has worked with the unique geometry of the in Hawke’s Bay.
gallery to create a kaleidoscopic effect (until 27 July). Also on display will be
EAST 2014 – the biennial regional exhibition, this year curated by Linda Kath Purchase
Tyler, Director of the Centre for Art Studies at The University of Auckland Curator, Hastings City Art Gallery
(from 15 November).
2014 May MAQ 11Dusting Off the Code of Ethics
Museums Aotearoa makes revisions to its code was last involved in revising the code in the wake
of New Zealand’s sesquicentenary, we grappled
What does this mean for us? with the early language of bi-culturalism and
the realisation that Treaty principles such as tino
The Code applies primarily to publicly-funded museums and art galleries rangitiratanga might be applied to our work now.
and it is expected that organisational and individual members of It’s utterly crucial that we continue to keep such
Museums Aotearoa confirm and adhere to it. debates alive and to understand that this is a living
It also provides guidance to those with an interest in the smooth running and adjusting document.
and increasing professionalism of their museum operations
– whether public or private. What’s unique?
Museums and art galleries are in a strong position to expose the uniqueness The code has international roots; it has clear and
of a given city, its history and its changing approaches to the world. Those credible links with the International Council
of us who work in them and who are also able to travel know how much of Museums (ICOM) and that’s important. As
similar institutions elsewhere play an important part in gaining a perspective such, it does not (or maybe not yet) have a Māori
on a new place. Our institutions are crucial to the communities which sustain DNA, but rather it is affected by a set of values
us and our activities, not least for providing our locals and visitors from of and for here – as increasingly are our museums
elsewhere a ‘view’ on our past and present place in the world beyond. We and their practices.
care for and hold in trust collections and are steadily improving our ability to
establish and quantify our contribution to cultural and other ‘well-beings’, as The now inherent bi-cultural conceptual
well as our economic value.1 framework which underpins our vision of Aotearoa
makes it unique. For we recognise that:
Equally, all of us face pressures, whether they result from reductions in overall … full authority in relation to the collections does
funding or changing community or iwi expectations. From time to time, not rest within the institution at all times and that
adjustments are made to our governing bodies; local and national elections it is crucial to maintain regular and mutually-
may shake the terrain in which we operate. We come at a cost and, frankly, respectful contact with appropriate Maori, iwi and
none of us is unassailable. other interested groups to fully reinstate stewardship
and properly value their connections to the works
The code is here to help. and activities of the museum or art gallery. (p. 3)
The code is here to form the basis of discussions within our organisations and We stand up for:
with our managers and trustees. It now covers ethics and professional practice,
…an active engagement with tangata whenua and
so it’s there to provide guidance in both areas. At its best it will provide a other relevant communities in the development
springboard for professional discussions and debates within and amongst of exhibitions and displays, education and public
ourselves. It also reminds us to ensure our staff are not required to act in a way programmes … as well as in relation to the general
that conflicts with its provisions; and gives us the basis for responding if we feel and specific care, management and use of collections
discomforted by being asked to do something specific (2.2.h). of their cultural heritage. (2.1.c)
It would be extraordinary if all those appointed to governing bodies and elected The language of consultation and of care provided
to councils and appointed to local authority management positions had an by stewards replaces past concepts of ownership
equally benign and informed point of view with regard to the importance and an imposed order, largely then based on the
of art galleries and museums as ours, however. So it’s in our institution’s taxonomy of what it was we looked after.
interests – perhaps even essential for longer-term viability – that we keep
conversations about ethics and professionalism alive. I’m not talking here of There’s an increased emphasis on access in this
‘holier-than-thou’ conversations, but rather those which reach agreement in a version of the code; it’s connected to hopes for a
given situation and, ideally also, provide an ethical basis for further consensus better understanding and celebration of what we do
and decision making. It’s important we minimise instances of personal regret – and the importance of keeping communities and
(and learn from those we have); and also important we reach decisions our local and national agencies and funders in the same
successors can support (or at least understand as having being made with the notional waka as our institutions (eg, see 3.5.d).
highest public good at heart).
There are two new appendices. One relates
If agreement seems impossible or unlikely, or even if you simply want to to natural history ethics; and unlike others
discuss a particular matter in a slightly larger and more neutral setting, take internationally, this takes into account the unique
advantage of the now-established Ethics Committee of Museums Aotearoa. perspective and customary rites of Māori. Another
Current membership and terms of reference are on the website. provides guidance on the treatment of human
remains in museums.
The code as it’s written is not and cannot be expected to operate as a be-
all and end-all. It’s a tool of its time. Tellingly, in the mid-1990s, when I There is notional space for other appendices to be
12 MAQ May 2014funded institution in New Zealand, it exhorts governing bodies to:
… ensure that, when items are approved for loan by museums and galleries
supported by public funding (in full or in part), such loans are made available
CODE OF ETHICS to other public museums and galleries in Aotearoa New Zealand using a fee
structure based solely on cost recovery (1.1.j)
& PROFESSIONAL
PRACTICE And how else will our trusts and governing bodies, including local authorities,
know this is agreed by and among the museums and art galleries of this
For Governing Bodies, Managers and Staff of Museums country in a shared code, if we don’t tell them?
2013
and Art Galleries in Aotearoa New Zealand.
Principles of sustainability are included for the first time and they will, I
have no doubt, become increasingly debated in our sector. The code cannot
provide solutions to all issues, but it asks us to think about and discuss them.
Do we continue to collect as comprehensively as we have in the past? How
might we document the past? Do we unquestioningly maintain the same
set of accepted environmental parameters despite increasing costs? How
do we plan future developments with lower-cost, lower-risk sustainability
in mind? How do we deal with the crucial redevelopment of our aging real
estate, which needs to be earthquake-proofed and resilient to the effects of
climate change?
Museums Aotearoa Te Tari o Ngā Whare Taonga o te Motu
The Museums of New Zealand Inc
There are some reminders…
Adopted 20 November 2013
added, and a hope that this will happen over time. We’re reminded in these straitened times that sources of funding and income-
Perhaps principles of conservation and collection generating activities should not compromise the content and standards
management can be added. It’s not a free for all of a museum’s or gallery’s programme nor its publications (2.5.c). Timely,
and each section will need to be recommended I think. Too high expectations of external funding can and inevitably will
and approved, but – as an example – I’m aware lead to a skewed and potentially less relevant programme. Make sure your
of some museum professionals looking after large, independence is protected.
working objects associated with transport and
technology, who might usefully add a section to Museums and art galleries must also positively retain responsibility for the
provide guidance for the care of these items. content of any exhibition on their premises, whether it’s been organised by or
for them. While this seems self-evident at first, it also entails being prepared
So what else is introduced in to publicly support these and the reasons for showing them in the admittedly
rare occasions these become contentious (2.1.e). I wonder if this is connected
this version? to the issue raised in the paragraph above? Have we already become too
middle-of-the-road and obvious?
Some things are more explicit. The establishment
of a clear and preferably unbroken provenance prior … and there were some questions:
to acquisition of museum items has always been
important, but it’s articulated in this code (2.3.e; Some questions consistently arose during various sector discussions and
3.4.b). Issues arising from developing exhibitions remained during its preparation.
with developing countries, some recent examples
of the international exposure of illicit trade in art One related to the provision of ‘essential training or development without cost
and antiquities, of works which have been pillaged to the staff member’ and ‘encouragement of staff attendance at professional
or stolen being sold and exhibited, makes this workshops, meetings and conferences’ as a means to advance professional
crucial to articulate explicitly. And we can make development (2.2.f ). Some questioned the provision of training altogether and
this an opportunity to consider and revise our own maintained budgets simply did not allow for this. However, this clause remains.
accession practices and record-keeping.
I stress it relates to essential staff training. If as a manager, you employ a
Few museums and galleries in New Zealand staff member or take on a volunteer who has an identifiable skill gap or who
will be involved in developing shows with needs their skill base developed in order to achieve well in the position, this
internationally contentious loans, but the proposed must be taken into account at the time of employment. We cannot set up our
Immunity from Seizure legislation – to assist with people to fail; if you cannot afford essential training, you cannot afford the
borrowing exhibitions organised elsewhere as well staff member.
as individual items for research or other purposes
– reminds us to attend at all times to the detailed There may well be something in New Zealand’s employment law which
establishment of a clear provenance.2 supports this position. But ignore it at your peril. Encouragement to advance
is also good professional practice and a critical part of being a good employer.
Another more explicit clause seeks to emphasise
and recognize a distributed national collection. Another revolved around retail activities. Here we’ve adjusted language, but
Where any work has been acquired by a publicly- kept with well-honed principles in relation to selling items from within
2014 May MAQ 13Dusting Off the Code of Ethics
exhibitions (see 2.4.d, 2.4.e). For the first time, we linear. Many aspects of the new code are straightforward, but others are and
have made explicit reference to the Artists’ Alliance will prove more contingent. Agreement may not be easily reached in some work
and the Arts Council, Creative New Zealand, as situations. Personal values intersect with others. There is a philosophy of ethics
agencies which may give advice on the payment of which impinges on discussions relating to ‘social responsibility, transparency
appropriate fees to artists, writers and others who and shared guardianship of heritage’.4
make a creative contribution to our presentations
(2.4.c). As for paying professional fees, we must. Our code is clearly a base document, a reference point. It would be good
to provide a simple index for easier reference. It would be good to create
Does it have legs? and debate a set of exemplars, and to write up differently-scaled case studies.
While the code continues in sections according to what role in a museum you
Less easy to discuss perhaps in the egalitarian, occupy, we recognise that, particularly in smaller museums, staff play multiple
inclusive society in which we like to exist, is that roles and it’s not always possible to differentiate responsibilities so clearly. A
one consequence of updating the code, of making more fluid narrative version would also be really helpful, a principles-based
it more explicit in some areas, means that we must document, perhaps combined with examples of good practices. Our work is
be prepared to exclude from full membership of the never done but it’s as if, having agreed this, we can now move on.
association those who may not (or not yet) be able
to sign up to it. In this sense, it becomes a mark of And finally…
increasing professionalism, a good thing for us all.
The new MA code of ethics and professional practice is built on that
MA has created a new category of affiliate established by our international professional association ICOM, revised for
membership, especially for those who want to be Aotearoa New Zealand. It provides an up-to-date values-based compass in
in touch, to gain news and information, but who our work.
cannot for one reason or another adhere to the code.
As an accreditation system is introduced, useful It is an instrument to use to induct new governors and trustees, as well as
tools and professional guidelines will become new staff; it should be helpful in managing up as well as down within all
available for all who aspire to be full members. But our organisations. It can be the basis for promoting collegial discussions and
there are some organisations, perhaps privately decision-making.
funded, perhaps marae-based, who simply don’t
belong. Over time, I anticipate agreement to this The code comes with the endorsement of Museums Aotearoa and, as
code and accreditation impacting on our ability organisational members and individuals, we are effectively ‘signed up’. It’s our
to gain public funding, but only over time and responsibility now to become its champions – but not to be unquestioning
as the code becomes better understood and more and to always commit to clarification and possible improvements.
uniformly implemented.
A printed version of the Code of Ethics and Professional Practice is
So, does the code have legs? We’ll see and here’s included with this Museums Aotearoa Quarterly. I thank the huge range of
hoping. But it’s up to us and us alone. members involved in its re-freshment. Special thanks to the indefatigable
current board members, including Therese Angelo, Brett Mason and Eric
What’s next? Dorfman (Eric in particular for the appendix on Natural History Ethics)
and the unwavering engagement of Kaitiaki Māori, Michelle Hippolite,
One of the great pleasures of being involved in Rhonda Paku, Tryphena Cracknell and Manu Kawana. The breadth and
an exercise such as this is the chance to meet depth of commitment to the debates it has taken, is much apppreciated.
others facing similar issues in related professional
situations. I’d known Charlotte Davy, registrar at It is anticipated that all individual and organisational members are
the Art Gallery of New South Wales and president champions of ethical behaviour, routinely inducting new staff to the Code
of Australasian Registrars Committee, but a and incorporating its principles into their daily work. (p 3)
particular pleasure at the recent ARC conference in
Brisbane was meeting her sister Sarah. Director of Jenny Harper
acquisitions and research at the New Zealand Film Director, Christchurch Art Gallery
Archive she gave a well-formed and thoughtful
paper, ‘Keep calm and trust a Registrar: Rethinking
ethics and values in everyday collection decision- 1. The focus of the 2014 MA conference held in 3. Sarah Davy, ‘When good archivists go bad:
making’, distributing a version paper published in Napier, The Business of Culture, is itself a sign of the The role of ethics and values in everyday archival
the October 2013 edition of Archifacts.3 It’s worth times in this respect. decision-making’, Archifacts, October 2013, pp
a read – and, along with the new MA code – a 2. Immunity from Seizure legislation was introduced 11-22.
discussion with colleagues. in Australia in 2013 and its adoption in New 4. Janet Marstine, ‘The contingent nature of the
Zealand has been widely discussed in 2013-14. new museum ethics’, in The Routledge Companion
What a paper like Sarah’s points out is that the code Refer to the Ministry for Culture and Heritage for to New Museum Ethics, London, Routledge, 2011,
is just that: a formulation of principles, essentially progress with this legislation. pp 7, 10, cited in Sarah Davy, op cit, p 15.
14 MAQ May 2014You can also read
