m&gsq state conference 2011 - museums & galleries queensland · 2014-12-11 · making a...

MAKING A DIFFERENCE: M&GSQ State Conference 2011 1

M&GSQ State Conference 201111-13 August 2011Mackay, North Queensland

2 MAKING A DIFFERENCE: M&GSQ State Conference 2011

MAKING A DIFFERENCE: M&GSQ State Conference 2011

Thank you to our partners

Funding partners

Lanyard and nametag sponsorFreight sponsor

Keynote speaker sponsors

Lunch sponsor Morning tea sponsor

M&GSQ Staff: Rebekah Butler, Debra Beattie, Ann Baillie, Fiona Marshall, Jodi Ferrari, Donna Davis, Leisha Lawrence, Alia Bennett, Sara Dawson and Judy Kean

M&GSQ Board: Richard Baberowski, Geoffrey Ewing, Lisa Jones, Katrina North, Mary-Clare Power, Josh Tarrant and John Waldron

It is not possible to thank everyone, however M&GSQ would like to acknowledge:Conference Planning Committee – Richard Baberowski, Jo Besley, Joolie Gibbs, Christine Ianna, Billie-Jo Obst, Bronwyn Roper, Fe Skoufa and Michael WardellArtspace MackayMackay Tourism Bureau – Silje EalesGold Coast City Gallery, UQ Art Museum and Artspace Mackay for donating exhibition catalogues.


Museum and Gallery Services Queensland welcomes you to the 2011 State Conference.

Queensland is home to a dynamic network of more than 400 museums and galleries, each of which plays a vital role in enriching the cultural life of our State and broader communities. M&GSQ acknowledges the outstanding contribution of the staff and volunteers working in our sector and the great support of local government.

Held every four years, M&GSQ’s State Conference is a valuable opportunity for colleagues to come together to share information and experiences, celebrate significant achievements, network and to learn from leading state, national and international speakers.

The 2011 Conference, Making a Difference, explores salient themes of sustainability, collections, interpretation and engagement. The program also responds to the natural disasters of early 2011 featuring case studies from institutions, large and small, which highlight the sector’s great courage, strength and resilience.

On behalf of M&GSQ’s Board and Staff, I wish you a successful and rewarding conference.

M&GSQ extends its thanks to all those who have contributed to the development and presentation of the 2011 State Conference including Conference Planning Committee members, partners, sponsors and speakers. In particular, I would like to acknowledge the great support of our hosts Mackay Regional Council, Mackay Entertainment and Convention Centre and Artspace Mackay. I would also like to thank M&GSQ Staff for their hard work and commitment in presenting this exciting program.

Rebekah ButlerExecutive DirectorMuseum & Gallery Services Queensland

Welcome from Executive Director, Rebekah Butler

Conference USBM&GSQ would like to thank the conference satchel insert sponsors. Some of these have opted for a green alternative and have provided information on your Conference USB.

Your Conference USB contains this publication (Conference Program), a delegates list and information from:

Bosco Storage Solutions• Education Creations• Information Services and Technology Pty Ltd• Maxus Australia• Friends of the Gympie Regional Gallery• University of Queensland Museum Studies• Philips Strand Selecon• ERCO Lighting•


Conference Program Overview

Thursday 11 August

Friday 12 August

Saturday 13 August

Session details, abstracts and speaker biographies

Thursday 11 August

Plenary – Dealing with Disasters

Plenary – Agents of Social Change

Plenary – Build it… reconceptualising museum and gallery spaces

Plenary – Our Carbon Footprint

SOCIAL EVENTS

Friday 12 August

Plenary – Beyond the Walls… new media, public art and heritage interpretation

Plenary – Changing Nature of Collections

Lighting Mini Trade Show

Parallel Sessions

Practical Lighting Demonstration

Collaborations and Partnerships… success stories and lessons learned

New initiatives in collection management and preservation… challenges and successes

Galleries and Audience Engagement… enhancing access and learning

SOCIAL EVENTS

Saturday 13 August

Masterclasses and Skill Sessions

Tools and principles for the preservation of time-based media artworks

Developing an Exhibition: how do we go about it? Part 1

Smarter More Effective Marketing Part 1

Blueprint for museum and gallery professionals on methods of making art accessible to people

living with dementia and their carers

4 Keys to Confident Public Speaking

Developing an Exhibition: how do we go about it? Part 2


Retail in Museums and Galleries – Merchandise Planning, Purchasing and Production

CONTENTS

5

6

7

8

10

13

15

18

19

21

23

23

25

27

30

33

34

34

35

36

36

37

38

38


8.30am-9.00am

Registration

Foyer, Mackay Entertainment and Convention

Centre (MECC), Alfred Street, Mackay

9.00am-9.30am

Welcome

Hall A, MECC

Welcome to Country

Welcome to Mackay, Cr Col Meng, Mayor of

Mackay Region

Conference Opening: Rachel Nolan MP, Minister

for the Arts (via pre-recorded message)

Museum and Gallery Services Queensland

Welcome: Richard Baberowski, Chairperson

M&GSQ Board

9.30am-11.00am

Plenary: Dealing with Disasters

Hall A, MECC

Liza Dale-Hallett, Senior Curator, Sustainable

Futures, Museum Victoria

Rory McLeod, Director, Client Services and

Collections, State Library of Queensland

Lydia Egunnike, Senior Conservator,

Conservation Unit - Collection Preservation,

State Library of Queensland

Murray Massey and Dianne Smith, Cardwell

Historical Society

11.00am-11.30am

Morning Tea

Foyer, MECC

11.30am-1.00pm

Plenary: Agents of Social Change

Hall A, MECC

Jo Besley, Senior Curator Social History,

Queensland Museum, and Churchill Fellow 2009

Fiona Foley, Artist, Urban Art Projects / Mackay

Bluewater Quay

Adriane Boag, Educator, Youth and Community

Programs, National Gallery of Australia

Dr Adele Chynoweth, Curator (ATSIP Team),

National Museum of Australia

1.00pm-2.00pm

Lunch

Foyer, MECC

2.00pm-3.00pm

Plenary: Build it… reconceptualising

museum and gallery spaces

Hall A, MECC

Deborah Tranter, Director Cobb+Co Museum and

Regional Services, Queensland Museum

Richard Baberowski, Vantage Arts

3.00pm-3.30pm

Afternoon Tea

Foyer, MECC

3.30pm-5.00pm

Plenary: Our Carbon Footprint

Hall A, MECC

Guy Abrahams, Art and Environment Consultant

Norman Richards, Building Design & Interiors

and Steve Chaddock, Timeline Heritage

Consultants

Richard Crampton, Technical Director –

Mechanical and Emrah Baki Ulas, Associate

Lighting Designer, Steensen Varming

SOCIAL EVENTS

5.00pm-6.00pm

Viewing of Sugar Strike Exhibition

Mackay City Library Foyer, Civic Centre Precinct,

Mackay

6.00pm-7.00pm

Welcome drinks at Artspace Mackay

Viewing of Contemporary Miniatures, Queensland

Art Gallery Travelling Exhibition

Artspace Mackay, Civic Centre Precinct, Gordon

St, Mackay

Choice of Networking Dinners

(Ask at Registration Desk for restaurants and

locations)

CONFERENCE PROGRAM OVERVIEW THURSDAY 11 AUGUST


8.30am-9.00am

Registration



9.00am-10.30am

Plenary: Beyond the Walls… new media,

public art and heritage interpretation

Hall A, MECC

Craig Walsh, Artist

mervin Jarman, Community art activist and a

founding member of the UK’s Mongrel Collective

Dr Sarah Barns, Director, Sitelines

10.30am-11.00am

Morning Tea

Foyer, MECC

11.00am-12.30pm

Plenary: Changing Nature of Collections

Hall A

Richard Gagnier, Head of Conservation, Montreal

Museum of Fine Arts, Canada

Liz Wild, Conservator, Sculpture Conservation

Department, Queensland Art Gallery | Gallery of

Modern Art

Dr Graeme Were, Lecturer in Museum Studies,

School of English, Media Studies and Art History,

University of Queensland

12.30pm-1.30pm

Lunch

Foyer, MECC

1.00pm-1.30pm


Artspace Mackay Foyer, Civic Centre Precinct,

Gordon Street, Mackay

1.30pm-3.00pm

Parallel Sessions

Practical Lighting Demonstration Session

Artspace Mackay, Contemporary Miniatures

Gallery, Civic Centre Precinct, Gordon Street,

Mackay

Presenters:

Grant Parker, Sylvania Lighting Australasia

Peter McKenzie, Philips Strand Selecon

Nathan Wilson-Rynell & Mark Hoppe, Raylinc

Lighting

Collaborations and Partnerships… success

stories and lessons learned

Hall A, MECC

Presenters:

Bronwyn Roper, Museum Development Officer,

Central Queensland, Queensland Museum

Christine Turner, Artist, Collective Insite Project

Judy Rose, Artist and Health Worker

New initiatives in collection management

and preservation… challenges and successes

Meeting Room 1, MECC

Presenters:

Elisabeth Gondwe and Petrina Walker, North

Stradbroke Island Historical Museum

Brian Crozier, Crozier Schutt Associates

Christine Ianna, State Library of Queensland

Hannah Perkins, Assistant Curator, Queensland

Museum

Galleries and Audience Engagement…

enhancing access and learning


Presenters:

Gillian Ridsdale, Curator Public Programs,

University of Queensland Art Museum

Justin Bishop, Exhibitions Manager, Cairns

Regional Gallery

Karen Tyler, Venue Director, Redcliffe City Art

Gallery

Andrew Gill, Manager Cultural Services,

Bundaberg Regional Council

CONFERENCE PROGRAM OVERVIEW FRIDAY 12 AUGUST


Buses will depart MECC at 3.05pm and 3.10pm

3.15pm-4.00pm

Community Launch: Fiona Foley Public

Artworks

Bluewater Quay, River St, Mackay

4.00pm-5.00pm

Self Guided Walk of Fiona Foley Public

Artworks


(see page 33 for details)

SOCIAL EVENT

5.30pm-8.30pm

Conference BBQ Dinner


Buses will depart Bluewater Quay at 8.30pm

and 8.40pm for CBD/MECC

CONFERENCE PROGRAM OVERVIEW FRIDAY 12 AUGUST SATURDAY 13 AUGUST

9.00am-9.30am

Registration



9.30am-11.00am

Masterclasses/Skill Sessions

Tools and principles for the preservation of

time-based media artworks


Presenter: Richard Gagnier, Head of

Conservation, Montreal Museum of Fine Arts,

Canada

Developing an Exhibition: how do we go

about it? Part 1


Presenter: Brian Crozier, Co-principal, Crozier

Schutt Associates museum consultants



Presenter: John Paul Fischbach, CEO & Founder,

Auspicious Arts Incubator

Blueprint for museum and gallery

professionals on methods of making art

accessible to people living with dementia

and their carers


Presenter: Adriane Boag, Educator, Youth

and Community Programs, National Gallery of

Australia

11.00am-11.30am

Morning Tea

Foyer, MECC

11.30am-1.00pm




Presenter: Dr Jude Pippen, Co-Director,

Creative Regions Ltd


about it? Part 2








Retail in Museums and Galleries:

Merchandise Planning, Purchasing and

Production


Presenter: Colleen Tuxworth, Principal, Cultural

Retail

SATURDAY 13 AUGUST


Session details, presentation abstracts and

speaker biographies

9.30am-11.00am

Plenary: Dealing with Disasters

Hall A, MECC

Liza Dale-Hallett

Senior Curator, Sustainable Futures,

Museum Victoria

Making Meaning from Ashes - Developing the

Victorian Bushfires Collection

Sponsored by

Museum Victoria established the Victorian

Bushfires Collection in the days and weeks

following Black Saturday. This talk will illustrate

some key elements of the emerging collection

and related public programs and reflect on

the role of museums in the aftermath of

contemporary natural disasters, the potential of

museums to contribute to community healing,

and the role of public engagement in making

meaning from disaster.

Since February 2009, Australia has experienced

yet more ‘unprecedented’ natural disasters

– floods, cyclones, droughts and bushfires.

The realities of climate change present a very

real challenge to museums of all sizes. What

unique role do museums play in the face of

contemporary disasters, and how can we

assist the community in making meaning from

catastrophe?

Biography

Liza Dale-Hallett has

worked as a history

curator in Museum

Victoria since 1987.

Liza is responsible for

the development of the Victorian Bushfires

Collection, which emerged following the 2009

Black Saturday bushfires. This project has

involved the collection of audio and video

interviews, objects and images that document

the diversity of experiences and impacts of

bushfire across Victoria.

Liza is committed to active community

participation in creating and interpreting their

own stories and has received a number of

important industry awards for her work in

community engagement and multimedia.

Other areas of curatorial research include:

contemporary domestic water use in

Melbourne; the role and impact of women

in agriculture; the history of the agricultural

enterprise of H.V. McKay; and the impact of

climate change on the lifestyle, environments

and future of communities in Victoria. As

Chairperson of Museum Victoria’s Climate

Change Committee, Liza has been involved

in research relating to carbon reduction

strategies, corporate bicycle fleets and

behavioural change.

Rory McLeod

Director, Client Services and Collections,


The Implementation of a Disaster Preparedness

and Recovery Plan: What We Learned

The January 2011 floods visited disaster on

many parts of the State – the State Library of

Queensland, situated directly on the Brisbane

River, was hit pretty hard. Water levels were

higher than the warnings predicted and the

inundation closed the Library for a month and

the car park for several months. But we lost

nothing of great value or significance to the

State. This session takes a look at the State

Library’s response to the floods with a particular

reference to our disaster preparedness work

and its implementation in the face of a really

THURSDAY 11 AUGUST


significant threat. The session looks at the

importance of detailed and tested Business

Continuity Planning with crisis management as

a subset of that, at communications options and

issues, at challenges faced in getting back on our

feet and the role of staff in all of this.

Biography

Rory McLeod is the

Director, Client Services

and Collections at

the State Library of

Queensland (SLQ).

Client Services and Collections is the

largest part of SLQ, covering some 200

people. The directorate is responsible

for all Library Services, Learning and

Participation Programs, Indigenous Research,

Building Development and Design, all

Library Collections and The Edge. Rory

has previously held senior posts in digital

asset management, long-term information

management, change management and

general business for both the State Library of

NSW and the British Library in London, where

he worked for nine years. Rory also ran his

own consultancy in the UK, specialising in

the long-term information challenges of the

nuclear industry.

Lydia Egunnike

Senior Conservator, Conservation Unit -

Collection Preservation, State Library of

Queensland

A conservator’s response to the South-East

Queensland Flood

This paper examines the role of the conservator

in the disaster recovery of heritage collections

and shares the many lessons learnt from the

recent floods in Queensland. The discussion

will be based on personal experiences and will

suggest recommendations for dealing with

future disasters. The paper will describe the

complexities of coordinating the salvage of a

large private photographic collection and the

resulting need to revisit currently recommended

salvage priorities. It will also reflect on the role

of conservation outreach and the challenges of

providing practical advice for those dealing with

the state-wide distributed collection.

Biography

Lydia is Senior

Conservator at the State

Library of Queensland.

She trained in paper and

photographic conservation

at Camberwell College of Arts, London and

holds a Masters of Applied Science in Cultural

Conservation from the University of Canberra.

She completed a two-year research fellowship

in photographic conservation at the Image

Permanence Institute (RIT) and George

Eastman House, USA. Throughout her career,

Lydia has been actively involved in disaster

planning and training and has practical

experience in a diverse range of disasters.

Murray Massey and Dianne Smith

Cardwell and District Historical Society

Embracing Yasi

Sponsored by

History uncovered. Nature restored. Sand

dunes reinstated. Treasured relics from the

1800s lay soaked amid the debris in Cardwell’s

J. C. Hubinger Museum after Tropical Cyclone

Yasi, while out front the remains of the town’s

original 1871 jetty were exposed in the mudflats,

perhaps for the first time in a century. The

perpetual conflict between destruction and

creation, expiry and renewal!

On that tempestuous night of 2 February 2011,

not all Yasi’s energy was bent on destruction. It

tore away buildings, stripped the forests, rattled

THURSDAY 11 AUGUST


the foundations of our existence and washed

away much of Highway One. Yet it reinstated the

open, gently sloping sand dunes on Cardwell’s

foreshore, raised the level of the beach, and

restored the panoramic bay views and freedom

for the sea breeze.

Now governments are giving reconstruction of

Highway One priority over Cardwell’s foreshore.

Tarmac on top of sand dunes!

Yasi destroyed man-made relics but reinstated

the sustainable natural order. History, we

believe, is beckoning, and pointing to the

prudent road to our future.

Murray Massey Biography

A journalist for 40 years,

Murray wrote on politics,

business and finance for

media outlets including the

ABC, Australian Financial

Review, BRW magazine and Gold Coast

Bulletin. Freelance writing, court reporting

and working as a ministerial press secretary

are part of his experience.

In retirement he has been documenting

history for the Cardwell and District Historical

Society, including its recent publication, The

Calophyllum Shore - A Cardwell Memoir,

and building the Society’s website www.

cardwellhistory.com.au. Murray’s 99-year-

old family home, a hallmark of his Cardwell

ancestry dating from the 1860s, was ravaged

by Cyclone Yasi.

Dianne Smith Biography

Dianne’s experience

is principally in

administration, in roles

as varied as business

owner-operator of a retail

plumbing outlet, owner-operator of a holiday

park, and 15 years experience in quality and

compliance in aged care.

Dianne has been an advocate, administrator

and worker for small communities and

volunteer organisations for more than 25

years, including as executive member of the

Cardwell and District Historical Society for

four years. With a passion for history and the

retention of a community’s historic memory,

Dianne uses her administrative talents to

support the Historical Society in its ongoing

endeavours to record Cardwell district history.

11.00am-11.30am

Morning Tea


Centre

11.30am-1.00pm

Plenary: Agents of Social Change

Hall A, MECC

Jo Besley

Senior Curator Social History, Queensland

Museum, and Churchill Fellow 2009

Closure? Or opening? Museums as ‘crucibles’ for

identity, healing and recovery

In 2006, New York Times critic Edward Rothstein

described how museums are becoming

“crucibles: places where a cultural identity is

hammered out, refined and reshaped”. This

presentation takes this vision of museums as

active, generative spaces and explores how

museums can tackle issues of identity and more

particularly, contemplate and interpret difficult,

contentious, even incomprehensible, events and

experiences. Drawing on personal curatorial

experience with local projects, alongside

international examples from a recent Churchill

Fellowship, Jo will look at the potential for

museums to be spaces that encourage ‘opening

up’. Opening, as opposed to the popularly-held

THURSDAY 11 AUGUST


notion of ‘closure’, leads participants to develop

new narratives and accounts of their experience,

with the potential for reconciliation and recovery

by sharing these accounts through exhibitions

and other museum projects.

Biography

Educated in architecture

at the University of

Queensland, Jo Besley

is now Senior Curator at

the Queensland Museum

(QM), with responsibility for planning and

implementing the museum’s program of

social history exhibitions and managing social

history collections. Prior to joining QM in

2011, Jo was Senior Curator at Museum of

Brisbane and was responsible for exhibitions

such as Silky Oak, Remembering Goodna:

stories from a Queensland mental hospital

and Taking to the Streets: two decades that

changed Brisbane 1965-1985. In 2009, she

was the recipient of a Churchill Fellowship,

which explored the role that museums have

in assisting communities and individuals

to recover from traumatic events and

experiences.

Fiona Foley

Artist, Urban Art Projects / Mackay

Bluewater Quay

Public Art Laced with Memory

How do you make art that is relevant for a group

of people, a city or a region? The starting point

for me was to look into the history of Mackay.

Its beginnings, its silences and its uncomfortable

truths. Understanding the history of the site

starts to build a deeper layer of cultural integrity.

This is the way I begin the premise for my larger

public art commissions.

It requires a certain type of intellect to look at

the big picture and weave a narrative into the

complexities of a modern society, like the one

that is unique to Mackay. It means that I have to

communicate with a variety of people, at times

I have to be humble and listen, at other times I

have to be single-minded and fight for a creative

idea to be in the public arena. The process can

be smooth going and at other times it can be

very restrictive.

Biography

Over the last 20 years,

Fiona Foley’s work has

addressed the history

of race relations in

Australia since colonial

times, often utilising recent research into

previously untold histories. Her work utilises

various media, such as printmaking (etching),

painting, photography and sculpture. She

has received a number of major public

art commissions, including Black Opium

(2006) for the State Library of Queensland

(referencing Queensland’s ‘Aboriginal

Protection and Restriction of the Sale of

Opium Act 1897’), Witnessing to Silence for

the Brisbane Magistrates Court in 2004, The

Lie of the Land for the Melbourne Museum

in 1997, and The Edge of Trees with Janet

Laurence for the Historic Houses Trust of

NSW, Museum of Sydney in 1994.

Adriane Boag

Educator, Youth and Community Programs,

National Gallery of Australia

Art and Alzheimer’s Outreach Program case

study

In 2007 the National Gallery of Australia

(NGA) in partnership with Alzheimer’s Australia

conducted a six-week pilot program to test the

potential of interactive tours of works of art for

people living with dementia. The aims of the pilot

program were to increase well-being and quality

of life for participants through engagement

THURSDAY 11 AUGUST


with the visual arts in a gallery or museum.

The success of the pilot, the enjoyment and

expectations of participants and the findings of

an evaluation prompted the NGA to continue and

develop the program.

In 2009, the Gallery received a grant to establish

an Outreach Program. The aim of the Outreach

Program is to assist arts and health professionals

in remote and regional communities implement

tours in museums and galleries for people living

with dementia. Training workshops for arts

and health professionals were delivered in Port

Macquarie, Newcastle and Ballarat.

In 2010, the Gallery extended the Outreach

Program to deliver training workshops in a

further six locations, including Queensland.

This presentation will outline the experience

and benefits of the program at the NGA and the

impact of the Outreach Program on remote and

regional communities. It will include an outline of

the benefits of Art and Alzheimer’s programs on

museum practice and participants.

Biography

Adriane Boag is an art

educator at the National

Gallery of Australia

with responsibility

for developing and

coordinating access programs for youth and

community groups. Adriane has a Visual

Arts degree with Honours in Painting and

Sculpture from Sydney College of the Arts,

Sydney, Australia. Adriane has over twenty

years teaching experience in tertiary and

museum visual art education. Adriane

coordinates regular tours for a wide variety

of specialised audiences, including people

living with dementia, and is the facilitator

of the Art and Alzheimers’ Program at the

National Gallery of Australia. In 2009,

support from the Department of Health and

Ageing made possible the development and

delivery of the Art and Alzheimer’s Outreach

Project. The Outreach Project’s aims and

objectives support sustainable regionally

specific programs in galleries for people living

with dementia. A two-day training workshop

for arts and health professionals has been

developed from the experience gained within

the current Art and Alzheimer’s program at

the National Gallery.

Additional special access programs are an

established feature of Education and Public

Programs planning and programming.

Consultation with a variety of community

organisations has resulted in partnerships

with Alzheimer’s Australia, residential care

facilities, ArtsAbility ACT, Carers ACT and

the Vision Section of the ACT Department of

Education. A focus of her Gallery work with

youth is the National Gallery of Australia

and National Australia Bank Summer Art

Scholarship, an annual week-long art

immersion program for sixteen year 11

students selected from each state and

territory of Australia.

Dr Adele Chynoweth

Curator (ATSIP Team), National Museum of

Australia

Developing the exhibition, Inside: Life in

Children’s Homes

Inside: Life in Children’s Homes is an Australian

Government-funded exhibition which will

represent the experiences of former residents

of Children’s Homes within Australia during the

twentieth century. The exhibition, which will

open in November 2011, was announced by

former Prime Minister, Kevin Rudd, as part of the

National Apology to Forgotten Australians and

former Child Migrants.

THURSDAY 11 AUGUST


As part of the exhibition, the National Museum

has developed a website (http://nma.gov.au/

blogs/inside), which encourages former residents

of Children’s Homes to share their personal

narratives online. Currently (March 2011),

on average 330 people log on daily and this

number is steadily increasing. The website also

contains recollections of experiences in out-

of-home “care”. This presentation will discuss

the challenges that have emerged during the

development of the exhibition, Inside: Life

in Children’s Homes and how the exhibition

website has assisted in addressing some of these

challenges.

Biography

Adele Chynoweth studied

theatre direction at

the Flinders University

Drama Centre in South

Australia. In 2002, she

was also awarded a PhD for her research in

contemporary Australian feminist drama. Her

performance research, which emphasises the

politics of representation, has been published

in various international academic journals. In

2001, Adele was employed as the researcher

and writer for the Memory Museum, a site

specific multi-media installation created

for the Centenary of Australian Federation

Celebrations. Adele is currently a Visiting

Fellow within the School of Cultural Inquiry at

the Australian National University and is also

Curator for the pending exhibition, Inside:

Life in Children’s Homes at the National

Museum of Australia.

1.00pm-2.00pm

Lunch


Centre

Sponsored by

2.00pm-3.00pm

Plenary: Build it… reconceptualising

museum and gallery spaces

Hall A, MECC

Deborah Tranter

Director, Cobb+Co Museum and Regional

Services, Queensland Museum

Museums and Communities: Changing

Dynamics: An analysis of the Cobb+Co Museum

in Toowoomba

The engagement between museums and their

stakeholder communities needs greater attention

if they are to share a creative future together.

Of seminal importance is the fact that museums

can play substantial leadership roles within

communities. This occurs when the relationship

between the museum and its community

becomes entrenched with shared values.

These values can facilitate social, cultural, and

economic benefits for both museums and their

communities.

This presentation analyses the third-stage

transformation of the Cobb+Co Museum

in Toowoomba, Queensland, providing an

example of the positive effects that the

changing dynamics between museums and their

communities can have, particularly in regional

areas.

Although marked by a structural change

completed in September 2010, the third-stage

transformation was moulded by the Museum’s

community engagement strategies and reflected

in changing visitor experiences and the

community’s embracement of heritage values.

THURSDAY 11 AUGUST


Biography

Deborah Tranter is the

Director of the Cobb+Co

Museum in Toowoomba,

which opened its stage

three development – the

National Carriage Factory in September 2010.

In addition, Deborah holds the position of

Director, Queensland Museum Regional

Services, which is responsible for delivery of

museum services across Queensland.

She is the author of a number of publications

on the Cobb & Co. Coaching Company, and

on using museums as places for learning. As

part of her PhD thesis she completed a major

study to ascertain the public value of the

Queensland Museum.

In 2000, she was awarded an Order of

Australia Medal for her contribution to cultural

heritage and cultural tourism in regional

Queensland.

Richard Baberowski

Vantage Arts

Planning for the unexpectedly special

After a cascade of deficits and extreme weather

events, there is a greater sense that ‘things

fall apart that the centre cannot hold’. This

challenging context is also a real opportunity for

the museum and gallery sector. But how does a

sector shaped largely by the booming 70s and

80s cope with the demands to deliver ever more

for less?

This presentation will examine an ambitious

strategy to create a region with culture at its

core. Driven by Council amalgamations rather

than prophetic insight into the global malaise,

the Moreton Bay Regional Council has developed

innovative arts infrastructure and operational

strategies. Together these will potentially

position the region well during and after the

churn of amalgamation and the GFC. The aim is

to build a confident self-organising community

that generates unexpectedly special cultural

activity. The overall promotional strategy is built

upon a strong ‘cultural heart’ brand and online

portal. The paradox is that despite its strong

vision the ‘cultural heart’ roll out will be severely

tested by reductions in staff and operational

budgets.

Biogaphy

Richard has worked with

or in local government

for over 17 years. His

responsibilities as a senior

bureaucrat included the

development of major arts infrastructure and

the ‘Cultural Heart’ strategy.

As an arts consultant he has worked across

Queensland including: Mitchell, Cardwell,

Rockhampton, Mackay, Noosa and Redlands.

He left Council last January to go back into

consultancy, develop primitive art exhibitions

and to campaign in the next local council

elections.

Richard is currently:

• A University of the Sunshine Coast faculty

advisory committee member;

• A Regional Galleries Association of

Queensland board member; and

• A Director and Chairperson of Museum and

Gallery Services Queensland.

3.00pm-3.30pm

Afternoon Tea


Centre

THURSDAY 11 AUGUST


3.30pm-5.00pm

Plenary: Our Carbon Footprint

Hall A, MECC

Guy Abrahams

Art and Environment Consultant

Climate Change, Sustainability and the Arts

Throughout history the arts have played a major

role in recording and reflecting the state of our

society and of the natural world. At certain times

we have needed the arts also to be a catalyst

for change, a call to action, a pricking of the

collective conscience. I believe that now is one

of those times. This presentation gives a brief

summary of current climate change science, the

challenges that this science poses, and what

broad measures may be undertaken to meet

those challenges. I will then review a variety of

Australian and international arts-based initiatives

that bring about positive engagement with

environmental issues, particularly sustainability

and climate change. The presentation concludes

with proposals for further ways in which the

arts could enhance broader understanding

of sustainability and climate change and

contribute to the implementation of personal

and institutional actions that address these

environmental crises.

Biography

Guy Abrahams was Director

of Christine Abrahams

Gallery in Melbourne for 22

years. He has been a Board

member of the Melbourne

Art Fair and the National Gallery of Victoria

Art Foundation, and National President of the

Australian Commercial Galleries Association.

He is currently on the Board of the

Australian Tapestry Workshop and the City of

Melbourne’s Art and Heritage Panel.

Guy holds Law and Arts degrees, as well as

a recently completed Master of Environment.

In 2009, he was trained by former US Vice

President Al Gore to give presentations on

climate change. Guy is a Co-Founder of

the not-for-profit organisation, CLIMARTE:

Arts for a Safe Climate, and he now speaks

regularly on the role of the arts sector in the

climate debate.

Norman Richards, building design +

interiors and Steve Chaddock, Timeline

Heritage Consultants

Greening Museums and Galleries – Artspace

Mackay case study

We consider the greening challenge for Artspace

Mackay, a 10-year-old purpose-built regional

gallery facility, by asking the question: how could

the gallery reduce its carbon footprint whilst

maintaining its current conservation and display

standards? We consider the gallery operation

as a whole with a particular focus on energy

efficiency in lighting and air conditioning.

Norman Richards

Biography

Norman Richards designs

buildings and interiors

remarkable for their

elegant form, comfort and

low environmental impact.

He received a Bachelor of Architecture and

a Bachelor of Environmental Studies from

Waterloo University in Ontario, Canada and

opened his own design/build practice in

Toronto in 1987.

In 1999 he moved to London where

he worked for clients such as the 2002

Commonwealth Games, Habitat and Bentley

Motors.

THURSDAY 11 AUGUST


In 2004 he moved to Maleny and established

Norman Richards building design + interiors.

Norman Richards’ work was recognised at last

year’s National Design Awards, winning “Best

Residence (up to 250 sqm)” in Australia.

Norman adds the National Award to a

collection of State and Regional awards as

well as many prestigious international design

awards including the Royal Architectural

Institute of Canada Medal and the City of

Toronto Urban Design Award.

Steve Chaddock

Biography

Steve started his career

as an Archaeologist in the

UK, so it was a natural

progression to complete

his Masters in Museum Studies at UCL - going

on to work in the European heritage sector

for 11 years.

In 2005, Steve and his family immigrated

to the Sunshine Coast Hinterland where

he learnt first-hand about heritage issues

in Australia as Heritage Project Officer for

Caloundra and then Sunshine Coast Regional

Council. He established independent Timeline

Heritage Consultants in 2006 - which aims

to deliver heritage consultancy services

to Australian clients with a clear focus on

interpretation. He continues to support the

wider museums and galleries community

through his role as Reviewer in the Museum

and Gallery Services Queensland Standards

Program.

Throughout his practice, Steve has

maintained an interest in green agendas such

as energy efficiency and waste minimisation,

and in 2011 he was awarded a postgraduate

degree in Sustainable Enterprise from Griffith

Business School.

Emrah Baki Ulas, Associate Lighting

Designer and Richard Crampton, Technical

Director – Mechanical, Steensen Varming

Key Findings, Technical Industry Report – Gallery

And Museum Lighting And Air Conditioning

Appropriate environmental parameters for

cultural collections and exhibitions are currently

a major topic of discussion on an international

level for museums and galleries. Best practice

expectations for environmental conditions are

evolving, and the need for tightly controlled

environments is being questioned in this era

of sustainability and energy use. By how much

can these conditions be relaxed without causing

damage to the items contained within them?

The answer is complex as it varies between

material types, climates and use of areas.

It also cannot be undertaken unilaterally in

Australia as most museums receive loan material

with strict environmental display conditions.

Another key development for the museums

and galleries is the Government’s intention to

phase-out inefficient incandescent lamps to

reduce Australia’s greenhouse gas emissions

and contribute to international efforts to tackle

climate change. Apart from the Government

legislation, some of the key lamp manufacturers

are phasing-out certain light sources. While the

phase-out of incandescent lighting is expected to

have long-term environmental and cost-saving

benefits, it has impacted on Australia’s museum

and gallery sector, with many facing the costly

replacement or significant upgrade of existing

lighting infrastructure.

Steensen Varming and ICS have recently been

commissioned by Museum and Gallery Services

Queensland (M&GSQ) and Regional and Public

Galleries Association of NSW (RPG NSW) to

produce a technical industry report that informs

galleries and museums on future options for

economically and environmentally sustainable

methods of display environments, preservation

THURSDAY 11 AUGUST


and storage of art and cultural material using

appropriate technology, products and systems,

which also comply with recent government

legislation. In June 2011, a comprehensive

museum and gallery lighting and air conditioning

survey was undertaken, in order to understand

and evaluate the needs of the sector in detail

and to tailor solutions to respond to specific

issues.

The purpose of this presentation is to provide

the audience with the key findings of the project,

and to discuss the outcomes of the research and

evaluation of the current and future trends, and

assist museums and galleries in making informed

decisions to improve their operations, upgrade

their systems towards best practice energy

efficient lighting and climate control systems.

Richard Crampton

Biography

Richard’s role as a

Technical Director requires

him to lead a team

of project engineers,

designing systems and plant from conception

to tender stage and he has substantial

experience in site-based engineering during

the construction phase of a project.

Richard has a strong professional interest

in close-control air conditioning work, which

began during an in-industry year at the

National Physics Laboratory in the UK during

his university course. He now has substantial

experience in this field, which is particularly

important on many heritage projects that

have sensitive temperature and humidity

requirements.

Richard has been a member of Steensen

Varming since 2002. His expertise and

experience in mechanical building services

includes the Sydney Opera House; National

Gallery of Australia, New Aboriginal Memorial

Galleries and Art Services Areas; National

Gallery of Australia, Priority upgrade works;

and The Mint, Historic Houses Trust of NSW

Heritage Site.

Emrah Baki Ulas

Biography

Emrah is a ‘light’

enthusiast. His career with

‘light’ began when working

for the International

Instanbul Biennial, and numerous other

international events organised by Instanbul

Foundation for Culture and Arts, where he

worked during his university years. Following

his undergraduate degree in Bogazici

University Istanbul/Turkey, he undertook

a Master’s degree in Architectural Lighting

Design at the University of Wismar/Germany.

He has taken part in various international

lighting events, given seminars in lighting

conferences and events in Australia,

Germany, UK, Canada and Italy. His

wide-ranging work includes prestigious

architectural lighting projects as well

as research papers on lighting, musical

compositions, sound and light installations,

collaboration on short films and luminaire

design.

Emrah has been a member of Steensen

Varming since 2006. His expertise and

experience in lighting design includes the

Sydney Opera House; Surry Hills Library

and Community Centre; and the Australian

Museum Research and Collections Building.

THURSDAY 11 AUGUST


SOCIAL EVENTS

5.00pm-6.00pm

Viewing of Sugar Strike Exhibition

Mackay City Library Foyer, Civic Centre

Precinct, Mackay

Sugar Strike – The Impact of the 1991 Sugar

Strike on the Mackay Region

The museums of the Mackay region have

joined together to tell the story of the

sugar industry’s first major industrial strike,

including events occurring in Mackay that

lead to major changes throughout the

industry.

On display at the Mackay City Library from 5

to 14 August 2011.

6.00pm-7.00pm

Welcome drinks at Artspace Mackay

Civic Centre Precinct, Gordon St, Mackay

Viewing of Contemporary Miniatures,

Queensland Art Gallery Travelling Exhibition

A collection-based exhibition drawn from

the Queensland Art Gallery’s holdings

of miniature paintings from South Asia,

Contemporary Miniatures explores the

dynamic visual language of miniature

painting and its continued significance in

contemporary art practice.

A significant thread in the exhibition is the

citing of imagery, texts and events from

the past to contextualise and comment on

contemporary issues. This is a Queensland

Art Gallery travelling exhibition, supported

by the Visual Arts and Craft Strategy,

an initiative of the Australian, State and

Territory Governments, administered by Arts

Queensland.

From 7.30pm

Networking Dinner

(at own cost - please take cash)

See Registration Desk for restaurants and

locations.

THURSDAY 11 AUGUST



speaker biographies

9.00am-10.30am

Plenary: Beyond the Walls… new media,

public art and heritage interpretation

Hall A, MECC

Craig Walsh

Artist

Digital Odyssey

Craig Walsh: Digital Odyssey commenced in

2010 as a national, multi-venue tour and artist

residency bringing internationally respected

artist Craig Walsh to rural and remote locations

throughout Australia. The project enabled

regional audiences the opportunity to not only

view but also become involved in the production

and presentation of unique and highly engaging

new media artworks whilst the artist resided in

each town for periods of three to seven weeks.

The project formed as a collaboration between

Craig Walsh and the Museum of Contemporary

Art (Sydney), along with State and regional

organisations and community groups.

Along the tour, Craig Walsh worked with people

and sites outside the traditional realms of art

galleries or museums. The works created in each

town have been guided and influenced by the

landscapes and histories of the local area, and

the project has been a catalyst for change within

the communities involved.

Biography

Craig Walsh was born in

Orange in 1966, and is

currently touring regional

Australia on the Digital

Odyssey project. He is

primarily interested in hybrid and site-specific

projects and the exploration of alternative

contexts for contemporary art. He often

utilises projection in response to existing

environments and landscapes. He has worked

across a range of art forms including theatre,

architecture, public works, gallery exhibitions,

natural environments and festivals.

His work has been shown in a number

of national and international exhibitions,

including the Jakarta Biennale XIII,

Indonesia; Yokohama International

Triennale of Contemporary Art, Japan;

01SJ Biennal San Jose, California; Museum

of Contemporary Art, Sydney; Koganecho

Bazaar, Japan; and DRIFT 08, London. He

is currently Adjunct Professor at Griffith

University.

mervin Jarman

Community art activist and a founding

member of the UK’s Mongrel Collective

Repatriating Technology

I decided to recover lost grounds by repatriating

what I was best known for: technology. This was

the birth of The Container Project, a return to

the place of origin to replace all that was with

all that is! So in 2003 The Container Project

was launched and the little boy who roamed the

streets as trash had now returned.

In 2008, we moved again but this time, to make

the offering internationally, we invented the

iStreet Lab, and created the iStreet World, this

time with real aims and purpose and a means of

fulfilling the dream of a frog.

Today I speak with you about this journey,

the one that took us not from point A to B but

beyond time and space, a journey that realises

dreams and ambitions, a journey that has

became the game changer in the lives of those

that it touched.

FRIDAY 12 AUGUST


Biography

mervin is a community art

activist, and a founding

member of the UK’s Mongrel

Collective (www.mongrel.

org.uk). He is a particular

kind of mongrel – a street art-activist

emerging in new media technology. In 2003

mervin initiated The Container Project (www.

container-project.net), a community media

lab in a 40ft shipping container in rural

Jamaica. In 2008, The Container Project

won the prestigious Stockholm Challenge

Award (www.stockholmchallenge.org). One

of mervin’s latest projects is the iStreet Lab,

a portable multimedia production studio in

a 240-litre wheelie bin. The iStreet Lab is

designed to take technology into the street in

a way that has not been done before.

Dr Sarah Barns

Director, Sitelines

Intangible presences: Re-locating archives for

heritage interpretation using mobile media

The future of the web is mobile. This

presentation will discuss what the mobile web

means for digital publishing, with a particular

focus on how mobile platforms can be used to

promote new encounters with archival collections

across a range of media formats. Insights will

be drawn from a number of recent projects I

have developed, including the ABC’s Sydney

Sidetracks pilot (2008), the Powerhouse Museum

Suburb Labs initiative (2010) and Past Forward

with ABC Pool (2011). These projects have

each explored what new connections might be

made in the mobile web between the spaces

of the archive and those of our contemporary

geographies, utilising recorded sound and oral

history, photography, film and map archives in

site-specific ways.

Biography

Dr Sarah Barns is a writer,

researcher and producer

based at the University of

Technology, Sydney. Her work

as an historical geographer

uses mobile media to engage audio-visual

archival materials for site-specific historical

interpretation.

In 2008, Sarah developed the ABC’s Sydney

Sidetracks platform (http://abc.net.au/

sidetracks), which presents extensive

historical documentation relating to over 50

sites of interest around the central Sydney

CBD, enabling users to explore documentary

recordings of the city via mobile phone. As

part of this project, she produced a series

of site-specific sound pieces featuring

historical recordings of the city from as

far back as 1945. The site was awarded

Best Multi-Platform Content at the ABC’s

2009 Digital Media Awards, and has been

internationally recognised for its innovative

uses of new technology to promote digital

storytelling around archival documentation.

She continues to work on digital cultural

geography projects with the Powerhouse

Museum, the Historic Houses Trust and the

ABC.

10.30am-11.00am

Morning Tea


Centre

Sponsored by

FRIDAY 12 AUGUST


11.00am-12.30pm

Plenary: Changing Nature of Collections

Hall A

Richard Gagnier

Head of Conservation, Montreal Museum of

Fine Arts, Canada

The concept of integrity as the guiding

framework to the preservation of time-based

media art and installation

Sponsored by

This project has been assisted by the Australian

Government through the Australia Council for

the Arts, its arts funding and advisory body.

For the past five years, the DOCAM Research

Alliance has been looking at issues of

preservation and documentation of time–based

media art works. Initiated by la foundation

Daniel Langlois, based in Montreal, Quebec,

this vast research endeavour has implemented

five research axes of investigation, namely

Conservation, Documentation, Cataloguing,

History of technologies and Terminology.

From these committees, tools and guidelines

were elaborated that would contribute to the

preservation of the media arts heritage.

Reflecting on the knowledge acquired through

the case study approach, the research committee

on Conservation examined different issues and

concepts which are becoming quite specific to

the guiding preservation issues of these works.

Keeping in mind the issue of obsolescence, one

has to reflect on the concept of authenticity.

Looking at specific examples drawn from the

case studies, authenticity could be defined as

the work’s integrity to be maintained since

significance and historical setting of an artwork

is not solely located within its original media

technology. Such an approach has certainly an

impact on collection management strategies,

on acquisition process and policy, as well as

implementation of equipment maintenance

programs. The preservation process is becoming

a shared responsibility between curators,

registrars, conservators and the museum’s

multimedia technicians.

Biography

Richard Gagnier has been

the Head of Conservation

at the Montreal Museum

of Fine Arts since Fall

2007. He graduated

from l’Université de Montréal with a B.Sc.

(Honour) in chemistry, and a minor in Art

History with a strong component on modern

and contemporary art, theory and discourse.

He completed the course requirements of

the master program in art conservation

(MAC) research stream of Queen University,

Kingston, Ontario. Eager to specialise in

issues of contemporary art conservation,

he joined the team of the Restoration and

Conservation Laboratory at the National

Gallery of Canada in the Fall of 1984 where

he successively developed expertise as

assistant-conservator and conservator of

contemporary art until the Summer of 2007.

His practice encompasses contemporary

art media such as painting, sculpture,

installation, as well as time-based media. He

was one of the research specialists on the five

year (2004-2009) Research Alliance project,

DOCAM (Documentation and Conservation of

the Media Arts Heritage) lead by la foundation

Daniel Langlois (Montreal), where he directed

the sub-committee on case studies for

conservation/preservation. He is currently

a member of a research group composed

mostly of art historians on the re-exhibition

of contemporary art under the leadership of

Francine Couture, art sociologist and teacher

in art history at UQAM (Université du Québec

à Montréal).

FRIDAY 12 AUGUST


Liz Wild

Conservator, Sculpture Conservation

Department, Queensland Art Gallery |

Gallery of Modern Art

Illustrated case study QAG | GoMA’s

Contemporary Art Collection

A popular image of conservators is often people

painstakingly cleaning paintings in a studio

or laboratory with a cotton wool swab. While

many conservation treatments are detailed

and painstaking, conservation of contemporary

art in particular requires innovative treatment

and display preparation approaches to unique

challenges. Installing fragile and complex

artworks is very much a collaborative approach

between the Gallery’s workshop staff, installation

team and conservators. Conservators offer

advice, work alongside and in some instances,

lead installation and workshop teams on some

projects.

This presentation will show three case studies

where contemporary artworks required

conservators’ involvement in formulating and

guiding practices for the safe display while

maintaining the artwork’s artistic integrity. The

works being discussed are: a ten metre by six

metre painting by Iranian artist, Shirana Shibazi,

[Schaedel-03-Painting-2008]; a life-sized

fibreglass elephant by Indian artist Bharti Kher,

The skin speaks a language not its own; and a

nine metre long photograph by Chinese artist,

WANG Qingsong, Night revels of Lao Li. It will

also briefly outline the conservation treatments

applied to these three artworks.

The Centre of Conservation of Contemporary

Art (CCAC), which is based at the Gallery of

Modern Art (GoMA) Conservation Laboratory,

will also be briefly discussed. Launched in 2006,

the CCAC was developed as an initiative of

GoMA. Its mission is to develop understanding

of the conservation implications of contemporary

art materials. The CCAC aims to become a

resource for conservation of contemporary art

both within Australia and throughout the region

internationally. Besides research programs, the

CCAC provides a professional workshop program,

internships and tertiary student support, and a

conservation public program.

Biography

Liz Wild, BArts, University

of Queensland (1992);

BAppSci, Conservation

of Cultural Material,

University of Canberra

(1995). Employment history includes:

Conservator, Museum Victoria; fellow in

Objects Conservation, National Gallery of

Art, Washington DC.; Conservator, National

Gallery of Australia. Liz is presently employed

as Acting Head of Conservation at the

Queensland Art Gallery | Gallery of Modern

Art with special interest in the conservation

of sculpture including contemporary

installations, Indigenous Australian art, metal

sculptures and outdoor sculpture.

Dr Graeme Were

Lecturer in Museum Studies, School of

English, Media Studies and Art History,

University of Queensland

Extreme collecting: archival legacies to collecting

futures

This presentation discusses ‘extreme collecting’

- a term used to denote those ‘difficult’ objects

that lie at the fringes of what is normally

considered acceptable practice in museums.

It summarises the key points of a series of

public debates held at the British Museum in

2007-8 that centred on discussing objects that

resist being collected for reasons of their size,

scale, materiality, marginality, legality, mass

production or for their political or ethical nature.

The debates intended to foster a critical debate

FRIDAY 12 AUGUST


about museum collecting practices and to move

towards identifying priorities for collection

policies that are inclusive of acquiring ‘difficult’

objects.

Biography

Graeme Were has a PhD

in Anthropology and is the

Convenor of the Museum

Studies program at the

University of Queensland.

His research interests include ethnographic

collections and university museums; digital

heritage and source communities; and the

anthropology of design. He has a regional

specialisation in the Pacific and has published

widely in this area, particularly in relation to

material culture. He is the author of Lines

that Connect: Rethinking Pattern and Mind in

the Pacific (University of Hawaii Press, 2010)

and the co-editor of the forthcoming volume

Extreme Collecting (Berghahn Books, 2012).

12.30pm-1.30pm

Lunch


Centre

1.00pm-1.30pm


Artspace Mackay, Civic Centre Precinct, Gordon

Street, Mackay

1.30pm-3.00pm

Parallel Sessions

Practical Lighting Demonstration

Artspace Mackay

The lighting companies will respond to the

phasing out of incandescent lighting and present

galleries and museums with their solutions for

lighting options, demonstrate their products and

answer delegate questions.

Grant Parker

Sylvania Lighting Australasia

www.sla.net.au

Biography

Based in Brisbane at the

Sylvania Lighting office

at West End, I have

been with the Sylvania

Lighting team for 10

months but have been in the lighting industry

for 15 years. I have worked with engineers,

contractors and the end-user to provide

solutions on various types of projects from

Retail to Commercial, Industrial as well as

exterior and urban beautification projects.

Where Innovation Comes to Light!

Sylvania Lighting Australasia (SLA) is a

vertically integrated designer, manufacturer

and distributor of lighting systems. With key

international partners and access to leading-

edge lamp technologies, SLA markets a

comprehensive selection of lighting fixtures

for architectural, industrial/commercial,

decorative and residential applications.

Complementary to this extensive range of

fixture products, SLA provides a unique

access to the diverse international lamp

market for incandescent, fluorescent,

compact fluorescent, high intensity discharge,

halogen, miniature incandescent and special

lamp sources.

Locally Sylvania Lighting Australasia markets

the respected brands of CONCORD, SYLVANIA

and because lighting is our only activity, we

can dedicate all our resources – technical,

financial and people – to our mission.

FRIDAY 12 AUGUST


Peter McKenzie

Australia Market Manager, Philips Strand

Selecon

www.seleconlight.com

Biography

Peter commenced his

entertainment career on

the wrong side of the

stage, as a professional

musician with the

Queensland Theatre Orchestra. After years

of touring the country, he realised his mistake

and moved behind stage.

As a qualified electrical contractor he

naturally turned his talents to theatre

lighting, managing one of the most successful

entertainment lighting companies in Australia

today, Lightmoves. It was at this time he

came to the attention of Jeremy Collins who

was the Managing Director of Selecon and

theatrical luminaire manufacturer based in

New Zealand.

Fifteen years ago, Selecon commenced

manufacture of a specialised range of display

lighting, based around their theatrical

luminaire knowledge, specifically designing

a range of display lighting for their major

clients, who included art gallery and museum

clients. The company went on to win many

awards and accolades for their display

luminaire range, and two years ago came to

the attention of Philips who purchased the

company.

Nathan Wilson-Rynell, Regional Manager,

ERCO Lighting

www.erco.com

Nathan Wilson-Rynell

Biography

Nathan has been in

the Australian lighting

industry for 18 years,

heading up ERCO’s

Oceania headquarters in North Sydney for

the past twelve. Nathan’s engineering degree

from QUT in 1992 eventually led him south to

Sydney’s northern beaches.

Nathan’s role at ERCO sees him working

on local and international projects, whilst

overseeing the continued growth of

the Oceania region. Nathan counts the

adaptation of ERCO’s ‘light not luminaires’

philosophy to the local market as his greatest

challenge, an ideology that appears more

accepted in the museum and gallery sector –

notwithstanding the advent of LED.

ERCO is an innovative leader in architectural

lighting. The family business founded in

1934, and still based in Germany, now

has over 60 offices and 1200 employees

worldwide. Making good architecture even

better through the right lighting is what we

see as our cultural contribution, ERCO – the

light factory.

FRIDAY 12 AUGUST


Collaborations and Partnerships… success

stories and lessons learned

Hall A, MECC

1.30pm-1.50pm

Bronwyn Roper

Museum Development Officer, Central

Queensland, Queensland Museum

Object Uncovering - the significant objects

held in the historical collections of the Central

Highlands

15-minute presentation

Six historical groups, Central Highlands Regional

Council and Queensland Museum’s Museum

Resource Centre for Central Queensland worked

in partnership to exhibit significant objects held

in local historical collections at a regional gallery.

This was the first time these historical groups

had worked together post-amalgamation.

Due to the Council amalgamations in

Queensland, local communities have feared

the loss of their identity. However this project

demonstrated how communities can maintain

this identity within new shared regional

boundaries.

Working on the premise that every object can

tell a story, groups worked with Queensland

Museum’s Museum Development Officer,

Bronwyn Roper, to tell the story of each

individual object. These objects were then taken

out of cluttered display cabinets and placed on

individual plinths in the Emerald Art Gallery, a

public art gallery that had not previously been

home to history exhibitions.

Funded by the Regional Arts Development Fund

and supported by the Central Highlands Regional

Council, this project enabled groups to realise

what was important in their collections as well as

keeping interpretive material produced for the

exhibition.

Biography

Bronwyn Roper is

Queensland Museum’s

Museum Development

Officer based in Central

Queensland. Bronwyn

has a Master of Arts (history), Graduate

Certificate in Museum Studies and Bachelor

of Arts (history and literature). As a Museum

Development Officer, Bronwyn works

with community museums to preserve

and interpret collections through training

programs and dedicated projects such as this

one. Bronwyn was a project coordinator and

curator for this exhibition and worked closely

with each group to draw out the story behind

each object, as well as sourcing funding and

support.

1.50pm-2.10pm

Christine Turner

Artist

Creative Insites: an innovative approach to

reinvigorating collections in a regional context


Collaborations between historical collections

and artists are not new, although very few have

taken place in a regional context where small

museums often make a significant contribution

to the cultural and economic fabric of the

community.

In 2010, the new Maryborough gallery, Gatakers

Artspace, received Regional Arts Development

Funds for a project that sought to stimulate

audience engagement and interest in local

museums through innovative approaches to

interpreting and examining their collections.

The Collective Insites project positioned

local museums as a place of relevance to

contemporary culture and local community.

FRIDAY 12 AUGUST


Over several months, five regional artists worked

with five historical collections towards a series of

exhibitions held in the gallery and on-site in the

museums from May to August in 2011.

The project provides a model for collaborations

between artists, galleries and historical

collections in regional areas, and gives an insight

into how creative approaches can invigorate the

interface between museums and their audience.

Collective Insites has been documented in a

blog, on ABC Pool, and in Place Stories. Links

can be found at http://www.creativehistories.

com

Collective Insites brought various elements

of a regional community together in a shared

project that forged strong connections between

local cultural institutions, and between those

institutions and the community. The creative

capital of local artists has been applied to

invigorating and strengthening these connections

and enhancing the economic potential of a

tourism activity. In the process, all benefit.

The local artists have the opportunity to

participate in a major project. The new gallery

space is activated. It develops a presence and

demonstrates how it can contribute to the shared

cultural fabric of the region. The museums

develop new and expanded audiences, and the

community is engaged in the project. There

are economic benefits from increased visitation

and from the publicity the project brings for the

museums, the gallery and the town.

Biography

Christine Turner is a

self-taught artist living

in Bundaberg. Her

art practice focuses

on contemporary

sculpture, assemblage and installation.

She also produces digital works and has been

developing a keen interest in photography.

Thematically her works address issues

relating to identity, memory, the body,

culture, power and the sacred.

Having commenced her art practice in

1988, she has exhibited extensively across

Australia. She was included in Frank McBride’s

Temperature 2004 exhibition of contemporary

Queensland Sculptors at Museum of Brisbane.

She has been a recipient of State and Federal

grants and is represented in public and

private collections.

2.10pm-2.30pm

Judy Rose

Artist and Health Worker

Be Kind to Your Mind... get involved in the arts


Be Kind to Your Mind... get involved in the arts,

a community arts project conducted in 2009,

aimed to bring together people affected by the

2008 Mackay flood to reflect on their experiences

and to acknowledge the incredible community

response during and after the flood.

The project was initiated by Mackay Public Health

Unit (Tropical Regional Services, Queensland

Health) as an extension of the Be Kind to Your

Mind campaign conducted in four sites in North

Queensland.

A partnership was established with the

Department of Communities and Mackay

Regional Council (Artspace Mackay and Creative

Mackay) which greatly enhanced the scope of

the project.

This presentation will focus on the following

questions:

What did the project look like?•

Why a community arts approach to •

community recovery?

FRIDAY 12 AUGUST


Why a partnership?•

Which partners and why?•

What were the partnership challenges and •

how were they overcome?

What outcomes did the project achieve?•

What lessons were learnt?•

Biography

Judy Rose is currently a

Medical Education Officer

at Mackay Base Hospital.

Previously she was a

Health Promotion Officer

with the Mackay Public Health Unit where she

coordinated projects including the Mackay

Community Arts Project. Judy began her

career as an art teacher and then advisor

with Education Queensland and has a Degree

in Fine Art from the Queensland College of

Art (now Griffith University) and a Master

of Education Degree from QUT. She is a

practicing artist, having had several individual

and group exhibitions and some success

in art awards. Judy is also a volunteer at

Artspace Mackay.

New Initiatives in Collection Management

and Preservation… challenges and

successes


1.30pm-1.45pm

Elisabeth Gondwe and Petrina Walker

North Stradbroke Island Historical Museum

Collaboration between the Walker Family and the

North Stradbroke Island Historical Museum

20 slides x 20 seconds each

This presentation of twenty slides will be co-

presented by Elisabeth Gondwe and Petrina

Walker and will explore the collaboration

between the Walker family and the North

Stradbroke Island Historical Museum since

2008. In 2008, Denis and Petrina Walker

deposited the Oodgeroo of the Tribe Noonuccal

Custodian of the Land Minjerribah Collection

at the Museum for safekeeping. The Museum

and the Walker family negotiated appropriate

intellectual property protocols that are based

on recognition of Aboriginal sovereignty, which

results in the principle of equity under Australian

Common Law. Put simply, equity means respect

and listening to one another. Covered in the

presentation will be the Oodgeroo Collection

Management Deed, exhibition development,

employment and training and the Cultural

Heritage Education Program being undertaken

by the committee. The relationship between

the Museum and the Walker family is vibrant

although not without challenges as we share the

Museum space and resources.

Elisabeth Gondwe

Biography

I work at the North

Stradbroke Island

Historical Museum

(NSIHM) 28 hours per

week as a curator/ethnographer. I have

been on the management committee for

ten years and have played a role in guiding

the development of the Museum. I have a

Master of Arts in Cultural Heritage Studies in

anthropology and archaeology. The NSIHM is

a small museum and this has enabled me to

work across many areas of museum practice:

curating exhibitions, capture of contemporary

social history, digitisation, collection

management, intellectual property policy

development, strategic planning, community

engagement, community development,

interpretive theatre and developing new

medium for collection access.

FRIDAY 12 AUGUST


Petrina Walker Biography

I am the granddaughter of Oodgeroo

Noonuccal (Kath Walker) and the joint

inheritor of her estate and copyright along

with my father Denis Walker. I work at the

North Stradbroke Island Historical Museum as

Oodgeroo Collection Custodian 15 hours per

week. I joined the management committee

when I deposited the Oodgeroo Collection

at the NSIHM in 2008. I am also on the

board of the Salt Water Murris Quandamooka

and am active in the indigenous cultural

life of Minjerribah. I work exclusively

with the Oodgeroo Collection undertaking

preservation, cataloguing, exhibition

development, processing research requests

and developing creative medium for public

access to the Oodgeroo Collection.

1.45pm-2.05pm

Brian Crozier

Crozier Schutt Associates

Linkages: Digital Connections between

Collections


Crozier Schutt Associates have completed over

20 statements of significance on Queensland

collections over the past three years. We have

also carried out a pioneering project to create

an online directory to collections on a particular

theme (in this case, the Marks family, well known

in Brisbane for over a century as scientists,

doctors, soldiers and businessmen). The

experience has demonstrated the possibilities in

linking digitised collections to document stories

that would otherwise be fragmented between

different agencies. The presentation will deal

with how the Marks collections were digitally

linked and with themes from other collections

that might be similarly treated.

Biography

Brian Crozier was, for

17 years, Senior Curator

of Social History at the

Queensland Museum,

where he curated 10

major exhibitions, and was responsible for

major advances in the Museum’s collection

management, including the Queensland

Museum Accessioning Resource Kit. He

taught museum studies for the University

of Queensland for 5 years. With his wife,

Faye Schutt, he has been a museum

consultant since 2008, completing 26

significance assessments on small museum

collections and major exhibition projects

for the Sunshine Coast and Croydon

Regional Councils, and on the history of the

Queensland Blind, Deaf and Dumb Institute.

Brian has recently completed an innovative

online directory to collections relating to

Brisbane’s Marks family.

2.05pm-2.25pm

Christine Ianna


Q-DIS – The Queensland Disaster Information

Network


The Queensland Disaster Information Network

(Q-DIS) was launched in December 2010 as

a cross-sectoral discussion group for sharing

information on disaster preparedness and

planning. From necessity it rapidly evolved into a

hub for posting news and updates on whom and

what had been affected by the unprecedented

weather events that impacted on Queensland in

the first weeks of 2011. Information posted to

the site could be either sector specific or more

general. It included links related to the salvage

of specific materials and calls for volunteers to

assist in a specific recovery project as well as

FRIDAY 12 AUGUST


media releases and information on disaster relief

and funding programs as soon as they became

available.

The presentation will discuss:

How a ‘social networking’ site such •

as Q-DIS can be used to facilitate

communication and collaboration in disaster

affected communities;

The role of Q-DIS pre, during and after an •

event or disaster; and

How Q-DIS can continue to play a role •

‘after the flood’.

The paper will also discuss:

The National Heritage Emergency Action •

Response Team (HEART) initiative of the

Australian Institute for the Conservation of

Cultural Material (AICCM) – the peak body

for Conservators in Australia.

The presentation will conclude with how the

flood and cyclone events of January/February

2011 have clearly demonstrated the value

to be gained through communication and

collaboration within and across sectors before,

during and after, especially in terms of disaster

preparedness, and risk management expertise,

advice, funding sources, other resources and

contacts.

Biography

Christine has worked in

Materials Conservation

in Queensland for more

than twenty-five years.

She has held permanent

and consultant positions at the Queensland

Museum, Queensland State Archives and

the State Library of Queensland. Her early

work focused on the conservation treatment

of waterlogged objects from maritime

archaeological and historic shipwreck sites

off the Queensland coast. This experience

provided Christine with a sound knowledge

and practical experience in the salvage of

waterlogged materials and has fostered her

interest (some would say passion) for disaster

preparedness and planning. Her work across

a range of institutions has further enhanced

her drive to encourage communication

and collaboration across sectors especially

with respect to preventive conservation

including all aspects of disaster planning and

preparedness.

Christine is a Professional Member of the

Australian Institute for the Conservation of

Cultural Material (AICCM) Inc, the peak body

for Conservators in Australia, a member

of the AICCM Heritage Emergency Action

Response Team (HEART) initiative and has

carried out disaster preparedness training

throughout Queensland in association with

a range of organisations and institutions

including Museum and Gallery Services

Queensland, the Australian Society of

Archivists Queensland, Queensland Museum

and Queensland State Archives.

2.25pm-2.40pm

Hannah Perkins

Assistant Curator, Queensland Museum

Highlights of the history factory: community

engagement through processing the

unaccessioned backlog


For many museum professionals, the word

‘backlog’ tends to induce a rising sense of panic,

or at least mild frustration – especially if coupled

with the words ‘unregistered’ or ‘unaccessioned’.

Tagging endless boxes and updating endless

spreadsheets of what can only be described as

undocumented detritus can occasionally feel

more like factory work than museum business.

However, in the ongoing process of tackling

the 30-year-old social history backlog at

Queensland Museum (QM) there have been

several unintended but positive outcomes,

FRIDAY 12 AUGUST


namely initiatives resulting in collaborations with

other museum professionals, experts and local

audiences to make meaning of the backlog and

its contents.

This presentation will explore how the process

of publicly addressing Queensland Museum’s

unaccessioned backlog has fostered and

strengthened community engagement through

creative collaborations and partnerships. Aside

from curating an exhibition appropriately

entitled Getting Sorted, QM staff have worked

with media, regional museums, heritage groups

and exhibition teams to conclude significance,

arrange transfers and open dialogue about the

Museum’s collecting history. This is an invitation

to consider the positives of the backlog and daily

life in the History Factory.

Biography

Hannah Perkins is an

Assistant Curator in the

Cultures and Histories

program at Queensland

Museum South Bank. Her

research interests include historiography,

collection narratives, museum communication

and historical photography.

Hannah completed her Honours degree

with Queensland University of Technology’s

Humanities Program. Her thesis explored

historical narratives in museum labelling.

She was co-editor of the AAAPS online

history textbook Topics from Oceania and

her research with Dr Max Quanchi into

colonial photography in The Queenslander

newspaper was published in History Compass,

and presented at the Australian Historical

Association Conference 2009.

Galleries and Audience Engagement…

enhancing access and learning


1.30pm-1.50pm

Gillian Ridsdale

Curator Public Programs, University of

Queensland Art Museum

Engaging the audience and enhancing the

learning at UQ Art Museum


The University of Queensland Art Museum is

committed to developing engagement programs

and innovative interpretive resources that

encourage participation by diverse audiences,

including UQ staff and students and Queensland

senior high schools. Over the past three years

research has been carried out to learn more

about our audiences and evaluate how our

online educational resources are used to support

teaching and learning on and off campus. This

paper will highlight the findings of this research

and discuss emerging trends and challenges

in the context of the remit of a university art

museum.

Biography

Gillian Ridsdale is Curator

of Public Programs at

UQ Art Museum. She

was previously Program

Convenor for the Faculty

of Arts at the University of Queensland from

2005-2008, and in this role managed the

development and implementation of the new

postgraduate program in Museum Studies.

Gillian has local, national and international

experience as a director, curator and

conservator and has worked across the fields

of visual art, craft and design, public art,

performing arts and social history.

FRIDAY 12 AUGUST


1.50pm-2.10pm

Justin Bishop

Exhibitions Manager, Cairns Regional

Gallery

Get in the Van: 2 approaches to collection

access and audience development in Regional

Queensland


This paper outlines the creation and mechanics

of delivery of two programs, the specific goals

of each and how they compare with each other

in terms of commonalities and contrasts. I will

be examining how two regional galleries have

approached utilising collection artworks in their

public programming by specifically targeting

school audiences external to the Gallery

environment.

What is exciting about both of these projects is

that they not only differ widely in financial input,

design, development and delivery, but they

share common aims, ambitions and with luck

over time, measurable and quantifiable results.

The two programs I refer to are:

The Heart of the Class – conducted during •

2010 by Stanthorpe Regional Art Gallery.

The Moving Sculpture Project - conducted •

during 2010 by Cairns Regional Gallery.

Both of these projects were developed

independently from each other with an

identifiable need to engage school-based

audiences, and may provide some insight or

inspiration to other regional and rural collecting

institutions in determining how they may

improve their interaction with school-based

audiences.

Biography

I completed my Bachelor

of Creative Arts (Visual)

at USQ, Toowoomba in

1998 pursuing my passion

for painting. From 1998-

2003 I established an arts practice with works

being acquired for public collections while

being fortunate enough to find employment

in a number of regional art galleries around

South East Queensland, most importantly

QUT Art Museum.

In 2003 I left Australia to pursue private

study. During this time I volunteered in

a contemporary arts space in Edinburgh,

Scotland giving me an insight into the notion

of internationalism in the arts, something

that I rely on in my current position at Cairns

Regional Gallery.

After returning to Australia I worked in the

construction and logistics industries, and

while not arts related, this sabbatical from

the arts gave me an understanding of the

nature of logistics, building and construction

practices, knowledge which in hindsight I am

grateful to have. Eventually the attraction

of the arts was unavoidable and I became

Director of Stanthorpe Regional Art Gallery in

southern Queensland, Australia.

I am currently the Exhibitions Manager and

Deputy Director of Cairns Regional Gallery

and somehow find the time to continue my

practice. I expect to work within the regional

galleries sector for sometime as I find

working in the regions a highly rewarding

experience.

FRIDAY 12 AUGUST


2.10pm-2.25pm

Karen Tyler

Venue Director, Redcliffe City Art Gallery

Generation X: taking the reins and engaging

new/non-traditional audiences


This presentation will demonstrate how making

opportunities for a younger generation to run

public programs, curate exhibitions and be

actively involved in planning gallery programs

has, as a consequence, brought new/non-

traditional audiences to the Redcliffe City Art

Gallery.

Assistant Curators and casuals have initiated

exhibitions such as Interpretive Matter: Looking

at Abstraction by Australia Artists; Suburbia;

Unleashed: the rise of Australian Street Art;

Metamorphosis: Redcliffe Botanic Gardens; and

Crossing Over: Looking at Connections between

Indigenous and Non Indigenous Artmaking.

Gallery volunteers have initiated an ongoing

discussion group called Art Chat and self-guided

activities that have successfully engaged all

ages.

The staff and volunteers who are assisting at

Redcliffe City Art Gallery are all highly qualified

young women with degrees or they’re enrolled in

full-time study. They range in age from 16 to 35

and several of them have young families. Their

energy, daring and commitment to this industry

is amazing; it is no surprise that they bring new/

non-traditional audiences to the gallery.

Biography

Karen grew up in regional

NSW with parents who

made their living firstly

from architecture before

switching to pottery and

painting.

She studied at Sydney College of the Arts

and was a founding member of The Central

Coast Community Art Group before moving

to the Central West of NSW where she took

over from the first Regional Community Arts

Officer and formed Arts OutWest Inc.

Karen then spent twenty years creating and

managing public art projects in NSW and

South East Queensland.

For the past six years she has been a

Venue Director at Pine Rivers Art Gallery

and Redcliffe City Art Gallery. In this role

she has programmed and co-curated over

sixty exhibitions including Regional Youth

Art Awards, Moreton Bay Art Awards and 15

Artists acquisitive exhibition. All exhibitions

include public programs of self-guided

activities, an opening event, an artist or

curator talk, and occasional workshops and

performances.

2.25pm-2.45pm

Andrew Gill

Manager Cultural Services, Bundaberg

Regional Council

Cultural learnings of America for make benefit

glorious nation of Australia


A discussion of some of the ways that Australia

and America differ in delivery of educational

experiences, through looking at art museums of

varying scales accross the North East of the USA,

with a focus on the Sterling and Francine Clark

Art Institute in Williamstown Massachussets. The

purpose of this will be to delve further into what

works and what doesn’t for them and for us, and

how this difference can be utilised in Australian

art institutions.

FRIDAY 12 AUGUST


Biography

Andrew Gill is the manager

of Cultural Services for

the Bundaberg Regional

Council. Andrew oversees

9 staff working across

two galleries and servicing a community of

98,000 people over an area of 6,500km2. His

main focus is to be a conduit between the

community, business, artists, government

and the Council on all things arts and

cultural and to work towards the growth

and development of these areas in his

region. In 2011, he was awarded a M&GSQ

International Fellowship to the Sterling and

Francine Clark Art Institute, USA.

Buses will depart the Mackay Entertainment

and Convention Centre at 3.05pm and

3.10pm.

3.15pm-4.00pm

Community Launch: Fiona Foley Public

Artworks


The six art installations by Fiona Foley

highlight the Bluewater Trail beside Mackay’s

beautiful Pioneer River.

Fiona Foley is amongst Australia’s most

experienced public art makers and this

commission for Mackay sees a regional

city earn its place on the world map for

contemporary public art. Foley’s research

and discussions with local communities in the

Mackay region, the Indigenous Yuibera people

and the Mackay-based South Sea Islander

communities, inform and infiltrate these

works. Her incorporations of local Indigenous

narratives, their exploration of some of the

difficult histories of Mackay, have brought

air and recognition to the dispossessed.

(Information Map – Bluewater Trail Public Art)

4.00pm-5.00pm

Self-Guided Walk of Fiona Foley Public

Artworks


(see Information Map – Bluewater Trail Public

Art in Conference satchel)

SOCIAL EVENT

5.30pm-8.30pm

Conference BBQ Dinner


BBQ Dinner ticket must be visible in

delegates’ lanyards. Drinks may be purchased

at the cash bar throughout the dinner. Please

bring warm clothing.

Buses will depart Bluewater Quay at 8.30pm

and 8.40pm for CBD/MECC.

FRIDAY 12 AUGUST



speaker biographies

9.30am-11.00am


Tools and principles for the preservation of

time-based media artworks


Presenter: Richard Gagnier, Head of

Conservation, Montreal Museum of Fine Arts,

Canada

Designed for:

Conservators, collection managers, archivists,

preventive conservation technicians,

contemporary art curators and time-based media

curators (film and video).

Learning Outcomes:

Realising the notion of obsolescence is •

a major issue with time-based artwork

and how this has lead to new strategies

for preservation including migration and

emulation

Understanding how the concept of •

authenticity is still a guiding factor to

the preservation process yet looking how

differently it could be defined by integrating

the notion of integrity

Applying these concepts to a decision model •

for preservation of time-based artworks;

Preventive conservation new strategies: •

importance of the archival/master source of

the work and the production of exhibition

copy components

Acquisition policies for time-based media •

work: what to acquire to allow long-term

maintenance of the work and the costs to

consider in this process

Session Outline:

This masterclass draws on the five-year research

alliance project by DOCAM (Documentation

and Conservation of the Media Arts Heritage),

directed by la foundation Daniel Langlois,

based in Montreal, Québec. The Conservation

DOCAM sub-committee examined and refined

the meaning of some conservation principles

and concepts specific to the preservation issues

of time-based media works, the notion of

obsolescence being a key issue in this discussion.

For these works, authenticity as a concept could

be articulated as an active paradigm by defining

the work’s integrity to be maintained. The

historical setting and significance of an artwork

is not solely located within the maintenance of

its original media technology.

This examination was accomplished by adopting

a case study approach. These works, selected

from different Canadian museum collections,

were documented and looked at from the

perspective of their preservation. These case

studies demonstrate how the concept of integrity

could guarantee the true meaning of the work

even though some of its components might be

physically modified, be it the equipment or the

support content. Moreover we will see under

which conditions these modifications could be

adopted and justified, thus establishing the

principles of a deontological approach. One of

the outcomes of this research has been the

development of a sequential tree decision model

as an aid in the formulation of preservation

strategies for these works incorporating time-

based technology.

Biography (see page 21)


about it? Part 1




SATURDAY 13 AUGUST


Designed for:

No prior experience is necessary, although some

experience in identifying issues in exhibition

development and an understanding of what

the possibilities are for exhibitions would be

helpful. As far as possible, this will be a practical

workshop, aimed at helping participants to

produce their own exhibitions.

Bring:

Two objects (or photos of the objects) that are

part of the same story.

Learning Outcomes:

How the exhibition medium works•

The importance of exhibitions in •

communicating a museum’s stories

The exhibition development process•

How to think about an exhibition floor plan•

How to draft exhibition labels•

What exhibition panels are for and how to •

design and produce them

Session Outline:

What makes a good exhibition? (Discussion)•

Experiences of exhibition development •

– what went right and what didn’t

(Discussion)

Developing an exhibition – it helps to have •

a process...

Exhibition layout – what goes where•

Labelling – spelling out your message•

Labelling – write your own label (Group •

exercise)

Exhibition panels – what are they for and •

how do you design one?






Designed for:

The people that will get the most out of this

session are experienced arts marketers (because

you know it is time to change the way we market

the arts).

Learning Outcomes (Part 1):

Brutal assessments of your current •

marketing practices

Dozens of new ideas to implement•

Rationale to sell the ideas to upper •

management

Increased ROI on your marketing spend•

Audience segmentation•

Paradigm shift•

(There is a take-home workbook to keep learning

and practicing)

Session Outline (Part 1):

Marketing is building relationships based on

trust. Social Media Marketing is the best way

to build fans, supporters, and increase funding

if you learn how to use value based marketing

language to talk about the value and benefit of

your organisation/venue. In this session you will

learn how to talk about the value and benefit

of art, arts organisations, art galleries and

museums in terms that empower you and inspire

and engage others.

Biography

John Paul is an

international producer

and director of theatre,

festivals and site-specific

events in historic venues.

John Paul came to Melbourne as the first ever

Artistic Director of the National Trust. He is

currently helping arts organisations, small

businesses and independent artists improve

their business and marketing skills through

the Auspicious Arts Incubator that he created

in 2007.

SATURDAY 13 AUGUST


Since 2008 John Paul has been sharing his

experience and wisdom through a series

of full-day training seminars in marketing.

His So you wanna series has been in great

demand as a highly informative, effective and

influential tool for improving marketing.

Blueprint for museum and gallery

professionals on methods of making art

accessible to people living with dementia

and their carers


Presenter: Adriane Boag, Educator, Youth

and Community Programs, National Gallery of

Australia

Designed for:

Educators, gallery professionals and volunteers

wanting to make art accessible to people with

Alzheimer’s disease and their carers.

Learning Outcomes:

Understanding of the challenges and •

benefits of a guided tour of works of art in

a gallery or museum for people living with

dementia

Development of communication strategies•

Ways to develop arts and health •

partnerships

Session Outline:

The masterclass will introduce participants to

the knowledge and skills necessary to develop

and deliver a sustainable Art and Alzheimer’s

program. Arts professionals will gain an

understanding of the effects of dementia, the

aims of an Art and Alzheimer’s Program and

the importance of partnerships. Collaboration

between arts and health professionals is vital

to the long term success of Art and Alzheimer’s

Programs in museums and galleries. When the

expertise of these two areas is brought together

they produce significant benefits for people living

with dementia and for the community.

Introduction and background to the •

National Gallery of Australia’s Art and

Alzheimer’s Programs.

DVD from the 2007 Pilot Program•

What is dementia?•

The aims of a tour/program for people •

living with dementia

The importance of partnerships•

Access models•

Communication strategies•

Discussion time•

The incidence of dementia is increasing and can

be linked to the ageing of Australia’s population.

A diagnosis of dementia is often accompanied by

fear and anxiety about both the consequences of

the disease and the options for care. Sometimes

people with dementia experience a loss of

confidence, feelings of worthlessness and grief.

Meaningful interaction can provide ways to

ameliorate these confronting emotions. Looking

at and talking about works of art in a museum

or gallery with trained educators provide

opportunities to connect with the world in an

enriching and life-enhancing way and can renew

a positive sense of self for people living with

dementia.


11.00am-11.30am

Morning Tea


Centre

11.30am-1.00pm




Presenter: Dr Jude Pippen, Co-Director,

Creative Regions Ltd

SATURDAY 13 AUGUST


Designed for:

Anyone who is called upon to emcee corporate

or community events, offer presentations at

conferences or manage public meetings will

benefit from this session. Some experience of

having to speak in public is an advantage so as

to identify areas for improvement through the

session.

Learning Outcomes:

Increased understanding of the relationship •

between the speaker and their audience

Improvements in personal skills in •

managing the physical aspects of public

speaking: managing anxiety, controlling

breathing, directing vocal tone

Improvements in communication •

techniques: structuring a presentation,

strategies for engaging an audience and

keeping their attention

Increased control over the speaking •

environment: arrangement of the speakers

platform, use of equipment such as

microphones, projectors and PowerPoint

presentations

Session Outline:

How you prepare your own body as a speaker

is at the basis of successful communication.

Introductory exercises will address posture,

balance, breathing and techniques to control

anxiety. Vocal technique will cover projection,

energy and intention in vocal engagement with

an audience.

A good speaker is also aware of the space that

they are going to inhabit: factors such as the

entry points, furniture orientation or barriers,

where the light is coming from. What will

the participants see when they look towards

you? You will learn how to ‘sound out’ a room

and to create the right environment for your

presentation.

Knowing your audience will help you connect

with them and ensure the success of your

presentation. Who are they? Why are you

speaking to them? What are your points of

connection? Finally there is the careful planning

of content, timing and techniques for the use of

audio visual resources.

Biography

Dr Jude Pippen has

lectured at Queensland

University of Technology

in Arts Research

Methodology and worked

in Physical Theatre with the Academy. As a

community artist, she is active in the fields of

performing arts, festivals and events.

Jude is one of the four Directors of Creative

Regions, a not-for-profit cultural service

provider and producer engaging with regional

communities as part of the Creative Generators

program funded by Arts Queensland and the

Australia Council for the Arts.

She is one of the rare breed, possibly a

frustrated actor, who loves communicating

with an audience and is regularly invited

to open exhibitions or facilitate community

forums.


about it? Part 2




(see Part 1 on pages 34-35)

SATURDAY 13 AUGUST






Bring:

Your laptop

Learning Outcomes (Part 2):

Familiarity with social media marketing •

platforms

URLs for industry leaders•

URLs for social media support•

Specific platform registration•

Figure out which platforms you should use •

and which ones maybe are not appropriate

Session Outline (Part 2):

(You must have done Part 1 to do Part 2)

Now that you are a Smarter Marketing person,

it is time to be more effective. You will fire up

your laptop and learn about the 5 most effective

social media platforms. Hear stories of museums

and galleries that are using it well. Learn which

platforms are making the biggest difference.

Learn best-practice tips and tricks. See examples

of good and bad uses - and understand why.

(see Part 1 on page 35)

Retail in Museums and Galleries –

Merchandise Planning, Purchasing and

Production


Presenter: Colleen Tuxworth, Principal, Cultural

Retail

Designed for:

Staff who are responsible for the retail outlet in

their museum or gallery and/or staff who are

planning to establish a museum or gallery shop.

Bring:

A “wish list” of the top five things they would like

to see achieved or produced for their shop.

Learning Outcomes:

Will provide delegates with the foundations •

for developing their own merchandise plan

and

Guidelines for sourcing and developing •

merchandise

Session Outline:

With the increasing need to raise additional

revenue and to also meet visitor expectations,

the role of the shop in your museum or gallery is

an ever more important one. This workshop will

give an introductory overview of the key aspects

of the management of merchandise that are

central to the success of retail operations:

Planning – developing a simple but effective •

planning document for your institution,

including practical activity

Purchasing – sourcing product that is •

relevant and that sells

Product development – outline of the •

processes including copyright and

commissioned works. Case study examples

will be presented

Delegates will be given a Merchandise Planning

workbook for practical sessions during the

workshop.

Biography

Cultural Retail is an

Australian-based

independent business

established to provide

consultancy, merchandise

and education services for all aspects of

retail operations to the cultural, heritage and

tourist sector. Recent clients include Bribie

Island Seaside Museum, Redcliffe City Art

Gallery and Yarra Ranges Regional Museum

(VIC).

SATURDAY 13 AUGUST


Colleen Tuxworth, Principal of Cultural Retail,

has over twenty years retail experience,

with extensive experience in museum retail

management over the past decade. Colleen

was also an Executive Member of the Museum

Shops Association of Australia between 2003

and 2008 and held the position of Vice-

President for three years.

This work is copyright. Requests and enquiries concerning reproduction and rights should be addressed to the publisher.

This work has been supplied by the authors as attributed. The views expressed are not necessarily those of the publisher. All care has been taken to ensure all information is correct at the time of printing.

Please note that all details are correct at time of printing. M&GSQ reserves the right to change programs or program details if required.

Published by:Museum and Gallery Services Queensland LimitedLevel 3, 381 Brunswick StreetFortitude Valley QLD 400607 3215 [email protected] M&GSQ 2011

SATURDAY 13 AUGUST


Mackay, North Queensland

1 – Mackay Entertainment and Convention Centre2 – Artspace Mackay3 – Mackay City Library4 – Bluewater Quay

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