International Keynote Speakers
The Chief Market Engagement Officer for IMPACTS, a global leader in predictive market intelligence and related technologies. Colleen is the author and publisher of the popular blog Know Your Own Bone, a resource for creative engagement for non-profit and cultural organisations.
Collections, programs, and performances are important, but they are only important insofar as they inspire, educate and connect people. Colleen will present data-informed reasons for cultural organisations to take ‘going social’ seriously and consider integrating it into everything that they do.
John Ryan is Creative Director and Director of Interaction Design at Local Projects. A New York-based experience design and strategy firm for museums, galleries and public spaces, Local Projects uses architecture, technology and storytelling to create new engagement experiences and test the limits of human interaction. They have created landmark media design projects like the 9/11 Memorial Museum, the Cooper-Hewitt Smithsonian Design Museum and Gallery One at the Cleveland Museum of Art.
While innovation drives much of Local Projects’ work, storytelling, meaningful experiences and creating projects that endure are at the heart of their practice.
Regional and Remote Day – International Keynote Speaker
Dea Birkett is Creative Director of Kids in Museums, the visitor-led organisation working with museums, galleries and heritage sites to make them more welcoming of children and families – in particular those who have never visited before. She is passionate about advocating the importance of museums in providing experiences, opportunities and ambitions to young people. Dea will present we on the Kids in Museums Manifesto and initiatives for engaging young people and families in museums and galleries such as Takeover Day. The annual Kids in Museums Manifesto is the foremost family friendly audit document in the museum and arts sector.
Dea is also an award-winning writer and journalist and a contributor to the Guardian, Mail on Sunday as well as a regular commentator for the BBC.
National Keynote Speakers
Megan Cope, the artist of Fluid Terrain 2012 (the MGA2017 lead image), will be presenting in the ‘Australian artists working with historical content in contemporary contexts’ plenary session.
Megan Cope is a Quandamooka woman from North Stradbroke Island in South East Queensland. Her works have been presented in Australia and abroad, including PARAsite Gallery in Hong Kong, and City Gallery, Wellington in New Zealand. Her work was exhibited in Lie of the Land: New Australian Landscapes (2012) at the Embassy of Australia, Washington DC, USA, curated by Alex Taylor.
In 2013, Ms Cope was commissioned to create a major site-specific work for My Country, I still call Australia Home at the Gallery of Modern Art, Brisbane. Cope worked with the landscape of the greater Brisbane region, connecting it to her Quandamooka people and grounding the exhibition in the country on which it is held.
Exploring notions of art, science, imagination, memory, and loss, Janet Laurence’s practice examines our physical, cultural and conflicting relationship to the natural world through both site specific, gallery and museum works.
Experimenting with and working in varying mediums, Ms Laurence creates immersive environments that navigate the interconnections between organic elements and systems of nature. Within the recognised threat to so much of this life, she explores what it might mean to heal, albeit metaphorically, the natural environment, fusing this sense of communal loss with a search for connection with powerful life-forces.
Ms Laurence is based in Sydney. She has been a recipient of both a Rockefeller and Churchill Fellowship and the Alumni Award for Arts, UNSW. She was a Trustee of the Art Gallery of NSW, a former Board Member of the VAB Board of the Australia Council and is currently a Visiting Fellow UNSW Art and Design and 2016 /17 Fellow of Hanse-Wissenschaftskolleg (Institute for Advanced Study) Germany.
Ms Laurence has recently exhibited Deep Breathing, an installation about the fragile state of Great Barrier Reef in MNHN Paris during the Paris Climate Talks and at the Australian Museum, Sydney. She is currently showing in London in the Force of Nature exhibition and the IGA BERLIN.
Ms Laurence exhibits nationally and internationally and has been represented in major curated and survey exhibitions. Her work is included in many museum, university and corporate collections as well as within architectural and landscaped public places.
Ms Laurence will be contributing a film highlighting her current installation at the Landes Museum in the plenary session ‘Australian artists working with historical content in contemporary contexts’.
Concurrent Session Speakers
Debbie Abraham has worked in the arts industry for over 35 years in galleries, including her own textile gallery in the late 1980s. She was also NETS Program Manager for NSW and from 2000 Gallery Director at Lake Macquarie City Art Gallery. In that role, she has been involved in the construction and fit-out of the new building (2001) and extension (2008), strategically managed substantial growth across gallery operations, overseen over 180 exhibitions and is committed to community partnerships, especially with the Aboriginal community. Abraham has been a member/chair of many industry committees and is currently convening ACD NN.
Three decades of studying and working in natural and cultural heritage management has led Kate Armstrong inexorably to the world of politics at the Museum of Australian Democracy at Old Parliament House. Sitting in the very office occupied by the First Clerk Assistant, Kate develops onsite and online content that reveals the democratic values espoused in arguably Australia’s most significant and iconic parliamentary building.
Dr Claire Baddeley
Dr. Claire Baddeley is currently Museums Officer- Rocky Hill and St Clair, with the Goulburn-Mulwaree Council. She has worked in a number of museums, galleries and cultural organisations in curatorial, public programs, visitors services and management roles, including at the Australian War Memorial, Museum of Australian Democracy, Melbourne Museum, Arts Access and Ballarat Fine Art Gallery. She holds degrees in Art History, Curatorial Studies, Museum Studies, Management , Management and Museum Studies (PhD) and is currently undertaking studies in Heritage Conservation.
Emma Bain is Director (Exhibitions & Programs), Redland Art Gallery and has been working in the visual arts for over 16 years. Commencing her career at the Queensland Art Gallery (QAG), Emma is passionate about regional galleries and their development. She studied at the Queensland College of Art, Griffith University where she majored in design and holds an honours degree directly relating to her work at the QAG. Awarded a Griffith Award for Academic Excellence, Emma also holds arts administration qualifications and was a successful recipient of the Museum and Gallery Services Mentorship Program in 2011 where she worked at the National Gallery of Australia. Emma coordinates a demanding exhibition and public programs schedule and has curated a number of successful solo, group, and children’s exhibitions by emerging, local and established Australian artists. Under Emma’s management Redland Art Gallery has won a number of Cultural Tourism Awards and continued to progress as a regional art gallery of high regard.
Julie Banks – Julie has worked in registration and collections management for over 15 years. Having worked for Museum Victoria and the National Portrait Gallery, Canberra, Julie was Associate Registrar, Collection Operations and later Registrar for the National Gallery of Victoria for over 11 years. As Manager Special Projects for the Art Gallery of New South Wales, Julie managed the development and implementation of collections and exhibition policies and prepared the Gallery for approval under the PCOL Scheme. Julie has been Manager of Registration at the Museum of Applied Arts and Sciences in Sydney since early 2016.
Linda Barron is Executive Manager of Community Engagement at State Library of Queensland. The Community Engagement branch consists of the Visitor Experience team, who are responsible for front of client contact, meeting client’s research needs, administering the volunteer program and ongoing service development, and the Signature Program team who are responsible for the delivery of community programming. Linda is passionate about improving the way programming is designed, created and delivered focusing on community engagement and participation. Linda’s work background includes accounting, hospitality, adult learning and libraries. She loves libraries, baking, eating, and tweeting. Her twitter handle is lindaxbarron.
Louise has worked in the Local Government cultural services arena, with a strong focus on library management, cultural heritage and community engagement. Louise has worked with a range of local governments, including Caloundra City, Richmond Tweed, as well as working on an advisory basis with the State Library of Qld. She is currently the Cultural Heritage Services Coordinator with Sunshine Coast Council.
Julian Bickersteth gained an Oxford University degree in Theology and then trained as a conservator. He joined the Powerhouse Museum before establishing International Conservation Services. Over the last 30 years Julian has worked all over the world on museum and heritage projects and retains a keen interest in understanding what makes museums work effectively.
As Design Manager at Kiss the Frog Australia, Madeleine Borthwick collaborates with museums to help them bring their collections to life using creative multimedia-based experiences. With a background in user-centred design for the GLAM sector, she can help museums understand their visitors, translate educational content into engaging exhibitions, and create exciting games. When she’s not at Kiss the Frog designing interactive exhibitions for museums, Madeleine works as an Associate Lecturer in Sydney University’s User Experience Design and Interaction Design studios.
Paul has led exhibition development and major projects from within and outside major institutions over the past twenty years, at the Natural History Museum, London and the National Railway Museum, York, UK and since 2013, Museum Victoria, Melbourne. Paul has presented at National conferences in Australia, USA and the UK.
At Museum Victoria, Paul has instigated an evolution of exhibition development practice, creating new roles focusing on experience and audience, and renewing the development process around public offer planning, inception, creation, delivery and operation.
With 20 years’ experience in the museum and visitor studies fields, Jessica Brainard has worked for a range of informal learning institutions in the United States including California Academy of Sciences, Exploratorium and Monterey Bay Aquarium. Prior to joining the Western Australian Museum’s New Museum team, Jessica worked as an exhibition developer and evaluator on several museum redevelopment projects including the Oakland Museum of California, Natural History Museum of Utah and Papalote Museo del Niño in Mexico City. Jessica holds a MS in science communication and is particularly interested in exploring the interface of art and science in museum exhibitions.
Fiona Brell is an Eduaction Project Officer where she develops education programs to engage school students in Australian Museum science and culture. Fiona was a lead teacher in London and successful lymanaging the a national literacy initiative. She has also held education roles at the British Museum and Sydney Living Museums
Shane is Director, Canberra Museum and Gallery and Director, Corporate Strategy at Cultural Facilities Corporation. He is passionate about the creative and community life of the Canberra region, and the plural nature of Australian cultural identity.
Shane is also interested in the opportunities and implications posed for contemporary culture by our increasing use of online technologies.
He contributes to the community, cultural and academic life of the Canberra region as a speaker, panellist, writer and fundraiser. He is an Australia Council for the Arts Peer, and Committee Vice-President at Alliance Française de Canberra.
Cash Brown is a curator and conservator combining interdisciplinary skill sets gained in over 20 years of exhibition development and project management within the cultural sector. She holds a Bachelor of Fine Arts from the National Art School in Sydney and a Master of Cultural Materials Conservation from the University of Melbourne.
In February 2017, Zoe Butt became the Artistic Director of The Factory Contemporary Arts Centre, a private social enterprise in District 2, Saigon – Vietnam’s first purpose built space for contemporary art. Previously she was Executive Director and Curator of Sàn Art, Vietnam’s most active independent contemporary art space in Ho Chi Minh City.
From 2007-2009 she was Director, International Programs, Long March Project, Beijing, China. From 2001-2007 she was Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane, Australia where she assisted in the development of the Asia Pacific Triennial of Contemporary Art (APT); key acquisitions for the Contemporary Asian art collection, and other associated Gallery programs. Her curatorial referral work is pan-Asian, working with private collectors and researchers, independent curators and major museums globally. Ms Butt has been published by Hatje Cantz, Germany; Art Review, London/Hong Kong; Art Asia Pacific, Hong Kong; Independent Curators International, New York; Lalit Kala Akademi, India; Artlink, Australia; Printed Projects, Ireland, JRP-Ringier, Zurich; Routledge, London; Sternberg Press, Berlin, amongst others.
Ms Butt is a member of the Asian Art Council for the Solomon R.Guggenheim, NYC; a member of ‘Asia 21 Young Leaders’ of the Asia Society, NYC; and in 2015 became a Young Global Leader of the World Economic Forum.
Athena Cabot coordinates the Museum of Contemporary Art (MCA) School Subsidy program, helping students from low socioeconomic backgrounds access the Museum and become confident and ongoing museum visitors. An Artist Educator at the MCA, Athena delivers a range of creative learning programs for diverse audiences. She is a published essayist with a background in creative and analytical writing.
Freja Carmichael is a Quandamooka curator working broadly across the Aboriginal and Torres Strait Islander visual arts and cultural sector. Recently she curated Gathering Strands, Redland Art Gallery and co-curated Art of the Skins, State Library of Queensland and is a member of Brisbane based Indigenous curatorial trio, Blaklash Collective. In 2014 Freja received an Australia Council for the Arts Emerging Curator’s Fellowship with Redland Art Gallery and was recently awarded the National Gallery of Australia International Indigenous Arts Fellowship at Aboriginal Art Museum Utrecht.
John Cheeseman is the Director of Mosman Art Gallery (Sydney, Australia), President of the Regional and Public Galleries of New South Wales (RPGNSW) and Committee Member for AVICOM (the International Committee for New Media and Technology in Museums). He was previously the Director of Blacktown Arts Centre (Sydney, Australia) and in former positions has been a cultural planner, cultural development officer, curator and practicing artist. John maintains a strong interest in supporting interpretive projects, cross-artform practices, social engagement and new technologies and is currently pursuing a range of projects focussed on East Asia and international exchange.
Maria Cleary brings more than 30 years’ experience as a theatrical design and production practitioner to her role at the QPAC Museum. Since 1996 she has combined theatrical work with exhibition design and curatorial roles, with projects ranging from QUT’s Innovation Trains, which travelled throughout Queensland between 1996 and 2008 and several regional heritage trails, to exhibitions for The Workshops Rail Museum in Ipswich, Bribie Island Seaside Museum, State Library of Queensland, and the Queensland Performing Arts Museum.
Georgia Close leads the MCA’s Student & Teacher Engagement program. She works with a team of Artist Educators in the development and delivery of creative learning programs for formal learning audiences, including early learners, primary and secondary students and their teachers.
BA (Anth), GradDip AppHeritStds, MMusmSt
Peter has worked in museums and archives for over twenty years and was the Director of the Mercy Heritage Centre, All Hallows’ Convent, from 2001 – 2015. Since 2015 Peter has been the Senior Cultural Heritage Officer at Sunshine Coast Council, working with community museums in the area of the Cultural Heritage Levy.
Dr Charlotte Craw
Dr Charlotte Craw is a Curator at AIATSIS. Her interdisciplinary research explores the ethics of cross-cultural representation and engagement, particularly in relation to Australian native foods. Her previous roles have included an advisory position for the Ministry of Culture and Fine Arts, Royal Government of Cambodia.
Wayne is of Aboriginal heritage from the Mununjali clan group from Beaudesert/Mt Tamborine which is just south west of brisbane. He’s spent most of his life in the media and communications sector but has also been heavily involved in arts practices and cultural frameworks for the last few decades. He’s founded the meeanjin centre which will finally bring to life a centre dedicated to the first nations stories and people in SEQ.
Lucy is the Intangible Heritage Officer at Aboriginal Victoria, where she is coordinating the development of a new system for the registration, safeguarding and celebration of Aboriginal intangible heritage in Victoria.
Lucy has worked in diverse professional roles, including as a Researcher on the First Peoples exhibition at Museum Victoria, a Researcher at Native Title Services Victoria and Project Coordinator at the Wheeler Centre for Books, Writing and Ideas. She has also worked on numerous interpretation projects, recently contributing a 10,000 word chapter to a book on the social history and political activism of 3CR Community Radio.
James Dexter has 30 years’ experience in museums and art galleries across Australasia. He has held managerial or executive positions at the National Gallery of Australia, Museum and Art Gallery of the Northern Territory, Melbourne Museum, the Victorian Tapestry Workshop and Auckland Museum. James is currently Director, Creative and Regional Development at the WA Museum, responsible for exhibition and design, creativity and learning, regional sites and outreach services. He oversaw the development of the highly successful National Anzac Centre (Albany) and is currently responsible for interpretation for the State Government’s commemoration of the 400th Anniversary of Dirk Hartog’s landing.
Ellie works for the Australian Museum in Science Engagement and Events, coordinating the evaluations, volunteers and development of activities run by the unit. She has completed two degrees in museology, exploring the experience of citizen scientists within the museum. She has assisted with research looking at community perceptions of health and environmental issues of local government areas. Her research focuses on the expectations and experiences of multiple stakeholders in relation to public spaces. She has previously worked in knowledge management and libraries, and is passionate about community education.
Belinda is an historian who makes films. She has worked part-time for Museums Australia (Victoria) since 2012 as Manager of the Victorian Collections program. Belinda also makes film content for and about museums with Tiny Empire Collective, which all focus on telling stories and elevating communities. Belinda is currently undertaking a Centenary of World War One Fellowship at the State Library of Victoria, developing a film exploring a fundraising football match between factory workers from Ballarat’s Lucas Factory (the Lucas Girls) and Melbourne’s Federal Khaki Clothing Factory. This is one of the first documented women’s football matches in Victoria.
Susan Fayad is managing the roll out of UNESCO’s Recommendation on the Historic Urban Landscape (HUL) pilot program at the City of Ballarat. She is an active member of UNESCO’s HUL program, contributing both internationally and locally. She’s lectured on HUL and co-authored The HUL Guidebook with WHITRAP, China in 2016.
Margaret Ferguson is currently undertaking a PhD in the Faculty of Arts and Design, at the University of Canberra, having previously completed the Bachelor of Cultural Heritage Conservation and Bachelor of Arts (Honours) degrees at the same university. She came to her current studies in the field of Cultural Heritage from a career in secondary education, where she taught Chemistry and Science for many years. Her interest in textiles in general, and ecclesiastical textiles in particular, is long-standing and formed the focus of much of her undergraduate studies in heritage conservation.
David Fishel is a Director of Positive Solutions, and has led a wide range of consulting projects during the last 25 years, including business and strategic planning for museums and other cultural and visitor attractions, feasibility studies for new arts and heritage facilities, cultural planning and policy development. David is the author of The Book of the Board.
David has worked with numerous museums and galleries including Trainworks (NSW), Pah Homestead (Auckland), Tjapukai (Cairns), Carriageworks (Sydney), Castlemaine Art Gallery (Vic) and M+ (Hong Kong).
David has contributed to cultural precinct planning projects in Brisbane, Sydney, Melbourne, Hong Kong and Singapore.
Andrew is a practicing architect at Hayball with a broad range of experience in learning centred projects. He specialises in developing spaces to support learners in creating diverse, immersive and engaging environments. Andrew has developed a strong understanding of exhibition and education design principles through his collaboration with institutions such as the Museums of Applied Arts and Sciences (MAAS) Sydney Living Museums, The Australian Museum, NSW based primary and secondary schools, and community projects.
Jackie has worked as Assistant Curator for the National Sports Museum and Melbourne Cricket Club since 2010, involved in both exhibitions and collection development. She received her Graduate Diploma in museum studies from Deakin University in 2010, having previously studied museum studies and classics at University of Queensland. Through her work at the National Sports Museum, Jackie has developed keen interest exploring the challenges associated with contemporary collecting. In complete contrast to her current position, she has never been much of a sports fan.
Dr Jennifer Gall
Dr Jennifer Gall is assistant curator, Documents and Artefacts at the NFSA. She is currently working in a curatorial capacity on the collaborative NPG/NFSA travelling exhibition Starstuck: Portraits from the Movies – for 2017 launch. Her research investigates cultural activity in Australian social history and her forthcoming book, ‘Looking for Rose Paterson’ will be published in early 2017 by NLA Press. She is a Visiting Fellow (Music and Social History) at the ANU.
Jennifer Garcia, with a strong background in the creative arts (music & performance ) is a passionate believer in the relevance of the “house museum” in modern life.
With over 25 years of experience in event management & public relations, fundraising and strategic planning she brings fresh perspective & light to her current role as Communications & Programming Manager at Newstead House. With an innate sensitivity to the arts and a strong belief that anything is possible she has been a pivotal force in the creative transformation of Newstead House.
Ren joined MA (Vic) in 2016. He holds a BFA (Sculptural and Spatial Practice) from the Victorian College of the Arts, and an MA (Cultural Materials Conservation) from the University of Melbourne. Ren has worked on the Essential Services Commission Victorian Energy Efficiency Target scheme (ESC VEET), as a Researcher and Project Manager for a cross-institutional cultural heritage program with the City of Port Phillip and the University of Melbourne, and on the Koorie Heritage Trust and Museum Victoria collection relocation projects. Ren has a special interest in preventive conservation, collection risk management, and environmental sustainability in museums and galleries.
Penny Grist has been Assistant Curator at the National Portrait Gallery since July 2013 and has worked in exhibitions at the National Library and National Museum. I hold a Master of Liberal Arts (Museums and Collections) from the ANU and honours degrees in Law and Art History from Sydney University. Jennifer Coombes has a Master of Arts in Museum Studies from the ANU and a Graduate Diploma in Information Management from the University of Canberra. She has worked in cultural institutions as a curator and archivist for over a decade (National Library, Australian War Memorial and National Gallery of Australia).
Bridget Guthrie has worked in gallery, museums and the cultural development sector for over 16 years in the north west of NSW and Albury.
Ms Guthrie is currently the Director of the Tamworth Regional Gallery & Museums. Previously she was at AlburyCity where she held the role of Museum Coordinator and prior to that was Collections Coordinator for the Albury Regional Art Gallery and Museum.
Ms Guthrie’s professional experience has included curating over 30 visual arts and museum exhibitions. She has a Bachelor of Arts in Architecture and a Graduate diploma in Museum Studies through Deakin University.
Dr Lucy Harper
Dr Lucy Harper’s 20-year engagement with the visual arts includes time with the Ian Potter Museum of Art at the University of Melbourne, as a Harold Wright Scholar at the British Museum and more recently as curator at the Art Gallery of Western Australia. Her move to the Western Australian Museum in 2014 offered the unique chance to infuse this experience, and her interest in how the arts can connect with audiences in playful, unexpected and powerful ways, into the cross-disciplinary vision of the New Museum Project.
Michael Harvey has worked in the fields of museums and science communication for 20 years. Prior to taking up his current role at the Maritime Museum, Michael worked as Head of Exhibitions at the Australian Museum and at the Natural History Museum in London, where he managed science communication programs and developed concepts for new galleries.
Michael has also travelled around Australia as a member and a coordinator of the Shell Questacon Science Circus, has taught in Museum Studies at the universities of Leicester and Sydney, and is a past president of Australasian Network of Science and Technology Exhibitors.
Tom Harwood is Curator of the Qantas Founders Museum at Longreach in the heart of Queensland. Born, his wife says, an aviation tragic, he wanted to be a Qantas pilot but when he finished school, there was a glut of pilots. After nearly 40 years in broadcasting (radio & TV), he ‘retired’ from the ABC in 2011. Tom’s interest in history parallels his enthusiasm for aviation and a research project on the heritage-listed QANTAS hangar led to his becoming the Museum Curator. Involved in the museum project since 1991, Tom continues to be ABC Queensland’s on-call broadcaster for emergencies.
Amanda Hayman grew up in Logan city and has cultural connections to Kalkadoon and Wakka Wakka Country. She has a Bachelor of Arts with a major in Contemporary art from Griffith University.
Amanda has over 10 years’ experience of working with Aboriginal and Torres Strait Islander communities. She is currently the Manager of kuril dhagun, the Indigenous space and public programming unit at the State Library of Queensland.
David is a museum master planner, content developer and exhibition design specialist. Trained as an Architect in the UK at the prestigious Architectural Association in London, David quickly discovered a love for narrative design. Early projects for the Imperial War Museum were recognised with design awards, which led to an invitation to become Creative Director of Europe’s most successful museum design agency – Event Communications. There he took the creative lead for projects such as the Riverside Museum in Glasgow (which went on to win the European Museum of the Year), The National Library of Scotland, The National Railway Museum, and the Zayed National Museum in Abu Dhabi. Since moving to New Zealand in 2009, David has been the consultant Artistic Director for Auckland Museum (leading the creative development of a series of self-generated exhibitions) then Director of Content and Creative Development at the Maritime Museum. David established a consultancy firm ‘Art of Fact’ which now operates in partnership with Locales as Hay Hebblethwaite, working on museum and exhibition design projects in New Zealand, Australia and South East Asia. Design http://www.artoffactprojects.com/ and http://www.artoffactprojects.com/about
Mirna Heruc migrated to Australia in 1979 from Croatia. She trained as an anthropologist and teacher, studying at the University of Adelaide. Since 2004 Mirna has worked at the University and is Director, University Collections a branch with responsibility for a wide range of collections and cultural activities. From 1996-2004 Mirna was Executive Director of Nexus Multicultural Arts Centre, organising visual and performing art programs, engaging in multicultural advocacy and community cultural development. She is currently the President, Museums Australia (SA Branch), state representative on the Museums Australia National Council and a member of the Executive Board of ICOM Australia.
Dr Tom Hewitt
In 2008 Tom was the first museum exhibition designer to be inducted into the Australian Designers Hall of Fame. Museums which his company designed an produced include the International Antarctic Centre in Christchurch, New Zealand; The Bradman Museum of Cricket, Bowral, NSW; The Royal Australian Airforce Museum, Point Cook, Victoria; Hellfire Pass Museum, Thailand; The Pylon Lookout and Museum, Sydney Harbour Bridge; The Royal Flying Doctor Service Museum, Broken Hill; and Wellington Museum City and Sea, New Zealand – a project which, in 2013 was included in the Times of London’s Top 50 World Museums list. In most of his projects he has led the creative team as principal designer and curatorial director.
Museum exhibitions include Gold of the Pharaohs; Between Two Worlds – The Stolen Generation; Gold and Civilisation; Prisoners of War at the Australian War Memorial; Taronga Park Zoo Coastlines Zone; Coming of the Strangers, State Library of New South Wales and four exhibitions, including Trust the Women, at New Parliament House, Canberra. Early projects include the first International Fair of Khartoum for the European Community, 25 years of NATO and Science exhibition in Brussels and The International Fair of Izmir, Turkey.
He was awarded a PhD early in 2016. His thesis title was – The role of design in the development of museum exhibitions in Australia.
Emma Hill is the Education and Public Programs Officer at Bathurst Regional Art Gallery. Her primary interest area is audience development, with a special focus on strategies which leverage digital spaces.
Dr Scott Hill
With a PhD in architecture, Scott’s key interests are colonial domestic design, the intrinsic relationship between architecture and landscape, and particularly the interpretation of the ephemeral in house museums. He is the ‘Curator’ in the award-winning blog ‘The Cook and the Curator’.
Beth Hise, Head of Curatorial and Exhibitions, SYDNEY LIVING MUSEUMS
Beth leads a creative team developing innovative audience-focused approaches to exhibitions, publications and engaging interpretation for SLM’s museums and historic houses. She manages internal designers as well as external commissions, including a recent interpretation and design master plan for the UNESCO World Heritage listed Hyde Park Barracks Museum in Sydney. Beth is Chair of the Exhibitions National Network of Museums Galleries Australia.
Marcus Hughes has worked within the arts and cultural sector throughout Australia and the UK as a producer, presenter, advocate and mentor across all artistic disciplines, contexts and environments.
In 2014 he addressed the 6th World Summit on Arts and Culture, and was Adjunct Associate Professor at Victoria University’s Moondani Balluk Indigenous Academic Unit.
In 2015 he took up the position of Indigenous Programs Producer at the Museum of Applied Arts & Sciences in Sydney where he has been working to consolidate the museum’s Indigenous cultural grounding.
Marcus is a descendant of the Mununjali people of the Yugambeh nation.
Jane Jennison is lead artist and project manager of Jarjums Life Museum. She is creative director of Inala Wangarra and practices as a community engaged artist.
Pip is an independent Curator and Creative Producer. With a background in Anthropology and Documentary Film, Pip has engaged community groups, contemporary artists, cultural experts and digital technologies to create exhibits for Queensland Museum, State Library of QLD and various organisations in Australia and South East Asia.
Bachelor of Visual Arts Photography; IAL Diploma Collection Management & Law
In 2009 Kindt made a career transition from press and photojournalism to working as an Assistant Strategic Collection Manager at Queensland Museum Network (QMN). Her project work involved assisting with the implementation of a comprehensive collections storage upgrade for the anthropology, social history, repatriation, mammals and birds collections at QMN. This work gained her a permanent position as an Assistant Collection Manager, Anthropology. Kindt has a strong focus and interest in artefacts held in the foreign ethnology collections. She is currently researching the history of technologies and registration methods used in the Anthropology collections throughout the museum’s 155 year history.
Dr Colin Langridge
Exhibitions and Touring Coordinator at Contemporary Art Tasmania, Sessional teacher at the Tasmanian College of the Arts in Hobart, curator and practicing artist.
Brett Leavy calls himself a Virtual Heritage Jedi and Digital Aboriginal.
A descendant of the Kooma people, his traditional owners country extends from St George towards Cunnamulla, extends north of the QLD/NSW border up towards Mitchell.
His passion is culture, history and virtual heritage and his life goal is to digital and virtualise the stories of those knowledge holders and Elders who hold the oral histories of First Nations people and his small team of skilled people are exploring digital technologies and how to merge computer gaming with traditional knowledge. They achieve this by creating 3D virtual landscapes that represent pre-colonisation spaces and embed the culture, language, artefacts, community, trade into 3D VR experiences.
Brett has built and demonstrated a number of virtual worlds based upon historical and geographical reference materials, with the most recent being Virtual Butchulla. Original his most recognised exhibit was on show at Customs House in Circular Quay. Am experience that gives the user a virtual experience of how Sydney Cove appeared before the arrival of the First Fleet in 1788.
Brett has been an active media producer for some time, spoken widely on the subject of Virtual Heritage and represented First Nations people at the World Indigenous Association of the United Nations Forum on Internet Communication Technologies in Tunisia – raising the subject of intangible heritage in virtual landscapes. He has held numerous Board roles with the Qld Trachoma Eye Health Program, South East Qld Black Community Housing, Brisbane Indigenous Media Association, Kooemba Jdarra Performing Arts Company, Qld and North Territory Cooperative Multimedia Centre, the Australian Indigenous Communications Association and the Community Broadcasting Foundation.
By day he manages Bilbie Pty Ltd and for over decades, has researched and developed Virtual Songlines. This application is planned to be a useful tool for rapidly developing, recording, preserving and presenting the knowledge passed down by the Traditional Owners since time immemorial. Brett’s Masters addresses the subject of Traditional Knowledge Management in Virtual Environments and he continues to explore methods to better and more immersively present the arts, culture and heritage of First Nations people.network that is the largest of its kind in the Southern Hemisphere
Stephanie Lindquist is an established arts manager, curator, researcher and writer. She has held senior management and curatorial positions in the heritage and public gallery sector including Director, Redland Art Gallery (2012-2014), Exhibitions Manager and Curator, State Library of Queensland (2003-2012), and Acting Director and Exhibitions Program Manager, Regional Galleries Association of Queensland (1994-1999). She has been involved in the curatorial development of over 30 exhibitions and displays, and was mentor curator for Freja’s Fellowship.
Wendy Lugg is an artist and curator. Her practice spans three decades of exploring place, history and identity through exhibitions juxtaposing contemporary artworks and historical artefacts. She is a Churchill Fellow and a Fellow of the WA Crafts Council. Since 2009 Wendy has been Honorary Artist in Residence with the Royal Western Australian Historical Society, where she became so immersed in the museum world that she now finds herself one of their more longstanding museum volunteers. Wendy initiated and managed Museums Australia WA’s recent repatriation of a historic Western Australian WW1 Red Cross flag from the Gallipoli landing.
How do you mount a major war exhibition with scant military knowledge, a sparse collection of relevant items, a short lead time and very little money? This was the dilemma museum volunteer Wendy Lugg created for herself when she took on the challenge of developing a WW1 commemorative exhibition for the Royal Western Australian Historical Society.
The short answer is that you need an idea, flexibility, and blind faith – the sort that gives you courage to tackle the impossible. The long answer is of course much more complex. It involves focusing on your strengths; knowing how to improvise; drawing on other organisations with relevant collections and knowledge; and being willing to change direction to grasp unexpected opportunities. It also helps to love research and writing, and not to need much sleep.
This case study examines in detail how to create a substantial and professional exhibition despite meager resources
Veronica Macno is currently employed as a Roving Curator for Arts Tasmania and has 20 years’ experience in the museum and cultural heritage industry within Tasmania, New South Wales and Queensland. Veronica has skills and experience in a broad range of collection management, curatorial practice, education and public programs, interpretation, and exhibition development and presentation.
Phil Manning is Curator at Museum of Brisbane, re-joining the Museum in January 2014 having spent 18 months with the Museum in 2008/09. In between he had been Senior Curator at National Wool Museum in Geelong. Phil brings with him a background in anthropology and a passion for contemporary cultural awareness and identity. After seven years at the South Australian Museum Phil worked with the Australian Football League, RACV and Qld Main Roads and has curated exhibitions ranging from first nations to football to fashion.
Elizabeth Marsden is Collections Manager for The Sovereign Hill Museums Association (SHMA). Previously co-Manager of the Museum Accreditation Program (MAP) for Museums Australia (Victoria), her museum career stems back over fifteen years, working predominantly with community collections in Australia and the Netherlands.
A history graduate from the University of New England, Elizabeth completed Museum Studies at the University of Sydney in 1999. She has published a number of articles on museums and sustainability and in 2015 drafted The Small Museums Energy Auditing Guide for Museums Australia (Victoria). Currently Chair of the Museums Australia (Victoria) Green Museum Project Advisory Committee, Elizabeth also sits on the MA(Vic) Museum Accreditation Advisory Committee as well as the SHMA green team.
Dr Geraldine Mate
Geraldine Mate is a Senior Curator at Queensland Museum. Her research is focused on cultural landscapes of nineteenth and twentieth century mining towns and industrial complexes in Queensland. Geraldine’s other research interests encapsulate broader reflections on cultural landscapes, interpretations of industrial heritage, and relationships between people and technology.
Craig is Curator of Democracy at History SA and has a background in political history, art, and community engagement. He works towards championing participatory experiences in museums.
Donna Mathewson Mitchell
Donna Mathewson Mitchell is a Senior Lecturer in Visual Arts curriculum at Australian Catholic University. Her research is focused on art education and teaching and learning in public spaces.
Sharyn is a leading expert in retail and food and beverage consultancy with industry focus in the arts and cultural sector. Sharyn specialises in retail and hospitality planning and project management with a focus on strategy, master and facilities planning and design, and business analysis informed by benchmarking. Additionally, over 20 years working with most of Australia and New Zealand’s cultural venues and precincts, including managing procurement of catering contracts, has resulted in increased facilities investment, visitor engagement and return through effective commercial strategy. Sharyn has a comprehensive grasp of critical factors driving commercial performance and activation across the sector.
Carol McGregor is of Wathaurung (Victoria) and Scottish descent. Her art practice applies multi-media disciplines including metalwork, photography printmaking and weaving ephemeral natural fibres. Her recent practice revives the traditional possum skin cloak as an art form and a way to strengthen community and individual identities. Carol is currently completing her PhD in Fine Art at the Queensland College of Art, Griffith University.
Imelda Miller is the Curator, Torres Strait Islander and Pacific Indigenous Studies, at Queensland Museum. Imelda has worked in the museum sector for close to twenty years, engaging with communities to deliver projects and to ensure that their stories are represented in the State’s collections. She brings to the job a breadth of experience working with objects and collections inside and outside of the traditional museum environment and spaces. Imelda continues to engage and work collaboratively with many diverse and vibrant communities across Queensland and the Pacific, in particular Torres Strait Islanders and Australian South Sea Islanders communities.
Imelda’s principal area of interest is the history of past, present and future of South Sea Islander labour in Queensland.
In 2013, Imelda played a pivotal role in the delivery of commemorative programs to celebrate ASSI 150 Years, encouraging and facilitating a high level of community participation and ownership, and creating a vital link between collecting organisations and the ASSI community. She also played a lead role Imelda in delivering the cross-Cultural Precinct project, Memories From a Forgotten People: 150 Years of Australian South Sea Islander contributions to Queensland. A collaboration between the Queensland Museum, State Library of Queensland and the Queensland Art Gallery l Gallery of Modern Art.
Margo Neale (Adj Professor ANU), is the Senior Indigenous Curator and Indigenous Advisor to the Director of the National Museum of Australia where, previously, she was the inaugural Director of the Indigenous programs and the Gallery of First Australians. Formerly she worked at the National Gallery of Australia, the Art Gallery of New South Wales and the Queensland Art Gallery (QAG) where she was the inaugural Head of the Indigenous Art Department. In the 1970s and 1980s Margo worked with the homelands movement in Arnhem Land, on Christmas Island, and in schools and colleges on mainland Australia. She is an internationally renowned curator of major exhibitions including a major role in the Asia-Pacific Triennials of contemporary art at QAG, a pioneering exhibition of fine art, Utopia: the genius of Emily Kame Kngwarreye in Japan’s premiere national galleries and a permanent exhibition using the Vatican’s century-old artifacts. Her academic achievements include the award of 13 Australian Research Council Grants (with partners) and author, co-author or editor of 11 books, including the Oxford Companion to Aboriginal art and culture. Margo has been appointed by successive Australian governments to Prime Ministerial advisory panels across art and history.
With a particular interest in domestic textiles Joanna Nicholas has degrees in fine arts and museum studies. She has taught museum studies, sits on the National Trust of Australia (NSW) collections committee and is a reviewer for the MGNSW standards Program.
Frances has a Master of Cultural Materials Conservation, University of Melbourne. Before joining Museums Australia (Victoria) as Operations Coordinator, Victorian Collections, Frances was the Collection Relocation Coordinator for Museum Victoria. She has previously worked for Central Park Conservancy, New York, and interned at the Canadian Conservation Institute and the National Gallery of Victoria.
Fara Pelarek, Head, AMRI Education and Lifelong Learning, manages the Museum’s on and offsite education programs as well as Citizen Science initiatives and postgraduate students. Previously, Fara managed the Museum’s Public Programs and was responsible for the Museums visitor experience and expectation, program offerings and customer satisfaction
Helen Privett is Manager, Conservation at Museum Victoria. Helen graduated from University of Canberra in 1998 and since that time has worked in a number of roles at National Gallery of Victoria and Museum Victoria. Helen’s recent focus has been on managing hazardous substances in collections, plastics and digitisation.
With multiple tertiary qualifications in history, museums and the law, and information management, Maryanne has worked in archives and museums for over thirty years. Her work has centred on the development, care and preservation, use and interpretation of collections. Her current position involves developing strategic, preventive collection care and preservation frameworks and addressing the big, tough issues for a major, complex state collection.
The museum profession’s awareness of the presence and implications of hazardous substances in collections has grown over the past few decades. These hazards may be inherent, for example in radiation-emitting mineral specimens or in domestic technology such as capacitors in microwave ovens, or they may be applied as found in scientific and cultural collections where heavy metal or organic pesticides have been used after museums have collected the items.
Museum Victoria has spent the last seven years addressing the management challenges of hazardous substances in collections. The significant achievements made within the organisation are the result of multi-disciplinary commitment to creating a safe working environment for our staff, and to fully understanding the range and breadth of hazardous substances contained in our collections. By adopting risk management frameworks and developing staff awareness and understanding Museum Victoria has driven a major shift in cultural practice.
By working with occupational hygienists and other external specialists and organisations Museum Victoria has developed a range of controls for hazardous substances. These include engineering solutions for safer access to collections during interventive processes such as preparation and conservation, and development of a suite of specialised procedures and accompanying training.
This paper will outline the initiative, the achievements to date and the aims for the future management of hazardous substances in the collections of Museum Victoria. It will also discuss the legislative frameworks within which collections must operate, with particular emphasis on the management of pharmaceuticals.
Managing hazardous substances in museum collections – a paper on Museum Victoria’s approach and legislative requirements for museums.
David Reeves joined Auckland War Memorial Museum in January 2011 after a time at the Alexander Turnbull Library as Associate Chief Librarian. David’s career also includes roles at the Auckland Art Gallery and at Te Papa, managing logistics, storage and documentation of collections.
David brings a range of perspectives on the activities of the GLAM sector, with a particular interest in how they are responding to and utilising the digital environment. David is also experienced in museum building design and has been involved in a number of building re-developments and collection relocation projects. He holds a Bachelor of Building Science from Victoria University of Wellington and Diplomas in Professional Photography and Museum Studies.
Amanda Jane Reynolds
Amanda Jane Reynolds is an independent curator, storyteller and creative artist who specialises in community-based collaborative curatorial models and cultural healing and connection programs. Amanda loves providing platforms for custodians, artists and project staff to work together in museums, cultural heritage sites and public spaces and is now in her third decade of practice. Recent projects include: inaugural Artistic Associates (with Genevieve Grieves) for Barangaroo Development Authority; Lead Curator For Country, for Nation (Australian War Memorial, 2016); Co-curator Garrigarrang: Sea Country (Australian Museum, 2014); and Senior Curator ‘Our Story’ in the international award-winning First Peoples (Bunjilaka, Museum Victoria, 2013).
Zoe Rimmer is a pakana (Tasmanian Aboriginal) community member, basket weaver, and beginner shell stringer, with 13 years museum and cultural heritage management experience. Zoe is currently the Senior Curator of Indigenous Cultures at the Tasmanian Museum and Art Gallery (TMAG). She also has a role on a number of advisory committees, including as Co-Chair of the Advisory Committee for Indigenous Repatriation (ACIR) and as a member of the Tasmanian Aboriginal Heritage Council. Zoe was awarded a Churchill Fellowship in 2013 through which she visited 35 cultural institutions across four countries to explore new directions, methodologies and outcomes in museum engagement with Indigenous peoples. Zoe has also participated in Indigenous Intellectual Property Rights workshops at the World Intellectual Property Organisation in Geneva and has been involved in meetings in France and the UK to progress the repatriation of Ancestral remains. Zoe is passionate about museum collections being utilized to maintain, revive and elaborate cultural practices and has facilitated a number of community engagement projects to help revitalize the art of canoe building, basket making and shell stringing.
Philippa Rogers is an Exhibition Team Leader for the WA Museum’s exciting New Museum Project. Previously she was the museum lead for the building of Wanneroo Regional Museum. She has special interests in community engagement, interpretation and railway heritage. An historian and museum professional she has consulted in museum and heritage fields.
As the Community Heritage Curator with City of Melbourne’s Library Service, Bronwyn worked with groups to present social history exhibitions at Library at the Dock as well as emerging artists exhibiting at City Library. Previously she has worked as Assistant Curator at the Australian War Memorial and Museum Development Officer with Queensland Museum.
Currently managing interpretations at the National Trust of Australia (Victoria), Bronwyn is not a technology expert, but seems to get along with people who are.
Georgia Rouette has worked in and with museums for over 20years. She has held curatorial and exhibition management positions in regional and state museums and galleries as well as in local government. She has written widely on art and museology and is the author of “Exhibitions: a practical guide for small museums and galleries” and “Exhibition design for galleries and museum: and insiders view”. She is currently managing the Public Art program at the City of Port Phillip St Kilda and has developed a passion for Street and Graffiti Art. She also runs an arts and museum consultancy.
Jessica Simmons has been with the National Trust of Australia (Victoria) for five years. Program Developer since 2014, prior to that she worked as a Program Co-ordinator and Learning Facilitator. Her background is as a Head of Humanities at both Independent and Catholic schools across Melbourne and in Townsville, Queensland. Jessica’s tertiary training was in both drama and history teaching and it is the joint application of both of these disciplines that most excites her. Her most recent project at the Old Melbourne Gaol, a courtroom drama about Culpable Driving, won a Museums Australia award for 2016.
Dr Blake Singley
Blake is a curator of collections at AIATSIS. He is a historian with a particular interest in social and cultural history. His current work at AIATSIS focuses on Aboriginal and Torres Strait Islander popular culture. Blake has presented his research at national and international conferences and has published on a wide variety of topics.
Melissa Smith is currently employed as a Roving Curator with Arts Tasmania. The skills and experience Melissa brings to the position are underpinned by over 24 years working in education and exhibition development and presentation.
Dr Gretchen Stolte
Dr Stolte is a Nimi’ipuu (Nez Perce) American Indian. She has degrees in art history and anthropology, focusing on the material culture of First Nation peoples in North America and Australia, including teaching material culture courses at the University of Canberra. Dr Stolte’s current focus is on cultural collection databases and has completed research at US institutions in 2016 in order to develop an international perspective. Dr Stolte is currently a Research Fellow on an ARC project at the ANU where she is exploring the impact of the Aboriginal Artist’s Agency on the development of Torres Strait Islander Dance.
Dr Nikki Sullivan
Nikki is a Curator at the Migration Museum and previously worked as an academic. She is an activist and the author of A Critical Introduction to Queer Theory.
Tim Sullivan is Assistant Director, Branch Head National Collection, at the Australian War Memorial. He is a member of the National Cultural Heritage Committee, a Professional Member of ICOMOS, and has been a Smithsonian Visiting Scholar at the National Museum o f the American Indian in Washington, DC, a member of the Museums Board of Victoria, and Deputy CEO of The Sovereign Hill Museums Association, Ballarat. His roles have encompassed technical and managerial roles in museum development, collection management, education, public programming, and regional heritage and tourism.
Liz Tew is a pakana (Tasmanian Aboriginal) community member and current curatorial assistant within the Indigenous Cultures section at the Tasmanian Museum and Art Gallery. Liz comes from a cultural heritage management background and is currently undertaking a combined bachelor of arts and fine arts degree at the University of Tasmania. Liz has worked at the TMAG since its major redevelopment in 2011, working on the TMAG Indigenous repatriation program and co – curating the kanalaritja: An Unbroken String exhibition which celebrates Tasmanian Aboriginal string stringing practices. Liz is part of a new generation of young Aboriginal curators who are keen to reclaim the colonial museum space with Indigenous voices and perspectives.
Phillipa Tocker is Executive Director of Museums Aotearoa, the peak professional body for the museum sector in New Zealand. Since joining Museums Aotearoa in 2005, Phillipa’s aims have been to encourage communication and interaction between people in museums and galleries and other related sectors, to improve our capacity to understand and meet the changing environments in which we operate, and to advocate on behalf of the sector. Phillipa has postgraduate qualifications in art history and anthropology, and previous employment at Victoria University of Wellington included a variety of management, administration and art collection roles.
Lara Torr joined the South Australian Museum in 2014 as the Manager of Community Programs, building on her diverse experience across the arts, cultural and community sectors. A passionate advocate for disability access and cultural participation, Lara has worked extensively as an audio describer since 2011. This is role she has developed accessible programming for blind and vision impaired audiences in collaboration with the Adelaide Festival, Vitalstatistix, ArtbackNT and the Australia Council for the Arts . At the South Australian Museum Lara has led the development of the Museum’s disability access blueprint and initiated a range of accessible projects.
Benita Tunks has worked for cultural institutions for thirty years in many roles. She is currently a producer in Exhibitions at the National Museum of Australia (NMA). She utilised user-centred design thinking to realise this project. She is also a practicing artist and independent curator.
Ethel Villafranca is a PhD candidate at the Melbourne Graduate School of Education, the University of Melbourne. Currently a recipient of the Melbourne International Research Scholarship, her research interests include museum education, visitor studies and evaluation, and audience development.
She completed her master’s in Museology, on a Fulbright Scholarship, at the University of Florida and her bachelor’s in Philippine Arts (major arts management), at the University of the Philippines. Ethel has been involved in various aspects of museum/cultural work in the Philippines and the USA since 1998.
Chun-Hsi Wang is a Ph.D. of Architecture. His research interests are cultural heritage and cultural landscape. Many papers were presented with the theme of cultural landscape in journals and conferences. Since 2005, he has joined in many listing and conservation projects of cultural heritage and cultural landscape in Taiwan.
Frith Williams is Head of Exhibition Content at the Museum of New Zealand Te Papa Tongarewa (Te Papa), a cross-disciplinary museum spanning art, the natural environment and history. She has a lead role in redeveloping the museum’s experiences over the next five years. In 2015, Frith was a Fulbright Scholar in the US, exploring uses of new technology in museum storytelling, and bilingual/bicultural content. She played a key role in Gallipoli: The Scale of Our War, Te Papa’s most successful exhibition ever. Previously, she worked in educational publishing, and has a degree in theatre and film.
John Willsteed is a musician and academic. He toured the world through the late 80s in The Go-Betweens, and has recorded and performed with many bands. He has been a guitarist in award-winning Brisbane group Halfway since 2011. He is a composer and sound editor with over 90 film and television credits, and is Senior Lecturer in Music at Queensland University of Technology in Brisbane. He has presented papers nationally and internationally, and his academic interest is centred in concepts of curation and story-telling particularly in relation to Brisbane’s punk and post-punk scene.
Amy joined the WA Museum in 2011 and became part of the New Museum Project in 2014 after completing work on the development of the National Anzac Centre in Albany. Her work for the New Museum focusses on Western Australia’s connections with the world.
Amy Wolgamot is an audience advocate and project assistant in Exhibitions at the National Museum of Australia. Through her research, Amy developed an audience engagement strategy that influenced this permanent gallery redevelopment. Other experience at NMA also includes working on Kspace (NMA’s new interactive adventure game for children), and facilitating education programs.
Emily Wubben is an assistant curator (art) at the Australian War Memorial, Canberra. Before this, she was an exhibitions research officer at Melbourne’s Shrine of Remembrance and a digital content officer for the academic art database Design & Art Australia Online (DAAO). Emily holds a Master of Art Curatorship and a Bachelor of Arts (Hons) from the University of Melbourne. Her recent publications include articles on Edward Burne‐Jones and Will Dyson
Fiona is an architect and researcher in the field of learning environments. She has previously worked as an exhibition designer within leading cultural institutions including The Museum of Arts and Applied Sciences (MAAS), The Australian Museum and The Museum of Wellington City and Sea in New Zealand. She is a PhD candidate at the University of Melbourne, and Studio Director at Hayball in Sydney where her focus is on schools and GLAM sector projects. Core to her role is enhancing learning opportunities through design, and interpreting and bridging understanding between educators and architectural teams.