Tuesday, 20 December 2016

Seasons Greetings MATters

On behalf of Museums Australia (Tasmania) (MAT), I’d like to wish all our members, partners and supporters a very Merry Christmas and a peaceful New Year.

2016 has been a busy one for MAT with site visits, professional development workshops, and the national conference which moved to New Zealand for the first time!  

We begin the New Year with another of our collaborations with Arts Tasmania a half-day workshop on Saturday 21 January, hosted by QVMAG, featuring Michael Mills of HeapsGood Productions. Only $20 for MAT members, and another good reason to be a member.

Have a great break and we’ll see you in 2017!

Janet Carding 

President Museums Australia (Tasmania)

Saturday, 17 December 2016

Theatre in Museums Workshop

Museum theatre is a tool for interpreting, entertaining and educating audiences in cultural institutions. This workshop is an opportunity to learn from a primo storyteller about ways to develop these tools for your museum and visitors. The workshop is part of the Making Museums Work series of professional development workshops and presented by Arts Tasmania, Museums Australia (Tasmania) and the Queen Victoria Museum and Art Gallery 


Saturday, 21 January 2017
9:30 am - 12:30 pm


$20 Museums Australia (Tasmania) members
$40 others
Morning tea will be provided. 

The presenter

Michael Mills through HeapsGood Productions, has been writing, producing and performing in shows for many years. HeapsGood Productions have become particularly well known for creating stories within cultural institutions and of finding ways to help bring the collections to life.  

Michael has written, directed, produced and appeared in over forty shows as a variety of characters, as well as himself. These have been performed at a variety of venues including at Adelaide Fringe Festival, the S.A. Museum, the SA Maritime Museum, the Royal Sydney Botanic Gardens, and at hundreds of schools and kindergartens. Michael has increasingly utilised the talents of performers selected via the Australian Classical Youth Ballet, and Adelaide Youth Theatre. These shows include:
Dinosaurs Down Under: An exploration of the unique nature of Australia’s pre-history, featuring singing paleontologist Prof Flint.
Wonggayerlo: Footprints in the Sand: A journey between two people of different cultures and understanding, sharing stories of their ancestors and ways of understanding science and knowledge. This show is co-written and performed with local Adelaide Kaurna custodian, Karl Telfer.Gory Stories from the Putrid Past: a foul and filthy fable story about medicine in the age of sail. Due to popular demand, it was performed at the SA Maritime Museum across 3 consecutive school holiday seasons.

Michael is an Adjunct Research Associate at the University of South Australia. He has presented his insights into the role of performance in science communication, and the topic of museum theatre at a number of symposiums and conferences. He recently spoke at the 2016 Adelaide Festival of Ideas on the subject of the role that storytellers have to play in helping to understand the concept of home.  


9.30am Registration & introductions
9.45am Introduction to museum characters, Peron and Professor Flint             
10.15am Unpacking the stories
10.45am Morning tea
11.00am Exhibition walkthrough - Permian Monsters
11.30am Group activity: Developing a narrative
12.30pm      End of workshop


Queen Victoria Museum and Art Gallery Meeting Room, Inveresk

To register

Registration due by Monday, 16 January 2017 
By phone: 03 6165 6666
By email: arts.tasmania@arts.tas.gov.au
By post: Arts Tasmania, 146 Elizabeth Street
Hobart TAS 7000 

There is a maximum of 20 participants for the workshop so please register promptly if you wish to participate. 

About museum theatre

Museum theatre refers to the performance of theatre such as a play in or by a museum and also the use of any of a variety of theatrical techniques by museums. It can be a live interpretive presentation with skilled performers who engage museum visitors (including field trips and outreach) by portraying characters and conveying a story or dramatic narrative. Theatrical museum programs can take the form of a scripted play, dramatic demonstration, living history and first-person interpretation, puppetry, role play, music, movement, creative drama and simulation, gallery characters and enactors interacting with visitors, among others.Best practice in museum theatre means that theatrical programs are integrated into the institution, serve the institution’s audience whilst adhering to the highest standards of excellence. Yes museum theatre is fun but its not fluff. It can be as meaningful, thoughtful and engaging for visitors as any curated exhibition.

Wednesday, 30 November 2016

Museums Standards Program

Wilmot Museum, 2016.

Register now to be part of this new initiative designed to help your museum and the work you do...

The new Museums Standards Program is designed to assist Tasmanian museums aim for best practice in management, build a significant collection and connect with their community and visitors.  The program is based on the National Standards for Australian Museums and Galleries and offers resources, fresh ideas and a framework of goals to aim for. Arts Tasmania’s Museum Standards Program is an opportunity to look at how Tasmanian museums work and to provide an opportunity inspired by the best ideas from some of the finest minds in the Australian museums sector. It is also a great chance for our museums and collections to consider what they would like to achieve in the future.

Museum staff and volunteers are able work on the self-assessed program at their own pace with Arts Tasmania’s Roving Curators available to offer support, advice and assistance with projects that work towards completion of the program. The successes of participating museums will be promoted in Arts Tasmania newsletters and associated media. There will be two intakes in the next 12 months, Tasmanian museums interested in participating in the pilot program can find more information and register their interest here: www.arts.tas.gov.au/msp

The first registration period is open now and closes on Friday, 9 December 2016.
A second registration period will open in April and close in May 2017.

Register your interest

Registration is made using the Arts Tasmania online application form. You will need to register an account or login with an existing account before being able to open the online form. 2016-17 Museum Standards Program Registration .

You are also welcome to contact the Roving Curators to discuss your registration in advance. Please phone 6165 6666 or email info@arts.tas.gov.au.

For more about the program including eligibility criteria see the Arts Tasmania page.

'Boats in bottles' exhibition opening

St Helens History Room is pleased to present its latest exhibition Boats In Bottles.

The official opening is scheduled for Saturday 17th December 2016 from 1 pm at the 
St Helens History Room where refreshments will be available.
RSVP by 14 December
Tel: 63761479, 63761744 or 0419731452
Email: historyroom@bodc.tas.gov.au
Enquiries: Kym Matthews, Curator

Boats In Bottles
The exhibition consists of nearly 40 model boats set in bottles that represent the life work of Mr Richard Massey.  Mr Massey is the model maker of this private collection currently on display and during his lifetime has worked on or captained each of the model boats presented. Mr Massey has progressed from Ship’s Peggy to Ship’s Master working in the shipping industry from 1951-2013.  Mr Massey has generously lent his collection to the St Helens History Room for display purposes and the History Room is delighted with the exhibition.

Available for viewing until March 2017.

61 Cecilia Street

Sunday, 30 October 2016

Party at MAT's end-of-year celebration

Ms Janet Carding, Branch President Museums Australia Tasmania invites members

to the upcoming Committee meeting followed by its end of year celebration at the Tasmanian Wool Centre generously hosted by the Manager, Debra Cadogan-Cowper.

Date:    Wednesday 16 November 2016
Time:   3.30pm to 4.30pm    Meeting
            4.30pm to 6.00pm    Tour
Where: Tasmanian Wool Centre, 48 Church Street, ROSS

Refreshments will be served

RSVP essential by cob Monday 14 November 2016
T 03 6323 3706 or E Belinda.Cotton@launceston.tas.gov.au

Tasmanian Wool Centre: 'wool and history knitted together'

The Tasmanian Wool Centre traces the story of Ross through its wool industry. This story is told in the Wool and Heritage galleries with many artefacts, pictures and documents on display. 

The smell of sheep’s wool pervades the air as you enter the Wool exhibition. A re-created shearing shed complete with thrown fleece on its sorting table and manual wool press provide a glimpse of past times. Many breeds of sheep’s wool are on view to feel and inspect. Included as permanent exhibits on loan from the Queen Victoria Museum and Art Gallery in Launceston are “The Canticle, 1966” a large woollen tapestry by John Coburn, “Primary Bind” 1985, a sculpture by Les Kossatz  and Stephen Walker’s Ermenigildo Zegna Perpetual Trophy 1963. In the adjoining room, the History Gallery provides snapshots of significant milestones in Ross’ development. The Ross Bridge, Female Factory and Horton College are permanent exhibits together with changing short-term exhibitions. For the ancestry buffs there are a number of registers listing the female convicts and male ticket of leave workers, together with copies of the Anglican Church burial registers in the early years of settlement.

Ross is easy to find – 120km north of Hobart and 78km south of Launceston just off  the Midland Highway.

MAT Professional Development

Photo: Lisa Reihana, in Pursuit of Venus [infected], 2015, Auckland Art Gallery Toi o Tāmaki, gift of the Patrons of Auckland Art Gallery, 2014 (still from panoramic video interpretation of 1804 French scenic wallpaper Les Sauvages De La Mer Pacifique)
As part of MAT's brief to support professional development two bursaries of $2,000 (towards the travel and registration costs) to attend the MuseumsAustralasia National Conference in New Zealand (15-19 May 2016) were awarded to Veronica Macno (Roving Curator) and Geoff Dobson (Burnie Regional Art Gallery). Here are their reports.

Veronica Macno

Executive Summary
I would like to acknowledge the generous support I received with a MA2016 National Conference Bursary to attend the Museums Australasia 2016 Conference: Facing the Future: Local, Global and Pacific Possibilities from 15 – 19 May 2016 in Auckland, New Zealand.  I would also like to acknowledge the support given to me by my employer, Arts Tasmania, enabling me to attend the Conference as part of my professional development.

The main objectives of attending the conference were to: to engage with museum professionals; further develop and broaden my own museum professional development and to experience some aspects of the arts and cultural heritage sector in Auckland.

Key Note Speakers
Moana Jackson Ngăti Kahungunu Ngăti Porou: Moana Jackson’s keynote address set the scene for the Conference with his focus on monuments, museums and memory and how and why they interact.  In particular his thoughts about museums as monuments and how stories and/or histories are often partially or incorrectly presented resonated with me throughout the Conference.  The main take home messages that stuck with me were that there are many stories to be told, many voices to be heard and that every story told as the history of their country is an Indigenous story.

David Garneau Métis: In referencing his own Indigenous community, one of the most thought provoking aspects of David Garneau’s keynote address was the notion of how important (or more accurately absolutely imperative) it is to present stories and /or histories from the point of view of the locals living in the community.  That is, much of the knowledge and understanding of the cultural material of a community is held by the people within the community and that this should be shared with the museum sector professionals and presented as authentic, balanced and inclusive stories/histories.

Dawn Casey:Dawn’s notion in her keynote address that museums should strive to be a social agent for social change and should continue to do so was an important point to raise in the context of the Conference title: Facing the Future: Local, Global and Pacific Possibilities.

Elizabeth Merritt
I found Elizabeth to be one of the most engaging and energetic keynote speakers of the Conference with ideas and theories that I found most relevant to me as a museum professional and as a Roving Curator working with the small museum sector in Tasmania.  In particular I found the juxtaposition of Elizabeth’s thinking about the future of museums (as illustrated by the Center for the Future of Museums) in relation to how important it is to consider how much and what we collect today, examining what is the value and benefit of collections to the community and policy making for collections, re: deaccession, issues of storage and conservation highly relevant. 

Boon Hui Tan: Boon Hui Tan’s keynote address spoke about the local global aspect very succinctly and linked the two notions of think and act locally to attract global interest and attention. In particular his discussion about local collections staying local but making connections with other local communities resonated with me as a museum professional in Tasmania and as part of the broader museum sector in Australia.  His point about specialising in the local was a theme that had been spoken about in some of the other keynote addresses and how it is important to listen to and value the local knowledge and how this can attract global interest and attention.  

plenary: A Plenary session was presented by a number of prominent speakers (Robert R Janes, Daryl Karp, Elizabeth Merritt, Albert Refiti, Lisa Reihana and Peter White) and provided numerous provocations which I found both interesting and useful as a museum professional and as a Roving Curator working with the small museum sector in Tasmania: “what is your public value to the community”, “rethink and deconstruct who we recruit as employees in the museum sector to address diversity for visitors and what is presented in our museums”, “museums should be less concerned with education and become places people love and engage with” and “important to present a balanced viewpoint of First Peoples in museums”.

parallel sessions: My choices for the parallel sessions were all useful, informative and relevant to me as museum professional and some in particular were useful to my role as a Roving Curator working with the small museum sector in Tasmania.  Some of my choices included: the public value of museums, collections and strategy, new ways of story telling, visitor research for exhibition development and does consensus stifle innovation. A couple of the highlights of the parallel sessions for me was the site visit to the collection store of MOTAT and the new ways of story telling session, which included five different papers.  Wendy Lugg’s Mapping Memory – an online exhibition was a project that I thought could be relevant in my role as a Roving Curator, either for our annual 10 Objects – 10 Stories: celebrating community collections exhibition or for some of the groups we work with?  Wendy’s exhibition project had both a physical presence and then developed for an online profile.

Benefits and Outcomes
There were numerous benefits and outcomes, including the opportunity to network with a wide range of museum, art and other related professionals, be inspired by current, new and innovative theories and ideas, the opportunity to visit some of Auckland’s best cultural organisations, such as the Auckland War Memorial Museum and the Auckland Art Gallery.   However, most importantly I gained a number of useful and practical ideas through presentations, workshops and conference participants that can and will be put into practice in my role as a museum professional and as a Roving Curator working with the small museum sector in Tasmania.

Geoffrey Dobson


Firstly, I am grateful to have received a Museum’s Australia bursary, administered through the Tasmania Branch, enabling me to attend the Museums Australasia 2016 joint conference in Auckland. The Burnie City Council fully supports professional development opportunities for staff, such as attending conferences and summits, but due to limited financial and personnel resources it is difficult to attend all the key conferences that relate to the core functions of the Burnie Arts & Function Centre (BAFC) and Burnie Regional Art Gallery (BRAG). My position, as the Director of BAFC/BRAG, is required to take an active interest and interact with multiple sectors, including: function and events; performing arts; visual arts and cultural heritage sectors. Therefore it was of great benefit to engage with a broad, trans-Tasman network.

To my embarrassment I had not attended a Museum’s Australia conference in the past. In 2014 I was travelling on a Churchill Fellowship at the time the conference was being held in Launceston. Admittedly, in the past my perception of Museums Australia had been misguided. I had previously assumed the organisation was purely acting for the museum and cultural collecting sector. I had not fully appreciated the cross-over and cross disciplinary content relating to the public gallery sector (I also note the wording on the back of the 2016 Conference Booklet, Museums Galleries Australia National Conference 2017).

I believe it is important to place in to context the situation of BAFC/BRAG as I left for Auckland. The Centre was facing significant budget cuts and setbacks in-line with the new financial year 2016/17. Hence, while I was at the conference my mind was drifting to the pending restructure of the Centre, including redundancies, loss of hours, amendments to opening hours, and major cuts in local government funding. From my perspective the conference title of Facing the Future could not have been a more appropriate.

I can only report on my own observations of the conference. From the outset, I immediately felt the integration and appreciation of colonial and Maori culture was exceptional. I don’t recall one speaker from New Zealand who did not address the audience in the indigenous language, regardless of whether it was prior to the start of a keynote or smaller breakout session.

It was this heightened level inclusiveness that set the tone for the overall conference, a feeling of goodwill, welcoming and pride permeated the three major days of the conference.

It was fascinating to hear an opening keynote address from someone operating outside the museum and gallery sector. Because of his achievements in New Zealand and his respected International career, Moana Jackson’s keynote was received with a certain amount of awe in the room. His comments about museums as monuments, linked with the importance of relating effective and correct information, framed discussions for the proceeding days. Jackson tasked directors and curators to balance reporting culture and history for the now, while honouring the past appropriately, considering the past may have multiple understandings and contexts.

It was an interesting choice by the conference organisers to open with two keynote speakers. I felt there were some contractions between the two, but essentially David Garneau, who shared the opening keynote segment with Jackson, reinforced Jackson’s position. Garneau provided a case study, referring to his own indigenous community, referencing objects and their importance to communities. His thoughtful comments about sublimation, in the context of the Manitou Stone – a sacred meteorite, no doubt resonated with many in the room who manage important pre-colonial collections.

I cannot recall which of the two opening keynotes referred to Captain Cook’s Bark Shield, mentioning that as an object it would not exist if it was not collected, and therefore it is the story and not the object that is ‘titled’ and ‘labelled’. This story highlighting any object is subject to perspective.

Garneau’s closing comments about curating towards conciliation as opposed to reconciliation was as much a provocation as any heard throughout the duration of the conference. The actual provocations for the conference were posed by six prominent arts and culture leaders, including one by Robert Janes via recorded message. Janes presented a global approach, encouraging the cultural sector to instruct global policy. Janes mentioned that the museum, as the entity, shouldn’t be frightened to ‘upset its perceived neutrality’.

The futurist Elizabeth Merritt featured heavily throughout the conference as a presenter, panellist and provocateur. I perhaps followed her in the program as I enjoyed listening to her viewpoints and theories. She opened day two with one of her many questions, ‘what is the value proposition of your collections’. She linked this question with accessibility and the collection’s benefit to the community over time. Her theories provided useful tools for critical programming analysis. I did find her proposition ‘how to we become relevant to audiences now’, interesting seeing she is the Founding Director of the Centre for the Future of Museums. Perhaps part of my enjoyment came from the theatrics of her presentation on day two, which included a science fiction-esque soundscape that took me quite some time to understand was actually part of her presentation.

As the conference and conversations developed, I began to contemplate the proposed merger of the Burnie Regional Museum and Burnie Regional Art Gallery. These thoughts were influenced by one of the reoccurring questions of the conference, the question of which story to tell. I reflected on the Early Burnie permanent exhibition on display at the Museum and the lack of local aboriginal content in the Gallery’s permanent collection. It might be dismissive to mention, but the story currently being told by the Museum and Galley is mostly, if not entirely, colonial history. Another unsurprising undercurrent of the conference was collection management. I did attend several sessions under the Collections and Strategy heading. This did not serve me well. It only raised my anxiety about the current state of the Gallery’s collection. One of the more entertaining sessions, titled Slay the Dragon, did help to lesson my anxiety somewhat due to the presenters humour and novel approach. Slay the Dragon posed the idea of closing the gallery for several weeks to simply re-catalogue, digitise d update the Gallery’s current database in a consolidated period of time - likened to a Toyota assembly line.

The conference also provided me with the stimulus to rethink the Gallery’s approach to programming. The Gallery does have a significant amount of space for a regional gallery, and there is the opportunity for a permanent hang or collection gallery. The development of which should increase the Gallery’s reach by creating relevant creative learning and public programs.

My note pad is filled with many great anecdotes from the conference: what can we do to make people stay for longer; what is our social story of going to the museum; how to tell unsafe stories in safe places; welcome to the museum, do we really mean it; everything starts with the customer. My favourite anecdote would have to have come from Emma Burns, Curator of Natural Science, Otago Museum, who simply said we all have to ‘think harder’. My note pad has evidence of things written down in the dark, tables and graphs scribbled during keynotes, too numerous to recount.

Did I come away from the Museum’s Australasia Joint Conference thinking ‘Local, Global and Pacific Possibilities’? In truth, not entirely. My mind was preoccupied with the pending end of financial year restructure of BAFC/BRAG and anticipating the angst that would surely follow. However, the content of the conference devised to think ‘Local’ was invaluable and entirely appropriate for Burnie Regional Art Gallery and Museum.

As mentioned afore, it was delight to attend the conference and only possible due to the financial assistance from Museum’s Australia, Tasmania branch office.

Sunday, 2 October 2016

A successful convergence to the Significance Assessment Workshop

The Significance Assessment Workshop held Saturday 1 October in Hobart highlighted the wonderful networks the local sector can draw together. Attended by thirty participants from around the state the workshop was brought together courtesy of Narryna Heritage Museum, National Library of Australia, Arts Tasmania, TMAG and MATasmania and presented by Kylie Winkworth from NSW was highly successful with 30 participants in attendance from around the state!

Staff and valounteers came from UTAS Special and Rare Collections, TMAG, MONA, Devonport Regional Gallery, Circular Head Heritage Centre, East Coast Heritage Museum, Arts Tas, QVMAG, Woolmers Estate, St Helens History Room, New Norfolk Historical Information Centre, Narryna, Ulverstone History Museum , consultant conservators and one private collection.

Funding and support came from a National Library of Australia Community Heritage Grant awarded to Narryna Heritage Museum Inc. for a significance and preservation-needs assessment of its costume collection, and further supported by Arts Tasmania and Museums Australia (Tasmania) as part of its professional development series Making Museums Work program. TMAG provided The Royal Society of Tasmania Room as the venue.

Hard work pulling it together came from Melissa Smith (Arts Tas Program Officer and MAT Committee Member) with Scott Carlin, Manager Narryna House Museum ably assisted by the marvellous Narryna volunteers. 

Presenter Kylie Winkworth
All images courtesy Melissa Smith.

Friday, 2 September 2016

MAT calendar of events 2016

Florian Doru Crihana illustration linking decorative arts to architectural heritage

Join us

1 October
Investigating Significant Costumes: using significance to uncover the meaning and story of historic costumes
Presented by Kylie Winkworth
9.30am – 4.00pm

Registration required by 23 September
By phone:   03 6165 6666

Royal Society of Tasmania Room
Tasmanian Museum and Art Gallery
19 Davey Street (enter via Custom House, Dunn Place)

12 October
MAT Committee Meeting
Annual General Meeting  
3.00pm – 4.30pm

Tour: 4.30pm – 6.00pm
Tricky Walsh's solo exhibition - Tiefenzeit.

An opportunity to hear the artist in conversation with CAT exhibition coordinator, Colin Langridge. Tiefenzeit is informed by the Tasmanian artist’s recent Australia Council residency in London. 

Contemporary Art Tasmania
Tasma Street, North Hobart 
16 November
MAT Committee Meeting: 3.00 – 4.30pm

Christmas Event and tour: 4.30 – 6.00pm
Tasmania Wool Centre by Debra Cadogan-Cooper, Manager

Tasmanian Wool Centre 48 Church Street

Notice of 2016 Annual General Meeting

Image: Tricky Walsh, Waveform Generator (The Oramics Machine), 2015, timber, optic fibres, modelling compound, paint
Museums Australia - Tasmania Members
are invited to attend the

2016 Annual General Meeting

Wednesday, 12 October 2016
3.00pm to 4.30pm
Contemporary Art Tasmania
27 Tasma Street, North Hobart

Light refreshments will be served

Following the meeting from 4.30-6pm, members are invited to hear Tricky Walsh in conversation with CAT exhibition coordinator, Colin Langridge speak about her work and her solo exhibition called Tiefenzeit

RSVP essential by Monday 3 October 2016
T 03 6323 3719
E bookings @qvmag.tas.gov.au

About Tiefenzeit by TRICKY WALSH

Taking the continual present as a starting point I am examining ways of avoiding entropy through an expansive generation of parallel possibilities. Literally, of a world/worlds expanding in number if not in linear evolution.

This exhibition is the culmination of a three month residency in London undertaken last year, and the works within it express not only the subjects of my research, but the experience of being completely overwhelmed by the breadth and depth of its technological history. At some point it started to weave itself into a narrative which is possibly the easiest way my mind had of processing that amount of information into a coherent system. Whatever the cause, Tiefenzeit was born, and given more concrete form upon my return to Tasmania.

The paintings are a synthesis of abstract geometry and pattern with an inclusive graphic based narrative. Littered with various types of early code and graphic symbology,  the narrative attempts to progress with a preference on action, gesture and spatial relationships than through the written word. The sculptures include a series of deconstructed technological relics, amongst them a full scale reconfiguration of the Oramics Machine which (unlike its actual function) features in the narrative as a catalyst for the integration of the various terrestrial spheres.

Museums Australia Tasmania would like to acknowledge and thank Contemporary Art Tasmania for making this event possible.

Join the pack: call for nominations


This is your chance to nominate for a position on the Museums Australia Tasmania Committee. A lovely bunch who aren't terribly docile but very friendly and constructive. Or you could also nominate to be Top Cat. It's a very inclusive committee.


ELECTION for the COMMITTEE of MUSEUMS AUSTRALIA (Tasmania branch) will take place at the Annual General Meeting on Wednesday, 12 October 2016 at 3pm at Contemporary Art Tasmania, 27 Tasma Street, North Hobart.

Nominations are called for the following Committee positions:
 President
 Secretary
 Three general committee member positions

All nomination forms must be received by the Secretary, Museums Australia Tasmania, no less than seven days before the AGM i.e. 5pm, Monday 3 October 2016. Nominations can be delivered in person to the Queen Victoria Museum at 2 Invermay Road, Inveresk, in an envelope marked for the attention of Belinda Cotton, Secretary, Museums Australia Tasmania or emailed directly to Belinda.Cotton@launceston.tas.gov.au or posted to: PO Box 2076, Launceston 7250.

Download the nomination form here. 

Wednesday, 17 August 2016

Investigating Significant Costumes Workshop--an intensive course in the Making Museums Work

Narryna mourning costume as arranged by Joyce Mackey for Ashes to Ashes.
From Narryna News April 2016
You are invited to participate in a one day Significance Assessment Workshop, with a focus on historic costumes 

Saturday, 1 October between 9.30am – 4.00pm
Royal Society of Tasmania Room, TMAG, Hobart
Registration is due by Friday, 23 September 2016
By phone: 03 6165 6666
By email: arts.tasmania@arts.tas.gov.au
By post: Arts Tasmania, 146 Elizabeth Street
Hobart TAS 7000

Numbers are limited so please register promptly
Cost $20 Museums Australia (Tasmania) members
$40 others

The presenter – Kylie Winkworth

Kylie is a museum and heritage consultant, with a particular interest in historic costumes,regional and community collections, movable heritage and in situ heritage collections. With Roslyn Russell she is the co-author of Significance2.0 a guide to assessing the significance of collections, 2009. She has undertaken many assessments of costume and community collections. She has advised local, state and national museums on costume collections, proposed acquisitions and Australian Dress Register entries. And she has presented significance training workshops for museum groups around Australia.

This workshop will introduce participants to the theory and practice of significance assessment, with a special focus on costumes, using in particular a case study from Narryna Heritage Museum’s collection.

Numbers are limited so please register promptly
Friday, 23 September 2016 Details are on the attached form.

Professional development series for the collections sector

Arts Tasmania, Museums Australia (Tasmania) and Narryna Heritage Museum.
This workshop is funded by a National Library of Australia Community Heritage Grant awarded to Narryna Heritage Museum Inc. for a significance and preservation-needs assessment of its costume collection, together with a community workshop in significance assessment.

Arts Tasmania and Museums Australia (Tasmania) have provided further funding for the significance assessment workshop as part of the Making Museums Work program.

Wednesday, 3 August 2016

Design Tasmania & MAT meets

Image - Living Set by Chalit (Num) Kongsuwan 2010. © Design Tasmania Wood Collection. Peter Whyte Photography.
Mr Richard Mulvaney, Branch President Museums Australia Tasmanian Branch invites Museums Australia Tasmania members to the upcoming Committee meeting, to be followed by a tour of Design Tasmania and presentation by Karina Clarke, the new CEO. 

Date: Wednesday 10 August 2016
Time: Meeting: 3.00pm to 4.30pm
Tour: 4.30pm to 6.00pm
Where: Design Tasmania, Tamar Street Launceston Refreshments will be served.

Karina Clarke, our host. Julia Charles Photography

Meet Karina, museum colleagues and explore Design Tasmania


Karina Clarke Chief Executive Officer took up her position in late February 2016  after moving from the University of New South Wales as Program Director and Senior Lecturer in the Faculty of Art and Design. Karina returned to Tasmania after forging a successful design career with over 25 years experience across education, interior design, furniture design, design manufacturing, management, and retail branding.  In 1992 she undertook a Masters degree in Furniture Design at the Centre for the Arts, University of Tasmania studying under John Smith and Kevin Perkins. This was a formative time in developing her design practice and instilled a respect for the skills and knowledge of others and an appreciation of craft, craftsmanship, sustainability and collaboration. Karina has worked for Chiswell Furniture creating award winning furniture designs and developing a new range for the long standing Australian owned business.  She was  Product Development manager Country Road homewares, lighting and furniture. 

Design Tasmania

Design Tasmania is a not for profit organisation dedicated to the promotion of Tasmanian design and craft on a local, national and international platform. Celebrating 40 years as a recognised leader in the delivery of exhibitions, educational workshops, and professional development programs which support local designer/makers. DT is committed to engaging with the community to help empower their understanding that design can make a difference. The future of design/making in Australia is dependent upon the support of organisations such as Design Tasmania to ensure that our initiatives continue foster expansiveness and dynamism in the sector. 

Prototype of 'Foliar' by Adam Cornish-one of the Australian designers featured in the travelling exhibition
Resolved - Journeys in Australian Design
"Good design acts as a change agent and allows us to go about our daily tasks with minimum effort. It affords us the opportunity to make a difference in the world and to that end Design Tasmania has continued to make a difference in the lives of designers artisans manufacturers and the broader community of Tasmania. It has historically taken Tasmanian Design to International trade fares and built relationships all over the world. I will continue to extend the reputation and brand name of Design Tasmania to National and International audiences."  Karina Clarke