Opening ‘Guardians of Sunda Strait’ in Houston

Speeches at the opening reception for Guardians of Sunda Strait. Image: Ashley Patranella.

Speeches at the opening reception for Guardians of Sunda Strait. Image: Ashley Patranella.

It’s been a busy few days here in Houston with museum’s Guardians of Sunda Strait exhibition. All the objects and their labels have been successfully and safely installed in their showcases or on display panels and all the graphics have been applied to the walls. The final graphic caused a few headaches though! Firstly, the paper didn’t arrive at the factory, then the wrong graphic was accidentally printed, then the colours were wrong. But we have it now and it looks great. Exhibition installation always has a contingency of a few days built in just for this kind of last minute problem!

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Lessons from the Arctic: How Roald Amundsen won the race to the South Pole

Roald Amundsen with his dog and ship Fram in the days before leaving for the secret expedition to attempt the South Polenear his home at Svartskog, Norway. Image: Photographer Anders Beer Wilse, June 1910, courtesy Fram Museum.

Roald Amundsen with his dog Pan and ship Fram near his home at Svartskog, Norway in the days before leaving for the secret expedition to attempt the South Pole near his home at Svartskog, Norway. Image: Photographer Anders Beer Wilse, June 1910, courtesy Fram Museum.

‘Race to the Pole – Captain Scott successful’ claimed The Age’s headline writer on 8 March 1912, the day after Norwegian adventurer Captain Roald Amundsen slipped quietly into Hobart in his polar ship Fram. The headline was in hindsight tragically way off the mark but it was not a deliberate ‘alternative fact’ of its day splashed across the established masthead. It was more an excited assumption based on expectation in the former British colonies of Australia and a misreading of Amundsen’s Nordic reserve on his arrival there after 16 months in Antarctica in his well-publicised contest with British naval Captain Robert Falcon Scott.

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Remembering the Guardians of Sunda Strait: An exhibition at the Houston Public Library

Peeling vinyl from the exhibition walls. Image: Lindsey Shaw / ANMM.

Peeling vinyl from the exhibition walls. Image: Lindsey Shaw / ANMM.

On a dark and stormy day in Houston, Texas, museum’s latest international travelling exhibition starts to take shape.

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Inspiring stories with Jeannie Baker

 Jeannie Baker illustration from her book Circle.

Detail from the cover of Jeannie Baker’s new book ‘Circle’. Image: Jeannie Baker.

The Australian National Maritime Museum is proud to host award winning children’s author and artist Jeannie Baker for an exclusive chat. Join us as we talk to Jeannie about her new picture Circle. Find out about Jeannie, her background, her inspirations and what it like creating a picture book.

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The End of a Watermark: Changes to our Permanent Gallery

Watermarks exhibition gallery, when it opened. Image: ANMM.

Watermarks exhibition gallery, when it opened. Image: ANMM.

The museum is undergoing an exciting change to its permanent galleries. After more than 15 years, on 29 February the Watermarks Gallery set its sails for the last time (pardon the pun). The gallery first opened in 2001 and told the story of how water and the ocean plays a vital role in the lives of all Australians and how the coast has inspired our recreational lives.

Our new permanent gallery exhibition, ULTIMATE DEPTH: James Cameron’s Deepsea Challenge, will open in late 2016. Continue reading

Special offer for teachers – Horrible Histories

Horrible Histories scull and cross bones

The Pirates are coming! HORRIBLE HISTORIES® – PIRATES: THE EXHIBITION will be arriving on our shores Wednesday 16 December.

For the first time in Australia comes an interactive, hands-on exhibition based on the bestselling HORRIBLE HISTORIES® series.

Teachers, we have a special offer for you. Contact us before Tuesday 1 March 2016 to make a booking for Term 1 2016 and receive a 50% discount. Normally $7.00 per student, we can offer teachers a special price of $3.50 per student.

In HORRIBLE HISTORIES® – PIRATES: THE EXHIBITION you can Image of a Pirate

  • take command of a pirate ship
  • design and project your own pirate flag
  • try out different weapons from cutlasses to cannons
  • find your fate on the wheel of misfortune
  • discover the best loot to steal and splat rats in the quayside tavern.

Along the way, discover why the pirate women were just as wicked as the men and learn to talk the patter of a pirate. Learn about the ships they sailed on, the punishments they suffered and the rules they lived by.

PiratePlan

Full of lively illustrations, foul facts and gruesome games, HORRIBLE HISTORIES® – PIRATES: THE EXHIBITION is a rollicking ride back in time to the days when putrid pirates ruled the water and gave merchant sailors jelly-legs!

Author Terry Deary and illustrator Martin Brown’s unique approach to storytelling comes to life in this blockbuster family exhibition especially for children 6–12 years of age.

Book now!

Email bookings@anmm.gov.au call 9298 3655 or Tweet to us @ANMMedu

#HoodsHarbour: Our super sleuths inspire an exhibition

Portrait of Hera Roberts

The inspiration for our exhibition #HoodsHarbour – Hera Roberts 10 October 1930,
Samuel J Hood Studio, ANMM Collection

The day has finally arrived for the opening of our #HoodsHarbour exhibition! Showcasing a small selection from our Samuel (Sam) J Hood collection, #HoodsHarbour pays homage to the work of a group of individuals we call our ‘super sleuths’. Thanks to their efforts on our Flickr Commons page, we were able to solve the mystery behind the image that formed the inspiration for this exhibition – the lovely Hera Roberts. The story of this discovery symbolises the way that our followers have enriched our collection, unearthing its secrets and finding its hidden stories. Hood’s photograph of Hera remains the highest viewed and most favourited on the museum’s Flickr Commons photostream to date. More than 80 years after it was taken, Hera continues to captivate and inspire our audiences. Continue reading

Suitcases, boats and bridges

Last week I was invited to speak about the museum’s work at the Suitcases, boats and bridges: telling migrant stories in Australian museums workshop, organised by Dr Nina Parish from the University of Bath and Dr Chiara O’Reilly from the University of Sydney. The workshop brought together academics, museum professionals and museum studies students to discuss how migrant stories have been collected and articulated in a number of Australian museums, ranging from large government-funded institutions such as ours, to smaller regional, suburban or volunteer-run museums.

Suitcases and boats in Passengers, the museum's permanent exhibition about Australia's immigration history. Photographer Andrew Frolows

Suitcases and boats in Passengers, the museum’s permanent exhibition about Australia’s immigration history. Photographer Andrew Frolows

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Hidden in plain sight: revealing the Sirius anchor

If you read my previous blog, you might know that we’re currently treating the Sirius anchor while it’s on display inside the Australian National Maritime Museum.

Sometimes, actions taken to protect objects change their appearance.  When the Sirius anchor was prepared for its original conservation treatment in 1986, a thick layer of marine concretion and organic growth acquired during nearly 200 years underwater was removed with hammer, chisel and a descaling gun.  This exposed the corroded metal of the anchor and allowed it to be treated by electrolysis – this process converts corroded iron to black metal and removes salts.  When treatment was completed the Sirius anchor was painted with an anticorrosive coating.  The thick, black, glossy paint flowed into the crevices and channels throughout the anchor, rounding off the anchor’s surface and filling in some of its texture.

A newly recovered anchor in its treatment tank, clothed in marine concretion and organic growth.  This image appears to be the Sirius anchor on display at ANMM.  Image courtesy Jon Carpenter, WAM.

A newly recovered anchor in its treatment tank, clothed in marine concretion and organic growth. This image appears to be of the Sirius anchor on display at ANMM. Image courtesy Jon Carpenter, WAM.

Now that the coating has reached the end of its life and we are removing it, the Sirius anchor is slowly being re-revealed.  The exposed surface has the characteristic ‘eroded wood’ appearance of corroded wrought iron.  We can now see the complex texture of the anchor, with its chains of islands, undulating channels, serrated points and small hollows.  We have also found the holes drilled into the anchor to take the cathode rods used in the electrolysis process.

direction of bars

The construction of the anchor is visible again. The hole drilled for the cathode rod has also been revealed (at the top of the image).

The anchor was created by hammering together a series of iron bars under intense heat.  The direction of channels and ridges in the anchor’s surface show the meeting and fusing of these bars.  The construction of the anchor, disguised for 25 years, is now becoming visible again.

The Sirius anchor has been on display in the museum since 1991.  Despite its monumental size, there is a tendency for visitors to hurry past the anchor to temporary exhibitions and perhaps not really see it.  Yet now, as we work on the anchor, visitors are stopping by for a chat and they have lots of questions about what we’re doing.

Some visitors are surprised to discover that there is such a day-job as conservation.  Indeed, one visitor asked us if we were real!  Perhaps they had never seen anything other than a manikin in a display environment.

Usually – in order not to disrupt the visitor experience – we undertake the maintenance of permanent displays before opening hours, almost secretively. But this means that the public have little opportunity to appreciate what goes into putting and keeping objects on display.

While working on the anchor we’ve met a First Fleet descendent whose ancestor came to Australia on Sirius, chemistry students studying aspects of maritime archaeology, and children fascinated by the tools and muck which are all part of large object conservation. We’re loving meeting visitors while giving the anchor the conservation care it needs.

We’ll be working on the anchor on weekdays until July 5, so be sure to stop by and meet this significant piece of Australian history and the people who look after it.

ANMM staff and volunteers at work on the anchor.
Clockwise from top left: Senior Paper Conservator Caroline Whitley, Shipwright Lee Graham, Senior Textiles Conservator Sue Frost and volunteer Jan Russell painstakingly remove the old coating.

George Cruikshank: Satirising the Eastern trade

'An interesting scene on board an East-Indiaman, showing the effects of a heavy lurch, after dinner' by George Cruikshank, 1818 Currently on display in the museum's latest exhibition, East of India - Forgotten trade with Australia ANMM Collection

‘An interesting scene on board an East-Indiaman, showing the effects of a heavy lurch, after dinner’ by George Cruikshank, 1818
Currently on display in the museum’s latest exhibition, East of India – Forgotten trade with Australia
ANMM Collection

‘“Make us laugh or you starve—Give us fresh fun; we have eaten up the old and are hungry”’
~ William Makepeace Thackeray, 1840

In his work, An essay on the genius of George Cruikshank, the English novelist William Makepeace Thackeray wrote in admiration for one of the most famous illustrators of his day. Thackeray was trying to convey how a ‘greedy public’ has ‘bought, borrowed or stole’ a ‘heap of personal kindnesses from George Cruikshank’ and therefore owed a great deal to the caricaturist. In a way, one of Cruikshank’s ‘kindnesses’, an engraving from the museum’s collection, portrays the essence of what Thackeray was trying to say. The themes of greed, fickleness and arrogance highlighted by Thackeray, are illustrated brilliantly in Cruikshank’s caricature which is currently on display in the museum’s latest exhibition, East of India – Forgotten trade with Australia. Continue reading

Elysium Antarctic Visual Epic – opens 13 April

Antarctica, a place I dream of exploring, but like so many of us, it seems so out of reach. That’s why I can’t wait to for the exhibition Elysium Antarctic Visual Epic to open at the museum this Saturday.

Photo of man in icy water

Videographer braves below-zero waters, Danco Island. Steve Jones/ElysiumEpic.org

The exhibition follows a team of 57 explorers from 18 countries that set out on a unique scientific and artistic expedition to Antarctica in 2010 to document the environment and record any evidence of climate change. Continue reading

A chance encounter in Albury

Last week I went to Albury to install our travelling exhibition On their own – Britain’s child migrants at Albury LibraryMuseum. This lively venue is the only regional stop in our national tour, which has so far taken in Adelaide, Melbourne, Fremantle and Canberra.

While Albury was not a major destination for British child migrants, it does have strong links with Australia’s immigration history because of its proximity to the Bonegilla Migrant Reception and Training Centre near Wodonga. Bonegilla (1947–71) was Australia’s largest and longest-operating migrant reception centre and many of the post-war migrants who passed through it later settled in the Albury-Wodonga region.

Border Mail article, 1950

Border Mail article, 1950. Pam Wright is front row, second from right

I was fascinated to discover that a small group of British children was sent to St John’s Orphanage in Thurgoona, in the outer suburbs of Albury, in 1950. The 22 girls sailed on Asturias and their arrival was reported in the Border Mail under the misguided headline ‘Orphans arrive here to start their life afresh.’ One of the youngest in the group, five-year-old Pam Wright, was told she was an orphan, even though both her parents were alive. She says, ‘The day before I was shipped, I was with my father.’

Pam’s father tracked her down in Australia and tried to claim her but was told she had been declared a ward of the state. After pleading his case to politicians, Pam was eventually released into her father’s care. In 1990, 40 years after being sent from England, she was finally reunited with her mother. You can hear more about Pam’s story in her interview with ABC Radio.

Curator Kim Tao and Pam Wright at the exhibition

Curator Kim Tao and Pam Wright at the exhibition, 2013. Photographer Jules Boag/Albury LibraryMuseum

Pam spoke eloquently about her experiences and their enduring impact on her life at the official opening of the exhibition on 23 February. I spoke of how stories like Pam’s reveal Albury’s connections to broader national and international narratives of child migration. I also mentioned how the exhibition has created opportunities for many former child migrants to reunite with family, friends and the material culture relating to their migration. But I never expected the drama that would soon unfold!

As I led visitors on a tour of On their own, I could hear the commotion at the back of the group when a visitor, Connie – who by chance was visiting from WA – rounded the corner and saw her younger sister Beryl in a photograph in the exhibition. Once her shock and excitement subsided, Connie realised that she too was in the photograph, along with her three brothers. All five siblings were sent to the Fairbridge Farm School at Pinjarra, south of Perth, and this photograph captured them on the very day they arrived in Fremantle on Ormonde in 1950, the same year as Pam Wright.

Children with belongings, 1950. Connie (L) and Beryl (R) with their three brothers

Children with belongings, 1950. Connie (L) and Beryl (R) with their three brothers. State Library of WA 005080D

I had been intrigued by this photograph since I first saw it in the State Library of WA back in 2009. It was part of a collection of well-constructed arrival photographs, surely designed to encourage continued government and public support for the child migration schemes that were once considered generous philanthropy but are now widely condemned as flawed social policy. I was interested in the subjects of this well-composed photograph – the boys in their distinctive striped Fairbridge ties; the girl on the left, who we now know is Connie, with her Orient Line suitcase – but I never expected them to be a family group.

Connie and Beryl with their photo in the exhibition

Connie and Beryl with their photo in the exhibition, 2013. Photographer Kim Tao/ANMM

This latest encounter during the national tour of On their own once again reinforces the value of telling personal stories and presenting living history in museums. It also demonstrates the wonderful role museums play in collecting this history, making it accessible and reconnecting people with their heritage and material culture. Here’s to Connie, Beryl and chance encounters.

Kim Tao
Curator, Post-Federation Immigration

On their own – Britain’s child migrants is showing at Albury LibraryMuseum from 23 February to 28 April 2013.

Fish… finishing this weekend

Has the Australian National Maritime Museum fetishised fish? and is fetishised even a word?

This weekend is your last chance to find out, and to view what I think is one of our most inventive readings of Australian art from a maritime perspective.

Entering the ‘Fish in Australian art’ exhibition guided by Deborah Halpern’s ‘Fish’, neon lighting and perspex, 2010

Fish in Australian art  is an exhibition of watercolours, prints, publications, drawings, paintings, multimedia, artefacts, and artifice… all of which feature Australian stories of fish or fishing. Through artist’s eyes you see the wonders of fish,  fish as characters in dreaming or creation stories, as objects of European curiosity, science, charm, fantasy, nature, and the sublime. You see fish as decorative or design elements, and you see fishing as a way to while away the hours, for musing, sport or industry, and above all for cooking, eating, or serving at the table.

The exhibition includes works from important Indigenous artists like Yvonne Koolmatrie, Arthur Koo’ekka Pambegan, Micky of Ulladulla and Roy Wiggan, and many household names of European Australian art like Arthur Boyd, William Buelow Gould, Conrad Martens, John Olsen,  Margaret Preston and Anne Zahalka, in an exhibition which is both thematic and broadly chronological. I especially like the luminous drawings from the natural history painters who worked with pencil and brush to document all they saw around them – here, the fish and the fishing techniques of Indigenous Australians, and their watercraft.

Richard Browne watercolours

There are a number of works by the Port Jackson painter, Ferdinand Bauer and Thomas Watling on loan from the British Museum of Natural History which are truely sensational and here in Australia just for this exhibition.

These works show Indigenous people fishing from their nawi and cooking their catch.  They are beautifully drawn. There are so many nuanced details, like the moon rays floating to the water in the ink and watercolour sketch A N. South Wales native strikg fish by moonlight while his wife paddles him along with a fire in the Canoe ready to broil the fish as caught attributed to the Port Jackson Painter, 1788-97. These details remind you that these painters were not just about picturing science and are worth a really good look.

Artists of Port Jackson works in ‘Fish in Australian art’

The exhibition blends media and artefacts, and in this early colonial section you see a canoe of bark with tied ends, made by Albert Woodlands from the west Kempsey region, built before 1938, and on loan from the Australian Museum. This Indigenous canoe is used to interpret the fishing drawings and to add texture and meaning – together they become a delicious viewing experience for those interested in Aboriginal watercraft. The canoe – similar in style to the nawi used by Sydney Aboriginal people – forms such a refined shape that it is almost sculptural.

There is much to see in this exhibition and I can only suggest you make it to the museum this weekend to catch it before it goes…

Canoe and watercolours from Fish in Australian Art

It’s a curator’s life

Way back in 1986 I joined the museum as the first of the curatorial staff – and 26 years later I’m still here and enjoying it as much as ever! Why? That’s easy – there’s something new to learn everyday and maritime matters cover such a wide sphere that there’s just never any time to be bored. My first big job was the curation and installation of the Commerce gallery – one of the opening exhibitions of the museum in 1991.

The museum site in Darling Harbour in 1986. The photo was taken from our temporary offices in Kent Street. How much has King Street changed?? And no casino or Harbourside!

The gallery has hosted some wonderful stories and objects over the decades but it’s now time for revitalisation, rejuvenation and reinvigoration. So, when it came time to demount the objects I thought I should pop down for one last look. Of course, I couldn’t help myself – I’d put most of the objects in myself as part of the installation team in 1991 so I decided it would be nice to help take them out – just a few of them, that is.

I carefully take out some Australian shipping ceramics

What do I do now? I’m senior curator and look after Australian Naval History. I’m currently working on plans for our contribution to the ANZAC centenary, helping out with a mobile App for HMAS Vampire, researching and writing up training notes for our fantastic volunteer guides for when we open HMAS Advance to the public later this year and acquiring more material for the museum’s naval collection. See, I told you there’s never any time to be bored!

– Lindsey Shaw, senior curator

Canoes and reflections in Melbourne

Photo of

Canoe on display at ACMI

During a recent Melbourne visit I encountered a pleasant surprise among the intriguing cacophony that is Australia’s film and television history at Australian Centre for the Moving Image (ACMI) near Federation Square – one of the ten canoes from Rolf de Heer and Peter Djigger’s 2006 film of the same name.Nestled in a cove of green space is one of the canoes, a ngarrdin, made in 2006 by Yolngu men Philip Gudthaykudthay, Peter Djogirr, Bobby Bunungurr, Michael Dawu, Billy Black, Steven Wilanydjanu Malibirr and Roy Burnyila.

Ten Canoes was born of a dialogue between de Heer, co-director Peter Djigger and the Yolngu community in north-eastern Arnhem Land. It was inspired by a photograph taken by anthropologist Donald Thomson during a visit to their lands  Arafura Swamp in 1930s.

Photo of

Canoe and still images from Ten Canoes film at ACMI

The ngarrdin on display is made from a single piece of stringy bark with folded and sewn ends, with knowledge from Elders Peter Minygululu and Philip Gudthaykudthay, and reference notes and photographs from the visual treasure trove that is the Donald Thomson collection in Museum Victoria (Museum Victoria holds two other canoes made for the film).

At ACMI, Thomson’s black and white photographs are displayed with the canoe alongside colour stills of similar scenes from the film – a split vision of continuity and change.

The story of making the film is an important assertion of Indigenous voices in filmmaking as told at ACMI, while the recontextualised beauty of the canoe itself entices you in to its space, but also breaking out of the historical timeline presented in the exhibitions on the ground floor entitled Screen worlds.

LED light artwork

Jonathan Jones, untitled (muyan) 2011.
Glass, aluminium, light emitting diodes, electrical cable; designed by Marc Raszewski and Andrew Hayes; dimensions variable; installation view National Gallery of Victoria, Melbourne; commissioned by National Gallery of Victoria for The Barak Commissions, Felton Bequest; collection of National Gallery of Victoria, Melbourne

Just across the ACMI foyer and courtyard in the Ian Potter Centre – NGV Australia I spotted the work of a speaker from our Nawi conference – Kamilaroi/Wiradjuri artist Jonathan Jones. During the Nawi conference Jonathan spoke to us about light, reflection, water and the passage of the canoe through the water as inspiration.

Jonathan’s fabulous work is nestled in the cathedral-like foyer at the Ian Potter Centre. It is made of LEDs in light boxes which references Victorian Wurundjeri leader, quiet activist, mediator and artist William Barak (1824-1903). In particular Jonathan was inspired by two of Barak’s paintings featuring fires at ceremonies. These paintings excited Jonathan’s imagining of light, reflection, its cultural resonance, and Barak’s role in history at a time of massive change.

The work is installed near the main stairway of the centre, in dialogue with another artwork by Brook Andrew entitled Marks and witness: a lined crossing in tribute to William Barak (2011) which scales the heights of the foyer and stairway.

In his artist statement Jonathan offers: ‘In early 1903 Barak predicted his own death, stating that he would die when muyan (wattle) bloomed.’

The work turns from white to yellow (muyan) in August to remind people of Barak’s importance. Wish I’d seen it in yellow!  If you visit this month, you’ll catch it as the wattle blooms.