Icing on the Cake: Yamba Museum on winning an IMAGinE Award

Ghosts of World War I – 101 Local Heroes at Yamba Museum – The Story House in 2012. The Port of Yamba Historical Society built the exhibition around Peter Edmund’s research using local records, National Archives at the War Memorial, and interviews with veterans’ families. Image courtesy of the Port of Yamba Historical Society.

In 2012, Port of Yamba Historical Society won an IMAGinE award in the Exhibitions and Public Engagement category for Ghosts of World War I - 101 Local Heroes. This exhibition included the service records of 101 local heroes (including local Aboriginal Diggers) and objects from WWI, loaned by local families, partner organisations, and donations.

This wasn’t the first time the Yamba Museum had won an IMAGinE award. In 2008, Society President Marea Buist won an Individual Achievement award and, in 2011, the Museum received a Highly Commended award for their exhibition, Nursery Rhymes Exposed.

Because the museum is a successful veteran of the IMAGinE awards, I asked Marea Buist to offer advice to newcomers.

Why was Ghosts of World War I a successful exhibition?

It was successful but not for the reasons we anticipated. We plan exhibitions that will appeal to all ages but we didn’t think Ghosts of World War I would appeal to young people. As it turned out, we had many school visits and the children were interested in learning about this part of our history.

We also didn’t anticipate the community response. The exhibition was in the Old Kirk (the old Presbyterian church next to the main museum) and this created a spiritual context for the exhibition. It didn’t matter how many visitors were in the space they treated it more like a memorial than an exhibition.

Is it easy to prepare an IMAGinE nomination?

No, it’s never easy. How do you articulate a large project in so few words and images? How do you convey the goals of what you were trying to achieve? While your museum may think a project is fabulous, to a stranger it can mean absolutely nothing.

Completing the nomination takes a few weeks. Rather than trying to figure it out at once, we write a draft and then return to it repeatedly until we feel we’ve captured the essence of the exhibition. 

How did it feel when you won the IMAGinE award?

Fantastic. So many people put in so much work and effort and this rewarded their effort.

When you’re preparing an exhibition you don’t do it for accolades, but when your peers say that you put together an exhibition of real value then it’s the icing on the cake.

Beyond peer recognition, what value do you think there is in getting an award?

Winning an IMAGiNE award can provide great publicity. People are interested in what you’ll do next and expect a high level of quality. Maintaining this standard can be hard but it’s part of the challenge of sustaining a significant and relevant museum.

Peer recognition also builds networks between our museum and others. There’s nothing better than sharing advice with other museums and having this support reciprocated.

Any chance you’re nominating this year?

Yes, we are. VISION4CHANGE is a collaborative exhibition project between the Yamba, Grafton, Maclean and Lawrence Museums and is a first time partnership with a number of Aboriginal Elders throughout the Clarence Valley to share their stories. It’s been very special.

For further information about the IMAGinE awards including downloadable nomination forms go to our website.

The significance of the Yirrkala Bark Petitions

You might have heard that this year's NAIDOC Week theme is We value the vision: Yirrkala Bark Petitions. But do you realise just how significant the petitions are?

Here's a bit of an explanation about why they are so important.

In August 1963, the Yolngu people of Yirrkala in northeast Arnhem Land sent two bark petitions - one for each of the major moieties bloodlines – to the Australian House of Representatives. That's 50 years ago this August.

Yolgnu Elders, including senior artists Mawalan Marika and Munggurrawuy Yunupingu — the father of the lead singer of Yothu Yindi who passed away recently— were incensed that bauxite mining had been approved on Yolgnu land without their consent.

They were protesting against that decision and were asserting Yolgnu Law over Yolgnu Land. Earlier in March that same year, the elders had declared that the lands of Melville Bay, Cape Arnhem, Caledon Bay and Bremer Island were theirs and that the balanda (non-Aboriginal people) should keep out. They advised that 'Notices will be placed at all those places proclaiming the areas as belonging to Aboriginal people'.

Yet the mining went ahead.

The petitions themselves, despite the findings of a report handed down in October the same year, recommending compensation, protection of the sacred sites and 'monitoring' of the mining project, did not have immediate effect. They're now seen as having 'paved the way' for the Aboriginal Land Rights Act (NT) proclaimed in 1976.

But what's even more interesting is that the petitions themselves were largely misunderstood. The traditional painting around the edge of the signed paper was judged to be ‘purely decorative’. Comparisons were drawn between the medieval process of illustrating a manuscript and the 'illustration' on a bark petition. It was seen as an 'added extra' with the real information being the bit on the paper. Such was our euro-centric perspective.

But in essence, the edge painting is the nuts and bolts of the petition – the bit which matters. The clan designs of pipeclay, charcoal and ochre are the part of the document that describes the legal relationship between the Yirrkala people of the Gove Peninsula and their land.

There's so much more to this story that's worth investigating - the transcript of the actual Petitions can be read on the Australian Government website, and be aware it's a moving experience especially in the context of history and the ongoing struggle for equality and fair treatment for Aboriginal people in this country.

On another part of the Australian Government website there's some great background information. Take a look the entry about the documents at the Museum of Australian Democracy. It's got the best images of the Petitions.

2013 CSI grant recipient Lake Macquarie City Art Gallery hosting curator Lisa Corsi

Lake Macquarie City Art Gallery.

Courtesy of the Gallery.

Lake Macquarie City Art Gallery (LMCAG) was one of the seven successful grant recipients of the inaugural Curatorial Support Initiative (CSI) in 2012 to engage experienced and dynamic independent curator, Lisa Corsi. 

With a history of strong programming that actively encourages new perspectives, LMCAG’s Director, Debbie Abraham reflects on the CSI opportunity: “Inviting curators to create exhibitions not only introduces new ideas and often new work, but also extends networks for the gallery and staff. The Curatorial Support Initiative grant has enabled LMCAG to work with curator Lisa Corsi on an exhibition project examining the phenomenon of art-collecting practice in Australia, and how we define our interests as a society. The research has focused on the role played by private collectors in shaping notions of a collective cultural identity.”

Entitled Collective Identity(IeS):This is That Time, the exhibition, currently in development, concentrates on artists who were practising at the time of the Australian Bicentenary in 1988; a period when complex issues were raised about Australia’s identity. The work has been selected from the collections of a small group of private individuals with significant works by artists from this period, including work by the recently awarded recipient of the Bulgari Art Award, Jon Cattapan.

Collective Identity(IeS):This is That Time will be on show at LMCAG from 13 September – 17 November 2013. Applications for the 2014 CSI grant program are currently open for submissions.

For more information on the Curatorial Support Initiative grant program please see the Museums & Galleries NSW website: www.mgnsw.org.au/grants/gallery_grants

The Land of Lewers

Way out west and wondering where to take the kids on the weekend? Take them to the Land of Lewers!

Practically built on the edge of the Nepean River at Emu Plains, Penrith Regional Gallery was the home (yes, the actual home) of highly accomplished Modernist artists Margo and Gerald Lewers. So it's both heritage house and garden packaged as an active and thriving regional gallery, with plenty to entertain the kids.

Penrith Regional Gallery garden. 

Photography by Carole Best, 2013.

The rambling cottage garden complete with outdoor sculptures and old-world water tank is both whimsical and elegant. Children climb trees, play hide-and-seek and dash between fountain water spouts. All this—while we sit in the sun with our Ross Dobson inspired coffee and cake.

Penrith Regional Gallery garden. 

Photography by Carole Best, 2013.

The house itself is divided into two distinct parts; the old homestead facing the river is connected by a covered walkway to the modernist addition. It’s here where the Lewers extensive collection is hung and from time to time you’ll see works by the likes of Hinder, Haefliger, Flugelman, Cassab, Balson and more.

From Story, a wall painted by Hendrick Geriche.

Photography by Carole Best, 2013.

The heritage house built in 1906 is now home to the Lewers Learning Centre. The Centre (which sounds much drier than it is) is currently occupied by  Story with each of the homestead's four rooms equipped with dress up, tromp-l'œil wall painting and a ginormous basket of Lego pieces to inspire participation in storymaking and play. 

Detail from Story.

Photography by Carole Best, 2013.

The Land of Lewers is everything a modern gallery should be - fun, evocative, and a real entertainment option for children and adults alike. And one of the many delights to be found way out west!

Why we need a mandatory code for the indigenous art industry

You are probably aware of the Indigenous Art Code and the good work that’s been done in introducing and encouraging art dealers and galleries to sign up to support fair and ethical trade in Aboriginal artwork, but did you know that they have just called for the code to become a mandatory one?

According to Ron Merkel QC, IartC Chair, there continues to be ‘significant unethical and unfair treatment and exploitation of Indigenous artists by some dealers in the Industry’― a practice he believes has not changed significantly since 2007 when the original Senate Committee report was published. He’s referring to the practices of unfair contracts, threatening behaviour, coercion, paying artists with drugs or alcohol and a general lack of transparency in the industry―behaviours which would not be tolerated in any business environment.

In his press release of 22 April, Merkel stridently argues for the introduction of minimum standards which will apply to all dealers. He goes on to say that recent discussions with indigenous arts groups and artists have called for a ‘stronger’ code and that partner organisations such as Arts Law have also indicated there is significant support for a mandatory code.

It’s plainly unacceptable that this corrupt behaviour continues – especially since it’s about greed and a preparedness to cheat others. So let’s get behind the IartC and support the Mandatory Code. It ‘will ensure fairness, minimise regulatory complexity and enhance the Industry for both Industry participants and the wider community’, and that’s got to be a good thing for everyone!

Yamba's exciting exhibition

Yamba Museum have launched an exciting exhibition which Debrah Novak, Exhibition Curator wants to share with you all:

Opening night, two of the artists with their family.
Image courtesy of Yamba Museum.

IMAGinE award recipents Yamba Museum have just launched their second major project for the year, ‘VISION4CHANGE’ Aboriginal arts exhibition.

This special project, six weeks in the making is a collaborative partnership between four Clarence Valley museums who have utilised some of their historic Aboriginal photos and the Aboriginal community for the very first time.

In the 18th century the Clarence Valley was very fortunate to have two eminent Australian photographers based at Grafton. One of these was John William Lindt whose collection of Aboriginal photographic studies and portraiture are now world renown.

A number of these historic photos and the contemporary artworks from four locally acclaimed female Aboriginal artists, Jessica Birk, Frances Belle Parker, Elsie Randall and Danielle Gorogo provide a deep insight into a world not many non-Aboriginal people are familar with or have knowledge of in a local context.

One of our members also photographed and interviewed 16 local Elders to create a video enabling them to share their story. 

We had two official openings. The first one was during the day and was to accommodate the Elders and included a class from the local high school. Opening night was a huge success attracting around 100 people with the official welcome to country performed in local dialect. 

The feedback from both Aboriginal and non-Aboriginal community about the exhibition has been nothing short of amazing. A quote from Anne Dinham, who attended the opening night:

“I just have to say how fantastic it was to be there for perhaps our most significant exhibition opening. Deb, you have achieved something that has been talked about and sorely needed...for so long!

Possibly none of us know quite how significant tonight was, not just the exhibition itself but the bringing together of the peoples who share a love for this place.

I felt so moved by the stories told on the video and the words of those wonderful girls, the artists ... as did everyone, I think… Well done to you all! A wonderful achievement! May it continue to be a blessing to all.”

- Deborah Novak

The exhibition is on until 15 July 2013.

For more information please visit their website http://www.pyhsmuseum.org.au/

Let’s remember

With the sad news of the death of lead singer of the great Australian band Yothu Yindi, we were reminded of several important things.

We were reminded of the significance of the band’s work, both musically and in terms of the lead singer’s commitment to education and cultural development in his Yolngu homelands.

We remembered the impact of Treaty, the band’s massive 1991 hit which underscored Prime Minister Hawke’s failure to deliver his promised Treaty between black and white Australia. There’s not many of us who haven’t been moved by Tribal Voice or more recently by the evocative Geoffrey Gurrumul Yunupingu, the band’s first keyboard player. Nor can we forget Yothu Yindi’s performance at the closing ceremony of the 2000 Olympic Games in Sydney.

And we all remember the fantastic collaboration with the likes of Paul Kelly and Peter Garrett, and the contribution these and other partnerships have made the lives of Aboriginal youth in particular while enriching our own. But last week as the tragedy of yet another Aboriginal great losing their life to renal failure, we came close to forgetting how to respect an Aboriginal family in mourning. Initially social media channels ran wild with photos and images of Mr Yunupingu despite requests from his family to observe traditional practices for commemorating the dead. Some mainstream media, who should have known better and from whom we expect more, also jumped on the bandwagon.

While we all have an intuitive recognition of appropriate behaviour in our personal cultural domains, our understanding of other peoples’ cultural and religious practices remains sketchy. So here’s a bunch of resources to help us remember what to do when an indigenous person dies. SBS has a well-researched and workable media policy and the Indigenous Portal (Australian Government) gives a quick rundown on what you need to know. Also have a look at M&G NSW’s Dialogues across cultures and our Welcome to country information.

That said, you can’t do better than your local indigenous group as cultural protocols vary between different regions and families. Here at M&G NSW we are part of the Media Ring RAP Group and rely on the fantastic Koori Radio (and their Facebook page) for advice.