Constructed and operating in a newly established capital city, Canberra’s Old Parliament House was designed to be a self-contained building, providing for the needs for members of parliament, staff and visitors. The Commonwealth Parliamentary Refreshment Rooms (CPRR), located in the building’s South Wing, were used to prepare and serve hundreds of meals each day when parliament was sitting, and to cater for grand balls and events for visiting dignitaries. Stories of the ‘silver service’ provided in the building for daily business and special events, are now part of the Old Parliament House exhibit in the National Museum’s Landmarks gallery.
On Saturday 29th April, the village of Picton came alive with the annual IlluminARTe Wollondilly Festival. The festival had a family atmosphere and featured market stalls, street musicians, a lantern parade, fireworks and building projections. A number of artists were invited to create projections onto the buildings including Julie Ryder, our artist-in-residence from 2016. Julie chose to use images from our seaweed album and related collections to inform her artwork. Continue reading
On Thursday morning, as my plane taxied across the tarmac of Canberra airport, thirsty jet engines warming themselves for the flight north, I began reading Ray Kerkhove’s extraordinary document, The Great Bunya Gathering: Early Accounts. This compilation of stories and memories of the bunya trees of southeast Queensland captures and conveys something of the power of these majestic rainforest beings, of their capacities to draw people towards their towering trunks and vast crowns, to feast regularly on their abundant offerings of nutritious and delicious nuts, to celebrate and Continue reading
The National Museum of Australia celebrated the history of cycling in Australia with the official launch on the 13th April of its exhibition Freewheeling: Cycling in Australia. The exhibition has been travelling around Australia since November 2014 and this is the final venue of the tour.
It was a privilege to host Michael Milton, paralympic cyclist, and Gillian Helyar from Pedal Power ACT as the guest speakers at the launch. Michael and Gillian enjoyed a preview of the exhibition, along with NMA Director Dr. Mathew Trinca and Curator Catriona Donnelly. Continue reading
Tonight, a lunar surface fragment from the National Museum’s collection will appear in the Stargazing Live series, hosted by Professor Brian Cox and Julia Zemiro. Broadcast on the ABC from the Siding Spring Observatory, near Coonabarabran, New South Wales, the moon rock fragment will offer stories from the Moon, NASA astronauts and international politics, as leading scientists and personalities tackle astronomy’s most intriguing questions and seek to inspire Australians to explore our solar system. Next week it will be on display in the Museum’s Hall, a chance to see a small piece of the moon that captures a small moment in history.
On a mild evening in March, distinguished archaeologist Dr Josephine Flood spoke to a full house in the Museum’s Visions Theatre, at an event co-hosted by the Canberra Archaeological Society and the Museum Friends. Best known for her research regarding the region’s Moth Hunters and dating occupation in places like the Birrigai Rock Shelter to 25,000 years, Dr Flood’s work has bestowed significant scientific value on Aboriginal history in the region. Her work continues to influence contemporary archaeological understandings of Aboriginal occupation particularly of Australia’s High Country, triggered in part by annual feasting and ceremony relating to Bogong Moths. It has been this work in particular that has reconnected Dr Flood with the Museum and its collections; our new environmental history gallery will focus on the intersection between people and these magnificent pathways, such as the one forged and activated by the impressive Bogong Moth migration from southern Queensland into the rock crevices across the Australian High Country. The Museum holds an impressive collection of Dr Flood’s research materials, including archaeological samples associated with moth hunting and life in the High Country.
On Friday, the Namatjira Legacy Trust was officially launched at the National Museum of Australia. The Museum was pleased to host granddaughters of Albert Namatjira and trustees, Lenie Namatjira and Gloria Pannka, Clara Inkamala, musician Shelli Morris, and Big hART’s Director Scott Rankin and Producer Sophia Marinos, with other special guests to celebrate the occasion. The event also marked the official launch of the Museum’s Ntaria (Hermannsburg) exhibit in the Landmarks gallery.
One of the joys of working at a museum is the variety of stories you uncover when researching objects. Another is the pleasure of meeting people who can illuminate and elaborate on those stories and objects.
Recently, when developing a display for our Journeys gallery, I was fortunate enough to work with both a wonderful collection and an engaged and very connected individual. The story relates to the experiences of James Taylor, a farrier with the 9th Light Horse stationed in the Middle East during World War One. The collection of material includes Taylor’s ‘coming home’ tunic, slouch hat, kit bag and pay book. The individual is Fran Kirby, Taylor’s grand daughter.
The National Museum of Australia has recently acquired the 1881 Adelaide Hunt Club Cup, one of only three gold presentation cups created in South Australia in the nineteenth century still in existence. The cup was purchased at Sotheby’s auction on 25 October 2016. Continue reading
The Spring Winds – as they always do – trigger new beginnings.
My name is Jilda Andrews and I am the newly appointed ‘audience advocate’ for the National Museum’s new environmental history gallery, known so far as Life in Australia. My background is within the Museum’s Learning Services and Community Outreach team, developing and facilitating public programs that help non-traditional museum audiences gain access to the Museum. I am thrilled to join the Life in Australia team as an audience advocate, to be a part of the machinations of developing a brand new permanent gallery, and to work creatively with the team — the communities, organisations, families and individuals we meet along the way, not only as collaborators, but as core audiences themselves to the new gallery. Continue reading