Articles

Paulette Wallace teases out the issues that surfaced in an instance of contested heritage in Taranaki, offering us an object lesson in the value of openness to multiple perspectives and inclusive discussion.
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Scott Pothan and Ashley Remer trace the complex genesis of Northland’s leading public art museum and its collection, illustrating the shifting fortunes and struggles of culture in provincial politics.
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Collecting and publicising good data on New Zealand’s museum sector makes us all winners, argues Jane Leggett
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Developing a community exhibition at Te Papa on New Zealand’s Scottish migrants, Kirstie Ross, calls for more lateral thinking in the display of social history.
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Matthew O’Reilly encourages us to think “outside the square”, or perhaps more correctly about the square itself, reminding us that the frames of artworks have their own rewarding history and stylistic significance.
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As a self-confessed semi-professional transient in the museum world, Ian Wedde reminds us of the need for honest questioning about museums’ purpose, reflecting on his own early cross-cultural encounters in the Stephen Weil Memorial Lecture in Rotorua.
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Bridget Wellwood Bridget Wellwood has a soft spot for our ‘micro’ museums. Urging those in the better-resourced museums to take them seriously, she argues for greater co-operation from museum ‘professionals’ to allay her worries about their futures.
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Johannah Massey adopts a regional approach to collection care in the Far South with a special concern for the small volunteer-run museums, and describes her winter stint at Waikaia Museum to show how it is working.
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Larry Robbins gives an account of a strategic alliance working to secure realistic funds for a range of Auckland amenities including the New Zealand National Maritime Museum
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Paul Thompson describes how changing tides turned the Museum of Wellington City and Sea from an exclusively maritime museum into a museum for all Wellingtonians and their visitors.
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In the course of his doctoral research, Philipp Schorch has been thinking deeply about how exhibitions are generated. To highlight his conceptualisation of exhibitions as ‘processes’, here he considers examples from German museums, which deliberately aim to advance the public understanding of scholarly research.
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Lynette Townsend describes a multi-textured approach to exhibiting Scots heritage.
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