“We need to meet this inflection point with a more expansive imagination of what conservation work could be…The tools of the conservator can remind us of the fundamental human need for creativity, most especially under difficult or dehumanising conditions.”
In this short video for America’s National Gallery of Art, Sanchita Balachandran of The Johns Hopkins University speaks about “preservation for all” and strategising under TUNA conditions of turbulence, uncertainty, novelty, and ambiguity.
In the latest instalment of Information Professional‘s ‘Scripturient‘ column, guest writer Sanchita Balachandran tells the story of meeting her late maternal grandfather for the first time among the collections of a colonial archive.
Born in Nagercoil, South India and trained in forest management at the University of Edinburgh in the early 1930s, her grandfather’s journey is part of a wider network of relationships spanning the generations, and stretching from the Indian state of Travancore to Baltimore and beyond.
In her column, Sanchita explores the resonances between her grandfather’s work as a conservator of forests and her own role as Associate Director of the Johns Hopkins Archaeological Museum; she reflects on the necessary, mundane, often invisible work of cultural heritage professionals; and she considers the complex emotions experienced when “harm and recovery, disconnection and reunion” are entangled in our experience of the colonial archive.
What do we owe to the families and loved ones of the long deceased? How do objects bear witness to our lives, and how is that act of witnessing complicated by questions of power, justice, and belonging?
You can read ‘Conservation through Generations’ (PDF download) here.
Last month, I invited three photographers to discuss how their medium is used for art, research, and storytelling in families, communities, and institutions.
Joining me for the conversation were Australian artist Wendy Catling, Research Librarian Dr. Natasha Barrett of the Alexander Turnbull Library (National Library of New Zealand Te Puna Mātauranga o Aotearoa), and British filmmaker Jonathan Bart.
Do photographs offer a collection of scattered moments or an unbroken connection to the past? From first pictures taken through “memories of memories”, stories of migration and famiy secrets, questions of colonialism, agency, and power, my three guests talk candidly about their personal, professional, and artistic relationships to this unique and powerful medium.
You can listen to the discussion on Soundcloud or YouTube.
Would you like to find out more about my guests?
Wendy Catling’s work appears at her own website and the site for her most recent project Nightshade, discussed in the podcast. (She is currently fundraising for the Nightshade photobook).
Read more about Dr. Natasha Barrett’s research at the University of Leicester website, and you can also find Natasha on Twitter.
Jonathan Bart’s work appears at his own website. You can also find Jonathan on Instagram, Behance, Vimeo, and Flickr.
Late in November 2020, I caught up with Paul Bowers, CEO of the Australian sustainability organisation Renew, for a brief chat. (You can read the first part here and you can read the second part here).
Renew evolved from the Alternative Technology Association of Australia, and today it advocates for sustainable living in homes and communities across the nation. In the final part of our conversation, Paul and I spoke about interdisciplinary thinking, new forms of leadership, and the next steps Paul will be taking as CEO.
What does it mean for Renew to get through this big transition, to negotiate the actual pivot point, especially when, as you said, your prior success was built on hackers and homeowners, and now you need to think about engaging tenants, landlords, a wider community?
It’s really hard! That’s a really live question for us right now, in this highly febrile moment of post-pandemic and looming recession. There are all these binary oppositions: the homeowner-hacker versus a different community in the future; a small, scrappy, financially precarious member organization versus some kind of super-slick consulting lobby group. Fast urgent change versus slow sustained change. And there are a multitude of other axes besides! For me it’s about a kind of dialectic: How does the value come from the tension between the two poles of each issue?
Read moreLate in November 2020, I caught up with Paul Bowers, CEO of the Australian sustainability organisation Renew, for a brief chat. (You can read the first part here).
Renew evolved from the Alternative Technology Association of Australia, and today it advocates for sustainable living in homes and communities across the nation. In the second part of our conversation, Paul and I spoke about systemic change, revolution and reform, and encouraging the choice to live sustainably.
You’ve written on “bureaucratic radicalism“, which seems to speak to this issue of what happens when the green hackers of the 80s find themselves represented on federal committees and contributing to the building code.
Bureaucratic radicalism was my attempt to think through how you systematize good practice, and using existing power structures in order to do that. My first thought is to consider what we need to learn from First Nations peoples, from communities where environmental sustainability and good practice is part of what you learn from childhood.
Read moreLate in November 2020, I caught up with Paul Bowers, CEO of the Australian sustainability organisation Renew, for a brief chat.
Renew, which evolved from the Alternative Technology Association of Australia, advocates for sustainable living in homes and communities across the nation. Paul, following a storied career in the Australian museums & galleries sector, joined Renew as CEO in March.
In our conversation, we talked about Paul’s journey across sectors, the nature of creativity, the challenges of a sustainability organisation’s evolving mission, and the opportunities which await.
Matt:
You joined Renew in March. What’s it like taking up a CEO role in the midst of a crisis like this?
Paul:
For me, the idea of being in charge of an organization while not being in lockdown feels strange! Because I knew nothing else, it became normal so quickly. On the third or fourth day of my role, I had to shut the office and put in place rules and procedures for working from home.
We’ve been doing that for seven months, over two lockdowns. We’re only just starting to go back to the office now.
It’s much easier to apply the technical and functional requirements of management and leadership at a distance. What’s hard is putting the emotional aspect back in, especially when that’s a relationship of one to many. I’m very happy and open when it comes to one-to-one emotional relationships, but having to hold that relationship to an entire community – and on an unfamiliar medium too – was hard.
Read moreLast week, I ran two workshops for New Zealand culture and information professionals with the support of Australia’s Brendan Fitzgerald.
The sessions, hosted at the National Library in Wellington by the Aotearoa New Zealand library association LIANZA, explored foresight, strategy, and next-generation measures of impact. We sought to give Kiwi culture & information professionals the tools to examine the future and make judicious strategic decisions, then investigate new ways to measure and demonstrate the difference their actions make in the world.
One participant said:
The tools from the strategic session were the most immediately useful to me – I liked how they broke a large process down into smaller steps from which concrete directions came organically and iteratively. I also liked the argument that while evidence-based research is good, there is no evidence from the future, and the stress on the fact that there is more than one possible future.
It was good to have people from outside your immediate context test your assumption, and to do the same for others… I made a coffee date with someone who is already a second-degree connection in my network who I have been meaning to connect more closely with (bonus: they’re from a different GLAM field to me, so that was a plus for LIANZA making it open to multiple sectors).
In 2017, I spent six months developing special community engagement projects for the University of Southern Queensland (USQ).
I had a wide remit to find new ways to connect with the local community, pilot external partnerships, and encourage innovation in line with a new service model being rolled out across the university’s Scholarly and Information Services division (SILS).
During that time, among other projects, Dr. Kate Davis and I won & delivered the division’s first external tender; SILS partnered with the university’s radio school to pilot podcasts bringing together academic experts, artists, and professionals from across Australia; and we joined forces with Ann Arbor District Library in the US to offer coaching & professional development.
This week saw the announcement of another project coming to fruition: a partnership between staff on the university’s Toowoomba campus and Cobb+Co Museum, the local site of the Queensland Museum Network.
Cobb+Co’s Learning Officer Tony Coonan worked with SILS’ Zoe Lynch and Shane Gadsby to develop a browser-based version of Burguu Matya, a traditional game attributed to the Wiradjuri people.
The game had been available to play in physical form at Cobb+Co’s Binangar Gallery, dedicated to Aborginal and Torres Strait Islander peoples. Zoe and her team of media designers, invited to explore external partnerships, proposed developing an online version which could be played on devices both within the museum and statewide.
The successful small-scale pilot tested the SILS in-house media design team’s capacity for work with external clients, strengthened relationships between the university and its local community, and explored the opportunities for USQ to enrich the cultural and learning offer for both the people of Toowoomba and users of the wider Queensland Museum Network. The future relationship between the university and the museum will be structured and enhanced by a memo of understanding.
I think this might be the greatest museum ad of all time – it’s from the 2008-2009 season at the Jewish Museum in Vienna, a superlative institution which I’ve written about before.
Rather than present Austria’s Jewish community or Jewish material culture as the object of mainstream scrutiny or fascination, it focusses on the sense of wonder and discovery that visitors to the museum will experience.
I love that a minority identity within a nation, especially one with as fraught a history as that of Austrian Jews, refused to be exoticised or presented as ‘the Other’ in the museum space, and instead turned the tables on the Austrian mainstream with this neat image.
The museum has a great record as an institution which treats a rich, harrowing, and difficult history with verve, courage, and creativity. This includes the work of their marketing team as well as their excellent curation and events.
The 2008-9 ad demonstrates how the ways in which an institution markets itself to the world can be as sophisticated, political, and compelling as anything done with that institution’s spaces, services, or collections.
Check out the Jewish Museum Vienna, one of the greatest cultural institutions I’ve ever visited, online: http://www.jmw.at/en
Thanks to the archive team at the Jewish Museum for locating the image based on my vague memories of seeing this ad a decade ago…
I visited Vienna’s superlative Jewish Museum on my recent trip to the city. Their exhibitions and programmes are always sharp, relevant, and thoughtfully curated.
Currently, they’re hosting an exhibition on Kabbalah, the esoteric branch of Judaism which has been popularised by various celebrities from David Bowie to Madonna.
I wandered round, learned a little, and made some unexpected connections as well.
matt finch / mechanical dolphin 