This thesis looks at the protocols museums and galleries adopt for the safeguarding of art, artefacts and cultural heritage. In particular, it analyses these procedures in relation to the 2010 and 2011 earthquakes in Christchurch, and considers how these events shaped the preventative conservation measures in place in museum and gallery institutions. Through gathering, assessing, and comparing this information about Christchurch’s institutions to disaster management best practices in national and international organisations, this thesis gauges the extent to which disaster management was changed in response to the events in Christchurch. This thesis first considers the growth in disaster management as a field, before examining what are considered best practices within this sector. Finally, it looks at specific institutions in Christchurch, including the Christchurch Art Gallery Te Puna o Waiwhetu, Canterbury Museum, and the Air Force Museum of New Zealand.
Canterbury Museum is inviting visitors to view Quake City for free during the special exhibition's reopening this weekend, 16 & 17 September. The newly-relocated exhibition that tells stories from the Canterbury earthquakes, reopened on 14 September.
Lyttelton was hit harder than most by the Christchurch earthquakes - particularly the Lyttelton Museum. But now it's back - triumphantly, we may say! - with a little help from its friends, past and present. Key historical figures in Lyttelton's history are brought back to life in a new exhibition by Julia Holden - Lyttelton Redux - which has just opened at Canterbury Museum.
This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.
The Logie Collection of Canterbury University is one of the small miracles of this country - treasures of the Ancient World from classical Greece and Rome, right back to the Bronze Age - 7000 BC. And when the first big earthquake struck Christchurch in September 2010, there were fears that the priceless collection - described as "one of Australasia's finest collections of classical art" would be utterly destroyed. Well it was and it wasn't. The Logie Collection has a brand-new home - the Teece Museum of Classical Antiquities - and last week it was proudly displayed in an exhibition called We Could Be Heroes. But it certainly didn't look like it at the time. Simon Morris is joined by Terri Elder and Penny Minchin-Garvin, the co-curators of the museum.
