Podcasts about sydney museum

Museum exhibition in Sydney explores Australia's ties with the Pacific.

On this episode of Object Matters host Dr Craig Barker is joined by art historian and current University of Sydney Museum and Heritage Studies Program postgraduate student Dr Ksenia Radchenko. Ksenia is also a museum educator. Ksenia gained her PhD in Russian art history from the University of Southern California. However on Object Matters we are not discussing 20th century Soviet art. Instead we discuss her internship with the Chau Chak Wing Museum on more than 800 electrotype coins purchased from the British Museum in 1945 but remain uncatalogued.   Ksenia takes us through what electrotypes are, why they were made for research and teaching and an overview of the collection of electrotype coins in Sydney and their history. She discusses the importance of internships in museum research and then Ksenia takes us on a deep dive of a copy of a coin from Lydia in modern Turkey which features the earliest known portrait of a ruler in the history of coinage. Can we use copies to learn about the past? Ksenia thinks we can. Guest: Dr Ksenia Radchenko is an art historian and museum educator. In 2023 she completed an internship with the Chau Chak Wing Museum. Host: Dr Craig Barker, Head of Public Engagement, Chau Chak Wing Museum and Director, Paphos Theatre Archaeological Excavations. Follow @DrCraig_B on Twitter and Instagram. Objects details: Electrotype of a coin, c. 480-400 BC, Lydia Turkey. IRN 344404.

This week, Jodie into Terror makes a triumphant return: Brendan is worried about heartworm, Todd is fumbling with his keys, James is suffering from the terrible side-effects of his psychic survey, Nathan can't stop showing people around the Sydney Museum of Football Teams Nobody Cares About, and Richard is threatening the existence of every sentient being the universe. Buckle up: it's Doctor Who: Series 13: Flux: Chapter One: The Halloween Apocalypse. Here's Brendan's take on this episode in his YouTube series A Walk to Work with Whittaker.

This week, Jodie into Terror makes a triumphant return: Brendan is worried about heartworm, Todd is fumbling with his keys, James is suffering from the terrible side-effects of his psychic survey, Nathan can't stop showing people around the Sydney Museum of Football Teams Nobody Cares About, and Richard is threatening the existence of every sentient being the universe. Buckle up: it's Doctor Who: Series 13: Flux: Chapter 1: The Halloween Apocalypse. Here's Brendan's take on this episode in his YouTube series A Walk to Work with Whittaker.

Let’s learn about the LUNGFISH, which deserves capital letters because they’re fascinating and this episode took so flipping long to research! Mysteries abound! The lovely marbled lungfish from Africa: The South American lungfish: The Australian lungfish CHECK OUT THOSE GAMS: Another Australian lungfish: Further Reading: The Hunt for the Buru by Ralph Izzard Show Transcript: Welcome to Strange Animals Podcast. I’m your host, Kate Shaw. This week’s episode is about the lungfish, and I’m going in depth about some mystery lungfish later in the episode. So don’t give up on me if you think freshwater fish are boring. Lungfish are unusual since they are fish but have lungs and can breathe air. Some fish species can get by for a short time gulping air into a modified swim bladder when water is oxygen poor, but the lungfish has real actual lungs that are more mammal-like than anything found in other fish. The ancestors of lungfish, which developed during the Devonian period nearly 400 million years ago, may have been the ancestors of modern amphibians, reptiles, birds, and mammals. This is still a controversial finding, but a 2017 molecular phylogenetic study identified lungfish as the closest living relatives of land animals. Africa has four species of lungfish, from the smallest, the gilled African lungfish that only grows around 17 inches long, or about 44 cm, to the largest, the marbled lungfish, which can grow more than six and a half feet long, or two meters. They all resemble eels, with long bodies and four thin, almost thread-like fins. They mostly eat crustaceans, molluscs, and insect larvae. The adults have small gills but breathe air through their lungs exclusively. The South American lungfish is in a separate family from the African lungfishes, but it’s very similar in most respects. It can grow over four feet long, or 125 cm, and looks like an eel at first glance. Its fins are thread-like and not very long, and while it has small gills, they’re nonfunctional in adults. It mostly eats snails and shrimp, and like the African lungfishes, its teeth are fused into tooth plates that crush the shells of its prey easily. Baby South American and African lungfish have external gills like newts but look more like tadpoles. After a couple of months they develop the ability to breathe air. The African and South American lungfishes live in swamps and shallow river basins, and during the dry season, the water of their homes may dry up completely. At the onset of the dry season, the lungfish burrows a foot or two deep into the mud, or 30 to 60 centimeters, and lines the burrow with mucus to keep its body from drying out. Then it curls up in the bottom of the hole and lowers its metabolism, and stays there for months until the rains return and soak its dried mud home. This is called aestivation, and it’s related to hibernation except that it usually happens in warm weather instead of cold. The Australian lungfish, also called the Queensland lungfish, lives in Australia and retains many features that are considered primitive compared to other lungfish species. It’s so different from the other lungfish species it’s even in a different order. Let’s learn about just how different it is and why that’s important. In 1869 a farmer visiting the Sydney Museum asked why there were no specimens displayed of a big olive-green fish from some nearby rivers. The curator, Gerard Krefft, had no idea what the guy was talking about. No problem, the guy said, or probably no worries, he’d just get his cousin to send the museum a few. Not long after, a barrel full of salted greenish fish that looked like big fat eels arrived and Krefft set about examining them. When he saw the teeth, he practically fainted. He’d seen those teeth before—in fossils several hundred million years old. No one even knew what fish those teeth came from. And here they were again in fish that had been pulled from a l...

It's Christmas time! We 100% reneged on our promise to bring you more episodes! Hopefully we can make up for it with this playlist. Most Christmas music is terrible and you hear it every year, here is a playlist of tunes you might actually really enjoy making the family listen to. Santa Claus Is Coming To Town - Joseph Spence: https://www.youtube.com/watch?v=r_jRAJZ9_y0 Joy To The World - Sufjan Stevens Ain't No Chimneys in the Projects - Sharon Jones and Dap Kings Fairy Tale Of New York - The Pogues (feat. Kirty MacColl) Miss Fogerty's Christmas Cake - Brass Farthing Christmas Is Going To The Dogs - Eels Quel Temps Fait-Il A Paris from Monsieur Hulot's Holiday Jingle Jingle(Santa Party) from The Late Show With Stephen Colbert: https://www.youtube.com/watch?v=98fy16_AK4c Most of this playlist is available on Spotify: https://open.spotify.com/user/bryce.halliday/playlist/3UFjCAHVkvPTgFwGqJaCM6 And Apple Music: https://itunes.apple.com/au/playlist/watr14-obligatory-christmas-special/pl.u-7YrMT4Ng164 Special Dogs: If you're in Sydney... Sport For Jove's summer season: http://www.sportforjove.com.au Pipilotti Rist's "Sip My Ocean" at the Sydney Museum of Contemporary Art: https://www.mca.com.au/pipilotti-rist/ If you're on the internet... Open Mic Eagle's "Brick Body Kids Still Daydream": https://openmikeeagle360.bandcamp.com/album/brick-body-kids-still-daydream Joe Strummer's "London Calling": http://www.bbc.co.uk/programmes/b01mgqd3/episodes/player Adam Neely "What Makes A Song Sound Like Christmas": https://www.youtube.com/watch?v=V5WfgMVtueo

On the morning of 13May 1787 the First Fleet weighed anchor and set sail from Portsmouth, England.  On 26 January 1788 the First Fleet arrived in Sydney Harbour. In this episode we relive the journey out to New South Wales and see what it was like for the colonists in the first few years of the new colony. Needless to say, it was pretty hard going. There was a constant threat of starvation and there were skirmishes with the local Aboriginal people – the Eora.  For this episode check out the Sydney Museum website. There is an exhibition on the First Fleet ships at: http://sydneylivingmuseums.com.au/museum-of-sydney Email me at jamesdampier.awp@gmail.com and visit the Aussie waves Podcast Facebook page at: https://www.facebook.com/AussieWavesPodcast  

This week: Duncan talks to artist/educator/agitator Nathaniel Stern.Nathaniel Stern (USA / South Africa, born 1977) is an experimental installation and video artist, net.artist, printmaker and writer. He has produced and collaborated on projects ranging from interactive and immersive environments, networked art and multimedia physical theater performances, to digital printing and collage, stone lithography and slam poetry. He’s won many awards, fellowships, commissions and residencies between South Africa, America, and all over Europe. Nathaniel holds a design degree from Cornell University, studio-based Masters in art from the Interactive Telecommunications Program (NYU), and research PhD from Trinity College Dublin. He is an Assistant Professor in the Department of Art and Design at the University of Wisconsin - Milwaukee. Nathaniel has held solo exhibitions at the Johannesburg Art Gallery, the Johnson Museum of Art, the Museum of Wisconsin Art, the University of the Witwatersrand, and several commercial and experimental galleries throughout the US, South Africa and Ireland. His work has been shown at festivals, galleries and museums internationally, including the Venice Biennale, Sydney Museum of Contemporary Art, South African National Gallery, Kunsthalle Exnergasse, International Print Center New York, Milwaukee Art Museum, Modern and Contemporary Art Center (Hungary) and Grahamstown National Arts Festival (South Africa). Public collections include the Johannesburg Art Gallery, The Rose Goldsen Archive of New Media (Cornell University), turbulence.org, Contemporary Irish Art Society, and the Universities of South Africa (UNISA) and the Witwatersrand; he is in private collections all over the world. Recent features on Nathaniel’s work can be seen in the Leonardo Journal of Art, Science and Technology, Leonardo Electronic Almanac, NY Arts and Art South Africa magazines, Rhizome.org, PBS.org, the Wall Street Journal and the Milwaukee Journal Sentinel.

Trees is one of a number of works in egg tempera that Howard Taylor painted from around 1950. The work is a disciplined study of line, light and shape combined to create an overall shimmering effect. In this work Taylor explored the ephemeral qualities of light and colour and the rich and subtle surfaces he observed in the Australian bush. He said that: ‘painting the Australian landscape involved a big change for me, and another change was that I soon got more involved in tempera painting … if you paint in tempera you become engaged in a highly disciplined technique … you’ve got to plan right from the beginning.’1 In Trees the composition is divided into distinct planes, the horizontal bands set against a vertical cluster of trees. Positioned in the centre of the work is the apex of a circle. This circle is filled with light from an unknown source. Around its perimeter are eight trees, the trunks of which create long shadows stretching to the bottom right-hand corner of the composition. The tree foliage resembles a three-dimensional structure, carefully constructed by lines and subtle tonal variations. The shape of a figure 8 defines this arrangement, symbolic of infinity and the cyclical patterns of nature. Trees is a dense picture, yet the overall effect is one of lightness. The meticulous repetition of line suggests both the complexity and ethereal delicacy of the natural world. 1 Howard Taylor, interview by James Murdoch in 1986 for the Australia Council Archival Art Series. See Gary Dufour & Allan Watson (eds), Howard Taylor: phenomena, Perth: Art Gallery of Western Australia & Sydney: Museum of Contemporary Art, 2003, p. 61.