Queensland Museum: Then and now

We’re taking it way back to celebrate International Museum Day this 18 May and revisiting the Museum’s rich location history. 

As we approach International Museum Day on 18 May, we reflect on the history behind the various locations of Queensland Museum and its 157 years of monumental displays, exhibitions and encompassment of history.

The Windmill 1862, where it all began, the first housing for the newly conceived ‘nucleus of a Museum of Natural Science’, where by the Moreton Bay Council granted temporary use of a ‘large room in the windmill’. The windmill continues to stand tall in Spring Hill and has since been heritage listed. It is also one of only two buildings that remain from the penal settlement. Built in 1827 under Commandant Patrick Logan, it was initially designed to grind corn and wheat for the colony. However, faults often arose and as a result, convicts constructed a treadmill beside it.

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The Windmill on Wickham Terrace, Brisbane. This was the first housing for the fledgling Queensland Museum from 1862 to 1869

During a Philosophical Society meeting in 1866 it was reported that the Windmill suffered considerable damage due to heavy rains. It was then decided in October 1868, the room formerly occupied by the parliamentary library in the Parliament Building would be the new host of the society’s entities. In June 1871 it was established that an additional room be made available for the purpose of creating a mineralogical museum initially intended to boost the mining boom. The Parliamentary building, located on the north-western side of Queen Street, had been erected as a convict’s barracks in 1826. Although the location was central and accessible, the space the museum occupied was far too small. It was recommended by a colonial architect that a building on Ann Street be purchased and restored. This idea was soon rejected and a temporary home further up Queen Street was selected.

The Post Office building, standing between the site now occupied by the Lennons Hotel and George Street, originally consisted of six apartments. In 1873, rooms for an office, laboratory and a larger one for a mineral display were obtained. It was recognised not long after moving into the space that the old Post Office was not an ideal location.

The Post Office Building
The General Post Office and the new Brisbane City Hall about 1864. Photograph by courtesy of John Oxley Library.

In 1879 the construction of the First New Museum Building was completed. The building costing £10,706, was designed in the Colonial Architect’s department under architect F.D.G Stanley and still stands today as the State Library. The main entrance floor was one of three used for display and the basement contained a large room used as both a library and meeting place.

First purpose-built Queensland Museum building in William Street, 1879 to 1899.

As a result of the collecting programs the building proved to be too small, and due to the depression and financial difficulties plans were again put on hold. The Exhibition Building became home to Queensland Museum for the next 86 years after its completion in 1891 and was a combination of Romanesque, Byzantine and Baroque influence in polychromatic brick work. The building was built after the original timber exhibition building was destroyed by fire. 300 men of all trades worked on the brickwork at one time.

A Museum worthy of the city and the State

One of the first tasks undertaken by the museum’s board of trustees following its re-establishment in 1970, was to encourage the Queensland  Government to provide provisions for adequate housing for its museum. It was the state government’s decision to eventually develop on the south bank of the Brisbane River, a cultural complex that would include a museum, theatres, state library and an art gallery. Robin Gibson of Brisbane was chosen to design the cultural centre, which was then opened in 1985 and has since remained. The building consists of 5,000 square metres across three display floors and an external geological garden.

Queensland Museum
Queensland Museum

Mather, P et al. (1986). A Time For A Museum. (Volume 24 ed.). Brisbane: Queensland Museum.

Celebrating women’s history

This blog post is part of an ongoing series titled Connecting with Collections. The series offers readers a peek inside collections at the Museum of Tropical Queensland, highlighting objects and their stories.

At the Museum of Tropical Queensland, we have a team of incredible women who look after our collections, our research, our visitors, and our galleries. Behind closed doors, much of our collection was also built on the travels and research of women in both the past and present.

This hidden gem has been pulled from the collections to highlight the input of two women who have helped make our collections what they are today, and who are representative of the many women who have made valuable contributions to our collections over the years. In a sense, this object is but one that represents a tribute to women as makers, as creators, as artists, and as collectors.

This beautiful cushion cover was collected in the Torres Strait Islands by Pamela Brodie. During mid-1979, Pamela travelled around the Islands, collecting over 180 items such as this for the James Cook University Material Culture unit, which was later donated to the Queensland Museum Network. Some of the objects collected by Brodie are now stored in Brisbane at the Queensland Museum, and the rest are kept here in Townsville, at the Museum of Tropical Queensland.

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This particular item was collected from Medigee Village on Erub (Darnley) Island, and was made by an artist by the name of Pamela Gela. The cushion cover was displayed at the Museum of Tropical Queensland from 2000-2005. Pamela Gela’s artistic design and innovative use of materials and colour has given us an insight into the diversity of Torres Strait material culture.

The input of both Pamela Gela and Pamela Brodie to the Museum’s collection has assisted us in building a diverse, valuable collection of material culture from the Torres Strait, and helps us to further understand, appreciate and showcase the significant heritage of Torres Strait Islander people through our work at the Museum. These two women represent some of the many incredible contributors that have helped shape the Queensland Museum’s collection today.

Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland

GEORGE RANDALL’S SOUVENIR UMBRELLA

Have you ever stopped to appreciate the craftsmanship of a good quality umbrella?  In Queensland where the weather is usually fine and sunny, most of us these days tend to wear hats to keep the sun off our heads which leaves our beloved umbrellas safely tucked away for those occasional – yet not uncommon – heavy rainfall seasons.

The Queensland Museum recently acquired this old umbrella which was manufactured in c. 1901 by Reid & Todd; a travel and leather goods store located in Glasgow, Scotland. It is an earlier example of what we today regard as a ‘modern day’ umbrella. Prior to the mid nineteenth century, ‘brollies’ were traditionally crafted from whalebone and/or wood, and silk was commonly used for the canopy. This resulted in them being a tad on the heavy side and somewhat delicate – probably a bit of a nuisance if you’re getting about in heavy rain all the time.

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Image of H49762, George Randall’s souvenir umbrella, c.1901.

The clever design of the modern day umbrella frame is owed to Mr Samuel Fox who was an industrialist and steelworker from Sheffield, England.  In 1851, he developed “U-shaped” stainless steel ribs which gave form to the famous ‘Paragon’ frame – that lovely rounded “U” shape we are all familiar with when we think of umbrellas.  The design became superior to anything available on the market resulting in a unique, stronger and lighter umbrella.  During the turn of the nineteenth century, Samuel Fox became the largest umbrella frame maker in the world.

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Image of H49762, George Randall’s souvenir umbrella – open, c.1901.

This particular umbrella in the museum’s collection belonged to Mr George Randall who was Immigration Officer for the Queensland government from 1881 until 1902. Mr Randall frequently travelled abroad on long stints to Britain on recruiting campaigns with a view to attracting new settlers to the colony. He became very well known for his lectures which promoted Queensland.  In 1901, towards the end of his career, he took up the position of Court Manager for the Queensland section of the Glasgow International Exhibition. The umbrella was either purchased or given to Mr Randall as a souvenir while he was in Glasgow for this momentous event. The umbrella is made of a wood stick, a rounded ivory handle and dons the famous ‘Paragon’ steel frame. It has a brass collar fixed to the stick with ‘Reid & Todd Glasgow’ engraved onto it. The ivory handle contains George Randall’s initials inscribed in black indicating the personal aspect of the object.

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Detail view of H49762, souvenir umbrella, c.1901. Image shows George Randall’s initials inscribed into the ivory handle.

This umbrella is a great addition to the social history collection here at Queensland Museum. It allows us to explore the individual story of George Randall and to understand his contributions both personal and professional to building a colony of people who would come to work, live and love Queensland as he so did. George Randall was an avid lover of literature and took to poetry as a way of appealing to his fellow countrymen. In a pamphlet that he published titled The Emigrant: his Thoughts, Feelings and Aspirations, he writes in the very first verse:

I am going, I am going to a land beyond the sea,
And I ask my fellow-countrymen, “Will any follow me?”
I am going – not in search of gold, or buoyed by hopes of wealth,
But where maybe hard toil there’ll be, though toil that belongs to good health.
No fairy-dreams of fortune won to give luxurious ease,
No castles in the air are mine, I harbour none of these;
But what I long for is a home – my own, my own, and free –
And I feel that I shall gain it in in the land beyond the sea.

This poem which goes on for another seven pages demonstrates Randall’s enthusiasm and passion for newcomers to consider Queensland as their new home. The pamphlet is one of a small group of items held in the museum’s collection relating to George Randall. The other items include a business card for George Randall’s son, Richard Randall who was a painter, a black and white printed photographic portrait of George Randall taken by the world famous Lafayette Ltd. photographic studio, a copy of the ‘Scottish Trader’ Vol. V., No.34, September 21, 1901, Glasgow which was a registered Glasgow newspaper with a focus on grocery and allied trades, containing mostly advertisements for various foods as well as a feature article on page 11 about Queensland and it’s food products and a highlight on George Randall and his role as Manager of the Queensland Court at the Glasgow International Exhibition, 1901. Alongside these items are three small printed souvenir pictures showing exterior scenes of the Glasgow International Exhibition buildings and an official invitation to George Randall to attend the Reception of the same event.

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H49763.2 Printed photographic portrait of Mr George Randall, taken by Lafayette Ltd. The world famous Lafayette photographic studio was founded in Dublin in 1880, by James Stack Lauder. The firm very quickly established itself as the premier portrait studio in Ireland and it wasn’t long until it began taking portraits for members of the Royal family including of Princess Alexandra to mark her visit to Ireland in 1885. During the 1890s, the business expanded with studios established in Glasgow, Manchester and London. It’s possible the portrait of Mr George Randall was taken while he was working in Glasgow for the International Exhibition in 1901.

 

Carmen Burton, Assistant Curator Queensland Stories

The Myth of the Mermaid

This blog post is the first in an ongoing series titled Connecting with Collections. The series offers readers a peek inside collections at the Museum of Tropical Queensland, highlighting objects and their stories.

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Everyone knows the myth of the mermaid – the half woman, half fish, who is sometimes kind and at other times a source of evil who lures unassuming sailors to their deaths. But where did the legend come from?

The myth can be traced to cultures all over the world. One of the earliest versions of the tale speaks of the Sirens of Greek mythology, who show many similarities with the modern day mermaid. In Assyrian mythology, dating to c. 1000 BC, it is said that the goddess Atargatis took the form of the half woman, half fish creature during her life. Another legend speaks of Alexander the Great’s sister, Thessalonike, becoming a mermaid after her death.

In Irish mythology, there is the Merrow. In Scotland, the Ceasg or Selkie. In Western Europe, the Melusine, and in Slavic folklore, the Rusalka. Parts of Africa hold belief in Mami Wata, Cameroon calls their mermaid the Jengu, and in Maori culture, Pania of the reef. Chinese, Korean, and Thai cultures all have their own variations, and in many Western cultures, Hans Christian Anderson’s The Little Mermaid has immortalised the image of the mermaid that we know today.

In Papua New Guinea, there is a legend about the mythical Ri or Ilkai, sometimes known as a Pishmary (meaning fish woman): a human-like sea creature that resembles the European mermaid. The creature long thought to be this mythological being, with sightings stretching back several decades, has since been proven to be the Indo-Pacific dugong, ‘Dugong dugon’. Regardless of this, there are many locals who still believe that a mysterious being lives in the waters of Papua New Guinea, with the tail of a fish, and the features of a woman.

This sculpture was donated to the Museum of Tropical Queensland by Peter Watt. Mr Watt worked as an engineer on the Melanesian Discovery tourist-ship which travelled around the Trobriand Islands and Sepik River regions of Papua New Guinea in 1990, during which time he collected several items that would later become part of the Museum’s collection. The sculpture allows us to see how different people experience and visually interpret certain myths, like that of the mermaid.

Sophie Price, Assistant Curator Anthropology, Museum of Tropical Queensland

International Women’s Day: women in Australian history

Today is International Women’s Day and we’re highlighting some of our favourite females in Australian history, shared through the lens of the incredible women who are part of the Queensland Museum Network team. Our collections are full of amazing stories and we’re thrilled to be able to share them with you to celebrate this special day. 

Jennifer Wilson, Senior Curator, Transport Energy and Science
Favourite piece of history: Lores Bonney, who is featured in the Anzac Legacy Gallery at Queensland Museum, was a pioneering aviatrix who dodged death on a number of record-breaking solo flights across the globe during the First World War. During her aviation career, Lores completed the longest one-day flight by an airwoman (Brisbane to Wangaratta), was the first woman to circumnavigate Australia by air, the first woman to fly from Australia to England, and the first to fly from Australia to South Africa. She was awarded an Order of Australia Medal in 1991. The Bonney Trophy, which she presented in England, is still awarded annually to an outstanding female British pilot.

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Lores Bonney during her flight from Australia to South Africa, 1937.
Image courtesy of National Library of Australia. 
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Pith helmet worn by Lores Bonney during her flight to South Africa in the 1930s, on display at the Anzac Legacy Gallery at Queensland Museum.

Geraldine Mate, Principal Curator, History, Industry and Technology
Favourite piece of history:  This microscope belonged to Professor Dorothy Hill, renowned palaeontologist and geologist from Taringa, Brisbane. Her approach to scientific inquiry, particularly her research on fossil corals, led to a long and successful career. In one of many firsts, she was the first woman to be elected a Fellow of the Australian Academy of Science. Dorothy became Australia’s first female professor in 1959 when she became Professor of Geology at the University of Queensland. She also became the first Australian woman Fellow of the Australian Academy of Science (1956), the Royal Society of London (1965), and the first female president of the Australian Academy of Science (1970). The Dorothy Hill Medal honours her contributions to Australian Earth science and her work in opening up tertiary science education to women.

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Dorothy Hill in academic dress. Image courtesy of Fryer Library, University of Queensland.
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Carl Zeiss Jena Photographic Stereo Microscope. Image courtesy of Fryer Library, University of Queensland.

Judith Hickson, Curator, Social History
Favourite piece of history: In 2017 it was the 50 year anniversary of the 1967 referendum, which saw Australians uniting to vote 90.77% ‘yes’ to changing the constitution to include Aboriginal Peoples and Torres Strait Islanders in the population count. Commissioned by Australia Post to mark the fiftieth anniversary of the historic date, a commemorative stamp was launched in Canberra on 24 May 2017 by then Minister for Indigenous Affairs, Nigel Scullion. The commissioning and unveiling of the stamp was a historic occasion, bring together representatives of younger generations of Aboriginal and Torres Strait Islander peoples, surviving campaigners, their families and Government representatives. The chosen stamp design was by Rachael Sarra, a Goreng Goreng woman, artist and designer at Brisbane-based creative agency Gilimbaa

“… without the courage and determination of the original campaigners, all our lives could have been so different” – Rachael Sarra

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Designer Rachael Sarra with the with the artistic display of the commemorative stamp.

Barbara Baehr, Arachnologist and ABRS Research Fellow
Favourite piece of history:  In 2014, Queensland Museum scientists honoured wildlife warrior and conservation icon Terri Irwin by naming a new species of spider after her. The spider, Leichhardteus terriirwinae, was discovered by Dr Barbara Baehr and senior curator Dr Robert Raven in the Mt Aberdeen region in North East Queensland. The tiny spider is predominantly brown, with white legs and three white stripes…but don’t expect to easily find it as it’s less than seven millimetres long. The tenacity of the small spider was what led Barbara to name it in honour of Terri Irwin.

“We named this specific swift spider after Terri Irwin because Terri is a fast and straight thinking woman and we could not think of a more appropriate name for this slender and fast moving spider” Barbara Baehr

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Terri Irwin holding the Leichhardteus terriirwinae specimen.
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Australia Zoo Owner Terri Irwin, Queensland Museum Scientist Barbara Baehr and Minister for Science, Information Technology, Innovation and the Arts Ian Walker MP.

Candice Badinski, Communications Coordinator
Favourite piece of history: Thancoupie Tapich Gloria Fletcher AO (1937-2011), best known simply as Thancoupie, was a leading figure in the Indigenous ceramic movement in Australia, and one of North Queensland’s foremost contemporary artists. In a career spanning four decades, she held over fifteen solo exhibitions in Australia and internationally, became Australia’s first Indigenous solo ceramic artist, and was the first Indigenous Australian to complete a tertiary degree in the arts.  Today Thancoupie’s sculptures are represented in a number of major institutions across the country, and she is remembered as a pioneer for Aboriginal and Torres Strait Islander artists. In 2014, Queensland Museum curators purchased The Legends of Albatross Bay (Weipa Story) – a cast aluminium sculpture that narrates the history and legends of the artist’s home at Napranum in Weipa, Western Cape York.  The sculpture was an exciting acquisition, as the work represents not only one of the final chapters in Thancoupie’s career but also offers added depth to the museum’s existing collection of the artist’s work.

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Thancoupie Tapich Gloria Fletcher with some of her artwork in which she used incised lines to convey the history and legends of Weipa.
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Thancoupie Tapich Gloria Fletcher’s sculpture, The Legends of Albatross Bay (Weipa Story), acquired by Queensland Museum in 2014.

Karen Kindt, Collection Manager, Anthropology
Favourite piece of history: Irene Longman, who in 1929 became our first female sitting member in the Queensland Parliament.  Irene was married to one of our very own at the museum, Heber A. Longman, the longest serving Queensland Museum Director (1918 to 1945).  For over thirty years, Irene involved herself in public life, in a professional and voluntary capacity, working on issues relating to the welfare of women and children, town planning and the preservation of flora and fauna. Queensland Museum holds correspondence dated 20 March 1928 from Dr de Rautenfeld in which he gifted two brooches, one for the museum’s collection and one as a personal gift for Irene. On display in Anzac Legacy Gallerywe also have a tablecloth used as a fundraiser for peace that Irene was instrumental in implementing. 

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Irene Longman. Image courtesy of John Oxley Library, State Library of Queensland.
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Brooch gifted to Irene Longman.

Sharing nature’s gems for World Wildlife Day

World Wildlife Day, held annually on 3 March, was created to celebrate and raise awareness of the world’s wild animals and plants. The day has now become the most important global annual event dedicated to wildlife. This year’s theme is “Life below water: for people and planet”. Oceans harbour a rich variety of communities and a wealth of strange and beautiful creatures, each with its own peculiar adaptations to underwater life. Right on our doorstep are two world-class marine hot spots – the unique waters of south-east Queensland, and of course, our iconic Great Barrier Reef.

To mark the occasion we are sharing some of our Wild State vector artwork and spoke to Queensland Museum Graphic Designer, Baden Philips, about his design. Baden said the most important thing when considering the artwork was that it reflects the Wild State gallery concept of the environment and the animal being equally as important as one another. With these rich and unique environments shrinking and vanishing, there is a significant threat to the animals who call it home, with many becoming endangered or even extinct.

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Baden therefore wanted to create the artwork to be reminiscent of a jewellery advertisement, depicting the animals as rare jewels cushioned by a rich and luxurious landscape.  To achieve this jewel-like quality, Baden chose low poly imagery (a polygon mesh in 3D computer graphics that has a relatively small number of polygons) and used Adobe Illustrator to create the drawing on top of the original image. Most of the designs are highly detailed, with each one representing hours of careful work.

Read on for more information about the beautiful animals and habitats that make Queensland one of the most biodiverse places on the planet. 

The Arid Outback

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Scorching summer days, freezing cold winter nights and dry almost all year round. But despite these seemingly adverse conditions, it is not devoid of life. Many animals, from large kangaroos to tiny invertebrates, have developed remarkable adaptations that enable them to survive in this extreme environment with very little water. Some travel great distances to drink, others get moisture from the food they eat, and some can control their body heat and limit water loss.

The Bush

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Much of Queensland is covered by open forests and woodlands, which have long been described as ‘The Bush’. This is a place of light and, even when the trees are at their densest, the tree tops are well-spaced and allow direct sunlight to flood the often grassy floor. Bush animals rely heavily on the trees and shrubs for food and shelter, with some animals and plants evolving co-dependent adaptations that enhance their survival. 

The Rainforest

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Lush, dense plant growth, plentiful rainfall and litter-strewn ground – rainforests are one of the richest habitats on Earth. They have a dense ‘closed’ tree canopy that blocks sunlight and shades a litter-strewn forest floor, creating a multitude of spaces for moisture dependent animals to live. 

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Southern Cassowaries are primarily found in lowland tropical rainforest, where conditions are hot and humid with frequent heavy rain. The Wet Tropics of North Queensland has 1,165 species in 6,300 square kilometres – more plant species than Finland, which is over 50 times its size. 

The Coast

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Many animals make the shore their permanent home despite challenging conditions such as deadly heat, little oxygen, pounding waves and, more significantly, our interference with this increasingly fragile junction of land and sea. Horn-eyed Ghost Crabs (Ocypode ceratophthalma) are fast running scavengers that are known to prey on baby turtles in tropical waters. 

The Ocean

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Oceans harbour a rich variety of communities and a wealth of strange and beautiful creatures, each with its own peculiar adaptations to underwater life. Right on our doorstep are two world-class marine hotspots – the unique waters of south-east Queensland, and of course, our iconic Great Barrier Reef.

Head to the World Wildlife Day website for more information on how you can get involved, and don’t forget to visit your native friends at Wild State during your next trip to the Museum!

Celebrating women in science

We celebrate the achievements of women, known and unknown, remembered and forgotten, who have forged the way for those of us in science today, and to give an opportunity for children: girls and boys, to choose role models in science – Princess Nisreen El-Hashemite, BSc MSc MD PhD

This coming 11 February is International Day of Women and Girls in Science and to celebrate we’re featuring some of the incredible scientists and staff involved in the scientific field across the Queensland Museum Network. Their hard work and excellent contributions often help inspire women and young girls who are interested in following a path in science. We delve into why they chose to get involved in science and what they’ve found most rewarding.

#goals #inspo

Marissa McNamara
Lab Manager and Collection Manager (marine for crustacea)

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I work with preserved crabs, prawns, lobsters and other amazing creatures from around Australia, and I get to see the incredible diversity and beauty of life every day. I also help members of the public identify crustaceans they find (often on the beach or the reef), and it’s fantastic to see what people discover. I feel like I learn something new every day! As an added bonus, for Halloween I get to dress up and show off our ‘creepiest’ looking specimens!

Rebekah Collins
Manager, SparkLab and Discovery Centre

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It is really rewarding to create experiences that support visitor learning, hearing people share their memories, stories and connections with the Museum and the Sciencentre, and seeing how much it means to them, especially those who later go on to study or be involved with science.

Joanne Wilkinson
Senior Fossil Preparator and Geosciences Volunteer Coordinator

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At age 9 I asked for a Chemistry set for Christmas. That’s when my love of litmus paper and the test tubes began. Many years later, combining my interest in fossils and my love of test tubes and laboratories, I find myself Senior Fossil Preparator at Queensland Museum. The most rewarding part of working in the fossil scientific community is the discovery of new sites and new species which add to fossil record of Australia and ultimately to the fossil record of the planet.

Susan Wright
Collection Manager, Terrestrial Environments (Entomology)

International Day of Women and Girls in Science - Susan Wright

The best part of my job as a Collection Manager is that I get to help a wide range of people, from scientists to artists, to conduct fascinating (sometimes bizarre) research regarding insects, our collections and the people that contribute to them. I learn something new every day.

Chae Swindell
Learning Officer, Future Makers

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The most rewarding part of my role is using our collections and research to develop resources that inspire and excite students, teachers and the community about science!

Christine Lambkin
Curator of Entomology

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I became an entomologist and evolutionary biologist because I am fascinated by the interaction between the incredible beauty and unbelievable diversity of insects, and our attempts to mathematically estimate the relationships between species based on morphology and genetics.

Rochelle Lawrence
Research Assistant and Honorary, Vertebrate Palaeontology

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I chose to get involved in science because of my fascination with the natural world, especially our unique fossil fauna and how they can help us better understand the present and impacts or future environmental change.

Kristen Spring
Collection Manager, Geosciences

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I got into science because although there is too much to discover in one lifetime, I was certainly determined to try!

Susan Turner
DAAD Professor and Honorary Research Fellow, Geosciences

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I got hooked at around eight years old by reading a book on dinosaurs – the joy of finding the right mentor led me into vertebrate palaeontology in my twenties. Five decades on I still get excited knowing I am the first person to see a new fossil specimen, and sometimes have the joy of identifying and naming it for posterity.

Jessica Worthington Wilmer 
Research Fellow and Molecular Identities Lab Manager

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I became a biologist (evolutionary geneticist) to better understand the world I live in and to use that knowledge to help save threatened and endangered species.

Carole J Burrow
Honorary Research Fellow

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The most rewarding aspect of my work in vertebrate palaeontology is working out new information about very old things (300 to 400 million year old fossils) to help our understanding of how the earliest back-boned animals with jaws are related to each other.

Amy Boulding
Head, Lifelong Learning 

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Amy (back) and Rebekah officially opening the doors to SparkLab

I originally got into science because I loved that I could ask lots of questions and go find the answers by getting my hands dirty and exploring the natural world. I’m super proud of now leading the Lifelong Learning team, and seeing all of the ways that my team create and facilitate those life-changing, enlightening, inspiring moments with people on all different themes and stories within the Museum.

Sue-Ann Watson
Senior Curator (Marine Invertebrates)

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Making new discoveries is the most rewarding part of science. Being the first to know something is really exciting.

Barbara Baehr
Arachnologist and “Australian Spider Lady”

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Barbara with her daughter

I chose to get involved in science because it’s great to be at the forefront of discoveries and I love to be a role model for my daughters.

Jessica Johnson 
Learning Officer, SparkLab, and Forensic Scientist

Jessica Johnson

I chose science when I held a real human brain in my hands and realised that this was a person, that 1.5kgs was everything that made someone them, and there’s nothing more rewarding then seeing the look on a child’s face when they understand something new and exciting about science.

Claire Chakrabarti
Learning Officer, SparkLab

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I was the child that always asked why and I chose to pursue a career in science as it provided the answers.

Susan Wightley 
Information Officer, Discovery Centre 

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I have always been fascinated by the huge variety of animals, the adaptations to their environment and how they interact with it and each other. I am in my dream job helping people understand and appreciate the complexity and awesomeness of the natural environment around them.

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