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Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
Final Hannah Online Credits
Hannah Gadsby’s Oz – Full Series Credits WRITTEN & PRESENTED BY HANNAH GADSBY ------ DIRECTED & CO-WRITTEN BY MATTHEW BATE ------------ PRODUCED BY REBECCA SUMMERTON ------ EDITOR DAVID SCARBOROUGH COMPOSER & MUSIC EDITOR BENJAMIN SPEED ------ ART HISTORY CONSULTANT LISA SLADE ------ 1 Hannah Gadsby’s Oz – Full Series Credits ARTISTS LIAM BENSON DANIEL BOYD JULIE GOUGH ROSEMARY LAING SUE KNEEBONE BEN QUILTY LESLIE RICE JOAN ROSS JASON WING HEIDI YARDLEY RAYMOND ZADA INTERVIEWEES PROFESSOR CATHERINE SPECK LINDSAY MCDOUGALL ------ PRODUCTION MANAGER MATT VESELY PRODUCTION ASSISTANTS FELICE BURNS CORINNA MCLAINE CATE ELLIOTT RESEARCHERS CHERYL CRILLY ANGELA DAWES RESEARCHER ABC CLARE CREMIN COPYRIGHT MANAGEMENT DEBRA LIANG MATT VESELY CATE ELLIOTT ------ DIRECTOR OF PHOTOGRAPHY NIMA NABILI RAD SHOOTING DIRECTOR DIMI POULIOTIS SOUND RECORDISTS DAREN CLARKE LEIGH KENYON TOBI ARMBRUSTER JOEL VALERIE DAVID SPRINGAN-O’ROURKE TEST SHOOT SOUND RECORDIST LACHLAN COLES GAFFER ROBERTTO KARAS GRIP HUGH FREYTAG ------ 2 Hannah Gadsby’s Oz – Full Series Credits TITLES, MOTION GRAPHICS & COLOURIST RAYNOR PETTGE DIALOGUE EDITOR/RE-RECORDING MIXER PETE BEST SOUND EDITORS EMMA BORTIGNON SCOTT ILLINGWORTH PUBLICITY STILLS JONATHAN VAN DER KNAPP ------ TOKEN ARTISTS MANAGING DIRECTOR KEVIN WHTYE ARTIST MANAGER ERIN ZAMAGNI TOKEN ARTISTS LEGAL & BUSINESS CAM ROGERS AFFAIRS MANAGER ------ ARTWORK SUPPLIED BY: Ann Mills Art Gallery New South Wales Art Gallery of Ballarat Art Gallery of New South Wales Art Gallery of South Australia Australian War Memorial, Canberra -
Art and Artists in Perth 1950-2000
ART AND ARTISTS IN PERTH 1950-2000 MARIA E. BROWN, M.A. This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Design Art History 2018 THESIS DECLARATION I, Maria Encarnacion Brown, certify that: This thesis has been substantially accomplished during enrolment in the degree. This thesis does not contain material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution. No part of this work will, in the future, be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. The work(s) are not in any way a violation or infringement of any copyright, trademark, patent, or other rights whatsoever of any person. The research involving human data reported in this thesis was assessed and approved by the University of Western Australia Human Research Ethics Committee. Approval # RA/4/1/7748. This thesis does not contain work that I have published, nor work under review for publication. Signature: Date: 14 May 2018 i ABSTRACT This thesis provides an account of the development of the visual arts in Perth from 1950 to 2000 by examining in detail the state of the local art scene at five key points in time, namely 1953, 1962, 1975, 1987 and 1997. -
Collection Name: Ella Fry Collection of Photographs Collection Number: BA1362
Pictorial collection name: Ella Fry Collection of photographs Collection number: BA1362 Collection Item Photographer Description No. No. BA1362/ 1 Personal Ella [A toddler dressed in romper suit and hat] BA1362/ 2 Murray of Brisbane Ella [A toddler in a dress, holding a doll, seated and Gympie on large chair] BA1362/ 3 Personal Ella [A toddler seated on a rug, holding a doll, pram in background] BA1362/ 4 Personal Ella [A small child in dress and hat, holding a doll, seated on bench BA1362/ 5 Personal Ella [A small child in garden] BA1362/ 6 Personal Ella [A small child standing on verandah feeding a horse BA1362/ 7 Personal Ella [A small child in skirt, jumper, shoes and socks, glasses, seated on cane chair, reading BA1362/ 8 Personal Ella and Mother [A small girl wearing skirt, ,jumper, shoes and socks, glasses and huge bow in hair. Woman wearing long suit seated on chair] BA1362/ 9 Personal Father and Ella [Man in 3 piece suit and hat, girl in short dress, dark stockings, hat. Both standing in paddock, picnickers in background] BA1362/ 10 Personal Grandfather Angus, Father, Ella, Mel, Peter Angus, Donald Angus, Gran, Barbara Angus, Mother [family group] BA1362/ 11 Personal Grandfather and Gran Angus [Both dressed in best clothes] BA1362/ 12 Personal Ella and Mother [Woman in long skirt, jacket and hat, girl in dress and hat, standing in front of tree] BA1362/ 13 The Leicagraph Co Gran and Mother [Both women in long coats Sydney with fur collars and hats, walking down a city street] BA1362/ 14 Personal Gran, Grandfather, Mother [3 people at the beach, seated, leaning on rowing boat. -
G Eelong G Allery Annual Report
Geelong Gallery annual report 2011–2012 Geelong Gallery annual report 2011–2012 Geelong Contents Gallery President’s report 02 Little Malop Street Director’s report 04 Geelong 3220 T 03 5229 3645 Honorary Secretary’s report 08 Open daily 10am–5pm The Geelong Art Gallery Foundation 20 Closed Christmas Day, Boxing Day, The Geelong Gallery Grasshoppers 22 New Year’s Day and Good Friday Friends of the Geelong Gallery 24 www.geelonggallery.org.au Collections report 28 Financial statements for 38 the year ended 30 June 2012 Government partners and sponsors 52 COVER Arthur Streeton Ocean blue, Lorne (detail) 1921 oil on canvas Collection: Geelong Gallery Purchased with funds generously provided by Geelong Art Gallery Foundation, Robert Salzer Foundation Art Program, Geelong Community Foundation, Will and Dorothy Bailey Charitable Gift, and numerous individual donors, 2011 Geelong Gallery annual report 2011–2012 02 Geelong Gallery annual report 2011–2012 03 President’s report It is my pleasure to report that the 2011–2012 An estimate of the total value of new The Gallery was host venue during the year In recent months we have been fortunate year was, once again, a year of creative acquisitions—including gifts, purchases and for functions convened variously by the City to make two new significant appointments activities and positive outcomes for the bequests—approved in the 2011–2012 financial of Greater Geelong, the Geelong Chamber to the Gallery’s staff. Melissa Hart has taken Geelong Gallery. year is in the order of $500,000. of Commerce, the Committee for Geelong, up the new position of Marketing and Public the Transport Accident Commission, and other Programs Co-ordinator and, more recently During this time the Gallery presented some The single most valuable and notable of these business and community organisations. -
14-15Art Gallery of Ballarat Annual Report
Art Gallery of Ballarat Annual Report 14-15 Annual Report 2014-15 Chair’s Report 4 Director’s Report 8 Association Report 10 Gallery Guides Report 12 Acquisitions 14 Adopt an Artwork 26 Donations, Gifts, and Bequests 27 Exhibitions 28 EIKŌN: Icons of the Orthodox Christian World 30 Touring Exhibitions 32 Outward Loans 34 Publications & Merchandise 36 Education Report 38 Public Programs 40 ISSN 0726-5530 Gallery Staff and Volunteers 49 Art Gallery of Ballarat Board Members 50 ACN: 145 246 224 ABN: 28 145 246 224 Budget Summaries 52 40 Lydiard Street North Ballarat Victoria 3350 T 03 5320 5858 F 03 5320 5791 [email protected] www.artgalleryofballarat.com.au Image right: installation view of EIKŌN: Icons of the Orthodox Christian World Image next page: Hugh DT Williamson Gallery Vision The Art Gallery of Ballarat where Art Inspires, Stimulates and Challenges Mission To foster and enrich the cultural life of our city, our region and the Nation by acquiring, conserving and presenting a great collection of art. Image: installation view of Art and Australia 2003 – 2013 3 Chair’s Report Art Gallery of Ballarat Board of Directors I often tell people that the Art Gallery of Ballarat is about a city wide program around the exhibition, including withdrawal of our café proprietors early this year allowed us art: we buy it, we show it, we lend it and we store it. The launching the Season of the Arts Program. The Archibald to trial The Salon, a relaxed meeting area, which has been challenge for us is how to do this in a creative and inspiring Prize 15-16 Exhibitions and the Art Gallery of Ballarat major very popular with Association Members, staff and visitors. -
Grant Recipient Granted Amount Grant Purpose
Grants approved in 2013/14: grant recipient Granted Amount Grant purpose (Connecting Communities) CC Home Care 2,500 To provide essential equipment to assist an individual with a physical disability in making their first transition into Incorporated independent living. 11th Battalion Living History Unit Inc 8,661 Towards historical uniforms to support the commemoration of the Anzac Centenary period. Aboriginal Communities Charitable Organization, 5,000 To support people experiencing financial hardship. Inc Aboriginal Health Council of Western Australia 60,000 Towards a study into the optimal provision of community health services to remote areas of Western Australia. Aboriginal Health Council of Western Australia 2,000,000 Towards the purchase of the new premises for this state wide organisation supporting Aboriginal health services across the Western A ustralia. Abortion Grief Australia Inc 54,621 Towards office equipment to support mental health and wellbeing services for people impacted by abortion. Academic Clinics for Exceptional Students (Inc) 15,000 Towards information technology to improve the educational services for people with a learning disabilities on low incomes. Activ Foundation Incorporated 24,457 Towards minor modifications and equipment for 12 vehicles used to transport people with intellectual disabilities to enable them to participate in the community. Active Greening Inc 17,581 To support the delivery of community activities and events within the Perth Metropolitan area, that aim to connect community with nature and encourage a sense of belonging. AdoptASchool Association Inc 14,625 Towards organisational development that will support active volunteerism in WA. Adoption Support for Families and Children Inc 4,820 Towards a camp to be held in October for children and families. -
Annual Report 2008–09 Annu Al Repor T 20 08–0 9
ANNUAL REPORT 2008–09 ANNUAL REPORT 2008–09 REPORT ANNUAL ANNUAL REPORT 2008–09 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2008–09, the National Gallery of Australia received an appropriation from the Australian Government totalling $78.494 million (including an equity injection of $4 million for development of the national collection and $32.698 million for Stage 1 of the building extension project), raised $19.32 million, and employed 256.4 full- time equivalent staff. © National Gallery of Australia 2009 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Carla Da Silva Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/reports -
PETER WESTWOOD Peter Westwood Is an Artist, Curator and Arts Writer
PETER WESTWOOD Peter Westwood is an artist, curator and arts writer living in Melbourne. Peter completed his undergraduate study, a Diploma of Fine Art at the University of Ballarat in 1978. His postgraduate studies include a Graduate Diploma in Fine Art from RMIT University (1981), a Graduate Diploma of Education from the University of Melbourne (1982) and a Master of Arts by Research from Monash University (1995). He is currently completing his PhD at RMIT University. His PhD research topic is titled Transition and passage: Agency and the idiom of Painting as a marker of change. Peter’s painting reveals or describes perpetual change in order to capture or embody the passing nature of experience. His practice focuses on both the production and installation of painting as a method to present ideas of social experience as a type of unending passivity shaped through continuous viewing and consumption. Peter has been included in group, and individual exhibitions in public and commercial galleries in Australia and overseas. He has curated two to three annual exhibition projects for the past 20 years in Australia, and periodically overseas. Peter is employed at RMIT University in the School of Art as a Senior Lecturer and is Program Coordinator of the Honours Program. SOLO EXHIBITIONS 2017 After all, NKN Gallery, Melbourne 2015 The Poor Hospital (passage and fate), NKN Gallery, Melbourne 2013 Drive, Blindside ARI, Melbourne Staring back at the world, Boutwell Draper Gallery, Sydney WEB: blockprojectsgallery.com ADDRESS: Level 1 / 252 Church -
Annual Report 2013–14 Chair’S Report
Art Gallery of Ballarat Annual Report13–14 Annual Report 2013–14 Chair’s Report .................................................................................................4 Director’s Report ...........................................................................................6 Association Report .......................................................................................8 Gallery Guides Report .............................................................................10 Adopt an Artwork.......................................................................................12 Donations, Gifts, and Bequests .........................................................14 Acquisitions .................................................................................................16 Outward Loans..............................................................................................38 Exhibitions ...................................................................................................26 For Auld Lang Syne..................................................................30 Touring Exhibitions ...................................................................................34 Publications............................................................................42 Education Report .......................................................................................44 Public Programs ..........................................................................................50 Gallery Staff and Volunteers -
Annual Report 2018–19 Snapshot of the National Gallery of Australia
Annual Report 2018–19 Snapshot of the National Gallery of Australia Who we are What we do The National Gallery of Australia The Gallery provides opened to the public in October 1982 exceptional experiences of and is the Commonwealth of Australia’s rich visual arts Australia’s national cultural institution for the culture. Through the national collection, visual arts. Since it was established in 1967, it exhibitions, educational and public programs, has played a leadership role in shaping visual outreach initiatives, research and publications, arts culture across Australia and its region and infrastructure and corporate services, the continues to develop exciting and innovative Gallery is a model of excellence in furthering ways to engage people with the national knowledge of the visual arts. The Gallery art collection. makes art accessible, meaningful and vital to diverse audiences, locally, nationally and internationally. Our purpose and outcome Our staff As Australia’s pre-eminent visual staff at 30 June 2019. The Gallery arts institution, the Gallery provides 326 has an inclusive workforce, social and cultural benefits for the employing people with a disability and people community and enhances Australia’s with culturally diverse backgrounds, including international reputation. The Gallery’s one Indigenous Australians. Women represent outcome, as outlined in the Portfolio Budget 67% of the Gallery’s workforce and 50% Statements 2018–19, is ‘Increased of its Senior Management Group. Detailed understanding, knowledge and enjoyment staffing information is on pages 72–7. of the visual arts by providing access to, and information about, works of art locally, nationally and internationally’. Our collection Our supporters Over nearly half a century of The Gallery nurtures strong collecting, the Gallery has achieved relationships with external extraordinary outcomes in acquiring stakeholders, such as artists and and displaying Australian and international art.