ART GALLERY OF SOUTH AUSTRALIA ANNUAL ANNUAL REPORT 2015–16 REPORT ANNUAL AUSTRALIA SOUTH OF GALLERY ART REPORT
1 HENIMILIGNIM VID QUE IUSTIBUS 2015–16 HIGHLIGHTS
ACCOUNTABLE OFFICER DECLARATION The Hon Jack Snelling MP, Minister for the Arts • More than 780,000 visitors came through Sir, I have the honour to present the seventy – second Annual Report of the Art Gallery the doors of the Art Gallery of South Australia of South Australia for the Gallery’s 136th year, ended 30 June 2016.
Tracey Whiting, Chair • 292 works were added to the collection Art Gallery Board, 2015–16
• Our family program START facilitated workshops, art making ART GALLERY OF SOUTH AUSTRALIA North Terrace activities and tours for nearly families & children ADELAIDE SA 5000 10,000 +61 8 8207 7075 artgallery.sa.gov.au • Over 40,000 students & teachers participated in Learning at the Gallery programs
ISSN 0728–7925 ABN 52 290 987 817 • AGSA Facebook likes increased by 26%
• The AGSA website received over 170,000
image detail (page 4): unique users teamLab, Japan, formed 2001, Ever Blossoming Life II – A whole year per hour, Gold, 2016, Tokyo, four channel, digital artwork, endless, edition 4/6; Gift of the Neilson Foundation through the Art Gallery of South Australia Foundation 2015, Art Gallery of South Australia, Adelaide. Image courtesy of the artists and Martin Browne Contemporary, Sydney CONTENTS
PRINCIPAL OBJECTIVES 9
OVERVIEW 2015–16 11–17
ADMINISTRATION 19–28
ARTISTIC PROGRAMS 29–32
PRIVATE GIVING 33–34
Appendices
A Charter and Goals of the Art Gallery of South Australia 35
B1 Art Gallery Board of South Australia 37
B2 Art Gallery of South Australia Foundation Council, Audit Committee, Board Funds Management Committee 37
B3 Art Gallery Organisational Chart 39
B4 Art Gallery Volunteers 42
C Art Gallery Staff External Representation 44
D Acquisitions 46
E Donors and Partnerships 61–65
F Exhibitions and Public Programs 66–78
G Teaching & Learning at the Gallery and School Support Services 79–83
H Gallery Guide Tour Services 84–86
I Gallery Publications 87
J Annual Attendances 88
K Information Statement 90–91
L Financial Statements 92–127 2015–16 has been an incredible year of growth, and I look forward to taking the Gallery further in the years to come.
CHAIR’S REPORT DIRECTOR’S REPORT
Looking back on the 2015–16 year, it is gratifying to pause and reflect on the incredible achievements of Our role as storytellers is to create experiences for our audiences that are exciting, meaningful and the Art Gallery of South Australia. Breaking attendance records, diversifying its audience and bringing memorable, while still respecting the tradition and history of the Gallery. From the cutting edge of global art to life, the Gallery has continued to build its reputation as one of the most relevant and vibrant contemporary art to historic European, Asian and Australian art, our 2015–16 program engaged with contributors to the State. the public like never before. As a result we experienced an upward trend in our visitor numbers – an Holding four major temporary exhibitions as well as thirty-six collection displays over the past incredible achievement in the ever-evolving business of museums. year, the Gallery has become a space that not only educates and inspires, but creates stimulating Our highlights included the 2016 Adelaide Biennial of Australian Art, which enchanted audiences experiences through its innovative public programming and curatorial approach. Attracting people from across five locations in an unprecedented expansion of the exhibition. The city-wide event transformed all walks of life, the Gallery’s strategic focus has been to expand its teenage and family offerings. Engaging Adelaide, doubling the 2014 event attendances. Well received by audiences in South Australia and with this important segment has been incredibly successful, with more than 50,000 patrons attending Western Australia, the ambitious Treasure Ships: Art of the Age of Spices presented spectacular art The Studio, First Fridays, Neo and START collectively, with many visiting for the first time. produced for global markets in the era of the spice trade, dating from the fifteenth to early nineteenth Almost 780,000 visitors visited the Art Gallery in 2015–16, increasing attendances by 31% from centuries. the previous year and endorsing South Australia’s reputation as a key cultural destination. TARNANTHI: Festival of Contemporary Aboriginal & Torres Strait Islander Art was the largest Through its exhibition program the Gallery had a real presence across the state, from the ever- Aboriginal visual art event ever staged in South Australia, bringing Aboriginal art and culture to the expanding Adelaide Biennial to the record-breaking TARNANTHI. forefront. A critical success, TARNANTHI showcased over a thousand artists across the Gallery, and Private giving, philanthropy and sponsorship continue to play a pivotal role in the Gallery’s received the highest number of visitors for a free exhibition in the Gallery’s history. self-sustainability plan. A huge thank you to the Contemporary Collectors chaired by Jane Yuile, the The Board and Executive Team continue to work towards the long term goals of the 2015–2020 Foundation chaired by Andrew Gwinnett, to Gallery Members, partners and donors. Through gift-giving Strategic Plan, most notably engaging with stakeholders to develop a business case for a second site and fundraising, as well as corporate philanthropy, the Gallery has received funding that has supported proposal, giving the Gallery greater capacity to showcase our collection of works currently in storage. the acquisition of new work; enabled accessibility with free exhibitions, events and programs; assisted Making art accessible is a task made possible through the generosity of our supporters, with the general care of the collection and enabled us to deliver original exhibitions and publications. benefactors, volunteers and friends. I would like to extend a warm thank you to our Board, led by On behalf of the Board, I would like to congratulate the dynamic leadership of Director Nick Chair Tracey Whiting, as well as Gallery staff for their infinite ingenuity and enthusiasm in presenting Mitzevich, Deputy Director Mark Horton and Assistant Director, Artistic Programs Lisa Slade, as well as outstanding programs and exhibitions. the entire staff who have played an essential role in delivering an outstanding year. 2015–16 has been an incredible year of growth, and I look forward to taking the Gallery further in the years to come. Tracey Whiting CHAIR OF THE ART GALLERY OF SOUTH AUSTRALIA BOARD Nick Mitzevich DIRECTOR
6 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 7 OBJECTIVES PRINCIPAL
PRINCIPAL OBJECTIVES OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act 1939 and can be summarised as the preservation, research and communication associated with heritage and contemporary works of art of aesthetic excellence and historical or regional significance.
MISSION To serve the South Australian and wider communities by providing access to original works of art of the highest quality. Through the permanent collection, temporary exhibitions, publications, education and public programs, the Gallery seeks to become part of the daily life of Australians – to champion art, artists and ideas.
VISION
To be a leading art museum in Australia and the Asia Pacific Region that: • is highly respected for the quality and display of its collection, exhibitions, programs, interpretation and research; • engages South Australians from all walks of life in the visual arts; • enlivens and enriches the cultural dimension of the city and the state; and • is a major attraction for interstate and international visitors to South Australia.
GOVERNMENT OBJECTIVES In addition, the Art Gallery plays a significant role in delivering specific elements of the South Australian Government’s seven strategic priorities: CREATING A VIBRANT CITY Creating an eclectic and exciting artistic program which attracts local and interstate visitors to the North Terrace precinct, greatly increasing the numbers of people in the city while bringing vibrancy to the city streets. This in turn will enhance the city’s atmospheric appeal and build upon the South Australian brand. EVERY CHANCE FOR EVERY CHILD Learning and children’s programs are at the core of the Art Gallery’s artistic program, as it is recognised that building a lifelong love of the visual arts provides a framework for children to think creatively.
image left: Launch of TARNANTHI | Festival of Contemporary Aboriginal and Torres Strait Islander Art, October 2015. photo: Ben Searcy
8 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 9 2015 – 2016 OVERVIEW
OVERVIEW 2015–2016
This year saw the implementation of the Art Gallery of South Australia Strategic Plan 2015-20. Key projects for the Over the next five years the Gallery plans to: past twelve months have • Advocate for support of the Gallery’s much included: needed expansion and development. The • The commencement of a new digital strategy, Gallery’s long history of benefaction and including scoping the Gallery’s new digital collection development has carved out a platform with a project delivery horizon of 2018. niche in the national landscape, however the challenge ahead is to secure the future care • Advancement and elevation of the Gallery’s of and presentation opportunities for the hallmark project, the Adelaide Biennial of collection. For many decades growing the Australian Art by expanding the presence of the collection has been the prevailing focus and the Biennial across the city. Gallery’s resources have been directed towards this end. Now the time has come to activate • Presentation of and focus on Aboriginal and the collection in the fullest sense and this can Torres Strait Islander art across all facets of only be achieved by caring adequately for the the Gallery’s program, including the inaugural collection – ensuring its access and preservation. presentation of TARNANTHI. • Extend its signature innovative curatorial • Business case development for a second site approaches on North Terrace where the past proposal to effectively resolve storage, expand and the present are in dialogue with each other education opportunity and increase collection physically, thematically and conceptually, into display. the Gallery’s exhibition and collection displays, learning and public programs. The Gallery also plans to engage a global audience through The Gallery’s key dynamic online learning experiences of the performance in 2015–16 Gallery’s collection and exhibitions. under the Strategic Plan • Undertake projects that reflect the Gallery’s priorities for 2015–20 are unique position in Australia on the edge of the desert and in close proximity to Aboriginal as follows: Australia. The Gallery plans to increase the prominence of Aboriginal and Torres Strait Present a dynamic, unique and Islander art, South Australian artists, arts 1 eclectic artistic program that professionals and audiences in all of its activities. builds the collection and places • Create experiences for the Gallery’s visitors the Gallery at the forefront of the that are formal but friendly – experiences nation’s art museums. that reflect the identity of the city, which is compact, eccentric and agile and yet has a 1.1 Temporary exhibitions: Four major respect for tradition and history. The Gallery temporary exhibitions were presented from plans to embed its creative artistic program in primary research at the Gallery: Treasure the fabric of the city by co-programming with Ships: Art in the Age of Spices; TARNANTHI: state festivals and events to nurture a broad Festival of Contemporary Aboriginal and understanding of, and passion for, art. Torres Strait Islander Art; Riverland: Yvonne Koolmatrie; and the 2016 Adelaide Biennial of • Secure sustainable growth by increasing Australian Art: Magic Object. (SASP Target 4: the Gallery’s financial capacity through the Tourism industry; SASP Target 99: Cultural refocusing of resources for the development engagement – institutions; SASP Target 3 of its online capacity, commercial operations, image left: Cultural vibrancy – arts activities). Gilles Street Primary benefaction and membership. School students 1.2 Collection displays: With a strong emphasis participating on activating a dynamic collection display in a guided visit program, thirty-six collection and special with Gallery Guide Nic Carstensen. project displays were staged at the photo: Saul Steed Gallery. (SASP Target 4: Tourism industry;
10 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 11 2015 – 2016 OVERVIEW
SASP Target 3: Cultural engagement 1.8 Provenance: Following the introduction of – institutions; SASP Target 3: Cultural the Gallery’s Due Diligence and Provenance vibrancy – arts activities). Policy, work continues on improving the Gallery’s provenance history. The Gallery’s 1.3 Publications and research: The Gallery website now displays works which have produced the following publications: incomplete information and more detail Adelaide Biennial of Australian Art; is being sought. This includes works in TARNANTHI: Festival of Contemporary the Asian and European collections. Aboriginal and Torres Strait Islander Art; Further research has been undertaken in Riverland: Yvonne Koolmatrie; Robert preparation for field research in India by the Hannaford; and four editions of Articulate. Curator of Asian Art in late 2016. (SASP Target 99: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities). 1.4 Adelaide Biennial of Australian Art: In 2016 the Adelaide Biennial was expanded to a city-wide event with five venues, defining it as a national signature visual It’s a tour-de-force for the arts event. The expansion of the program was facilitated by a national ambassadors undervalued Australian program supporting the increase in its scale. The total attendance figure was 220,433, art scene, and a reminder which represents a 100% increase in visitor of one of the reasons we numbers since 2014. go to art galleries: to 1.5 Aboriginal engagement: The Gallery’s commitment to Aboriginal and Torres Strait experience a sense of wonder. Islander programming was significantly SYDNEY MORNING HERALD ON THE enhanced with a $4 million grant from ADELAIDE BIENNIAL OF AUSTRALIAN ART BHP Billiton to present a festival of contemporary Aboriginal art which included 22 partners across the State with a total attendance figure of 311,063. This project developed a greater focus on Aboriginal and Torres Strait Islander content across the whole artistic program of the Gallery and to date is the most Inspire new audiences and nurture successful exhibition ever undertaken. 2 audience loyalty to develop 1.6 Collection development: The Gallery a broad demographic profile continued to build the collection across all including children and families and collecting areas with 336 works acquired. generate lifelong relationships with Highlights included a significant collection the Art Gallery. of Aboriginal contemporary art, major works by Dorrit Black, Joy Hester, Arthur 2.1 Attendances: 788,453 people visited the Streeton, Sean Scully, a major collection Gallery to see the permanent collection of Indonesian ceramics, and a group of and temporary exhibitions, an increase works acquired through the Adelaide from 756,846 visitors in the last financial Biennial of Australian Art. (SASP Target 4: year. This total increased to 1,049,205 Installation view: Tourism industry; SASP Target 99: Cultural people with the inclusion of off-site 2016 Magic Object: engagement – institutions; SASP Target 27: exhibitions. This is a 31% increase over the Adelaide Biennial Understanding of Aboriginal culture; SASP last financial year and continues the upward of Australian Art featuring Hiromi Target 6: Aboriginal wellbeing). trend in visitor numbers. (SASP Target 4: Tango Lizard Tail Tourism industry; SASP Target 99: Cultural 1.7 Gifts and purchases: The total value of gifts (breaking cycle) engagement – institutions). photo: Saul Steed and purchases this year was $8,789,983.
12 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 13 ANNUAL REPORT 2015–16 REPORT ANNUAL 14 Festival yet. Indigenous important most may our be TARNANTHI
2.6 Studio: The 2.5 tours: Guided 2.4 engagement: School 2.3 engagement: Public 2.2 en engagement: Teen learning and engagement with the Gallery. the with engagement and learning life-long nurture START to and Studio The of success the follows and bracket age this in audiences grow to aims Foundation, by the Balnaves supported program, inaugural This 13–17 olds. year targeting program anew initiated Gallery the year this programs, children’s with growth activities). –arts vibrancy Cultural 3: Target (SASP 51%. of 2015–16 increase the in an year, program the in participated 34,311 patrons of Atotal workshops. hands-on through Gallery the to visitors young time first many development has introduced program audience critical This families. and children for programs successful its implement guides. volunteer Gallery’s the by delivered visitors attended 2,350 guided tours Guides. volunteer Gallery’s the by delivered tours accompanying adults attended 1,033 guided and educators students, 16,634 year the During 16%. of increase an development, and 989 received teachers professional Services Support Schools the of part as Gallery the visited staff support and activities). vibrancy – arts Cultural 3: Target (SASP Gallery. the in talks and lectures events, twelve these attended 24,145 of people atotal Fridays, First initiative ‘gateway’ new Gallery’s the of
ART GALLERY OF SOUTH AUSTRALIA SOUTH OF GALLERY ART The Gallery continued to to continued Gallery The During the year 21,194 year the During
ARTS HUB Following significant significant Following With the introduction introduction the With 40,205 school students school students 40,205 3 4
Off-site projects: projects: Off-site 3.2 partnerships: Cultural 3.1 4.3 4.2 giving: Private 4.1 oprt philanthropy: Corporate
and economic growth. economic and appreciation, cultural understanding and promoteAustralians art South all of life cultural the Enrich increase from 22,399 the previous year. previous the 22,399 from increase adramatic is This exhibitions. these attending TARNANTHI through undertaken were projects 22 reach, Arts. of Festival Adelaide and Festival Fashion Festival, Festival, Feast Adelaide Fringe Festival, AdelaideOzAsia Film Festival, Adelaide Festival, Artists Living Australian South the onincrease the previous year. These included a50% was which partnerships cultural seven undertook audience the development, Gallery enhance to events state-wide to connected is for for grant project the excludes figure This funding. future for year the during committed $2.6m further a with $1.6m, totalled year financial 2015–16 the in received revenue grant other foundation and private sponsorship, Corporate year, annual or project-specificarrangements. multi- of acombination in brokered support, media the provision and/or of product cash, through operation the Gallery’s supporting (including30 organisations foundations) private over with relationships its advance to continued $333,750. raising nurtured, were Australia throughout from 41 2016 donors the event, For supporters. national attract to expanded was program Ambassadors an Biennial Adelaide the of nature true the To reflect program: Ambassadors National Biennial $11.9m. was philanthropy corporate and giving private through raised amount total The year. financial this in received $10.3m with giving private in increase significant a in resulted has This country. the across from giving nurturing and giving specific diversifying both initiated, were program patrons Gallery’s strengthening membership. strengthening growing existing relationships and partnerships, new by building achievement collective Nurture TARNANTHI with a total of 241,083 people 241,083 of people atotal with New strategies to expand the the expand to strategies New . To expand the Gallery’s Gallery’s the To expand To ensure the Gallery Gallery the To ensure The Gallery Gallery The photo: Ben Searcy Palya. Tjungu and Arts Tjala Arts, Ninuku Arts, Maku Mimili Arts, Kaltjiti Arts, Iwantja Arts, Ernabella and Australia South of Gallery Art courtesy Art, Islander Strait andAboriginal Torres Contemporary of TARNANTHI | Festival commissioned by House, Adelaide, Government 2015, 9 October Inma Tjuta Kulata image: and Installation, Installation, and ANNUAL REPORT 2015–16 REPORT ANNUAL AUSTRALIA SOUTH OF GALLERY ART
15 HENIMILIGNIM VID QUE IUSTIBUS 2015 – 2016
TARNANTHI showcased over OVERVIEW 1,068 artists, 22 partner exhibitions and reached total attendances of over
4.4 TARNANTHI partnership: A special project grant was also received from BHP Billiton, which partnered with the 300,000 Government of South Australia and the Gallery to present, for the first time, other web-based functions. This project will TARNANTHI, a contemporary Aboriginal be fully realised in the 2018–19 year. and Torres Strait Islander Visual Arts Festival. This extraordinary support of $4m Achieve efficient and purposeful over two years involved 25 collaborators and over 1,068 artists from across Australia. 6 implementation of administrative processes to ensure the safe 4.5 Education and family program partners: Support from The Balnaves Foundation and smooth management of the and the James & Diana Ramsay Foundation Art Gallery. enabled the ongoing delivery of Gallery programs The Studio (all-age activity 6.1 Audit processes: The Gallery’s Audit space), START (kids and family programs), Committee focuses on the assessment and and Neo (designated teens program). This adequacy of the Gallery’s administrative critical support enabled more than 100,000 internal controls and also functions as the people to access these programs free of primary committee that considers the charge and facilitated involvement by a large annual interim audit conducted by the proportion of first-time visitors. Auditor-General’s Department. A major achievement during the year was the 4.6 Appeals: The expansion of the artistic completion of the Gallery’s comprehensive program has been primarily driven by Risk Register, which identifies the full the diversification and growth of private spectrum of risks that impact or could philanthropy support for projects through potentially impact the institution. both the Foundation and Contemporary Collectors groups. During the year the 6.2 Masterplan Business Case: A preliminary Foundation supported Treasure Ships: Art Business Case for the long-term collection in the Age of Spices exhibition with a major storage and building infrastructure needs appeal and Contemporary Collectors of the Gallery was completed. A $500,000 facilitated the acquisition of Fiona Hall’s State Government grant has been awarded sculptural installation, All the King’s Men. to progress the Business Case. 4.7 Membership: Building membership by 6.3 Volunteer workforce: An extremely developing targeted programs that extend valuable support is the work of the Gallery’s into new and different audiences and 261 volunteers, undertaking Front of encourage online interaction. House, Library, Public Programs, Education, Curatorial, and Gallery Guide services. (SASP Target 24: Volunteering). image left: Deliver financial sustainability Pepai Jangala Carroll, to create a strong fiscal foundation 6.4 Safe workplace: The Gallery continued Australia, born 1950, 5 Pitjantjatjara people, South for the Art Gallery. to implement Workplace Health and Australia/Luritja people, Safety policies and Systems and make Northern Territory, 5.1 Commercial review: A review and improvements as necessary with no major Ernabella, South Australia, analysis of the Gallery’s retail activities incidents in the past year. (SASP Target 21: Australia, Walungurru, 2014, was undertaken and a plan to develop Ernabella, South Australia, Greater safety at work). synthetic polymer paint on the retail revenue potential was accepted canvas, 122.0 x 182.0cm; for implementation in the 2016–17 Acquisition through financial year. TARNANTHI | Festival of Contemporary Aboriginal 5.2 Digital strategy: A grant of $300,000 over and Torres Strait Islander three years from the Ian Potter Foundation Art supported by BHP Billiton 2016, Art Gallery of has facilitated the development of a new South Australia, Adelaide. digital strategy to build business capacity Courtesy the artist and in e-commerce, collection accessibility, and Ernabella Arts
16 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 17 ADMINISTRATION
ADMINISTRATION LEGISLATIVE RESPONSIBILITY AND THE ART GALLERY BOARD
The role and function of the Board of the Art Gallery of South Australia is described in the Art Gallery Act, 1939. The Art Gallery Board is a body corporate and consists of up to nine members appointed by the Minister for the Arts. Members of the Board as at 30 June 2016 were: Mrs Tracey Whiting (Chair), Neil Balnaves AO, Emeritus Professor Anne Edwards AO, John Phillips, Mrs Susan Armitage, Ms Jane Yuile, Adrian Tisato. FINANCIAL MANAGEMENT AND RESOURCES
REVENUE 2016 $’000 Bequests and donations of cash 2,157 Donations of heritage assets 7,485 Fees and charges 604 Grants 830 Investment income 368 Net gain from disposal of non current assets 5 Rent and facilities hire 409 Resources received free of charge 855 Sale of goods 977 Sponsorships 1,113 Other 86 PERFORMANCE DEVELOPMENT Whilst regular Performance Development Reviews are carried out, none were performed in the 2015–2016 financial year. BOARD MEMBER FEES The overwhelming proportion of Board fees has been donated or forgone by Board Members. SELF-INSURANCE/INDEMNIFICATION The Gallery’s fund for self-insurance against minor claims below $20,000 was maintained at satisfactory levels.
image left: Front of the Gallery featuring Eko Nugroho Mooi Anomaly, 2015
18 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 19 ADMINISTRATION
ORGANISATIONAL STRUCTURE AND SENIOR GALLERY MANAGEMENT The Art Gallery of South Australia, founded in 1881, is governed by the Art Gallery Board of South Australia. The Gallery comprises the following distinct divisions: Directorial, Curatorial & Public Programs, Administration and Corporate Services. FRAUD There have been no instances of fraud detected. MEASURES TO PREVENT FRAUD The Art Gallery reviewed and maintained risk management systems throughout the year and conducted reviews of security arrangements. CONTRACTUAL ARRANGEMENTS Locher provided a Graphic Designer to assist in undertaking graphic design projects where necessary. The Art Gallery of South Australia regularly uses contractors for normal gallery business such as Public Programs and Publications. CONSULTANTS External consultants Ernst & Young and Woods Bagot were engaged to undertake a preliminary business case for the Art Gallery second site. DISABILITY ACCESS AND INCLUSION PLANS REPORTING The Art Gallery endeavours to support the plan in the following manner: • Ensure accessibility to services All patrons are encouraged to avail themselves of disability services including wheelchair access, wheelchair lifters and toilets for the disabled. • Ensure information about the Art Gallery is inclusive of those with disabilities Information was available to those with disabilities via the website, printed guides to the Art Gallery and telephone enquiry services. • Provide services with awareness and understanding of issues affecting people with disabilities The Art Gallery provided guided tours for persons with disabilities and also conducted public events that were accompanied by Auslan sign language Installation view: Melrose Wing of interpretation for people with hearing disability. Hearing loops are installed in the European Art, Art Radford Auditorium. Gallery of South Australia, 2013, featuring Thomas Hirschhorn, Twin- subjecter. photo: Sam Noonan
20 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 21 AGENCY DATA REPORT
TOTAL NUMBER OF EMPLOYEES WITH DISABILITIES (ACCORDING TO COMMONWEALTH DDA DEFINITION) GREENING OF GOVERNMENT OPERATIONS TYPES OF DISABILITIES REPORTING / SUSTAINABILITY (WHERE SPECIFIED) FEMALE MALE OTHER TOTAL % OF AGENCY The Art Gallery is very aware of its environmental footprint as it continues to implement the following strategies: Disability requiring Workplace Adaptation 0 0 0 0 0.0% • Reuse of building materials in exhibition spaces Physical 0 0 0 0 0.0% • Dual flush toilets in all areas Intellectual 0 0 0 0 0.0% • Paper and cardboard recycling Sensory 0 0 0 0 0.0% • Bottle and can recycling Psychological/Psychiatric 0 0 0 0 0.0% • Solar panels • Green waste recycling • Toner recycling EXECUTIVE BY GENDER AND CLASSIFICATION – TOTALS • E-waste TOTALS BY CLASSIFICATION CLASSIFICATION FEMALE % MALE % OTHER % TOTAL ENERGY EFFICIENCY ACTION PLAN SAES -1 0 0% 1 100% 0 0% 1 REPORTING Total 0 0% 1 100% 0 0% 1 The Art Gallery’s energy efficiency statistics are captured in the Department of State Development Annual Report. EXECUTIVE BY GENDER AND CLASSIFICATION – CONTRACT TYPE CLASSIFICATION ONGOING TERM TENURED TERM UNTENURED OTHER (CASUAL) FEMALE MALE OTHER FEMALE MALE OTHER FEMALE MALE OTHER FEMALE MALE OTHER AGENCY DATA REPORT SAES-1 0 0 0 0 0 0 0 1 0 0 0 0 0 0 0 0 0 0 0 1 0 0 0 0 NUMBER OF EMPLOYEES BY AGE BRACKET AND GENDER LEAVE DAYS TAKEN AND LEAVE DAYS TAKEN PER AVERAGE FTE AGE BRACKET FEMALE MALE OTHER TOTAL AVERAGE FTE 59.8
25–29 4 1 0 5 TOTAL AVERAGE 30–34 5 0 0 5 Sick Leave 368.7 6.2 35–39 6 2 0 8 Family Carer’s Leave 61.6 1.0 40–44 4 2 0 6 Sick and Family Carer’s Leave 430.3 7.2 45–49 4 5 0 9 Special Leave With Pay 27.0 0.5 50–54 4 6 0 10 TRAINING AND DEVELOPMENT EXPENDITURE 55–59 8 2 0 10 The Art Gallery’s expenditure for Training and Development is $10,567 for the 2015–2016 financial year. 60–64 5 2 0 7 65+ 1 0 0 1 LEADERSHIP AND MANAGEMENT DEVELOPMENT The Art Gallery of South Australia supports its staff in their professional development and during the financial year Nick Mitzevich attended the Global Museum Leaders Colloquium at the Metropolitan Museum of Art in New York.
22 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 23 AGENCY DATA REPORT
WORK HEALTH AND SAFETY AND INJURY MANAGEMENT
EMPLOYMENT OPPORTUNITY PROGRAMS WORK HEALTH AND SAFETY MANAGEMENT SYSTEM As an equal employment opportunity employer, the Art Gallery is committed to employing on merit The Art Gallery continues to address this issue through the Art Gallery’s Welfare Health and Safety regardless of race, gender, sexuality, marital status, age, pregnancy or physical or intellectual impairment Committee, chaired by the Manager Operations and Projects , Kym Hulme. Kym is also the Art Gallery for all positions within the organisation. This is supported by our diverse workforce profile. Management representative with Vicki Petrusevics, Employee Representative on the Arts South Australia Through TARNANTHI: Festival of Aboriginal and Torres Strait Islander Art the Gallery developed an Arts Coordinating Committee. The continuous review of WHS policies, procedures and work practices is employment pathway program for early-to-mid-level career Aboriginal and Torres Strait Islander staff. now an integral part of the workplace. This included an Assistant Curator position partially funded through the Australia Council Emerging Curator Program as well as an employee secondment with Tandanya, National Aboriginal Cultural KEY ACHIEVEMENTS Institute. The Internal Audit and Workplace Inspection Procedure ensured that injury management processes ASBESTOS MANAGEMENT are conducted in accordance with legislative requirements and internal policies and procedures. Thirty employees received a flu vaccination as part of the Flu Vaccination Program. The Art Gallery Audit In compliance with the Work Health and Safety Regulations 2012, all asbestos products have been Committee completed a complete revision of the Art Gallery’s Risk Register, which was duly accepted by identified and are recorded in the Asbestos Register. the Art Gallery Board. The Asbestos Register contains the Management Plan, Inspection Report and Register of Asbestos Containing Products. STOCK-CHECKS Stock-checks of the Gallery’s high-value items and the Noye Photographic collection and Furnishing Loans ANNUAL ASBESTOS MANAGEMENT REPORT were completed. CATEGORY NUMBER OF SITES CATEGORY INTERPRETATION: DESCRIPTION ONE OR MORE ART GALLERY FOOD + WINE AT START AT END ITEM(S) AT OF YEAR OF YEAR THESE SITES The operator of Art Gallery Food + Wine, Efficient Catering Pty Ltd, continues to attract strong patronage and bookings for catered functions. 1 0 0 Remove Should be removed promptly. FACILITIES HIRE 2 4 4 Remove as soon Should be scheduled The Gallery continued to be a popular hire venue for a wide range of functions. This year 168 events were as practical for removal at held in the various Art Gallery function spaces. These events included workshops, conferences, cocktail a practicable time. parties, wedding receptions, formal dinners, theatrical productions, award presentations, product launches and concerts. 3 0 0 Use care during May need removal maintenance during maintenance works. CLEANING CONTRACT 4 0 0 Monitor Has asbestos present. The contract for the provision of Cleaning Services to the Gallery is provided by ISS Facility Services. condition Inspect according to legislation and policy. SECURITY 5 0 0 No asbestos (All asbestos identified The contract for the provision of Security Services to the Gallery is provided by Wilson Security. identified/ as per OHS&W identified asbestos 4.2.10(1) has been has been removed removed). STAFF DEVELOPMENT AND TRAINING 6 0 0 Further information (These sites not The Gallery continued its program of staff training in a range of areas including WHS courses and required yet categorised). information sessions to ensure it had the necessary skills and information. COMMITTEES Work, Health & Safety, AGSA; Art Gallery Food + Wine, AGSA; Disaster Recovery Group; ACCC; Precinct Risk Management; Arts SA Facilities Management (FM) Forum; Art Gallery Audit Committee; Board Funds Management Committee; Art Gallery Foundation Council.
24 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 25
11.94 100.00% 12.67 0.00 10.07
100.00% 12.60 FINAL TARGET FINAL
COMMENTS AND COMPLAINTS AND COMMENTS
TARGET 0 PUBLIC
PUBLIC COMMENTS AND COMPLAINTS to June 2022 30% Reduction 30% Reduction 30% Reduction to Jun 2022 30% Reduction to Jun 2022 5% Improvement 5%
to June 2020 5 to Jun 2020
10% Improvement 2022 Jun to 0% Reduction
TARGET YEAR TARGET During the 2015–2016 financial year the Art Gallery of South Australia received a total of 70 written visitor comments, queries, suggestions and complaints, submitted
via the information desk.
CATEGORY OF COMMENT 0.00 -3.15 0.00
0.00 0.00%
in June 2022
0.00% -22.20
VARIANCE BY SUBJECT 2015–2016
Displays and exhibitions 27 0 11.15
100.00% 100.00% 22.00% TARGET
NOTIONAL View works 19
Seating 1
Marketing 2 8.00
0.00 0.00
0.00
100.00% 100.00% 0.00 ACTUAL
SEVERE PERMANENT IMPAIRMENT PERFORMANCE PAST MONTHS 12 Gallery Guides 3
Maintenance 5
Disabled access 2 30-Jun-2016
30-Mar-2016 30-Mar-2016
30-Mar-2016
30-Jun-2016 30-Jun-2016 30-Mar-2016 AS AT AS Lighting 1 Café 1
Kids and families 5 0
Security 1 12.67
0.00
0.00 0.00
100.00% 100.00% 24.00
BASE PERIOD PERIOD BASE NUMBER OF % Donations 3 Total 70
NUMBER OF WORK RELATED DEATHS
years
STAFF OVERSEAS TRAVEL between 1/7/2009 between to 30/6/2012) Significant Injuries injuries between 1/7/2009 to 30/6/2012) Sum of all claims divided by 3 registered in 2009-10, /(Sum of FTE in Injuries betweenInjuries 1/7/2009 to 30/6/2012) 1000 x Sum of PSYCH 30/6/2015 30/6/2015
BASE YEARBASE (Sum of Significant and 2011/12 2010-11 1/7/2009 to 30/6/2012 (Sum of MSI Significant x 1000 x 30/6/2015 financial financial A full listing of the Art Gallery staff Overseas Travel can be found on the
Gallery website at artgallery.sa.gov.au in the About section and listed
as Overseas Travel.
/Number Claims Claims in Last 12 months to end of the Significant InjurySignificant Determined/Number IN PREVIOUS 5 YEARS 30-JUN-2016AS AT Injury Claims in last 12 months12 to the end determine all claims claims) NUMBER OF CLAIMS Number of Claims Significant of Number in last 2 months/ of the Quarter Significant InjurySignificant Claims in Last 12 months to end of Quarterthe Number of PSYCH FTEQuarter/1000 Assessed/Number of Received) *100 (Number of Claims SUM (Number of of Claims Received and determined
Registered) *100 undeterminedexcluding of Claims of 11000 FTE11000 /1000 FTE Number of MSI /1000 FTE (Number of Claims Business Days to Days Business
INJURIES PSYCHOLOGICAL WITHIN DAYS 10 DEATHS AND SEVERE PERMANENT IMPAIRMENT INJURIES SIGNIFICANT STRESS CLAIMS WORK RELATED NEW WORKPLACE NUMBER OF INJURY CLAIMS SIGNIFICANT
SIGNIFICANT SIGNIFICANT MUSCULOSKELETAL INJURIES NUMBER OF CLAIMS DETERMINED DETERMINATION
NUMBER OF
FOR MENTAL
BUILDING SAFETY EXCELLENT RESULTS 30 FOR JUN ARTS SA AS 2016 AT 1 2 3 5 7 8 4 6 EARLY ASSESSMENT
26 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 27 PROGRAMS ARTISTIC
ARTISTIC PROGRAMS VOLUNTEERS EXHIBITIONS The Art Gallery values the contribution of its many volunteers who provide The Art Gallery of South Australia delivers an eclectic program of exhibitions, a variety of services to visitors and staff in the areas of guiding, education, public collection based displays and special projects each year. This year the Gallery held programs including children and families, front of house visitor services, curatorial 26 collection and special project displays and presented 4 major exhibitions. A total research, library services, registration and administration. For the year ending visitation of 788,453 was achieved between July 2015 and June 2016. 2015–2016, the Art Gallery was supported by 261 registered volunteers. On Tuesday 1 December 2015, in recognition of the valuable contribution made throughout the year by all volunteers, the Gallery hosted the annual end of UNDERPINNING THE PROGRAM year celebration. The Volunteer of the Year Award was presented to long serving IS A COMMITMENT TO: Gallery Guide, Lorraine Franzin, for her exceptional commitment and service to the Gallery. Recipients of Volunteer Excellence Certificates were Faye Duncan, • Generating greater awareness and increasing the presence and profile of South Anne Keast, Anne Marcon, Lucy MacDonald, Annette Masters, Claudia Saade and Australian art and artists; Kyoko Schultz. The Face of the Gallery award was presented to Front • Increasing the display and presence of Aboriginal art in the collection displays and of House volunteer, Skye Bennett, for outstanding customer service. A special exhibitions; award was presented to the Gallery Guides for their exceptional efforts in presenting the National AAGGO Conference in October 2015. • Activating the collection using a curatorial signature that employs a combination of As part of the ongoing process to ensure excellence in service amongst chronological, thematic and pan-historical approaches; AGSA volunteers, all volunteers receive orientation, relevant training and sign • Developing national and international partnerships to create unique experiences a Volunteer Agreement to confirm their understanding and awareness of the for audiences; and Gallery’s expectations in terms of appropriate behaviours relating to personal conduct. All volunteers and interns are also required to provide a current and • Embedding the Gallery’s artistic program in the fabric of the city by participating in satisfactory National Police Certificate or equivalent. major events including Festivals. Based on an average contribution of three hours of service each week, Art Gallery volunteers have provided over 40,000 hours of service to the Gallery over the past 12 months. PUBLIC PROGRAMS Public Programs serve to enhance and expand the experiences of the artistic Volunteers provide over program – to bring the audience closer to the art and the artists. This year, a range of approaches has been developed to generate an ongoing conversation between the audience, the collection, displays and exhibitions. These included: 40,000 hours • Daily collection and exhibition tours for the general public presented of service each year by Gallery Guides; • Curated tours for special groups and students; FRONT OF HOUSE • Demonstrations, workshops and other hands on activities; • Talks presented by artists and curators; Visitor services to the Art Gallery continue to be provided by a team of Front of House volunteers numbering 118. These volunteers staff the Visitor Desk at the • In conversation style presentations involving artists, art historians and curators; main entrance in the Vestibule and the Information Desk in the Santos Atrium, • Extended hours programs including First Fridays that offer art and entertainment; welcoming visitors and promoting the Gallery, selling exhibition tickets and memberships, receiving school groups and providing information to the general • Discrete offerings for teens through the Neo program, supported by the public 364 days of the year as well as providing a reception and telephone service Balnaves Foundation; for visitors and staff on weekdays. Throughout the year, Front of House volunteers filled over 4,000 shifts and • START monthly family events supported by the James and Diana Ramsay handled over 75,000 enquiries. Foundation; and • Year round access to art making linked to exhibitions and the collection in The Studio, presented by the James and Diana Ramsay Foundation.
28 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 29 PROGRAMS ARTISTIC
GRADUATE STUDIES IN ART HISTORY LEARNING AT THE GALLERY Postgraduate Programs in Art History and Curatorial and Museum Studies have been offered jointly with The Learning at the Gallery program is the result of a partnership between the the Art Gallery of South Australia since 2001. This program of co-teaching postgraduate degree programs, Art Gallery of South Australia and the Department for Education and Child developed by an Art Gallery and a University together, is unique in Australia. Developed and delivered Development (DECD). It is part of Outreach Education (OE), a team of DECD jointly by the University of Adelaide and the Art Gallery of South Australia, the program enables students educators based in major South Australian public organisations. Their role is to to study the collections of the Gallery, taught by curatorial and academic staff at both institutions and by bring together learner needs, curriculum, and best practice pedagogy with the national experts. On-campus classes at the University are combined with workshops at the Art Gallery. expertise, collections and events at their organisations to create exciting learning A 20 day internship during semester two for Curatorial and Museum Studies students is a dynamic experiences for Foundation to Year 12 (F–12) children, students and educators. and professionally productive component of this innovative course. A large number of graduates from the Gallery-based DECD Education Manager, Mark Fischer, planned, coordinated program have found work in galleries and museums following their internships, and graduates have built and delivered a range of learning programs in the period under review supported careers in public and commercial galleries in curatorship, marketing and communications, public programs by AGSA Education Support Officer Ryan Sims (full-time, July 2015–June 2016), and education as well as in the auction industry and arts journalism. AGSA Education Support Officer Karina Morgan (part-time, July–December 2015), and Acting AGSA Education Support Officer Kelly Day (part-time, May 2016). Mark Fischer participated in The South Australian Collaborative Childhood Project, conducting research relating to the Re-imagining Childhood: The inspiration ENROLMENTS of Reggio Emilia education principles in South Australia report. The early years Me, Myself, I program facilitators, Amanda Nichols and Judith Sweetman participated SEMESTER 2 2015 in this project. This was preceded in 2015 by the Time to Connect student inquiry project with Rose Park Primary School educators, which observed repeat visitation Curatorial and Museum Studies B 12 by a group of children. Curatorial Placement 1 Ryan Sims planned learning and public programs, undertook curriculum research, coordinated the Pilbili project, coordinated education resource Asian Art 22 development and design, developed The Studio activity space content and designs, and facilitated The Studio workshops in his additional role as Education European Art 28 Coordinator for TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait European Art online 5 Islander Art (part-time, July–December 2015). The volunteer Gallery Guides were supported and coordinated to make Research Project / Dissertation fulltime and online 8 links to the Australian Curriculum and the South Australian Certificate of Education (SACE) by the DECD Education Manager, and the AGSA Education SEMESTER 1 2016 Support Officers, to maximise face-to-face learning opportunities for children and young people visiting the Art Gallery. Curatorial and Museum Studies A 10 The Australian Curriculum (AC) from Foundation (F - the year of schooling Art Museum Internship 4 prior to Year 1) to Year 10, has impacted the design and delivery of learning area programs developed to suit the needs of schools and early childhood services. Curatorial Placement 5 Learning areas supported by Learning at the Gallery included Visual Arts, Design, Humanities and Social Sciences (History, Geography, Civics and Citizenships), Contemporary Art 24 Science, English and Languages. Japanese Art 17 Portraiture and Power online 14 Research Project / Dissertation 8
30 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 31 GIVING PRIVATE
PRIVATE GIVING RESEARCH LIBRARY THE ART GALLERY FOUNDATION AGSA Library continues to provide a wide range of services to staff, guides and art At the Annual General Meeting on 19 November 2015 Andrew Gwinnett was history students, as well as external researchers by appointment. It also manages re-elected to continue his role as the Chair of the Art Gallery of South Australia archives and records. Foundation. Max Carter AO was elected to continue serving as Deputy–Chair. The Foundation is dedicated to the development of the Gallery’s collection Volumes accessioned 1,041. Of these, 170 were purchases, 62 exchanges, and its diverse exhibitions, programs, publications and infrastructure. The 10 reproductions and 799 donations. Acquisitions support the research magnificent support of benefactors over the past year means that the Foundation into exhibitions and the collection as well as the art history and public has once again achieved outstanding results. The many generous donations to the programs. Foundation and the enthusiasm of the Gallery’s loyal donors and supporters have made a significant contribution to the ongoing development of South Australia’s Volumes catalogue 1,040. Total number: 43,360. All the Library’s art collection and to the Gallery in general. The Foundation is the vehicle through holdings are added to Trove to enhance the accessibility of the Library which the majority of gifts to the Art Gallery is received and 2015–16 brought a collection. large number of noteworthy acquisitions, strengthening each area of the Gallery’s Loans 1,208. permanent collection. The Foundation continued to raise funds through encouraging financial Interlibrary Loans 151 received and 94 supplied. donations, membership subscriptions, grants, bequests and generating income from fundraising events and investments. The Foundation raised $8.06m in total The Library software system, Inmagic DB/Textworks, has been upgraded to Version for 2015–16, which comprised works of art given valued over $6.4m and income 15. There are nearly 20 databases in the suite, including the library catalogue, serials raised of $1.66m. At 30 June 2016 there were 510 Foundation members. check-in, exhibitions, document delivery, purchase orders, accessions, indexes to the The Foundation conducted several appeals throughout the financial year. National Gallery of South Australia Bulletin and Articulate. In line with our mission to These included South Australian Artists Fund, the Belinda Morgan in Memorial continually improve access to research documents, an important new database has Fund, Treasure Ships Appeal, Geoffrey Hackett-Jones In Memoriam Fund, Hanging been created by indexing and scanning all available (Royal) South Australian Society Scroll Appeal, Power of Pattern Publication Appeal, Olive Cotton Appeal, of Arts exhibition catalogues since the Society’s inception. This was a collaboration Departure from Kashima Hanging Scroll Appeal, Old Pine Screen Appeal, Robert between AGSA Library and the RSASA, which shared their joint holdings of Hannaford Appeal, Heather B. Swann Banksia Men Appeal, Michael Zavros The catalogues. Phoenix Appeal, Augustus Earle Appeal, Jacques Henri Lartigue Appeal and the Ken Shimmin In Memoriam Fund. The Thomas Elder Circle is the Foundation’s group established to recognise bequests. At 30 June 2016 there were 24 members of the Thomas Elder Circle. The Foundation hosted 13 events throughout the year, giving members the opportunity to engage more closely with the Art Gallery, while also raising essential funds for works of art. The major event during the reporting period was A Taste of South Australia Dinner, which was held in support of the Robert Hannaford exhibition. The Foundation Collectors Club dinner, held on 30 October, was a major acquisition event this year, raising $309,000. In 2015, there were 48 members.
CONTEMPORARY COLLECTORS Contemporary Collectors is a benefaction group at the Art Gallery of South Australia dedicated to advancing the Art Gallery’s permanent collection of contemporary art. Contemporary Collectors raises funds through membership fees, fundraising initiatives and appeals aimed at acquiring specific works of art. Jane Yuile is the Chair of Contemporary Collectors. During the reporting period Contemporary Collectors continued to raise funds for the acquisition of contemporary art by expanding its membership base and introducing new fundraising projects. In this financial year, Contemporary Collectors raised $2.2m which comprised works of art given valued over $1.53m and income raised of $677,001 from Membership subscriptions, events, and donations. At 30 June 2016 there were 203 Contemporary Collectors members. Also, during the reporting period Contemporary Collectors conducted the Trent Parke Appeal and the Fiona Hall Appeal. In addition the Biennial
32 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 33 APPENDIX A APPENDIX
APPENDIX A
Ambassadors Program was launched for its second iteration, in association with the 2016 Adelaide Biennial of Australian Art: Magic Object. The Biennial Ambassadors CHARTER AND GOALS OF Program is a fundraising initiative supporting the Adelaide Biennial of Australian Art, with donations directed towards commissioning works of art and developing THE ART GALLERY OF SOUTH public programs for the exhibition. In 2016, the Program raised $333,750. A further $163,000 was raised to support the acquisition of works of art from the Biennial. AUSTRALIA In the reporting period, members of Contemporary Collectors were offered 20 events and tours that included social, educational and travel opportunities, giving members unique engagement with contemporary art and artists. To enable the South Australian and wider community Following the appointment of Jane Yuile as Chair of Contemporary Collectors, several sub-committees were established to strategically develop to directly experience high-quality works of visual specific aspects of Contemporary Collectors. The sub-committees and their art; to ensure that the experience is enlivening and membership include: enriching; and to demonstrate that a significant Biennial Anna Davison, Candy Bennett, Stephanie Grose expression of South Australian life can be experienced Membership Strategy Cherise Conrick, Marc Allgrove, in South Australian works of art. Pia Tsoutouras Social Eli Zaikos-Ridley, Mark Van Tenac GOALS Tours Candy Bennett, Silvana Rositano, Zoe Elvish, Thelma Taliangis COLLECTION The Gallery will identify and hold historically important works of art of aesthetic excellence and of regional significance in accordance with the Gallery’s collections MEMBERSHIP policies. Works on loan to the Gallery’s collections will also be subject to those Membership at the Art Gallery has continued to grow again this year due to various policies. new member promotions, including three additional months of membership for free and a complimentary Robert Hannaford catalogue during exhibition season. PRESERVATION In the 2015–16 financial year Membership raised $191,018 income from membership subscriptions and events. At 30 June 2016 there were 3,168 Members. The Gallery will ensure the preservation and conservation of its collections by Thirty three Members’ events were held during the reporting period including the maintaining them in standard environmentally controlled conditions, by handling monthly Guide to the Gallery, Book Club and New Members’ Welcome Tours. them safely and by ensuring their security at all times. The Gallery should stabilise or AGSA Research Library acquisitions were boosted by donations from Ray restore deteriorating or damaged works in its collections. Works temporarily in the Choate, the retiring University Librarian, University of Adelaide, who had a substantial Gallery’s custody will receive the same environmental safeguards, safe handling and private library which included many art books, a reflection of his early years as an art security as works in the Gallery’s collections. librarian. A large number of books from James Mollison, the inaugural Director of DOCUMENTATION the National Gallery of Australia, also found their way to us, via the Art Gallery of New South Wales Research Library. The subject coverage revealed the remarkable The Gallery will fully document its collections with a central catalogue system breadth and depth of his book collecting and scholarship. that includes complete visual as well as written records. Undocumented The Library was also given many books from the estate of Gallery Guide, works temporarily in the Gallery’s custody will also receive written and visual Jenni Scrymgour, through her daughter Trudi. documentation. RESEARCH The Gallery will research and evaluate its collections (and related material) so that the collections’ display, interpretation and promotion are carried out with integrity. The Gallery should make its collections and associated documentation accessible to others for the purposes of research.
34 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 35 APPENDIX AND B1 B2
APPENDIX B1
DISPLAY ART GALLERY OF The Gallery will display its collections and program its temporary exhibitions in ways which enhance appreciation of the collections; displays should provide pleasure SOUTH AUSTRALIA BOARD and education by being visually pleasing as well as appropriate for the particular public for whom they are intended; displays will be devised for the special interests of the specialist visual arts community as well as for the general public. Temporary There were six meetings of the Board during the year, attended as indicated. exhibitions should be programmed to provide displays of works of art belonging Mrs Tracey Whiting 6 to categories poorly represented in South Australia’s collections. The Gallery will provide accurate and intelligible labels for works on display. Within normal security Emeritus Professor Anne Edwards AO 4 and conservation constraints, and provided there is clear public benefit, the Gallery Mrs Sue Tweddell should make works from its collections available for display elsewhere. (until 19 December 2015) 3 INTERPRETATION Mr Robert Whitington QC (until 11 November 2015) 2 The Gallery will provide easily accessible interpretative information about the collection displays and the temporary exhibitions in the form of signs and wall texts Mr Neil Balnaves AO 5 as well as public programs of publications, films, lectures, seminars and the services Mr John Phillips 6 of Education Officers, Gallery Guides and other communicators. Interpretative services will be provided at various levels relevant to the Gallery’s various publics, Ms Jane Yuile 5 from the specialist visual arts community to the least informed members of the Mrs Susan Armitage 6 general public. Mr Adrian Tisato PROMOTION (from 10 December 2015) 2 The Gallery will promote its collections and temporary exhibitions, will promote in the community an awareness of art museum functions and of what can be gained from works of art, and should evaluate and act on the public’s needs and responses APPENDIX B2 to the Gallery’s activities. ADVICE ART GALLERY OF SOUTH AUSTRALIA The Gallery should responsibly exercise its legislative function of advising the South Australian Government on the allocation of South Australian resources to works of FOUNDATION COUNCIL 2015–2016 art, art collections, art museums and art associations. Chairman Andrew Gwinnett REVIEW Deputy Chair Max Carter AO The Gallery will frequently evaluate and review its goals and tasks and the Members Susan Armitage effectiveness of their implementation. Shane Le Plastrier Pam McKee John Phillips Ex Officio Tracey Whiting (Chair) Mary Abbott Nick Mitzevich (Director) Diana Ramsay AO Thelma Taliangis Jane Yuile Executive Officer Charlotte Smith
36 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 37 APPENDIX B3 APPENDIX
APPENDIX B3
ORGANISATIONAL STRUCTURE ART GALLERY OF SOUTH AUSTRALIA
AUDIT COMMITTEE 2015–2016 CHAIR, ART GALLERY BOARD Tracey Whiting
Chairman Emeritus Prof Anne Edwards AO Members Robert Whitington QC AGSA Brian Morris DIRECTOR Executive Officer Mark Horton (Deputy Director) Nick Mitzevich
ASSISTANT DIRECTOR ART GALLERY OF SOUTH AUSTRALIA DEPUTY DIRECTOR ARTISTIC PROGRAMS Mark Horton BOARD FUNDS MANAGEMENT COMMITTEE Lisa Slade 2015–2016 ADMINISTRATION CURATORIAL MARKETING Chairman Rob Patterson & Members David McKee IMAGE SERVICES OPERATIONS & PROJECTS PUBLIC PROGRAMS John Phillips Tracey Whiting (Chair)
Nick Mitzevich (Director) FINANCE EXHIBITIONS COMMUNICATIONS Ex Officio Mark Horton (Deputy Director) Bill Stathoulis (Management Accountant) INFORMATION TECHNOLOGY EDUCATION PUBLICATIONS Executive Officer Richard Coorey
COMMERCIAL/RETAIL DEVELOPMENT
REGISTRATION FOUNDATION PRIVATE GIVING LIBRARY CONTEMPORARY COLLECTORS
38 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 39 APPENDIX B3 APPENDIX
ART GALLERY OF SOUTH AUSTRALIA STAFF
Director Nick Mitzevich Registrar Jan Robison Deputy Director Mark Horton Associate Registrar, Exhibitions & Loans Vicki Petrusevics Assistant Director, Artistic Programs Lisa Slade Associate Registrar, Collections Management Georgia Hale Associate to the Director Lindsay Brookes Registration Assistant Anne Wright Manager, Operations and Projects Kym Hulme Collection Database Assistant Sue Smith Management Accountant Bill Stathoulis Senior Registration Officer Tim Tyler Administrative Services Coordinator Margaret Bicknell Registration Officer Noel White Executive Officer, Benefaction and Membership Charlotte Smith Registration Officer John Webster Membership/Foundation Officer Robyn Lademan Registration Officer Stephen Oates Coordinator, Benefaction Gloria Strzelecki Registration Officer Graham Christopher Bookings and Database Officer Victoria Cnotek Registration Officer Richard King Communications Manager Marika Lucas-Edwards Registration Officer Daniel Schutt Head of Marketing and Image Services Susie Barr Manager, Publications & Sales Antonietta Itropico Senior Marketing Coordinator Heidi Chamberlain Gallery Shop Manager Tisha Ashworth Graphic Designer, Marketing and Exhibitions Jacqueline Schaare Gallery Shop Supervisor Suzi Clift Senior Coordinator, Image Services Tracey Dall Gallery Shop Assistant Lorinda Curnow Photographer Saul Steed Artisan/Carpenter Darren Hehir Photography & Logistics Officer Stewart Adams Artisan/Painter Franz Nieuwenhuizen Development Manager Gillian Mercer CURATORIAL Marketing and Development Officer Rosie Riggir Senior Curator of Prints, Drawings & Photographs Julie Robinson Exhibitions & Public Programs Coordinator Megan McEvoy Curator of Australian Paintings & Sculpture Tracey Lock Exhibitions & Public Programs Officer Anika Williams Curator of Aboriginal & Torres Strait Islander Art Nici Cumpston Exhibitions, Public Programs Officer Alex Reinhold Curator of Asian Art James Bennett Teens Programs Officer Celeste Aldahn Curator of Contemporary Art Leigh Robb Front of House and Volunteer Coordinator Cate Parkinson Curator of European and North American Art Tony Magnusson DECD Education Manager Mark Fischer Curator of European & Australian Decorative Arts Rebecca Evans Education Support Officer Ryan Sims Assistant Curator Asian Art Russell Kelty Education Support Officer Karina Morgan Associate Curator of Prints, Drawings & Photographs Maria Zagala Curatorial Administrative Assistant (shared position) Heather Brooks Assistant Curator of Prints, Drawings & Photographs Alice Clanachan Curatorial Administrative Assistant (shared position) Miranda Comyns Associate Curator of Australian Paintings & Sculpture Gloria Strzelecki Information Manager Jin Whittington Associate Curator of Australian Paintings, Library Technician Ju Phan Sculpture and Aboriginal & Torres Strait Islander Art Elle Freak Manager, Information Technology David Mikos
Information Technology Support Officer John O’Rielley
40 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 41 APPENDIX B4APPENDIX
APPENDIX B4
ART GALLERY VOLUNTEERS
GALLERY GUIDE EXECUTIVE LEARNING AT THE GALLERY – VOLUNTEER SUPPORT Coordinator Jill Swann Ann Keast, Lucy Macdonald, Kyoko Schultz Coordinator Elect Helen Bulis GALLERY GUIDES Secretary Treasurer Karen Hammond Bente Andermahr, Dianne Atwa, Hasmik Balayance, Jill Becker, Josephine Ben-Tovim, Christine Briggs, Continuing Education Program Manager Christine Briggs Helen Bulis, Nic Carstensen, Rosemary Collins, Paul Corcoran, Robyn Cowan, Kathy Crockett, Jenny Roster Manager Raine Harker Cunningham, Alma Daehn, Jan Darling, Diane Davies, Gillian Davis, Michelle Davis-Wanzek, Kelly Day, Tina Dolgopol, Gai Dudley, Estelle Farwell, Trish Finnimore, Lorraine Franzin, Christine Guille, Julian Special Projects Pamela Norman Hafner, Karen Hammond, Pamela Harding, Raine Harker, Jennifer Harris, John Hayes, John Hown, Barbara Humphries, Jenny Jarvis, Julienne Keane, Jenifer Klenner, Jessica Knight, Brian Knott, Kirsty Kurlinkus, Philip START, teens and school holiday program liaison Gillian Morris and Kelly Day LaForgia, James Lainas, Helga Linnert, Judy Lloyd, Virginia Lynch, Meredithe Madigan, Mary Marston, Gillian Learning at the Gallery Jenny Cunningham Morris, Robyn Mullins, Christopher Nance, Maureen Nimon, Ann Noble, Pamela Norman, Rosemary Nursey-Bray, Michael O’Donoghue, Jennifer Palmer, Wendy Parsons, Margaret Payne, Heather Pearce, IT Manager Nic Carstensen Marion Queale, Julie Redman, Naomi Reschke, Mary Rivett, David Roach, Meredith Ross, Christabel Floor Talks Manager Nel Steele Saddler, Mary Schinella, Michael Shepherd, Ken Shimmin (deceased), Perla Soberon-Brittle, Dianne Speck, Nel Steele, David Stokes, Jill Swann, Pamela Terry, Jo Thyer, Helen Trebilcock, Barry Trowse, Kay Vears, Ruth Walter, Carol Watson, Sandra Winder, John Woodrow FRONT OF HOUSE LIBRARY Kathy Boyes, Heather Cunningham, Clare Eacott, Barbara Fargher, Danni Feng, Judy Gall, Judith Herd, INFORMATION DESK AND VESTIBULE DESK Sarah Linke, Annette Masters, Finula McCrossan, Yvonne McMurray, Margot Osborne, Patricia Paddick, Karen Adams, Wendy Alland, Margaret Archer, Sophie Armstrong, Di Atwa, Anne Ballard, Kate Barrett, Jacqueline Polasec, Lois Taverner, Jose White, Susan Woodburn Nina Bellati, Skye Bennett, Anne Berry, Cheryl Bowen, Patsy Brebner, Isabelle Bryce, Michael Buckley, Gini Bungey, Ali Carpenter, Barry Carter, Vanessa Cianfaglione, Kristin Clark, Judy Clarke, Ron Cortis, ADMINISTRATION Kathy Crockett, Frances Cumming, Michelle Daniell, Doreen Dare, Penny Davis, Bob Davis, Barbara Day, Beatrice De Alexandris, Rod de’Hoedt, Bice Della Putta, Tina Dolgopol, Kate Driscoll, Gai Dudley, Faye Ron Cortis, Lynne Erskine, Anne Marcon, Ros Matson, Lorraine Phillips, Sybil Schlesinger Duncan, Lorna Elcombe, Cynthia Elford, Lesley Ewens, Conxita Ferrer, Genevieve Forster, Mary Gaillard, Ingrid Goetz, Bev Golding, Phoebe Gunn, Karen Hammond, Carol Harrison, Olga Hoepner, Geraldine REGISTRATION Jennings, Dee Jones, Jacqui Jones, Mai-Lin Kan, Ruth Kaukomaa, Casey Kendrick, Suzy Kidd, Madeleine Kiley, Jenifer Klenner, Renate Leak, Doris Lei, Gloria Lloyd, Ros Matson, Wendy McCormick, Jane Jessica Erceg, Conxita Ferrer, Peter Lane McGregor, Sing-Chean Moo, Kirstie Morey, Christine Morey, Violetta Mount, Margaret Neagle, Pamela Norman, Andrea Num Glover, Christine O’Connor, Margot O’Donnell, Rita Pemberton, Rhonda Perriam, CURATORIAL Barbara Phillips, Lorraine Phillips, Priscilla Pincus, Steven Pinhorn, Ann Podzuweit, Polasec, Liz Pritchard, Meg Apsey, Ann Axelby, Annette Chalmers, Vanessa Cianfaglione, Caitlin Eyre, Stephanie Fabian, Bella Twisha Pujara, Marion Queale, Ruth Retallack, Sandra Richardson, Sue Rieger, Diana Roberts, Eric Rossi, Hone-Saunders, Annie Johns, Kate Jordan-Moore, Eunju Kim, Craig Middleton, Alexandra Mowbray, Jan Rowell, Debra Russell, Kyoko Schultz, Alison Shaw, Ken Shimmin (deceased), Julie Smith, Margaret Heather Pearce, James Presnell, Ashlyn Schwenke, Daniela Taddeo, Susan Woodburn Stevens, Daisy Sugars, Glennis Syddell, Julie Tammo, Trina Tan, Deanna Temme, Barry Trowse, Rebecca Tuck, John Tuit, Carl Vail, Andrea van den Hoek, Ted Van Dijk, Hannah Van Noordennen, Christine Venning, Paul Verbeeck, Maxie Walker, Yvonne Waller, Kim Watson, Lorraine White, Margaret White, INTERNS Amanda Wilksch, Naomi Williams, Liz Wilson, Pauline Wood, Zeyu Xiao, Na Xu (Xuna) Vanessa Cianfaglione, Jessica Erceg, Alice Evans, Alexandra Mowbray, Anna Richardson PUBLIC PROGRAMS – START & STUDIO Emily Addison, Maria Botros, Natalie Carfora, Judi Christofis, Nathan Erdely, Alice Evans, Debbie Finch, Naomi Fry, Melanie Fulton, Molly Garcia-Underwood, Jessye Gelder, Ingrid Goetz, Hannah Graney, Kari-lee Harris, Margaret Lloyd, Kate Loeckenhoff, Hannah Mallard, Julia McCarthy, Leah Metaxas, Polly Metzner, Kirstie Morey, Luisa Moser, Maria Patane, Janine Petkovic, Thomas Readett, Claudia Saade, Melody Silvestri, Lauren Walker, Georgia Walker, Michelle Worm PUBLIC PROGRAMS – EVENTS Janette Gay
42 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 43 APPENDIX C APPENDIX
APPENDIX C ART GALLERY STAFF EXTERNAL REPRESENTATION
NICK MITZEVICH GLORIA STRZELECKI Chair Council of Australian Art Museum Directors Committee Member Art Gallery and Curatorship Alumni Network (AHCAN) Member National ABC Arts Reference Panel LEIGH ROBB Board of Governors Helpmann Academy Acadamic Board Member Adelaide Central School of Art Board Member SALA Festival Board Member Art Monthly Australasia Magazine Senior Executive Group Member Department of State Development Senior Management Group Member Arts South Australia GILLIAN MERCER Joint Committee Member Graduate Studies in Art History Committee Member SA Arts Development Collective Committee Member Adelaide Fashion Festival Board Director Slingsby Theatre Company MARK HORTON MARK FISCHER Member Precinct Management Group Member DECD Outreach Education team Member Art Gallery Corporate Management Group Committee Member Friends of South Australian School of Art Executive Committee Visual Arts Educators of South Australia (VAESA) LISA SLADE Chair of the Board of Directors Artlink Australia JAN ROBISON Member Advisory Group, School of Art, Architecture and Design, Committee Member Australian Registrars University of South Australia Team Leader Disaster Plan Team JULIE ROBINSON VICKI PETRUSEVICS Affiliate Senior Lecturer University of Adeiaide Committee Member Australian Registrars Board Member Contemporary Art Centre of South Australia Committee Member WH&S, Arts South Australia Coordinating Committee Member VACSIG Committee, Museums Australia GEORGIA HALE NICI CUMPSTON Committee Member Australian Registrars Board Member Australian Experimental Art Foundation, Adelaide Member Disaster Plan Team (since December 2015) TRACEY LOCK SUE SMITH Member Disaster Plan Team Committee Member Nora Heysen Foundation RUSSELL KELTY ANNE WRIGHT Member Disaster Plan Team Public Art Round Table (PART) Adelaide City Council Committee Member Art History Council Alumni Network (AHCAN) JIN WHITTINGTON REBECCA EVANS Secretary/Treasurer Arlis/ANZ SA Chapter Committee Member Adelaide Fashion Festival MARGARET BICKNELL Member Disaster Plan Team
44 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 45 ACQUISITIONS APPENDIX D APPENDIX APPENDIX D AUSTRALIAN & INTERNATIONAL ACQUISITIONS ART POST 1980
Arthur Streeton, Australia, 1867–1943, Abdul‑Rahman Abdullah, Australia, born Elisabeth Cummings, Australia, AUSTRALIAN ART PRE 1980 An Impression from the Deep, 1889, 1977, Merantau, 2016, Fremantle, Western born 1934, The pink outcrop, 2013, Cape Woolamai, Victoria, oil on canvas Australia, wood, bronze, oil paint and Wedderburn, Victoria, oil on Eliza Hartland Auld (nee Strawbridge), Andrew Gwinnett, Sam Hill‑Smith, C Douglas Richardson, Australia, on wood; M.J.M Carter AO through pencil; Gift of the Art Gallery of South canvas; Gift of the artist through Britain/ Australia, 1818–1897, Album of Klein Family Foundation, Lipman Karas, 1853–1932, Acrasia or the Enchanted the Art Gallery of South Australia Australia Contemporary Collectors 2016 the Art Gallery of South Australia memorabilia, watercolour, pencil, ink, Mark Livesey QC, Gemma Mansfield, Bower, 1889, London, oil on canvas; Foundation in recognition of the abilities Contemporary Collectors 2016. AES+F, Russia, est 1987/1995, Panorama gouache, crayon and dried flowers on Tom Pearce, John Phillips, Jill Russell M.J.M Carter AO Collection through of Antonietta Itropico for developing Donated through the Australian #4, from the Last Riot 2 series, 2005–06, paper; Gift of the Cleland Family in and Janette Thornton through the Art the Art Gallery of South Australia the high professional standards of Government’s Cultural Moscow, digital collage, digital print on memory of their forebear, the artist Gallery of South Australia Foundation Foundation 2015. Donated through the Gallery Publications 2016. Donated Gifts Program canvas, acrylic varnish; Gift of Candy and educator Eliza Strawbridge 2016 Collectors Club, assisted by Mrs JJ Australian Government’s Cultural Gifts through the Australian Government’s Byam Shaw through the Australian Program Bennett through the Art Gallery of South Giovanni Della Putta, Australia, Dorrit Black, Australia, 1891–1951, Cliffs Cultural Gifts Program Paintings Fund 2015 Australia Contemporary Collectors 1926–1990, Boy meets girls, 1989, at Second Valley, c.1949, Magill, Adelaide, John Michael Skipper, Australia, Roland Wakelin, Australia, 1887–1971, 2016. Donated through the Australian Adelaide, bronze; Gift of Bice Della oil on composition board; Gift of the Rayner Hoff, Australia, 1894–1937, The 1815–1883, French sentiment, 1845–55, Painting class, c.1923, London or Sydney, Government’s Cultural Gifts Program Putta in memory of her husband, artist’s great-nephews Paul, Richard birth of Pegasus, 1925, Sydney, plaster, South Australia or Victoria, brush oil on board; Gift of the Art Gallery of the artist through the Art Gallery of Khadim Ali, Pakistan/Australia, born and James Black through the Art patinated; Gift in memory of Geoffrey & ink on paper on card; Gift of the South Australia Foundation 2015 South Australia Foundation 2016 Gallery of South Australia Foundation Hackett‑Jones QC through the Art John Skipper Family through the Art 1978, Transition 5, 2014, Sydney, gouache 2015. Donated through the Australian Gallery of South Australia Foundation Gallery of South Australia Foundation Robin Wallace‑Crabbe, Australia, born and gold leaf on wasli; Gift of Clinton Jeff Elrod, United States of America, Government’s Cultural Gifts Program 2016 2016. Donated through the Australian 1938, Flinders Ranges morning, c.1968, Ng through the Art Gallery of South born 1966, Echo Painting (Untitled), Government’s Cultural Gifts Program Adelaide, synthetic polymer paint on Australia Contemporary Collectors 2015, New York, UV ink on canvas; Knut Bull, Australia, 1811–1889, attributed to Thomas James paper; Gift of Milton Moon through 2016. Donated through the Australian Gift of Steven and Alisa Nasteski Ashgrove, near Oatlands, Tasmania, Lempriere, Australia, 1796–1852, John Michael Skipper, Australia, the Art Gallery of South Australia Government’s Cultural Gifts Program through the Art Gallery of South 1855, Hobart, oil on canvas; M.J.M Portrait of a man, 1830s, Hobart, oil on 1815–1883, Richard III, 1845–55, Foundation 2016 Australia Contemporary Collectors Carter AO Collection through the Art Howard Arkley, Australia, 1951–1999, canvas; M.J.M Carter AO Collection South Australia, water-colour, brush 2016. Donated through Gallery of South Australia Foundation after Thomas Watling, Australia, Chair, 1991, Oakleigh, Melbourne, through the Art Gallery of South & ink on paper on card; Gift of the the Australian Government’s Cultural 2015. Donated through the Australian 1762–c.1814, View of the town of Sydney synthetic polymer paint and vinyl on Australia Foundation 2015. Donated John Skipper Family through the Art Gifts Program Government’s Cultural Gifts Program through the Australian Government’s Gallery of South Australia Foundation in the colony of New South Wales, wood; Gift of Patrick Corrigan AM Cultural Gifts Program c.1799, probably painted in Britain from through the Art Gallery of South Neil Frazer, Australia, born 1961, Mavis Giovanni Della Putta, Australia, 2016. Donated through the Australian sketches made in Sydney, oil on canvas; Australia Foundation 2015. Donated – Portrait of artist Mavis Ngallametta, 1926–1990, Legami della vita 3, 1978, Government’s Cultural Gifts Program John William Lewin, Australia, 1770– Gift of M.J.M Carter AO through through the Australian Government’s 2015, Sydney, synthetic polymer Adelaide, wood; Gift of Bice Della 1819, The grey opossum of New Holland, John Michael Skipper, Australia, the Art Gallery of South Australia Cultural Gifts Program paint on canvas; Gift of the artist Putta in memory of her husband, the c.1807, Sydney, watercolour on paper; 1815–1883, Early specimen of water Foundation in recognition of the through the Art Gallery of South artist through the Art Gallery of South Charlotte Balfour, Australia, born 1947, M.J.M Carter AO Collection through colour painting, c.1836, South Australia, abilities of James Bennett to promote Australia Contemporary Collectors Australia Foundation 2016 Summertown pottery, 1981, Adelaide, the Art Gallery of South Australia watercolour, brush & ink on paper on public awareness and appreciation of 2016. Donated through the gouache on board; Gift of Milton Moon William Ford, Australia, 1823–1884, Foundation 2015. Donated through the card; Gift of the John Skipper Family Asian art and culture 2015. Donated Australian Government’s Cultural through the Art Gallery of South Between the showers, at milking time, Australian Government’s Cultural Gifts through the Art Gallery of South through the Australian Government’s Gifts Program Australia Foundation 2016 1877, Melbourne, oil on canvas; M.J.M Program Australia Foundation 2016. Donated Cultural Gifts Program through the Australian Government’s Tony Garifalakis, Australia, born 1964, Carter AO Collection through the Art Andrew MacCormac, Australia, del kathryn barton, Australia, born 1972, Cultural Gifts Program Bryan Westwood, Australia, 1930– Untiltled #1, from the Mob Rule Gallery of South Australia Foundation Red, 2015, Sydney, high resolution digital 1826–1918, (View of Victor Harbor 2000, Jockey, c.1970s, Adelaide, oil on (Family series), 2014, Melbourne, 2015. Donated through the Australian video, edition 2/3, duration 15 minutes; from Port Elliot), 1896, Adelaide, oil Eliza Strawbridge, Britain/Australia, canvas; Gift of Milton Moon through enamel on C type print; Gift of Government’s Cultural Gifts Program Gift of the Art Gallery of South Australia on canvas; Gift of Lesley Ewing (née 1818–1897, Album of botanical the Art Gallery of South Australia Clinton Ng through the Art Gallery Contemporary Collectors 2016 Millicent Hambidge, Australia, 1872– MacCormac) the artist’s great grand- watercolour studies, Melbourne, Foundation 2016 of South Australia Contemporary daughter through the Art Gallery of watercolour and pencil on paper (24 1938, Quicksilver, c.1897, Adelaide, Lionel Bawden, Australia, born 1974, Collectors 2016. Donated through South Australia Foundation 2015 pages); Gift of the Cleland Family in watercolour and gouache on paper; Esque X, 2001–02, Sydney, coloured the Australian Government’s Cultural memory of their forebear, the artist Gift of Helen Crompton in memory Richard Noble, Australia, c.1812–after pencils, epoxy glue and linseed oil; Gift of Gifts Program and educator Eliza Strawbridge 2016 of her grandfather Francis George Brett Stone through the Art Gallery of 1900, The favourite gig horse, Napoleon, Marea Gazzard, Australia, 1928–2013, Scammell (1861–1927), 2016 South Australia Contemporary Collectors the property of Michael Farrell Esq, Selini 1, 2009, Sydney, bronze; Gift 2016. Donated through the Australian Joy Hester, Australia, 1920–1960, 1858, Sydney, oil on canvas; M.J.M of James and Jacqui Erskine through Government’s Cultural Gifts Program Pauline and Loy, 1947, Melbourne, oil Carter AO Collection through the Art the Art Gallery of South Australia Gallery of South Australia Foundation on board; Gift of Will Abel‑Smith, Rick Clise, Australia, born 1955, Artist’s Foundation 2016. Donated through 2015. Donated through the Australian Colin Cowan, Dr Neo Douvartzidis, statement/ Self‑portrait, 2005 –13, the Australian Government’s Cultural Government’s Cultural Gifts Program Dr Michael Drew, Emeritus Professor Adelaide, welded steel, clay bust, Gifts Program Anne Edwards AO, Elizabeth H mirror, timber; Gift of the artist through Finnegan OAM, Frances Gerard, the Art Gallery of South Australia Contemporary Collectors 2016
46 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 47 ACQUISITIONS APPENDIX D APPENDIX
Tarryn Gill, Australia, born 1981, Euan MacLeod, Australia, born 1956, Wu, through the Art Gallery of South Heather B Swann, Australia, born 1961, Guardians, 2014–16, Perth, nine Wrestle (Dardanelles), 2014, Sydney, Australia Contemporary Collectors 2016 Banksia Men, 2015, Canberra, AUSTRALIAN & INTERNATIONAL sculptures with soundscape, synthetic polymer paint on linen; Gift wood, metal, silk, glass, 9 elements, composition by Tom Hogan, mixed of the artist through the Art Gallery Ramesh Mario Nithiyendran, Australia/ Music score: Thomas Green PRINTS, DRAWINGS & media including speakers, dimensions of South Australia Contemporary Sri Lanka, born 1988, Fuck You, 2016, (composition and production); variable; Gift of the Art Gallery Collectors 2016 Sydney, earthenware, glaze, gold Kevin Brophy (poetry); Jack Swann PHOTOGRAPHS of South Australia Contemporary lustre, platinum lustre, polystyrene (voice); James Nightingale and Martin Dani Marti, Australia, born 1963, Collectors 2016 and enamel; Pauline Colley Bequest Kaye (saxophone); Dr Christine Troughman (the yellow peril), 2005, Ivor Hele, Australia, 1912–1993, through the Art Gallery of South Annette Lunam Bequest through AUSTRALIAN Peter Hennessey, Australia, born Laguna, New South Wales, polyester, Study of two men, one lying in bed, Australia Foundation 2016 the Art Gallery of South Australia 1968, My Mission Control (The act of polypropylene, nylon and wood frame DRAWINGS 1940s–50s, Libya, Egypt, Papua Foundation 2016 observation changes the object observed), on castor wheels; Gift of the artist John Packham, Australia, born 1966, John Henry Chinner, Australia, New Guinea or Korea (?), pen & 2005, Melbourne, plywood, steel, through the Art Gallery of South Stolen generation, 1998, Murray Bridge, Amy Joy Watson, Australia, born 1865–1933, Sketchbook: 40 caricatures brown ink on green paper; Gift of television monitors and DVD players, Australia Contemporary Collectors South Australia, synthetic polymer 1987, Tinsel Falls #1, 2015, Adelaide, of South Australian personalities, c.1920s, the artist’s niece Marcia Rankin video; Gift of Paul Greenaway OAM 2016. Donated through the Australian paint on canvas, wood; Gift of Harold watercolour and metallic thread on Adelaide, pencil on paper; Gift of through the Art Gallery of South through the Art Gallery of South Government’s Cultural Gifts Program and Neriba Gallasch through the Art paper; Gift of the Art Gallery of South Ken Chinner, grandson of John Henry Australia Foundation 2015 Australia Contemporary Collectors Australia Contemporary Collectors Chinner, 2015 Milton Moon, Australia, born 1926, Gallery of South Australia Foundation Ivor Hele, Australia, 1912–1993, Back 2016. Donated through the Australian 2015 Untitled, 2004, Adelaide, oil on canvas 2016. Donated through the Australian view of ballet dancer, 1950s–60s, South Government’s Cultural Gifts Program Ivor Hele, Australia, 1912–1993, June mounted on board; Gift of the artist Government’s Cultural Gifts Program Amy Joy Watson, Australia, born reading, 1956, Aldinga, South Australia, Australia, black chalk on paper; Gift of Tim Johnson through the Art Gallery of South the artist’s niece Marcia Rankin through , Australia, born 1947, Baden Pailthorpe, Australia, born 1987, Tinsel Falls #2, 2015, Adelaide, black chalk on paper; Gift of the artist’s Nirvana, 2005, Sydney, synthetic Australia Foundation 2016 watercolour and metallic thread on the Art Gallery of South Australia 1984, Spatial Operations, 2014, Sydney, niece Marcia Rankin through the Art polymer paint on canvas; Gift of Julian paper; Gift of the Art Gallery of South Gallery of South Australia Foundation 2015 Foundation 2015 Nell, Australia, born 1975, I remember papier‑mâché (PVA, cellulose powder, & Stephanie Grose through the Art Australia Contemporary Collectors birth, 2008, Australia, gouache on paper pulp); Gift of the artist through Ivor Hele, Australia, 1912–1993, Gallery of South Australia Foundation 2015 Ivor Hele, Australia, 1912–1993, Study of linen; Gift of Julian & Stephanie Grose Sketchbook #3: with two landscape 2016. Donated through the Australian the Art Gallery of South Australia June, 1956, Aldinga, South Australia, black through the Art Gallery of South Guan Wei, Australia/China, born 1957, drawings, 1950s–60s, Port Willunga Government’s Cultural Gifts Program Contemporary Collectors 2016. chalk on paper; Gift of the artist’s niece Australia Foundation 2016. Donated Donated through the Australian Looking for enemies: No 6, 2004, Sydney, Marcia Rankin through the Art Gallery of or Aldinga, South Australia, black ball Jonathan Horowitz, United States through the Australian Government’s Government’s Cultural Gifts Program synthetic polymer paint on canvas; South Australia Foundation 2015 point pen and black chalk on paper; of America, born 1966, Group Cultural Gifts Program Gift of Julian & Stephanie Grose black ball point pen on paper; Gift of Ivor Hele, Australia, 1912–1993, Life Self‑portrait in “Mirror #3 (Six Panels)” Sally Smart, Australia, born 1960, through the Art Gallery of South the artist’s niece Marcia Rankin through Nell, Australia, born 1975, Working study, back view, 1962, Aldinga, South (Li Huan, Jacob, Ian, Cathleen, Dom, Femmage (Insectology), 2003, Australia Foundation 2016. Donated the Art Gallery of South Australia drawing for ‘I remember birth’, 2008, Australia, black, white and red chalk on Karin), 2015, New York, synthetic Melbourne, synthetic polymer paint, through the Australian Government’s Foundation 2015 Sydney, synthetic polymer paint on polymer paint on canvas; Gift of JF canvas, linen and felt on canvas; Gift Cultural Gifts Program brown paper; Gift of the artist’s niece paper; Gift of Julian & Stephanie Grose Woodward & E Krebs‑Woodward of Julian & Stephanie Grose through Marcia Rankin through the Art Gallery Ivor Hele, Australia, 1912–1993, through the Art Gallery of South Neville Weston, Australia, born 1936, of South Australia Foundation 2015 ATF The Woodward Family Super the Art Gallery of South Australia Still life with skull, 1950s–60s, Aldinga, Australia Foundation 2016. Donated Old market, 1984, Adelaide, synthetic South Australia, black and white Fund through the Art Gallery of South Foundation 2016. Donated through the Ivor Hele, Australia, 1912–1993, Back through the Australian Government’s polymer paint on board; Gift of Milton chalk on brown paper; Gift of the Australia Contemporary Collectors Australian Government’s Cultural Gifts view of woman reclining, 1969, Aldinga, Cultural Gifts Program Moon through the Art Gallery of South artist’s niece Marcia Rankin through 2016. Donated through the Australian Program South Australia, black chalk on buff Australia Foundation 2016 the Art Gallery of South Australia Government’s Cultural Gifts Program Nell, Australia, born 1975, The Wake, paper; Gift of the artist’s niece Marcia 2014–15, Sydney and Ernabella, South Ben Quilty, Australia, born 1973, Michael Zavros, Australia, born 1974, Rankin through the Art Gallery of South Foundation 2015 Juz Kitson, Australia, born 1987, Australia, stoneware, earthenware, The lot, 2006, Bowral, New South The Phoenix, 2015, Brisbane, oil on Australia Foundation 2015 Something Sacred no II, 2015–16, Ivor Hele, Australia, 1912–1993, concrete, bronze, glass, underglaze, Wales, oil on canvas; Gift of Ben Quilty canvas; James & Diana Ramsay Fund Jingdezhen and Sydney, Jingdezhen Ivor Hele, Australia, 1912–1993, Studies Studies of seagulls, 1950s–60s, South glaze, polyurethane, varnish, acrylic paint, through the Art Gallery of South supported by Philip Bacon AM through porcelain, southern ice porcelain, of brothel scenes, 1930s–40s, Europe, Australia, black chalk on paper; Gift enamel paint, spray paint, fabric paint, Australia Contemporary Collectors the Art Gallery of South Australia paraffin wax, horse hair, merino wool, Libya or Egypt (?), pen & brown ink, of the artist’s niece Marcia Rankin pigment, varnish, oxide, bondcrete, 2016. Donated through the Australian Foundation 2016 goat horns, polyester thread, bone, brown ink wash on paper; Gift of the through the Art Gallery of South decals, silver leaf, gold leaf, copper, Government’s Cultural Gifts Program marine ply and treated pine; Maude artist’s niece Marcia Rankin through Australia Foundation 2015 glitter, wood, branches; Gift of John and Vizard‑Wholohan Fund, assisted by the Art Gallery of South Australia Jane Ayers, Candy Bennett and Edwina Sean Scully, United States of America, Ivor Hele, Australia, 1912–1993, the Art Gallery of South Australia Foundation 2015 Lehmann, Andrew and Cathy Cameron, born 1945, Wall of light grey pink, 2010, Two studies: study of a man on a beach Contemporary Collectors 2016 Chris Cuthbert and Sally Dan‑Cuthbert, United States, oil on aluminium; Gift Ivor Hele, Australia, 1912–1993, Portrait with umbrella; study of a man on a horse, Euan MacLeod, Australia, born 1956, Rick and Jan Frolich, Julian and Stephanie of James and Jacqui Erskine through of seated man, 1940s–50s, South 1950s–60s, Port Willunga or Aldinga, Cross sights, 2014, Sydney, oil on Grose, Jane Michell, Brenda Shanahan, the Art Gallery of South Australia Australia, black chalk on paper; Gift of South Australia, pencil on paper; polyester; Gift of the artist through Vivienne Sharpe, Rae‑Ann Sinclair Foundation 2016. Donated through the artist’s niece Marcia Rankin through Gift of the artist’s niece Marcia Rankin the Art Gallery of South Australia and Nigel Williams, Paul and Thelma the Australian Government’s Cultural the Art Gallery of South Australia through the Art Gallery of South Contemporary Collectors 2016 Taliangis, Lisa and Peter Weeks, Dr Terry Gifts Program Foundation 2015 Australia Foundation 2015
48 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 49 ACQUISITIONS APPENDIX D APPENDIX
Ivor Hele, Australia, 1912–1993, Willunga through the Australian Government’s Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, landscape, 1950s–60s, Port Willunga, Cultural Gifts Program 1993, Embankment London. Cleopatra’s 1993, (Construction site, London; vertical 1904–1993, Lunchtime, c.1930, London, 1904–1993, The Houses of Parliament South Australia, pen & brown ink, Needle and Savoy Hill behind, 1931, view), c.1930, London, gelatin‑silver gelatin‑silver photograph; Gift of Hugh and Westminster Bridge, c.1930, London, Max Dupain, Australia, 1911–1992, (Moira brown ink wash on paper; Gift of the London, gelatin‑silver photograph; Gift photograph; Gift of Hugh Wilmot Wilmot Griffiths in memory of his gelatin‑silver photograph; Gift of Hugh in the Mirror), 1951, Sydney, gelatin‑silver artist’s niece Marcia Rankin through of Hugh Wilmot Griffiths in memory of Griffiths in memory of his mother mother Gwendolyn Morris 2015 Wilmot Griffiths in memory of his photograph; d’Auvergne Boxall Bequest the Art Gallery of South Australia his mother Gwendolyn Morris 2015 Gwendolyn Morris 2015 mother Gwendolyn Morris 2015 Fund 2016 Gwendolyn Morris, Australia, 1904– Foundation 2015 Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, 1993, (Park scene), c.1930, London?, Gwendolyn Morris, Australia, 1904– Max Dupain, Australia, 1911–1992, Ivor Hele, Australia, 1912–1993, Centaur 1904–1993, Savoy Chapel, London, 1931, 1904–1993, (Construction site near gelatin‑silver photograph; Gift of Hugh 1993, The lime trees at Hampton Court, Petty’s Hotel, Sydney, 6pm, 1941, Sydney, chasing woman, c.1963, Aldinga, South London, gelatin‑silver photograph; Gift Victoria Embankment, London), c.1930, Wilmot Griffiths in memory of his c.1930, Hampton Court, gelatin‑silver gelatin‑silver photograph; d’Auvergne Australia, black chalk on yellow paper; of Hugh Wilmot Griffiths in memory of London, gelatin‑silver photograph; Gift mother Gwendolyn Morris 2015 photograph; Gift of Hugh Wilmot Boxall Bequest Fund 2016 his mother Gwendolyn Morris 2015 Griffiths in memory of his mother Gift of the artist’s niece Marcia Rankin of Hugh Wilmot Griffiths in memory of Gwendolyn Morris, Australia, 1904– Gwendolyn Morris 2015 through the Art Gallery of South Helen Johnson, Australia, born 1979, The Gwendolyn Morris, Australia, 1904– his mother Gwendolyn Morris 2015 1993, South Downs Sussex, England. Near Australia Foundation 2015 Ambassador returned, 2006, Melbourne, Chanctonbury Ring, c.1930, London, Gwendolyn Morris, Australia, 1904– 1993, St Pauls from Bankside, c.1929–30, Gwendolyn Morris, Australia, 1904– digital print on paper; Gift of Julian gelatin‑silver photograph; Gift of Hugh 1993, (The Strand, from Trafalgar Square, Sangeeta Sandrasegar, Australia, born London, gelatin‑silver photographs; Gift 1993, Entrance to the Strand, Trafalgar & Stephanie Grose through the Art of Hugh Wilmot Griffiths in memory of Wilmot Griffiths in memory of his London), c.1930, London, gelatin‑silver 1977, Untitled, from the series The Square, c.1930, London, gelatin‑silver Gallery of South Australia Foundation his mother Gwendolyn Morris 2015 mother Gwendolyn Morris 2015 photograph; Gift of Hugh Wilmot shadow of murder lay upon my sleep, 2006, photograph; Gift of Hugh Wilmot 2016. Donated through the Australian Griffiths in memory of his mother London, glitter glue on cut paper; Gift of Griffiths in memory of his mother Gwendolyn Morris, Australia, Government’s Cultural Gifts Program Gwendolyn Morris, Australia, 1904– Gwendolyn Morris 2015 Julian & Stephanie Grose through the Art 1993, (St Pauls from Bankside, vertical Gwendolyn Morris 2015 1904–1993, (Southampton Street, from Gallery of South Australia Foundation Helen Johnson, Australia, born 1979, view), c.1929–30, London, gelatin‑silver The Strand, London), c.1930, London, Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 2016. Donated through the Australian The cannibal machine, 2006, Melbourne, photograph; Gift of Hugh Wilmot gelatin‑silver photograph; Gift of Hugh 1993, (The Tower of London), c.1930, 1904–1993, Fleet Street, c.1930, London, Government’s Cultural Gifts Program digital print on paper; Gift of Julian Griffiths in memory of his mother Wilmot Griffiths in memory of his London, gelatin‑silver photograph; Gift gelatin‑silver photograph; Gift of Hugh mother Gwendolyn Morris 2015 of Hugh Wilmot Griffiths in memory of Sangeeta Sandrasegar, Australia, born & Stephanie Grose through the Art Gwendolyn Morris 2015 Gallery of South Australia Foundation Wilmot Griffiths in memory of his his mother Gwendolyn Morris 2015 1977, Untitled, from the series The Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 2016. Donated through the Australian mother Gwendolyn Morris 2015 shadow of murder lay upon my sleep, 2006, 1993, (65 & 66 York Terrace at night, 1904–1993, (St Martin‑in‑the‑Fields, Gwendolyn Morris, Australia, 1904– Government’s Cultural Gifts Program London, glitter glue on cut paper; Gift of London), c.1930, London, gelatin‑silver Gwendolyn Morris, Australia, 1904– Trafalgar Square, London), c.1930, 1993, Tower Bridge, c.1930, London, Julian & Stephanie Grose through the Art Rosemary Laing, Australia, born 1959, photograph; Gift of Hugh Wilmot 1993, Horse Guards, c.1930, London, London, gelatin‑silver photograph; Gift gelatin‑silver photograph; Gift of Hugh Gallery of South Australia Foundation a dozen useless actions for grieving Griffiths in memory of his mother gelatin‑silver photograph; Gift of Hugh of Hugh Wilmot Griffiths in memory of Wilmot Griffiths in memory of his 2016. Donated through the Australian blondes#1, 2009, Sydney, type C Gwendolyn Morris 2015 Wilmot Griffiths in memory of his his mother Gwendolyn Morris 2015 mother Gwendolyn Morris 2015 Government’s Cultural Gifts Program photograph; Gift of anonymous donors mother Gwendolyn Morris 2015 Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 1904– through the Art Gallery of South 1993, At the zoo. The pelican, c.1930, Gwendolyn Morris, Australia, 1904– 1993, (St Olaf’s, Hay’s Company Wharf, 1993, Tower Bridge at low tide, c.1930, Australia Foundation 2016. Donated London, gelatin‑silver photograph; Gift 1993, (Imperial Camel Corps. Memorial, London), c.1930, London, gelatin‑silver London, gelatin‑silver photograph; Gift AUSTRALIAN through the Australian Government’s of Hugh Wilmot Griffiths in memory of Victoria Embankment Gardens), c.1930, photograph; Gift of Hugh Wilmot of Hugh Wilmot Griffiths in memory of Cultural Gifts Program his mother Gwendolyn Morris 2015 London, gelatin‑silver photograph; Griffiths in memory of his mother his mother Gwendolyn Morris 2015 PHOTOGRAPHS Gift of Hugh Wilmot Griffiths in Gwendolyn Morris 2015 Rosemary Laing, Australia, born 1959, Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, memory of his mother Gwendolyn Narelle Autio, Australia, born 1969, a dozen useless action for grieving blondes 1904–1993, Big Ben, c.1930, London, Gwendolyn Morris, Australia, 1904–1993, Trafalgar Square from the Morris 2015 Trent processing films, Fraser Island, #2, 2009, Sydney, type C photograph; gelatin‑silver photograph; Gift of Hugh 1904–1993, The Adelphi Arches, c.1930, National Gallery, London, c.1930, London, Queensland, 2003, Queensland, pigment Gift of anonymous donors through the Wilmot Griffiths in memory of his Gwendolyn Morris, Australia, 1904– London, gelatin‑silver photograph; Gift gelatin‑silver photograph; Gift of Hugh print; Acquired through the Art Gallery Art Gallery of South Australia Foundation mother Gwendolyn Morris 2015 1993, (Imperial Camel Corps. Memorial, of Hugh Wilmot Griffiths in memory of Wilmot Griffiths in memory of his of South Australia Contemporary 2016. Donated through the Australian Victoria Embankment Gardens, London; his mother Gwendolyn Morris 2015 mother Gwendolyn Morris 2015 Gwendolyn Morris, Australia, 1904– Collectors Trent Parke Appeal 2015 Government’s Cultural Gifts Program viewed from the left), c.1930, London, 1993, Chanctonbury Ring, South Downs, Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, 1904– gelatin‑silver photograph; Gift of Hugh Olive Cotton, Australia, 1911–2003, Rosemary Laing, Australia, born 1959, c.1930, Chanctonbury, South Downs, 1904–1993, (The Batavia I), c.1930, 1993, Trafalgar Square, London, c.1930, Wilmot Griffiths in memory of his Max after surfing, 1939, Sydney, a dozen useless actions for grieving blondes West Sussex, England, gelatin‑silver London, gelatin‑silver photograph; Gift London, gelatin‑silver photograph; Gift gelatin‑silver photograph; Gift of Shane #3, 2009, Sydney, type C photograph; photograph; Gift of Hugh Wilmot mother Gwendolyn Morris 2015 of Hugh Wilmot Griffiths in memory of of Hugh Wilmot Griffiths in memory of Le Plastrier through the Art Gallery of Gift of anonymous donors through the Griffiths in memory of his mother Gwendolyn Morris, Australia, 1904– his mother Gwendolyn Morris 2015 his mother Gwendolyn Morris 2015 South Australia Foundation 2015 Art Gallery of South Australia Foundation Gwendolyn Morris 2015 1993, (Imperial Camel Corps Memorial, Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 2016. Donated through the Australian Marian Drew, Australia, born 1960, Victoria Embankment Gardens, London; 1993, (The Houses of Parliament and 1904–1993, (View from Savoy Hill, Government’s Cultural Gifts Program Gwendolyn Morris, Australia, Wombat and watermelon, from the series 1904–1993, Cleopatra’s Needle and viewed from the right), c.1930, London, Big Ben), c.1930, London, gelatin‑silver London), c.1930, London, gelatin‑silver Still Life/ Australiana, 2005–08, Brisbane?, Robert McFarlane, Australia, born 1942, Sphinxes, c.1930, London, gelatin‑silver gelatin‑silver photograph; Gift of Hugh photograph; Gift of Hugh Wilmot photograph; Gift of Hugh Wilmot pigment print; Gift of Julian & Stephanie ‘B’, nude, Darlinghurst, 1978, Darlinghurst, photograph; Gift of Hugh Wilmot Wilmot Griffiths in memory of his Griffiths in memory of his mother Griffiths in memory of his mother Grose through the Art Gallery of South Sydney, gelatin‑silver photograph; Gift of Griffiths in memory of his mother mother Gwendolyn Morris 2015 Gwendolyn Morris 2015 Gwendolyn Morris 2015 Australia Foundation 2016. Donated John Hutchinson 2016 Gwendolyn Morris 2015
50 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 51 ACQUISITIONS APPENDIX D APPENDIX
Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, 1904– Deborah Paauwe, Australia, born Rick Amor, Australia, born 1948, Rick Amor, Australia, born 1948, The Rick Amor, Australia, born 1948, The 1904–1993, (View from Savoy Hill, 1993, (Bridge of Sighs, Venice, Italy), 1972, Promise, 2002, Adelaide, type C Untitled (Skull, pram and woman), 1968, city, 1990, Cottles Bridge, Victoria, arcade, 1993, Cottles Bridge, Victoria, London), c.1930, London, gelatin‑silver c.1920s–30s, Venice, gelatin‑silver photograph; Gift of Julian & Stephanie Melbourne, etching on paper; Gift of etching on paper; Gift of Rick and Jan woodcut on paper; Gift of Rick and Jan photograph; Gift of Hugh Wilmot photograph; Gift of Hugh Wilmot Grose through the Art Gallery of Rick and Jan Frolich through the Art Frolich through the Art Gallery of South Frolich through the Art Gallery of South Griffiths in memory of his mother Griffiths in memory of his mother South Australia Foundation 2016. Gallery of South Australia Contemporary Australia Contemporary Collectors Australia Contemporary Collectors Gwendolyn Morris 2015 Gwendolyn Morris 2015 Donated through the Australian Collectors 2015. Donated through the 2015. Donated through the Australian 2015. Donated through the Australian Australian Government’s Cultural Gifts Government’s Cultural Gifts Program Government’s Cultural Gifts Program Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, 1904– Government’s Cultural Gifts Program 1904–1993, (View from Savoy Hill, 1993, (Elevated view of European city, Program Rick Amor, Australia, born 1948, The Rick Amor, Australia, born 1948, The Trent Parke, Australia, born 1971, London), c.1930, London, gelatin‑silver with river and church spire), c.1920s–30s, gate, 1990, Cottles Bridge, Victoria, long sea, 1995, Alphington, Victoria, Shattered portrait, Newcastle, New Rick Amor, Australia, born 1948, The photograph; Gift of Hugh Wilmot Venice, gelatin‑silver photograph; Gift of goat, 1984, Melbourne, woodcut on mezzotint on paper; Gift of Rick and Jan etching over burnished drypoint on South Wales, 2009, New South Wales, Frolich through the Art Gallery of South Griffiths in memory of his mother Hugh Wilmot Griffiths in memory of his paper; Gift of Rick and Jan Frolich paper; Gift of Rick and Jan Frolich pigment print; Acquired through Australia Contemporary Collectors Gwendolyn Morris 2015 mother Gwendolyn Morris 2015 through the Art Gallery of South through the Art Gallery of South the Art Gallery of South Australia 2015. Donated through the Australian Australia Contemporary Collectors Gwendolyn Morris, Australia, 1904– Gwendolyn Morris, Australia, 1904– Australia Contemporary Collectors Contemporary Collectors Trent Parke Government’s Cultural Gifts Program 2015. Donated through the Australian 1993, (View of European city square with 1993, (Road with poplar trees, France?), 2015. Donated through the Australian Appeal 2015 Government’s Cultural Gifts Program fountain), c.1930, London, gelatin‑silver c.1920s–30s, France?, gelatin‑silver Government’s Cultural Gifts Program Rick Amor, Australia, born 1948, Out to photograph; Gift of Hugh Wilmot photograph; Gift of Hugh Wilmot Trent Parke, Australia, born 1971, Kids sea, 1991, Cottles Bridge, Victoria, etching, Rick Amor, Australia, born 1948, Rick Amor, Australia, born 1948, John Griffiths in memory of his mother Griffiths in memory of his mother cubby house, backyard, Adelaide, 2010, drypoint on paper; Gift of Rick and Jan Sailing west, 1996, Alphington, Victoria, Perceval, 1986 or 1989, Cottles Bridge, Gwendolyn Morris 2015 Gwendolyn Morris 2015 Adelaide, pigment print; Acquired Frolich through the Art Gallery of South mezzotint on paper; Gift of Rick and Victoria, woodcut on paper; Gift of Rick through the Art Gallery of South Australia Contemporary Collectors Jan Frolich through the Art Gallery Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, 1904– and Jan Frolich through the Art Gallery of Australia Contemporary Collectors 2015. Donated through the Australian of South Australia Contemporary 1904–1993, (View of Savoy House, 1993, (Tropical landscape with figures South Australia Contemporary Collectors Trent Parke Appeal 2015 Government’s Cultural Gifts Program Collectors 2015. Donated through from Waterloo Bridge, London), c.1930, on top of rocks), c.1920s–30s, France?, 2015. Donated through the Australian the Australian Government’s Cultural London, gelatin‑silver photograph; Gift gelatin‑silver photograph; Gift of Hugh Trent Parke, Australia, born 1971, Government’s Cultural Gifts Program Rick Amor, Australia, born 1948, The boat, 1991, Victoria; printed by Doug Hails, Gifts Program of Hugh Wilmot Griffiths in memory of Wilmot Griffiths in memory of his Rabbit, Adelaide, from the series Building Rick Amor, Australia, born 1948, Garden, Baldessin Press, St Andrews, Victoria, his mother Gwendolyn Morris 2015 mother Gwendolyn Morris 2015 a darkroom, 2010, Adelaide, pigment Rick Amor, Australia, born 1948, 1988, printed 1990, Cottles Bridge, etching on paper; Gift of Rick and Jan Returning storm, 1998, printed Gwendolyn Morris, Australia, Gwendolyn Morris, Australia, print; Acquired through the Art Gallery Victoria, etching on paper; Gift of Rick Frolich through the Art Gallery of South 2001, Victoria; printed by Martin 1904–1993, (View taken through 1904–1993, (View from ship in harbour, of South Australia Contemporary and Jan Frolich through the Art Gallery of Australia Contemporary Collectors King, Australian Print Workshop, stone balustrade, Waterloo Bridge, Colombo?), c.1920s–30s, possibly India, Collectors Trent Parke Appeal 2015 South Australia Contemporary Collectors 2015. Donated through the Australian Melbourne, etching, burnishing on London), c.1930, London, gelatin‑silver gelatin‑silver photograph; Gift of Hugh Trent Parke, Australia, born 1971, The 2015. Donated through the Australian Government’s Cultural Gifts Program paper; Gift of Rick and Jan Frolich photograph; Gift of Hugh Wilmot Wilmot Griffiths in memory of his fox, Adelaide, from the series Building Government’s Cultural Gifts Program through the Art Gallery of South Griffiths in memory of his mother mother Gwendolyn Morris 2015 Rick Amor, Australia, born 1948, The Australia Contemporary Collectors Gwendolyn Morris 2015 a darkroom, 2010, Adelaide, pigment Rick Amor, Australia, born 1948, The sea judge, 1991, Cottles Bridge, Victoria, 2015. Donated through the Australian Ian North, Australia, born 1945, Daniel print; Acquired through the Art Gallery (with giant squid), 1989, Cottles Bridge, mezzotint on paper; Gift of Rick and Jan Gwendolyn Morris, Australia, Thomas, Henley Beach, Adelaide, 1987 Government’s Cultural Gifts Program of South Australia Contemporary Victoria, etching on paper; Gift of Rick Frolich through the Art Gallery of South 1904–1993, (View towards Waterloo (printed 2015), Adelaide, digital type C Collectors Trent Parke Appeal 2015 and Jan Frolich through the Art Gallery of Australia Contemporary Collectors Rick Amor, Australia, born 1948, Bridge (first bridge) from Savoy Hill, photograph; Gift of the artist through the South Australia Contemporary Collectors 2015. Donated through the Australian Outlying district, 2001, Victoria; London), c.1930, London, gelatin‑ silver Art Gallery of South Australia Foundation Robyn Stacey, Australia, born 1952, 2015. Donated through the Australian Government’s Cultural Gifts Program printed by Martin King, Australian photograph; Gift of Hugh Wilmot 2016. Donated through the Australian Lighthouse Wharf, Hotel, Port Adelaide, Government’s Cultural Gifts Program Print Workshop, Melbourne, etching, Griffiths in memory of his mother Government’s Cultural Gifts Program from the series Ray of Light, 2016, Rick Amor, Australia, born 1948, Overpass, 1991 or 1996, Alphington, burnishing on paper; Gift of Rick and Gwendolyn Morris 2015 Port Adelaide, type C print; Gift of Rick Amor, Australia, born 1948, A town Selina Ou, Australia, born 1977, Caged Victoria, etching on paper; Gift of Rick Jan Frolich through the Art Gallery David and Pam McKee through the by the sea, 1990, Cottles Bridge, Victoria, Gwendolyn Morris, Australia, pigeons, 2003, Melbourne, lightjet print; and Jan Frolich through the Art Gallery of of South Australia Contemporary Art Gallery of South Australia mezzotint on paper; Gift of Rick and Jan 1904–1993, (View towards Waterloo Gift of Julian & Stephanie Grose through South Australia Contemporary Collectors Collectors 2015. Donated through Foundation 2016 Frolich through the Art Gallery of South Bridge (first bridge) from Savoy Hill, the Art Gallery of South Australia 2015. Donated through the Australian the Australian Government’s Cultural London), c.1930, London, gelatin‑silver Foundation 2016. Donated through the Australia Contemporary Collectors Government’s Cultural Gifts Program Gifts Program photograph; Gift of Hugh Wilmot Australian Government’s Cultural Gifts 2015. Donated through the Australian Rick Amor, Australia, born 1948, Griffiths in memory of his mother Program AUSTRALIAN PRINTS Government’s Cultural Gifts Program Rick Amor, Australia, born 1948, The dog, 1991, printed 2002, Victoria; printed The visitor, 2002, Victoria; printed Gwendolyn Morris 2015 Rick Amor, Australia, born 1948, Selina Ou, Australia, born 1977, Paper Rick Amor, Australia, born 1948, by Doug Hails, Baldessin Press, St by Martin King, Australian Print Gwendolyn Morris, Australia, phoenix, 2003, Melbourne, lightjet print; Newspaper seller, 1968, Melbourne, Foreshore, 1990, Cottles Bridge, Victoria, Andrews, Victoria, etching, burnishing Workshop, Melbourne, lithograph 1904–1993, (Waterloo Bridge (first Gift of Julian & Stephanie Grose through etching on paper; Gift of Rick and Jan etching on paper; Gift of Rick and Jan on paper; Gift of Rick and Jan Frolich on paper; Gift of Rick and Jan Frolich bridge) from Savoy Hill, London), c.1930, the Art Gallery of South Australia Frolich through the Art Gallery of South Frolich through the Art Gallery of South through the Art Gallery of South through the Art Gallery of South London, gelatin‑silver photograph; Gift Foundation 2016. Donated through the Australia Contemporary Collectors Australia Contemporary Collectors Australia Contemporary Collectors Australia Contemporary Collectors of Hugh Wilmot Griffiths in memory of Australian Government’s Cultural Gifts 2015. Donated through the Australian 2015. Donated through the Australian 2015. Donated through the Australian 2015. Donated through the Australian his mother Gwendolyn Morris 2015 Program Government’s Cultural Gifts Program Government’s Cultural Gifts Program Government’s Cultural Gifts Program Government’s Cultural Gifts Program
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Rick Amor, Australia, born 1948, The Peter Drew, Australia, born 1983, 1887, Adelaide, wood engraving, the Australian Government’s Cultural from the portfolio Republic Unlimited: Gulumbu Yunupingu, Australia, ship (light), 2003, Victoria; printed Advance Australia Fair, 2013, printed 2015, hand‑coloured with watercolour on Gifts Program Common Ground, 2005, printed by Basil 1945–2012, Yolngu people, Northern by Martin King, Australian Print Adelaide, screenprint on brown paper; paper; Gift of Elders Limited 2015 Hall and Natasha Rowell, Basil Hall Territor y, Gan’yu (stars), from the Tjilpi Kunmanara Kankapankatja, Workshop, Melbourne, etching on Gift of the artist through the Art Gallery Editions, published 2005 by 21C, etching, portfolio Republic Unlimited: Common Frearson Brothers, Australia, active Australia, 1930–2012, Pitjantjatjara/ paper; Gift of Rick and Jan Frolich of South Australia Contemporary printed in coloured inks on paper; Gift Ground, 2005, printed by Basil Hall, 1871–1896, after Albert Charles Yankunytjatjara people, South Australia, through the Art Gallery of South Collectors 2015 of Leo Christie OAM through the Art Basil Hall Editions, published 2005 Cooke, 1836–1902, Port Adelaide, Mungawinki kukaku ankuntja – Early Australia Contemporary Collectors Gallery of South Australia Foundation Peter Drew, Australia, born 1983, 1880, Adelaide, wood engraving, morning going hunting, 2012, Kaltjiti by 21C, Sydney, etching, screenprint, 2015. Donated through the Australian 2015. Donated through the Australian Courage, sacrifice, Australia, 2015, hand‑coloured with watercolour on Arts, Fregon, South Australia, etching, printed in red ink on paper; Gift of Government’s Cultural Gifts Program Government’s Cultural Gifts Program Adelaide, screenprint on brown paper; paper; Gift of Elders Limited 2015 screenprint on paper; Art Gallery of Leo Christie OAM through the Art Gift of the artist through the Art Gallery South Australia Foundation’s South Dorothy Robinson Napangardi, Gallery of South Australia Foundation Rick Amor, Australia, born 1948, Donald Friend, Australia, 1915–1989, of South Australia Contemporary Australian Artists Fund 2016 Australia, c.1956–2013, Warlpiri people, 2015. Donated through the Australian Portal, plate 1 from the Venice series, Songs of the vagabond scholars, 1982, Collectors 2015 Northern Territory, Dancing up country Government’s Cultural Gifts Program 2007, Victoria; printed by Ros Atkins Sydney, bound artist’s book; 30 leaves, Tjilpi Kunmanara Kankapankatja, (Karntakulangu Jukurrpa), from the with assistance from Martin King, 14 lithographs printed in black ink on Australia, 1930–2012, Pitjantjatjara/ Peter Drew, Australia, born 1983, Real portfolio Republic Unlimited: Common EUROPEAN PRINTS Australian Print Workshop, Melbourne, paper; leather bound with slipcase; Yankunytjatjara people, South Australia, Australians say welcome, 2015, Adelaide, Ground, 2002, printed by Basil Hall, aquatint, burnishing, etching, drypoint Gift of Nola and Alun Leach‑Jones in Mungamaruringu kunkunaritjaku – Dark Robert Havell, Britain, 1769–1832, screenprint on brown paper; Gift of the Basil Hall Editions, published 2002 by on paper; Gift of Rick and Jan Frolich memory of Geoffrey Brown 2015 Night: everyone goes to sleep, Kaltjiti Arts after Thomas Sautelle Roberts, Ireland, artist through the Art Gallery of South 21C, Sydney, etching on paper; Gift of through the Art Gallery of South Australia Contemporary Collectors 2015 2012, Fregon, South Australia, etching, 1760–1826, London. Taken Near the Fiona Hall Leo Christie OAM through the Art Australia Contemporary Collectors , Australia, born 1953, Cross screenprint on paper; Art Gallery of New Customs House, 1816, London, Gallery of South Australia Foundation 2015. Donated through the Australian Peter Drew, Australia, born 1983, Stop purpose, from the portfolio Republic South Australia Foundation’s South etching, aquatint, hand‑coloured with 2015. Donated through the Australian Government’s Cultural Gifts Program the boats, 2015, Adelaide, screenprint Unlimited: Common Ground, 2003, Australian Artists Fund 2016 watercolour, on paper; Gift of Elders printed by Martin King, Australian Government’s Cultural Gifts Program and watercolour on brown paper; Gift Limited 2015 Rick Amor, Australia, born 1948, Print Workshop, published 2003 by Tjilpi Kunmanara Kankapankatja, of the artist through the Art Gallery Gloria Tamerr Petyarre, Australia, Woman pissing, Venice, plate 8 from 21C, Sydney, colour photo‑lithograph Australia, 1930–2012, Pitjantjatjara/ Mortimer Menpes, Britain/Australia, of South Australia Contemporary c.1945, Anmatyerre/Alyawarr people, the Venice series, 2007‑10, Victoria; on paper; Gift of Leo Christie OAM Yankunytjatjara people, South Australia, Collectors 2015 Northern Territory, Untitled (Leaves), 1855–1938, Reading, c.1898–99, London, printed by Ros Atkins at Murray through the Art Gallery of South Mungartja kukatjara malaku pitjanyi – from the portfolio Republic Unlimited: drypoint, printed in coloured inks on Walker’s studio, Melbourne, etching Augustus Earle, Britain/Australia, Australia Foundation 2015. Donated Afternoon: coming back after hunting, Common Ground, 2003, printed by paper; Gift of the Art Gallery of South on paper; Gift of Rick and Jan Frolich 1793–1838, A government jail gang, through the Australian Government’s Kaltjiti Arts, Fregon, South Australia, Basil Hall, Basil Hall Editions, published Australia Foundation 2015 through the Art Gallery of South Sydney, N.S. Wales, part 2, plate 3 from Cultural Gifts Program etching, screenprint on paper; Art Gallery 2003 by 21C, Sydney, etching, printed Australia Contemporary Collectors the series Views in New South Wales and of South Australia Foundation’s South Mortimer Menpes, Britain/Australia, Fiona Hall, Australia, born 1953, in coloured inks on paper; Gift of 2015. Donated through the Australian Van Diemen’s Land. Australian Scrap Book, Australian Artists Fund 2016 1855–1938, Magdalen Bridge, Oxford, Burning bright, 2010, printed at Basil Leo Christie OAM through the Art Government’s Cultural Gifts Program 1830, London, printed by C. Hullmandel, c.1902–08, Pangbourne, England, Tjilpi Kunmanara Kankapankatja, Gallery of South Australia Foundation published by J. Cross, lithograph on Hall Editions, Darwin, Northern drypoint, plate tone, printed in sepia ink Australia, 1930–2012, Pitjantjatjara/ 2015. Donated through the Australian Rick Amor, Australia, born 1948, paper; Gift of Shane Le Plastrier through Territory, folio of 6 prints; Gift of on paper; Gift of Eric Denker in honour Susan Armitage through the Art Yankunytjatjara people, South Australia, Government’s Cultural Gifts Program Titan, 2009–10, Victoria; printed the Art Gallery of South Australia of Gary Morgan through the Art Gallery Gallery of South Australia Foundation Mungartji Mungantji kukaku patara by Ros Atkins at Murray Walker’s Foundation 2016 Artist unknown, after Edward Farndell, of South Australia Foundation 2015 2015. Donated through the Australian nyinanyi warungka pauntjangka – Dusk: studio, Melbourne, etching, drypoint Australia, 1837–1874, Opening of Augustus Earle, Britain/Australia, 1793– Government’s Cultural Gifts Program getting ready to eat before bedtime, Kaltjiti on paper; Gift of Rick and Jan Frolich Victoria Bridge over the River Torrens, INTERNATIONAL 1838, Natives of N.S. Wales drinking bool, Arts, Fregon, South Australia, etching, through the Art Gallery of South South Australia, 1870, Adelaide, PHOTOGRAPHS or sugar water, 1826, Sydney, lithograph Jake Holmes, Australia, born 1988, screenprint on paper; Art Gallery of Australia Contemporary Collectors C’mon Aussie C’mon, 2015, Adelaide, engraving, hand‑coloured with on paper J.C Earl Bequest Fund with the South Australia Foundation’s South Christo, Bulgaria/United States of 2015. Donated through the Australian screenprint on paper; Gift of the watercolour, on paper; Gift of Elders assistance of M.J.M Carter AO through Australian Artists Fund 2016 America, born 1935, Jeanne‑Claude, Government’s Cultural Gifts Program artist through the Art Gallery of Limited 2015 the Art Gallery of South Australia Morocco/United States, 1935–2009, South Australia Contemporary Patsy Marfura, Australia, born 1942, Rick Amor, Australia, born 1948, Foundation 2016 Regina Pilawuk Wilson, Australia, Wrapped coast, one million square feet, Collectors 2015 Ngangiwumerri people, Northern Gary Catalano, 1947–2002, Mirrored born 1948, Ngangikurrungurr people, Little Bay, Sydney, Australia, 1968–69, images, 1993, Victoria and Cobargo, Robert Punnagka Fielding, Australia, born Territor y, Durrmu, from the portfolio 1969, Western Arrernte/Yankuntjatjara/ Kitty Kantilla, Australia, c.1928–2003, Republic Unlimited: Common Ground, Northern Territory, Message sticks, 1969, Little Bay, Sydney, gelatin‑silver New South Wales, folio comprising from the portfolio Republic Unlimited: Pitjatjantjara people, Northern Territory/ Tiwi people, Northern Territory, 2008, printed by Basil Hall, Basil Hall photograph; Gift of Vivienne Sharpe title page, contents page, six single Common Ground, 2008, printed South Australia, Milkali Kutju, 2015, Untitled (Pumpuni Jilamara), from Editions, published 2008 by 21C, Sydney, through the Art Gallery of South sheet woodcuts and six single sheet by Jacqueline Gribbin and Merran created at Negative Press, Melbourne, the portfolio Republic Unlimited: etching on paper; Gift of Leo Christie Australia Contemporary Collectors hand type set poems, woodcut and Sierakowski, Basil Hall Editions, screenprint on fine art paper; Art Gallery Common Ground, 2002, printed by OAM through the Art Gallery of South 2016. Donated through the Australian letterpress on paper; Gift of Rick and published 2008 by 21C, etching, of South Australia Foundation’s South Franck Gohier, Red Hand Prints, Australia Foundation 2015. Donated Government’s Cultural Gifts Program Jan Frolich through the Art Gallery published 2002 by 21C, Sydney, colour printed in coloured inks on paper; Gift Australian Artists Fund 2016 through the Australian Government’s of South Australia Contemporary Jacques Henri Lartigue, France, 1894– screenprint on paper; Gift Cultural Gifts Program of Leo Christie OAM through the Art Collectors 2015. Donated through Frearson Brothers, Australia, active of Leo Christie OAM through the Gallery of South Australia Foundation 1986, Cousin Bichonnade in flight, 40 rue the Australian Government’s Cultural 1871–1896, Adelaide Jubilee International Art Gallery of South Australia Rosella Namok, Australia, born 1979, 2015. Donated through the Australian Cortambert, Paris, 1905, Paris (printed Gifts Program Exhibition to be opened June 20th 1887, Foundation 2015. Donated through Angkum people, Queensland, Blue water, Government’s Cultural Gifts Program 2003 by 31 Studio, Paris for
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Donation Jacques Henri Lartigue), Glenn Barkley, Australia, born 1972, Rhianon Vernon‑Roberts Memorial Acquisition through TARNANTHI | attributed to J.M. Wendt, Adelaide, China–Indonesia, Storage jar with platinum print; Gift of Barbara Fargher Time Fades Away, 2016, Sydney, Collection 2015 Festival of Contemporary Aboriginal Australia, est.1854, Cameo demi‑parure, spout, 9th–10 th Century, Guangdong, and family through the Art Gallery of earthenware and slip; Pauline Colley and Torres Strait Islander Art c.1865, Adelaide, gold, shell, in original China, found in Indonesia, probably Europe, Tea gown (for Emily Dutton of South Australia Foundation 2016 Bequest through the Art Gallery of supported by BHP Billiton 2015 box; Gift of Helen Bowden in memory Kalimantan, stoneware with green Anlaby house, Kapunda, South Australia), South Australia Foundation 2016 of her husband John Bowden 2015 glaze; Gift of Michael Abbott AO Jacques Henri Lartigue, France, c.1910–20, Europe, trapunto quilting, Yvonne Koolmatrie, Australia, born QC and Sue Crafter through the Art 1894–1986, Rouzat – Zissou and his Barossa Valley wool, satin, wadding, button; Gift of 1944, Ngarrindjeri people, South , South Australia, Gallery of South Australia Foundation tyre boat, 1911, Paris (printed 2003 by Leonie Matherson 2015 Australia, Sister basket, 2015, Berri, Australia, Hymm board, c.1890, Barossa 2016. Donated through the Australian 31 Studio, Paris for Donation Jacques Valley, South Australia, stained pine; South Australia, woven spiny‑headed attributed to C.E. Firnhaber, Germany/ Government’s Cultural Gifts Program Henri Lartigue), platinum print; Gift Gift of Dr Robert Lyons through sedge (Cyperus gymnocaulos); Australia, 1805–1880, Covered Cup, EUROPEAN ART of Barbara Fargher and family through the Art Gallery of South Australia Acquisition through TARNANTHI | China–Indonesia, Storage jar with c.1862, Adelaide, silver, emu egg, the Art Gallery of South Australia Foundation 2015 Festival of Contemporary Aboriginal Mortimer Menpes, Britain/Australia, spout, 9th–10 th Century, Guangdong, ebonised base; Bequest of John Wolfe Foundation 2016 and Torres Strait Islander Art 1855–1938, Midday – Puebla, c.1895, China, found in Indonesia, probably Stephen Bird St Alban and family 2015 , Australia, born 1964, supported by BHP Billiton 2015 Mexico or London, oil on panel; Gift Kalimantan, stoneware with green Stanley Wong, (anothermountainman), The surveyor, 2015, Sydney, glazed C.E. Firnhaber, Australia, 1805–1880, of the Art Gallery of South Australia glaze; Gift of Michael Abbott AO Hong Kong, born 1960, Lanwei 4/ earthenware; The Pauline Colley Yvonne Koolmatrie, Australia, born Covered Cup (for Thomas Graves), Foundation 2015 QC and Sue Crafter through the Art fly away, 2006, Guangzhou, type C Bequest Fund 2016 1944, Ngarrindjeri people, South 1864–65, Adelaide, silver, emu egg, Gallery of South Australia Foundation photograph; Gift of Julian & Stephanie Australia, Sister basket, 2015, Berri, Pepai Jangala Carroll, Australia, born malachite, azurite; Bequest of John 2016. Donated through the Australian Grose through the Art Gallery of South Australia, woven spiny‑headed 1950, Pitjantjatjara people, South Wolfe St Alban and family 2015 Government’s Cultural Gifts Program South Australia Foundation 2016. sedge (Cyperus gymnocaulos); Australia/Luritja people, Northern Donated through the Australian Daniel and Charles Houle Silversmiths, Acquisition through TARNANTHI | ASIAN ART China–Indonesia, Large bowl, with single Territor y, Walungurru, 2015, Ernabella Government’s Cultural Gifts Program Britain, est. 1845, Bank of India Festival of Contemporary Aboriginal flower in cavetto, c.1600, Zhangzhou, Arts Incorporated, South Australia, presentation tray, 1864, London, silver; and Torres Strait Islander Art CERAMICS Fujian or Guangdong, China, found in stoneware; Pauline Colley Bequest M.J.M Carter AO Collection through supported by BHP Billiton 2015 Indonesia, stoneware with underglaze through the Art Gallery of South the Art Gallery of South Australia China, Double gourd vase, for the export blue decoration; Gift of Michael De Porceleyne Claeuw (The Australia Foundation 2016 Foundation 2016 market, with flowers and auspicious motifs, Abbott AO QC and Sue Crafter Porcelain Claw), manufacturer, Delft, AUSTRALIAN & c.1600, Jingdezhen, Jiangxi, porcelain, through the Art Gallery of South Pepai Jangala Carroll, Australia, born Hugentobler & Sturm, Blumberg Netherlands, est.1658–1840, Vase underglaze with blue decoration; Gift Australia Foundation 2016. Donated 1950, Pitjantjatjara people, South (Birdwood), South Australia, Australia, (floral display design), 18th Century, INTERNATIONAL of Aldridge Family Endowment, Colin through the Australian Government’s Australia/Luritja people, Northern working c.1878, Henry Hugentobler, Delft, Netherlands, earthenware, Beer, M.J.M Carter AO, David Cottrell, Cultural Gifts Program Territor y, Walungurru, 2015, Ernabella, Australia, working c.1878–c.1891, glazed; Hugo van Dam Bequest 2012 DECORATIVE Dr Peter Dobson, Hiroko Gwinnett, South Australia, stoneware, glazed; Art Conrad Sturm, Australia, 1851–1907, China–Indonesia, Large plate, decorated De Porceleyne Claeuw (The Porcelain Jennifer Hallett, Dr Michael Hayes, Shane Gallery of South Australia Foundation’s Chest of drawers, 1878, Birdwood, in Vietnamese style, c.1600, Zhangzhou, ARTS Claw), Delft, Netherlands, est.1658– Le Plastrier, Lipman Karas, Mark Livesey South Australian Artists Fund 2015 South Australia, cedar (Toona ciliata), Fujian or Guangdong, China, found in 1840, Vase (flower and fence design), QC, Leo Mahar, Jane McGregor, David Lorraine Connelly‑Northey, Australia, pine, stringy bark, red gum; Bequest of Indonesia, stoneware, underglaze blue 18th Century, Delft, Netherlands, McKee, Pamela McKee, Peter McKee, Arthur Merric Boyd Pottery 1962, Waradgerie people, New South John Wolfe St Alban and family 2015 decoration; Gift of Michael Abbott AO , earthenware, glazed; Hugo van Dam Lady Porter, Judith Rischbieth, Dr P.J.W. Murrumbeena, Melbourne, Australia, Wales, Narbong (string bag), 2009, QC and Sue Crafter through the Art Kath Inglis, Australia, born 1974, Bequest 2012 Verco, Marion Wells, Peter Wilson and 1944–1962, Neil Douglas, Australia, Swan Hill, Victoria, bed base wire, Gallery of South Australia Foundation Waterfalls neckpiece, 2016, Adelaide, Zena Winser through the Art Gallery of 1911–20 03 , John Perceval, Australia, fencing wire; Gift of Susan Armitage Julius Schomburgk, Australia, 2016. Donated through the Australian polyvinyl chloride (PVC); Rhianon South Australia Foundation Collectors 1923–2000, Bowl, 1950, Murrumbeena, through the Art Gallery of South Vernon‑Roberts Memorial Collection 1819–1893, Henry Steiner, Australia, Government’s Cultural Gifts Program 1835–1914, Covered cup, c.1863, Club 2015 Melbourne, earthenware; The Pauline Australia Foundation 2015. Donated 2016 China–Indonesia, Vase, with two flying Colley Bequest Fund 2015 through the Australian Government’s Adelaide, silver, emu egg; Bequest of China, Jar, with flowers and garden scene, Yvonne Koolmatrie, Australia, born dragons, c.1600, Zhangzhou, Fujian or Cultural Gifts Program John Wolfe St Alban and family 2015 c.1850, Jingdezhen, Jiangxi, porcelain, Arthur Merric Boyd Pottery, 1944, Ngarrindjeri people, South Guangdong, China, found in Indonesia, under-glaze cobalt blue, overglaze Murrumbeena, Melbourne, Lorraine Connelly‑Northey, Australia, Australia, Eel trap, 2015, Berri, South Stokes & Sons, Melbourne, Australia, stoneware with underglaze blue enamels; M.J.M Carter AO Collection Australia, 1944–1962, Neil Douglas, born 1962, Waradgerie people, New Australia, woven spiny headed sedge est.1856, Ernst August Altmann, decoration; Gift of Michael Abbott AO Australia, 1911–2003, John Perceval, South Wales, Narbong (string bag), (Cyperus gymnocaulos); Acquisition Australia, c.1850–1920, Adelaide jubilee through the Art Gallery of South QC and Sue Crafter through the Art Australia, 1923–2000, Large bowl, 2009, Swan Hill, Victoria, rusted through TARNANTHI | Festival of international exhibition 1887 (obverse Australia Foundation 2016 Gallery of South Australia Foundation 2016. Donated through the Australian 1950, Murrumbeena, Melbourne, galvanised iron with fencing wire; Gift Contemporary Aboriginal and Torres die), 1887, Melbourne, steel; Gift of China, Decorated eave tile, mid–late Stokes Limited 2015 Government’s Cultural Gifts Program earthenware; The Pauline Colley of Susan Armitage through the Art Strait Islander Art supported by BHP 19 th Century, Guangzhou or Fujian, Bequest Fund 2015 Gallery of South Australia Foundation Billiton 2015 Strathalbyn, South Australia, Meat safe, reportedly found in vicinity of former 2015. Donated through the Australian Glenn Barkley Yvonne Koolmatrie c.1880, Strathalbyn, South Australia, Chinese temple, Hindley St, Adelaide, , Australia, born 1972, Government’s Cultural Gifts Program , Australia, born Golden Euphorbia Pot, 2016, Sydney, 1944, Ngarrindjeri people, South pine, original paint patina, tin, brass, stoneware, green glaze, moulded stoneware and gold paint; Pauline Joungmee Do, Australia, born 1966, Australia, Shrimp scoop, 2015, Berri, (replacement latch); Gift of Dr Robert decoration; Gift of an anonymous Colley Bequest through the Art Gallery Rocks necklace, 2015, Melbourne, South Australia, woven spiny‑headed Lyons through the Art Gallery of South donor through the Art Gallery of of South Australia Foundation 2016 sterling silver, fine silver, gold, steel; sedge (Cyperus gymnocaulos); Australia Foundation 2015 South Australia Foundation 2016
56 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 57 ACQUISITIONS APPENDIX D APPENDIX
China–Indonesia, Lidded box, with Thailand, Bowl, with deer, 15th Century, Utagawa Kunisada I (Toyokuni III), (Take kawa) Chapter 44, 1852 (Kaei 5), Utagawa Kunisada I (Toyokuni III), Utagawa Kunisada I (Toyokuni III), horses on lid and crab on base, late Wiang Kalong, Chiang Rai, stoneware, Japan, 1786–1864, Beneath the Oak from an untitled series of Genji pictures Japan, 1786–1864, The oak tree Japan, 1786–1864, Wind in the pines 16th–early 17th Century, Jingdezhen, underglaze decoration; Gift of an (Shiiga moto) Chapter 46 and The (Genji-e) Japan, colour woodblock (Kashi wagi) Chapter 36 and The bell (Matsu kaze) Chapter 18 and The Jiangxi, China, found in Indonesia, anonymous donor through the Art maiden of the bridge (Hashi hime) (nishiki‑e) on paper; Gift of an anonymous cricket (Suzu mushi) Chapter 38, 1852 picture contest (E awase) Chapter 17, stoneware with blue underglaze Gallery of South Australia Foundation Chapter 45, 1852 (Kaei 5), from an donor through the Art Gallery of South (Kaei 5), from an untitled series of 1852 (Kaei 5), from an untitled series decoration; Gift of Michael Abbott 2016 untitled series of Genji pictures (Genji-e), Australia Foundation 2016 Genji pictures (Genji-e), Japan, colour of Genji pictures (Genji-e), Japan, colour AO QC and Sue Crafter through Japan, colour woodblock (nishiki‑e) on woodblock (nishiki‑e) on paper; Gift of woodblock (nishiki‑e) on paper; Gift of Vietnam, Bowl, with carved floral decoration, Utagawa Kunisada I (Toyokuni III), Japan, the Art Gallery of South Australia paper; Gift of an anonymous donor an anonymous donor through the Art an anonymous donor through the Art 14th–15th Century, Thanh Hoa region, 1786–1864, Spring shoots (Wa kana) Foundation 2016. Donated through through the Art Gallery of South Gallery of South Australia Foundation Gallery of South Australia Foundation stoneware with degraded celadon glaze, Chapter 34 and New wisteria leaves(Fuji no the Australian Government’s Cultural Australia Foundation 2016 2016 2016 carved decoration; Gift of an anonymous uraba) Chapter 33, 1852 (Kaei 5), from an Gifts Program donor through the Art Gallery of South Utagawa Kunisada I (Toyokuni III), untitled series of Genji pictures (Genji-e) Utagawa Kunisada I (Toyokuni III), Utagawa Kunisada I (Toyokuni III), China–Indonesia, Oval lidded box, Australia Foundation 2016 Japan, 1786–1864, Bracken shoots Japan, colour woodblock (nishiki‑e) on Japan, 1786–1864, The safflower Japan, 1786–1864, Young Murasaki with flying phoenix, late 16th–early 17th (Sawarabi) Chapter 48 and Trefoil paper; Gift of an anonymous donor (Suetsu mu hana) Chapter 6 and The (Waka Murasaki) Chapter 5 and The Century, Jingdezhen, Jiangxi, China, WORKS ON PAPER knots (Age maki) Chapter 47, 1852 through the Art Gallery of South paulownia pavilion (kiri tsubo) Chapter festival of red leaves (Momiji no ga) found in Indonesia, stoneware with (Kaei 5), from an untitled series of Australia Foundation 2016 1, 1852 (Kaei 5), from an untitled Chapter 7, 1852 (Kaei 5), from an blue underglaze decoration; Gift of China, Independence and self-reliance, Genji pictures (Genji-e) Japan, colour series of Genji pictures (Genji-e), Japan, untitled series of Genji pictures (Genji-e), Utagawa Kunisada I (Toyokuni III), Japan, Michael Abbott AO QC and Sue 1978, Beijing or Shanghai, paper, woodblock (nishiki‑e) on paper; Gift of colour woodblock (nishiki‑e) on paper; Japan, colour woodblock (nishiki‑e) on 1786–1864, The bluebell (Asa gao) Chapter Crafter through the Art Gallery of pigment; Gift of Dr Stephanie Schrapel an anonymous donor through the Art Gift of an anonymous donor through paper; Gift of an anonymous donor 20 and Wisps of cloud (Usu gumo) Chapter South Australia Foundation 2016. through the Art Gallery of South Gallery of South Australia Foundation the Art Gallery of South Australia through the Art Gallery of South 19, 1852 (Kaei 5), from an untitled series Donated through the Australian Australia Foundation 2016 2016 Foundation 2016 Australia Foundation 2016 of Genji pictures (Genji-e) Japan, colour Government’s Cultural Gifts Program Egypt, Al‑Quran, late 19th Century, Egypt, Utagawa Kunisada I (Toyokuni III), woodblock (nishiki‑e) on paper; Gift of Utagawa Kunisada I (Toyokuni III), Wakabayashi Shokei, Japan, 1858– Indonesia, Shallow bowl with ceplokan ink, water colour and gold on polished Japan, 1786–1864, Butterflies (Kocho) an anonymous donor through the Art Japan, 1786–1864, The twilight beauty 1938, Old pine, late 19th–early 20th pattern, 17th–18th Century, Central paper, leather, 302 folio‑bound volume; Chapter 24 and The tendril wreath Gallery of South Australia Foundation (Yugao) Chapter 4 and Heart to Heart Century, Osaka, six panel screen, ink Java, bronze; Gift of Michael Abbott Gift of Mrs S.M.D. Butler through (Tamaka zura) Chapter 22, 1852 2016 (Aoi) Chapter 9, 1852 (Kaei 5), from on paper; M.J.M Carter AO Collection AO QC and Sue Crafter through the Art Gallery of South Australia (Kaei 5), from an untitled series of an untitled series of Genji pictures through the Art Gallery of South Utagawa Kunisada I (Toyokuni III), Japan, the Art Gallery of South Australia Foundation 2016 Genji pictures (Genji-e), Japan, colour (Genji-e), Japan, colour woodblock Australia Foundation 2016 1786–1864, The cicada shell (Utsu semi) Foundation 2016. Donated through woodblock (nishiki‑e) on paper; Gift (nishiki‑e) on paper; Gift of an Gonkar Gyatso, Britain/Tibet, born Chapter 2 and The broom tree (Haha kigi) Tanba Shuji, Japan, 1828–1908, the Australian Government’s Cultural of an anonymous donor through anonymous donor through the Art 1961, Buddah in our times, 2010, London, Chapter 3, 1852 (Kaei 5), from an untitled Mizoguchi Gekko, Japan, active c.1870, Gifts Program the Art Gallery of South Australia Gallery of South Australia Foundation screen print and silver and gold leaf series of Genji pictures (Genji-e) Japan, The study of grasses (Oshie gusa), Foundation 2016 2016 Indonesia, Mosque vessel for prayer on paper; Gift of Julian & Stephanie colour woodblock (nishiki‑e) on paper; 1872–76 (Meiji 5–9), Tokyo, 20 leaves, ablutions (wudhu), 1900 or earlier, Grose through the Art Gallery of South Utagawa Kunisada I (Toyokuni III), Gift of an anonymous donor through the Utagawa Kunisada I (Toyokuni III), colour woodblock print on paper; Demak, Central Java, terracotta; Gift Australia Foundation 2016. Donated Japan, 1786–1864, Evening mist (Yugiri) Art Gallery of South Australia Foundation Japan, 1786–1864, The typhoon (No Gift of an anonymous donor through of Michael Abbott AO QC and Sue through the Australian Government’s Chapter 39 and The law (Minori) Chapter 2016 waki) Chapter 28, and The pink (Toko the Art Gallery of South Australia Crafter through the Art Gallery of Cultural Gifts Program 40, 1852 (Kaei 5), from an untitled natsu) Chapter 26, 1852 (Kaei 5), from Foundation 2016 Utagawa Kunisada I (Toyokuni III), South Australia Foundation 2016. series of Genji pictures (Genji-e) Japan, an untitled series of Genji pictures Utagawa Kunisada I (Toyokuni III), Japan, Japan, 1786–1864, The cressets (Kaga Utagawa Yoshiiku, Japan, 1833–1904, Donated through the Australian colour woodblock (nishiki‑e) on paper; (Genji-e), Japan, colour woodblock 1786–1864, Akashi (Akashi) Chapter ribi) Chapter 27 and The fireflies Chapter Pictures of foreign men and women of Government’s Cultural Gifts Program Gift of an anonymous donor through (nishiki‑e) on paper; Gift of an 13 and Suma (Suma) Chapter 12, 1852 25 (Hotaru), 1852 (Kaei 5), from an all nationalities (bankoku danjo jinbutsu the Art Gallery of South Australia anonymous donor through the Art Japan, Large bowl, with butterflies, (Kaei 5), from an untitled series of Genji untitled series of Genji pictures (Genji-e) zu), 1861, Japan, colour woodblock Foundation 2016 Gallery of South Australia Foundation th pictures (Genji-e) Japan, colour woodblock Japan, colour woodblock (nishiki‑e) on (nishiki‑e) tryptich on paper; Gift of late 19 Century, Japan, porcelain, 2016 underglaze blue decoration; Gift of (nishiki‑e) on paper; Gift of an anonymous Utagawa Kunisada I (Toyokuni III), paper; Gift of an anonymous donor Shane Le Plastrier through the Art Mrs H.W. Rymill through the Art donor through the Art Gallery of South Japan, 1786–1864, Falling flowers (Hana through the Art Gallery of South Utagawa Kunisada I (Toyokuni III), Gallery of South Australia Foundation Gallery of South Australia Foundation Australia Foundation 2016 chiru sato) Chapter 11 and Under the Australia Foundation 2016 Japan, 1786–1864, The warblers first 2016 2016 cherry blossoms (Hana no en) Chapter 8, song (Hatsune) Chapter 23 and The Utagawa Kunisada I (Toyokuni III), Utagawa Kunisada I (Toyokuni III), 1852 (Kaei 5), from an untitled series maidens (O tome) Chapter 21, 1852 Japan, Square flask in the shape of a Japan, 1786–1864, At the pass (Seki Japan, 1786–1864, The floating bridge of MOVING IMAGE of Genji pictures (Genji-e) Japan, colour (Kaei 5), from an untitled series of Dutch bottle, late 17th Century, Arita, ya) Chapter 16 and A waste of weeds dreams (Yume no ukihashi) Chapter 54 and woodblock (nishiki‑e) on paper; Gift of Genji pictures (Genji-e), Japan, colour teamLab, Japan, formed 2001, Ever Saga Prefecture, porcelain, underglaze (Yomogiu) Chapter 15, 1852 (Kaei 5), Writing practice (Ten ari) Chapter 53, 1852 an anonymous donor through the Art woodblock (nishiki‑e) on paper; Gift of Blossoming Life II – Gold, 2015, Tokyo, blue decoration; Gift of M.J.M Carter from an untitled series of Genji pictures (Kaei 5), from an untitled series of Genji Gallery of South Australia Foundation an anonymous donor through the Art four‑channel, digital, endless, edition AO Collection in memory of Dr. (Genji-e) Japan, colour woodblock pictures (Genji-e) Japan, colour woodblock 2016 Gallery of South Australia Foundation 4/6; Gift of the Neilson Foundation (nishiki‑e) on paper; Gift of an anonymous (nishiki‑e) on paper; Gift of an anonymous Brian Crisp AM (1924–2012) through 2016 through the Art Gallery of South the Art Gallery of South Australia donor through the Art Gallery of South Utagawa Kunisada I (Toyokuni III), donor through the Art Gallery of South Australia Foundation 2015 Foundation 2015 Australia Foundation 2016 Japan, 1786–1864, Red plum blossoms Australia Foundation 2016 (Ko bai) Chapter 43 and Bamboo river
58 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 59 APPENDIX E DONORS AND PARTNERSHIPS AND DONORS
DONORS AND PARTNERSHIPS APPENDIX E APPENDIX FOUNDATION
PAINTINGS India, Man’s formal coat, early 20th Gallery of South Australia Foundation PATRONS Dr Michael Tuckson Dick Whitington, QC BENEFACTORS Century, northern India, brocade and 2016. Donated through the Australian Max Carter, AO Dr Edward Tweddell* Zena Winser Carol Adams Bosai Kameda, Japan, 1752–1826, plain weave fabric, natural dyes, metallic Government’s Cultural Gifts Program Diana Ramsay, AO Sue Tweddell BankSA Ross Adler, AC Autumn sunlight brightens the forest in thread; Gift of Michael Abbott AO Lyn Williams, AM The Gordon Darling Japan, The departure from Kashima James Ramsay, AO* Beverley A Anderson late afternoon ..., c.1810, Japan, hanging QC and Sue Crafter through the Art Margaret Olley Art Trust Foundation (Kashima dachi shin ei zu), 17th–18th Geoffry Angas Parsons* scroll, ink on silk, wood; Gift of Shane Gallery of South Australia Foundation FOUNDERS Santos Limited Ian Potter Foundation Century, Nara, hanging scroll, ink, Philip Bacon, AM Le Plastrier through the Art Gallery of 2016. Donated through the Australian Mary Abbott Macquarie Group Foundation colour and gold on silk; M.J.M Carter Sitehost Pty Ltd Albert Bensimon South Australia Foundation 2016 Government’s Cultural Gifts Program Michael Abbott, AO, QC Neilson Foundation AO Collection through the Art Gallery PRINCIPALS Dr James Black William Bowmore, AO, Thyne Reid Foundation Dadang Christanto, Australia, born India – Indonesia, Ceremonial cloth and of South Australia Foundation 2016 OBE* Suzanne Brookman* Paul Black 1957, Mutilation: 5, 2003, Sydney, sacred heirloom, depicting poppy flowers, James and Jacqui Erskine Frank Choate GUARDIANS Richard Black synthetic polymer paint, ink and pencil early‑mid 18th Century, Coromandel DECORATIVE ARTS James Fairfax, AC Mary Choate H.R. Bonython AC, DFC, Mary Baker* AFC* on linen; Gift of Julian & Stephanie Coast (Tamil Nadu and Andhra Andrew Gwinnett Colin Cowan Colin Beer* Grose through the Art Gallery of Pradesh), India, found in Indonesia, China, Bracelet with carved ivory plaques Lauraine Diggins Julie Bonython th Hiroko Gwinnett Joan Beer South Australia Foundation 2016. and case, late 19 Century, China, gold, Kathy Booth cotton, mordant dyes, block print; Tom and Elizabeth Hunter* Marjory Edwards, OAM* Margaret Bennett Donated through the Australian Gift of Michael Abbott AO QC and ivory, metal, felt; Bequest of Merrily Marion Borgelt Christine Michell* Dr Peter Elliott, AM Leo Christie, OAM Government’s Cultural Gifts Program Sue Crafter through the Art Gallery Jeanne Hallsworth 2015 Professor Peggy Brock G Howard Michell, AC* Frances Gerard Barbara Crompton of South Australia Foundation 2016. Jennifer Brown India, Presentation ewer, 1883, possibly Javier and Arantza Moll Julian and Stephanie Grose Dr David Crompton, AO* TEXTILES Donated through the Australian Robert Hannaford, AM Leonard Brown Ahmedabad, silver with gilded interior; Mary Overton, AM* James Crompton Government’s Cultural Gifts Program Anthony Hurl Joseph Catanzariti, AM China, Loose‑sleeved woman’s jacket, Gift of Michael Abbott AO QC and The Balnaves Foundation Elisabeth Cummings Sue Crafter through the Art Gallery Anthony Knight Joan Clift* c.1900, China, embroidered and Indonesia, Shrine cloth hanging (lamak), James & Diana Ramsay Dr Michael Drew of South Australia Foundation 2016. Beverly Knight Shirley Crinion plain weave silk, gold thread, natural 20th Century, Bali, possibly Kesiman, Foundation Emeritus Professor Anne Donated through the Australian The Hon. Diana Laidlaw, AM Ann Croser dyes, couching and stitching; Gift of Badung, cotton, natural dyes; Gift Government of South Edwards, AO Government’s Cultural Gifts Program Trevor Lands David de Brequet Rosemary Attwood through the Art of Michael Abbott AO QC and Sue Australia Diana Evans Shane Le Plastrier Dr Peter Dobson Gallery of South Australia Foundation Crafter through the Art Gallery of India, Games table, c.1850, Elizabeth H Finnegan, OAM GOVERNORS Lady Downer* 2016 South Australia Foundation 2016. Vizagapatam, (Vixakhapatnam), Khai Liew Julian Gosse Susan Armitage Ivan Durrant Donated through the Australian Andhra Pradesh, sandalwood, elephant Christina Litt Philip Gosse India, Canopy for Jain image (chandarva), Helen Bowden Dr Robert Edwards, AO Government’s Cultural Gifts Program ivory, sadeli micro‑mosaic inlay; Gift in Dr John Litt* Tony Gosse 20th Century, probably Gujurat, Helen Brack Professor Norman memory of Belinda Morgan through Alan McGregor, AO* Paul Greenaway, OAM brocade and plain weave silk, stitching; Indonesia, Woman’s court jacket (paes), Maurice A. Clarke* Etherington, AM the Art Gallery of South Australia Skye McGregor Dr Michael Hayes Gift of Michael Abbott AO QC and 20th Century, Central Java, velvet, Barbara Crisp Mary Gabb Foundation 2015 David McKee Anne Kidman* Sue Crafter through the Art Gallery synthetic plain weave fabric, plastic Dr Brian Crisp, AM* Harold and Neriba Gallasch Pam McKee Jessica Knight of South Australia Foundation 2016. beads, metal sequins; Gift of Michael Netherlands or Indonesia, Chest, Ann Douglas Hugh Griffiths Pamela McKee Gosia Kudra Schild Donated through the Australian Abbott AO QC and Sue Crafter with Dutch East Indies Company (VOC) Timothy Fairfax, AC David Hallett Peter McKee Mark Livesey, QC Government’s Cultural Gifts Program through the Art Gallery of South insignia, c.1700, Indonesia, wood, brass; Barbara Fargher Jennifer Hallett John Mansfield, AM Joan Lyons Australia Foundation 2016. Donated Gift of Andrew and Hiroko Gwinnett John Ferguson and Sam Hill-Smith India, Canopy for Jain image (chandarva), James Mollison, AO Catriona Mordant through the Australian Government’s through the Art Gallery of South Lindsay Osborn Christopher Hodges and 20th Century, probably Gujarat, Peter Muller, AO Simon Mordant, AM Cultural Gifts Program Australia Foundation 2015 Dr Michael Fung Helen Eager brocade and plain weave silk, stitching; The Hon Dr Kemeri Murray, Marcia Rankin Lee Grafton and Alan Myren AO* Carol Jolly Gift of Michael Abbott AO QC and Indonesia, Woman’s court jacket (paes), Ronald Rankin* Geoffrey Hackett-Jones, QC* Mike Parr Reverend William Jolly* Sue Crafter through the Art Gallery with peacocks, 20th Century, Central Judith Rischbieth The Gallery lent a total of Barrie and Judith Heaven Jean Pearce* Grant Jorgensen of South Australia Foundation 2016. Java, velvet, synthetic plain weave Prue Lee Dr Jamie Simpson and Judy Inge King* Donated through the Australian fabric, plastic beads, metal sequins; 212 works to 33 exhibitions Tom Pearce Wheeler Ian Lloyd Richard and Blanche Koehne Government’s Cultural Gifts Program Gift of Michael Abbott AO QC and including 4 major national Tom Phillips* Jo Steele Lesley Lynn Anna Platten Elizabeth Le Messurier Sue Crafter through the Art Gallery touring exhibitions. 36 works Margaret Tuckson* India, Canopy for Jain image (chandarva), Dr Robert Lyons Lady Porter The Hon Christopher Legoe, of South Australia Foundation 2016. were lent to 10 local Justice Ann Vanstone 20th Century, Gujarat or Rajasthan, Tim Maguire Kenneth Reed, AM AO, QC Donated through the Australian exhibitions and 176 works Marion Wells embroidered and plain weave silk, Rick Martin Professor Graeme Smith Jenny Legoe Government’s Cultural Gifts Program were lent to 23 national Ray Wilson, OAM stitching; Gift of Michael Abbott AO Barbara Mullins* Georgina Taylor Jane McGregor exhibitions. In addition Lipman Karas QC and Sue Crafter through the Art Indonesia, Uncut ritual cloth Douglas Mullins* Andrew Tennant* Diana McLaurin th 73 works were lent to Perpetual Ltd Gallery of South Australia Foundation (kekombong), 19 Century, Lombok, John Phillips Aida Tomescu Belinda Morgan* 7 Government Departments The Walker Lowe Collection 2016. Donated through the Australian West Nusa Tenggara, cotton, natural David Roche, AM* Peter Tyndall Delcie Norton* The Wood Foundation Government’s Cultural Gifts Program dyes; Gift of Michael Abbott AO under the Furnishing Wendy St Alban Professor Barrie Vernon- Roslyn and Tony Oxley QC and Sue Crafter through the Art Loans program. Win Schubert, AO Roberts, AO* Janice Pleydell Philip Speakman Dr Jane Vernon-Roberts Lady Potter, AC
60 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 61 DONORS AND PARTNERSHIPS AND DONORS APPENDIX E APPENDIX
Professor Wilfrid Prest Dr Stephen Freiberg Danie Mellor MEMBERS Ann Hawker Sally Powell The Hon Graham Prior, QC* Richard Frolich Pauline Menz Thomas Abbott John Heard Dr Rick Power CONTEMPORARY Dr Ron Radford, AM Loene Furler Dr Patricia Michell Lucy Abbott Annabel Hill Smith Ann Price Dr Christine Rothauser Neriba Gallasch H Michell Sophie Abbott Robert Hill Smith Anna Raptis COLLECTORS Lady Rymill* Harold Gallasch Milton Moon Catherine Abbott Anne Hirsch Julie Redman Dr Ernest Hirsch Elaine Rischbieth Don Sarah, AM Howard Galloway Damon Moon Will Angove GOVERNORS Tiffany Wood-Arndt Bill Taylor Charlotte Galloway Peter Morgan Richard Holland Henry Rischbieth Ann Axelby Candy Bennett Macquarie Robert Thomas, AO* Maxine Gemmell Jan Murphy Antonietta Itropico Alexander Rix Elaine Barker Ben Quilty Janette Thornton Jennifer Genion Tomoko Nakayama Jenny Jarvis Dr Claire Roberts CIRCLE Margaret Beard Tracey and Michael Whiting John Thornton Karen Genoff Professor Ian North, AM Deane Jarvis Dr Ben Robinson Geoff Ainsworth, AM and Josephine Ben-Tovim Johanna Featherstone David Urry Albert Gillissen Margot Overton Dr Neil Jensen Christina Ross PRINCIPALS Dr David Ben-Tovim Michael and Silvana Angelakis The Hon. John von Doussa, Darryl Gobbett Kaaren Palmer Norma Jensen Tricia Ross Dani Marti David Black Philip Bacon, AM AO, QC John Goodman Richard Pash Professor Nicholas Jose Richard Ryan, AO Jane Michell and Nick Bolkus Andrew and Cathy Cameron Janet Worth Robin Greenslade Robert Patterson Peter Kay Greg Sanderson Sadie Michell Robert Bolton Dr Andrew Clouston Dr William Young Dr Noel Grieve The Hon Carolyn Pickles Bill Keneley Elizabeth Sanderson Steven and Alisa Nasteski David Bridges Colin and Robyn Cowan SA Power Network Rachel Grimshaw Robin Pleydell Joe Kertesz Meredyth Sarah, AM Dr Clinton Ng Robert Brown Scott and Zoë Elvish Penelope Hackett-Jones Anne Prior Carla Kertesz Dr Stephanie Schrapel Roslyn and Tony Oxley Barbara Brown Adam Knight Rob Greenslade FELLOWS Grant Hawley Joyce Quin Chris Searcy John Phillips and The Hon Dean Brown, AO Connie Kosti Brent Harris Will Abel Smith Anne Hetzel OAM Rosemary Radden Marilyn Seidel Abram Phillips Marjorie Brown The Hon Robert Lawson, QC Ron Seidel Klein Family Foundation Marjorie Andrew Margo Hill-Smith Carolyn Rankin PSM Mary Ann Santin Rosslyn Brown Pamela Lawson Michael Shearer, AM Gosia Kudra Schild Janet Angas John Hindmarsh, AM Don Rankin The Balnaves Foundation Graham Buckett Alun Leach-Jones Mary Simpson Sonia Laidlaw David Angel Penny Holmes Marietta Resek GUARDIANS Nona Burden Nola Leach-Jones Rosemary Smith Sam Leach Anita Angel Harley Hooper Dick Richards Kate Breakey Angela Burford The Hon Anne Levy, AO Terr y Smith Edwina Lehmann Dr Mandy Ayres Dr Louise Howell Josie Robertson Elisabeth Cummings Margaret Burrell Arthur Littlejohns Linden Smith Anthony and Helen Lewis Neil Balnaves, AO Professor Peter Howell John Russell James Darling, AM and Helen Carreker Dr Jane Lomax-Smith Glenys Steele Scott Jan Murphy Peggy Barker Dr Gregory Jaunay Rosalind Russell Lesley Forwood James Carreker David Macfarlane Dr Mary Sutherland Peter and Jane Newland Catherine Boros Ian Jones Jill Russell Rick and Jan Frolich Annabelle Chan Caryl Macfarlane Peter Sutherland Creagh O’Connor Jeffrey Bowden Bronwen Jones Trisha Ryan Paul Greenaway, OAM Gaelle Clements Dr Leo Mahar Paul Swain Maureen Ritchie Dr William Boyle Dee Jones Beverley Seaton Andrew and Diane Colton Theo Maras, AM OLJ Rod Taylor, AM Caroline Rothwell Beverley Brown, OAM Dr Jim Katsaros Professor Anthony Seymour Hiroko Gwinnett Professor Suzanne Corcoran Dr Ruth Marshall R Taylor Vivienne Sharpe Dr Marcus Brownlow John Sheahan Euan MacLeod Franz Kempf, AM Dr Geoffrey Martin Pamela Terr y Sue Tweddell Dr David Bullen Karina Cosoff William Nuttall and Ulrike Klein Antony Simpson Leonie Matheson Douglas Watkin Christina Carli Robert Crabtree Dr Daniel Thomas, AM Annette Reeves Richard Krantz Rob Skipper Zeenee Michael Peter and Lisa Weeks Deborah Cocks John Crosby Jude Tolley Sonia Laidlaw Dr John Skipper Dr Gorana Milosevic Jonathan Tolley BENEFACTORS Dr Terry Wu Susan Cocks Susan Damin Liz Lander Linda Sly Ayako Mitsui Linnett Turner John and Jane Ayers Dr Mark Coleman Kelly Day CORPORATE GOLD Roger Lang Dr Lesley Smith Dr Graeme Moffatt Dr David Turner Martin Bell Josephine Cooper Eric Denker Cleverdicks Julie Lawry Carol Spangler Dr Gary Morgan Regina Twiss Cherise Conrick Paul Corcoran Anne Dow Lipman Karas The Hon Justice Robyn Layton, Raphy Star Christine Morony Prudence Walker Dr Peter Dobson Carolyn Corkindale Charlie Downer AO, QC Barbara Stewart Dr Lloyd Morris, AM Rilka Warbanoff Timothy Fairfax, AC MEMBERS Dr Wendy Craik, AM Perry Fabian Alexandra Legge Marcia Thomas Heather Motteram Virginia Ward Julian and Stephanie Grose Tony Alber t Dr Bertine Cramond Stephanie Fabian Cheong Liew OAM Ian Thornquest Robert Motteram Louise Ward Dr Michael Hayes and Don and Veronica Aldridge Kathy Crosby The Hon Justice Paul Finn Virginia Ligertwood Susan Thyer Jennifer Neill Joan Weber Janet Hayes Susan Armitage Dr Frances Cumming Terry Finnegan Dr Michael Llewellyn-Smith, AM Dr Joe Verco Timothy Neill Dr Orietta Wicks Ian Little and Jane Yuile Benjamin Armstrong Mimi Forwood Anne Davidson William MacKinnon Simone Vinall Jane Newland June Wilhelm John McBride, AM Kent Aughey Toby Forwood Elizabeth Davies Fiona MacLachlan, OAM Dr Barbara Wall Craig Noble Mary Wilson Dr Peter McEvoy Dr Sally Ball Penny Fowler Tom Davies Betty Maddern Richard Walsh, AM Sofia Orfanos Judith Worrall David and Pam McKee Merrie Beasley Bice Della-Putta Kate Mansfield Tracey Whiting Anne Marie Graham Dr John Overton Dr Andrew Zacest Danie Mellor Becky Blake Elspeth Doman, OAM Rosalyn Marshall Naomi Williams Jill Gray Melinda Parent Enhance Travel Hugo and Brooke Michell Sue Boettcher Dr Neo Douvartzidis The Hon Roderick Matheson, Peter Wilson Dr Adam Graycar Harry Patsouris KPMG Jan Minchin Marc Bowden Colin Dunsford AM, QC Pamela Yule Pat Grummet Rosemary Paull Sullivan+Strumpf Dr Dick Quan and Dr William Boyle Dr Lesley Ewing Jean Matthews Ord Minnett Naomi Guerin Mark Penniment The Edmund & George John McGrath Cheryl Bridgart Estelle Farwell Wayne McGeoch Anne Haddad Robert Piper, AO Whitlock Foundation Brett Stone Sam and Tania Brougham David Farwell Janet McLachlan Raine Harker Robert Pontifex, AM * Deceased Paul and Thelma Taliangis Karen Brown
62 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 63 DONORS AND PARTNERSHIPS AND DONORS
PARTNERSHIPS E APPENDIX
Martin Browne John Hurley Jill Russell GOVERNMENT GALLERY Contemporary Karin Jalland Maria Ryan Judy Buchan Philippe and Diana Jaquillard Julie Sallis PARTNERS SUPPORTERS Sandra Byrne Gilbert Lise Kruuse Eleanor Scicchitano Government of South Australia Visualcom Lyndie Carracher The Hon Diana Laidlaw, AM Dr Priya Selva-Nayagam through Arts South Australia Aesop Jim and Helen Carreker Amanda Lambert Brenda M Shanahan Australia Council for the Arts Bruce Carter Mark Landau Dr Gene Sherman, AM InDaily Julia Champtaloup and Dr Stephen Lane Rae-Ann Sinclair and Adelaide City Council Avant Card Andrew Rothery Annette Larkin Nigel Williams Patty Chehade Liz Laverty David Smith TARNANTHI The Adelaide Review Dr Natasha Chow Denise LeMessurier Melissa Smith Peroni Elma Christopher Nick LeMessurier Dr Michael Snow and PARTNER Mary Clark Professor Megan Lewis Janice Snow BHP Billiton Premier Art Supplies Jonnie Clark Amanda Love Andrew and Barbara Tiro/Splitrock Staniford Rick Clise Adam Lucey Ursula Sullivan and MAJOR PARTNER Susan Cocks Mark and Claire Luckett Joanna Strumpf CONTEMPORARY Dr Patrick Corrigan, AM and Claire Luckett Santos Ltd Barbara Corrigan Paul Swain Professor Malcolm MacKinnon COLLECTORS Louise Crosby Victoria Taylor Dr Sorayya Mahmood Martin FOUNDATION Michael Crouch Dawn Taylor PARTNERS Sally Manson Dr David Cullum Pia Tsoutouras PARTNERS Penny’s Hill Rick Martin Chris Cuthbert and Sally Pamela Upton Dr Paul McHugh The Balnaves Foundation Kwik Kopy Norwood Dan-Cuthbert Nicholas and Louise Vadasz Inese Medianik Virginia Dahlenburg Anthony Vanstone James & Diana Ramsay Foundation Hannah Michell TypeSpace Graphic Design Sam and Caroline Daniell The Hon Leesa Vlahos MP The Ian Potter Foundation Dr Russell Mills Anna Davison Peter Walker Dr James Muecke, AM and Sully Detmold Janet Whiting, AM and Mena Muecke Ron Dewhurst Phil Lukies GALLERY Jan Murphy Katie Dewhurst Sydney Williams PARTNERS Catherine Nelson Rachel Dolling Peter and Karen Wilson Julian Forwood and Channel 7 Catherine Ellice-Flint Ann Wilson Bernice Ong Terry Finnegan Dr Xen Xenophou The Advertiser Martin Palmer Dean and Melanie Flintoft Alair Pambegan 891 ABC Adelaide Andrew Fox Jenny Pappas Neil Frazer Yalumba Bruce Parncutt Sophie and Frazer Gannon EY Chrissy Paterson Denise George Christopher Penny Adelaide Airport Dr Noel Grieve Christine Phelps Antony and Wendy Lipman Karas Dr Rick Power and Grzeskowiak Ms Trina Crawford InterContinental Adelaide Emma Hack Thelma Pye and Tiffany & Co. Edward Hartley Paula Nagel, AM Carolyn Hewson Spero and Anna Raptis Solitaire Automotive Robert and Annabel Katrina Raymond Hill Smith Jonathon Raymond Sam and Margo Hill-Smith Dr Silvana Rositano Christopher Hodges and Helen Eager Tricia Ross Mark Hoffmann, QC Julia Champtaloup and Andrew Rothery Kim Thomas and Adrienne Holmes Penny Hope Murray Amanda Hurley
64 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 65 APPENDIX F EXHIBITIONS MAJOR
EXHIBITIONS AND F APPENDIX PUBLIC PROGRAMS MAJOR EXHIBITIONS
TREASURE SHIPS: ART IN THE TARNANTHI: FESTIVAL OF RIVERLAND: YVONNE 2016 ADELAIDE BIENNIAL AGE OF SPICES CONTEMPORARY ABORIGINAL KOOLMATRIE OF AUSTRALIAN ART: 13 June – 30 August 2015 AND TORRES STRAIT 12 September 2015 – 10 January 2016 MAGIC OBJECT Admission Adult $15, Concession $12, Member ISLANDER ART presented as part of TARNANTHI: Festival 27 February – 15 May 2016 $10, Members Season Ticket $40, Family $35, of Contemporary Aboriginal and Torres Strait 8 October 2015–17 January 2016 Admission Free, School Groups: Free. Student $10, Child (5–12 years) $5 Under 5 years Islander Art free. School Groups: $30 per class. Admission Free, School Groups: Free. Free Guided Tours Daily, 11am & 2pm. Admission Free, School Groups: Free. Guided Tours daily, 11am & 2pm. Free Guided Tours Daily, 11am & 2pm. Opening speaker David Sefton, Director of the Free Guided Tours Daily, 11am & 2pm. Adelaide Festival of Arts. Opening Speaker Hon Jack Snelling MP, Minister for Opening Speaker Hon PJ Keating. Opening Speaker Hon PJ Keating. the Arts. Curators: James Bennett, Curator of Asian Curator Lisa Slade. Curator & Artistic Director Nici Cumpston. Art, Russell Kelty, Assistant Curator Asian Art. Curator & Artistic Director Nici Cumpston. Additional Venues Anne & Gordon Samstag Presenting Partners Government of South Government Partners Government of South Presenting Partners Government of South Museum of Art, UniSA, JamFactory, Carrick Hill, Australia, Arts South Australia. Australia via Arts South Australia. Australia, Arts South Australia. The Santos Museum of Economic Botany in the Principal Partner BHP Billiton. Adelaide Gardens. Exhibition Partner Gordon Darling Foundation. Principal Partner BHP Billiton. TOTAL ATTENDANCE 311,063 Principal Donor The Balnaves Foundation. Media Partners The Advertiser, 891 ABC Curated by Hetti Perkins, Jonathan Jones and (ALL VENUES) In Association with: Government of South Adelaide, Channel 7, In Daily, Avant Card. Nici Cumpston. Australia, Arts South Australia, University of Event Partners Carlton & United Breweries, Presented by the Art Gallery of South Australia A comprehensive survey exhibition at the Art South Australia/Samstag Museum, Australian Heggies wine, Jansz Tasmania, Penny’s Hill. in partnership with BHP Billiton and the Gallery of South Australia presenting the works Government/Australia Council for the Arts, Government of South Australia, TARNANTHI of master Ngarrindjeri weaver and internationally Adelaide Festival of the Arts. Foundation Partners James & Diana Ramsay showcased over 1,068 artists across 22 partner esteemed artist, Yvonne Koolmatrie. TARNANTHI Foundation, The Balnaves Foundation. Family Program Partner James & Diana Ramsay exhibitions presenting 1,283 individual works of also partnered with Carclew Youth Arts to Foundation. Supporting Partners Adelaide Airport, Singapore art and an Art Fair featuring 40 art centres. present Pilbili, a project working with Hampstead Airlines, Visualcom Printing & Signage Solutions, Gardens Primary School students to learn about Exhibition Partners Lipman Karas, EY, Adelaide There were 324 loans to the TARNANTHI InterContinental Adelaide. Ngarrindjeri culture and to respond formally to Airport, Cummins & Partners. exhibition from 29 lenders. Thirty four of the Riverland: Yvonne Koolmatrie by producing an audio Treasure Ships: Art in the Age of Spices charted loans were from six local lenders and 290 loans Media Partners Channel Seven, 891 ABC Adelaide, tour. This incredibly successful project received complex artistic and cultural interactions were from 23 interstate lenders. The Advertiser. media attention on ABC3 and was well received between Europe and Asia from the sixteenth to In addition there were 102 loans from 26 lenders by the general public as well as school groups. First Friday Partner Santos. the nineteenth centuries – a period known as to the Tarnanthi Art Fair held at Tandanya. An education resource was created for this the ‘Age of Spices’. There were 172 loans to the project. City Partners Adelaide City Council. exhibition from 36 local, national and international The Gallery exhibitions ran from 8 October–16 Titled Magic Object, the 2016 Biennial included lenders from India, Portugal, Singapore and January 2016 and attracted 127,115 visitors to There were 68 loans to the exhibition from 25 exhibiting artists ranging in age from 27 to the United States. Fifty four loans were from exhibitions and events at the Gallery. 31 lenders. Fourteen loans were from seven 12 local lenders (five institutional lenders and local lenders (four institutional lenders and three 105 years. OFFSITE EXHIBITION ATTENDANCE seven private collections), 81 loans were from 16 private collections), 53 loans from 24 interstate There were 344 loans to the exhibition from 183,948 national lenders (13 institutional lenders and three lenders (16 institutional lenders and eight 26 lenders. One hundred and seventeen loans private collections) and 37 loans were from eight private collections). were from four local lenders and 227 loans were international lenders (five institutional lenders and from 22 interstate lenders. three private collections). TOTAL ATTENDANCE 220,433 This exhibition was presented in collaboration (ALL VENUES) with the Art Gallery of Western Australia. TOTAL ATTENDANCES SOUTH AUSTRALIA 13 JUNE–30 AUGUST 2015: 29,799 WESTERN AUSTRALIA 10 OCTOBER 2015 – 31 JANUARY 2016: 19,669
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During the year 380 works were borrowed from 2016 Adelaide Biennial of Australian Art: Gallery 15 Great Tales in Asian Art: Love, 25 March 2016– 25 lenders for eight Collection Display exhibitions. Magic Object, Robyn Stacey, 27 February–15 May ongoing, curated by James Bennett, Curator of F APPENDIX In addition 10 works were borrowed from four 2016, curated by Lisa Slade, Assistant Director, Guildhouse Collections Project: Kate Kurucz, Asian Art and Russell Kelty, Associate Curator of lenders for General Collection Display. Artistic Programs. 3 June–ongoing, curated by Leigh Robb, Curator Asian Art. of Contemporary Art. The artist loaned two Carrying Culture, from 28 May 2016–ongoing works for this exhibition. Gallery 21 ELDER WING SPECIAL curated by Nici Cumpston, Curator of Aboriginal PROJECTS AND and Torres Strait Islander Art. Gallery 18 Gond Paintings from India: The Barry and Judith Heaven Collection, 9 May 2015–13 March 2016, COLLECTION DISPLAYS Gallery 8 Rembrandt and the Etching Revival, until 8 July curated by James Bennett, Curator of Asian Art. 2015, curated by Julie Robinson, Senior Curator, Gallery 3 Recent Acquisitions, 17 April–2 August 2015, Prints, Drawings & Photographs. Great Tales in Asian Art: Conflict, 25 March 2016– curated by Jane Messenger, Curator of European ongoing, curated by James Bennett, Curator of Between the Lines: Australian Artists and War, and North American Art. The Pre-Raphaelite Brotherhood, 11 June Asian Art and Russell Kelty, Associate Curator of 25 April 2015– ongoing, curated by Tracey Lock- 2015–10 December 2015, curated by Maria Asian Art. Weir, Curator of Australian Paintings and Sculpture TARNANTHI: Festival of Contemporary Aboriginal Zagala, Associate Curator of Prints, Drawings and Gloria Strzelecki, Associate Curator of and Torres Strait Islander Art – Warwick Thornton, & Photographs and Alice Clanachan, Assistant Vestibule Australian Paintings and Sculpture. 8 October 2015–17 January 2016. Curated by Curator of Prints, Drawings and Photographs. TARNANTHI Artistic Director Nici Cumpston. TARNANTHI Bush Footy, 12 September 2015 – Guildhouse Collections Project, Maarten Daudeij, William Blake’s Engravings: the Book of Job and 31 January 2016, curated by TARNANTHI Artistic until 10 January 2016, curated by Robert Reason, Cabinet of Curiosities from the Collection, Dante’s The Divine Comedy, 10 December 2015– Director Nici Cumpston. Curator European & Australian Decorative Arts. 27 February–19 June 2016, curated by Lisa Slade, ongoing, curated by Alice Clanachan, Assistant Assistant Director, Artistic Programs. There Curator of Prints, Drawings and Photographs. 2016 Adelaide Biennial of Australian Art: Magic Gallery 6 were two loans to this exhibition from two local Object – Kate Rohde, 27 February–July 2016, lenders. Gallery 19A curated by Lisa Slade, Assistant Director, Artistic Guildhouse Collections Project: Jason Sims, 4 July– Programs. 27 September 2015, curated by Robert Reason, Galleries 9, 10 & 11 A Chance Beginning: Lyons Collection of Australian Curator European & Australian Decorative Arts. Decorative Art, until 23 August 2015, curated by Atrium corridor: There were three loans for this exhibition from one New Acquisitions, 17 April–2 August 2015, curated Robert Reason, Curator European & Australian local lender. by Jane Messenger, Curator of European and Decorative Arts. Geoffrey Brown: Perennial landscapes, North American Art, with assistance from Maria 17 November 2014–27 July 2015, curated by Alice TARNANTHI: Festival of Contemporary Aboriginal and Zagala, Associate Curator of Prints, Drawings & Making & Meaning: Contemporary Aboriginal and Clanachan, Assistant Curator, Prints, Drawings Torres Strait Islander Art, 8 October 2015–17 January Photographs. Torres Strait Islander Craft and Design, 29 August and Photographs. 2016. Curator & Artistic Director: Nici Cumpston. 2015–13 July 2016, curated by Robert Reason, 2016 Adelaide Biennial of Australian Art: Magic Curator European & Australian Decorative Arts. Warlayirti Artists from Balgo Hills, 29 July Public Image, Private Lives: Family, Friends and Object – Tom Moore, Fiona McMonagle and Gareth 2015–3 March 2016, curated by Sally Foster, Self in Photography, 5 February –18 September Sansom, 27 February–22 May 2016, curated by Gallery 19B Acting Associate Curator, Prints, Drawings and 2016, curated by Julie Robinson, Senior Curator, Lisa Slade, Assistant Director, Artistic Programs. Photographs. Prints, Drawings and Photographs, assisted by Paradise on Earth: Flowers in the Arts of Islam, Sally Foster, Associate Curator, Prints, Drawings Gallery 9 continuing – 26 July 2015, curated by James Franz Kempf, 24 June 2016–continuing, curated and Photographs, and Alice Clanachan, Assistant Bennett, Curator of Asian Art. by Alice Clanachan, Assistant Curator of Prints, Curator of Prints, Drawings and Photographs. Catherine Truman SALA, 11 June 2016 – ongoing, Drawings and Photographs. curated by Rebecca Evans, Robert Reason, More Ink than Ocean: The Art of Writing in Islam, There were 25 loans to this exhibition from six 7 August 2015–11 July 2016, curated by James lenders (two local lenders and four interstate). Curator European & Australian Decorative Arts. There were 299 loans to this exhibition from Bennett, Curator of Asian Art. There were seven Gallery 7 seven lenders. Two hundred and ninety two loans loans for this exhibition from two lenders (one were from the artist and five loans were from local and one interstate). Above and Below: Landscapes from the Australian Art local lenders. Two loans were from an interstate Collection, 2 August 2014–5 July 2016, curated by lender. Gallery 20 Elle Freak, Acting Associate Curator of Australian Elegant Pursuits: Arts of the East Asian Scholar, Paintings and Sculpture and Aboriginal and Torres Gallery 10 until 23 August 2015, curated by Russell Kelty, Strait Islander Art. Sue Kneebone, 11 June 2016–ongoing, curated Associate Curator, Asian Art. Crossing Time: Highlights from the Aboriginal and by Elle Freak, Assistant Curator of Australian The Power of Pattern: The Ayako Mitsui Collection, Torres Strait Islander Collection , 11 July 2015 – Paintings and Sculpture. There were two loans to 4 September 2015–13 March 2016, guest curated 10 February 2016 curated by Elle Freak, Acting this exhibition from two local lenders. by Dr. Jennifer Harris, Visiting Research Fellow, Associate Curator of Australian Paintings and University of Adelaide. There were 40 loans to Sculpture and Aboriginal and Torres Strait Islander this exhibition from four lenders (three local Art. lenders and one interstate lender).
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Treasure Ships: Art in the Age of Spices, Santos Museum of Economic Botany, The Gallery partnered with local arts and community organisations throughout the 10 October 2015–31 January 2016. The Treasure 8 October 2015–31 January 2016. Nganmarra – year supporting various cultural events and community groups. These community Ships exhibition partner was the Art Gallery of The Container of Life, Julie Djulibing Malibirr, Robyn level partnerships reflect Adelaide’s broader city calendar of events within the Western Australia. Djunginy, Evonne Munuyngu, Mary Dhapalany and Gallery boundary. These events included: Frances Djulibing Daingangan. TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art, 8 October 2015–17 Contemporary Art Centre of South Australia, SOUTH AUSTRALIAN LIVING January 2016. The TARNANTHI exhibition partners 9 October–22 November 2015. Biting the Air, ARTISTS (SALA) FESTIVAL included Adelaide Festival Centre/Ananguku Arts. Fiona Foley (changed to Biting the Cloud by the Our Mob, 5 September–10 October 2015 in artist after the festival opened) and Overseer/ 31 July 2015 Port Augusta, 10 October–6 December at the Officer, Jason Wing. Adelaide Festival Centre. The opening event for SALA was held on Friday 31 July and attended by 769 artists, Anne and Gordon Samstag Museum of Art, industry peers and art enthusiasts. The following weekend included the suite of SASA Gallery (University of South Australia), 9 October–4 December 2015. A Darker Shade of SALA and Gallery co-presented events including a weekend of artist talks and panel 22 September–13 November 2015. Kapi Dark #1– 4, Daniel Boyd and Les Eaux D’Amoore, discussions on 22–23 August titled The Artists’ Voice. START on the road for SALA Ungkupayi/He Gave Us Water, Roma Peterman Archie Moore. headed to Whyalla and Port Augusta on 8–9 August where 126 people enjoyed the Butler, Ivy Laidlaw, Jennifer Mitchell, Tjawina activities. SALA Children’s exhibitions included our annual Start Art prize and the Nexus Arts, 10 October–13 November 2015. Roberts and Tjayangka Woods – Minyma Kutjara Senior Secondary School Exhibition. One Love, One Family: Barngarla Stories of Resilience Arts Project. Fontanelle, 10–31 October 2015. White Bred. Flinders University City Gallery, 26 September– ADELAIDE FESTIVAL CENTRE’S 29 November 2015. The world is not a foreignland, Country Arts SA (Prospect Gallery), OZASIA FESTIVAL Timothy Cook, Djambawa Marawili, Ngarra, Rusty 11 October–1 November 2015. Handheld II. Peters, Freda Warlapinni and Nyapanyapa Yunupingu. September 2015 Adelaide Central School of Art, Adelaide College for the Arts – Light Square 13–30 October 2015. Mina Lakapawa, Vicki West. In partnership with the 2015 OzAsia Festival, Indonesian Artist Eko Nugroho‘s new Gallery, 24 September–22 October 2015. large-scale outdoor work was hung across the entrance of the Gallery’s North Tandanya National Aboriginal Cultural Institute, Balnhdhurr: A Lasting Impression, celebrating Terrace facade. This bold and colourful work was complemented with a display of 17 October–5 December 2015. TARNANTHI 20 years of printmaking at the Yirrkala Print Space Nugroho’s works from the permanent collection in Gallery 21. at Buku-Larrnggay Mulka. Textiles. TOTAL ATTENDANCE 40,600 JamFactory/South Australian Museum, 2016 Adelaide Biennial of Australian Art: 2 October–28 November 2015. Shimmer, Magic Object. In 2016 attendances across partner Sebastian Arrow, Tamara Baillie, Maree Clarke, venues accounted for 57,135 of total exhibition ADELAIDE FILM FESTIVAL attendances for the Adelaide Biennial of Australian Dale Harding, Janet Fieldhouse, Nicole Foreshew, October 2015 Grace Lillian Lee and Vicki West. Art. The four venues in addition to the Art Gallery of South Australia were: Artist Warwick Thornton’s new work, The Way of the Ngangkari, was co- JamFactory, 2 October–28 November 2015. commissioned in partnership with the Adelaide Film Festival and presented as part Jewellery Has Always Been Here, Niningka Munkuri • The Anne & Gordon Samstag Museum of Art, of TARNANTHI, on display from 8 October–17 January 2016. The Gallery’s closing Lewis, Marissa Thompson and Anne Thompson University of South Australia night for TARNANTHI (18 October) also included partnered activity with the Film from Ernabella Arts, and Virginia Ngalaia • JamFactory Festival including the Gallery’s Sculpture Courtyard being used as the official after- Napanangka and Walter Jugadai Tjungurrayi from party venue following the premiere of Spear, directed by Stephen Page. Ikuntji Arts. • Santos Museum of Economic Botany in the Adelaide Botanic Garden TOTAL ATTENDANCE 177,694 Migration Museum, 3 October–6 December 2015. Near Horizons, Christina Gollan, Beaver Lennon, • Carrick Hill Damien Shen, Jacob Stengle. ADELAIDE FASHION FESTIVAL State Library of South Australia, 8 October– 24 October 2015 1 November 2015. Desart Photography Prize – Nyankuntjaka (Have a Look) and Nyanganyi Kuru The 2015 Adelaide Fashion Festival program closed with the event A Night of Fashion Nganampangku (Seeing Stories Through Our Eyes) at the Art Gallery, presented in partnership with Gallery partner Opinion Media on Prints from the Cicada Press Printmaking Workshop 26 October. The Fashion Festival collaborated with the Gallery to create a 25 metre – Curated by art workers from Desart Aboriginal catwalk and parade off the front steps of the North Terrace Forecourt for fashion Artworkers’ Program, Robert Fielding, Unrupa enthusiasts, while 550 ticket buyers attended A Night of Fashion in the Elder Wing Rhonda Dick, Marisa Maher, Rosina Ryder and and Gallery Courtyard, celebrating the fusion of fashion and art. Rhonda Plummer. TOTAL ATTENDANCE 550
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PUBLIC PROGRAMS APPENDIX F APPENDIX
PUBLIC PROGRAMS FEAST FESTIVAL DEPARTURE 20 November 2015 DEPARTURE was the Art Gallery of South Australia’s after-dark cultural events program for people aged in their 20s and 30s. The Friday night events were held Working with regular Feast Festival artist Dr Gertrude Glossip (Will Sergeant), the four times a year and offered a unique experience where guests gained exclusive Gallery participated in the Feast Festival registration program with an event that after-hours access to outstanding art, heard from curators and artists, and enjoyed responded to works in the Gallery’s collection and displays that have LGBTG themes. live music, performances with great food and drinks. TOTAL ATTENDANCE 100 Two events were held during the reporting period. DEPARTURE: Treasure Ships was held on 28 August and featured the exhibition Treasure Ships: Art in the Age of Spices. Guests experienced a tour of the exhibition led by curators James ADELAIDE FRINGE FESTIVAL Bennett and Russell Kelty. Four hundred and three guests attended this event. 12 February – 14 March 2016 DEPARTURE: TARNANTHI was the final event held in the program and took place on 13 November. Two hundred and forty guests attended this event. For the first two weeks of Fringe, the Art Gallery partnered with the Adelaide Fringe At the end of 2015, after 10 successful years, DEPARTURE was replaced Festival to present Fringe Illuminations. Working closely with 2016 Adelaide Biennial by a new program, First Fridays, to be presented 12 times a year with a wider of Australian Art: Magic Object artist, Tom Moore and Electric Canvas transformed audience development focus. the North Terrace facade of the Art Gallery into an ever-evolving glass sculpture. The Gallery sat alongside other North Terrace illuminated institutions including the State Library of South Australia, South Australian Museum and Adelaide University buildings. FIRST FRIDAYS From January 2016 the Gallery replaced DEPARTURE with First Fridays, supported ADELAIDE FESTIVAL OF ARTS by major partner Santos. Held on the first friday of every month, the entire Art Gallery remains open until 9pm. Supported by Santos and InDaily, the program 26 February 2016 presents a curated program including live music, talks and activities. A total of six First Fridays events were held. The visual arts program of the 2016 Festival included the Gallery’s autumn exhibition offering, the 2016 Adelaide Biennial of Australian Art: Magic Object. The exhibition TOTAL ATTENDANCE 10,605 was opened by the Festival’s Artistic Director on the opening weekend, ensuring the exhibition capitalised on visiting media, arts industry and government kudos associated with Adelaide’s iconic festival season. New in 2016, the Gallery presented the former Adelaide Festival Artists’ Week in a reinvigorated weekend program TUESDAY LUNCHTIME TALKS of talks and debate across both the Gallery and Samstag Museum under the new A total of 52 regular Tuesday floor talks were presented by Gallery curators, program title of Vernissage Weekend. This event attracted 8,209 attendees. Gallery Guides, artists and guest speakers, either about displays of the Art Gallery’s collection or temporary exhibitions.
TOTAL ATTENDANCE 3,114
image previous pages: Tarryn Gill, Australia, born 1981, Guardians, 2014–16, Perth, nine sculptures with soundscape, composition by Tom Hogan, mixed media including speakers, dimensions variable; Gift of the Art Gallery of South Australia Contemporary Collectors 2016, Art Gallery of South Australia, Adelaide.
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Transforming three or four times over the course of the year, in response IN CONVERSATIONS, LECTURES, to our temporary exhibitions, The Studio offered a diverse range of activities. Transformed in response to the exhibition Treasure Ships: Art in the Age of Spices, FLOOR TALKS AND OTHER The Navigator’s Studio focused art activities on the overarching theme of sea voyage, exploration and trade. Visitors to The Navigator’s Studio illustrated their EXHIBITION-SPECIFIC EVENTS own voyage of discovery; constructed treasure chests; designed a nautical flag and imagined mythical creatures from the deep. In the education workshops delivered A total of 35 exhibition-specific lectures, in conversations, panel discussions and to school groups, participants were introduced to botanical illustration. performances were held including one Magic Object up late. Reimagined for the inaugural TARNANTHI Festival, The Bush Footy Studio TOTAL ATTENDANCE 10,426 was inspired by the witty and engaging works of exhibiting artists Dinni Kunoth Kemarre and Josie Kunoth Petyarre. Visitors were invited to get a run on the ‘footy field’ and add to the sport spectacle by making their own footballer or fan to adorn The Studio or to design their own sports kit and join the ‘Bush Footy’ Hall of Fame. WORKSHOPS For the 2016 Adelaide Biennial of Australian Art: Magic Object the luminescent A total of nine practical workshops were held throughout the year. Magic Object Studio lured art lovers of all ages with activities inspired by the work of exhibiting artist Kate Rohde. Using neon pens, visitors transformed the white TOTAL ATTENDANCE 200 wall patterns into hyper-colour which illuminated under the black lights. In addition, visitors also drew intricate curved patterns using the giant spirographs. Access by the general public (after 2pm daily, when The Studio was not ART FAIR booked for school groups and on weekends) recorded a total 23,782 patrons visiting The Studio to engage in art making. TARNANTHI Art Fair was held over 2 days. TOTAL ATTENDANCE 34,311 TOTAL ATTENDANCE 5,448
NATURE FOUNDATION START AT THE GALLERY Presented on the first Sunday of every month, START presented tours, art making TREASURE HUNT activities, storytelling, live performances and musical events, utilising the services of highly qualified artist facilitators and guides. A continued emphasis was placed on TOTAL ATTENDANCE 800 learning while also creating a fun environment for the whole family. Some 2,576 START attendees joined the special Guided START Tours presented by Gallery Guides as part of the START program, indicating a key value THE STUDIO for the program in art education. START Art Club membership increased by 889 children with total membership at 3,372 members. The Studio recorded significant attendances from school groups and the general This was the first year that START at the Gallery program had been public in its fourth year of operation, welcoming and engaging patrons of all ages presented by the James & Diana Ramsay Foundation. Their generous support has in hands-on art activities inspired by the Art Gallery’s exhibition program and allowed the successful development of the START program, encouraging greater collection. The Studio is made available free thanks to the generous support of the family visitation. James and Diana Ramsay Foundation. A total of 10,529 students, educators and supporting adults, spanning TOTAL ATTENDANCE 9,649 preschools, primary and secondary schools as well as tertiary groups visited The Studio. Three hundred and sixty four student and educator groups participated in The Studio workshop activities representing over 150 different Government, Catholic and Independent schools, home school students, students with disabilities and Aboriginal and Torres Strait Islander student groups. The Studio also welcomed educators participating in Educator Briefings and Educators Connect professional learning events. Class groups represented schools and sites from across Adelaide. Regional attendance of school groups and educators represented the following regions: The Adelaide Hills, Barossa, Eyre Peninsula, the Far North, Fleurieu Peninsula and Kangaroo Island, Limestone Coast, Murray and Mallee, Yorke Peninsula and the Mid-North. In addition, one interstate school from Melbourne, Victoria also participated in The Studio activities.
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TEACHING & LEARNING AT THE G APPENDIX GALLERY AND SCHOOL SUPPORT SCHOOL HOLIDAY PROGRAMS TEACHING & LEARNING School holiday programs presented art appreciation and art making activities Learning at the Gallery programs were based on the DECD priorities and were inspired by the exhibition program for children aged 5–12 years, in addition to designed to connect to the Australian Curriculum, SACE and the Early Years accompanying parents/carers. Four hundred and sixty six children and adults Learning Framework through a range of learning areas including the visual arts. participated in family Lantern Light tours conducted after hours of the Treasure Programs for children and young people promoted and engaged with: Ships exhibition. Additional school holiday workshops for teen audiences were also presented by professional artists and associated with the exhibitions, Treasure Ships: • higher order thinking and communication skills Art in the Age of Spices and the Power of Pattern: The Ayako Mitsui Collection display • exploring history and cultures Art Gallery. These workshops offered in the July and October school holidays attracted 65 participants. • student creativity through responding and making activities • visual literacy and viewpoints TOTAL ATTENDANCE 1,314 Learning at the Gallery programs supported educator professional learning through: artist-led studio workshops; creation of online education resources and educator-specific topic trails; coordination of The Studio art-making activities NEO to support AC: Arts (Visual Arts); interactive primary performances; partner Outreach Education programs in collaboration with Artlab Australia and the Presented by The Balnaves Foundation, Neo was the Art Gallery’s new dedicated Migration Museum; individual support for self-guided group visits, as well as program to audiences aged 13–17. The inaugural Neo program took place on individual student and educator requests. 4 March, coinciding with the Art Gallery’s First Fridays programming, and included Thirty five percent of Learning at the Gallery visitors participated in face-to- artist-led activity inspired by the work of Adelaide Biennial artist Hiromi Tango. face interpretation of works of art for permanent and temporary exhibitions with Two Neo programs were held to 30 June 2016. The first centred on the work volunteer Gallery Guides or Gallery staff. in Magic Object and teens were introduced to some of Hiromi’s art making techniques A total of 2,319 early years, primary and senior secondary students by artist ambassador Celeste Aldahn. The event was held in Galleries 22–25 and participated in Learning at the Gallery programs with practising South Australian set against a backdrop of aerial performances by Jo Nauman-Curren, hula hoop visual or performance artists. demonstrations and performative hairdressing in which most of the Neo visitors A total of 10,529 early years, primary and secondary students participated in participated. Fifty six teens registered and attended the event from 14 schools across facilitated workshops in The Studio. the North, South, East, West, Adelaide City and the Adelaide Hills. Learning at the Gallery offered a range of specialised teaching and learning The second Neo, Time Travellers Unite, took place on 6 May and offered programs for educators, children and students including: a program which sought to ‘unlock the secrets of the Melrose Wing.’ Teens participated in five activities across the Melrose Wing led by Neo Ambassadors • Artist/educator facilitated making activities in The Studio, F–12 and emerging South Australian artists, which introduced them to big moments • Me Myself I self-portraiture program, Early Years in art history. The evening included an artist talk by AGSA’s resident Guildhouse • Bilingual Me Myself I self-portraiture program for Greek language artist and Neo Artist Ambassador Kate Kurucz; a performance by Australian learners, Years 2–7 Dance Theatre; UV body art inspired by the Baroque period and the work of Adelaide Biennial artist Kate Rohde; a photo booth; creative competitions; and • Art Alive interactive performances, Years 3–7 light meals and refreshments. Sixty registered and attended the event, representing • NAIDOC Week guided sessions, Years 4–7 32 schools. • Life-drawing, self-portraiture and fashion illustration drawing workshops, Years 10–12 • Art Careers Forum, Years 10–12, educators and parents/guardians REGIONAL ENGAGEMENT • Year 12 Visual Arts Forums, Years 10–12, educators and parents/ In August 2015, START hit the road to Whyalla and Port Augusta for the SALA guardians Festival, providing broad access to art and free art-making experiences for children • 2016 Adelaide Biennial of Australia Art: Magic Object Curatorial Insights and families in two regional communities that have experienced economic hardship. workshops, Years 11–12 These workshops provided an opportunity to introduce and trial the activities • Bringing Languages to Life for students and educators studying/teaching planned for the forthcoming TARNANTHI. French, German, Greek, Indonesian, Italian, Japanese or Spanish, Years On Saturday 8 August, at the Middleback Theatre in Whyalla, a total of 71 9–12 and educators people participated in the mobile ‘Bush Footy’ Studio. The majority of children and adults had never visited the Art Gallery of South Australia. On Sunday 9 August, • 2015 Secondary Drawing Exhibition (SALA Festival), Radford START on the Road was held at the Institute Theatre, located within Yarta Purtli, Auditorium, Years 10–12, and schools communities the Port Augusta Cultural Centre Middleback Art Centre in Port Augusta and • Pilbili, a collaborative learning program for Hampstead Primary School attracted 21 attendees. students in association with TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Arts and Carclew Youth Arts
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Four Educator Briefings were coordinated by Learning at the Gallery with the EDUCATOR PROFESSIONAL support of Curators for the following exhibitions and displays: LEARNING • TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art, 8 October 2015–17 January 2016 Nine hundred and eighty nine educators participated in professional learning Two briefings sessions including exhibition and collection based teacher briefings, workshops and • 2016 Adelaide Biennial of Australian Art: Magic Object forums. Introductory and specialised training for educators, provided information 27 February–15 May 2016 about current programs and supported development of skills in accessing and Two briefings utilising the Art Gallery’s resources, exhibitions and displays. A total of 315 educators participated in these briefings. A key outcome of these programs was that educators enhanced their knowledge and capabilities to support teaching and learning through responding and making, Educator professional learning programs included a series of artist-led studio and being audiences of the visual arts. workshops linked to the AGSA collection and temporary exhibitions including: Professional learning outcomes included: • Botanical Illustration Workshop (one day), facilitated by Gilbert Dashorst • Engaging as an audience to improve responding and making practice • Life Painting Workshop (two days), facilitated by Deidre But-Husaim • Identifying and supporting out-of-school learning opportunities for • Self-portraiture, life drawing and fashion illustration workshops children and young people one day), facilitated by Ruby Chew, Yanni Floros, Sue Ninham and Renate Nisi • Exploring content and teaching strategies in visual art and design • Planning, structuring and sequencing learning programs • Selecting and using Gallery resources • Engaging with professional artists, teaching networks and broader visual art communities Professional Learning opportunities included: • Six Educator CONNECT events, professional learning on selected First Fridays September 2015: The Power of Pattern: The Ayako Mitsui Collection guided session and orizogami workshop October 2015: Riverland: Yvonne Koolmatrie guided session and Bush Footy Studio workshop November 2015: Pilbili, a collaboration between Hampstead Primary School, Carclew and TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Arts presentation and weaving workshop inspired by Yvonne Koolmatrie: Riverland December 2016: Albert Namatjira presentation and watercolour workshop February 2016: Public Image, Private Lives presentation and photography workshop April 2016: Great Tales in Asian Art guided visit and Bringing Languages to Life guided visits in German, Greek and Italian and 2016 Adelaide Biennial of Australian Art: Magic Object workshop June 2016: More Ink than Ocean presentation and calligraphy workshop • VAESA Winter Solstice Conference • Indonesian educators guided visit of permanent collection • Child and Adolescent Mental Health workers and educators guided visit of permanent collection and workshop in The Studio
80 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 81 TEACHING AND LEARNING AND TEACHING APPENDIX G APPENDIX
LEARNING AT THE GALLERY WEBSITE AND LEARNING AT THE GALLERY –SCHOOL E-NEWSLETTER SUPPORT SERVICES Learning at the Gallery actively promotes teaching and learning programs to DECD, Catholic and Independent educators via the Gallery Learning homepage, and distributes a regular Learning eNews to LEARNING AT THE GALLERY VISITATION over 2,800 subscribers. GROUP VISITS/ENQUIRIES
LEARNING AT THE GALLERY LEARNING AT THE GALLERY Student Gallery visitation 33,280 (ALL PAGES) (HOMEPAGE ONLY) Support staff for Gallery visitation 5,894 2015–16 2015–16 2014–15 Student workshops, forums and performances 2,319 unique page views 36,545 12,541 10,703 Support staff for student workshops, forums and performances 484 (4.76% of entire AGSA website) Individual student research enquiries 25 average time 80s 29s 27s Sub-total (all students/support staff) 42,002 bounce rate 61.6% 23.29% 24.08%
TEACHER PROFESSIONAL LEARNING
LEARNING AT THE GALLERY RESOURCES Teacher Briefings (exhibitions/displays) 315 Coordinated education resources for: Individual educator assistance 17 • TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Arts Educator professional learning programs 674 Tony Albert & Alair Pambegan | Bonefish Story Sub-total (all educators) 1,006 Yvonne Koolmatrie | Riverland Dinni Kunoth Kemarre & Josie Kunoth Petyarre | Bush Footy TOTAL SCHOOL VISITATION 43,008 Ngurratjuta Iltja Ntjarra / Many Hands Art Centre | Namatjira Collection Brian Robinson | Custodian of the Blooms Yhonnie Scarce | Thunder Raining Poison Spinifex Arts Project ANNUAL ATTENDANCES 2006–2016 Douglas Watkin | The Queen & I SCHOOLS • 2016 Adelaide Biennial of Australian Art: Magic Object 2015–2016 2014–2015 2013–2014 2012–2013 2011–2012
40,205 34,633 32,812 32,593 26,050 Changing Worlds: A South Australian story, a web-based resource aligned with Years 4, 5 and 6 Australian Curriculum (AC): History and Arts, continues to support pre and post visit connections to the colonial art collection. Download available at changingworlds.sa.edu.au CLIENT USE – PERCENTAGE ANALYSIS GOVERNMENT CATHOLIC INDEPENDENT (DECD) (CEO) (ISB)
2015–2016 59% 22% 19% 2014–2015 56% 26% 18% 2013–2014 57% 21% 22% 2012–2013 56% 27% 17% 2011–2012 41% 25% 34% 2010–2011 55% 20% 25% 2009–2010 50% 24% 26%
82 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 83 GUIDE SERVICES GUIDE
APPENDIX H APPENDIX H APPENDIX GALLERY GUIDE TOUR SERVICES
This report provides a brief overview of the Guides’ organisation and its key KEY ACHIEVEMENTS IN THE CURRENT YEAR achievements in 2015–2016. The Art Gallery Guides feel personally rewarded on a daily basis by their volunteering activities at the Gallery, and welcome conversations about their role at any time. A total of 21,194 people participated in 2,350 tours for the general public, children and families. A total of 40,205 students and PUBLIC PROGRAM AND REVIEW OF EXHIBITION accompanying adults participated in 1,033 tours. LEARNING AT THE GUIDING Membership: The Art Gallery Guides, including those formerly known as Education GALLERY PROGRAM A new process for reviewing guiding experiences Guides, together with the two resource writers, now all form a cohesive group, in major exhibitions has been established. From Art Gallery Guides were involved in programs who liaise with Art Gallery staff through Lisa Slade and Mark Fischer. Each volunteer an initiative of Maureen Nimon, this process has of tours for the public, as well as special supports a range of Public Programs and Learning at the Gallery tours, as well as been further streamlined by Di Davies and Di interest groups and members, talks, book clubs, many other support tasks. Over the past year, a total of 81 volunteers have served Atwa. A number of reviewing and data collection celebratory Art Gallery events, START, school in this cohort. Their names appear at the end of this report. tools were trialled during, and following, the holidays and outreach events for increasingly recent Biennial exhibition Magic Object. After The Gallery Guides’ Executive for 2015–16 include: Jill Swann – Coordinator, Helen diverse audiences. Articulate and CONNECT analysis of the data, recommendations were Bulis – Coordinator Elect & AAGGO Representative, Karen Hammond – Secretary/ (print and digital) describe all of the opportunities formulated to guide decision-making, by both the Treasurer, Raine Harker– Roster Manager, Christine Briggs – Continuing Education that Guides provide to enhance visitor Guides’ Executive and Art Gallery staff, with a Program Manager, Pam Norman – Special Projects Manager, Kelly Day/Helen Bulis experiences. The single greatest increase in tour view to continually evolving the preparation for, – Children’s Tours Liaison, Jenny Cunningham - Learning at the Gallery Liaison, Lisa and visitor numbers in the Guide program has and implementation of, guided tours for future Slade – AGSA Senior Management representative, Mark Fischer and Ryan Sims – been for the student groups in learning tours. exhibitions. Learning at the Gallery Staff. The Executive, with diverse and comprehensive skills, Statistics for tours, and for numbers of visitors meets bi-weekly with each member being responsible for a specific aspect of the guided, appear elsewhere in this Annual Report. management of the Guides’ organisation. A further non-Executive group includes: AAGGO 2015 Nel Steele – Floor Talks Manager, Jenny Palmer – Floor Talks Paper Editor, Heather GUIDES’ CONTINUING CONFERENCE – Pearce – Guides’ Archivist and Librarian, and Heather Pearce and Jill Becker – Catering Coordinators. EDUCATION PROGRAM Engage with Art, Engage with The most recently recruited group of Guides graduated in July 2015 after a As well as their touring commitments, the Art Audiences, Engage with Adelaide year’s training with Jill Swann and Rosemary Collins, and have taken up guiding Gallery Guides meet every Tuesday morning commitments across the full roster. Some members of this group have also assumed (in school term dates) for a program of talks The Australian Art Gallery Guides Organisation Executive roles. by Curators and other Art Gallery staff, visiting Conference in October 2015 – which coincided speakers, their guiding peers and other specialists with the opening of TARNANTHI – was declared GUIDE RECOGNITION in visual arts. Guides appreciate that this varied hugely successful by the 280 state and regional program is vital in maintaining and building on gallery guides from all states and territories, as Lorraine Franzin, currently our longest serving Guide, was honoured with the their professional skills and knowledge about the well as New Zealand. Conference Convenor, Volunteer of the Year Award in December 2015, for her service since 1993. The Art Gallery collections, exhibitions and audiences; Pamela Harding, and the numerous Art Gallery extensive group of Guides who, over three years, effected the planning and the roles of Art Gallery staff; innovations in art and Carrick Hill Guides, with Lisa Slade as implementation of October’s AAGGO 2015 Conference were also honoured. Also in regional, national and global arenas; as well consultant, were deservedly rewarded for their acknowledged by the Director and the Guides, were Jenny Klenner and John Hown as building relationships within their group and three years’ voluntary labour in planning and for their 20 years as Gallery Guides. Jo Ben-Tovim, Trish Finnemore, Julian Hafner, sharing their ideas and views in a collaborative facilitating every detail of the extensive and Pam Harding, John Hayes, Robyn Mullins, Jenny Palmer, Wendy Parsons, Margaret setting. thought-provoking program. The roving venues Payne, Marion Queale, Perla Soberon-Brittle, Pamela Terry, Jo Thyer, Ruth Walter for talks, tours and special presentations, plus fine and John Woodrow were honoured for their 10 years as volunteer Guides. Through SA food and beverages from the Wine Centre, the 2015–2016 period, Annette Chalmers, Robyn Cowan, Marion Queale and James to Art Gallery, the Museum of Economic Botany, Lainas retired, and we mourned the passing of Ken Shimmin. Samstag, Jam Factory, Carrick Hill and The Cedars, gave conferees an exceptional experience of our cultural offerings and the ways in which they can be shared with visitors.
84 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 85 GALLERY PUBLICATIONS GALLERY
APPENDIX I APPENDIX I APPENDIX GALLERY PUBLICATIONS
AGSA GUIDES WHO HAVE SERVED IN 2015–2016 TARNANTHI: FESTIVAL ANNUAL REPORT OF THE OF CONTEMPORARY ART GALLERY OF SOUTH Bente Andermahr Julienne Keane Michael Shepherd Di Atwa Anne Keast* Ken Shimmin ABORIGINAL AND AUSTRALIA 2014–15 Hazmik Balance Jennifer Klenner Perla Soberon-Brittle TORRES STRAIT ISLANDER Authors Chairman, Director and staff Jill Becker Jessica Knight Dianne Speck ART Co-ordinator Margaret Bicknell Jo Ben-Tovim Brian Knott Nel Steele ISSN 0728–7925 Christine Briggs Philip LaForgia David Stokes Authors Nici Cumpston and various Helen Bulis James Lainas Jill Swann 224pages, 122 colour illustrated Nic Carstensen Helga Linnert Pamela Terr y ARTICULATE ISBN 978-1-921668-25-8 paperback Rosemary Collins Judith Lloyd Helen Trebilcock Winter 2015 no. 19 Robyn Cowan Virginia Lynch Barry Trowse Quantity 3,300 Spring 2015 no. 20 Jenny Cunningham Lucy MacDonald* Jo Thyer Designer Sandra Elms Paul Corcoran Meredithe Madigan Kay Vears Summer 2015–16 no. 21 Kathy Crockett Mary Marston Ruth Walter RIVERLAND: YVONNE Autumn 2016 no. 22 Alma Daehn Gillian Morris Carol Watson ISSN 1838 627X Jan Darling Robyn Mullins Sandra Winder KOOLMATRIE 64 pages, full-colour throughout, paperback Di Davies Christopher Nance John Woodrow Authors Nici Cumpston, Hetti Perkins, John Kean Editor Lena Fiorentini Gillian Davis Maureen Nimon and Yvonne Koolmatrie Designer Antonietta Itropico Michelle Davis-Wanzek Ann Noble * Resource writers 160 pages, 108 colour illustrated Kelly Day Michael O’Donoghue ISBN 978-1-921668-24-1 paperback Tina Dolgopal Pam Norman Gai Dudley Rosemary Nursey-Bray Quantity 2,000 Estelle Farwell Jennifer Palmer Designer Antonietta Itropico Trish Finnimore Wendy Parsons Lorraine Franzin Margaret Payne 2016 ADELAIDE BIENNIAL Christine Guille Heather Pearce Julian Hafner Marion Queale OF AUSTRALIAN ART: Karen Hammond Julie Redman MAGIC OBJECT Raine Harker Naomi Reschke Jennifer Harris Mary Rivett Authors Lisa Slade, Ted Snell, Gemma Weston, John Hayes David Roach Sebastian Goldspink, Craig Judd, Lisa Havilah John Hown Meredith Ross 176 pages, 190 colour illustrated Barbara Humphries Christabel Saddler ISBN 978-1-921668-26-5 hardback Jenny Jarvis Mary Schinella Quantity 2,000 Designer Antonietta Itropico ROBERT HANNAFORD Authors Sally Foster, John Neylon, includes essay by Robert Dessaix, Caught you! Reflections on being painted 164 pages, 175 colour illustrated ISBN 978-1-921668-27-2 hardback Quantity 1,992 Designer Antonietta Itropico
86 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 87 ANNUAL ATTENDANCES ANNUAL ATTENDANCES ANNUAL
APPENDIX J APPENDIX J APPENDIX J APPENDIX ANNUAL ATTENDANCES AGSA VISITOR ATTENDANCE DAYTIME HOURS, AFTER HOURS AND SCHOOL STUDENTS
2011/12 2012/13 2013/14 2014/15 2015/16 Gallery day attendance 571,192 606,431 615,028 695,713 720,998 After hours attendance / special events 18,296 26,589 26,533 26,500 27,250 Gallery School attendance 26,050 32,593 32,812 34,633 40,205 Total 615,538 665,613 674,393 756,846 788,453
ADDITIONAL VISITORS TO AGSA THROUGH OFF-SITE AND TRAVELLING EXHIBITIONS 2011/12 2012/13 2013/14 2014/15 2015/16 Visitors to AGSA off-site and travelling exhibitions 63,070 46,216 16,244 22,399 *260,752
TOTAL AGSA ATTENDANCE AND OFF SITE EXHIBITIONS 2011/12 2012/13 2013/14 2014/15 2015/16 678,608 711,829 690,637 779,245 1,049,205
OFF SITE AND TRAVELLING EXHIBITIONS ATTENDANCE – (BREAKDOWN) 2015/16 *TARNANTHI SA sites other than AGSA 183,948 *Treasure Ships Art in the Age of Spices Art Gallery of Western Australia 19,669 10/10/15–31/1/16 *2016 Adelaide Biennial: Magic Object Samstag, MEB, Jam Factory, 57,135 Carrick Hill, Institute Total 260,752
AFTER HOURS EVENTS (BREAKDOWN) All after hours Gallery events 20,485 After hours private bookings 6,765
image right: Total 27,250 Jack Buckskin performing at START, December 2015. photo Caspar Buisman
88 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 89 APPENDIX K INFORMATION STATEMENT INFORMATION
INFORMATION STATEMENT K APPENDIX FREEDOM OF INFORMATION ACT, 1991, PART II SECTION 9(2) STRUCTURE AND FUNCTIONS ACCESS ARRANGEMENTS, PROCEDURES AND POINTS OF CONTACT – OF THE ART GALLERY OF SOUTH SECTION 9(2)(E)(F) AUSTRALIA Information relating to the organisational structure of the Art Gallery, its objectives and To access Board documents, it is necessary to apply in writing under the Freedom of functions, legislation and resource levels is contained elsewhere in the Annual Report Information Act to: and is deemed to be consistent with the requirements of the Freedom of Information Act Contact Officer 1991. There were no applications received in the 2015–16 financial year. Freedom of Information The Art Gallery aims to contribute to the economic, cultural and Art Gallery of South Australia environmental development of the state in a socially inclusive manner, consistent North Terrace with South Australia’s Strategic Plan. Adelaide SA 5000 Telephone (08) 8207 7004 EFFECT OF AGENCY’S FUNCTIONS ON MEMBERS OF THE PUBLIC The Art Gallery has a direct effect on the general public through: WHISTLEBLOWERS PROTECTION ACT 1993 • the acquisition, evaluation and display of its collections of works of art The Art Gallery of South Australia has appointed a responsible offer for the • the display of temporary and major touring exhibitions purposes of the Whistleblowers Protection Act 1993 pursuant to Section 7 of the Public Sector Act 2009. • an ongoing program of research and publications There have been no instances of disclosure of public interest information to • conducting public awareness and education programs. a responsible officer of the Art Gallery of South Australia under the Whistleblowers Protection Act 1993. Details of the activities undertaken by the Art Gallery during 2015–16 are included elsewhere in the Annual Report. ARRANGEMENTS FOR PUBLIC PARTICIPATION IN POLICY FORMULATION The public has the opportunity to participate in the department’s policy development in a number of ways, including community consultation forums, panels, surveys, membership and committees. DESCRIPTION OF KINDS OF DOCUMENTS HELD BY THE AGENCY The Art Gallery Board of South Australia holds various policy statements and minutes of all meetings.
90 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 91 APPENDIX L FOR THE YEAR ENDED 30 JUNE 2016
STATEMENT OF COMPREHENSIVE INCOME ART GALLERY BOARD FOR THE YEAR ENDED 30 JUNE 2016
2016 2015 FINANCIAL STATEMENTS NOTE $’000 $’000
FOR THE YEAR ENDED 30 JUNE 2016 EXPENSES FINANCIAL STATEMENTS Staff benefits 4 6,034 6,154 Supplies and services 6 8,494 10,346 Accommodation and facilities 7 2,712 2,784 Depreciation and amortisation 8 1,263 1,249 Net loss from the disposal of non-current assets 13 – 18 Total expenses 18,503 20,551
INCOME Bequests and donations of cash 9 2,157 1,902 Donations of heritage assets 7,485 4,101 Fees and charges 10 604 1,467 Grants 11 830 1,863 Investment income 12 368 505 Net gain from the disposal of non-current assets 13 5 – Rent and facilities hire 409 362 Resources received free of charge 14 855 950 Sale of goods 977 1,214 Sponsorships 15 1,113 2,408 Other 16 86 176 Total income 14,889 14,948 Net cost of providing services 3,614 5,603
REVENUES FROM SA GOVERNMENT Recurrent operating grant 17 12,199 10,565 Capital grant – 408 Total revenues from SA Government 12,199 10,973 Net result 8,585 5,370
OTHER COMPREHENSIVE INCOME Items that will not be reclassified to net result Changes in asset revaluation surplus 22 134,715 – Total other comprehensive income 134,715 – Total comprehensive result 143,300 5,370 The net result and total comprehensive result are attributable to the SA Government as owner. The above statement should be read in conjunction with the accompanying notes
92 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 93 FOR THE YEAR ENDED 30 JUNE 2016
STATEMENT OF FINANCIAL POSITION STATEMENT OF FINANCIAL POSITION FOR THE YEAR ENDED 30 JUNE 2016 FOR THE YEAR ENDED 30 JUNE 2016
2016 2015 ASSET NOTE $’000 $’000 REVALUATION RETAINED SURPLUS EARNINGS TOTAL
CURRENT ASSETS $’000 $’000 $’000 FINANCIAL STATEMENTS Cash and cash equivalents 18 3,397 3,322 Balance at 30 June 2014 217,361 435,917 653,278 Receivables 19 397 476 Net result for 2014–15 – 5,370 5,370 Inventories 485 515 Total comprehensive result for 2014–15 – 5,370 5,370 Other 24 207 173 Balance at 30 June 2015 217,361 441,287 658,648 Total current assets 4,486 4,486 Net result for 2015–16 - 8,585 8,585 NON-CURRENT ASSETS Gain on revaluation of heritage collections during 2015–16 134,715 – 134,715 Receivables 19 6 5 Total comprehensive result for 2015–16 134,715 8,585 143,300 Property, plant and equipment 20 43,201 44,413 Balance at 30 June 2016 352,076 449,872 801,948 Intangible assets 21 26 34 Heritage collections 22 752,693 608,875 All changes in equity are attributable to the SA Government as owner Investments 23 4,186 3,788 The above statement should be read in conjunction with the accompanying notes Other 24 – 159 Total non-current assets 800,112 657,274 Total assets 804,598 661,760
CURRENT LIABILITIES Payables 25 505 976 Staff benefits 26 737 705 Provisions 27 26 24 Other 28 226 201 Total current liabilities 1,494 1,906
NON-CURRENT LIABILITIES Payables 25 95 78 Staff benefits 26 1,021 871 Provisions 27 40 72 Other 28 – 185 Total non-current liabilities 1,156 1,206 Total liabilities 2,650 3,112 Net assets 801,948 658,648
EQUITY Retained earnings 449,872 441,287 Asset revaluation surplus 352,076 217,361 Total equity 801,948 658,648 The total equity is attributable to the SA Government as owner Unrecognised contractual commitments 29 Contingent assets and liabilities 30 The above statement should be read in conjunction with the accompanying notes
94 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 95 FOR THE YEAR ENDED 30 JUNE 2016
STATEMENT OF CASH FLOWS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS
FOR THE YEAR ENDED 30 JUNE 2016 FOR THE YEAR ENDED 30 JUNE 2016 2016 2015 CASH FLOWS FROM OPERATING ACTIVITIES NOTE $’000 $’000 1 Objectives of the Art Gallery Board FINANCIAL STATEMENTS CASH OUTFLOWS 2 Summary of significant accounting policies Staff benefits (5,877) (6,104) 3 New and revised accounting standards and policies Supplies and services (7,445) (6,988) 4 Staff benefits Accommodation and facilities (2,712) (2,753) Cash used in operations (16,034) (15,845) 5 Remuneration of board members 6 Supplies and services CASH INFLOWS 7 Accommodation and facilities Sale of goods 975 1,234 8 Depreciation & amortisation Fees and charges 604 1,348 9 Bequests and donations of cash Bequests and donations 2,157 1,903 Grants 883 1,762 10 Fees and charges Sponsorships 470 276 11 Grants Investment income 411 470 12 Investment income Rent and facilities hire 409 352 Other 90 168 13 Net gain (loss) from the disposal of non-current assets Cash generated from operations 5,999 7,513 14 Resources received free of charge 15 Sponsorships CASH FLOWS FROM SA GOVERNMENT 16 Other income Receipts from SA Government 12,199 10,975 17 Recurrent operating grant Cash generated from SA government 12,199 10,975 Net cash provided by operating activities 2,164 2,643 18 Cash and cash equivalents 19 Receivables
CASH FLOWS FROM INVESTING ACTIVITIES 20 Property, plant and equipment
CASH OUTFLOWS 21 Intangible assets Purchase of heritage collections (1,625) (1,638) 22 Heritage collections Purchase of investments ( 398) ( 551) 23 Investments Purchase of property, plant and equipment ( 71) ( 606) Cash used in investing activities (2,094) (2,795) 24 Other assets 25 Payables CASH INFLOWS 26 Staff benefits Proceeds from the sale of / maturity of investments 5 185 27 Provisions Cash generated from investing activities 5 185 28 Other liabilities 29 Unrecognised contractual commitments Net cash used in investing activities (2,089) (2,610) 30 Contingent assets and liabilities Net increase/(decrease) in cash and cash equivalents 75 33 Cash and cash equivalents at the beginning of the period 3,322 3,289 31 Financial instruments / financial risk management Cash and cash equivalents at the end of the period 18 3,397 3,322 32 Events after the reporting date The above statement should be read in conjunction with the accompanying notes
96 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 97 FOR THE YEAR ENDED 30 JUNE 2016 2 SUMMARY OF SIGNIFICANT 1 OBJECTIVES OF THE ART GALLERY BOARD ACCOUNTING POLICIES
OBJECTIVES A Statement of Compliance The Art Gallery Board (the Board) is constituted pursuant to section 4 of the Art The Board prepared these financial statements in compliance with section 23 of the FINANCIAL STATEMENTS Gallery Act 1939 (the Act). The Board is charged with the management of the Art Public Finance and Audit Act 1987. Gallery of South Australia under the Act. The financial statements are general purpose financial statements. The accounts have been prepared in accordance with relevant Australian Accounting The objectives of the Art Gallery of South Australia are to: Standards (Reduced Disclosure Requirements) and comply with Treasurer’s Instructions and Accounting Policy Statements promulgated under the provisions of • Collect heritage and contemporary works of art of aesthetic excellence and the Public Finance and Audit Act 1987. historical or regional significance; The Board has applied Australian Accounting Standards that are applicable • Ensure the preservation and conservation of the Gallery’s collections; to not-for-profit entities, as the Board is a not-for-profit entity. • Display the collections and to program temporary exhibitions; B Basis of preparation • Research and evaluate the collections and to make the collections and The preparation of the financial statements requires: documentation accessible to others for the purposes of research and as a basis for teaching and communications; • the use of certain accounting estimates and requires management to exercise its judgement in the process of applying the Board’s accounting policies. • Document the collections within a central cataloguing system; The areas involving a higher degree of judgement or where assumptions • Provide interpretative information about collection displays and temporary and estimates are significant to the financial statements, are outlined in the exhibitions and other public programs; applicable notes; • Promote the Gallery’s collections and temporary exhibitions; • the selection and application of accounting policies in a manner which ensures that the resulting financial information satisfies the concepts of relevance and • Ensure that the Gallery’s operations, resources and commercial programs are reliability, thereby ensuring that the substance of the underlying transactions or managed efficiently, responsibly and profitably; and other events are reported; and • Advise the South Australian Government on the allocation of South Australian • compliance with Accounting Policy Statements issued pursuant to section 41 of resources to works of art, art collections, art museums and art associations. the Public Finance and Audit Act 1987. In the interest of public accountability and transparency the Accounting Policy Statements require the following note disclosures, which have been included in this financial report: a) expenses incurred as a result of engaging consultants; b) staff targeted voluntary separation package information; c) staff whose normal remuneration is equal to or greater than the base executive remuneration level (within $10 000 bandwidths) and the aggregate of the remuneration paid or payable or otherwise made available, directly or indirectly, by the entity to those staff; and d) Board/committee member and remuneration information, where a board/ committee member is entitled to receive income from membership other than a direct out-of-pocket reimbursement. The Board’s Statement of Comprehensive Income, Statement of Financial Position and Statement of Changes in Equity have been prepared on an accrual basis and are in accordance with historical cost convention, except for certain assets that were valued in accordance with the valuation policy applicable. The Board’s financial statements and accompanying notes include all of the controlled activities of the Board including the Art Gallery Foundation. The Statement of Cash Flows has been prepared on a cash basis. The financial statements have been prepared based on a twelve month operating cycle and are presented in Australian currency. The accounting policies set out below have been applied in preparing the financial statements for the year ended 30 June 2016 and the comparative information presented for the year ended 30 June 2015.
98 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 99 FOR THE YEAR ENDED 30 JUNE 2016
2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES 2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
C Source of funds F Cash & cash equivalents The Board’s principal source of current funding consists of grants from the State Cash and cash equivalents in the Statement of Financial Position include cash at Government. In addition, the Board also receives monies from sales, admissions, bank and on hand, and short-term deposits held with the Bank of South Australia FINANCIAL STATEMENTS donations, bequests, sponsorships, interest and investment income and other and the Australian and New Zealand Banking Group Limited. For the purposes of receipts, and uses the monies for the achievement of its objectives. Bequests, the Statement of Cash Flows, cash and cash equivalents are as defined above. donations and grants can only be used in accordance with the terms and conditions Cash is measured at nominal value. attributable. G Receivables D Income and expenses Receivables include amounts receivable from goods and services, prepayments and Income and expenses are recognised in the Board’s Statement of Comprehensive other accruals. Receivables arise in the normal course of selling goods and services Income when and only when it is probable that the flow of economic benefits to or to the public and other government agencies. Receivables are generally receivable from the entity will occur and can be reliably measured. Income and expenses have within 30 days after the issue of an invoice or the goods/services have been been classified according to their nature and have not been offset unless required provided under a contractual arrangement. or permitted by a specific Accounting Standard, or where offsetting reflects the Collectability of receivables is reviewed on an ongoing basis. An allowance substance of the transaction or other event. for doubtful debts is raised when there is objective evidence that the Board will Interest revenue is recognised on a proportional basis taking into account not be able to collect the debt. Bad debts are written off when identified. the interest rates applicable to the financial assets. Dividend income is recognised when the right to receive a dividend has been established. Donations, bequests, H Inventories subscriptions, grants and sponsorships are recognised as income in the period Inventories are measured at the lower of cost or their net realisable value. Cost of in which the Board obtains control over the income. Income from the sale of inventory is measured on the basis of the first-in, first-out method. Net realisable goods is recognised at the point of sale. Income from the rendering of a service is value is determined using the estimated sale proceeds less costs incurred in recognised when the Board obtains control over the income. Government grants marketing, selling and distribution to customers. Inventories include books and are recognised as income in the period in which the Board obtains control over publications held for sale. the grants. The amount of any inventory write-down to net realisable value or Donated heritage collections received by the Board are recognised inventory losses are recognised as an expense in the period the write-down or loss as income in the Statement of Comprehensive Income in the year of receipt at occurred. Any write-down reversals are recognised as an expense reduction. fair value. I Investments Resources received free of charge Investments are brought to account at cost in accordance with Accounting Policy Resources received free of charge are recorded as income and expenditure in the Framework IV Financial Asset and Liability Framework APS 2.1. Statement of Comprehensive Income at their fair value. Under an arrangement with Arts SA and Artlab Australia, both divisions of J Non-current asset acquisition and recognition the Department of State Development, Artlab Australia receives SA Government appropriation to perform conservation services on the heritage collections of the The cost method of accounting is used for the initial recording of all acquisitions of Art Gallery. The value of the work performed is recognised as resources received assets. Cost is determined as the fair value of the assets given the consideration free of charge in income (note 14) and a corresponding amount included as plus costs incidental to the acquisition. Assets donated during the year have been conservation work expenditure in supplies and services (note 6). brought to account at fair value. Under an arrangement with the Department of State Development, All non-current assets with a value of $10,000 or greater are capitalised. financial services and human resource services are provided free of charge to the Board. The value of these services is recognised as resources received free of K Valuation of non-current assets charge in income (Note 14) and a corresponding amount included as a business All non-current assets are held at fair value and a revaluation of non-current assets services charge in supplies and services (Note 6). or a group of assets is only performed when its fair value at the time of acquisition is greater than $1 million and estimated useful life is greater than three years. E Current and non-current classification Land and buildings and heritage collections are re-valued every six years. Assets and liabilities are characterised as either current or non-current in nature. However, if at any time management considers the carrying amount of an asset The Board has a clearly identifiable operating cycle of 12 months. Therefore assets materially differs from its fair value, then the asset will be revalued regardless of and liabilities that will be realised as part of the normal operating cycle have been when the last valuation took place. Non-current assets that are acquired between classified as current assets or current liabilities. All other assets and liabilities are revaluations are held at cost until the next valuation, where they are revalued to classified as non-current. fair value. Any revaluation increment is credited to the revaluation surplus, except to the extent that it reverses a revaluation decrement of the same asset class previously recognised as an expense, in which case the increase is recognised as income in the Statement of Comprehensive Income.
100 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 101 FOR THE YEAR ENDED 30 JUNE 2016
2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES 2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
Any revaluation decrement is recognised as an expense in the Statement of Due to the size and nature of the art collection all high value assets (greater Comprehensive Income, except to the extent that it offsets a previous revaluation than $350,000) were valued individually with the remainder of the art collection increase of the same asset class, in which case the decrease is debited directly valued by establishing an average value through the random sampling of items in FINANCIAL STATEMENTS to the revaluation surplus to the extent of the credit balance existing in the each collection. Two high valued items in the numismatic collection were valued revaluation surplus for that asset class. individually. All other items were valued as a collection. The library collection Upon revaluation, the accumulated depreciation has been restated and the Noye collection of photographic material were both valued as collections. proportionately with the change in gross carrying amount of the asset so that the Items in the philatelic collection were valued individually. carrying amount, after revaluation, equals its revalued amount. All valuers have experience in the category of assets being valued. The Upon disposal or de-recognition, any revaluation surplus relating to that valuation was prepared on the basis of replacement value and fair value. The asset is transferred to retained earnings. valuation was carried out in accordance with the International Valuation Standards Framework and the relevant Australian Accounting Standards. Land and buildings Replacement value for insurance purposes was defined as the estimated amount that one would expect to pay for the same or similar item in a retail setting An independent valuation of the land and buildings was conducted as at 30 June from a reputable merchant at the date of valuation. Some of the heritage items 2014 by Valcorp Australia Pty Ltd. The valuation of land and buildings as at 30 June valued are unique by virtue of their history and could not be replaced with similar 2014 was prepared on a fair value basis in accordance with AASB 116 Property, items. In these instances the valuers deduced values based on similar but not Plant and Equipment and AASB 13 Fair Value Measurement. directly comparable items. Plant and equipment In instances where there were sufficient observable transactions of similar assets to the subject asset (generally in second hand markets), the market Plant and equipment including computer equipment, on acquisition, has been approach has been utilised to determine fair value. Inputs to the fair value deemed to be held at fair value. measurement are considered level 2 in the fair value hierarchy as they have been observed from the market and the valuer has made relatively minor adjustments Intangible assets for differences in asset characteristics. Where possible, the valuations were based An intangible asset is an identifiable non-monetary asset without physical substance. on recent market transactions for similar cultural and heritage assets and may Intangible assets are measured at cost. Following initial recognition, intangible include adjustment for factors specific to each asset including size, rarity, quality, assets are carried at cost less any accumulated amortisation and any accumulated condition, historical significance and associated restrictions. impairment losses. Where the frequency of available market transactions has not permitted the use of observable inputs, the valuers have used significant professional judgement Heritage collections in determining the fair value measurements. These assets are therefore considered to be in level 3 of the fair value hierarchy. The heritage collections are large and diverse. They include many items for which valuations are complex, given considerations of market value and their uniqueness. Fair value measurement – Non-financial assets The heritage collections are independently valued every six years. The collections were valued as at 30 June 2016 by RHAS, an operating division of Aon Risk Services. In determining fair value, the Board has taken into account the characteristic of the RHAS was responsible for the selection of the specialist valuers as listed below. asset (e.g. condition and location of the asset and any restrictions on the sale or use of the asset); and the asset’s highest and best use (that is physically possible, legally Collection valuer Specialist permissible, financially feasible). The Board’s current use is the highest and best use of the asset unless Australian paintings and sculptures Helen Miller other factors suggest an alternative use is feasible. As the Board did not identify Australian, European and international decorative arts Helen Miller any factors to suggest an alternative use, fair value measurement was based on current use. Asian art Helen Miller L Impairment of assets European paintings and sculptures Helen Miller All non-current assets are tested for indications of impairment at each reporting Australian prints and drawings Helen Miller date. Where there is an indication of impairment, the recoverable amount is European prints and drawings Helen Miller estimated. The recoverable amount is determined as the higher of the asset’s fair value less costs of disposal and depreciated replacement costs. An amount by Australian and international photographs Helen Miller which the asset’s carrying amount exceeds the recoverable amount is recorded as Noye collection of photographic material Helen Miller an impairment loss. For re-valued assets an impairment loss is offset against the revaluation Library collection Peter Tinslay surplus. Numismatics Jim Noble There were no indications of impairment of property, plant and equipment and intangibles as at 30 June 2016. Krichauff and Murray stamp collection John Pearson
102 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 103 FOR THE YEAR ENDED 30 JUNE 2016
2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES 2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
M Depreciation and amortisation of non-current assets All non-current assets, having a limited useful life, are systematically depreciated/ using market yields at the end of the reporting period on government bonds with amortised over their useful lives in a manner that reflects the consumption of durations that match, as closely as possible, the estimated future cash outflows. FINANCIAL STATEMENTS their service potential. Amortisation is used in relation to intangible assets such as software, while depreciation is applied to tangible assets such as property, plant On-costs and equipment. Assets’ residual values, useful lives and depreciation/amortisation Staff benefit on-costs (payroll tax and superannuation) are recognised separately methods are reviewed and adjusted if appropriate, on an annual basis. Land and under payables. heritage collections are not depreciated. Depreciation/amortisation is calculated on a straight line basis over the estimated useful life of the following classes of assets Superannuation as follows:- Contributions are made by the Board to several superannuation schemes operated Class of asset Useful life (years) by the State Government and private sector. These contributions are treated as an expense when they occur. There is no liability for payments to beneficiaries as they Buildings and improvements 20 to 100 have been assumed by the respective superannuation schemes. The only liability outstanding at balance date relates to any contributions due but not yet paid to Plant and equipment 3 to 20 the relevant superannuation schemes. The Department of Treasury and Finance Intangibles 5 centrally recognises the superannuation liability, for the schemes operated by the State Government, in the whole-of-government financial statements. Heritage collections are kept under special conditions so that there is no physical deterioration and they are anticipated to have very long and indeterminate useful P Workers compensation provision lives. No amount for depreciation has been recognised, as their service potential has not, in any material sense, been consumed during the reporting period. The workers compensation provision is an actuarial estimate of the outstanding liability as at 30 June 2016 provided by a consulting actuary engaged through the N Payables Office for the Public Sector. The provision is for the estimated cost of ongoing payments to staff as required under current legislation. Payables include creditors, accrued expenses and staff on-costs. Creditors and accrued expenses represent goods and services provided by Q Leases other parties during the period that are unpaid at the end of the reporting period. All amounts are measured at their normal amount and are normally settled within The Board has entered into a number of operating lease agreements for 30 days after the Board receives an invoice. accommodation, vehicles and multi-function printing devices where the lessors Staff on-costs include superannuation contributions and payroll tax with effectively retain all of the risks and benefits incidental to ownership of the items respect to outstanding liabilities for salaries and wages, long service leave, annual held under the operating leases. Operating lease payments are representative of leave and skills and experience retention leave. the pattern of benefits derived from the leased assets and accordingly are charged to the Statement of Comprehensive Income in the periods in which they are O Staff benefits incurred. No provision has been made for sick leave as all sick leave is non-vesting and the R Comparative information average sick leave taken in future years by staff is estimated to be less than the annual entitlement of sick leave. The presentation and classification of items in the financial statements and accompanying notes are consistent with prior periods except where specific Salaries, wages, annual leave and SERL accounting standards and/or accounting policy statements have required a change. Where presentation or classification of items in the financial statements Liabilities for salaries, wages, annual leave and skills and experience retention have been amended, comparative figures have been adjusted to conform to leave have been recognised as the amount unpaid at the reporting date at current changes in presentation or classification in these financial statements unless remuneration rates.The annual leave liability and the skills and experience retention impracticable to do so. leave liability are expected to be payable within 12 months and are measured at the The restated comparative amounts do not replace the original financial undiscounted amount expected to be paid. statements for the preceding period. Long service leave S Taxation The liability for long service leave is measured as the present value of expected The Board is not subject to income tax. The Board is liable for payroll tax, fringe future payments to be made in respect of services provided by staff up to the end benefits tax, goods and services tax (GST) and emergency services levy. of the reporting period using the projected unit credit method. Income, expenses, assets and liabilities are recognised net of the amount of The estimated liability for long service leave is based on actuarial GST except where the amount of GST incurred by the Board as a purchaser is not assumptions over expected future salary and wage levels, experience of staff recoverable from the Australian Taxation Office (ATO), in which case the GST is departures and periods of service. These assumptions are based on employee recognised as part of the cost of acquisition of the asset or as part of an item of data over SA Government entities. Expected future payments are discounted expense.
104 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 105 FOR THE YEAR ENDED 30 JUNE 2016 3 NEW AND REVISED ACCOUNTING
2 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES STANDARDS AND POLICIES
The net GST receivable/payable to the ATO is not recognised as a The Board did not voluntarily change any of its accounting policies during 2015–16. receivable/payable in the Statement of Financial Position as the Board is a member of an approved GST group of which Arts SA, a division of the Department of FINANCIAL STATEMENTS State Development, is responsible for the remittance and collection of GST. As 4 STAFF BENEFITS such, there are no cash flows relating to GST transactions with the ATO in the 2016 2015 Statement of Cash Flows. $’000 $’000 Salaries and wages 4,552 4,633 T State Government funding Annual leave 386 421 The financial statements are presented under the assumption of ongoing financial Board fees 30 29 support being provided to the Board by the State Government. Long service leave 210 202 U Rounding Payroll tax 281 290 Skills and experience retention leave 18 16 All amounts in the financial statements and accompanying notes have been rounded Superannuation 497 502 to the nearest thousand dollars ($’000). Targeted voluntary separation payments (refer below) – 87 V Insurance Workers compensation provision adjustment ( 30) ( 81) The Board has arranged, through SAICORP, a division of the SA Government Other staff related expenses 90 55 Financing Authority, insurance cover that insures all major risks of the Board. The Total staff benefits 6,034 6,154 excess payable is fixed under this arrangement. REMUNERATION OF STAFF 2016 2015 W Unrecognised contractual commitments and contingent assets The number of staff whose remuneration received or receivable falls within the following bands: NUMBER NUMBER and liabilities $141,500 to $145,000 – 1 Commitments include operating, capital and outsourcing commitments arising from $145,001 to $155,0001 1 1 contractual or statutory sources and are disclosed at their nominal value. $225,001 to $235,0002 – 1 Contingent assets and contingent liabilities are not recognised in the $315,001 to $325,000 – 1 Statement of Financial Position, but are disclosed by way of a note and, if quantifiable, are measured at nominal value. $325,001 to $335,000 1 – Unrecognised contractual commitments and contingencies are disclosed Total 2 4 net of the amount of GST recoverable from, or payable to the ATO. If GST is not 1) This bandwidth in 2014–15 includes a staff member that received leave entitlement payable to, or recoverable from the ATO, the commitments and contingencies are payments upon resignation. disclosed on a gross basis. 2) This bandwidth in 2014-15 includes a staff member that received a targeted voluntary X Events after the reporting period separation package (TVSP) payment and leave entitlement payments. Adjustments are made to amounts recognised in the financial statements, where The table includes all staff who received remuneration equal to or greater than the an event occurs after 30 June and before the date the financial statements are base executive remuneration level during the year. Remuneration of staff reflects all authorised for issue, where those events provide information about conditions that costs of employment including salaries and wages, TVSPs, superannuation contributions, existed at 30 June. fringe benefits, fringe benefits tax paid or payable and any salary sacrifice benefits. The Note disclosure is made about events between 30 June and the date the total remuneration received or receivable by these staff for the year was $473,000 financial statements are authorised for issue where the events relate to a condition ($836,000). The total remuneration received or receivable by ongoing senior which arose after 30 June and which may have a material impact on the results of management staff for the year was $473,000 ($460,000). subsequent years. TARGETED VOLUNTARY SEPARATION PACKAGES (TVSPS) 2016 2015 $’000 $’000 Amounts paid during the reporting period to separated staff: TVSPs – 87 Annual leave, LSL and skills and experience retention leave paid to those staff – 41 – 128 Recovery from the Department of Treasury and Finance – – Net cost to the Board – 128 There were no TVSPs paid in 2015–16. There was one paid in 2014–15.
106 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 107 FOR THE YEAR ENDED 30 JUNE 2016
5 REMUNERATION OF BOARD MEMBERS 6 SUPPLIES AND SERVICES
Members that were entitled to receive remuneration for membership during the 2015–16 2016 2015 financial year were: $’000 $’000 Administration expenses 403 398 FINANCIAL STATEMENTS Business services charge 267 205 ART GALLERY BOARD Catering 245 124 Conservation work 687 850 Mrs T Whiting (Chairman) Consultants 146 69 Ms S Armitage (term expired 3 June 2016) Contractors 328 215 Mr NR Balnaves Cost of goods sold 232 589 Ms A Edwards Freight, courier, postage 781 443 Entertainment 23 22 Mr JN Phillips Fees - exhibitions and publications 871 1,727 Mr A Tisato (appointed 10 December 2015) Foreign currency (gains) losses ( 1) 11 Ms S Tweddell (term expired 19 December 2015) Information technology 232 202 Insurance & risk management 489 531 Mr R Whitington Q.C. (term expired 11 November 2015) Inventory written-off 182 172 Ms J Yuile Maintenance 126 173 Marketing and promotion 2,118 3,083 THE NUMBER OF BOARD MEMBERS Materials 190 155 WHOSE REMUNERATION RECEIVED OR RECEIVABLE 2016 2015 FALLS WITHIN THE FOLLOWING BANDS: NUMBER NUMBER Minor equipment purchases and leasing 367 238 $0 – $9,999 9 10 Motor vehicle expenses 45 39 Total number of board members 9 10 Preservation activities 145 491 Public education 27 21 Remuneration of board members reflects all costs of performing board member duties Travel and accommodation 445 384 including sitting fees, superannuation contributions, fringe benefits tax and any other Other 146 204 salary sacrifice arrangements. The total remuneration received or receivable by the Total supplies and services 8,494 10,346 board members for the year was $33,000 ($32,000). Amounts paid or payable to superannuation plans for board members were $3,000 ($3,000). PAYMENTS TO CONSULTANTS Unless otherwise disclosed, transactions between board members and/or their The number and dollar amount of consultancies paid/payable (included in supplies and related entities, are on conditions, no more favourable than those that it is reasonable to services expense) that fell within the following bands: expect the Board would have adopted if dealing with the related party at arm’s length, in 2016 2015 2016 2015 the same circumstances. NUMBER NUMBER $’000 $’000 Below $10,000 2 4 1 8 Above $10,000 2 3 145 61 Total paid/payable to consultants engaged 4 7 146 69
108 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 109 FOR THE YEAR ENDED 30 JUNE 2016
7 ACCOMMODATION AND FACILITIES 12 INVESTMENT INCOME 2016 2015 $’000 $’000 2016 2015 $’000 $’000 Accommodation 536 652 Interest income 73 94
Facilities 723 672 FINANCIAL STATEMENTS Dividends 205 288 Security 1,453 1,460 Dividend imputation credits 90 123 Total accommodation and facilities 2,712 2,784 Total interest and investment income 368 505 8 DEPRECIATION & AMORTISATION 13 NET GAIN (LOSS) FROM THE DISPOSAL 2016 2015 $’000 $’000 OF NON-CURRENT ASSETS Buildings and improvements depreciation 1,207 1,191 2016 2015 Plant and equipment depreciation 48 52 $’000 $’000 Intangibles amortisation 8 6 Investments Total depreciation and amortisation 1,263 1,249 Proceeds from the sale of investments 5 185 Less: Net book value of investments disposed – ( 203) Net gain/(loss) from the disposal of investments 5 ( 18)
9 BEQUESTS AND DONATIONS OF CASH TOTAL ASSETS 2016 2015 Proceeds from disposal 5 185 $’000 $’000 Less: Net book value of assets disposed – ( 203) Bequests 8 192 Net gain/(loss) from the disposal of non-current assets 5 ( 18) Donations 2,149 1,710 Total bequests and donations 2,157 1,902 Bequests and donations can only be used in accordance with the terms and conditions attributable. Therefore depending on the terms and conditions, they are not available for 14 RESOURCES RECEIVED FREE OF CHARGE the operating activities of the Board. 2016 2015 $’000 $’000 Conservation services 588 745 10 FEES AND CHARGES Business services 267 205 Total resources received free of charge 855 950 2016 2015 $’000 $’000 Fees for services 384 412 Admissions to temporary exhibitions 220 1,055 15 SPONSORSHIPS Total revenues from fees and charges 604 1,467 2016 2015 $’000 $’000 InCash sponsorships 470 276 11 GR ANTS In-kind sponsorships 643 2,132 Total sponsorships 1,113 2,408 2016 2015 $’000 $’000 Commonwealth Government 65 143 State Government 20 1,376 16 OTHER INCOME Other external grants 745 344 Total grants 830 1,863 2016 2015 $’000 $’000 Fundraising 31 140 Insurance recoveries 1 – Other receipts 54 36 Total other income 86 176
110 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 111 FOR THE YEAR ENDED 30 JUNE 2016
17 RECURRENT OPERATING GRANT 19 RECEIVABLES
2016 2015 2016 2015 $’000 $’000 $’000 $’000
RECURRENT OPERATING GRANT CURRENT FINANCIAL STATEMENTS Recurrent operating grant - (excluding additional exhibition funding) Prepayments 16 9 from Arts SA per initial budget advice 9,964 8,343 Receivables 235 278 Recurrent operating grant - additional exhibition funding from Accrued income 146 189 Arts SA per initial budget advice 1,799 1,850 Total current receivables 397 476 Additional one-off exhibition funding provided by Arts SA – 50 Additional other one-off funding provided by Arts SA 436 322 NON-CURRENT Total recurrent operating grant 12,199 10,565 Prepayments 5 - Receivables 1 5 Total non-current receivables 6 5 18 CASH AND CASH EQUIVALENTS Total receivables 403 481 2016 2015 $’000 $’000 INTEREST RATE AND CREDIT RISK Deposits with the Treasurer 1,773 1,806 Receivables are raised for all goods and services provided for which payment has not Deposits with banks 1,100 1,509 been received. Receivables are normally settled within 30 days. Receivables, prepayments and accrued income are non-interest bearing. Cash on hand 524 7 It is not anticipated that counterparties will fail to discharge their obligations. The Total cash and cash equivalents 3,397 3,322 carrying amount of receivables approximates net fair value due to being receivable on demand. There is no concentration of credit risk. DEPOSITS WITH THE TREASURER Deposits with the Treasurer are a combination of funds held in the “Art Gallery Board Account”, an account held with the Treasurer of South Australia pursuant to section 21 of the Public Finance and Audit Act 1987, and funds held in the Arts SA Operating Account, an account held with the Treasurer of South Australia pursuant to section 8 of the Public 20 PROPERTY, PLANT AND EQUIPMENT Finance and Audit Act 1987. 2016 2015 $’000 $’000 DEPOSITS WITH BANKS Deposits with the Bank of South Australia (BankSA) and the Australian and New Zealand LAND, BUILDINGS AND IMPROVEMENTS Banking Group Limited (ANZ) are funds held in term deposit facilities. Land at valuation 5,130 5,130 Buildings and improvements at valuation 71,519 71,519 CASH ON HAND Accumulated depreciation (33,863) (32,656) Cash on hand includes petty cash, cash and cheques held on-site and not banked, floats Total land, buildings and improvements 42,786 4, 993 and change machines. PLANT AND EQUIPMENT INTEREST RATE RISK Plant and equipment at cost (deemed fair value) 906 876 Cash and cash equivalents are recorded at nominal value. Interest is calculated based Accumulated depreciation ( 491) ( 456) on the average daily balances of the interest bearing funds. The interest bearing funds of Total plant and equipment 415 420 the Board are held in the section 21 interest bearing account titled the “Art Gallery Board Account” and the BankSA and ANZ accounts. Total property, plant and equipment 43,201 44,413 In 2015–16 deposits with the Treasurer were bearing a floating interest rate between 1.77% and 1.85% (2.03% and 2.35%). The interest rate for the term deposits VALUATION OF LAND AND BUILDINGS held with BankSA and ANZ as at 30 June 2016 is 3.41% and 2.80% (2.0% and 3.31%) An independent valuation of the land and buildings was conducted as at 30 June 2014 respectively. by Valcorp Australia Pty Ltd. The valuation of land and buildings at 30 June 2014 was prepared on a fair value basis in accordance with AASB 116 Property, Plant and Equipment and AASB 13 Fair Value Measurement.
112 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 113 FOR THE YEAR ENDED 30 JUNE 2016
22 HERITAGE COLLECTIONS
2016 2015 The valuation was based on recent market transactions for similar land and buildings (non specialised) in the area and includes adjustment for factors specific to the land and building being valued such as size and location. The valuer arrived at fair AT VALUATION AT COST TOTAL AT VALUATION AT COST TOTAL value using the market approach. $’000 $’000 $’000 $’000 $’000 $’000 FINANCIAL STATEMENTS The valuer used depreciated replacement cost for specialised land and buildings, due to there not being an active market Australian paintings and sculptures 275,459 – 275,459 240,103 11,989 252,092 for such land and buildings. The depreciated replacement cost considered the need for ongoing provision of government Australian and European decorative arts 42,357 – 42,357 28,363 2,274 30,637 services; specialised nature of the assets, including the restricted use of the assets; the size, condition and location. The Asian art 27,772 – 27,772 44,301 3,241 47,542 valuation was based on a combination of internal records, specialised knowledge and the acquisition/transfer costs. European paintings and sculptures 339,366 – 339,366 223,714 7,929 231,643 CARRYING AMOUNT OF PLANT AND EQUIPMENT Prints, drawings and photographs 52,842 – 52,842 35,814 1,935 37,749 All items of plant and equipment had a fair value at the time of acquisition that was less than $1 million or had an estimated Numismatics 10,450 – 10,450 6,753 – 6,753 useful life that was less than three years, and have not been revalued in accordance with APF Ill. The carrying value of these items Philatelic material 791 – 791 450 – 450 are deemed to approximate fair value. These asset are classified in level 3 as there has been no subsequent adjustments to their Library 2,898 – 2,898 1,744 75 1,819 value, except for management assumptions about the asset’s condition and remaining useful life. Collections on instalments 758 – 758 – 190 190 All other non-current assets have been deemed to be held at fair value. Total heritage collections 752,693 – 752,693 581,242 27,633 608,875
IMPAIRMENT Reconciliation of carrying amounts of heritage collections There were no indications of impairment of property, plant and equipment as at 30 June 2016. 2016 2015 MOVEMENT RECONCILIATION OF PROPERTY, PLANT AND EQUIPMENT BALANCE ADDITIONS REVALUATIONS BALANCE BALANCE ADDITIONS BALANCE BUILDINGS TOTAL TOTAL 1 JULY 30 JUNE 1 JULY 30 JUNE AND PLANT AND TANGIBLE COMPUTER INTANGIBLE $’000 $’000 $’000 $’000 $’000 $’000 $’000 LAND IMPROVEMENTS EQUIPMENT ASSETS SOFTWARE TOTAL ASSETS Australian paintings and sculptures 252,092 5,022 18,345 275,459 249,636 2,456 252,092 2016 $’000 $’000 $’000 $’000 $’000 $’000 Australian and European decorative arts 30,637 348 11,372 42,357 29,577 1,060 30,637 Carrying amount at the start of period 5,130 38,863 420 44,413 34 34 Asian art 47,542 749 (20,519) 27,772 46,802 740 47,542 Additions – – 43 43 – – European paintings and sculptures 231,643 1,936 105,787 339,366 230,447 1,196 231,643 Depreciation/amortisation expense – (1,207) ( 48) (1,255) ( 8) ( 8) Prints, drawings and photographs 37,749 464 14,629 52,842 37,160 589 37,749 Carrying amount at the end of period 5,130 37,656 415 43,201 26 26 Numismatics 6,753 – 3,697 10,450 6,753 – 6,753 Philatelic material 450 – 341 791 450 – 450 Library 1,819 16 1,063 2,898 1,803 16 1,819 21 INTANGIBLE ASSETS Collections on instalments 190 568 – 758 321 ( 131) 190 Total heritage collections 608,875 9,103 134,715 752,693 602,949 5,926 608,875 2016 2015 $’000 $’000 INTANGIBLES 23 INVESTMENTS Computer software 40 40 Less: accumulated amortisation ( 14) ( 6) 2016 2015 $’000 $’000 Total intangibles 26 34 NON–CURRENT IMPAIRMENT Shares and other direct investments in companies 4,186 3,788 There were no indications of impairment of intangibles as at 30 June 2016. Total investments 4,186 3,788 The market value of investments as at 30 June 2016 is $4.7 million ($4.6 million).
114 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 115 FOR THE YEAR ENDED 30 JUNE 2016
24 OTHER ASSETS 26 STAFF BENEFITS
2016 2015 2016 2015 $’000 $’000 $’000 $’000
CURRENT CURRENT FINANCIAL STATEMENTS Forward foreign exchange contract receivable 207 173 Annual leave 454 453 Total current other assets 207 173 Long service leave 180 185 Skills and experience retention leave 25 24
Accrued salaries and wages 78 43 NON-CURRENT Total current staff benefits 737 705 Forward foreign exchange contract receivable – 159 Total non-current other assets – 159 NON-CURRENT Long service leave 1,021 871 Total other assets 207 332 Total non-current staff benefits 1,021 871 Total staff benefits 1,758 1,576
AASB 119 Employee Benefits contains the calculation methodology for long service 25 PAYABLES leave liability. The actuarial assessment performed by the Department of Treasury and 2016 2015 Finance has provided a set level of liability for the measurement of long service leave. $’000 $’000 AASB 119 requires the use of the yield on long term Commonwealth Government bonds as the discount rate in the measurement of the long service leave liability. The CURRENT yield on long term Commonwealth Government bonds has decreased from 2015 (3.0%) Creditors and accruals 402 877 to 2016 (2.0%). The resulting financial effect is immaterial. This decrease in the bond yield, which is used as the rate to discount future long Staff on-costs 103 99 service leave cash flows, results in an increase in the reported long service leave liability. Total current payables 505 976 The net financial effect of the changes in the methodology and actuarial assumptions is immaterial. The salary inflation rate remained unchanged at 4.0% for long service leave. The NON-CURRENT salary inflation rate applied to annual leave and skills and experience retention leave also Staff on-costs 95 78 remained unchanged at 3.0%. The resulting financial effect of the change is nil. Total non-current payables 95 78 Total payables 600 1,054 As a result of an actuarial assessment performed by the Department of Treasury and 27 PROVISIONS Finance, the percentage of the proportion of long service leave taken as leave has increased from the 2015 rate of 37% to 40%. The average factor for the calculation of 2016 2015 employer superannuation on-cost has decreased from the 2015 rate of 10.3% to 10.2%. $’000 $’000 These rates are used in the staff on-cost calculation. The financial effect of the above change on staff on-costs and staff benefit CURRENT expense is immaterial. Provision for workers compensation 26 24 Total current provisions 26 24 INTEREST RATE AND CREDIT RISK
Creditors and accruals are raised for all amounts billed but unpaid. Sundry creditors NON-CURRENT are normally settled within 30 days. Staff on-costs are settled when the respective Provision for workers compensation 40 72 staff benefit that they relate to is discharged. All payables are non-interest bearing. Total non-current provisions 40 72 The carrying amount of payables approximates net fair value due to the amounts being payable on demand. Total provisions 66 96
PROVISION MOVEMENT Carrying amount at the beginning of the period 96 177 Reductions resulting from re-measurement or settlement without cost (30) ( 81) Carrying amount at the end of the period 66 96
116 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 117 FOR THE YEAR ENDED 30 JUNE 2016
28 OTHER LIABILITIES 30 CONTINGENT ASSETS AND LIABILITIES 2016 2015 $’000 $’000 CONTINGENT ASSETS The Board has been named as beneficiary in a number of testamentary bequests. By their CURRENT FINANCIAL STATEMENTS nature it is not possible to accurately estimate the amount and timing of these bequests. Deferred assets 17 26 Amounts paid to the Board as a result of these bequests will be recognised on receipt. Forward foreign exchange contract payable 209 175 CONTINGENT LIABILITIES Total current other liabilities 226 201 The Board is not aware of any contingent liabilities as at 30 June 2016. NON-CURRENT Deferred assets – 19 Forward foreign exchange contract payable – 166 31 FINANCIAL INSTRUMENTS / FINANCIAL RISK Total non-current other liabilities – 185 Total other liabilities 226 386 MANAGEMENT 31.1 FINANCIAL RISK MANAGEMENT 29 UNRECOGNISED CONTRACTUAL Risk management is managed by the Board’s Audit Committee and Board risk management policies are in accordance with the Risk Management Policy Statement issued by the Premier and Treasurer and the COMMITMENTS principles established in the Australian Standard Risk Management Principles and Guidelines. The Board is exposed to financial risk – liquidity risk, credit risk and market risk. There have been OPERATING LEASE COMMITMENTS no changes in risk exposure since the last reporting period. The Board is funded principally from grants from Arts SA a division of the Department for State Commitments under non-cancellable operating leases at the reporting date not Development. The Board works with Arts SA and the Department of Treasury & Finance to determine recognised as liabilities in the financial statements are payable as follows: the cash flows associated with its Government approved program of work and to ensure funding is 2016 2015 provided through SA Government budgetary processes to meet the expected cash flows. $’000 $’000 Within one year 18 59 31.2 CATEGORISATION OF FINANCIAL INSTRUMENTS Later than one year but not longer than five years 4 28 Details of the significant accounting policies and methods adopted including the criteria for recognition, Total operating lease commitments 22 87 the basis of measurement, and the basis on which income and expenses are recognised with respect to each class of financial asset and financial liability are disclosed in note 2 Summary of significant accounting The operating lease commitments comprise: policies. • Non-cancellable motor vehicle leases, with rental payable monthly in arrears. No The carrying amounts of each of the following categories of financial assets and liabilities: Held-to-maturity contingent rental provisions exist within the lease agreements and no options exist to investments; loans and receivables; and financial liabilities measured at cost and fair value are detailed renew the leases at the end of their terms. below. • A non-cancellable office under-lease, with rental payable monthly in advance. No 2016 2015 CATEGORY OF FINANCIAL CARRYING FAIR CARRYING FAIR contingent rental provisions exist within the lease agreement and no option exists to ASSET AND FINANCIAL STATEMENT NOTE AMOUNT VALUE AMOUNT VALUE renew the lease at the end of its term; and LIABILITY OF FINANCIAL POSITION $’000 $’000 $’000 $’000
• A non-cancellable photocopier lease, with rental payable monthly in arrears. No FINANCIAL ASSETS contingent rental provisions exist within the lease agreement and no option exists to Cash and cash equivalents Cash 18 3,397 3,397 3,322 3,322 renew the lease at the end of its term. Loans and receivables Receivables (1)(2) 19 369 369 467 467 EXPENDITURE COMMITMENTS – OTHER Available for sale financial assets Investments 23 4,186 4,728 3,788 4,649 Forward foreign exchange The Board’s other commitments are for contracts for works of art, exhibitions, investment contract receivable Other assets 24 207 207 332 332 settlements, security and cleaning. 2016 2015 $’000 $’000 Within one year 1,727 4,732 Later than one year but not longer than five years 144 1,160 Total other commitments 1,871 5,892 Contingent rental provisions within the security and cleaning contracts require the minimum contract payments to be increased by variable operating costs and wage rises. Options exist to renew the contracts for another 12 months.
118 ANNUAL REPORT 2015–16 ART GALLERY OF SOUTH AUSTRALIA ART GALLERY OF SOUTH AUSTRALIA ANNUAL REPORT 2015–16 119 ANNUAL REPORT 2015–16 REPORT ANNUAL 120 of the Board, the results of those operations, or the state of affairs of the Board in subsequent financial years. financial subsequent in Board the of affairs of state the or operations, those of operations results the the Board, the of significantly affect to Board, the of members the of opinion the in likely, transaction nature item, unusual and other any amaterial of event or report, this of date the and year financial the of end the between interval the in arisen not has There DATE REPORTING THE AFTER 32 EVENTS 2) 1) payablecontract Forward foreign exchange assets Deferred Financial liabilities(atcost) FINANCIAL LIABILITIES enforceable by law. All amounts recorded are carried at cost (not materially different from amortised cost). amortised from different materially (not cost at carried are as recorded amounts contract All law. by defines enforceable standard The disclosure. the from excluded be would they payables, equivalents, audit tax tax, Commonwealth receivables/payables, levy as such legislation in source their have obligations requirements or the rights Where situations, apply. not these in will therefore and contractual be not may cash pay or receive to In rights payables. and certain receivables government, statutory to relating amounts exclude here disclosed amounts payable and Receivable future economic benefit of these assets is the receipt of goods and services rather than the right to receive cash or another another or cash receive to right financialthe asset. than rather services and goods of receipt the is assets these of benefit the AASB economic as 132 in future defined as assets financial not are 101. prepayments However, AASB of 78(b) in paragraph 19 receivables note as in with accordance presented are Prepayments prepayments. excludes here, disclosed amount receivables The
ART GALLERY OF SOUTH AUSTRALIA SOUTH OF GALLERY ART Other liabilities Other liabilities Payables (1) 28 28 25 209 362 17 209 362 17 341 839 45 341(1) 839 45 Sam Noonan subjecter Twin- Hirschhorn, featuring Thomas 2013, Australia, South of Gallery Art Art, European Melrose Wing of view Installation . photo: ANNUAL REPORT 2015–16 REPORT ANNUAL AUSTRALIA SOUTH OF GALLERY ART
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