2015 Annual Report

ANNUAL REPORT 2015 Contents Contents & Publication panel Year at a glance 5 Chair’s Report 6 Director’s Report 7 Degree Programs 9 The Student Experience 13 Prizes and Scholarships 14 Graduate Profiles 16 Educational Outreach 21 Faculty Achievements 25 Art Forum 27 Public Programs 29 Professional Opportunities 31 Staff Profile 32 NAS Gallery 35 National Art School Fellowship 39 Library and Archive & Collection 41 Venue Hire 43 Philanthropy 45 Corporate Partners 49 Financial Report 50 National Art School Staff 52 Mission Governance

The principal mission of the National Art School is to be a The National Art School is registered as a Higher Education centre of excellence for the provision of higher education and Provider under the Higher Education Support Act 2003 research, scholarship and professional practice in the visual (HESA). arts and related fields. The National Art School is a public company limited by The National Art School utilises its independent identity guarantee, with two members, the NSW Ministers for the and distinctive teaching and learning methods to realise this Arts and for Education. The members appoint a Board of mission through the development of creativity and visual and Directors with responsibility for the School and oversight cultural awareness in an international context. of the leadership of the School. The aims and objectives of the National Art School are: The Board of Directors operates three sub-committees, the Finance and Audit Committee, the Properties and • To be a centre of excellence for the delivery of high Assets Committee, and the National Art School Foundation. quality specialist education in studio-based visual arts and related fields; The Academic Board is responsible for the maintenance of • To be at the forefront of learning, creativity and practice academic standards in accordance with the Higher Education in the visual arts, nationally and internationally; Threshold Standards. • To provide high quality education that fosters the The National Art School is entered on the Register of acquisition and interrelationship of technical skills Cultural Organisations. It is recognized by the Australian with creative invention; Taxation Office as a Charitable Institution, and is endorsed as a Deductible Gift Recipient under Item 1 for the • To ensure that practice, research and scholarship following funds: in drawing is a core visual language and underpins creative development in all aspects of provision; • National Art School General Fund • To situate all programs of study within the art historical, • National Art School Gallery theoretical, cultural and professional contexts • National Art School Library appropriate to the development of knowledge and understanding of the studio arts; The National Art School Gallery and the National Art School Library are also endorsed under Item 4, and may receive gifts • To promote the widest possible participation and of property under the Cultural Gifts Program. diversity of students and to recruit locally, nationally, and internationally; • To ensure that all academic staff are distinguished in their field as actively practising artists, scholars and/or researchers.

cover Aly Indermühle You’re So Cool 2015 cardboard, LED lights, nano computing, sound, scent Exhibited at the National Art School Graduate Exhibition 2015. Photo: Peter Morgan opposite Photo: Zan Wimberley NATIONAL ART SCHOOL | 3 4 | NATIONAL ART SCHOOL YEAR AT A GLANCE

Degree enrolments increased by

Launched $8.7m Postgraduate Centre 16% on time and on budget

NAS Gallery visitation increased by

Students rated the 50% teaching quality at 89%

Facebook audience increased by Short Course workshop enrolments increased by 39% 86% 89% of staff were proud to say they work at NAS

Postgraduate Student Anthony Hodgkinson. Photo: Zan Wimberley NATIONAL ART SCHOOL | 5 CHAIR’S REPORT

In the last Annual Report I outlined the work done during My sincere thanks also to our major corporate supporters 2014 in building growth foundations for the National Art and to the committed group of individual donors who ensure School. I talked about the major building renovation to create that we recognise our graduates’ hard work through awards a Postgraduate Centre, about the installation of new IT and prizes, several of which allow for substantial periods of systems and new computer network, and about the complete work time overseas. This support is highly sought-after by redesign of the School’s brand. I talked about a virtuous the graduates and students and deeply appreciated by the circle of delivering an expanding scale of teaching, more School. It often provides the necessary stimulus that an artist admissions, and superior student outcomes. I was optimistic needs to transition into professional practice. that these new foundations would underpin the continued Previously I have referred to uncertainty around the funding growth and success of the school. of tertiary education at both State and Federal levels, and on So, you might ask are we achieving these ambitious goals? the consequential challenges in developing the best business The unambiguous answer is, yes we are. model for the National Art School. Those uncertainties remained during 2015 during which the NSW Government In support of that answer I will highlight, generously continued their direct funding support. Discussions • Degree student numbers increased by 16% are on-going to examine the potential benefits of close collaboration with other tertiary education institutions. The • Staff surveys have recorded substantial improvements Board and Management are optimistic that these discussions in morale and satisfaction levels will result in a more robust business model while protecting • Philanthropic contributions have risen the School’s traditional commitment to delivering excellent • Record numbers of visitors are coming to our Gallery fine art teaching. to view the various exhibitions of student work and I again acknowledge the continuing strong financial and other exhibitions broader operational support and encouragement provided • Public Programs expanded and grew to the school by the NSW Government through the Minister of Education and the Minister for the Arts. Particular thanks • Our secondary school programs again reached across must also go to our fine staff who deliver the virtuous circle the state of the National Art School. One favourite reflection on the year was my delight in seeing huge billboards advertising the National Art School Graduate Exhibition displayed prominently in Sydney’s railway stations. Mr Nicholas Johnson The advertisements displayed work by famous NAS alumni Chair, Board of Directors with a series of tags like, ‘Own a legend before it becomes one’. Fabulous. It clearly had an impact, with more than $170,000 of student work sold and fantastic visitation to the exhibitions.

6 | NATIONAL ART SCHOOL CHAIR’S DIRECTOR’S REPORT REPORT

In the last Annual Report I outlined the work done during My sincere thanks also to our major corporate supporters The National Art School entered 2015 riding high on the and offered a unique experience for our students and staff. 2014 in building growth foundations for the National Art and to the committed group of individual donors who ensure achievements of the previous year, with enthusiasm to The NAS Gallery, the Forum program and the Visiting Artists School. I talked about the major building renovation to create that we recognise our graduates’ hard work through awards continue the momentum of change and consolidation that program offer the NAS community an invaluable educative a Postgraduate Centre, about the installation of new IT and prizes, several of which allow for substantial periods of has been driving the School in recent years. opportunity in bringing us diverse groups of professionals systems and new computer network, and about the complete work time overseas. This support is highly sought-after by to show and share their practices. The results of our entry into the UAC admissions system redesign of the School’s brand. I talked about a virtuous the graduates and students and deeply appreciated by the gave us a significant bump in first year enrolments. With the move to the new Postgraduate Centre in Building circle of delivering an expanding scale of teaching, more School. It often provides the necessary stimulus that an artist Our overall student numbers increased by 16%. We 11, the NAS Archive and Collection has become accessible admissions, and superior student outcomes. I was optimistic needs to transition into professional practice. also acquired invaluable hard data; for example, non- to the public, students and researchers for the first time that these new foundations would underpin the continued Previously I have referred to uncertainty around the funding metropolitan Sydney applications were 39%, much since its inception over ninety years ago. Valuable work on growth and success of the school. of tertiary education at both State and Federal levels, and on higher than we previously thought. conservation, maintenance and expansion of the Collection So, you might ask are we achieving these ambitious goals? the consequential challenges in developing the best business allows us to draw on it for exhibitions in the NAS Gallery as Our students and graduates reported very high satisfaction The unambiguous answer is, yes we are. model for the National Art School. Those uncertainties well as lending works to other institutions. with their NAS experience and the work in the graduating remained during 2015 during which the NSW Government In support of that answer I will highlight, shows was enthusiastically received. Attendances for the Our staff and volunteers are the life blood of NAS, as they generously continued their direct funding support. Discussions opening nights across both exhibitions exceeded 5000 for always have been. Our Board members continue to dedicate • Degree student numbers increased by 16% are on-going to examine the potential benefits of close the first time. Sales of student work, assisted by the microsite, their time to ensuring that governance and policy reflect the collaboration with other tertiary education institutions. The • Staff surveys have recorded substantial improvements exceeded $170,000. We want our graduates to know that aspirations of the generations who have preceded them and Board and Management are optimistic that these discussions in morale and satisfaction levels there is a viable financial life as an artist (in a culture which create new horizons to strive towards. will result in a more robust business model while protecting more commonly sends the opposite message) and although • Philanthropic contributions have risen the School’s traditional commitment to delivering excellent On behalf of the National Art School, I thank our many selling is only one part of an artist’s concerns, the graduating fine art teaching. donors, corporate partners and government funding • Record numbers of visitors are coming to our Gallery exhibitions send a message that many can depart NAS partners whose commitment, encouragement and support to view the various exhibitions of student work and I again acknowledge the continuing strong financial and understanding that people want to acquire their work. is so essential to the School’s continued growth and other exhibitions broader operational support and encouragement provided Our Outreach programs continue to grow with an increased success. Through these invaluable partnerships we can • Public Programs expanded and grew to the school by the NSW Government through the Minister participation in regional, national and international continue to provide excellent experiences for students, of Education and the Minister for the Arts. Particular thanks • Our secondary school programs again reached across engagement and partnerships. In Public Programs a alumni and audiences for generations to come. must also go to our fine staff who deliver the virtuous circle the state significant change was implemented to the Short Courses of the National Art School. Thank you to all who make NAS the extraordinary institution with the successful introduction of a new four term program One favourite reflection on the year was my delight in seeing that it is. huge billboards advertising the National Art School Graduate and the introduction of weekday courses which proved very popular. Student enrolments and revenue increased Exhibition displayed prominently in Sydney’s railway stations. Mr Nicholas Johnson significantly exceeding 1000 participants. The advertisements displayed work by famous NAS alumni Chair, Board of Directors Michael Snelling with a series of tags like, ‘Own a legend before it becomes The NAS Gallery presented a concentrated program of solo, Director and Chief Executive Officer one’. Fabulous. It clearly had an impact, with more than group, national and international exhibitions which drew $170,000 of student work sold and fantastic visitation to significantly larger audiences, gained much acclaim the exhibitions.

6 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 7

DEGREE PROGRAMS

The National Art School is committed to teaching the vital Master of Fine Art (by research) practical skills and theoretical basis that is essential to a The Master of Fine Art program (MFA) represents the career in the visual arts, a method that continues to produce highest degree awarded at NAS. This studio research- internationally renowned, award-winning graduates. The based program is designed for practising artists who wish to academic experience continues to be defined by high develop specific research interests in their studio production staff-to-student ratios, generous studio footprints, extensive and gain a higher level of professional expertise. contact hours and an esteemed faculty of practising The high quality of work produced by these graduates artist/teachers. embodies the professional expertise gained through rigorous artistic enquiry over two or more years of individualised Degree Programs & Statistics* studio research. Bachelor of Fine Art The Bachelor of Fine Art (BFA) program represents our YEAR DOMESTIC INTERNATIONAL TOTAL largest student enrolment. 2013 16 1 17 Applications and intake for this three-year full-time program 2014 18 1 19 in the 2015 academic year remained strong, with a significant 2015 27 1 28 increase in enrolments from 2014.

YEAR DOMESTIC INTERNATIONAL TOTAL Gender Profile 2013 339 3 342 2015 DEGREE ENROLMENT GENDER PROFILE 2014 347 3 350 Program BFA B BFA (Hons) MFA Total 2015 395 2 397 Male 121 19 14 154 Female 275 31 14 320 Bachelor of Fine Art (Honours) X 1 0 0 1 The Bachelor of Fine Art (Honours) program is a one-year, 2015 Total 397 50 28 475 full-time studio-based degree, designed for students who have completed a three-year BFA degree or equivalent, and offers the opportunity to focus and further develop their Age Balance individual studio practice. 2015 DEGREE ENROLMENT AGE BALANCE Enrolments were strong with many high-performing students Program BFA BFA (Hons) MFA Total from the BFA in 2014 completing the Honours program. 17 - 25 257 24 1 282 26 - 59 118 25 22 165 YEAR DOMESTIC INTERNATIONAL TOTAL 60+ 22 1 5 28 2013 35 0 35 TOTAL 397 50 28 475 2014 41 0 41 2015 49 1 50

*All numbers are headcount figures. A headcount is the number of people enrolled in at least one unit of study at any one of the three census dates in 2015.

Bachelor of Fine Art Student Charlotte Paull. Photo: Zan Wimberley NATIONAL ART SCHOOL | 9 UAC Preferences to NAS in Main Round Student Experience Survey All preferences are expressed in 2015 for study in 2016. The Quality Indicators for Learning and Teaching (QILT) Student Experience Survey (SES) is the largest survey of Australian higher education students and is run on behalf of the Australian Government Department of Education and Training. NAS participated in this survey for the first time in 2015, achieving higher than average scores comparative to Art & Design institutions across all categories.

NAS National Art & Design

100%

Preferences numbers Sydney Metro 295 80% Rest of NSW 154 Interstate 37 60% International 1 TOTAL 487 40%

20%

Degree Program Income Performance Income performance growth remained strong in 2015 0% Overall Skills Learner with a 34.3% growth on the previous year. experience development engagement

$ GROWTH ON % GROWTH ON 100% YEAR FEE INCOME PREVIOUS YEAR PREVIOUS YEAR 2014 $2,671,995 $519,702 24.1% 2015 $3,587,842 $915,847 34.3% 80%

60%

40%

20%

0% Teaching Student Learning quality support resources

Master of Fine Art student Oliver Wagner. 10 | NATIONAL ART SCHOOL Photo: Zan Wimberley UAC Preferences to NAS in Main Round Student Experience Survey All preferences are expressed in 2015 for study in 2016. The Quality Indicators for Learning and Teaching (QILT) Student Experience Survey (SES) is the largest survey of Australian higher education students and is run on behalf of the Australian Government Department of Education and Training. NAS participated in this survey for the first time in 2015, achieving higher than average scores comparative to Art & Design institutions across all categories.

NAS National Art & Design

100%

Preferences numbers Sydney Metro 295 80% Rest of NSW 154 Interstate 37 60% International 1 TOTAL 487 40%

20%

Degree Program Income Performance Income performance growth remained strong in 2015 0% Overall Skills Learner with a 34.3% growth on the previous year. experience development engagement

$ GROWTH ON % GROWTH ON 100% YEAR FEE INCOME PREVIOUS YEAR PREVIOUS YEAR 2014 $2,671,995 $519,702 24.1% 2015 $3,587,842 $915,847 34.3% 80%

60%

40%

20%

0% Teaching Student Learning quality support resources

Master of Fine Art student Oliver Wagner. 10 | NATIONAL ART SCHOOL Photo: Zan Wimberley NATIONAL ART SCHOOL | 11 12 | NATIONAL ART SCHOOL THE STUDENT EXPERIENCE

Postgraduate Centre Library Stairwell Gallery and Rayner Hoff Studio The Library Stairwell Gallery is a dedicated student Coinciding with the commencement of the academic year exhibition space within the National Art School Library. was the unveiling of the School’s $8.7 million Postgraduate The Gallery provides a platform for undergraduate and Centre, providing expanded facilities for Bachelor of Fine Art postgraduate students to develop their exhibition and (Honours) and Master of Fine Art Students and the School curatorial skills, collaborate with fellow students across community at large, with 50 new studios, exhibition spaces, disciplines, and explore creative ideas outside the bounds new sculpture workshops, a digilab, seminar rooms and the of their formal studies. The 2015 program included a Rayner Hoff Studio exhibition and project space. Students, dynamic line-up of eleven group shows representing every staff and alumni have embraced the opportunity to showcase discipline and year group. their work in the Rayner Hoff Studio, with 2015 exhibition highlights including Greyscale and Pedestrian. Postgraduate Student Representative Council students reaped the benefits of beautiful light-filled studio As well as serving as the main representative body for spaces and proximity to their peers, which has fostered a NAS students, the SRC continued to enrich life on campus lively exchange of ideas, materials and processes. in 2015 with exciting social events. The SRC extended their relationship with UNSW Art & Design in 2015, joining forces Margaret Olley Drawing Week to host an ‘Intergalactic Australiana’ Ball at the Oxford Art A dynamic program of intensive drawing kick-starts our Factory. Students revelled in the opportunity to kick up academic year. This fertile ground for the development of their heels and forge lasting friendships with fellow artists ideas, projects, skills and processes often forms the basis and potential future colleagues. Another initiative was for students’ practices throughout the year. In 2016, roughly the Performance Nights, a series of experimental shows two hundred and fifty students participated in a diverse and held in the evenings after class, where undergraduate and challenging program. For the first time we included projects postgraduate students explored interdisciplinary approaches based around animation and performance, and we had to performance art. The SRC also began a shift in structure; lecturers visiting from as far away as ANU in Canberra and planning to alter the re-election of SRC positions to ACSA in Adelaide. Many of our postgraduate students and incorporate a changeover period to allow a continuous recent graduates also gained valuable experience as they vision and a smooth transition. volunteered as interns, adding to the vitality of the week as a whole.

‘FUN AND FRIVOLITY ASIDE, WE’VE ALL WORKED HARD THIS YEAR. OUR SCHOOL IS KNOWN FOR ITS INTENSIVE STUDIO PRACTICE. AS A RESULT, WE’RE A TIGHTKNIT BUNCH. EVERYONE KNOWS EVERYONE TO SOME EXTENT, REGARDLESS OF YEAR OR DEPARTMENT. WE CRITIQUE EACH OTHER’S WORK AND VALUE EACH OTHER’S OPINIONS AND EVERY GRADUATING YEAR LEAVES A BIG HOLE TO FILL.’ Drew Holland and Hanli Uys, SRC Co-Chairs

Student at Margaret Olley Drawing Week. 12 | NATIONAL ART SCHOOL Photo: Anna Cuthill NATIONAL ART SCHOOL | 13 PRIZES AND SCHOLARSHIPS

The National Art School offers an extensive program NAVA Ignition Prize for Professional Practice of prizes as part of our on-going commitment to helping Stephanie Sykes students build professional networks and launch their Derivan Award for Mixed Media careers as practising artists. Announced at the Graduate Brendan O’Donnell Exhibition each year, the Award Ceremony includes prizes Studio W doubleyou Exhibition Prize for our Bachelor of Fine Art, Bachelor of Fine Art (Honours) Janis Clarke and Master of Fine Art students. Certain residencies are Robin Gibson Gallery New Talent Exhibition open to competitive application by staff and students. The Anthony Hodgkinson National Art School thanks all of the donors and sponsors Reena Naidu who generously support the School by giving the following Paige Phillips Student Prizes and Awards. Shannon Smith Johann Tovar Carrera Residencies Art History and Theory British School at Rome Residency Sue Procter Prize for Art History and Margaret Roberts Theory 1st year student Onslow Storrier La Cité Internationale des Arts Josephine Morrow Residency, Paris Prize for Art History and Theory 2nd year student Susan Andrews Paul Mallam Dominic Byrne Mansfield Ceramics Writing Prize 3rd year Celeste Kotevich Sarah Enright Michael McIntyre Emily McGregor Raffel Snelling Art History and Theory Award Major Awards 3rd year student Derivan Award for Excellence Elena Ortega-Tolosana Angus Callander Joel Corrigan Memorial Photography Award Ceramics Celeste Kotevich Blackwattle Pottery Supplies Award 3rd year student John Olsen Prize for Figure Drawing Penny Ryan Peta Minnici Parkers Sydney Fine Art Ceramic Award 3rd year student National Art School Aboriginal Art Centre Internship Yvonne Souter Anke Klevjer N.E. Pethebridge Award 3rd year student Chrystal May Rimmer Ryan Hancock Hospiz Residency Austria Award 3rd Year student Mansfield Ceramics Prize 3rd year student Sarah Enright Hannah Bradbury Bei Wu Sculpture Residency Award (Germany) Australian Ceramics Association Prize 3rd year student Johann Tovar Carrera Rachael Harrex Mark Henry Cain Memorial Scholarship Sarah Tracton Sean Wadey Ceramics Art and Perception Prize 3rd year student Clitheroe Foundation Fine Art MFA Scholarship Caleb Reid Emily McGregor N.E. Pethebridge Award Honours student Bird Holcomb Foundation MFA Art Scholarship Finn Lea Rachael Harrex Machiko Motoi Mansfield Ceramics Prize Honours student Open Awards Finn Lea Parkers Sydney Fine Art Framing Award Ceramics Art and Perception Prize Honours student Peta Minnici Evie Core William Fletcher Foundation Grant Mansfield Ceramics Gallery Graduate Student Jessica Serov Exhibition prize Josephine Madden Hannah Bradbury Sasha White Ryan Hancock

14 | NATIONAL ART SCHOOL ‘WINNING THE CLITHEROE FOUNDATION MASTER PRIZES AND OF FINE ART SCHOLARSHIP AWARD IN 2015 WAS A SCHOLARSHIPS HUGE HONOUR AND PROVIDED AN IMMENSE SHOT OF CONFIDENCE. THE FUNDS THE SCHOLARSHIP PROVIDES MEANS THAT I CAN APPROACH MY WORK MORE FREELY AND BOLDLY, WITH A STRONG FOUNDATION OF SUPPORT BENEATH ME AND A WEIGHT LIFTED ABOVE. I AM PROFOUNDLY The National Art School offers an extensive program NAVA Ignition Prize for Professional Practice Kerrie Lowe Gallery Graduate Student Group Exhibition GRATEFUL TO PAUL AND VICKI CLITHEROE, THE of prizes as part of our on-going commitment to helping Stephanie Sykes Hannah Bradbury students build professional networks and launch their Derivan Award for Mixed Media Benjamin Gutmanis CLITHEROE FOUNDATION AND TO NATIONAL ART careers as practising artists. Announced at the Graduate Brendan O’Donnell Ryan Hancock SCHOOL FOR THIS EXHILARATING OPPORTUNITY.’ Exhibition each year, the Award Ceremony includes prizes Studio W doubleyou Exhibition Prize Rachael Harrex Emily McGregor for our Bachelor of Fine Art, Bachelor of Fine Art (Honours) Janis Clarke Paige Phillips and Master of Fine Art students. Certain residencies are Robin Gibson Gallery New Talent Exhibition Sabbia Gallery Exhibition Prize Honours student open to competitive application by staff and students. The Anthony Hodgkinson Finn Lea National Art School thanks all of the donors and sponsors Reena Naidu who generously support the School by giving the following Paige Phillips Drawing Student Prizes and Awards. Shannon Smith Drawing Lecturers’ Award 1st year student Johann Tovar Carrera Yul Scarf Residencies Art History and Theory Jocelyn Maughan Sketchbook Prize 1st year student British School at Rome Residency Sue Procter Prize for Art History and Sun Yizhen Margaret Roberts Theory 1st year student Drawing Lecturers’ Award 2nd year student Onslow Storrier La Cité Internationale des Arts Josephine Morrow Lilianne Ivins Residency, Paris Prize for Art History and Theory 2nd year student Jocelyn Maughan Sketchbook Prize Susan Andrews Paul Mallam 2nd year student (Highly Commended) Photography Dominic Byrne Mansfield Ceramics Writing Prize 3rd year Lilianne Ivins Kayell Australia Photography Award 3rd year student Celeste Kotevich Sarah Enright Jocelyn Maughan Sketchbook Prize 2nd year student Emma Hill Michael McIntyre Emily McGregor Eliza Vince Photo King Professional Award 3rd year student Raffel Snelling Art History and Theory Award Drawing Lecturers’ Award 3rd year student Heath McCalmont-Parkinson Major Awards 3rd year student Jodi Stewart Derivan Award for Excellence Elena Ortega-Tolosana Jocelyn Maughan Sketchbook Prize Printmaking Angus Callander 3rd year student (Highly Commended) Ellen Lee O’Shaughnessy Printmaking Award Joel Corrigan Memorial Photography Award Ioulia Ourovskaia Ceramics 2nd year student Celeste Kotevich Jocelyn Maughan Sketchbook Prize 3rd year student Blackwattle Pottery Supplies Award 3rd year student Kurtika Kain John Olsen Prize for Figure Drawing Timothy Perkins Penny Ryan Parkers Sydney Fine Art Drawing Award 3rd year student Artscene Printmaking Prize 3rd year student Peta Minnici Parkers Sydney Fine Art Ceramic Award 3rd year student National Art School Aboriginal Art Centre Internship Sandra Purves Sandra Purves Yvonne Souter John Olsen Prize for Figure Drawing Parkers Sydney Fine Art Printmaking Award Anke Klevjer N.E. Pethebridge Award 3rd year student Chrystal May Rimmer (Highly Commended) 3rd year student 3rd year student Ryan Hancock Hospiz Residency Austria Award 3rd Year student Timothy Perkins Jessica Serov Mansfield Ceramics Prize 3rd year student Sarah Enright Stella Downer Printmaking Award 3rd year student Hannah Bradbury Bei Wu Sculpture Residency Award (Germany) Painting Emilie Lidden Australian Ceramics Association Prize 3rd year student Sydney Olympic Park Residency Award 3rd year Johann Tovar Carrera The Sydney Canvas Company Prize 3rd year student Rachael Harrex student Mark Henry Cain Memorial Scholarship Claudia Carroll Sarah Tracton Emma Cooney Sean Wadey Ceramics Art and Perception Prize 3rd year student John McCaughey Prize (The Trust Company) Clitheroe Foundation Fine Art MFA Scholarship 3rd year student Caleb Reid Sculpture Emily McGregor N.E. Pethebridge Award Honours student Robert Bennett Bird Holcomb Foundation MFA Art Scholarship Finn Lea Parkers Sydney Fine Art Painting Award 3rd year student Rayner Hoff Prize 2nd year student Rachael Harrex Machiko Motoi Peta Minnici Josie O’Malley Mansfield Ceramics Prize Honours student Chroma Prize for Excellence 3rd year student Dr John Vallance Prize for Sculpture 2nd year student Open Awards Finn Lea Lilli Stromland Claire Brown Parkers Sydney Fine Art Framing Award Ceramics Art and Perception Prize Honours student Lennox Street Studio Residency 3rd year student Parkers Sydney Fine Art Sculpture Award 3rd year student Peta Minnici Evie Core Zoe Rayne Johann Tovar Carrera William Fletcher Foundation Grant Mansfield Ceramics Gallery Graduate Student Sydney Olympic Park Residency 3rd year student Sculpture by the Sea Prize 3rd year student Jessica Serov Exhibition prize Chrystal May Rimmer Alyssia Indermühle Josephine Madden Hannah Bradbury The Sydney Canvas Company Prize Honours student Sydney Olympic Park Residency Award Honours student Sasha White Ryan Hancock Danielle Tooley Caroline McGregor

14 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 15 [GRADUATE PROFILE] MICHAEL McINTYRE

After completing his BFA (Hons) in Painting in 2013, ‘THE SUPPORT I HAD FROM NAS HAS Michael’s work Everything/Becoming a monster was selected for the 2014 Hatched exhibition at the Perth Institute of ALLOWED MY PRACTICE TO DEVELOP IN Contemporary Art (PICA), a prestigious selection of the best MANY DIFFERENT DIRECTIONS AND HAS of Australia’s graduating art students. He was awarded a HELPED ME TO PURSUE A CAREER IN Highly Commended at that exhibition, and has gone from THE VISUAL ARTS POST-GRADUATION. strength to strength ever since. Of his time at the National Art School, he says: “so much happened in the four years THROUGH PROJECTS ASSISTED BY NAS I spent there… [the people I met] left a lasting impression I HAVE EXHIBITED MY WORK AT PICA IN on me… the most important and affecting experiences at PERTH, AM WORKING ON A PUBLIC ART NAS came about through working, talking and drinking with fellow students.” COMMISSION WITH MIRVAC DEVELOPERS AND URBAN ART PROJECTS AND AM His mixed-media works incorporate previous training in textiles to create multi-disciplinary, multi-faceted pieces TRAVELLING TO EUROPE THIS YEAR.’ that confront history, life and death and the cyclical nature Michael McIntyre of existence. He is currently preparing his work Extinct Markers for the 2016 Sculpture at Scenic World exhibition, which stands as a memorial to the plant and animal species declared extinct in Australia since colonisation, made from hundreds of colourfully woven discs, each mimicking the colours of a species lost. McIntyre is also working on Underwood Ark, a major work in the public domain, commissioned by Mirvac after his design won a competition run through the National Art School in 2015. He plans to suspend a 35m-long preserved Blackbutt Eucalypt tree above the a lane way in the centre of the CBD, as a symbolic vehicle to carry the history of the installation site into the present. As soon as the work has been unveiled, McIntyre will jump on a plane to take up the Onslow Storrier National Art School residency at La Cité International des Arts in Paris, where he will spend three months studying and developing his practice.

16 | NATIONAL ART SCHOOL [GRADUATE PROFILE] MICHAEL McINTYRE

After completing his BFA (Hons) in Painting in 2013, ‘THE SUPPORT I HAD FROM NAS HAS Michael’s work Everything/Becoming a monster was selected for the 2014 Hatched exhibition at the Perth Institute of ALLOWED MY PRACTICE TO DEVELOP IN Contemporary Art (PICA), a prestigious selection of the best MANY DIFFERENT DIRECTIONS AND HAS of Australia’s graduating art students. He was awarded a HELPED ME TO PURSUE A CAREER IN Highly Commended at that exhibition, and has gone from THE VISUAL ARTS POST-GRADUATION. strength to strength ever since. Of his time at the National Art School, he says: “so much happened in the four years THROUGH PROJECTS ASSISTED BY NAS I spent there… [the people I met] left a lasting impression I HAVE EXHIBITED MY WORK AT PICA IN on me… the most important and affecting experiences at PERTH, AM WORKING ON A PUBLIC ART NAS came about through working, talking and drinking with fellow students.” COMMISSION WITH MIRVAC DEVELOPERS AND URBAN ART PROJECTS AND AM His mixed-media works incorporate previous training in textiles to create multi-disciplinary, multi-faceted pieces TRAVELLING TO EUROPE THIS YEAR.’ that confront history, life and death and the cyclical nature Michael McIntyre of existence. He is currently preparing his work Extinct Markers for the 2016 Sculpture at Scenic World exhibition, which stands as a memorial to the plant and animal species declared extinct in Australia since colonisation, made from hundreds of colourfully woven discs, each mimicking the colours of a species lost. McIntyre is also working on Underwood Ark, a major work in the public domain, commissioned by Mirvac after his design won a competition run through the National Art School in 2015. He plans to suspend a 35m-long preserved Blackbutt Eucalypt tree above the a lane way in the centre of the CBD, as a symbolic vehicle to carry the history of the installation site into the present. As soon as the work has been unveiled, McIntyre will jump on a plane to take up the Onslow Storrier National Art School clockwise from top residency at La Cité International des Arts in Paris, where he Michael McIntyre, Everything 2014, mixed media will spend three months studying and developing his practice. including snakeskin, bamboo and glitter on wall drawing, 350x300cm

Michael McIntyre, A View 2014, stacked compressed paper, paper collage and acrylic, 42cm diameter

Michael McIntyre, Becoming a Monster 2014. elastic bands, bamboo, tacks and tape. 350cm diameter

16 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 17 below left Fiona Hall All the Kings Men 2014–15, installation view, Australian Pavilion, Venice Biennale 2015, Photo: Christian Corte. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

below right Fiona Hall Untitled 2014 (detail), aluminium, burnt volume from the British Museum’s General Catalogue of Printed Books: Ten-year Supplement, 1956–1965, 35 x 25 x 35 cm, Williams Sinclair Collection

opposite Fiona Hall, Wrong Way Time, 2012–15 (detail), [GRADUATE PROFILE] enamel on longcase clock, 137 x 31 x 18 cm, Photo: Clayton Glen. Courtesy of the artist and FIONA Roslyn Oxley9 Gallery, Sydney. HALL AO

With a career spanning more than four decades and repurposing ordinary, everyday materials, often accompanied her work represented in every major public collection by almost domestic processes such as knitting and weaving. in Australia, Fiona Hall ao is one of Australia’s leading Hall’s practice is deeply engaged with global politics and contemporary artists. finance, and the environment. Her complex and allusive objects highlight the fraught relationships we have with Her already substantial international presence grew this year each other and the planet. when she represented Australia at the 56th Venice Biennale of Art with Wrong Way Time, a project which tackled the big Her 2015 exhibition at the Venice Biennale, Wrong Way issues of globalisation, environmental degradation, capitalism Time presented a wunderkammer-like display of hundreds of and corruption. objects, permeated by a deep concern with the destruction of our natural resources and a feeling of urgency that “the Long before Wrong Way Time, Hall graduated from the planet earth is going to hell in a handbasket, whipped and National Art School in 1973 with a Diploma of Painting. prodded by the apocalyptic monsters of ignorance, greed and Despite enrolling in painting, Hall was drawn to photography, self-interest”. However, she also manages to remind us that we an interest that led her to study for a Master of Fine Art in can make the world a better place through our own actions, Photography at the Visual Studies Workshop in Rochester, despite the perilous time in which we have placed ourselves. New York. Wrong Way Time is showing at the National Gallery of She first came to prominence as a photographer and during Australia in mid-2016. the 1980s extended her practice to include sculpture, installation, garden design, painting and film. Her work, Hall was made a Fellow of the National Art School in 2012. while varying in medium and materiality, is characterised by

18 | NATIONAL ART SCHOOL below left Fiona Hall All the Kings Men 2014–15, installation view, Australian Pavilion, Venice Biennale 2015, Photo: Christian Corte. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. below right Fiona Hall Untitled 2014 (detail), aluminium, burnt volume from the British Museum’s General Catalogue of Printed Books: Ten-year Supplement, 1956–1965, 35 x 25 x 35 cm, Williams Sinclair Collection opposite Fiona Hall, Wrong Way Time, 2012–15 (detail), [GRADUATE PROFILE] enamel on longcase clock, 137 x 31 x 18 cm, Photo: Clayton Glen. Courtesy of the artist and FIONA Roslyn Oxley9 Gallery, Sydney. HALL AO

18 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 19 20 | NATIONAL ART SCHOOL ‘WE WERE TREATED AS PRACTISING INDEPENDENT EDUCATIONAL ARTISTS AND TAUGHT TECHNICAL ARTISTIC SKILLS. OUTREACH OUR TEACHERS WERE INSPIRATIONAL PRACTISING ARTISTS, AND TAUGHT IN SUCH A WAY THAT PROVOKED STUDENTS TO PUSH THEIR BOUNDARIES.’ Miri Badger, Bachelor of Fine Art Student

HSC Intensive Studio Practice Program HSC INTENSIVE STUDIO PRACTICE PROGRAM PARTICIPATION BY REGION The National Art School Intensive Studio Practice Program, a BOSTES Endorsed Extension Course, is a unique opportunity 2014 2015 Schools 7 7 for talented Year 11 Visual Arts students from all NSW high Northern NSW schools to engage with studio practice within a tertiary art Students 9 10 school setting. Schools 4 2 Riverina In 2015, 154 students (including 23 boarding students) were Students 6 2 chosen from 400 applicants in 88 high schools to participate Schools 9 5 in this prestigious and competitive program. Western NSW Students 8 6 Regional areas were well-represented with students Schools 10 8 from Moree (Northern NSW), MacIntyre (New England), Hunter Mullumbimby, Richmond River (North Coast), Gundagai, Students 15 12 Moama (Riverina), Peak Hill, Dubbo, Blayney (Western NSW), Schools 2 3 New England Moruya, Narooma, Nowra (South Coast) and from all Sydney Students 2 3 Metropolitan areas. Illawarra/ Schools 4 8 The course was run over two modules in July and September, South Coast Students 4 13 culminating in a pop-up exhibition on Friday 25 September. Schools 4 3 The campus was transformed by the works of all 154 young Southern NSW artists, in the exhibition spaces, the studios and throughout Students 9 12 the grounds. Schools 26 21 Sydney West Students 39 39 Schools 9 14 Sydney South

Students 16 26 Schools 8 8 NAS AND DULWICH HIGH SCHOOL Sydney East Students 17 16 OF VISUAL ARTS AND DESIGN Schools 10 9 Sydney North DHSVAD has a long-standing relationship with NAS Students 19 15 Schools 93 88 and each year nominates students for the Dobell TOTAL Drawing School and the HSC Intensive Studio Practice. Students 144 154 A number of NAS graduates have come through from this Visual Arts and Design HS. After participating in the Dobell Drawing School in Year 11, Miri Badger from Dobell Drawing School DHSVAD applied for the BFA. She is now in second Having celebrated its 18th year, the Dobell Drawing School year and a keen advocate of NAS programs. continues to provide a rare opportunity for students from regional NSW and outer metropolitan areas of Sydney to focus on developing their skills in drawing, taught by practising artists. The Dobell Drawing School is generously sponsored by the Sir William Dobell Art Foundation and was initiated in 1988 by the National Art School, the Curriculum Support Unit and the Performing Arts Unit of the NSW Department of Education. 76 Year 11 students from 35 government schools were nominated by their Visual Arts teachers to participate in the four-day studio workshop program.

Bachelor of Fine Art student Miri Badger. 20 | NATIONAL ART SCHOOL Photo: Zan Wimberley NATIONAL ART SCHOOL | 21 ‘WONDERFUL! THE TEACHER ALLOWED US TO BE EXPRESSIVE BUT ALSO TAUGHT TECHNIQUES WELL. IT ALLOWED US TO EXPERIENCE WHAT ACTUALLY GOING HERE WOULD BE LIKE.’ Shannon Richardson, Richmond River HS, Northern NSW

DOBELL DRAWING SCHOOL Griffith HS (Riverina) 6 & 7 August COMPARATIVE PARTICIPATION BY REGION 14 teachers from the following 10 schools 2014 2015 throughout the region took part: Schools 0 3 North Coast Albury HS Students 0 8 Barellan HS Schools 4 0 Riverina Finley HS Students 7 0 Griffith HS Schools 5 0 Western NSW Hay War Memorial HS Students 10 0 Leeton HS Schools 0 2 Hunter Mt Austin HS Students 0 2 Shepherds Park Education and Training Unit Schools 0 4 New England West Wyalong HS Students 0 6 Yanco Agricultural HS Sydney South West Schools 13 9 Students 28 21 Sydney Inner West Bulli HS (Illawarra) 23 & 24 November Schools 1 1 12 teachers from the following 6 schools Students 3 3 throughout the region participated. Schools 13 17 Sydney West Albion Park HS Bulli HS Students 28 36 Dapto HS Figtree HS Schools 36 36 TOTAL Robert Townson HS Sefton HS Students 76 76

The Journey from HSC Intensive to BFA Dobell Regional Workshop for Teachers Each year a number of the students who completed either the Dobell Drawing School or the HSC Program apply for 2 011 Albury the BFA. In 2015, seven students from across the Sydney 2013 Murwillumbah metropolitan area and regional NSW who had participated in 2012 Dubbo the 2013 senior school programs accepted an offer for the 2016 BFA intake. 2014 Tamworth (New England); Lake Munmorah (Hunter) 2015 Griffith (Riverina); Bulli (Illawarra) A further 19 students, who had direct contact with NAS, either through the HSC or Dobell programs, or who were During the fifth year of this program, two workshops were from schools visited or expos attended, were recommended held in the Riverina at Griffith HS and Illawarra at Bulli for the SRS (Schools Recommendation Scheme) early entry HS. The highly immersive workshops provided specialist in 2015. professional development to Visual Arts teachers in regional Over the 18 years of the NAS high school engagement NSW. The workshops are generously funded by the programs a number of students have referred to their Sir William Dobell Art Foundation. experience of participation as “life-changing moments”. In keeping with the studio intensive educational model of the National Art School, the participating teachers were immersed in two days of intensive experimental drawing under the expert tutelage of artists and lecturers in Drawing, Anthony Antoniou (Griffith); and Denis Clarke (Bulli).

Student at the HSC Intensive Studio Practice Program. 22 | NATIONAL ART SCHOOL Photo: Lorraine Kypiotis ‘WONDERFUL! THE TEACHER ALLOWED US TO BE EXPRESSIVE BUT ALSO TAUGHT TECHNIQUES WELL. IT ALLOWED US TO EXPERIENCE WHAT ACTUALLY GOING HERE WOULD BE LIKE.’ Shannon Richardson, Richmond River HS, Northern NSW

Student at the HSC Intensive Studio Practice Program. 22 | NATIONAL ART SCHOOL Photo: Lorraine Kypiotis NATIONAL ART SCHOOL | 23 24 | NATIONAL ART SCHOOL FACULTY ACHIEVEMENTS

National Art School Faculty members continued to achieve Finalists in significant professional recognition throughout 2015 with the presentation of works in solo and group exhibitions both nationally and internationally, and through artistic awards engagement in a range of curatorial projects and artist 14 residencies. 2016 also saw NAS faculty produce significant publications including books, journal articles, catalogue essays and peer reviewed conference papers and the presentation of a broad Exhibited in range of artist presentations, guest lectures and floor talks in association with national and international events and institutions. 83

group shows in International Reach Australia and Belgium, Denmark, France, Iceland, Indonesia, Japan, New Zealand, Norway, United Kingdom and USA group shows 15 internationally National Reach Bendigo, Berima, Bondi, Brisbane, Burnie, Cairns, Canberra, Churchill, Cooma, Cottesloe, Dubbo, Fremantle, Received Gympie, Hazelhurst, Hobart, Katoomba, Malvern, Melbourne, Mittagong, Murwillumbah, Newcastle, Orange, Penrith, Strathnairn, 8 Sutherland, Sydney, Toowoomba, grants and Trentham, Walcha and Wollongong Authored

Exhibited in 7 residencies 24 23 publications Guest lectured at solo shows 20 institutions across Australia, France, Japan and the UK

Stephen Bird, Wall of Plates (detail) 2015, exhibited at NAS Gallery for Turn Turn Turn. 24 | NATIONAL ART SCHOOL Photo: Peter Morgan NATIONAL ART SCHOOL | 25 26 | NATIONAL ART SCHOOL ART FORUM

The Art Forum is a weekly program where guest speakers Australian artists represented at this year’s Art Forums present their professional art and related projects to included sculptor Mikala Dwyer, winner of the 2015 students, staff, alumni and the general public. In 2015 Redlands Konica Minolta Art Prize; multi-media and drawing- we hosted twenty-five forums in which artists, curators, machine artist, Gary Warner; Oscar winning cartoonist academics, gallerists and graduates spoke from a wide and commentator Bruce Petty; painter Peter Bonner; range of perspectives. photographer and academic Helen Grace; sculptor Hany Armanious, Australian representative at the 2011 Venice The first speaker in 2015 was Reg Mombassa, who Biennale; senior painter Ken Whisson; Kathryn Ryan spoke presented his life as an artist and musician to a packed about her collecting-practice; Grant Stephens talked about audience in the Cell Block Theatre; Reg was followed his digital and installation practice; Therese Keogh discussed by Bill Culbert, the 2013 Venice Biennale representative her recent drawing-installation work at First Draft; Ruth for New Zealand who spoke alongside his well-known Cullen showed her film The Tightrope Dancer about Vali installation Pacific Flotsam in the NAS Gallery; Lisa Havilah, Myers; artists Heidi Alexsen, Hugo Moline and Nathan Director of Carriageworks, presented her ideas on art and Hawkes showed their work from Japan’s Echigo Tsumari politics, and her ground-breaking work as one of Australia’s Triennale; and designer George Freedman spoke about his leading arts administrators; Jonathan Jones spoke of his international practice now based in Sydney. Kaldor Public Art Project re-imagining of the old Garden Palace, in what is now the Royal Botanical Gardens in Additional Art Forum presenters included Suzanne Buljan, Sydney; and artists Merran Esson, Lynda Draper and Toni Australian Centre for Photography; Dr Gillian Fuller, Design Warburton, with art dealer Will Sturrock and curator Glenn and Art Australia Online; and Deborah Beck, artist, historian Barkley discussed Turn Turn Turn, an exhibition celebrating and National Art School archivist. sixty years of the ceramics tradition in the NAS Gallery. At our annual forum on overseas residencies, Dr Maryanne International presenters included Cedar Lewisohn, UK artist Coutts spoke of the Onslow Storrier National Art School and curator at the Tate Modern, London; Jesper Rasmussen, La Cité Internationale des Arts Residency, Paris, Catherine Rector at Jutland Academy of Art, Arhaus, Denmark; and O’Donnell of the British School at Rome Artists’ Residency Afghani artist Khadim Ali, who recently moved to Sydney and Marta Ferracin of the Largo das Artes International Art from Pakistan to continue his art practice. Residency, Rio de Janeiro.

‘ALWAYS INSPIRING TO SPEND WEDNESDAY LUNCHTIMES IN THE ART FORUM. WE GET TO HEAR FROM INTERNATIONAL AND LOCAL ARTISTS AT ALL LEVELS OF THEIR CAREERS, WHICH GIVES STUDENTS SOMETHING TO ASPIRE TO.’ Bachelor of Fine Art student

26 | NATIONAL ART SCHOOL Photo: Peter Nolan. NATIONAL ART SCHOOL | 27 28 | NATIONAL ART SCHOOL PUBLIC PROGRAMS

In 2015 Public Programs delivered a comprehensive range Additional Public Programs and of short courses in studio-based visual arts education to the Customised workshops general public and arts community. These open-entry courses Public Programs takes an active role in the academic attract a wide variety of students including practising artists, committees, Art Forum, NAS Gallery Public Programs, and NAS alumni, retirees, high school teachers and students delivers customized visual arts workshops to commercial, and audiences with an interest in developing their skills. The special interest and educational groups. In 2015 these short courses provide a pathway to undergraduate programs, customized workshops included: giving students a taste of the NAS studio-based educational • Emanuel School Two Day Art Camp ceramics, experience. They are taught by experienced artist lecturers painting and printmaking workshops who offer one-to-one tuition, rigorous critiques, historical and contemporary concepts and demonstrate techniques • McKillop Senior College painting workshop and processes across all NAS studio disciplines of ceramics, • St Joseph’s Regional College painting workshop drawing, painting, photomedia, printmaking and sculpture. • International School, Suva drawing workshop This year the short course structure comprised the regular • Gadens Lawyers drawing workshop Summer and Winter School Intensives, Autumn and Spring Weekend Workshops and a new term structure • Mission Australia workshop tour was successfully implemented to replace the semesters, • Ceramics Workshop for NAS Gallery Public Programs comprising four, eight-week terms for evening and Saturday short courses, along with the Senior High Total number of participants in customized School Holiday Workshops. workshops in 2015: 200 The Public Programs Short Course comparative participant and course numbers were: Short Course YoY Income Data 2014 2015 YEAR INCOME Courses Students Courses Students 2012 $460,668 Summer School 18 227 17 215 2013 $425,597 Semester One 18 218 28 302 2014 $500,869 Winter School 11 112 11 121 2015 $ 569,211 Semester Two 26 226 26 249 Custom Courses 0 0 7 200 Totals 73 783 89 1087

Winter School student. 28 | NATIONAL ART SCHOOL Photo: Peter Nolan NATIONAL ART SCHOOL | 29 30 | NATIONAL ART SCHOOL PROFESSIONAL OPPORTUNITIES

The National Art School provides opportunities for emerging Onslow Storrier National Art School and established artists to be immersed in the professional arts La Cité Internationale des Arts industry and to interact and collaborate with people from other Residency, Paris cultures and communities through a range of internships and The Onslow Storrier National Art School Paris Studio residency programs. From centres of Aboriginal culture to the Residency is located at La Cité Internationale des Arts cities of Europe, the National Art School residencies continue in Paris and has been established for the benefit of the to provide opportunities for students, academic staff and National Art School’s alumni, students and staff through recent graduates to develop their practices alongside cultures the generosity of Annette Onslow and Tim Storrier. In 2015 in different parts of the world. Sarah Dugan, Bachelor of Fine Art Hons (Photography), Aboriginal Art Centre Internships Melinda Marshman, Bachelor of Fine Art Hons (Painting), Elwira Titan, Bachelor of Fine Art Hons (Painting), and The Aboriginal Art Centre Internship Program is now in its Yang-En Hume, Bachelor of Fine Art Hons (Drawing), sixth year. With the generous support of Sharon Tofler and all attended the Studio and immersed themselves in new Mark Tedeschi AM QC, Fiona Ryan, Bachelor of Fine Art experiences which will help shape their artistic practises. Hons (Painting) graduate, undertook an internship with

Ikuntji artists near Haasts Bluff, NT, and Bachelor of Fine Art (Printmaking) graduate Rebecca Neeley visited Tapatjatjaka artists in Titjikala, NT, for 10 weeks. These emerging artists acquired practical arts management experience in active Aboriginal community art centres and were able to develop their own practice through engagement with local indigenous artists. As always, this program provided an extraordinary personal and professional opportunity for these young artists and the communities with which they worked. ‘MY RESIDENCY AT LA CITÉ ALLOWED ME TO National Art School British School at Rome Residency RESEARCH MY EXISTING IDEAS IN MORE DEPTH Catherine O’Donnell, Master of Fine Art (Drawing) graduate, WHILE ALSO ALLOWING MY PRACTICE TO undertook a residency at the British School at Rome. From DEVELOP IN NEW AND UNEXPECTED DIRECTIONS. January to March, she lived and worked with a diverse group SPENDING TIME GATHERING RESEARCH, AS WELL of artists, historians, archaeologists and architects from AS NETWORKING WITH OTHER ARTISTS WAS around the world, researching and producing a new piece of work exhibited in a group show at the British School at Rome. VERY BENEFICIAL. OTHER ARTISTS WERE ABLE TO Her residency saw her practice develop, drawing inspiration FIND POINTS OF INTEREST IN MY WORK, WHICH I from the history and architecture of the Italian capital. This HAD NOT CONSIDERED, AND WERE ABLE TO ASK residency is made possible through the generosity of our donors especially Jennifer Dowling. QUESTIONS AND CHALLENGE MY IDEAS.’ Yang-En Hume, 2015 Onslow Storrier Residency recipient ‘THE RESIDENCY ALLOWED ME NOT ONLY TO INTERACT WITH THE ART AND ARCHITECTURE OF ROME AND THE BSR COMMUNITY BUT ALSO PROVIDED ME WITH A RICH SOURCE OF NEW INSPIRATION AND IDEAS TO EXPAND Catherine O’Donnell Garbatella 1, 2 and 3 2015, MY PRACTICE.’ charcoal on paper, 76 x 56 cm each. Catherine O’Donnell, 2015 British School Exhibited at theBritish School at at Rome Residency recipient Rome duringher residency.

30 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 31 [STAFF PROFILE] JUDITH BLACKALL

Judith took on the role of NAS Gallery Manager and Curator in 2013, bringing more than 18 years of experience as a highly-regarded museum professional, both in Australia and overseas. Prior to joining NAS, Judith was the Head of Artistic Programs at the Museum of Contemporary Art Australia. She has worked in contemporary art galleries in Milan and Florence, the Museo Pecci in Prato, and was exhibition coordinator of the first Florence Biennale of Art/Fashion presented throughout the city in 1996. In 1982, with support from the Visual Arts Board of the Australia Council, Judith established an artist-in-residence program for Australians in Arthur Boyd’s Tuscan farmhouse, ‘Il Paretaio’ which she managed until 1990, as well as undertaking a range of other professional roles in arts organisations in Italy. Judith has made an invaluable contribution to the National Art School, curating an exceptional program of four exhibitions per year – including solo and group shows by renowned Australian and international artists – as well as the Graduate and Postgraduate Exhibitions at the culmination of the academic year. With highlights including an exhibition the New Zealand representative for the Venice Biennale, Bill Culbert, and renowned photographer Rosemary Laing’s first solo exhibition in Sydney in ten years, Judith has achieved a significant increase in Gallery visitation in her time as Curator. She has also brought a new edge and creative vision to the Graduate Exhibitions, and has done so with incredible grace, patience and generosity of spirit.

Bill Culbert Pacific Flotsam 2007 Installation view at NAS Gallery Collection of the Christchurch Art Gallery Te Puna o Waiwhetu, New Zealand. Purchased 2008. 32 | NATIONAL ART SCHOOL Photo: Peter Morgan [STAFF PROFILE] JUDITH BLACKALL

The Gallery occupies a key position within the environment and New Zealand artists. The National Art School of the National Art School, and more broadly in Sydney’s collaborated with Redlands School for the fourth year to art community. It is a striking space, conducive to the present this important contemporary art prize and exhibition presentation of high-quality, professionally curated that provides a platform for an artist-selected exhibition exhibitions, special events and talks, providing opportunities featuring established artists exhibiting alongside early-career for thought-provoking engagement with artists’ work. artists. This unique structure recognises the importance of dialogue and mentoring between generations of artists and In 2015 the National Art School Gallery presented four provides an opportunity to reward talent and excellence in exhibitions by Australian and international artists in addition the contemporary visual arts sector. to the two end-of-year degree exhibitions showcasing the work of National Art School graduate and post-graduate Guest curator for the second time running was Sydney artist students. The exhibition program encompassed an exciting (and 1999 award winner) Tim Johnson. Johnson selected breadth of contemporary art practices, from work by 21 established artists to participate who, in turn, each internationally acclaimed artists such as Bill Culbert and nominated an emerging artist to also present work in the Rosemary Laing, to ceramics and recent work by Australian exhibition. This lively engagement between established and and New Zealand emerging and established artists. early-career artists provides insight into art practices from across the two countries through a diversity of backgrounds, Summer artistic processes and themes. Bill Culbert Winners of the 2015 Redlands Konica Minolta Art Prize 8 January – 7 March were Mikala Dwyer and Coen Young. Dennis Del Favero’s Curator: Judith Blackall, supported by Creative New Zealand, installation Tampa 2001 was voted most popular in the part of Sydney Festival 2015 people’s choice. This solo exhibition for Sydney’s summer presented light works and photography by acclaimed international Winter artist Bill Culbert. Combinations of found materials and TURN TURN TURN: The studio ceramic tradition everyday sources of light in spare and poetic juxtapositions at the National Art School transformed the NAS Galleries. 5 June – 8 August The upstairs gallery featured Pacific Flotsam (2007), a major Curator: Glenn Barkley, presented in association with floor installation of fluorescent lights and reclaimed plastic The Curators’ Department vessels. Culbert’s flat-glass works downstairs presented a Turn Turn Turn celebrated more than 60 years of the rigorous use of light-as-line in space. A selection of the artist’s renowned ceramics course at the National Art School. In photographs showed his enduring love of light – natural and Australia the NAS Ceramics department has a history of man-made – with glass, and the poetry to be found in the outstanding creativity.This exhibition embraced ceramics juxtaposition of random forms and everyday objects. as a creative medium and also the teaching of ceramics The exhibition followed the stand-out success of Bill for its long-standing, inter-generational influence. The Culbert’s installations in New Zealand’s pavilion at the 55th exhibition featured a highly popular presentation of work Venice Biennale of Art in 2013, and was part of the visual by 128 artists who have studied or been associated with arts program of Sydney Festival 2015 and Art Month. the school. Spanning more than six decades of education and creative production, the works were drawn from Autumn the artists’ private collections, the NAS Collection, the Ceramics Department teaching collection and public Redlands Konica Minolta Art Prize 2015 collections. It was complemented by installations of work 26 March – 23 May by twelve artists who represent the diversity of ceramics Guest curator: Tim Johnson production at NAS, from Peter Rushforth AM – who The Redlands Konica Minolta Art Prize is an annual exhibition established the full time ceramics course in 1960 – to and acquisitive award presenting recent work by Australian recent graduate Juz Kitson.

Winner of the Redlands Konica Minolta Art Prize 2015 Mikala Dwyer, with her work Untitled (2014) plastic, air, 180 x 100 x 100 cm. 34 | NATIONAL ART SCHOOL Photo: Peter Morgan NATIONAL ART SCHOOL | 35 Spring to gallerists, curators and art collectors, as well as celebrate Rosemary Laing: effort + rush their achievements with family and friends. In 2015, the 20 August – 15 October Exhibitions showcased thousands of contemporary artworks from students working across ceramics, drawing, painting, Curator: Judith Blackall photography, printmaking and sculpture. Australian artist Rosemary Laing is renowned for her major Offsite project – 2015 Saatchi & Saatchi Australia Exhibition, photo-based projects that engage with historical, political The Rocks, Sydney and cultural aspects of the landscape. Her exhibition at NAS – the artist’s first solo exhibition in Sydney in a decade – presented work from her key series one dozen unnatural disasters in the Australian landscape (2003) shot in the Gallery Internships semi-arid lands around Balgo (Wirrimanu) in Western and Professional Placements Australia. It also provided an opportunity for Laing to Mary Alterator launch an ambitious new series, effort and rush (2015) Bachelor of Creative Arts, School of Arts and Social in the upstairs gallery. Large format digital prints were Sciences, Southern Cross University installed on a sweeping expanse of a lush green wallpaper Julian Black print that covered the Gallery’s five metre-walls. This new Masters of Art Curating, The University of Sydney, series continues the artist’s on-going engagement with Art History & Film Studies, School of Letters, Arts & Media landscape, in this case tropical landscapes of Indonesia and Madagascar, and introduces a painterly dynamic through her Rachel Procter camera in motion. It was exhibited with earlier series a dozen BA, B.Ed University of Sydney useless actions for grieving blondes (2009) and Jim, from the series leak (2010). Lisa Tolcher BFA (Hons) Fine Arts, National Art School NAS GALLERY ATTENDANCE Elena Yeo Year Numbers* Masters of Curating and Cultural Leadership, 2 011 17,581 University of New South Wales Art & Design 2012 10,829 2013 22,910 2014 14,342 Gallery Volunteers 2015 2015 21,630 Coordinator: Elyse Goldfinch *includes attendance at openings Sarah Adams, Tania Alexander, Kit Ball, Jane Barrow, Jemma Burke, Frank Cannata, Caitlin Casey, Patrick Doab, Nikole Evans, Barbara Fryer, Annelies Jahn, Suji Jeong, Graduate Exhibitions Moira Kirkwood, John Lam, Pauline Le-Tran, Alexander National Art School Linegar, Monique Lovering, Karen McAndrew, Shelagh May, Postgraduate Exhibition 2015 Alexander McConochie, Annika Patrick, Alexandra Pedley, 30 October – 7 November Timothy Perkins, Kirsty Ross, Diana Russell, Fiona Ryan, Lisa Sharp, Shannon Smith, Mardi Vassella, Yvette Wilson. National Art School Graduate Exhibition 2015 27 November – 5 December

The Postgraduate Exhibition and Graduate Exhibition, Hiromi Tango Sea Tears (2014), exhibited at the Redlands Konica Minolta Art Prize at NAS Gallery, supported by Saatchi & Saatchi provide an opportunity for mixed media, neon, Perspex, wool, donated fabric, undergraduate and postgraduate students to develop their paper, wire. exhibition and curatorial skills and present their final works Photo: Peter Morgan

36 | NATIONAL ART SCHOOL Spring to gallerists, curators and art collectors, as well as celebrate Rosemary Laing: effort + rush their achievements with family and friends. In 2015, the 20 August – 15 October Exhibitions showcased thousands of contemporary artworks from students working across ceramics, drawing, painting, Curator: Judith Blackall photography, printmaking and sculpture. Australian artist Rosemary Laing is renowned for her major Offsite project – 2015 Saatchi & Saatchi Australia Exhibition, photo-based projects that engage with historical, political The Rocks, Sydney and cultural aspects of the landscape. Her exhibition at NAS – the artist’s first solo exhibition in Sydney in a decade – presented work from her key series one dozen unnatural disasters in the Australian landscape (2003) shot in the Gallery Internships semi-arid lands around Balgo (Wirrimanu) in Western and Professional Placements Australia. It also provided an opportunity for Laing to Mary Alterator launch an ambitious new series, effort and rush (2015) Bachelor of Creative Arts, School of Arts and Social in the upstairs gallery. Large format digital prints were Sciences, Southern Cross University installed on a sweeping expanse of a lush green wallpaper Julian Black print that covered the Gallery’s five metre-walls. This new Masters of Art Curating, The University of Sydney, series continues the artist’s on-going engagement with Art History & Film Studies, School of Letters, Arts & Media landscape, in this case tropical landscapes of Indonesia and Madagascar, and introduces a painterly dynamic through her Rachel Procter camera in motion. It was exhibited with earlier series a dozen BA, B.Ed University of Sydney useless actions for grieving blondes (2009) and Jim, from the series leak (2010). Lisa Tolcher BFA (Hons) Fine Arts, National Art School NAS GALLERY ATTENDANCE Elena Yeo Year Numbers* Masters of Curating and Cultural Leadership, 2 011 17,581 University of New South Wales Art & Design 2012 10,829 2013 22,910 2014 14,342 Gallery Volunteers 2015 2015 21,630 Coordinator: Elyse Goldfinch *includes attendance at openings Sarah Adams, Tania Alexander, Kit Ball, Jane Barrow, Jemma Burke, Frank Cannata, Caitlin Casey, Patrick Doab, Nikole Evans, Barbara Fryer, Annelies Jahn, Suji Jeong, Graduate Exhibitions Moira Kirkwood, John Lam, Pauline Le-Tran, Alexander National Art School Linegar, Monique Lovering, Karen McAndrew, Shelagh May, Postgraduate Exhibition 2015 Alexander McConochie, Annika Patrick, Alexandra Pedley, 30 October – 7 November Timothy Perkins, Kirsty Ross, Diana Russell, Fiona Ryan, Lisa Sharp, Shannon Smith, Mardi Vassella, Yvette Wilson. National Art School Graduate Exhibition 2015 27 November – 5 December

36 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 37 ‘THE MOST USEFUL AND INDEED SOMETIMES PROFOUND EXPERIENCES AT ‘THE 1970S AT EAST SYDNEY TECHNICAL THE 1960S NATIONAL ART SCHOOL WERE COLLEGE WERE FORMATIVE YEARS FOR EVERY NIGHT-TIME DRAWING CLASS WITH ME AS AN ARTIST. ONE OF MY TEACHERS GODFREY MILLER, MY FRIENDSHIP WITH WAS PAINTER AND CONCEPTUAL ARTIST GODFREY MILLER, AND CONVERSATIONS NOEL SHERIDAN, WHO OFTEN WORKED IN WITH PETER LAVERTY AND JOHN COBURN VIDEO AND PERFORMANCE. AT THE TIME, THAT LED TO THE UNDERSTANDING THAT THE SCHOOL WAS UNDER GREAT POLITICAL WITH UNCEASING APPLICATION ONE MIGHT AND SOCIAL UPHEAVAL AS THE FUNCTION FIND ONE’S OWN WAY FORWARD AND DO OF ART IN SOCIETY WAS CONSTANTLY SOMETHING THAT OTHERS MIGHT FIND DEBATED. EAST SYDNEY TECH WAS WORTHY OF THOUGHT. IT MAY BE SOONER, RADICAL AND EXPERIMENTAL; ART WAS OR PERHAPS MORE REALISTICALLY IT MAY VALUED AS A FREEDOM OF THE MIND.’ TAKE A LIFETIME.’ Susan Norrie Ken Unsworth

‘IT WAS QUITE A FEAT FOR ME AS A YOUNG WOMAN TO FLEE FROM THE SLEEPY TOWN OF BRISBANE, AS IT WAS IN THE EARLY 50S, AND ESCAPE TO SYDNEY TO BECOME AN ART STUDENT. FOR ME, BECOMING A STUDENT AT EAST SYDNEY TECH WITH ITS OLD CONVICT- BUILT BUILDINGS OPENED UP A WHOLE OTHER WORLD. REAL ARTISTS LIKE JOHN PASSMORE AND GODFREY MILLER COMING FROM THEIR STUDIOS TO TEACH US WAS INSPIRING AND WITHOUT DOUBT FORMED MY FUTURE LIFE AS AN ARTIST.’ Ann Thomson 38 | NATIONAL ART SCHOOL ‘THE MOST USEFUL AND INDEED SOMETIMES PROFOUND EXPERIENCES AT ‘THE 1970S AT EAST SYDNEY TECHNICAL THE 1960S NATIONAL ART SCHOOL WERE COLLEGE WERE FORMATIVE YEARS FOR EVERY NIGHT-TIME DRAWING CLASS WITH ME AS AN ARTIST. ONE OF MY TEACHERS GODFREY MILLER, MY FRIENDSHIP WITH NATIONAL ART SCHOOL WAS PAINTER AND CONCEPTUAL ARTIST GODFREY MILLER, AND CONVERSATIONS NOEL SHERIDAN, WHO OFTEN WORKED IN WITH PETER LAVERTY AND JOHN COBURN FELLOWSHIP 2015 VIDEO AND PERFORMANCE. AT THE TIME, THAT LED TO THE UNDERSTANDING THAT THE SCHOOL WAS UNDER GREAT POLITICAL WITH UNCEASING APPLICATION ONE MIGHT AND SOCIAL UPHEAVAL AS THE FUNCTION FIND ONE’S OWN WAY FORWARD AND DO OF ART IN SOCIETY WAS CONSTANTLY SOMETHING THAT OTHERS MIGHT FIND DEBATED. EAST SYDNEY TECH WAS WORTHY OF THOUGHT. IT MAY BE SOONER, SUSAN NORRIE Ken Unsworth graduated from the National Art School in RADICAL AND EXPERIMENTAL; ART WAS OR PERHAPS MORE REALISTICALLY IT MAY ANN THOMSON 1962 with a Diploma in Art. He has held several teaching VALUED AS A FREEDOM OF THE MIND.’ TAKE A LIFETIME.’ KEN UNSWORTH positions and numerous solo exhibitions, in Australia Susan Norrie Ken Unsworth and overseas, including a major survey exhibition at the The National Art School Fellowship acknowledges the Art Gallery of New South Wales in 1998. In 1978 Ken achievements of eminent visual artists, arts administrators, represented Australia at the Venice Biennale. He has writers, advocates and academics who have made outstanding received numerous awards including the Bicentenary contributions to the visual arts community in Australia. The Sculpture Competition. Fellowship is an honorary award for exceptional achievement and/or service within the professional domain, awarded Michael Snelling announced the Fellowships at the School’s annually by the National Art School. graduation ceremony on Thursday 21 May 2015 in the Cell Block Theatre. In 2015, the National Art School was honoured to bestow the Fellowship of the National Art School on Susan Norrie, Since its inception in 2002, the National Art School Ann Thomson and Ken Unsworth. Fellowship has been awarded to: Susan Norrie graduated from the National Art School 2002 Colin Lanceley ao in 1972, and went on to build a successful career as a 2003 Peter Rushforth am photographer, painter, filmmaker and multi-media artist. 2004 John Coburn am She represented Australia at the 52nd Venice Biennale 2005 Geoffrey Bardon am in 2007 and has exhibited widely both in Australia and 2006 Elisabeth Cummings oam overseas including Helsinki, Tokyo, Spain, Germany, 2007 Margaret Olley ao ac Canada and Scotland. 2008 John Olsen obe ao 2009 Bert Flugelman am Ann Thomson graduated from the National Art School 2010 Thanacoupie Gloria Fletcher-James ao in 1963 with a Diploma in Art, and went on to develop her 2010 William Wright am painting and sculptural practice as well as a long career as 2011 Guy Warren am an art teacher. In 1977 Ann’s work was the subject of a major 2012 John Kaldor am exhibition at the Institute of Modern Art, Brisbane. Australia 2012 Fiona Hall ao Felix, a huge sculptural work, was commissioned and 2013 Martin Sharp exhibited as the centrepiece for the Australian pavilion at the 2013 Frank Watters oam 1992 World Expo in Seville, Spain. In 2015 she had a survey 2014 Chris O’Doherty aka Reg Mombassa at the Drill Hall Gallery, Canberra. Her work is represented 2015 Susan Norrie, Ann Thomson and Ken Unsworth in collections in Spain, France, Germany and in various collections across Australia.

The National Art School library holds a significant collection With the support of the Ian Potter Foundation, the new and of both contemporary and historical Australian and improved facility for the National Art School Archive and international art books. These include artist monographs Collection was officially unveiled in April 2015 as part of the and exhibition catalogues, as well as art journals and dvds. $8.7 million dollar Postgraduate Centre refurbishment. The collection contains 28,488 items. The Library also The new climate-controlled centre, managed by Historian houses the dedicated student exhibition space, the Library and Archivist Deborah Beck, is home to the National Art Stairwell Gallery. In 2015 the LSG hosted 11 student School’s significant art collection and archive of over 4000 exhibitions, displaying the works of more than 100 students. items dating back to 1760, which includes works of art on Total circulation figures for the library in 2015 were 43,158. paper, paintings, prints, sculptures, archival material as well as artefacts relating to history of the site as a Gaol. Loans: 13,609 The collection performs a major role within NAS, both as Inhouse use items: 5,980 a teaching resource and historical record. Items added to the collection: 903 The library received seventy donations, with significant 2012 2013 2014 2015 contributions from the Australia Council, National Gallery Donors 29 22 31 41 of Australia Research Library, QAGOMA Research Library, Art collection items NAS Gallery and Kay Lanceley. acquired 150 33 27 111 Archive collection items acquired 44 31 97 18

Our aim is to build and maintain an accessible collection to enable research on the visual arts and to support the teaching programs of the National Art School. There were 774 visitors between April and December 2015, including six tour groups and 16 external researchers. Conservation work was achieved on 28 works on paper, one painting and two sculptures, with a Community Heritage Grant from the National Library in Canberra.

[PROFILE]

DEBORAH

BECK

Deborah Beck is the National Art School’s Historian, Beyond her role in safeguarding and preserving the history Archivist and Collections Manager. She has an in-depth of the site and the School, Deborah is a National Art School knowledge of the histories of both the old Darlinghurst Gaol drawing lecturer and artist. She has held 17 solo exhibitions and the National Art School, and has authored two books to in Sydney and Melbourne, participated in over 90 group that effect. Hope in Hell - a History of Darlinghurst Gaol and exhibitions throughout Australia, and has been a finalist in the National Art School, was published by Allen and Unwin in the Dobell prize for drawing, the Sulman Prize, the Blake 2005. Her second book Set in Stone: the Cell Block Theatre Prize and the Portia Geach Memorial Prize for portrait was published by UNSW press in 2011, receiving a NSW painting. She studied at the National Art School and Premier’s History Award in 2012. Her biography of former Alexander Mackie CAE in the 1970s and received a Master National Art School Head of School, the sculptor Rayner of Arts (History) at the University of Sydney in 2010. She has Hoff, is due for release in early 2017. taught in art schools in Sydney for over twenty years.

The National Art School Archive and Collection. 40 | NATIONAL ART SCHOOL Photo: Zan Wimberley NATIONAL ART SCHOOL | 41 42 | NATIONAL ART SCHOOL VENUE HIRE

2015 proved to be another fantastic year for Venue Hire and YEAR ON YEAR COMPARISON Events at the National Art School. The Cell Block Theatre Year Total Hires Total NFP Hires maintained its status as a highly sought-after venue, known 2012 37 2 for its aesthetic beauty and historical significance as an important site in Australia’s colonial history. In 2015 the 2013 58 5 School booked 98 events for corporate product launches, 2014 72 7 trade shows, film/television productions, weddings, 2015 93 9 workshops, fundraising appeals and introduced an outdoor music festival Summer Dance. The National Art School partnered with Astral People to produce this series of In addition to external venue hire, a range of National Art four outdoor electronic music events. Hirers include other School related events were held in 2015, from academic not-for-profit groups and cultural organisations such as the ceremonies, exhibition openings, open days, sponsor events Alliance Francaise French Film Festival, Australian Youth and donor engagement events. Orchestra, Art Month, Musica Viva, Sherman Contemporary Art Foundation, the Lisa Gasteen National Opera School and ACADEMIC EVENTS 15 EVENTS the Mental Health Commission of NSW. These NFP groups NAS Gallery events 17 events were supported through subsidised rates. Approximately Development events 19 events 18,900 people have visited the National Art School from the external hire events run in 2015. Total events undertaken 51

SUMMER DANCE

In 2015, Astral People presented the inaugural Summer ‘WE’RE TRYING TO LOOK FOR SOMETHING DIFFERENT Dance – a series of open air Sunday sessions at the National Art School. The series brought the best in electronic, techno AND TO KEEP THE CITY AS EXCITING AS WE KNOW and dance artists from all corners of the globe to Sydney, IT CAN BE. THERE ARE DEFINITELY OTHER EVENTS transforming the old Darlinghurst Gaol into a massive outdoor WITH A SIMILAR SORT OF VIBE – BUT NOTHING OF dancefloor and providing the ultimate setting for Sydney THIS CALIBRE’S BEEN DONE AT SUCH A UNIQUE music lovers to dance their blues away. LOCATION IN SYDNEY. NATIONAL ART SCHOOL HAS Renowned for delivering exceptionally curated line-ups, BEEN AMAZING TO WORK WITH. THEY’VE REALLY Sydney-based artist management and touring company Astral People hand-picked an impressive line-up of LOVED OUR VISION. THE TWO BRANDS COMBINED TO international and local artists, including Moodymann, Omar-S, CREATE SUMMER DANCE’ DJ EZ and Vakula, Tornado Wallace, Andras Fox and Simon Vichara Edirisinghe, Astral People Caldwell. With more than 3,000 revellers enjoying the inaugural season, it’s safe to say Summer Dance provided a unique offering in the dance music scene that will continue to grow and develop over the coming years.

James Squire ‘Edible Biography’ in the Cell Block Theatre. 42 | NATIONAL ART SCHOOL Photo: Dominic Loneragan. NATIONAL ART SCHOOL | 43 44 | NATIONAL ART SCHOOL PHILANTHROPY

We want to recognise a very important group of people – Mark Henry Cain Memorial Scholarship our donors. In 2015, many generous supporters donated With the support of a generous endowment made by a private money, artwork and equipment to the School. Our donors are donor, the School is able to offer an annual scholarship in incredibly important to us and are helping to make the School commemoration of Mark Henry Cain, an artist trained at even better for the next generation. Glasgow School of Art who relocated to Sydney in 1937. Thank you to more than 50 donors who greatly contributed to The Mark Henry Cain Memorial Scholarship supports a the success of the School in 2015. We raised over $150,000 student to travel and study for a period at an art school in last year in individual contributions and hope to build on this the UK. The recipient of the Mark Henry Cain Memorial in 2016. Scholarship for 2015 is Sean Wadey, who was previous winner of the Bird Holcomb Foundation Honours Scholarship. The Onslow Storrier National Art School La Cité Internationale des Arts Trusts and Foundations Residency, Paris The trend in Australian philanthropy of funding increasingly This residency was established for the benefit of the coming from trusts and foundations was also noticeable at National Art School’s alumni, students and staff through the National Art School. In 2015 the School was grateful to the generosity of Annette Onslow and Tim Storrier, with the receive support from The Ian Potter Foundation, the Margaret help and support of the School. The residency is located Olley Foundation, the Sir William Dobell Art Foundation, the on the Right Bank in Rue de L’Hôtel de Ville in the 4th Sherman Foundation, the Bird Holcomb Foundation, the arrondissement, ideally positioned near many commercial Clitheroe Foundation, Jocelyn Maughan Art Foundation and public galleries and only a short walk to Notre Dame and The Trust Company. Cathedral. It gives recipients the chance to develop their practices in a city rich in artistic tradition within a large Bird Holcomb Foundation artist’s studio complex. MFA Scholarship The Bird Holcomb Foundation generously supported a Deutscher and Hackett Auction $20,000 Scholarship for a talented student to undertake In August 2015, prestigious auction house, Deutscher and study in the newly created Master of Fine Arts program at Hackett held their Australian + International Fine Art Auction the National Art School. Rachael Harrex was awarded the in the Cell Block Theatre. Works by Brett Whiteley, Tim Bird Holcomb Foundation MFA Scholarship for 2017-18 Storrier, Michael Johnson and John Olsen were donated by the artists and Wendy Whiteley to raise funds for NAS. In The Clitheroe Foundation addition, Gene and Brian Sherman donated a percentage of MFA Scholarship sales from their collection. In all, over $100,000 was raised The Clitheroe Foundation also generously supported a for the National Art School on the night. Thank you to the $20,000 Scholarship for a talented student to undertake artists, to Gene and Brian Sherman and to Chris Deutscher study in the newly created Master of Fine Arts program at and Damian Hackett for your support. the National Art School. Emily McGregor was awarded the Clitheroe Foundation MFA Scholarship for 2016-17.

Bachelor of Fine Art student Khadija Ali. 44 | NATIONAL ART SCHOOL Photo: Zan Wimberley NATIONAL ART SCHOOL | 45 Donors [DONOR PROFILE]

$10k+ HOWARD & Anita Belgiorno-Nettis and Luca Belgiorno-Nettis am, Vicki Clitheroe and Paul Clitheroe am, MARY TANNER Sir William Dobell Art Foundation, Leonie and James Furber, Jennifer Dowling, Jane and David Duncan, Howard and Mary Tanner are valued supporters of the Alex Holcomb and Andrew Bird, Kay, Tristan and Felix National Art School, in addition to their support of the Lanceley, David Ng and Peter Thompson, Margaret Olley Art Australian performing arts and sites of historical and Trust, Gene and Brian Sherman, Tim Storrier am, architectural significance. Howard is a Sydney-based Pamela Taylor, Anne Wienholt, Wendy Whiteley oam architect and author and former National President of the Australian Institute of Architects. His career as an architect, $5,000 - $9,999 author and educator is influenced by his abiding interest in Alberg Hospiz Hotel, David Grayce, Michael Johnson, history and landscape. Jan Lane, Ursula Laverty, Georg, Keay and Anders Lindstrom, John Meyers, John Olsen, Andrew Pethebridge, Jan Ritchie, Mark Tedeschi am qc, Michael Tuckson, John Vallance, Anonymous ‘OUR SON, SCULPTOR OLIVER TANNER, LOVED HIS TIME AT THE NATIONAL ART SCHOOL, IN PARTICULAR $1,000 - $4,999 ITS URBAN SANDSTONE CAMPUS, AND THE GOOD Judith Blackall, Chroma Paints, Derivan, David Handley am, TEACHERS AND PRODUCTION AREAS. WE SUPPORT James Hill, In Memory of The Honourable David Hodgson ao qc, Vivien Jackson, Nicholas Johnson, A PROGRAMME THAT BRINGS COUNTRY HIGH Bernadette Mansfield, Jocelyn Maughan, James Ross SCHOOL STUDENTS TO SYDNEY TO BENEFIT FROM Morrison, Parkers Sydney, Fine Art Supplies, Daniel Pata, INTENSIVE ART WORKSHOPS WHICH HONE THEIR Sue Procter, Quality Manufacturing Engineers, Jeff Rigby, SKILLS PRIOR TO THE HSC, AND INTRODUCE THEM Sculpture by the Sea, Michael Snelling and Suhanya Raffel, The Sydney Canvas Company, Howard and Mary Tanner, TO THE UNIQUE OFFERING OF THE NAS. THE RESULTS William Fletcher Foundation, Penny Zylstra OF THE WORKSHOPS ARE INSPIRING. IT GIVES US $250 - $999 ENORMOUS PLEASURE TO BE ABLE TO OPEN SUCH The Art Scene, Fiona Boxall, Michael Buzacott, DOORS FOR TALENTED YOUNG PEOPLE.’ Howard and Mary Tanner, Donors Maryanne Coutts, Pam Doherty, Stella Downer, Thomas Gottleib, Michael Hodgson, Kayell Australia, Deborah Minnici, Michelle and John Murch, Perpetual Trust, Photo King, Belinda and Steven Rankine $2 - $249 Sandy Belford, Blackwattle Pottery Supplies, Georgina Bolitho, Michael Brand, Alex Byrne, Amy Ciolek, Steve Clarke, Catherine Clayton-Smith, Helen Coates-Milton, George Conomos, Charles Cooper, Jim Croke, Lynne Eastaway, Claire Gibbon, David Horton, Lilianne Ivins, Roger McIlroy, Jane McKenzie, John Moroney, Izabella Negro-Caselberg, Ellen O’Shaughnessy, Jordan Richardson, Shannon Richardson, Marg Roberts, Ron Robertson-Swan oam, David Saxelby, Frances Sebesta, Virginia Skelton, Angus Turner, Oliver Wagner, Natasha Walsh, Thea Weiss, Jane Westbrook, Yuting Zhang

Bachelor of Fine Art student Remy Pajaczkowski-Russell. 46 | NATIONAL ART SCHOOL Photo: Christopher Phillips Donors [DONOR PROFILE]

Bachelor of Fine Art student Remy Pajaczkowski-Russell. 46 | NATIONAL ART SCHOOL Photo: Christopher Phillips NATIONAL ART SCHOOL | 47 48 | NATIONAL ART SCHOOL CORPORATE PARTNERS

The National Art School has developed a broad range of creative and mutually rewarding partnerships with the corporate sector. Our partners share the School’s vision by contributing to the development and promotion of art and culture in Australia, nurturing emerging artists and supporting the visual arts industry. Partnership with NAS may involve sponsoring an exhibition, education program, special event, or other specific projects. The generous support of corporate partners in 2014–15 totalled $270,383.

Government Partner

Partners

Media Partners Outdoor Media Partner

Legal Partner Beverage Partner

Supporters

Edward Ohanessian, ALGEBRA 2015 Timber, aluminium, LED light, glass, cables: 350 x 105 x 13 cm, Aluminium: 300 x 100 x 13 cm.

Foreground: Penny Ryan As For Living 2015 stoneware, glaze and Perspex, 86 x 38 x 39 cm.

Both exhibited at the National Art School Graduate Exhibition 2015. 48 | NATIONAL ART SCHOOL Photo: Peter Morgan NATIONAL ART SCHOOL | 49 FINANCIAL REPORT

STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DEC 2015 2015 2014 $ $ Expenses excluding losses Operating expenses Employee related 8,190,397 7,358,168 Other operating expenses 2,984,900 2,509,788 Depreciation and amortisation 327,428 232,153 Other expenses 429,696 393,774 Total expense excluding losses 11,932,421 10,493,883

Revenue Recurrent grant 5,665,223 5,816,785 Capital grant — 3,959,000 Sales of goods and services 4,157,053 3,172,864 Investment revenue 122,910 290,994 Grants and contributions 699,517 428,837 Other revenue 594,776 444,896 Total revenue 11,239,479 14,113,376

Net result (692,942) 3,619,493 Other comprehensive income — —

TOTAL COMPREHENSIVE INCOME (692,942) 3,619,493

50 | NATIONAL ART SCHOOL FINANCIAL REPORT

STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DEC 2015 STATEMENT OF FINANCIAL POSITION AS AT 31 DECEMBER 2015 2015 2014 2015 2014 $ $ ASSETS $ $ Expenses excluding losses Current assets Operating expenses Cash and cash equivalents 4,227,397 8,060,367 Employee related 8,190,397 7,358,168 Receivables 613 ,116 699,931 Other operating expenses 2,984,900 2,509,788 Inventories 12,385 12,335 Depreciation and amortisation 327,428 232,153 Total current assets 4,852,898 8,772,633 Other expenses 429,696 393,774 Total expense excluding losses 11,932,421 10,493,883 Non-current assets Revenue Financial assets at fair value 140,000 150,000 Recurrent grant 5,665,223 5,816,785 Property, plant and equipment 9,444,444 6,464,910 Capital grant — 3,959,000 Intangible assets 109,099 107,726 Sales of goods and services 4,157,053 3,172,864 Total non-current assets 9,693,543 6,722,636 Investment revenue 122,910 290,994 Grants and contributions 699,517 428,837 TOTAL ASSETS 14,546,441 15,495,269 Other revenue 594,776 444,896 Total revenue 11,239,479 14,113,376 LIABILITIES Current liabilities Net result (692,942) 3,619,493 Payables 773,728 1,125,577 Other comprehensive income — — Provisions 493,141 427,719 Total current liabilities 1,266,869 1,553,296 TOTAL COMPREHENSIVE INCOME (692,942) 3,619,493 Non-current liabilities Provisions 345,063 314,522 Total Non-current liabilities 345,063 314,522

TOTAL LIABILITIES 1,611,932 1,867,818

NET ASSETS 12,934,509 13,627,451

TOTAL EQUITY Accumulated funds 12,934,509 13,627,451

50 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 51 NATIONAL ART SCHOOL BOARD & STAFF

Director & Chief Drawing Art HistoryHistory & & Theory Theory Corporate Services Campus Assistants SESSIONAL Painting Anita Larkin Executive Officer HeadHead ofof DrawingDrawing HeadHead ofof ArtArt HistoryHistory Chief Operating Officer Marcel Delgardo ACADEMIC Justin Balmain Graham Marchant Michael Snelling DrDr MaryanneMaryanne Coutts Coutts & TheoryTheory & Company Secretary Mal Nagobi STAFF Nick Collerson Michele Marshall DrDr MichaelMichael HillHill Sue Procter Joanne Handley Kevin McKay Chair, Board of Directors LecturersLecturers Campus Grounds Steven Harvey Virginia Morrison CharlesCharles CooperCoope r LecturersLecturers Governance & Business Assistant Nicholas Johnson Art History & Theory Anwen Keeling Sarah O’Sullivan LynetteLynette Eastaway Eastawa y DrDr GeorginaGeorgina ColeCole Operations Manager Darwish Khalil Chief Operating Officer Christopher Dean Chelsea Lehmann Sue Pedley JosephJoseph FrostFros t DrDr IanIan GreigGreig Ellen O’Shaughnessy & Company Secretary Dr Margaret Roberts Finance Manager Dr Molly Duggins Nana Ohnesorge Anthony Phillips Dr Margaret Roberts LorraineLorraine KypiotisKypiotis Sue Procter Executive Assistant Chloe Wong Dr Shane Haseman Rodney Pople Madeleine Preston StudioStudio TechnicianTechnician to CEO Sophie Hopmeier Leslie Rice Linda Seiffert Board of Directors John Stanfield Finance Clerk John Stanfield Laura Bialecki Alex Trompf Nike Savvas Pamela Vaughan Student Services David Grayce Suki Yuen Dr Jaime Tsai Rolande Souliere Jennifer Green Painting Registrar Receptionist & Human Resources Tom Melick STUDENT Glenda McLoughlin Head of Painting Benedict Griffin Administrative Assistant Photography Manager CREW Dr Stephen Little Claire Thomas Ceramics Steven Cavanagh Mark Tedeschi AM QC Student Counsellor Caroline Tommey Simon Fraser Tanya Peterson Tania Alexander Dr John Vallance Lecturers Raji Munro Philanthropy Manager IT Manager Bronwyn Kemp Skye Wagner Melina Altman Susan Andrews Michelle Glass Steve Clarke Nhu Pham Sandy Lockwood David Manley Shelly Anfield Dr Andrew Donaldson Laura Badertscher Academic Studies Student Services Officer Sponsorship Manager Simon Reece Tim Silver Dr David Serisier IT Officer Timothy Barbarino Head of Studies Marina Veg Helen Maidens Yasantha Samarasinghe Drawing Printmaking Morgan Bee Simon Cooper Studio Technician Student Services Alumni and Development Duncan Whichelo John Bokor Maureen Burns Paolo Iarossi Jason Chiang Administrator Coordinator Anthony Cahill Pia Larsen MFA Coordinator Marketing & Helen Coates-Milton Photography Jazmin Velasco Zoë Wilesmith Dr Sally Clarke Brenda Tye Dr Ian Greig Communications Evelyn Core Head of Photography Roger Crawford Jacqueline Driver Eliza Gosse BFA Honours Facilities & Manager Geoff Kleem Dr Ben Denham Carolyn Mckenzie-Craig Celeste Greeves Operations Manager Ros Brennan Coordinator Library Ivor Fabok Wendy Murray Lecturers Christine Myerscough Tamara Hall John Bloomfield Library & Learning Marketing Coordinator David Fairbairn Esther Neate Rebecca Shanahan Gillian Hodes Centre Manager Rachel Fairfax BFA, HSC and Facilities Administrator Danielle Neely Sculpture Elizabeth Hogan Elizabeth Little Cameron Ferguson Educational Outreach Studio Technician Scott Clement Gary Deirmendjian Ivana Jovanovic Venue Hire & Events Terry Hayes Coordinator Damian Dillon Clara Hali Simon Kahn Librarian Facilities Assistant Manager Emma Hicks Lorraine Kypiotis Caroline Haswell Kirtika Kain Printmaking Susan Olive Mark Polak Julie O’Reilly Paul Higgs Simon Hodgson Matilda Kubany-Deane Ceramics Co-Heads of Pollyxenia Joannou Library Technician Campus Service Venue Hire & Events Linda Bowden Amy Mcgregor Head of Ceramics Printmaking Lisa Jones Lana Ryles Assistant Co-ordinator Paul Hopmeier Charlotte Paull Merran Esson Helen Mueller Frank Littler Grace Sagud Jason Bennett Ross Morrison Sam Valenz Timothy Perkins Peter Burgess Deborah Marks Lecturers Anna Richards Public Programs Workshop Manager Administration Lecturer Daniel Pata Public Programs Chrystal Rimmer Stephen Bird Head of Public Programs Jaroslav Prochazka Carolyn Mckenzie-Craig Casuals Ambrose Reisch Andrew Antoniou Tania Rollond Dr Ella Dreyfus Penelope Ryan Digital Media Lab & Monique Arundell Alan Rigby Tania Browitt Kwi Choung Katika Schultz Studio Technician Khanh Tran Kenneth Smith Studio Technicians Public Programs AV Technicians Toni Warburton Shannon Smith Nina Juniper Katie Procter Kim Spooner David Stockburn Administrative Assistant John Daly Allison Atkinson Laura Sutton Noel Thurgate Joseph Purtle Sculpture Jenny Rislund Peter Morgan David Briggs Emilie Syme-Lamont Head of Sculpture Belinda Ward Lucy Buttenshaw Sarah Tracton Gallery Security and Ron Robertson-Swann Suzanne Archer Lucinda Culliton Hanli Uys Gallery Manager Services Officer Denis Clarke OAM Gina Fairley Sean Wadey & Curator Jean-Claude Imbert Janet Haslett Angus Fisher Marion Wait Lecturers Judith Blackall Louis Greco Annelise Jahn Michelle Hiscock Justin Watson Jim Croke Archivist & Kiata Mason Cameron Williams David Horton Collections Manager Catherine O’Donnell Maryanne Wick Studio Technician Deborah Beck Judith Rae Michele Elliot Simon Hodgson Gary Warner Jane Gillings

52 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 53 NATIONAL ART SCHOOL BOARD & STAFF

Director & Chief Drawing Art History & Theory Corporate Services Campus Assistants SESSIONAL Painting Anita Larkin Executive Officer Head of Drawing Head of Art History Chief Operating Officer Marcel Delgardo ACADEMIC Justin Balmain Graham Marchant Michael Snelling Dr Maryanne Coutts & Theory & Company Secretary Mal Nagobi STAFF Nick Collerson Michele Marshall Dr Michael Hill Sue Procter Joanne Handley Kevin McKay Chair, Board of Directors Lecturers Campus Grounds Steven Harvey Virginia Morrison Charles Cooper Lecturers Governance & Business Assistant Nicholas Johnson Art History & Theory Anwen Keeling Sarah O’Sullivan Lynette Eastaway Dr Georgina Cole Operations Manager Darwish Khalil Chief Operating Officer Christopher Dean Chelsea Lehmann Sue Pedley Joseph Frost Dr Ian Greig Ellen O’Shaughnessy & Company Secretary Finance Manager Dr Molly Duggins Nana Ohnesorge Anthony Phillips Dr Margaret Roberts Lorraine Kypiotis Sue Procter Executive Assistant Chloe Wong Dr Shane Haseman Rodney Pople Madeleine Preston Studio Technician to CEO Sophie Hopmeier Leslie Rice Linda Seiffert Board of Directors Finance OfficerClerk John Stanfield Laura Bialecki Alex Trompf Nike Savvas Pamela Vaughan Student Services David Grayce Suki Yuen Dr Jaime Tsai Rolande Souliere Jennifer Green Painting Registrar Receptionist & Human Resources Tom Melick STUDENT Glenda McLoughlin Head of Painting Benedict Griffin Administrative Assistant Photography Manager CREW Dr Stephen Little Claire Thomas Ceramics Steven Cavanagh Mark Tedeschi AM QC Student Counsellor Caroline Tommey Simon Fraser Tanya Peterson Tania Alexander Dr John Vallance Lecturers Raji Munro Philanthropy Manager IT Manager Bronwyn Kemp Skye Wagner Melina Altman Susan Andrews Michelle Glass Steve Clarke Nhu Pham Sandy Lockwood David Manley Shelly Anfield Dr Andrew Donaldson Laura Badertscher Academic Studies Student Services Officer Sponsorship Manager Simon Reece Tim Silver Dr David Serisier IT Officer Timothy Barbarino Head of Studies Marina Veg Helen Maidens Yasantha Samarasinghe Drawing Printmaking Morgan Bee Simon Cooper Studio Technician Student Services Alumni and Development Duncan Whichelo John Bokor Maureen Burns Paolo Iarossi Jason Chiang Administrator Coordinator Anthony Cahill Pia Larsen MFA Coordinator Marketing & Helen Coates-Milton Photography Jazmin Velasco Zoë Wilesmith Dr Sally Clarke Brenda Tye Dr Ian Greig Communications Evelyn Core Head of Photography Roger Crawford Jacqueline Driver Eliza Gosse BFA Honours Facilities & Manager Geoff Kleem Dr Ben Denham Carolyn Mckenzie-Craig Celeste Greeves Operations Manager Ros Brennan Coordinator Library Ivor Fabok Wendy Murray Lecturers Christine Myerscough Tamara Hall John Bloomfield Library & Learning Marketing Coordinator David Fairbairn Esther Neate Rebecca Shanahan Gillian Hodes Centre Manager Rachel Fairfax BFA, HSC and Facilities Administrator Danielle Neely Sculpture Elizabeth Hogan Elizabeth Little Cameron Ferguson Educational Outreach Studio Technician Scott Clement Gary Deirmendjian Ivana Jovanovic Venue Hire & Events Terry Hayes Coordinator Damian Dillon Clara Hali Simon Kahn Librarian Facilities Assistant Manager Emma Hicks Lorraine Kypiotis Caroline Haswell Kirtika Kain Printmaking Susan Olive Mark Polak Julie O’Reilly Paul Higgs Simon Hodgson Matilda Kubany-Deane Ceramics Co-Heads of Pollyxenia Joannou Library Technician Campus Service Venue Hire & Events Linda Bowden Amy Mcgregor Head of Ceramics Printmaking Lisa Jones Lana Ryles Assistant Co-ordinator Paul Hopmeier Charlotte Paull Merran Esson Helen Mueller Frank Littler Grace Sagud Jason Bennett Ross Morrison Sam Valenz Timothy Perkins Peter Burgess Deborah Marks Lecturers Anna Richards Public Programs Workshop Manager Administration Lecturer Daniel Pata Public Programs Chrystal Rimmer Stephen Bird Head of Public Programs Jaroslav Prochazka Carolyn Mckenzie-Craig Casuals Ambrose Reisch Andrew Antoniou Tania Rollond Dr Ella Dreyfus Penelope Ryan Digital Media Lab & Monique Arundell Alan Rigby Tania Browitt Kwi Choung Katika Schultz Studio Technician Khanh Tran Kenneth Smith Studio Technicians Public Programs AV Technicians Toni Warburton Shannon Smith Nina Juniper Katie Procter Kim Spooner David Stockburn Administrative Assistant John Daly Allison Atkinson Laura Sutton Noel Thurgate Joseph Purtle Sculpture Jenny Rislund Peter Morgan David Briggs Emilie Syme-Lamont Head of Sculpture Belinda Ward Lucy Buttenshaw Sarah Tracton Gallery Security and Ron Robertson-Swann Suzanne Archer Lucinda Culliton Hanli Uys Gallery Manager Services Officer Denis Clarke OAM Gina Fairley Sean Wadey & Curator Jean-Claude Imbert Janet Haslett Angus Fisher Marion Wait Lecturers Judith Blackall Louis Greco Annelise Jahn Michelle Hiscock Justin Watson Jim Croke Archivist & Kiata Mason Cameron Williams David Horton Collections Manager Catherine O’Donnell Maryanne Wick Studio Technician Deborah Beck Judith Rae Michele Elliot Simon Hodgson Gary Warner Jane Gillings

52 | NATIONAL ART SCHOOL NATIONAL ART SCHOOL | 53 nas.edu.au [email protected] +61 2 9339 8744

Forbes Street Darlinghurst Sydney NSW 2010 Australia CRICOS 03197B