DOCSLIB.ORG

Report of the Queensland Art Gallery Board of Trustees

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Report of the Queensland Art Gallery Board of Trustees REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 September 2009 The Honourable Anna Bligh, MP Premier of Queensland and Minister for the Arts PO Box 15185 City East Qld 4002 Dear Premier I am pleased to present the Annual Report 2008–09 for the Queensland Art Gallery. I certify that this Annual Report complies with: • the prescribed requirements of the Financial Accountability and Audit Act 1977 and the Financial Management Standard 1997, and • the detailed requirements set out in the Annual Reporting Guidelines for Queensland Government Agencies. A checklist outlining the annual reporting requirements can be accessed at www.qag.qld.gov.au. Yours sincerely Professor John Hay, AC Chair, Board of Trustees GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 3 CONTENTS COVER 5 GALLERY PROFILE Works from Ah Xian’s ‘Metaphysica’ series 2007 in ‘The China Project’ at GoMA. With the generosity of Tim Fairfax, AM, a group of six of 6 HIGHLIGHTS AND ACHIEVEMENTS the sculptures was acquired for the Collection. The ‘Metaphysica’ series was loaned by the artist for 9 CHAIR’S OVERVIEW ‘The China Project’. Ah Xian ‘Metaphysica’ series (detail) 2007 13 DIRECTOR’S OVERVIEW Bronze and brass 36 sculptures: dimensions variable 16 2008–09 — CONNECTING ART AND PEOPLE OPPOSITE Installation view of 17 TWO SITES, ONE VISION acquisitions in GoMA. Foreground: Tobias Putrih 21 CULTURAL TOURISM Connection 2004 Cardboard boxes 25 COLLECTION DEVELOPMENT Purchased 2008 with funds from Tim Fairfax, AM, through the 33 ACCESSIBILITY AND EDUCATION Queensland Art Gallery Foundation Background: Michael Parekowhai 39 ENGAGEMENT WITH THE ASIA PACIFIC REGION The Horn of Africa 2006 Automotive paint, wood, fibreglass, steel, brass 42 APPENDIXES Purchased 2008 with funds from the Queensland Government’s Gallery of Modern Art Acquisitions 42 ORGANISATIONAL PURPOSE AND RESPONSIBILITIES Fund in recognition of the contribution to the Gallery by Wayne Goss 43 PROGRAM STRUCTURE 2008–09 (Chair of Trustees 1999–2008) 44 STRATEGIC DIRECTION 45 CONTRIBUTING TO GOVERNMENT OBJECTIVES 45 PERFORMANCE STATEMENT 2008–09 46 COLLECTION ACQUISITIONS 59 EXHIBITIONS SCHEDULE AND SPONSORS 61 exhibitions AND FILM PROGRAMS PRESENTED AT THE AUSTRALIAN CINÉMATHÈQUE 62 PUBLICATIONS 66 BOARD OF TRUSTEES, EXECUTIVE MANAGEMENT TEAM AND STAFF PROFILE 67 STATISTICAL SUMMARY 68 OVERSEAS TRAVEL 70 CORPORATE GOVERNANCE 71 FINANCIAL STATEMENTS 4 QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 GALLERY PROFILE GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 5 VISION Increase quality of life for all Queenslanders through enhanced access, understanding and enjoyment of the visual arts and develop Queensland’s reputation as a culturally dynamic state. GALLERY PROFILE MISSION To be the focus for the visual arts in Queensland and a dynamic and accessible art museum of international standing. OPPOSITE Originally established in 1895, the Queensland Art Gallery The Australian Cinémathèque is integral to the Gallery’s Visitors outside GoMA and the River Cafe during the opened in its present South Bank premises in June 1982. programming. Launched in 2005, the Cinémathèque opening of the exhibition In late 2006, the Gallery became a two-site institution, with is the only one of its kind in an Australian art museum. ‘Contemporary Australia: Optimism’, November 2008 the opening of the Gallery of Modern Art (GoMA). Situated The Cinémathèque collects, conserves, presents and Photograph: Joanne Bell at Kurilpa Point only 150 metres from the Queensland Art interprets film and screen culture. Gallery building, the Gallery of Modern Art focuses on the art of the twentieth and twenty-first centuries. This year, a major Travelling exhibitions, educational services and refurbishment of selected gallery spaces was completed professional development opportunities are provided to at the Queensland Art Gallery. Funded by the Queensland regional and remote Queensland through the Gallery’s Government, the refurbishment represents the first Regional Services program. The Queensland Art Gallery significant upgrade since the building opened 27 years ago. is the only state gallery to provide an ongoing and The Gallery’s driving philosophy is to connect art and comprehensive program of Collection-based travelling people. Since 1982, more than 13 million people have exhibitions and public programs to regional areas as part visited, and this year attendances for the Queensland Art of its core business. Gallery and Gallery of Modern Art totalled 1 153 326. STRATEGIC PLAN 2008–13 With the opportunities presented by the expanded and The Gallery’s Strategic Plan 2008–13 is based on the upgraded facilities of a two-site institution, the Gallery’s following five goals. Collection, exhibitions, audiences and programs have grown in scale, complexity and diversity. The Gallery TWO SITES, ONE VISION presents a dynamic program of exhibitions and events, To consolidate the Gallery’s profile as a two-site institution complemented by interpretive public programs and following the opening of GoMA in December 2006, while publishing. Working closely with key corporate and tourism developing and promoting the strengths of each building’s sector partners, the Gallery continues to build a profile as a curatorial and programming focus to audiences. significant cultural tourism destination in the region. CULTURAL TOURISM The Gallery’s Collection, including the internationally recognised contemporary Asian and Pacific collection, To secure significant international exhibitions exclusive now includes 13 743 works, with 579 works acquired in to Queensland and increase the profile of the Gallery 2008–09. Works from the Collection, including major new as a cultural tourism destination for local, intrastate, acquisitions, feature strongly in the exhibitions program. interstate and international visitors. The Gallery’s engagement with the Asia Pacific region COLLECTION DEVELOPMENT continues with the ongoing activities of the Australian To develop, manage and conserve the Collection to Centre of Asia Pacific Art (ACAPA), and the Asia Pacific the highest art museum standards for the benefit and Triennial series of exhibitions. The Gallery also profiles enjoyment of present and future users. the artistic practice and cultural life of Indigenous Australia through its Collection, exhibitions and programs. AccESSIBILITY AND EDUCATION To provide access to exhibitions, educational services The Queensland Art Gallery Foundation provides vital and interpretive programs of excellence to diverse support to the Gallery, supporting the development of the audiences, with particular attention to children and Collection and the presentation of exhibition programs. This young people, Indigenous Australians and regional year was particularly significant for the Foundation, with the Queenslanders. celebration during 2009 of its 30th anniversary. ENGAGEMENT WITH THE ASIA PACIFIC REGION The Children’s Art Centre develops and presents To strengthen the Gallery’s ties with the Asia Pacific programs for children, young people and families, and region through initiatives such as the Asia Pacific the Gallery is recognised as an international leader in Triennial of Contemporary Art and the Australian Centre presenting innovative museum-based learning programs of Asia Pacific Art, as well as the development of the for children. The Gallery also presents a comprehensive Gallery’s renowned contemporary Asian and Pacific educational program, serving schools, universities and collections. the broader education sector. 6 QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 HIGHLIGHTS AND ACHIEVEMENTS HIGHLIGHTS AND ACHIEVEMENTS The Queensland Art Gallery (QAG) and Gallery of Modern Art (GoMA) attracted 1 153 326 visitors during the year. Audience surveys reflected 94 per cent satisfaction with this year’s exhibitions. EXHIBITIONS Collections ABOVE LEFT Professor John Hay, AC, ‘Picasso & his collection’ ended its exclusive-to-Brisbane The programming opportunities provided by two sites Chair of the Queensland Art Gallery Board of Trustees, and artist season in September 2008. With a total attendance supported a substantial program of exhibitions based William Yang at the opening of 206 580, critical acclaim and strong support from on the Gallery’s own Collection, including many new of ‘The China Project’, visitors to the city, the exhibition continued to define the acquisitions. March 2009 Gallery’s strength as a cultural tourism destination. Background: Wang Qingsong In partnership with The Metropolitan Museum of Art, New The Gallery’s internationally significant collection of China Red 2008–09 York, and Art Exhibitions Australia, the Gallery presented contemporary Chinese art was recognised and celebrated Ink and synthetic polymer paint on paper a second exclusive international exhibition this year in ‘The China Project’ and documented with a 312-page Site-specific work commissioned — ‘American Impressionism and Realism: A Landmark exhibition catalogue. for ‘The China Project’ Collection: The artist Exhibition from the Met’ (30 May – 20 September 2009). In its first month, the exhibition attracted daily average Important international contemporary acquisitions, ABOVE CENTRE attendances of 1000 and audience satisfaction of 95 including works by Candice Breitz, William Eggleston, Queensland Art Gallery Deputy Tobias Putrih, Beat Streuli and Yvonne Todd, were Director, Curatorial and Collection per cent. Development, Lynne Seear speaks acquired with the exceptional support of
Load more

Recommended publications
  • Beat Streuli Living Room
    Beat Streuli Living Room September 3 to October 8, 2014 Yumiko Chiba Associates viewing room shinjuku Gallery Talk & Opening Reception: Saturday, September 6 (Gallery Talk will be held in HILLSIDE TERRACE café at Daikanyama Hillside Terrace.) ©Beat Streuli, Courtesy of Yumiko Chiba Associates Yumiko Chiba Associates viewing room shinjuku is pleased to present a solo exhibition by Beat Streuli, ‘Living Room’, from September 3 to October 8, 2014. Beat Streuli, a Swiss photographer who started working in the 1980s, has presented his works in cities around the globe. Presently based in Zurich and Brussels, he has been actively working all over Europe and in many other parts of the world. He first received attention for his series from the early 1990s; some of this work was photographed in Rome, Paris, and New York. Streuli takes photographs of local people in public places, often with a telephoto lens, focusing on them and their ordinary lives. He has begun to work more outside of Europe and the United States, in both Western and non-Western countries. Recently, his work has started to include more non-figurative, almost abstract elements. At the beginning of his career, Streuli produced and presented his works as small format and black and white photographs, but in the early 1990s, he developed new forms of presentation, working with floor to ceiling, multi-screen slide and video projections. He also started working with large scale images installed on the façades of public buildings in various cities, and with monumental billboard installations. For the past twenty years, Streuli's work has been frequently exhibited around the world; he has also realized many temporary and permanent projects in public spaces.
    [Show full text]
  • Past-Exhibitions-2011.Pdf
    Past Exhibitions: 2011 ground floor... BATIK OF JAVA: POETICS AND POLITICS THE PROMISED LAND: ZOOKINI A CALOUNDRA REGIONAL ART GALLERY THE ART OF LAWRENCE DAWS 2011 XSTRATA CHILDRENS EXHIBITION TOURING EXHIBITION A CALOUNDRA REGIONAL GALLERY FEATURING JENNY ORCHARD 3 December 2010 until 6 February 2011 TOURING EXHIBITION 15 April until 10 July 11 February until 10 April Batik, a cloth that traditionally uses a manual Zookini is the 2011 Xstrata Children’s Exhibition, wax-resist dyeing technique, has special meanings The Promised Land: The Art of Lawrence Daws is and centres on the wild ceramic creatures and rooted to the Javanese conceptualisation of the a major touring exhibition that celebrates the life illustrations of celebrated artist Jenny Orchard. universe. The three major Hindu Gods, Brahmā, and career of long-time Glasshouse Mountains Visnu, and Śiva, are represented by the colours resident and iconic Australian painter, Lawrence The exhibition also includes prominent local artists, indigo, brown and white, dictated by the fact Daws. In recognition of his unique place in known for their creativity; Christine Spain and Mel natural dyes are most commonly available in Australia’s art history, The Promised Land features Williams, Hugh Martin, Jenny Finn and Robert indigo and brown. Patterns in the batik also reflect over 50 paintings and sketch books from National, Crispe. a person’s nobility. State, regional, public and private collections, including work from each of the six decades that this respected artist has been painting.
    [Show full text]
  • Queensland Art Gallery Board of Trustees Annual Report 2015–16
    QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific.
    [Show full text]
  • Escape Artists Education
    ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition.
    [Show full text]
  • Art Gallery of New South Wales 2015 Year in Review
    Art Gallery of New South Wales Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 2015 2015 ART GALLERY OF NEW SOUTH WALES 2015 2 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 3 Our year in review 4 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 5 We dedicate this inaugural Art Gallery of New South Wales annual review publication to the Australian artists represented in the Gallery’s collection who have passed away during the year. 8 OUR VISION 9 FROM THE PRESIDENT Guido Belgiorno-Nettis 10 FROM THE DIRECTOR Michael Brand 12 YEAR AT A GLANCE 14 SYDNEY MODERN PROJECT 23 ART 42 IDEAS 50 AUDIENCE 60 PARTNERSHIPS 74 EXECUTIVE 75 CONTACTS 80 2016 PREVIEW Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. Our goal is that by the time of our As Australia’s premier art museum, 150th anniversary in 2021, the Gallery we must reflect the continuing evolution will be recognised, both nationally of the visual arts in the 21st century and internationally, for the quality of alongside the development of new our collection, our facilities, our staff, channels of global communication that our scholarship and the innovative increasingly transcend national ways in which we engage with our boundaries.
    [Show full text]
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • Foundation Annual Report 2012–13
    FOUNDATION ANNUAL REPORT 2012–13 FOUNDATION ANNUAL REPORT 2012–13 Polixeni Papapetrou born Australia 1960 Mark Elvis impersonator at Elvis Grotto Melbourne 1992 gelatin silver photograph image 100 x 100 cm gift of Patrick Corrigan, 2013 through the Australian Government’s Cultural Gifts Program © Polixeni Papapetrou Contents Office bearers 5 Objectives 5 Chairman’s report 7 Contributors 22 Membership 39 Financial statements 61 Colin McCahon New Zealand 1919–1987 Muriwai. Necessary protection 1972 synthetic polymer paint on composition board 60.8 x 81.2 cm bequest of Jane Flecknoe, 2013 100 Works for 100 Years © Colin McCahon Research and Publication Trust 4 natIonal gallerY of AUStralIA Office bearers Objectives Patron The National Gallery of Australia Her Excellency Ms Quentin Bryce AC Foundation, a company limited by The Governor-General of the Commonwealth of Australia guarantee under the Corporations Law, is a non-profit organisation established to Board members support the National Gallery of Australia. Mr John Hindmarsh AM (appointed 20.9.04; The principal objectives of the Foundation Chairman 27.10.10) are to: Ms Susan Armitage (appointed 11.5.11) Mr Philip Bacon AM (appointed 26.10.00) ■■ maintain, improve and develop Mr Julian Beaumont (appointed 28.10.09) the national collection of works of Ms Sandra Benjamin OAM (appointed 27.4.06) art owned by the National Gallery Mr Anthony R Berg AM (appointed 16.3.99; of Australia Chairman 16.3.99 to 26.4.06) ■■ promote, maintain, improve and Mrs Robyn Burke (appointed 29.8.06) develop the National Gallery of Australia Mr Terrence A Campbell AO (appointed 28.2.07) ■■ support the development and conduct Mr David Coe (appointed 13.10.00, resigned 21.1.13) by the National Gallery of Australia of The Hon Mrs Ashley Dawson-Damer (appointed 5.5.04) travelling exhibitions of works of art Dr Lee MacCormick-Edwards (appointed 26.10.11) ■■ raise money to achieve these Mr James Erskine (appointed 11.5.11) objectives.
    [Show full text]
  • QUEENSLAND CULTURAL CENTRE Conservation Management Plan
    QUEENSLAND CULTURAL CENTRE Conservation Management Plan JUNE 2017 Queensland Cultural Centre Conservation Management Plan A report for Arts Queensland June 2017 © Conrad Gargett 2017 Contents Introduction 1 Aims 1 Method and approach 2 Study area 2 Supporting documentation 3 Terms and definitions 3 Authorship 4 Abbreviations 4 Chronology 5 1 South Brisbane–historical overview 7 Indigenous occupation 7 Penal settlement 8 Early development: 1842–50 8 Losing the initiative: 1850–60 9 A residential sector: 1860–1880 10 The boom period: 1880–1900 11 Decline of the south bank: 1900–1970s 13 2 A cultural centre for Queensland 15 Proposals for a cultural centre: 1880s–1960s 15 A new art gallery 17 Site selection and planning—a new art gallery 18 The competition 19 The Gibson design 20 Re-emergence of a cultural centre scheme 21 3 Design and construction 25 Management and oversight of the project 25 Site acquisition 26 Design approach 27 Design framework 29 Construction 32 Costing and funding the project 33 Jubilee Fountain 34 Shared facilities 35 The Queensland Cultural Centre—a signature project 36 4 Landscape 37 Alterations to the landscape 41 External artworks 42 Cultural Forecourt 43 5 Art Gallery 49 Design and planning 51 A temporary home for the Art Gallery 51 Opening 54 The Art Gallery in operation 54 Alterations 58 Auditorium (The Edge) 61 6 Performing Arts Centre 65 Planning the performing arts centre 66 Construction and design 69 Opening 76 Alterations to QPAC 79 Performing Arts Centre in use 80 7 Queensland Museum 87 Geological Garden
    [Show full text]
  • Queensland Art Gallery Board of Trustees Annual Report 2011–12 Report of the Queensland Art Gallery Board of Trustees
    QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2011–12 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 October 2012 The Honourable Ros Bates, MP Minister for Science, Information Technology, Innovation and the Arts Level 5, Executive Building 100 George Street BRISBANE QLD 4000 Dear Minister I am pleased to present the Annual Report 2011–12 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual Report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be accessed online at www.qagoma.qld.gov.au/about_us/annual_reports. Yours sincerely, Professor Susan Street Chair, Queensland Art Gallery Board of Trustees CONTENTS 04 INTRODUCTION 04 Vision 04 Purpose 04 Queensland Art Gallery | Gallery of Modern Art 06 CHAIR'S OVERVIEW 08 BACKGROUND 08 Government objectives 08 Strategic plan 2011–16 09 Operational plan 2011–12 10 OUTCOMES 10 Collection development 21 New audiences 25 Visitor experience 32 Acquisitions 82 Exhibitions 102 Performance measures 103 Statistical summary 104 FiNANCIAL SUMMARY & STATEMENTS 104 Financial summary 2011–12 104 Budget versus actual results 106 Financial statements 2011–12 126 Certification of the financial statements 127 Independent auditor’s report 130 PrOPOSED FOrwARD OPERATIONS 130 Strategic plan 2012–17 131 Operational plan 2012–13 132 GOVERNANCE 132 Management and structure 138 Compliance 138 Human resources 139 Operations 140 GLOSSARY 141 FEEDBACK FORM 04 Queensland Art Gallery Board of Trustees Annual Report 2011–12 INTRODUCTION INTRODUCTION Vision Increased quality of life for all Queenslanders through enhanced access to, and understanding and enjoyment of, the visual arts, and the assurance of Queensland’s reputation as a culturally dynamic state.
    [Show full text]
  • A Brave New Brussels.Pdf
    FOR A BRAVE NEW BRUS SEL S. Lab.01 Artistic Versus Technocentric Approaches On Smart Cities For a Brave New Brussels is an exhibition and discussion platform that Lab.01 stimulates the discourse around the future of our cities in times of technological revolution and ever-increasing global challenges. Con- Artistic Versus temporary cities are magnets that attract people, resources, ideas, Technocentric Approaches opportunities and knowledge. 50% of the world’s population already lives in cities and this percentage will rise to 70% by 2050. Today cities On Smart Cities have to respond to this speed of migration and concentration or they will become social ticking bombs. The reality of a city is never given, its evolution not immutably determined. How will they manage social From 22 until 26 October 2018, and democratic developments, but also technological, economic, and the Museum of Art, Architecture and Technology environmental issues in a global world? Each city will be confronted with different political, social, religious and ecological challenges that in Lisbon (PT) is hosting the exhibition For a Brave can only be solved by the engagement and collaboration between New Brussels. Lab.01 Artistic Versus Technocentric many different players. Approaches On Smart Cities. The initiative for this For a long time technology has been seen as a crucial element in project was taken by BOZAR, GLUON and the preparing cities for a turbulent future. Since its early days, the appli- curator Stéphanie Pécourt, with the support of cation of new digital technologies to the urban environment and pro- the Brussels-Capital Region, and is organised on cesses has been celebrated worldwide for its ability to increase the the occasion of the State visit to the Republic of quality of urban living, but this engagement has mostly been limited to a technocratic focus on energy efficiency, mobility and infrastructure.
    [Show full text]
  • NEWS RELEASE Contact: Loretta Yarlow Or John Simpson 413-545-3670
    NEWS RELEASE Contact: Loretta Yarlow or John Simpson 413-545-3670 Please Post Until End Date FOR IMMEDIATE RELEASE: 8/9/06 WHAT: Exhibition, Opening Reception: Beat Streuli/ Cities 2001-2005 WHEN: Wednesday, September 20, 2006, 6 – 8PM SPECIAL EVENT: In Conversation 7:00PM: Artist Beat Streuli and Fraser Stables, Assistant Professor, Smith College Department of Art, discuss photography and video within the context of this exhibition. WHERE: University Gallery, Fine Arts Center, UMass Amherst For more information please check the University Gallery website: www.umass.edu/fac/universitygallery The University Gallery takes great pleasure in announcing the opening of an exhibition of video work by the internationally acclaimed Swiss-born artist, BEAT STREULI, on WEDNESDAY, SEPTEMBER 20, 2006,from 6-8pm. Streuli has developed an impressive body of work in photography and video that documents the transient pedestrian activity of urban life. His images of people moving through and among one another blur the line between portraying anonymity and individuality. His art is fuelled by his interest in the movements of people in large cities around the world, in Asia, Europe, the U.S., Africa, and Australia. The dramatically slowed video images, which represent an ever-changing sea of pedestrians -- bodies and faces navigating through a given city -- offer a moving social portrait of contemporary society. "Streuli's images are typically suggestive and ambiguous, and precisely because they so often depict people in transition, they effectively conjure an entire rolling era marked by restlessness, wandering, speed, and displacement." -- Gregory Volk, independent curator and writer for "Art in America". Beat Streuli's exhibition at the University Gallery will be the artist's first exhibition in the U.S.
    [Show full text]
  • Foundation Annual Report 2018–19
    Foundation Annual Report 2018–19 Foundation Annual Report 2018 –19 4 CONTENTS Chair’s address 6 Chair’s report 8 Foundation overview Foundation Board 15 About the Foundation 16 Support Ways of giving 18 Members 20 Donors 2018–19 40 Select gifts 48 Financial statements Directors’ report 80 Financial statements 90 Notes 94 Directors’ declaration 96 Independent auditor’s report 97 National Gallery of Australia Foundation Annual Report 2018–19 5 CHAIR’S ADDRESS I am delighted to be writing in my capacity his continued support of the Gallery’s learning as the newly appointed Chair of the National and access programs. Gallery of Australia Foundation. Since 1983, the Leading up to the fortieth anniversary of the Foundation and its members have continued an National Gallery of Australia in 2022, we review extraordinary legacy of philanthropic support. where we have come from and all that we Your generosity has enabled the acquisition have achieved, including the successes of the of significant works of art for the national Foundation. I look upon previous fundraising collection and the presentation of outstanding campaigns such as 100 Works for 100 Years and exhibitions and award-winning learning and Founding Donors 2010 as exemplary and thank access programs at the National Gallery and all donors to those campaigns, and so many Australia-wide. others, for their generosity. I am honoured to serve as the eighth chair of My aspiration as Chair is to continue the great the Foundation and look forward to working legacy of past fundraising initiatives by marking closely with the Director, the Foundation’s the Gallery’s upcoming fortieth anniversary with recently appointed Deputy Chair Philip Bacon a major fundraising program to be launched AM, our fellow Foundation Board directors and in mid 2020.
    [Show full text]