2018 -19 ANNUAL REPORT TABLE OF CONTENTS LORD MAYOR’S Museum of respectfully acknowledges Brisbane’s Aboriginal and Torres Strait Islander communities. MESSAGE We pay our respects and recognise the Traditional Custodians of Brisbane and surrounding areas, and their continuing connection to Country, rich cultures and heritage. We pay our respects to Elders past, present and emerging.

We recognise the integral role Aboriginal and Torres Strait Islander peoples continue to play in creative and artistic endeavours. Museum of Brisbane will embrace and engage with culture and commit to a progressive future together.

Lord Mayor’s Message 3 Chairman’s Introduction 4 Raelene Baker’s Acknowledgment 7

Director’s Review 9 Lord Mayor Adrian Schrinner. Strategic Priorities 12 2018-19 Highlights 13 As the new Lord Mayor of the Museum recorded its holiday program growing by a Brisbane, it has been my great highest number of visitors staggering 156% this year. The Audience 14 pleasure to see the joy and to date totalling 374,296 this Museum’s education program, Audience Data 17 wonder on the faces of so many financial year. As well as helping MoB Learn, continues to reach during their visits to City Hall. Brisbane to cement its place as out to schools in the suburbs, Exhibitions 18 Following in the footsteps of a creative, vibrant and liveable and encourage lifelong learning Displays 22 so many fantastic Lord Mayors city and supporting local artists, from a young age. Artist-in-Residence 23 before me, it is with immense organisations and enterprises. pride that I watch locals and As a former pilot, I love a birds- BRISBANE ART DESIGN 26 visitors from interstate and One of the exciting endeavours eye view, and if you have not MoB Shop 30 overseas exploring this treasured of the Museum this year was yet taken a ride up the Clock Awards and Publications 31 building with its trove of wonders the inaugural BRISBANE Tower in the beautiful old hand- that continues to live up to its ART DESIGN (BAD) festival. operated lift and witnessed the MoB Learn 32 name as ‘The People’s Place’. Positioning Brisbane as an city view from the top, now is Engagement 37 expressive and creative hub. The the time. The Clock Tower tours Playing a huge part in this is city-wide festival supported by remain a must do in Brisbane, Collection 41 Museum of Brisbane, in its helped attracting 69,917 visitors over the Acquisitions 42 ongoing mission to contribute to to forge stronger relationships past 12 months. Exhibition Loans 44 Brisbane’s vibrant lifestyle. Over and partnerships between the the past 12 months the Museum corporate, not-for-profit and I offer my congratulations to the Conservation 45 has continued to deliver high public sector, as well as shine a Board of Directors, chaired by Support 47 quality programs, insightful light on Brisbane’s art and design. Sallyanne Atkinson AO, Renai Corporate Support 47 exhibitions, engaging events and Grace and the Museum of wonderful workshops that share The quality of a city’s cultural Brisbane team and my sincere Sponsors and Partners 48 the history and stories of our and creative assets strengthens thanks to the Museum’s new and Corporate Members 49 remarkable city and its people, its liveability. The Museum continuing sponsors, donors and from our Aboriginal and Torres contributes to Brisbane’s quality partners for their support of the Philanthropy 49 Strait Islander heritage and of life, as a hub for talented Museum, helping to celebrate Donors 49 colonial past to the New World people to live, work and play, and share the stories, history and The Dress Circle 49 City we know today. as well as raise families and cultural life of our great city. establish careers. Families are Trusts and Foundations 50 The numbers speak for engaging with the Museum at Adrian Schrinner Financial Summary 2018-19 52 themselves. Giving people an unprecedented rate, with The Right Honourable Board of Director’s and Staff 54 more to see and do in Brisbane, visitation to MoB Kids school Lord Mayor of Brisbane

2 ANNUAL REPORT 2018-19 3 CHAIRMAN’S INTRODUCTION

Chairman, Sallyanne Atkinson AO at the BRISBANE ART DESIGN Micro Histories exhibition. Photo: David Kelly. launch. Photo: Jono Searle.

Museum of Brisbane continues we share our piece of the Fairfax AC, whose ongoing My sincere thanks go to Melanie Heley, Head of to grow from strength to planet. support funded the Artist- Brisbane City Council, as Business Services with the strength. With visitation in-Residence program, and well as our new Lord Mayor Museum, has joined the numbers at record highs and Working closely with artists, sponsors and partners including Adrian Schrinner, Councillor Board as Company Secretary. programs across the board designers, writers, historians Brisbane Airport Corporation, Peter Matic and former Lord Shannon Brandan from attracting growing attendance and storytellers, including many BDO, Brisbane Marketing, Mayor Graham Quirk for their Brisbane City Council retired figures. The Museum has well from our Aboriginal and Torres Hutchinson Builders and St significant support. from the position as Company and truly established itself Strait Islander communities, it Baker Energy Innovation Fund. Secretary in 2018. as one of the city’s major allows audiences to connect Law firm Gadens, this year I would also like to attractions. with our social history and doubled the impact of donor acknowledge the Board for It is my great honour to be the culture and leave with a gifts with their offer to dollar their ongoing contribution to Chairman of the Museum and Each year the Museum broader view of the city in match gifts through the Gadens ensuring the Museum remains see the positive impact this continues to fulfill its aims to which we live. MoB’s programs, Art Challenge. the vibrant and engaging institution has on our wonderful provide high quality exhibitions exhibitions and events are destination it is today. I thank city. Brisbane has so much and programs that explore filled with objects, artefacts The great work of the Museum Alison Kubler, who retired at to share and celebrate. It is a Brisbane’s past, present and and artworks made by those is made possible by a talented the end of last year from the beautiful, confident, thriving future and to raise awareness who have left their mark. The team led by our dedicated Board, for her years of service. metropolis and its creative of the cultural life of our city. Museum program helps us Director Renai Grace. I thank pulse is stronger than ever. I’m Telling the stories of the people to explore, discovering more each and every one of them We welcome new Board so proud to call this city my and the places of Brisbane is about ourselves, each other for bringing their best to Members, Liana Heath and home. what the Museum does best, and our city along the way. the Museum’s programs and Natasha Hood, both of whom engaging audiences to reflect exhibitions, ensuring it remains bring a wealth of knowledge Sallyanne Atkinson AO on our unique place in the The Museum would not be one of our city’s most beloved from their respective Chairman world and to better understand possible without the support attractions. professions. ourselves and those with which of our donors including Tim

4 ANNUAL REPORT 2018-19 5 RAELENE BAKER’S ACKNOWLEDGMENT

Raelene Baker (Aunty).

Museum of Brisbane both colonists and the First engagement and action. acknowledges the historical Nations people, the lives significance of Brisbane’s First of Aboriginal peoples were Museum of Brisbane will Nations peoples, the Aboriginal irrevocably changed as a result continue to embrace the and Torres Strait Islander of the establishment of the past, present and future by peoples. MoB pays its respects penal colony. A 60,000 year- showcasing, celebrating and to individuals and communities, old continuous culture was reflecting, as well as sharing past, present and emerging. It is disrupted. stories and works of the an ongoing pleasure to be part storytellers. The Museum aims of the Museum’s endeavours MoB’s engagement and learn to continue to reflect and and innovations throughout programs have expanded the celebrate the uniqueness of the communities as part of the opportunities for exchange Aboriginal and Torres Strait greater conversation. and engagement across the Islander cultures through the broader communities as a arts, collections, imagery and Brisbane and its greater region critical platform for dialogue. conversations. are the custodial homelands Exhibitions have been designed of the Yuggera, Turrubul and and curated to be interactive, Barragul Wemin Wallaga Yagen neighbouring nations. This provocative and alive. It is Raelene Baker (Aunty) past year, Life in Irons was a refreshing to see a robust Museum of Brisbane headline exhibition highlighting investment into an Aboriginal Indigenous Advisor a juxtaposing storyline of the and Torres Strait Islander arts new arrivals to the Moreton collection along with curated Bay penal colony and exhibitions. MoB is committed Traditional Custodians. The to reconciliation with a exhibition featured profound Statement of Intent, respecting, images which reflected the embracing and acknowledging intense conflicts and context Indigenous culture and of the early 1800s. While life breaking down the barriers Opposite page: was mercilessly harsh for and boundaries through intent, Our Collection: Voice in Action exhibition

6 ANNUAL REPORT 2018-19 7 DIRECTOR’S REVIEW

Renai Grace. Photo: Jono Searle.

This year, Museum of Brisbane Over the past 12 months, MoB glimpse into Easton Pearson’s produced another outstanding continued to attract record practice. Hand-picked with program of Brisbane, for visitation numbers, building designers Pamela and Lydia, Brisbane and about Brisbane. upon previous years. We each garment in the exhibition Spanning pre-settlement and welcomed through our doors showcased the techniques our convict past to fashion, 374,296 visitors and recorded and stories embedded in art and design that celebrated an increase in international the creation process. The Brisbane’s contemporary visitors, with more than 50% exhibition included a catalogue identity. All the key initiatives of our visitors surveyed funded by the Gordon Darling and projects undertaken from overseas. This increase and received a throughout the year were is reflective of the general Highly Commended Award, for driven by our 2017–2020 growth of tourism to Brisbane Exhibition Branding Package Strategic Plan. In 2018-2019, we and reinforced the role of at 2019: Museums Australasia continued to achieve on our the Museum as an important Multimedia and Publication strategic goals and exceed our cultural tourism attraction. Design Awards (MAPDA). performance targets. Following on from the success The Easton Pearson Archive The past 12 months have proven of Mao’s Last Dancer the gift to Museum of Brisbane that the Museum is as vibrant exhibition in Brisbane last year, has been made possible by and relevant as ever, reinforcing more than 45,000 people the generous support of Dr the vital importance of our visited MoB’s inaugural touring Paul Eliadis, a Brisbane-based commitment to the cultural life exhibition at the Melbourne philanthropist and patron of Brisbane. Visitors have been Immigration Museum. of contemporary art and able to enjoy a diverse program design. The Archive consists including 12 exhibitions, five In November 2018 to April 2019, of more than 3,300 garments displays, 239 events as well MoB presented the first major donated by Dr Eliadis through as engage with seven artists- exhibition from the Easton Government’s in-residence thanks to the Pearson Archive. The Designers’ Cultural Gifts Program in 2017. generous support of Tim Fairfax Guide: Easton Pearson Archive It is supported by more than AC. provided a behind-the-scenes 5,000 accessories, specification

8 ANNUAL REPORT 2018-19 9 The Designers’ Guide: Easton Pearson Archive exhibition. Photo: Jono Searle. Kellie O’Dempsey, Outside the Lines installation, BRISBANE ART DESIGN exhibition. Photo: Carl Warner.

sheets, range plans, look DESIGN (BAD), a city-wide writers, performers and This year, MoB also recorded stakeholders that enable us to creativity to deliver on all of our books, photographs and other festival, which was missing industry professionals to deliver growth in a loyal group of deliver exceptional programs. achievements. supporting materials donated from Brisbane’s calendar of events and partnered with 28 local supporters that enjoyed I would like to acknowledge by Pamela Easton and Lydia events. Over 17 days in May, organisations and education an array of workshops, talks the generous support from The success of our program, Pearson in 2018. BAD showcased Brisbane’s institutions to develop our and tours delivered by artists, our loyal partners Hutchinson supported by strong financial uniquely collaborative 2018-2019 program. educators and industry experts. Builders, Brisbane Airport management and governance, The Archive is an important approach of our city’s creative In 2018-2019, we had a 26% Corporation, St Baker Energy illustrates the strength and education resource, which is communities through a program Another area of focus has been increase in participation in our Fund, Gadens, BDO, Liquid capacity of the Museum to generously supported by TAFE of exhibitions, outdoor art MoB’s commitment to audience programs from 13,549 people Interactive, Brisbane Marketing, deliver at scale and pace as . MoB continues installations, tours, talks and engagement and learning. in last financial year to 17,163 Hilton, Wine & Dine’m, well as exceed expectations for to identify opportunities to open studios. Immersive learning is now this year. A highlight has been JCDecaux, Five Star Cinemas, the quality of our program. We increase access to the Archive embedded into our program, the MoB Kids school holiday GOA, The Weekend Edition, enter next financial year faced and as a result of The Designers In its inaugural year, BAD which informs how we develop program, which has expanded Quest Newspapers, Brisbane with significant challenges due Guide exhibition has been attracted more than 753,167 and design our exhibitions, in one year to accommodate News and ABC Radio Brisbane. to physical space constraints. invited to join Google Cultural people across Brisbane and workshops and tours. MoB has a 156% increase in audience As we work closely with our Institute’s Arts and Culture reached new audiences in designed, in collaboration with participation. Our thanks go to Brisbane City key stakeholder to identify online platform. and Melbourne. The education experts, a series of Council for their continued ways to elevate this issue, we success of BAD was made permanent Brisbane focused In recognition for our support of and engagement will continue to deliver on This financial year, our possible through the generous incursions and excursions that outstanding achievements with Museum of Brisbane in our mission to share all that is collection has also grown support of our partners are linked to the Australian in learning and audience particular their investment in Brisbane with the world. with 40 new acquisitions Brisbane City Council, Liquid Curriculum. As a result, we engagement, MoB received in the vision for the inaugural received through donor Interactive, Brisbane Airport welcomed to the Museum 2019 a prestigious Australian BRISBANE ART DESIGN (BAD) Renai Grace initiatives including the Corporation, Arts Queensland 11,488 students this year, which Museum and Galleries 2019. Director Gadens Art Challenge and the and Brisbane Marketing. is a 68% increase in visitation Association Award (MAGNA) Commonwealth Government’s in comparison to last financial for Interpretation, Learning and I acknowledge our Board of Cultural Gifts Program. With access and collaboration year. MoB Learn has also seen Audience Engagement for Life Directors for their guidance at the heart of all that we an increase in loyalty, with the in Irons: Brisbane’s convict past. over the past 12 months With a focus on cultural do, in addition to BAD, MoB return of more than 61% of and Team MoB, who have tourism, in 2019 MoB engaged with 83 individual schools in comparison to the The Museum nurtures strong contributed with unwavering initiated BRISBANE ART artists, designers, historians, previous year. relationships with external dedication, passion and

10 ANNUAL REPORT 2018-19 11 STRATEGIC PRIORITIES 2018-19 HIGHLIGHTS

Strategic Plan 2017–20 The Museum of Brisbane Strategic Plan 2017–20 sets out three strategic objectives: 374,296 69,917 visitors to the Museum visitors to the Clock Tower 15,238 A: High quality program B: Raise awareness and C: To be a financially visitors toured City Hall that explores the life strengthen the impact of robust, well governed and of our evolving city and Museum of Brisbane. sustainable organisation. Brisbane’s identity.

STRATEGIES STRATEGIES STRATEGIES

• Contribute to the • Enhance our brand • Increase and diversify cultural life of Brisbane and strengthen our our revenue through through a diverse and reputation as a leading, commercial and 753,167 $4,287,028 stimulating program of audience-focused development activities. visitors to all events part of in value in local, national and exhibitions, events and Museum. • Prioritise the growth of BRISBANE ART DESIGN international media coverage. experiences. • Broaden our program our endowment fund. • Safeguard the and create flexible • Demonstrate good future of Brisbane’s spaces that offer social governance principles. 10 exhibitions and six displays cultural heritage by and cultural interaction. • Continually improve our developing, caring for • Expand our digital operational efficiencies and presenting our reach to increase and effectiveness, and Collection. access to our expertise grow partnerships to • To be an authority and collections. deliver a cost-effective about Brisbane, its past, • Engender learning and program. present and future. participation through • Drive innovation to be 109 • Expand our audience engagement, a dynamic and engaged 11,488 local artwork commissions programming beyond education and training. workplace that attracts, students and supervisors the walls of the • Investigate retains and develops participated in learning programs 21,603 Museum. opportunities to expand a motivated and enews subscribers to the physical space of professional team. MoB Mail the Museum. • Explore external opportunities to utilise our expertise and 4.5/5 services. star rating and #33 of 333 things 56,688 to do in Brisbane Trip Advisor fans on social media

12 ANNUAL REPORT 2018-19 13 AUDIENCE

2018-19 was an exceptional year for visitor origins. For the Brisbane Museum of Brisbane. The Museum metro market however, online welcomed a record 374,296 sources of information are visitors through our doors, a 2% the most persuasive in driving increase on the previous year. visitation, sitting at 42%, an A daily average of 1,037 people increase of 10% on the previous visited exhibitions, joined guided year indicating the Museum’s tours, attended public programs, online presence is growing in performances and experienced influence and is a significant factor education events with a 5% in increasing engagement with increase in visitors taking part the local community. Personal in our City Hall tours from the recommendations have also previous year. seen a slight increase across the board, with the highest figure For the second year in a row, represented in the intrastate overseas visits are on the rise, markets, revealing a 20% increase increasing from 43% in 2017-18 to on the previous year. 52% in 2018-19, a trend in line with tourism growth across the state. The Clock Tower continues to This points to the influence of be a drawcard for the Museum nationally significant, high calibre but more visitors are coming to exhibitions such as The Designers’ the Museum for a general visit, Guide: Easton Pearson Archive up 11% on the previous year. For and BRISBANE ART DESIGN the second year in a row, there festival drawing visitors from has been an increasing trend further afield. It also reflects the of intentional visits, reaching Museum’s marketing activity which a new high of 60% compared has included a focused effort to incidental visits, with 81% of on reaching international and visits being planned in the week interstate tourists over the past beforehand. two years. These statistics regarding shifts The Museum has seen an in visitor motivation and a rise in impressive increase in repeat visitation, repeat visitation and visitation across the local market, recommendations are extremely increasing by 3,000 visitors encouraging, pointing to not only compared to the previous year. an increase in brand awareness in This trend also continues in the local, interstate and international intrastate (up 4,000 visitors), markets but also to the high and interstate (up 1,000 visitors) quality of the Museum experience markets. and the relevance of its programming to diverse audiences. Signage outside the building remains the most persuasive factor Demographically our local this year driving visits across all audiences have shifted to being Dress Code exhibition. Photo: David Kelly.

14 ANNUAL REPORT 2018-19 15 VISITOR ORIGINS DIVERSE LOCAL AUDIENCES

INTERSTATE 14% AUSTRALIAN LOCAL 50% 23% OTHER 29% INTRASTATE 12%

CHINESE 10%

INTERNATIONAL EUROPEAN 52% 11%

INTERNATIONAL AUDIENCES

EUROPE NORTH AMERICA 50% 10%

BRISTOPIA exhibition. Photo: Dylan Evans. more culturally diverse, there seen as a place for learning and leaving having had a more ASIA was an 8% increase in audiences and escape for busy working spiritual or emotional response, 30% identifying with ethnicities other families. Our family profile has feeling inspired, recharged and than Australian. The median age of remained relatively stable, with entertained. MoB will look to our audience is under the age of a proportional increase of 1% deliver content and programming OCEANIA 35. The Museum has seen a slight compared to 2017-18. that continues to engage people 7% increase in the 16-24 age bracket on this level. As data suggests, OTHER and a 5% increase in the 25-35 age 2018-19 delivered highly satisfying these motivations are more 4% bracket. This increase in a younger experiences to visitors with the likely to result in reactivated or audience can be attributed to majority of visitors describing their repeat visitation and a sense of programming, digital marketing experience as highly satisfactory. A connection to the Museum and strategy and an increase in majority of visitors said they would the community at large. AGE DELIVERING DEEPER ENGAGEMENT international tourists, the majority definitely recommend Museum of of those surveyed fall between the Brisbane. Audience surveying was carried MAIN MOTIVATION MAIN OUTCOME 25-35 age group. out for Museum of Brisbane by 65 PLUS Museum visitors are increasingly Morris Hargreaves McIntyre, an 6% UNDER 16 55-64 14% MHM surveys revealed a surprised at how much they international consultancy firm 10% sustained representation of the enjoyed their time at the specialising in audience analysis. Expression culture segment Museum, with their expectations It was commissioned to offer EMOTIONAL 30% EMOTIONAL 34% which is characterised by a focus outweighing their experience. deeper insight into the motivations 45-54 on community and family, sitting This finding coincides with many and behaviour of the Museum’s 10% 16-24 SPIRITUAL 11% at 42% of our audience. The visitors being drawn into the current visitors and provides 21% SPIRITUAL 15% Museum has seen a growth in content at a greater depth than benchmarking research for the the Enrichment (social history) they expected, a continuing trend GLAM sector in Queensland. In 35-44 SOCIAL 33% audiences, increasing by 4,000 from 2018-19, initially coming for 2018-19, 1,324 questionnaires were 14% SOCIAL 27% visitors. As well as seeing an intellectual and social reasons completed by Museum visitors increase in the Release segment for example to learn more selected at random. 25-34 among family visitors, indicating about Brisbane’s history and 24% INTELLECTUAL 25% INTELLECTUAL 24% the Museum is increasingly being visiting with friends and family

16 ANNUAL REPORT 2018-19 17 EXHIBITIONS

100% Brisbane perceptions of identities, and how Country the colony was built. 15 July 2016 – 28 October 2018 we see ourselves and each other. Life in Irons offered a rare chance 100% Brisbane put our city under Artists featured included Vernon to view some of the few remaining the microscope, exploring the Ah Kee, Christopher Bassi, official documents from the question ‘who are we?’ Everyone Richard Bell, Megan Cope, Leah Moreton Bay Penal Colony. These who has lived here has a story, King Smith, Vincent Serico and historically significant documents and together they tell the story . are listed on the UNESCO of Brisbane. People create cities Australian Memory of the World and give cities shape and meaning, BRISTOPIA register. from the enduring culture of 27 April – 14 October 2018 our Aboriginal community to Presented in partnership with the modern metropolis which As Brisbane grows, we reflect Queensland State Archives, continues to grow and change. upon the elements of our city these priceless pieces comprised: that nurture and connect us. five handwritten registers from Our Collection: Voice in Action BRISTOPIA invited visitors to 1824–1842 that detail rations and 28 March – 7 October 2018 contribute their voice to this harvests, illnesses and death, conversation by exploring the employment and transgressions; Drawing on the Museum of values they hold in relation to the original architectural plans and Brisbane Collection, Voice in community, the environment and maps, many prepared by convict Action explored the city’s unique wellbeing. George Browne, that show the socio-political climate during footprint of the penal settlement the 1980s and its impact on the Blending interactive technology prior to the reopening of Brisbane rise of strong new artistic voices. with whimsical illustrations by Town as a free settlement in 1842; Visual artists began creating work Megan McKean, this playful and the Book of Trials which logs which reclaimed both Aboriginal installation placed community at the crimes and punishments and western imagery as a means the heart of our city and sought meted out within the settlement. of asserting their identities to inspire the dreamer in us all. and experiences, confronting Visitors could immerse themselves Accompanied by contemporary stereotypes and challenging the in an animated Brisbane cityscape artwork from Queensland status quo. and learn about some of our most Aboriginal artist Danie Mellor and loved landmarks, create their own sound artist Lawrence English as Strong cross-cultural influences BRISTOPIA and email it to friends well as interactive technologies ran throughout this movement, and family, as well as add their and immersive experiences, Life with artists from Indigenous and voice to the collaborative sticker in Irons transported visitors to the non-Indigenous backgrounds wall. Moreton Bay Penal Colony, where coming together socially and they could uncover the personal artistically. These collaborations Life in Irons: Brisbane’s Convict stories of those who lived and helped dissolve perceived Stories worked in convict Brisbane. boundaries and amplify the 18 May – 28 October 2018 widespread call for social change. Sam Cranstoun: Impossible Life in convict Brisbane was Conversations While artists from this period unrelentingly harsh for the 3,000 12 October 2018 – 31 March 2019 forged a global conversation which men and women imprisoned here continues today, they also played from its founding in 1824 to the In Impossible Conversations, an active role in defining Brisbane. penal colony’s closure in 1839. It Brisbane artist Sam Cranstoun Their artwork continues to prompt also irrevocably changed the life of examined cultural identity the re-evaluation of local histories, the Aboriginal peoples on whose across centuries and continents.

18 ANNUAL REPORT 2018-19 19 Sam Cranstoun: Impossible Conversations exhibition. Photo: Carl Warner BRISBANE ART DESIGN exhibition. Photo: Brad Kanaris.

Inspired by Vanity Fair’s bitingly and unique characteristics that of fashion as reliant on systems The Easton Pearson Archive gift traditions of place. Exhibiting fields collaborate on projects. satirical 1930s series ‘Impossible have shaped and define our city as of labour, mass production and to Museum of Brisbane was made architects include Marc&Co., This openness also extends to Interviews’, Brisbane residents the modern, new world capital we consumer culture. Nonetheless, possible by the generous support Baber Studio, PHAB, Bureau a transparency in the sourcing shared the conversations they know today. the artists in the exhibition of Dr Paul Eliadis, a Brisbane- Proberts, Anna O’Gorman of materials and the integrity would like to have with a chosen demonstrated to us the power of based philanthropist and patron of Architects, M3 Architecture and of production processes. BAD figure from Italian history. Sam Dress Code dress to express whimsy, sexuality, contemporary art and design. Kevin O’Brien Architects as well captured these current modes of interpreted these conversations 3 November 2018 – 28 January gender and cultural identity. as artworks by Carl Warner, Simon practice through the merging of through watercolour paintings 2019 Micro Histories Degroot, Bruce Reynolds, Gwyn design, craft, technology and art that hover in the space between Spanning centuries and cultures, The Designers’ Guide: Easton 7 February – 28 April 2019 Hanssen Pigott, William Bustard, across multiple mediums. question and answer. The adornment is a material Pearson Archive Jane Grealy, Sonja Carmichael and exhibition offered glimpses of the embodiment of individual and 23 November 2018 – 22 April 2019 Micro Histories explored the Gordon Bennett. While Brisbane is a nucleus for conversations through imagery collective identity. Dress Code shared narratives of people creative activity, its practitioners and text and invited us to weave presented five artists who position Brisbane fashion house Easton and place in Brisbane through The exhibition was co-curated are also firmly embedded in a our own narratives. systems of dress as complex and Pearson was at the avant-garde of six themes: structure, memory, with Cameron Bruhn, Head of global network of makers. BAD coded. international fashion between 1989 gathering, collage, abstraction Architecture at The University recognised practitioners who To produce Impossible and 2016. Its success hinged on and composition. Artworks and of Queensland and presented have left Brisbane and now work Conversations, Museum of Working in dialogue, Emily the creative relationship between artefacts from the Museum of as part of the Asia Pacific interstate or overseas, those who Brisbane partnered with McGuire, Hannah Gartside, Pamela Easton and Lydia Pearson, Brisbane and Architecture Forum 2019. have chosen Brisbane as their Queensland Performing Arts Gerwyn Davies, Lisa Hilli and whose unique ways of working Collections were paired with new home, and those who have Centre (QPAC) to celebrate their Grace Lillian Lee each presented a fostered inventive designs, lasting contemporary architecture to BRISBANE ART DESIGN maintained a practice in this city. 2018 QPAC International Series perspective on the faceted nature collaborations and supported emphasise the relationships 10 May – 11 August 2019 Regardless of where they live, featuring Italy’s iconic Teatro alla of fashion and adornment. These ethical manufacturing. between creativity, history, society each retains a strong sense of Scala Ballet Company. creatives have emerged from the and the built environment in BRISBANE ART DESIGN (BAD) at what it means to be a Brisbane fields of photography, visual art The Designers’ Guide: Easton Brisbane. Each theme explored Museum of Brisbane celebrated creator. and fashion practice and theory, Pearson Archive provided a a set of inter-relationships and the open source ethos distinct to Perspectives of Brisbane challenging the boundaries of behind-the-scenes glimpse into described a shared language for Brisbane’s creative communities. The exhibition was the heart of Semi-permanent (extended and contemporary fashion, art, craft Easton Pearson’s practice. Hand- art, artefacts and architecture. the BAD festival that showcased revised) and design. picked with Pamela and Lydia, Shared and adaptive approaches practitioners across the city From 26 October 2018 each garment in the exhibition Presenting recent and upcoming within Brisbane’s ecosystems of through open studios, tours, While bolstered by a deep respect showcased the techniques and work by Brisbane-based making are generating a wave of panels and satellite exhibitions Perspectives of Brisbane is a for traditional processes of stories embedded in Easton architects, Micro Histories innovations. Discipline boundaries between 10 – 26 May. fascinating snapshot of Brisbane’s making, the works in Dress Code Pearson’s creation process. celebrated the inspiration they are collapsing with this shared history, the milestone moments also engaged with the realities find in the shared stories and attitude, as creators from all

20 ANNUAL REPORT 2018-19 21 DISPLAYS ARTIST-IN-RESIDENCE

INTERNAL #3, 2010, generously gifted to the Gadens Art Challenge: Sam Museum of Brisbane Collection Times Square, 2018 Cranstoun by the artist and program curators, From 1st July 2018 6 November 2018 – 4 February Blaklash Projects. 2019 was a defining Signature Wall moment in Brisbane’s history, with The Museum displayed the Semi-permanent the city welcoming more than 15 Gadens Art Challenge 2017 million visitors and performers commission of artist and finalist This is a reproduction of the from across the world. This for the , Sam original Signature Wall featured in commemorative stone features Cranstoun. The two works on the of City Hall. During elements from Jon Barlow paper were inspired by the story preliminary work for the City Hall Hudson’s sculpture Morning Star of Greek architect and town restoration in October 2008, II, which was installed in the centre planner Dr C.A Doxiadis’ brief more than 150 signatures from of the World Expo 88 site, known residence in Brisbane. World War II soldiers of different as ‘Times Square’. The complete nationalities stationed in Brisbane sculpture is now residing in the Kenneth Jack were uncovered in the basement City Botanic Gardens. Times 7 December 2018 – 29 April 2019 in what was originally the men’s Square was gifted to the City toilets. The Signature Wall is of Brisbane Collection by Peter Showcasing nine works by evidence of the important role the Rasey. Kenneth Jack from the City of building played. Brisbane Collection, Museum of Mark du Potiers, Chinese Takeaway, 2019. Photo: Thomas Oliver Easton Pearson Runway Brisbane, these works are part EXTERNAL 16 May - 4 November 2018 of a series created at a time of Camerata: Queenland’s Michelle Eskola: Quasi Things Artist-in-Residence Gerwyn strident, community-led campaigns Mao’s Last Dancer the Exhibition: Chamber Orchestra: A place 13 August – 7 September 2018 Davies reimagines the body In the lead up to the launch of The to preserve old buildings. The A Portrait of Li Cunxin Designers’ Guide: Easton Pearson movement to preserve our 16 June – 7 October 2018 in time as a platform for reinvention Archive exhibition, the Museum nation’s cultural heritage – like Immigration Museum, Melbourne 15 June – 31 August 2018 Under the watchful and by combining constructed showcased archival runway the landmark buildings Kenneth VIC curious eyes of our visitors, photography and costume footage and a selection of objects captured – was formalised in this In an innovative residency Michelle created a new series making to create provocative including look books, a range plan period through the establishment Due to the success of Mao’s where Camerata’s players of works, Quasi Things. The self-portraits. Gerwyn’s work is and raffia hip belt. of independent National Trust Last Dancer the exhibition inhabited the gallery, Camerata artist described Quasi Things an ever-expanding inventory of offices across Australia, with the at Museum of Brisbane, the musicians responded through as a series of paintings that characters that are assembled, National Trust of Queensland Bill Euan Macleod: Moreton Island exhibition undertook its first music to Museum of Brisbane consciously attempt to resist worn and staged for the 22 May - 13 September 2018 introduced into Queensland’s tour to Melbourne. It included parliament in 1963. exhibition Life in Irons: definition. The works respond camera. During his residency, objects from world famous dancer, Brisbane’s Convict Stories. to the architecture of the Gerwyn created a new series Coastal and island communities author and Artistic Director of The residency culminated in a Museum without representing of self-portraits that examine contribute strongly to Brisbane’s Brisbane City Council’s Queensland Ballet Li Cunxin’s identity. In this series Euan Indigenous Art Program: Shared personal collection as well as performance where Museum it, attempting instead to iconic representations of the Macleod depicts Moreton Island, Connections items from The Australian Ballet, visitors had the opportunity articulate its atmosphere. Quasi city and its citizens and aspects located just off the coast of 1 May – 31 July 2019 Queensland Ballet and other to hear the ensemble perform Things delved into ideas of of its colourful history and Brisbane. Painted en plein air, private collectors in Brisbane. This the outcomes of their research duality such as light and depth, culture that may warrant a the paintings capture moments Brisbane City Council’s Indigenous tour was the first interstate tour by amongst the objects that structure and silence as a revision or playful reversal. of human interaction with the Art Program: Shared Connections Museum of Brisbane. inspired them. It was the first metaphor for representing the environment, depicting activities presents a series of outdoor time they had brought motion mind as a kind of space that Dr Janet Lee installations, projections, guided like four-wheel driving, fishing and and sound to otherwise also has architecture. 18 February – 2 March 2019 tours, workshops and engaging snorkelling around the Tangalooma inanimate objects, imbuing the Wrecks. public discussions. history-laden objects in Life Gerwyn Davies Dr Janet Lee is a local writer As part of the 2019 program, in Irons – so full of emotion, 30 October – 23 November who uses a phenomenological Museum of Brisbane displayed drama and story – with an aural 2018 approach to examine objects Michael Cook’s Broken Dreams narrative. and explore their ability to

22 ANNUAL REPORT 2018-19 23 Opposite Page: Gerwyn Davies self-portrait workshop.

evoke emotion. In her writing heritage. Mark employs a wide practice, Janet often responds range of materials and methods to ‘things’ – objects, places, to explore notions of power buildings, clothes, letters, and privilege, assumption, documents, photographs and stereotyping and ideals of artworks. During her residency, value and beauty. His work also Janet created a series of short references queerness and its stories that imagine characters additional complexities when and plots inspired by the viewed through a multicultural artworks and objects in the lens. For his residency, Mark exhibition, Micro Histories. created a series of large textile works about guardian people+artist+place Deities in Chinese religion and 13 – 27 May 2019 their associated mysterious topographies. Brisbane has many nicknames - the River City, the New World City, the Sunshine State capital Alethea Beetson - and is known as the home of May – June 2019 the Queenslander house. But what makes Brisbane special Alethea Beetson is a kabi kabi/ as a city? And what do locals gubbi gubbi + wiradjuri artist really think? During their and producer who has worked residency, people+artist+place extensively with Indigenous Co-Directors Jenna Green and communities across multiple Marisa Georgiou collected and art forms to inspire new collated creative, anecdotal works responding to societal research from invited guest issues, cultural heritage and facilitators and the general colonisation. Alethea joined the public as a way to discuss Artist-in-Residence program the principles that underpin throughout May and June 2019, the look and feel of Brisbane. researching MoB’s collections The residency resulted in a and exhibitions for her new panel discussion to share their theatre work, NarrATIVES findings. that responds to social and art history museum collections, Mark du Potiers narratives and issues around 4 – 27 June 2019 absence.

Mark du Potiers’ practice The Artist-in-Residence examines cultural identity, program is generously drawing from his experiences supported by Tim Fairfax AC. of growing up in Brisbane as an Australian with Chinese

24 ANNUAL REPORT 2018-19 25 BRISBANE ART DESIGN FESTIVAL 2019

Craig & Karl installation for BRISBANE ART DESIGN exhibition. Photo: Carl Warner.

32 Program Partners With the Museum as the official design community, activating 105 Events/Public Programs BAD hub, the festival spread studios across sculpture, 129 Artists/Designers across 26 venues throughout furniture design, ceramics, the CBD, West End, Fortitude printmaking, visual arts, An initiative of Museum Valley, Highgate Hill, South robotics, jewellery-making, of Brisbane, the inaugural Brisbane, Woolloongabba and textiles and photography. BRISBANE ART DESIGN (BAD) Bowen Hills. Flagship events Visitors were given insight festival 2019 saw art, design included Botanica, Brisbane into process and made aware and the city of Brisbane collide City Council’s Indigenous Art of the depth and breadth of over a 17-day period of dynamic Program: Shared Connections Brisbane’s creative communities exhibitions, performances, and Brisbane Street Art including internationally talks, art tours, workshops Festival. Placed at the heart of renowned studios Luxxbox and and open studios. Held from the program was a signature Urban Art Projects (UAP). 10 – 26 May 2019, the BAD exhibition at the Museum, festival showcased more than profiling our city’s brightest “It was a great way to 129 Brisbane creatives, from names in art and design. introduce Brisbane to the many emerging talents who are artisans and studios in the city, carving their mark locally, to The BAD Open Studio and we were thrilled to be a trailblazers who are redefining Weekend was very successful part of it. It can only get better” creativity on the international in offering a behind the scenes – program partner feedback. stage. experience of the art and

26 ANNUAL REPORT 2018-19 27 Previous Page: Alfredo and Isabel Aquilizan installation for BRISBANE ART DESIGN. Photo: David Kelly.

Opposite Page: UAP Open Studio for BRISBANE ART DESIGN festival. Photo: Cian Sanders.

Other highlights included first-time visitors, with 80% of the Museum before” – survey curated public art and food those being under the age of respondent. tours of Brisbane, an energetic 35. During the festival period program of exhibitions MoB recorded the busiest May The marketing campaign presented by galleries, artist- on record with 28,632 visitors. for BAD was the Museum’s run spaces and learning largest spend to date on social institutions across the city, as “The BAD Festival is a great media and search advertising. well as a series of hands-on opportunity to bring attention Across the campaign on social and interactive workshops and to the art and design activities media there were 524,654 performances. The BADideas happening around town people reached, with a total program brought together some and contribute to Brisbane’s of 2,644,326 impressions. of the brightest people in the growing image as a city home Throughout the campaign creative sector for a series of to excellent art and design. In period, Museum of Brisbane’s inspiring talks that sought to its first year, I think the festival Facebook page grew by 857 unpack and define the future of did well to establish demand new followers and BAD’s Brisbane’s creative identity. for this kind of programming Instagram grew organically and marketing” – program by 450 followers. During the “It is an exciting and relevant partner feedback. campaign period, there was a concept to profile Brisbane- significant increase in the 25-34 based artists, designers, BAD digital partner Liquid year olds demographic visiting organisations and spaces and Interactive took on design and the BAD website. reach new audiences, and all development of the digital the programs listed looked hub and digital marketing for BAD was a generator of fantastic” – program partner the festival, centred around new possibilities and ideas feedback. an iconic logo developed by helping to shape the future famed design and illustration of Brisbane’s art and design BAD presented a unique duo, Craig & Karl. Being the sector. It was made possible by opportunity for the creative inaugural year of the festival, the hard work of many creative sector to raise awareness of the goal was to land with an individuals and organisations, their venues and organisations, impact, establish an identity all with the common goal of with 86% reporting that and attract a broad audience championing the city’s local the festival resulted in new to the festival, fulfilling all the artists and designers. audiences. Visitor numbers needs of itinerary planning, across all events were recorded discovery, curation and “We wanted to push the at 753,167. BAD at Museum wayfinding. The website was boundaries of people’s of Brisbane resulted in a designed for visitor needs understanding of art and strengthening of our visual arts first, from timely purpose- design, challenge their and early and mid-career art driven planning to encouraging perceptions and directly and design industry audiences, discovery. engage them in conversations as well as an increase in both about the role of art and new and younger audiences. Of “I came in based on the design in society, and those visitors coming into the signage for BAD around town, sometimes in the making itself” Museum with the intention of it was great promotion, hard – MoB Director Renai Grace. seeing BAD, 50% of those were to miss. I had never been to

28 ANNUAL REPORT 2018-19 29 MoB SHOP AWARDS & PUBLICATIONS

MoB Shop has continued to engagement online, as well as launches and book signings. expand their range, showcasing providing customers with the As well as engaging with local The Designer’s Guide: Easton Pearson Archive exhibition. Photo: Jono Searle. products from more than 130 ability to shop directly from the artists and designers to create Queensland based artists, Instagram app. exclusive products for sale designers and authors. Profiling within the MoB Shop. AWARDS PUBLICATIONS artists, designers, authors and Connecting community, jewellers as well as supporting artisans and MoB Shop, BNE For each exhibition, product 2019: Australian Museums and The Designers’ Guide: Easton BRISBANE ART DESIGN contemporary practitioners DESIGN was presented ranges are developed tailored Galleries National Awards Pearson Archive Published date: May 2019 exposing their products to new during BAD festival. BNE towards anticipated audiences. (MAGNA) Published date: November 2018 ISBN: 978-0-9923682-9-6 audiences, and providing an DESIGN celebrates the best As part of The Designers’ WINNER, Interpretation, ISBN: 978-0-9923682-8-9 Size: 88 pages opportunity for audiences to of local design, showcasing an Guide: Easton Pearson Learning and Audience Size: 127 pages Authors: Lord Mayor Adrian discover and purchase bespoke impressive array of homewares, Archive, MoB Shop worked Engagement: Organisations Authors: Renai Grace, Schrinner, Sallyanne Atkinson pieces. In 2018-19, MoB Shop fashion, ceramics, stationery with Pamela Easton and Lydia with Paid Staff forLife in Irons: Madeleine Johns, Dr Alice AO, Renai Grace, Christine exceeded its revenue budget and accessories by designers Pearson to design an exclusive Brisbane’s Convict Stories. Payne, Pamela Easton, Lydia Morrow, Miranda Hine and with a growth of 55% making and artisans from across the merchandise range. Pearson Mariam Arcilla it the most successful year to greater Brisbane region. The 2019: Museums Australasia Design by Goldi Design Design by Michael Phillips date. market provides an opportunity Multimedia and Publication Printed by 1010 Printing Printed by Cornerstone Press, for locals and visitors to Design Awards (MAPDA) International Ltd, Hong Kong Brisbane. In June 2019, an online store shop an array of products WINNER, Invitation (Level Accompanied the exhibition This catalogue has been was launched to expand the and proved popular amongst A) for The Designers’ Guide: The Designers’ Guide: Easton produced to accompany geographical reach within attendees and stallholders. Easton Pearson Archive Pearson Archive, from 23 the exhibition BRISBANE Australia and internationally. In Highly Commended Finalist, November 2018 – 22 April 2019 ART DESIGN (BAD) 2019 at conjunction an Instagram and Throughout the financial year, Exhibition Branding Package Publication Sponsor: Gordon Museum of Brisbane 10 May-11 Facebook page were launched MoB Shop collaborated with (Level A) for The Designers’ Darling Foundation. August 2019 increasing awareness and local authors to host book Guide: Easton Pearson Archive. chive

30 ANNUAL REPORT 2018-19 31 Opposite Page: Visual Arts students from Bracken Ridge MoB LEARN State High School enjoying an Unpacking the Archive: The Designers’ Guide experience. Photo: Jono Searle

2017-18 2018-19

Number of groups (paid) 116 161

Number of groups (unpaid) 135 278

Total students 6,834 11,488

During the 2018-19 period there professional, entertaining and This expanded two-year was significant increase in well organised. Thank you so program features First Nations engagement with MoB Learn much for having us. We are musicians, visual artists and program offerings. Bookings looking forward to visiting storytellers from the Brisbane increased by 68% compared you again next year” – Cecile region including Carol to last financial year, seeing Archer, Grade 1 Teacher. McGregor, Digi Youth Arts and the Museum welcome many a continued partnership with new learning groups spanning This growth in participation Nunukul Yuggera Aboriginal early learning centres, out of has been the result of strategic Dance Troupe. Since the school hours care groups as planning implemented by the program rollout at the start of well as tertiary and corporate MoB Learn team over the 2019, MoB Learn has facilitated groups. MoB Learn also saw past year which has seen us workshops for corporate an increase in loyalty, with focus on: seeking new sector groups, early learning centres, proportionally more schools partnerships to develop sector primary and secondary (61%) returning on an annual knowledge, awareness of students, international groups basis than the previous year. our programs and networks; and our school holiday These trends demonstrate a increasing teacher professional audiences at a subsidised growing awareness of the Learn development opportunities; rate. The program is a crucial program and point to the high and securing funding from platform, providing much quality experience MoB offers government and philanthropic needed support for teachers in the education sector. bodies to increase for in-class teaching about opportunities for access Aboriginal and Torres Strait “I just want to congratulate you to programs by subsidising Islander cultures and histories for the amazing experiences program participation. as well as opportunities for the you have given our Year 1 broader public to engage in students today during our In 2018, MoB received a dialogue with First Nations excursion at City Hall and funding through the Federal artists. Museum of Brisbane. I have Government’s Indigenous been teaching for many years Languages and Arts Program The school subsidy, MoB Learn and I can truly say that this to continue our Indigenous Assist, made possible through excursion was one of the Culture Learning program, a philanthropic grant, has seen best ones I have attended. renamed Living Cultures: us welcome new schools to The program is polished, Sharing First Nations Stories. the Museum, with 668 students

32 ANNUAL REPORT 2018-19 33 Students from Our Lady of Assumption School during a Life in Irons: Brisbane’s Convict Stories program. Photo: Jono Searle. Students visiting The Designers’ Guide: Easton Pearson exhibition.

and teachers accessing the Brisbane’s Convict Stories, The Designers’ Guide: Easton object handling and curatorial principles for the Design (QATA) and for the first travel subsidy from Brisbane Learn have developed a Pearson Archive exhibition insight to 40 gallery volunteers and Technologies and Visual time attended the Design as well as Ipswich, Logan and new ongoing convict history provided exceptional from Redland Art Gallery. Arts curriculum. For fashion, and Technology Teachers the Scenic Rim, Moreton Bay program to meet demand opportunities for engagement visual art and design teachers, Association Conference and Inner Regional Queensland in the sector for engaging with the tertiary sector and The 2018-19 Professional Sam Parsons of Studio Sam (DATTA); partnering with in 2018-19. This subsidy has content about this period in beyond. A total of 76 students Development suite for teachers presented professional DATTA to present BRISBANE allowed us to expand our Brisbane’s history. This entailed from TAFE Queensland, saw Learn partner with development workshops on ART DESIGN exhibition tours audience reach by providing collaborating with Humanities the Archive’s Education industry experts and artists Embellished Textile Collage, to design teachers. Through opportunities to access our and Social Sciences curriculum Partner, were engaged in to design a series of high- where participants explored a these important industry services to schools who may expert Christine Blaikie to object handling sessions that quality interactive workshops range of artisan-inspired ‘slow’ partnerships, the Museum not have otherwise had the develop a learning resource included behind the scenes, focusing on technology techniques, colour theory and continues to raise its profile, means. for in-classroom use and curatorial insight of the and visual art processes for composition. These high calibre engage in formal and informal continued collaboration with Archive at its storage facility classroom implementation. workshops have increased our mentoring and skills sharing, as “Thank you for the opportunity Folly Games to commission in Moorooka. The object The Z-ACCESS workshop reputation as an important well as staying up to date with to bring our students to MoB role-play activities and puzzles handling sessions are now a presented by multimedia artist educational resource for the educational trends and issues using the subsidy program. to enhance learning. permanent Learn program with Georgie Pinn (featured in sector. affecting the sector. The tyranny of distance is flexible delivery in-house and BAD) developed individuals’ often a deterrent to organising “Absolutely fantastic class offsite, ensuring the legacy of digital technology skills in In 2019, MoB Learn continued excursions due to costs of excursion! The students loved the Easton Pearson Archive interactive art mediums for its partnership with the transport so to have that the show and the exhibition, as an educational resource. classroom integration. Fusing Queensland History Teachers removed has meant that more they were so engaged and are Throughout the exhibition there Art and Technology, delivered Association (QHTA) by students have been able to already demonstrating a better were 116 tertiary students and in partnership with Museum of showcasing the Learn program access this wonderful resource” understanding of Australia’s staff from the School Brisbane Learn Curator Nadine at their annual conference, – MoB Learn Assist Teacher. convict past. From a teaching of Design (Queensland Schmoll and CREATE ED engaging with an audience perspective, the content of University of Technology) director Leighann of 250 history teachers from Based on the success of Folly the show, the structure of the who undertook tours of the Ness-Wilson, provided an Queensland. In addition, Games’ A Convict’s Hope, puzzles and the engaging exhibition. MoB Learn also interactive workshop for MoB Learn participated in an immersive theatre work nature of the performers was provided the opportunity for primary and middle school the Queensland Art Teachers commissioned for Life in Irons: brilliant” - Grade 4 Teacher. professional development in educators to develop STEAM Association Conference

34 ANNUAL REPORT 2018-19 35 ENGAGEMENT

Opposite Page: In-Habit Project by Alfredo and Isabel Aquilizan: 2017-18 2018-19 Installation Workshop. Number of events 179 239

Total participants 13,549 17,163

This year there was and film-focused content. MoB to the refugee and migrant unprecedentedly high also significantly increased the community in Brisbane engagement with the Museum’s number of artist-led workshops, through music, dance and public program offerings with engaging 11 artists to deliver 25 spoken word performance. more people attending more workshops - a 150% increase on Partnering with NAVA and events, more frequently than the previous year. Blaklash Projects to facilitate a ever before. This increase can curatorial mentorship program be attributed to a number of Post-event surveys revealed for emerging Aboriginal and factors including, an increase an average of 4.5/5 stars Torres Strait Islander curators. in the diversity of content on quality rating across public 2018-19 also saw the Museum offer; the development of new, programs. With this has come strengthen existing partnerships and strengthening of existing an increased demand for with BrisAsia Festival, Blaklash industry and community similar high-quality experiences Projects, Digi Youth Arts, partnerships; and an increase resulting in an increase in Blackcard, First Nations artists in artist and expert-led program sold-out or repeated programs and LGBT+ identifying artists offerings. as well as an increase in the through a variety of public number of repeat bookings, program offerings. The Museum saw a 26% with 250 participants booking increase in participation in two or more programs within Across 2018-19 program MoB programs from 13,549 a year - a 55% increase on the partners included: Queensland people last financial year to previous year. State Archives, Camerata: 17,163 this year. Over the year, Queensland’s Chamber MoB engaged a total of 83 In 2018-19, MoB committed Orchestra, Folly Games, NAVA, individual artists, designers, to increasing the diversity Blaklash Projects, Brisbane historians, writers, performers of speakers and workshop Open House, Australian and industry professionals to facilitators to represent gender, Institute of Architects, BrisAsia deliver 239 public programs - a culturally diverse and First Festival, Digi Youth Arts, Asia 33% increase on the previous Nations perspectives and Pacific Screen Awards, The year. Broadening program the LGBT+ community. MoB , offerings beyond traditional partnered with Multicultural MDA, Asia Pacific Architecture visual arts and social history Development Australia (MDA) Forum, Architecture and Art audiences to include theatre, to deliver Voices & Voyages, Week, Queensland Performing performance, music, fashion an event which gave voice Arts Centre, The Stitchery

36 ANNUAL REPORT 2018-19 37 Artist Talk: Literally ‘Impossible Conversations’. Multimedia Drawing Workshop with Kellie O’Dempsey.

Collective, TAFE Queensland, offering alternative entry points The Designer’s Guide: Easton range of audiences. A total of empowering alternatives and program from previous years Brisbane Greeters, Creative to experience the exhibition. Pearson Archive provided 28 paid offerings were sold out passionate speakers – Finding to incorporate more STEAM Mornings, Gilimbaa, Liquid The exhibition, public program a unique opportunity to and six additional workshops Fashion Forum attendee offerings in the holiday Interactive, Luxxbox, Artisan, and Learn program resulted engage new fashion-focused and events were repeated to programming, partnering with Urban Art Projects (UAP), Mt in the Museum winning a audiences and promote the meet this high demand. The school holiday program, various experts to present this Coot-tha Botanic Gardens, 2019 Museum and Galleries work and achievements of MoB Kids, has gone from program. Australian Institute Aboriginal Centre for National Award (MAGNA) for the local and national fashion The Finding Fashion Forum was strength to strength over the of Architects presented Micro Performing Arts, Brisbane Interpretation, Learning and industry. This was achieved a key event for The Designers’ past two years. In January the Architects Lego workshop in City Council’s Indigenous Art Audience Engagement. through the delivery of expert- Guide: Easton Pearson Archive, program sold out and additional response to the Micro Histories Program: Shared Connections led programming, engaging bringing together Australian sessions were scheduled to exhibition while artist Carol and ABC Radio Brisbane. Highlights included a four local designers to deliver fashion designers, makers accommodate demand - an McGregor delivered a possum partnership with Folly Games exhibition tours, 10 designers and academics to explore unprecedented trend that skin armband workshop to Life in Irons: Brisbane’s Convict on an interactive theatre and fashion industry experts to fashion’s role in shaping a continued into the next school teach the significance of Stories presented a unique performance, A Convict’s speak at the Finding Fashion distinctly Australian culture. holiday period with an increase possum skin cloaks as an opportunity to engage new Hope. This program ran for Forum and 16 designers, The seminar included three of 156% on the previous art form, and as a means audiences with the exhibition’s 14 weeks and saw 23 public stylists and artists to deliver panel discussions focusing on year. Due to the success and to strengthen community content. It aimed to bring the performances, along with the Slow Fashion Weekend. the fashion industry in Brisbane popularity of these programs, and individual identities. original documents to life by those delivered as part of the The program was presented in featuring internationally we were invited to present MoB Kids has most recently working with historians, artists, Learn Program. Our Artist- partnership with local fashion acclaimed designer Akira our workshops externally at introduced programming to lenders and community groups in-Residence, Camerata: design collective The Stitchery Isogawa with Pamela Easton Visible Ink, a creative space for appeal to teenage audiences to interpret these objects in a Queensland’s Chamber Collective. and Lydia Pearson. The Brisbane’s youth in Gaythorne and developed more complex variety of mediums, providing Orchestra also delivered an keynote session was sold out as part of Brisbane City offerings for these participants a rich and well balanced intimate musical performance in During the exhibition, the within 24 hours of release - an Council’s Design Brisbane across visual arts and design. experience. Programs spanned response to the exhibition. Museum delivered 73 public unprecedented response. events. visual art workshops and talks, programs, including 32 tours, creative writing and music “A very well conceived event, nine talks and special events, This was a really strong initiative In response to exhibition and theatre performances, brilliantly and evocatively 14 workshops and 22 school which told little-known stories content and trends in the expanding on a more traditional executed” – survey respondent. holiday programs, engaging with about the fashion industry children’s program sector, social history audience by 5,283 people targeting a broad and presented positive and MoB Kids has varied its

38 ANNUAL REPORT 2018-19 39 COLLECTION

‘ The City of Brisbane Collection In 2018-19 the Museum of is made up of social history Brisbane Collection has grown and visual art objects. The through donations, the Cultural Collection is owned by the Gifts Program, commissioned people of Brisbane through works for exhibitions, the Brisbane City Council and Gadens Acquisition Appeal is managed by Museum of and purchases. With the Brisbane. As the custodian of commencement of the the City of Brisbane Collection, Museum’s Artist-in-Residence the Museum is responsible program in 2017, and the for the care of the collection, ongoing support of Tim Fairfax including display and access, AC, the collection continues to documentation and storage, grow, showcasing the diversity maintenance and conservation. and capacity of Brisbane’s The City of Brisbane Collection dynamic creatives. is featured in exhibitions locally and nationally, and is displayed throughout Brisbane City Hall and Council offices.

With the formation of Museum of Brisbane Pty Ltd and Museum of Brisbane Trust in 2012, a Museum of Brisbane Collection was established that complements the City of Brisbane Collection.

The Museum of Brisbane Collection comprises artworks and objects that reflect the stories and people of Brisbane, and includes the extraordinary Easton Pearson Archive, Opposite Page: made up of more than 3,300 Lindy Lee, horizons growing beyond the garments and 5,000 items of visible, 2017, flung bronze, purchased 2019 with donations from Gadens Art Challenge, 2018, supporting material. Museum of Brisbane Collection.

40 ANNUAL REPORT 2018-19 41 Nicolette Johnson Danie Mellor John Rigby Gift of Elizabeth Willing, ACQUISITIONS b. 1990 b. 1971 b. 1922, d. 2012 2018 Crucible I, 2018 Natura Pacifica Mother and Child 2/9, Glazed stoneware (yugubarra: a land 1974 OBJECTS AND Purchased 2018 story), 2018 Linocut on paper Lambda print on Purchased 2018 MEMORABILIA Nicolette Johnson metallic photographic Black and white b. 1990 paper Sancintya Mohini photograph, 1924 Spire, 2018 Purchased 2018 Simpson Evers Motor Co, Petrie Glazed stoneware b. 1991 Bight Purchased 2018 Laura Patterson Natal #1-4, 2018 Gift of Keith b. 1990 Watercolour & Gouache Greenwood, 2019 Nicolette Johnson Aperture House, 2018 on Handmade Wasli b. London 1990 Ink on paper Paper Brisbane City Council Two-Pronged Vase Commissioned for Purchased 2018 Transport memorabilia (Ore), 2018 exhibition c.1900s Glazed stoneware Gentle Northerly, 2018 Judy Watson Gift of Kate Hallen, 2018 Purchased 2018 b. 1959 Laura Patterson Water body, 2017 Collection of Dana Lawrie b. 1990 3 Channel video accessories, b. 1986 Auchenflower House, Purchased 2018 specification sheets, Mountain out of a 2018 range plans, look molehill, 2016 Ink on paper Bill Yaxley books, photographs Oil on unstretched Commissioned for b. 1943 and other supporting canvas exhibition Flower Farm, Lamb archival materials Purchased 2019 Gentle Northerly, 2018 Island, 2017 relating to the fashion Jun Chen, Poinciana 1, 2018, Oil on canvas, Museum of Brisbane Collection. Oil on canvas label Easton Pearson, Lindy Lee Laura Patterson Purchased 2019 which operated Commission for Courtney Coombs Barbara Davidson b. 1954 b. 1990 ARTWORKS between 1989 – 2016 exhibition b. 1981 b. 1928 Horizons growing Gibbon Street House, Elizabeth Willing Gift of Pamela Easton Micro Histories, 2019 Everything and Expo ’88, 1989 beyond the visible, 2017 2018 b. 1988 Vernon Ah Kee and Lydia Pearson, 2018 b. 1967 Nothing, 2019 Lithograph Flung bronze Ink on paper Passed down: an (un) Jun Chen Neon Purchased, 2019 Purchased 2019 with Commissioned for familiar landscape Profile ,1 2006 Gospel Books of b. 1960 Purchased 2019 donations from Gadens exhibition (citrus), 2017 Charcoal on canvas Matthew and Mark that Poinciana 1, 2018 Gerwyn Davies Art Challenge, 2018 Gentle Northerly, 2018 Collage of images from Donated through the belonged to Sir Thomas Oil on canvas Sam Cranstoun b. 1985 cookbooks and glue Australian Government’s Brisbane, c.1850 Purchased, 2019 b. 1987 Flamingo, 2018 Emily McGuire Laura Patterson Gift of Elizabeth Willing, Cultural Gifts Program Gift of Lisa Bruce, 2018 by Gadens Brisbane, Untitled (Doxiadis in Archival inkjet print b. 1991 b. 1990 2018 Margaret Cilento Rochedale), 2018 Commission from Artist- CHANEL again, 2018 Shutter House, 2018 2018 Sarah Bott b. 1923, d. 2006 Pencil on paper in-Residence Program, Embroidery thread, Ink on paper Elizabeth Willing b. 1871 d. 1943 Bathers, c.1948 Purchased 2018 with 2018 second-hand garment, Commissioned for b. 1988 Robert Brownhall Tea and coffee set, 1921 Mixed media and donations from Gadens interfacing, adhesive exhibition Passed down: an (un) b. 1968 Ceramic etching on paper Art Challenge, 2017 Michelle Eskola Commission for Gentle Northerly, 2018 familiar landscape Late Night Utility, 2003 Purchased 2018 Oil on linen Purchased 2019 b. 1987 exhibition (pineapple), 2017 Sam Cranstoun Untitled (From Quasi Dress Code, 2018 John Rigby Collage of images from Donated through the Souvenir Program, 1934 Michael Cook b. 1987 things), 2018 b. 1922, d. 2012 cookbooks and glue Australian Government’s His Royal Highness the b. 1968 Untitled (Vexillogical Pigment on paper Danie Mellor Depression 4/12, 1974 Gift of Elizabeth Willing, Cultural Gifts Program Duke of Gloucester, Broken Dreams #3, 2010 abstract for Greece Commission from Artist- b. 1971 Linocut on paper 2018 by Betty Newell, 2019 Royal Visit to Brisbane Inkjet print and Australia), 2018 in-Residence Program, Natura Pacifica (balan Purchased 2018 Gift of Ian and Elsie Gift of Blaklash Projects, Watercolour on paper 2018 mulgal), 2018 Elizabeth Willing Sonja Carmichael Brodie, Bathgate, as part of Brisbane City Purchased 2018 with Lambda print on John Rigby b. 1988 b.1958 Scotland by hand of Council’s Indigenous donations from Gadens metallic photographic b. 1922, d. 2012 Passed down: an (un) Goompi Bangil Bruce Kerr Brisbane, Art Program: Shared Art Challenge, 2017 b. 1964 paper Loss 7/9, 1974 familiar landscape (Dunwich Grass), 2018 2019 Goompi grass, natural Connections, 2019 Protector’s Camp, 2017 Gift of the artist, 2018 Linocut on paper (strawberry), 2017 raffia, fishing line and Fujiflex digital print Purchased 2018 Collage of images from synthetic rope Purchased 2019 cookbooks and glue

42 ANNUAL REPORT 2018-19 43 EXHIBITION LOANS Nell Bott 4 September – 4 September – 12 October 2018 – b.1871, d.1943 16 November 2018 16 November 2018 31 March 2019 Bowl with frog and 1 lender, 41 items dragon, 1937 Frances Stewart Margaret Olley Earthenware b.1876, d.1959 Hotel, Perspectives of City of Brisbane Jug, 1926 1948 Brisbane Collection, Museum Earthenware Oil on canvas 11 November 2017 - of Brisbane. Gift of the City of Brisbane Gift of the artist, 1990 present City Hall Historical & Collection, Museum of City of Brisbane 3 lenders, 3 items Arts Committee, 1979 Brisbane. Purchased Collection, Museum of To 1982 Brisbane The Designers’ Guide: Art Museum, To Griffith University To Queensland Art Easton Pearson 4 September – Art Museum, Gallery | Gallery of Archive 16 November 2018 4 September – Modern Art, 27 May – 23 November 2018 – 16 November 2018 28 October 2019 22 April 2019 Helen Campbell 1 lender, 11 items b.1888, d. c.1977 Frances Stewart Margaret Olley Bamboo vase, 1940 b.1876, d.1959 The Treasury Building, Micro Histories Earthenware Jug, 1926 1947 7 February –

John Honeywill, Jug and washboard, 2007, City of Brisbane Collection, Museum of Brisbane. City of Brisbane Earthenware Oil on panel 28 April 2019 Collection, Museum of City of Brisbane Gift of the artist, 1997 9 lenders, 17 items Brisbane. Purchased Collection, Museum of City of Brisbane OUTGOING Richard Randall Richard Randall 31 October – 1979 Brisbane. Purchased Collection, Museum of BRISBANE ART To Griffith University 1982 Brisbane DESIGN (BAD) LOANS b. 1869, d. 1906 b. 1869, d. 1906 2 November 2018 Untitled [A track to Untitled [View across Art Museum, To Griffith University To Queensland Art 5 April – 1 September the ocean], 1902 the bay to Stradbroke Shirley Archer 4 September – Art Museum, Gallery | Gallery of 2019 John Honeywill 16 November 2018 4 September – Modern Art, 27 May – 14 lenders, 40 items b. 1952 Oil on panel Island], 1902 Rose bowl with frog, Randall Collection, Oil on canvas c.1935 16 November 2018 28 October 2019 Jug and washboard, Margaret McLean 2007 1925 Randall Collection, Earthenware City of Brisbane 1925 City of Brisbane b.1907, d.1978 Nell Watkins INCOMING CONSERVATION Oil on linen Slab vase, c.1930 Pierced footed bowl, Purchased 2010 Collection, Museum of City of Brisbane Collection, Museum LOANS Earthenware n.d. Robert Brownhall City of Brisbane Brisbane Collection, Museum of of Brisbane. Gift of the City of Brisbane Earthenware b.1968 Collection, Museum of To Redland Museum, Brisbane City Hall Historical & 100% Brisbane Collection, Museum of City of Brisbane Late night utility, 2003 Brisbane 8 August 2017 – To Redland Museum, Arts Committee, 1979 15 July 2016 – Brisbane. Gift of Miss Collection, Museum of Oil on linen To Artspace Mackay, 7 August 2019 8 August 2017 – To Griffith University 28 October 2018 M McMahon, 1986 Brisbane. Gift of Mrs Museum of Brisbane 30 April 2018 – 7 August 2019 Art Museum, 11 lenders, 25 items Richard Randall 4 September – To Griffith University Helen Starke, 1991 Collection 13 August 2018 Art Museum, To Griffith University b. 1869, d. 1906 Easton Pearson 16 November 2018 Life in Irons: Brisbane’s Donated through 4 September – Art Museum, Untitled [Farmyard], Active 1989-2016 Convict Stories the Australian Jon Barlow Hudson 16 November 2018 4 September – 1902 Easton Pearson Cimi Shirley Archer 18 May – Government’s Cultural b. 1945 16 November 2018 Oil on canvas on Dress, Spring Summer Vase with grapes, 28 October 2018 Gifts Program by Betty Paradigm maquette, Margaret McLean masonite 2008 c.1930 7 lenders, 67 items Newell, 2019 1988 b.1907, d.1978 Nell Watkins Stainless steel Randall Collection, Silk, digitally printed Earthenware Lidded canister, c.1930 Inlaid exercise, n.d. Easton Pearson Gift of the Artist, 2014 1925 with lurex and plastic City of Brisbane Dress Code Earthenware Earthenware Archive Museum of Brisbane City of Brisbane sequin appliqué and Collection, Museum of 3 November 2018 – City of Brisbane City of Brisbane Conservation work on Collection Collection, Museum of cotton embroidery Brisbane. Purchased 28 January 2019 Collection, Museum of Collection, Museum of the Easton Pearson To the State Library of Brisbane Easton Pearson 1983 5 lenders, 18 items To Redland Museum, Archive, Museum of To Griffith University Brisbane. Gift of Miss Brisbane. Gift of Mrs Archive has been Queensland, 12 January M McMahon, 1986 Helen Starke, 1991 8 August 2017 – Brisbane Collection Art Museum, Sam Cranstoun: ongoing for the last 2015 – 27 March 2020 To Griffith University To Griffith University 7 August 2019 To Brisbane 4 September – Impossible 12 months with more Art Museum, Art Museum, Powerhouse, 16 November 2018 Conversation than a dozen items

44 ANNUAL REPORT 2018-19 45 SUPPORT

The Museum is indebted to its and design community, including partnership. many supporters and partners retaining great talent in the city. who have supported us over the The Museum would like to past 12 months. The partnerships The Museum would also like sincerely thank Hutchinson with the corporate sector, to acknowledge Brisbane Builders. The Museum is education, tertiary institutions, Marketing for their support honoured to partner with them media, philanthropic and tourism of BRISBANE ART DESIGN once again for High Rotation. have enabled the Museum to through an interstate and local deliver high quality programs, marketing campaign. The Museum is thankful for the events and content extending continued support of Maxell and our reach domestically and The past 12 months saw Hitachi. As well as the support internationally. Many of our continued support from Gadens, of Nightlife Music and HASSEL partners share our vision to one of Australia’s top law firms. in the development of High provide fulfilling and enriching Gadens’ generously matched Rotation. experiences. dollar-for-dollar in the Museum’s annual acquisition fundraising The Museum continues to The Museum acknowledges the appeal, allowing the Museum benefit from partnerships continued support of Brisbane to acquire Lindy Lee’s Horizons including Accommodation Airport Corporation, and growing beyond the visible 2017, Partner, Hilton Brisbane, their on-going efforts to profile which was exhibited as part of Event Partner Wine & Dine’m, Brisbane as a wonderful city to BRISBANE ART DESIGN. BDO, Five Star Cinemas, visit. The strong relationship that Google, Media Partners ABC has been built over the years The Museum was honoured to Radio Brisbane, Bambrick was key to assist in promoting partner once again with St Baker Media, JCDecaux, goa, The BRISBANE ART DESIGN to Energy Innovation Fund through Weekend Edition as well as a residents and visitors. their support of The Designers’ new partnership with Quest Guide: Easton Pearson Archive. Newspapers and Brisbane Building upon an existing News. relationship following 100% Through their on-going Brisbane and Life in Irons, Liquid support, TAFE Queensland Interactive, designed and is the Education Partner for developed the BRISBANE ART the Easton Pearson Archive. DESIGN website as well as the Building upon the partnership digital marketing for the BAD following The Designers’ Festival. In partnering with the Guide: Easton Pearson Museum, Liquid Interactive not Archive exhibition, Museum only provided invaluable advice of Brisbane is thrilled to offer and expertise across the digital ongoing access, and professional space, but also proved their development opportunities for Opposite page: commitment to Brisbane’s art Micro Histories exhibition, Museum of Brisbane. TAFE Queensland through the Image: David Kelly.

46 ANNUAL REPORT 2018-19 47 SPONSORS & PARTNERS CORPORATE MEMBERS individuals who donated $1,000 Margaret Williams 2018-19 or more. Megan Jenner and Ingrid Waters Megan Manser Exhibition Supporter THE DESIGNERS’ GUIDE: Arrow Energy DONORS 2018-19 Melina Trochoulias EASTON PEARSON ARCHIVE Clayton Utz Michelle Eskola Conrad Gargett Andrew Harper Pamela Easton Archive Partner COCOM Communications Angela Nicolaides Paul Eliadis Hyne Timber Anne Ambrose Peter Rasey Icon Group Annie McNaughton Plate Marketing MUSEUM PROGRAM International Education Services Anthony Merucci Rachel Leung PARTNERS Exhibition Partner Macquarie University Betty Newell Renai Grace NAB Private Blaklash Projects Rosie Russell Museum Partners Technology Partner BMD Constructions Sallyanne Atkinson AO PHILANTHROPY Bob Randle Thaima Agnew Supporting Partner Bruce and Kathryn Heiser Tim Fairfax AC The breadth of support Bruce and Maureen Wallis Trevor Findlay the Museum receives was Carolyn Solley Supporting Partners Publication Sponsor demonstrated by the incredible Christine Dauber generosity of loyal supporters Conrad Gargett THE DRESS CIRCLE Media Partners and people donating for the first Cornerstone Properties time in 2018-19. Danie Mellor Alison Bruce David and Veronica Muir Ann Mackie BRISBANE ART DESIGN Thanks to our supporters, David Henry David and Sue Henry MoB was able to grow its David West Deborah Fracaro LIFE IN IRONS: BRISBANE’S Digital Partner collection with the acquisition Elizabeth Nunn Frank and Ailbhe Cunningham CONVICT STORIES of artworks and commissioning Elizabeth Willing Georgia Seffrin

of new artwork. Donors Erola Prat Ibanez Jane Grealy Exhibition Partner Eugene Esmonde Judy Tynan Queensland State Archives responded enthusiastically to the opportunity to double the Frank and Ailbhe Cunningham Julie Evans Destination Partner Supporting Partner impact of their gift through the Gadens Kylie Hunt Gadens Art Challenge thanks George and Jan Psaltis Liquid Interactive Accommodation Partner to Gadens’ offer to dollar match Gisela Triesch Liz Pidgeon gifts. Resulting in the Museum goa billboards Peter Rasey Tourism Partner acquiring Lindy Lee’s Horizons Ian and Cass George Rebecca Bauer growing beyond the visible 2017. Ian and Elsie Brodie Sally Harper Life in Irons: Brisbane’s convict stories JA Logan RFD Sophie Michieletto Event Partner is supported by the Queensland The sustainability of the Jane and Michael Tynan Suzanne Brooks Government through Arts Supporting Partner Museum’s successful Artist-in- Jane Paterson Teresa Keleher Queensland. Residence program launched Jane-Frances O’Regan Trevor Love in 2017 was ensured thanks to Janice Manton Vanessa Cribb INDIGENOUS LANUGUAGES Museum benefactor Tim Fairfax Jeff Humphreys Vas Eliadis Entertainment Partner AND ARTS PROGRAM AC. The incredible generosity John Hewson and investment in this program Kate Hallen Supporting Partner Museum of Brisbane has received will see the expansion of the Katharine Vacca financial assistance from the program in 2019-20. Keith Greenwood through Linda Moran 100% BRISBANE the Visual Arts and Craft Strategy, an initiative of the Australian, state and Curatorial management and Liquid Interactive territory governments. conservation of the Easton Lisa Bruce Presenting Partner Museum of Brisbane’s Living Cultures program is supported through the Pearson Archive benefited from Lydia Pearson Australian Government’s Indigenous gifts from Dr Paul Eliadis and Lyn Lunn Langauages and Arts program. The Dress Circle, made up of Makework

48 ANNUAL REPORT 2018-19 49 TRUSTS AND FOUNDATIONS

Grants are a vital source of The Museum also welcomed funding for the Museum. In the support of philanthropic 2018-19 the Museum received trusts including Kingston funding from local, state and Sedgfield Charitable Trust federal government as well through Perpetual’s 2018 as philanthropic trusts and IMPACT Philanthropy funding foundations. program. The grant is being used for MoB Learn Assist, a Queensland Government new initiative offering subsidised provided support for BRISBANE education program registration ART DESIGN and Life in Irons: and transport costs for Brisbane’s convict stories with disadvantaged school children grants from Arts Queensland’s from schools in the Greater Queensland Arts Showcase Brisbane region. Program. The grant for Life in Irons was used to commission artworks for the exhibition and for BRISBANE ART DESIGN to publish a catalogue and present a series of artist talks, workshops and tours associated with the exhibition.

The Museum also welcomed the support of the Gordon Darling Foundation to produce the accompanying catalogue for The Designers’ Guide: Easton Pearson Archive. This catalogue will act as a valuable educational resource and addition to literature on the Decorative Arts, particularly Fashion.

Australian Government funding over the second of a two-year Indigenous Languages and Arts Program grant (Department of Communication and the Arts) saw MoB’s Indigenous Culture Learning Program for school students continue to grow from Opposite page: MoB Learn Living Cultures strength to strength. workshop with Jhindu Laurie.

50 ANNUAL REPORT 2018-19 51 MUSEUM OF BRISBANE PTY LTD AND ITS CONTROLLED ENTITY FINANCIAL SUMMARY ABN 52 098 223 413

CONSOLIDATED STATEMENT OF CONSOLIDATED STATEMENT OF FINANCIAL The results of the consolidated entity recorded a surplus for the year amounting to $379,881 (2018: $221,572). COMPREHENSIVE INCOME POSITION Both the Company and the Trust recorded a positive result for the year, through careful management and the growth of non-government funded income generation initiatives including engagement and learning programs, a ticketed For the year ended 30 June 2019 For the year ended 30 June 2019 exhibition and merchandise sales.

Museum of Brisbane’s Trust was established to receive gifts, bequests and donations. There has been increased 2019 $ 2018 $ ASSETS 2019 $ 2018 $ activity in philanthropic support, which will enable the Museum to expand its Artist-in-Residence and learn programs, grow our collection and maintain the Easton Pearson Archive. REVENUE 7,212,067 6,424,392 CURRENT ASSETS LESS EXPENSES Cash and cash equivalents 1,130,959 887,645 Employee benefits 3,037,289 2,968,210 Receivables 33,786 11,500 MUSEUM OF BRISBANE TRUST Audience development 1,666,673 1,162,709 Other assets 160,660 131,027 ABN 70 514 947 142 Program (exhibition) 626,438 601,241 GST Paid 39,343 21,930 Lease 710,614 695,994 TOTAL CURRENT ASSETS 1,364,748 1,052,102 STATEMENT OF COMPREHENSIVE INCOME STATEMENT OF FINANCIAL POSITION Minor equipment 75,259 22,439 NON-CURRENT ASSETS For the year ended 30 June 2019 As at 30 June 2019 Collection management 76,833 46,058 Property, plant and equipment 4,347,264 4,173,866 Depreciation and 104,796 101,803 TOTAL NON-CURRENT ASSETS 4,347,264 4,173,866 amortisation TOTAL ASSETS 5,712,012 5,225,968 REVENUE 2019 $ 2018 $ ASSETS 2019 $ 2018 $ Internet webhosting 100,558 99,248 CURRENT LIABILITIES Artwork Donations 125,377 37,560 CURRENT ASSETS Other 433,726 505,118 Payables 321,300 247,520 Philanthropy 248,847 166,978 Cash and cash equivalents 330,323 208,610 TOTAL EXPENSES 6,832,186 6,202,820 Provisions 167,797 145,678 OPERATING RESULTS FOR Grants - 32,090 GST receivable 3,086 3,007 379,881 221,572 THE YEAR Other liabilities 19,583 21,500 Donations 7,843 9,623 TOTAL CURRENT ASSETS 333,409 211,617 OTHER COMPREHENSIVE TOTAL LIABILITIES 508,680 414,698 Interest 1,963 1,114 NON-CURRENT ASSETS INCOME Increase in asset revaluation NET ASSETS 5,203,332 4,811,270 Other 20,000 - Artwork and Collectibles 3,851,318 3,613,338 12,182 46,880 surplus EQUITY TOTAL REVENUE 404,030 247,365 TOTAL NON-CURRENT ASSETS 3,851,318 3,613,338 TOTAL COMPREHENSIVE 392,063 268,452 INCOME FOR THE YEAR Share capital 1 1 LESS EXPENSES TOTAL ASSETS 4,184,727 3,824,955 Unitholder’s capital 10 10 Acquisition Costs 2,300 900 CURRENT LIABILITIES Asset revaluation surplus 80,714 68,532 Accounting and bookkeeping 4,990 6,010 Trade and other payables 2,530 9,240 fees Retained earnings 5,122,607 4,742,727 TOTAL LIABILITIES 2,530 9,240 Bank and credit card fees 850 3 TOTAL EQUITY 5,203,332 4,811,270 NET ASSETS 4,182,197 3,815,715 Philanthropy expenses 41,428 56,273 UNITHOLDER’S EQUITY Other Expenses 163 - Units 10 10 TOTAL EXPENSES 49,731 63,186 Retained Surplus 4,101,472 3,747,173 SURPLUS FOR THE YEAR 354,299 184,179 Asset revaluation surplus 80,714 68,532 Other comprehensive income 12,182 46,800 TOTAL EQUITY 4,182,197 3,815,715 TOTAL COMPREHENSIVE 366,481 230,979 INCOME

52 ANNUAL REPORT 2018-19 53 BOARD OF DIRECTORS STAFF

(As at 30 June 2019)

Director Assistant Registrar Visitor Experience Team Renai Grace Liz Pullar Supervisor Erola Prat Ibanez Executive Assistant Collections Assistant Roy Castorina Sharyn Watson Visitor Experience Operations Coordinator Head of Business Services Easton Pearson Archive Manager Megan Wolthers Melanie Heley Meg McKavanagh Visitor Experience Team Finance Officer Collections and Exhibitions Dominique Baines Cara Hughes Assistant Melissa Bockelmann Rebekah Manning Janelle Byrne Museum of Brisbane Board at BAD launch. Image: Jono Searle. Operations Manager Katrina Chambers David West Collections Support Radha Das MUSEUM OF BRISBANE BOARD FINANCE, GOVERNANCE & Lynette Petrie Anna Deuble REMUNERATION COMMITTEE Audio Visual Specialist Larissa Deack Museum of Brisbane Board is appointed by the Lord Juanlu Lopez Perez Head of Engagement Isla Ertel Georgie Sedgwick Michelle Eskola Mayor of Brisbane and is responsible for corporate The Finance, Governance and Remuneration Creative Enterprise Lead Jane Grais governance, and setting and monitoring the strategic Committee assists the Board in fulfilling its oversight direction of Museum of Brisbane Pty Ltd. The Board responsibilities and ensuring the achievement of Lucy-Belle Rayner Marketing and Communications Kate Hallen is also responsible for ensuring compliance under the Museum of Brisbane’s corporate goals within an Lead Revy Hamilton Corporations Act 2001 (Cth) and all other applicable appropriate framework of internal control and risk Retail Coordinator Breanne Doyle Domenica Hoare laws are met. management. This is achieved by reviewing and Stephanie Bonel Annie Hodge reporting to the Board on specified aspects of Marketing Coordinator Rachel Hoey The Board met six times during the year. corporate governance. Head of Collections and Paulina Morales Claudia Husband Exhibitions Natalie Jackson MEETINGS The Committee met four times during the year. Kathryn King Digital Media Brian Ogden NAME ROLE ATTENDED Mariam Arcilla Zoe de Plevitz MEETINGS Exhibition Program Manager Michelle Xen (Maternity Leave) Olivia Plunkett Sallyanne Atkinson AO Chairman 5 NAME ROLE ATTENDED Alix Perry Leisa Pritchard Deputy Engagement Lead Tara Slocombe Chris Tyquin 5 Chair Andrew Harper Chairman 4 Design and Production Lead Lisa Fuller Eomer Sweet Jamie Spiers Sharon Wright Andrew Harper Member 6 Sallyanne Atkinson AO Member 1 Engagement Assistant Curator Annabelle Tonkin Jeff Humphreys Member 6 Chris Tyquin Member 4 Madeleine Johns Learn Curator Liana Heath Natasha Hood Member 2 Member 1 (March 2019) (March 2019) Curator Nadine Schmoll Miranda Hine Natasha Hood Member 2 (March 2019) Learn Coordinator Assistant Curator Phoebe Connor Alison Kubler (retired Member 2 Emma McLean November 2018) Cover: Danie Mellor, Natura Pacifica (detail), 2016, Lambda print on metallic photographic paper. Artwork courtesy of the artist and Jan Murphy Gallery Brisbane.

54 ANNUAL REPORT 2018-19 55 Level 3, City Hall, King George Square T 07 3339 0800 PO Box 12162 George Street Brisbane Q 4003 E [email protected] ABN 52 098 223 413 W museumofbrisbane.com.au