DOCSLIB.ORG

Museum of Applied Arts and Sciences

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Museum of Applied Arts and Sciences Museum of Applied Arts and Sciences incorporating the Powerhouse Museum and Sydney Observatory 1999-2000 ANNUAL REPORT MISSION CONTENTS Highlights 1 STATEMENT President’s foreword 2 Director’s report 3 TO INSPIRE DIVERSE Trends 4 Charter 6 Senior management structure 6 AUDIENCES BY USING THE Review mechanisms 6 Aims and objectives 6 COLLECTION AND Organisation chart 7 Exhibitions, programs and services 8 Sydney Observatory 9 SCHOLARSHIP TO Public and education programs 9 Serving diverse audiences 11 PROVIDE INFORMATIVE, Museum support and self-generated income 17 The collection 18 SPIRITED, INNOVATIVE AND Information Technology 20 Beyond the Museum 22 Customer service 23 WELL-RESEARCHED Properties 24 EXHIBITIONS, PROGRAMS Year in review - financial 25 AND SERVICES IN THE APPENDIX 1. Customer numbers 42 FIELDS OF SCIENCE, 2. Selected acquisitions 42 3. Exhibitions 44 TECHNOLOGY, INDUSTRY, 4. Public and education programs 45 5. Evaluation and audience research 48 DESIGN, DECORATIVE ARTS 6. Systems implementation projects 48 7. Publications 49 8. Staff publications 49 AND HISTORY. 9. Staff presentations and related activities 50 10. Staff professional commitments and achievements 52 11. Staff professional travel 53 November 2000 12. Trustees 55 13. Trust standing committees 55 The Hon R J Carr MP 14. Guarantee of service 56 Premier of New South Wales 15. Freedom of information 56 16. Legislative changes 57 Minister for the Arts and Minister for Citizenship 17. Affiliated societies 57 Level 40, Governor Macquarie Tower 18. Life fellows, distinguished service awards and 1 Farrer Place, Sydney NSW 2000 honorary associates 57 19. Volunteers 58 Dear Minister 20. Corporate and contributing members 58 In accordance with the Annual Reports 21. Members events 59 (Statutory Bodies) Act 1984, and on behalf of the other 22. Consultants 59 Trustees, we submit for presentation to Parliament the 23. Staffing 59 annual report of the Museum of Applied Arts and 24. SES positions 59 Sciences for the year ending 30 June 2000. 25. Staff development 59 26. Equal employment opportunity (EEO) 60 Yours sincerely 27. Staff list 60 28. Payment performance indicators 63 29. Budget estimates 63 Index 64 Marco Belgiorno-Zegna AM Mark Johnson Museum supporters Inside back cover President Trustee Contact/admission details Back cover Board of Trustees ISSN 0312-6013 © Trustees of the Museum of Applied Arts and Sciences 2000. Compiled by Irma Havlicek, MAAS. Design by Teague Moore. Print run: 1000. Unit cost: $11.42. Captions for cover photos are on pages 12-22. Photography by MAAS Photography staff: Sotha Bourn,2 Geoff Friend, Marinco Kojdanovski and Sue Stafford. HIGHLIGHTS The Museum presented one new permanent gallery and 15 new temporary exhibitions at the Powerhouse Museum in the period. The Museum’s exhibition, Bayagul: contemporary Indigenous communication is the first exhibition in the first major Australian permanent gallery dedicated to contemporary Indigenous material culture. The Powerhouse Museum won the Tourism Council of Australia 2000 New South Wales Award for Excellence in Tourism for the Audrey Hepburn: a woman, the style Tourism Marketing and Promotional Campaign. The Audrey Hepburn: a woman, the style exhibition attracted 69,727 visitors in the period 6 December - 26 March. An evaluation of visitors to the exhibition revealed that 70% of respondents had visited the Museum primarily to see the exhibition. The complementary shop set up by the Museum broke all previous sales records for Museum exhibition shops. AND SCIENCES MUSEUM OF APPLIED ARTS The national prize in the Eureka Science Awards for the promotion of Science was won by the ‘Science in the pub’ team, which includes Museum staff. 1 A first for the Museum-managed Australian Museums On Line was the publication online of the Open Museum Journal, which features scholarly and applied research on museums and is the only peer reviewed journal of its type anywhere in the world. Hits to the Museum’s website have increased from 1,003,293 in 1997-98 to 1,892,255 in HIGHLIGHTS 1998-99 to 3,278,204 hits in 1999-2000, with 172,284 users registered in 1999-2000. The Museum commenced full operational use in June 2000 of a newly constructed groups entrance which will be of particular benefit for school groups. The Museum secured more than $1.1m cash sponsorship plus $370,000 in in-kind contributions for its three Olympic Arts Festival exhibitions to take place in 2000. The Museum’s commissioned concert grand piano, designed by Wayne Stuart and made by Stuart and Sons in Newcastle NSW, was acquired during the year. This piano was used for an ABC Classics CD recording of two Beethoven sonatas performed by Gerard Willems. Member benefits have been improved, with an expanded and diversified program of member events, an expanded Powerline members magazine and the introduction of free entry to charging exhibitions for members. PRESIDENT’S FOREWORD PRESIDENTS ’FOREWORD On behalf of the Board of Trustees I extend a very warm welcome to the Museum’s new Director, Dr Kevin Fewster, who commenced with the Museum on 31 January 2000. Kevin comes to us after being the inaugural Director of the The unprecedented program of auspicious Olympic exhibitions for Australian National Maritime Museum, just across Darling Harbour. He 2000 was secured and developed by the Museum’s previous Director, oversaw the completion of construction and opening and over an Terence Measham, AM, who completed his term as Director in December eleven year period guided it to a position where it has become one 1999. Terence can justly be proud of his many achievements at the of Australia’s leading cultural institutions and one of the world’s most Museum, including his authorship of two distinguished and award- highly regarded and visited maritime museums. Having worked closely winning books, Treasures of the Powerhouse Museum (1994) and with Kevin Fewster this year I am confident that under his leadership Discovering the Powerhouse Museum (1997). These books will serve this Museum will continue to build as a public legacy of Terence’s understanding of and commitment to on its record of success, as well as this complex organisation. The Board wishes to thank Terence for his MUSEUM OF APPLIED ARTS AND SCIENCES MUSEUM OF APPLIED ARTS tenacious support and inspired guidance of the Museum over many pursuing important new strategic years; his achievements will continue to reap benefits for the Museum initiatives. I look forward to the 2 for many years to come. fruits of our collaborations. There have been a number of changes to the Board of Trustees Kevin has arrived at the during the reporting period. At the end of 1999 we bade farewell to Museum at a particularly busy time. Ross McDiven, who served the Museum as a Trustee as long as it is Firstly there have been the final possible to do so under the rules - three terms of three years. Ross preparations for the presentation of was a keen and active Trustee for the nine years during which he the Powerhouse’s three Olympic exhibitions - official events in the served, and his contribution to the Museum and to Trust deliberations Sydney 2000 Olympic Arts Festival - 1000 years of the Olympic will be missed. I also thank Irene Moss, AO, who was appointed as a Games: treasures of ancient Greece; Leonardo da Vinci: the Codex Trustee in January 1999. She resigned as Trustee upon her appointment Leicester - notebook of a genius; and Earth, spirit, fire: treasures of the ˆ in November 1999 to the position of Commissioner of the Independent PRESIDENT’S FOREWORD Choson dynasty. Commission Against Corruption. Although her term as Trustee was Exhibition highlights during 1999-2000 included Bayagul: relatively brief she nonetheless made an invaluable contribution to the contemporary Indigenous communication, the Museum’s newly created Board during that time. It is also my pleasure to welcome a new Indigenous Gallery, which was complemented with a fine performance Trustee to the Board, Dr Anne Summers AO, who was appointed in program. In addition, the Museum also presented an exhibition created December 1999. by the Museo Salvatore Ferragamo in Florence, Italy, celebrating the The successes of the Museum owe much to contributions from career of Audrey Hepburn. This exhibition proved very popular over its many quarters: talented staff, keen supporters and volunteers, and also sixteen week season, attracting 69,727 visitors, most of whom came the Board of Trustees. I wish to extend my thanks for their continuing to the Museum particularly to see this exhibition. dedication to the ideals of this great institution. MARCO BELGIORNO-ZEGNA, AM President, Board of Trustees DIRECTOR’S REPORT PRESIDENTS ’FOREWORD I present here my first report as Director of the Museum of Applied Arts and Sciences. Before my appointment here, I was inaugural Director of the Australian National Maritime Museum, and I know the challenges and the sense of achievement of navigating a key cultural institution as it establishes itself and its future direction. After eleven years at the ANMM I was ready for a new set of Much of my time since I joined the Museum on 31 January 2000 challenges, and so I am delighted to have been given the opportunity has been spent on preparations related to the Olympics. With the three to lead the Museum as it advances into the 21st century. I hope to Olympic Arts Festival exhibitions to open at the Powerhouse Museum in build on the strengths of this remarkable institution: its magnificent July and September, we will be well placed to enjoy the most successful collection and the scholarship built around it; its staff whose innovation year in the Museum’s history. I am particularly grateful to the staff and and creativity produce stunning exhibitions second to none in the Trustees who have worked with world supported by leading edge information technologies which enormous creativity, spirit and contribute to the Museum’s deserved reputation for interactivity.
Load more

Recommended publications
  • Trevor Hart Banking in a New World: the Beginnings of ANZ Bank
    Trevor Hart Banking in a new world: the beginnings of ANZ Bank Proceedings of the ICOMON meetings, held in conjunction with the ICOM Conference, Melbourne (Australia, 10-16 October, 1998), ed. by Peter Lane and John Sharples. Melbourne, Numismatic Association of Australia, Inc, 2000. 117 p. (NAA Special publication, 2). (English). pp. 39-46 Downloaded from: www.icomon.org BANKING IN A NEW WORLD THE BEGINNINGS OF ANZ BANK By Trevor Hart ANZ Bank, Melbourne, Australia For its first twenty-nine years proposed to the Government in Australia had no bank. The British England, the formation of "The New settlement of Australia began in South Wales Loan Bank" based on 1788, but Australia's first bank, the the bank at the Cape of Good Hope. Bank of New South Wales, did not In 1812 the government refused open until 1817. his proposal. Macquarie accepted this refusal but was still convinced of Australia was founded as a the need for a bank in the colony.4 In self-supporting penal colony and 1816 he acted again, this time monetary arrangements were ad hoc. "convening a meeting of the A local currency of small private magistrates, principal merchants and promissory notes grew up in gentlemen of Sydney ... at which my conjunction with the circulation of favourite measure of a bank was Government Store receipts. This led brought forward."5 Macquarie issued to a dual monetary standard in a 'charter' for seven years to the which 'currency' came to mean directors of the new bank (which "money of purely local was later disallowed by the British acceptability" and 'sterling' meant Government) and on 8 April 1817 "any form of money ..
    [Show full text]
  • Peta Clancy Christopher Day Destiny
    Peta Clancy Christopher Day Destiny Deacon Michaela Gleave Nasim Nasr Sara Oscar Julie Rrap Khaled Sabsabi Yhonnie Scarce Angela Tiatia Christian Thompson Kawita Vatanajyankur Daniel von Sturmer Justene Williams William Yang Under the sun: Reimagining Max Dupain’s Sunbaker Published to accompany the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker presented at The State Library of New South Wales 18 February – 17 April 2017 Monash Gallery of Art 6 May – 6 August 2017 Australian Centre for Photography Director Cherie McNair Curator Claire Monneraye Exhibition Partners Curatorial Assistant Casuarina Bird Education & Public Programs Manager Antoinette Clements ACP acknowledges the key contribution of Catherine Baldwin, Interim Director to the project development and completion. ACP thanks all the staff members from the State Library of New South Wales and Monash Gallery of Art that have contributed to the development of this project. Commissioning Partners Funding Partners John and Kate Armati Andrew and Kate Jerogin Lisa Paulsen Neill and Jane Whiston Medich Foundation This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund. Graphic Design Kirk Palmer Design Printer Shepson Printing ISBN 978-0-6480417-0-2 @ Australian Centre for Photography Message from the Minister What better way to celebrate Australian contemporary photography than to attend Under the sun: Reimagining Max Dupain’s Sunbaker, an innovative and thought-provoking exhibition in which 15 leading artists respond to Max Dupain’s iconic image, Sunbaker. In Under the sun, each newly-commissioned work represents a unique interpretation of the 1937 photograph and incorporates a wide range of techniques, showcasing the talent and diversity of the participating artists.
    [Show full text]
  • Australian & International Photography
    Australian & International Photography Collectors’ List No. 178, 2015 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th Century Photography Established 1977 1. Hill and Adamson Address: 103a Anzac Parade, Kensington (Sydney) NSW (Scot t ish, David 1802-1870; Robert 1821-1848). Pres by­ Postal: PO Box 93, Kensington NSW 2033, Australia tery Group 24, c1845. Salt Phone: +61 2 9663 4848 • Mobile: 0411 755 887 paper photo graph, 14.4 x 19.6cm. Old stain to upper Email: [email protected] • Website: joseflebovicgallery.com right corner. Open: Mon. to Sat. by appointment or by chance. ABN 15 800 737 094 $12,500 Illustrated in Stevenson, David Member: Aust. Art & Antique Dealers Assoc. • Aust. & New Zealand Assoc. of Octa vius Hill and Robert Adam son, Antiquarian Booksellers • International Vintage Poster Dealers Assoc. • Assoc. of 1981, p183, with the caption “The International Photography Art Dealers • International Fine Print Dealers Assoc. reporters’ table - Skene standing, W. Robertson, J.R. Fyfe, John Johnstone, John MacDonald and COLLECTORS’ LIST No. 178, 2015 Rev Andrew Cameron.” Australian & International 2. Hill and Adamson (Scottish, David 1802- Photography 1870; Robert 1821-1848). Unknown Man #31, c1845. Salt paper photograph, 19.6 x 14.4cm. On exhibition from Wed., 5 August to Sat., 26 September. $11,000 Illustrated in Stevenson, David Octavius Hill and Robert All items will be illustrated on our website from 15 August. Adamson, 1981, p119. Prices are in Australian dollars and include GST. Exchange rates as at time of printing: AUD $1.00 = USD $0.74¢; UK £0.47p © Licence by VISCOPY AUSTRALIA 2015 LRN 5523 Compiled by Josef & Jeanne Lebovic, Dimity Kasz, Takeaki Totsuka, Lenka Miklos Cover: Lining Up, c1936.
    [Show full text]
  • Big Business in Twentieth-Century Australia
    CENTRE FOR ECONOMIC HISTORY THE AUSTRALIAN NATIONAL UNIVERSITY SOURCE PAPER SERIES BIG BUSINESS IN TWENTIETH-CENTURY AUSTRALIA DAVID MERRETT UNIVERSITY OF MELBOURNE SIMON VILLE UNIVERSITY OF WOLLONGONG SOURCE PAPER NO. 21 APRIL 2016 THE AUSTRALIAN NATIONAL UNIVERSITY ACTON ACT 0200 AUSTRALIA T 61 2 6125 3590 F 61 2 6125 5124 E [email protected] https://www.rse.anu.edu.au/research/centres-projects/centre-for-economic-history/ Big Business in Twentieth-Century Australia David Merrett and Simon Ville Business history has for the most part been dominated by the study of large firms. Household names, often with preserved archives, have had their company stories written by academics, journalists, and former senior employees. Broader national studies have analysed the role that big business has played in a country’s economic development. While sometimes this work has alleged oppressive anti-competitive behaviour, much has been written from a more positive perspective. Business historians, influenced by the pioneering work of Alfred Chandler, have implicated the ‘visible hand’ of large scale enterprise in national economic development particularly through their competitive strategies and modernised governance structures, which have facilitated innovation, the integration of national markets, and the growth of professional bureaucracies. While our understanding of the role of big business has been enriched by an aggregation of case studies, some writers have sought to study its impact through economy-wide lenses. This has typically involved constructing sets of the largest 100 or 200 companies at periodic benchmark years through the twentieth century, and then analysing their characteristics – such as their size, industrial location, growth strategies, and market share - and how they changed over time.
    [Show full text]
  • Mental As Anything Fundamental Mp3, Flac, Wma
    Mental As Anything Fundamental mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Fundamental Country: Greece Released: 1985 Style: New Wave, Pop Rock MP3 version RAR size: 1195 mb FLAC version RAR size: 1780 mb WMA version RAR size: 1764 mb Rating: 4.5 Votes: 236 Other Formats: MOD MP4 ADX DTS APE MIDI AC3 Tracklist Hide Credits You're So Strong A1 3:25 Written-By – G. Smith* Big Wheel A2 4:41 Written-By – M. Plaza* Live It Up A3 4:12 Written-By – G. Smith* Surf And Mull And Sex And Fun A4 3:39 Written-By – P. O'Doherty* Good Friday A5 4:27 Written-By – M. Plaza* Date With Destiny B1 3:00 Written-By – G. Smith* Hold On B2 3:08 Written-By – P. O'Doherty* Stones Of The Heart B3 3:17 Written-By – R. Mombassa* I Just Wanna Be Happy B4 3:28 Written-By – R. Mombassa* Splashing B5 3:12 Written-By – R. Mombassa* Bus Ride B6 2:55 Written-By – M. Plaza* Companies, etc. Copyright (c) – CBS Inc. Phonographic Copyright (p) – Syray Pty. Limited Manufactured By – Columbia Records Manufactured By – CBS Inc. Recorded At – Rhinoceros Studios Mixed At – Rhinoceros Studios Mastered At – Sterling Sound Pressed By – Columbia Records Pressing Plant, Pitman Credits Art Direction – Jana Hartig, Ken Smith Art Direction [Front Cover] – Sue Wollard Design [Cover] – Greedy Smith, Martin Plaza Engineer [Assistant] – Alan Wright Mixed By – Thom Panunzio Performer – Greedy Smith, Martin Plaza, Peter O'Doherty, Reg Mombassa, Wayne Delisle Photography By [Back Cover] – Hugh Hamilton Photography By [Front Cover] – Paul Clarke Photography By [Inner Sleeve] – Frank Lindner Producer – Richard Gottehrer Recorded By – Thom Panunzio Notes Columbia Records Pressing Plant, Pitman version.
    [Show full text]
  • Modern Movement Architecture in Central Sydney Heritage Study Review Modern Movement Architecture in Central Sydney Heritage Study Review
    Attachment B Modern Movement Architecture in Central Sydney Heritage Study Review Modern Movement Architecture in Central Sydney Heritage Study Review Prepared for City of Sydney Issue C x January 2018 Project number 13 0581 Modern Movement in Central Sydney x Heritage Study Review EXECUTIVE SUMMARY This study was undertaken to provide a contextual framework to improve understanding post World War II and Modern Movement architecture and places in Central Sydney, which is a significant and integral component of its architectural heritage. Findings x The study period (1945-1975) was an exciting and challenging era that determined much of the present physical form of Central Sydney and resulted in outstanding architectural and civic accomplishments. x There were an unprecedented number of development projects undertaken during the study period, which resulted in fundamental changes to the physical fabric and character of Central Sydney. x The buildings are an historical record of the changing role of Australia in an international context and Sydney’s new-found role as a major world financial centre. Surviving buildings provide crucial evidence of the economic and social circumstances of the study period. x Surviving buildings record the adaptation of the Modern Movement to local conditions, distinguishing them from Modern Movement buildings in other parts of the world. x The overwhelming preponderance of office buildings, which distinguishes Central Sydney from all other parts of NSW, is offset by the presence of other building typologies such as churches, community buildings and cultural institutions. These often demonstrate architectural accomplishment. x The triumph of humane and rational urban planning can be seen in the creation of pedestrian- friendly areas and civic spaces of great accomplishment such as Australia Square, Martin Place and Sydney Square.
    [Show full text]
  • Centre for Economic History the Australian National University Discussion Paper Series !
    CENTRE FOR ECONOMIC HISTORY THE AUSTRALIAN NATIONAL UNIVERSITY DISCUSSION PAPER SERIES ! THE AUSTRALIAN BANK CRASHES OF THE 1890S REVISITED DAVID T. MERRETT UNIVERSITY OF MELBOURNE DISCUSSION PAPER NO. 2013-05 APRIL 2013 THE AUSTRALIAN NATIONAL UNIVERSITY ACTON ACT 0200 AUSTRALIA T 61 2 6125 3590 F 61 2 6125 5124 E [email protected] http://rse.anu.edu.au/CEH The Australian Bank Crashes of the 1890s Revisited David T. Merrett University of Melbourne Abstract Financial crises occurred in many countries in the early 1890s, most of which were connected to international capital flows. Australia, a major importer of capital, had difficulty borrowing after the Baring crisis. This paper argues that the consequences of the banking crash in early 1893 were shaped by local factors. A fortuitous legislative change averted a calamity by allowing for reconstruction rather than liquidation of banks; economic activity was depressed as banks became more conservative lenders; and the reconstructions reduced the wealth of domestic bank creditors and shareholders. We conclude by noting that there was no targeted policy response in the short or medium term to prevent a recurrence of such an event. The author would like to thank the referees for this journal, together with Bernard Attard, André Sammartino, John Waugh and the participants at the Financial Crises and Workouts: Historical Perspectives Workshop at the Australian National University on 5 September 2012 for their suggestions and advice. 1 Introduction Previous studies of the Australian bank crash of the 1890s have taken a local view of the episode within the context of a surge in and then cessation of British capital inflow.
    [Show full text]
  • Art Gallery of New South Wales 2017: Our Year in Review
    Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 201 7 2017 ART GALLERY OF NEW SOUTH WALES 2017 2 Art Gallery of New South Wales 2017 Art Gallery of New South Wales 2017 3 Our year in review 4 Art Gallery of New South Wales 2017 6 OUR VISION 7 FROM THE PRESIDENT David Gonski 8 FROM THE DIRECTOR Michael Brand 10 2017 AT A GLANCE 12 SYDNEY MODERN PROJECT 16 ART 42 IDEAS 50 AUDIENCE 62 PARTNERS 78 PEOPLE 86 BOARD OF TRUSTEES 88 EXECUTIVE 89 CONTACTS 90 2018 PREVIEW The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales stands. We respectfully acknowledge their Elders past, present and future. 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. page 4: A view from the Grand Courts to the entrance court showing Bertram Mackennal’s Diana wounded 1907–08 and Emily Floyd’s Kesh alphabet 2017. 6 Art Gallery of New South Wales 2017 DAVID GONSKI AC PRESIDENT ART GALLERY OF NEW SOUTH WALES TRUST and the Hon Adam Marshall MP, Glenfiddich, Herbert Smith Freehills, Minister for Tourism and Major Events. JCDecaux, J.P. Morgan, Macquarie Group, Macquarie University, The funding collaboration between McWilliam’s Wines & Champagne government and philanthropists for Taittinger, Paspaley Pearls, Sofitel our expansion will be the largest in FROM Sydney Wentworth, the Sydney the history of Australian arts.
    [Show full text]
  • Dear Shareholder, the 8Th of April, 2017 Marks Westpac's 200Th
    7 April, 2017 Dear Shareholder, The 8th of April, 2017 marks Westpac’s 200th anniversary as Australia’s first bank, and oldest company. As an owner of Westpac, you share in the proud story of our company: indeed many of our shareholders’ family holdings have passed through generations. Given your support, I wanted to share with you an overview of how we are marking this significant milestone with a number of gifts designed to help Australia continue to thrive in our third century of business. The Westpac story is the red thread that winds through the tapestry of history in Australia and New Zealand. Two centuries ago, Governor Lachlan Macquarie had the foresight to call for the creation of a local currency—and a bank to issue it—to support the development of a private economy in the fledgling colony of New South Wales. On the 8th of April, 1817 three employees of the Bank of New South Wales opened the doors to our first customer in a property owned by Mary Reibey, around 200 metres from where today the ferries dock at Sydney’s Circular Quay. Since then we have continued to support the growth of trade and commerce in Australia and New Zealand. There have been the inevitable ups and downs but just as these nations have grown and adapted, so too has the Bank of New South Wales—now called Westpac. Today, our 40,000 people serve over 13 million customers across Australia and New Zealand. We are Australia’s second largest company, with a market capitalisation of over $100 billion.
    [Show full text]
  • 2018 Tailored U.S. Resolution Plan
    2018 TAILORED U.S. RESOLUTION PLAN PUBLIC SECTION 1 Table of contents 1 Introduction .............................................................................................................................. 5 2 Core Business Lines and Critical Operations ......................................................................... 6 3 Material Entities ....................................................................................................................... 6 4 Financial Information ............................................................................................................... 7 5 Capital Resources ................................................................................................................... 8 5.1 Capital Management Strategy ...................................................................................... 8 5.2 Basel Capital Accord ................................................................................................... 9 6 Funding and Liquidity ............................................................................................................ 10 6.1 Liquidity Risk Management ........................................................................................ 10 6.2 Liquidity Modelling .................................................................................................... 10 6.3 Sources of Liquidity .................................................................................................. 11 7 Derivative financial instruments ...........................................................................................
    [Show full text]
  • Australian and International Photography
    Australian and International Photography Collectors’ List No. 151, 2011 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th to Early 20th Century Established 1977 103a Anzac Parade, Kensington (Sydney), NSW Postal: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 151, 2011 Australian & International Photography Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky On exhibition from Wednesday, 29 June to Saturday, 13 August and on our website from 2 July. All items have been illustrated in this catalogue. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $1.05¢; UK £0.65p 1. The 35th Royal Sussex Regiment (Album Compiled by J.J. Twining), c1861-1865. Leather-bound album containing 59 albumen paper photographs and an ink © Licence by VISCOPY AUSTRALIA 2011 LRN 5523 drawing of the Regiment’s coat of arms, most images captioned in ink or pencil on album page, album inscribed and dated in ink on opening pages by owner, J.J. Twining, 7.6 x 7.5cm to 16.7 x 20.7cm (images), 23.5 x 20cm (album).
    [Show full text]
  • Museum Madness
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Denver Art Museum and the Bilbao Effect Permalink https://escholarship.org/uc/item/6dm3924c Author Lindsay, Georgia Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Denver Art Museum and the Bilbao Effect by Georgia Lucille Lindsay A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Architecture in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Galen Cranz, Chair Associate Professor Andrew Shanken Professor Emeritus Richard Walker Fall 2013 Abstract The Denver Art Museum and the Bilbao Effect by Georgia Lucille Lindsay Doctor of Philosophy in Architecture University of California, Berkeley Professor Galen Cranz, Chair Museum buildings have clear behavioral functions; they also have symbolic functions, to express the privileged space and valuable objects they contain. Our ideas about what art museums should look like in the United States have changed significantly throughout the past 150 years of the building type’s history here. In the 1990s, the number of museums built grew exponentially, and often these buildings are works of art in their own right. This research looks closely at a recently-completed museum building in Denver, Colorado. Placed in a regional city in the middle of the United States, the Denver Art Museum explicitly wanted to replicate the success of the Guggenheim Museum Bilbao with its new wing, making the Denver Art Museum’s Hamilton Building the perfect site for an in-depth study of the Bilbao-era paradigm for museums, its connection to urban issues, and what effects the form has on art display.
    [Show full text]