ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007

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‘The greatest exhibition mounted in Australia this year … it is as ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION beautiful, as serious and fascinating a display as I have seen

in this country.’ Goddess: divine energy exhibition, Sebastian Smee, art critic, The Australian ACCESS aboutus/artmail) or email us at GALLERY SHOP PUBLIC TRANSPORT [email protected] and let us know The Gallery opens every day except Open daily from 10am to 5pm and until Buses: the 441 bus route stops at the you want to subscribe. Easter Friday and Christmas Day 8.45pm each Wednesday night, the Gallery en route to the Queen Victoria ‘STUNNING EXHIBITION. WONDERFUL COLLECTION OF WORKS between the hours of 10am and 5pm. Gallery Shop offers the finest range of art Building. The service runs every 20 The Gallery opens late each Wednesday RESEARCH LIBRARY books in Australia and also specialises in minutes on weekdays and every BROUGHT TOGETHER – SUCH DEPTH AND SOME VERY night until 9pm. As a one-off during AND ARCHIVE school and library supply. The shop 30 minutes on weekends. Call the STA SPECIAL PIECES. I THOUGHT THE EXHIBITION DESIGN WAS APEC the Gallery closed on the public The Gallery’s Research Library and stocks an extensive range of art posters, on 131 500 or visit www.131500.info holiday, Friday 7 September 2007. Archive is open Monday to Friday cards, replicas and giftware. Inquiries for more details. JUST BEAUTIFUL AND THE HANGING SO WELL PACED. SOME General admission is free. Entry fees between 10am and 4pm (excluding phone (02) 9255 1718. A range of Art After Hours bus: a free courtesy may apply to a limited number of major public holidays) and until 8.45pm each merchandise is also available online minibus operates from 7pm until 9.30pm OF THIS EXHIBITION TOOK MY BREATH AWAY. I WILL LONG temporary exhibitions. Wednesday night. The Library is located (www.artgallery.nsw.gov.au/shop). every Wednesday night. It makes its final on ground floor level and has the most run from the Gallery at 9.15pm. The bus loops down past Mrs Macquarie’s Chair Goddess: divine energy exhibition, Gallery visitor GUIDED TOURS comprehensive collection of fine art CAFE & RESTAURANT REMEMBER IT, THANK YOU.’ then on to the Domain Parking Station, books in NSW. Inquiries phone (02) The cafe is situated on lower level 1 and Volunteer guides offer a range of free Wilson Parking Station (Sydney Hospital) 9225 1785. is open daily from 10am to 4.30pm and guided tours of the collection and major and Martin Place train station. The Library provides a free ‘Opinion, until 8.45pm each Wednesday night. exhibitions. Trains: closest train stations are St Conservation and Identification Service’ The restaurant is situated on the ground General tours: daily one-hour tours James and Martin Place. ‘… the Gallery’s public programs, which are the best in the country, revealing highlights of the collection and (excluding valuations) every Thursday floor and is opened daily from 11am until 10am to 12 noon. 4.30pm. For restaurant bookings phone the Gallery. Monday 1pm and 2pm; PARKING are always packed.’ John MacDonald, art critic, Sydney Morning Herald, 24 March 2007 Tuesday to Sunday 11am, 1pm and 2pm. (02) 9225 1819. Yiribana tours: of the Aboriginal and STUDY ROOM FOR PRINTS, There is limited metered parking outside Torres Strait Islander gallery. Tuesday to DRAWINGS AND The Gallery is also available for private the Gallery and additional metered exhibition viewings and functions in the Sunday 11am. PHOTOGRAPHY parking in Mrs Macquarie’s Road. The Asian galleries tours: daily 12 noon. evenings. For venue hire inquiries Domain Parking Station is open daily ‘… Women of Venice series … Who are these women? Community Ambassador tours: Asian The Study Room for Prints, Drawings telephone the Gallery’s venue manager with a special discount rate of $15 per language tours of the permanent and Photography, located on level 2, is on (02) 9225 1836. day (weekdays only) for visitors to major Goddesses, bronze-aged idols of the feminine? Girls in a brothel collection: Japanese – Friday 11am; open to the public weekdays from 10am exhibitions with admission charges. Just Mandarin – Tuesdays & Thursdays to 4pm, excluding public holidays. The VISITORS WITH SPECIAL have your parking ticket stamped at the lining up for inspection by their prospective clients? Both have 11am; Vietnamese – First Sunday of Study Room assistant will attend to and NEEDS entrance to the exhibition. the month 2pm. supervise visitors. Appointments are Wheelchairs are available at the Gallery’s been suggested …’ Giacometti exhibition, Christopher Allen, Australian Financial Review, 24 August 2006 Signing Art: Auslan-interpreted tours. advisable but not essential. School rear entrance, where there is a ramp and CONTACT INFORMATION Last Sunday of each month (excluding groups are welcome. Inquiries phone an elevator giving access to most parts Physical and postal address: December/January) 1.30pm. (02) 9225 1758. of the Gallery. The Gallery’s carpark has Art Gallery of New South Wales In Touch at the Gallery: sensory two designated spaces for the disabled Art Gallery Road exploration tours (for the blind and vision BRETT WHITELEY STUDIO but it is advisable to confirm availability The Domain NSW 2000 impaired). Available for booked groups or ‘AN ENLIGHTENING TALK ABOUT THE ARTIST’S WORK. THANKS Located at 2 Raper Street Surry Hills, by telephoning (02) 9225 1775. The Electronic communications: individuals, at any time during Gallery the Brett Whiteley Studio is open Domain Theatre and Centenary Administration switchboard opening hours. Two weeks’ notice TO THE ARTIST FOR ATTENDING THE LECTURE AND JOINING IN Saturdays and Sundays 10am to 4pm Auditorium are fitted with audio induction- (02) 9225 1700 required. except Christmas Day. Admission loop systems and an FM-transmitter Information desk (02) 9225 1744 WITH THE LECTURE QUESTIONS.’ Lewis Morley exhibition, Gallery visitor Private groups: tours tailored to the is free. On Thursday the studio is open system is used for guided tours if Recorded ‘What’s on’ information needs of groups. During the Gallery by appointment for education groups. requested. Signing Art tours conducted (02) 9225 1790 TTY (02) 9225 1808 hours or with private evening functions. Inquiries phone (02) 9225 1740. for deaf people, using Auslan, are held General facsimile (02) 9225 1701 Inquiries phone (02) 9225 1800. on the last Sunday of every month at Website: www.artgallery.nsw.gov.au PHOTOGRAPHY 1.30pm (excluding December/January). E-mail: [email protected] ‘The museum was awesome. Excellent layout, great pieces, EXHIBITIONS/EVENTS The service is free apart from exhibition Photography of the permanent INFORMATION entry fees, if applicable. amazing tour guides, and all for a great price! It was worth the trip collection, with the exception of works in 2007 ANNUAL REPORT The free regular publication Exhibitions the Yiribana Gallery, is allowed by Report coordinator: Trish Kernahan from Toronto.’ Gallery visitor and Events is available from the Gallery. members of the public providing no flash MEMBERSHIP Text editors: Jessica Perini, This booklet details current exhibitions or tripods are used. Quality photographs You are invited to join the Art Gallery Kirsten Tilgals and public program events, including of the collection, including works from Society of New South Wales and share Design: Mark Boxshall films, lectures and performances. An the Yiribana Gallery can be obtained in the many pleasures of membership. Cover photograph: Jenni Carter email newsletter covering exhibitions, from the Gallery’s image reproduction Stay informed about what’s on in the Other photography: Jenni Carter, ‘We had a fantastic time at the Tour for Tots this morning. courses, lectures, special events, films officer. Photography for publication or Gallery, choose from over 200 special Chilin Gieng, Andrew LaMoreaux, Diana and workshops is published monthly. other commercial purposes is allowed events and enjoy membership privileges Panuccio, Nadine Saacks, Mim Stirling, My daughter had a wonderful time. I would very much like to Register for this information service on only after written application to the and priorities all year long. Inquiries Copyright: Michelle Andringa our website (www.artgallery.nsw.gov.au/ Gallery. Inquiries phone (02) 9225 1798. phone (02) 9225 1878. come again except all Tuesdays are booked up. Please continue this excellent program and add more staff so we can come back.’

Gallery visitor

Visitor comments from the Gallery’s Visitor Comments books 2006–07 With over 1.3 million visitors this year, the Art Gallery of New South Wales is one of Australia’s most popular art museums and a vital part of Sydney’s cultural life. Since the Gallery’s genesis in the 1870s, our objective has been to collect and present to the public the finest works of art available, with a special emphasis on the artistic traditions of Australia. The Gallery has been located at our present site in the Domain since 1885. The splendid old galleries, designed by government architect Walter Liberty Vernon, display the distinguished 19th-century Australian and early European collections. The building extensions made to the Gallery in the 1970s and 80s responded to the changing needs of both the collection and our audience, doubling the available exhibition space and celebrating the art of our time with extensive displays of modern and contemporary Australian, Aboriginal and Torres Strait Islander, and European art. The beautiful and contemplative Asian galleries, expanded in 2003, affirm the Gallery’s commitment to presenting the art and culture of our region. This year the Gallery presented a program of over 38 exhibitions, accompanied by a diverse and stimulating array of public and educational programs.

The Art Gallery of New South Wales is a statutory body established under the Art Gallery of New South Wales Act 1980 and was added, as a division, to the Department of the Arts, Sport and Recreation in March 2006

2 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Contents

VISION, PURPOSE, PLEDGE OF SERVICE 5 APPENDICES Sponsorship and philanthropy 58 YEAR IN BRIEF Art prizes, grants and scholarships 59 Highlights 6 AGNSW publications for sale 59 Performance summary 10 Visitor numbers60 Strategic plan and outcomes 11 Exhibitions listings 61 Aged and disability access programs and services 62 PRESIDENT’S FOREWORD 14 Aboriginal and Torres Strait Islander programs DIRECTOR’S STATEMENT 16 and services 62 Women’s action plan 63 YEAR IN REVIEW Ethnic affairs priorities statement 64 Collections 19 Overseas travel 65 Exhibitions and audiences 26 Publications36Collection – purchases 66 Community, education and regional 40 Collection – gifts 68 Corporate support 46 Collection – loans 72 Visitor services 48 Staff, intern and volunteer listings 78 Environmental management 48 Staff publications, presentations and related activities 81 CORPORATE GOVERNANCE Compliance reporting 86 Board of Trustees 50 Electronic service delivery 88 Trustee meetings 52

Other Gallery entities 53 FINANCIAL INFORMATION Senior management 54 Financial commentary 90 Organisation structure 55 Financial summary 91 Risk management 56 Independent audit opinion 92 Financial statements94

Index 112 General access informationinside back cover

cover: Nike Savvas, Atomic: full of love, full of wonder 2005 (detail), polysterene, nylon wire, paint, electric fans. Contemporary Collection Benefactors Program 2006 © Nike Savvas. Adventures with form in space: the fourth Balnaves Foundation Sculpture Project exhibition (9 August – 13 September 2006) title page: External view of the Art Gallery of New South Wales opposite: Daniel von Sturmer, Screen test 2004 (detail), 4 screen video installation, duration variable. Rudy Komon Memorial Fund 2007 © Daniel von Sturmer. Anne Landa Award 2006 exhibition (17 November 2006 – 11 February 2007)

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 3 The Hon Frank Sartor MP Minister for Planning, ART Minister for Redfern Waterloo, GALLERY and Minister for the Arts NSW Parliament House Macquarie Street SYDNEY NSW 2000

Dear Minister

It is our pleasure to forward to you for presentation to the New South Wales Parliament the Annual Report for the Art Gallery of New South Wales for the year ended 30 June 2007. This report has been prepared in accordance with the provision of the Annual Reports (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2005.

Yours sincerely

Steven Lowy Edmund Capon President Director

20 October 2007

4 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 VISION, PURPOSE, PLEDGE OF SERVICE

VISION The Gallery has developed and successfully implemented ‘To maintain our reputation as an energetic, outgoing and a variety of strategies to achieve these goals. In doing so, accessible Australian art institution, and at the same time strive to the Gallery works closely with our key stakeholders such be a major international gallery of the world, continuing to inspire, as the Art Gallery Society of New South Wales and its 20 600 interest and provide enjoyment to our increasingly diverse membership (33 291 cardholders), the Art Gallery of New audiences.’ South Wales Foundation, the Museums and Galleries Foundation of New South Wales, the NSW government and other arts PURPOSE institutions. The Gallery’s core purpose is to maintain and develop a For more information see Year in brief – strategic plan and collection of works of art, and to promote understanding and outcomes (p 11). appreciation of art. Our governing legislation is the Art Gallery of New South Wales Act 1980. PLEDGE OF SERVICE The Gallery’s 2003–08 Strategic Plan sets out three mission goals: The Art Gallery of New South Wales aims to provide resources and experiences of the highest quality to all visitors to the Gallery • To acquire, conserve and present to the public the finest works (both physical and virtual) for the enjoyment and study of fine art. of art available, with special emphasis on the artistic traditions of Australia The Gallery recognises that the public has a right to expect that services will be provided without discrimination. The Gallery • To explore and inspire through our collection and exhibitions, seeks continuously to improve our service and welcomes the emotional and intellectual resources of our audiences feedback, both directly to staff and through regular surveys. • To create a sense of belonging and provide our visitors with an For further information about services and access see the inside enjoyable and enduring experience. back cover of this report.

Film still from Devdas 2002, courtesy Eros International, which screened 29 November and 3 December 2006 in association with the Goddess: divine energy exhibition.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 5 YEAR IN BRIEF highlights

This 2006–07 financial year the Gallery acquired for our COLLECTION ACQUISITIONS permanent collections, through purchases and gifts, 442 • Jeffrey Smart’s Matisse at Ashford 2004 was the inaugural works of art valued at $8.2 million. Thirty-eight new art purchase of the newly-formed Art Gallery Society ‘Collection exhibitions commenced this year with another six shows Circle’ of donors. from 2005–06 completing their runs in July and August • Hidden memories, secret lives 2006 by Guy Warren, one of 2007. The Gallery attracted more than 1.3 million visitors, this Australian artist’s most compelling works, was purchased including over 104 000 school students. On offer through the Patrick White Bequest Fund. throughout the year, with many of these events offered free, were performances, courses, lectures, curator talks, • Among gifts of paintings to the collection this year was an symposia, musical concerts and daily guided tours of important work by James Gleeson, Crater with revenant 1966. the exhibitions and collections. Several superb Art Gallery • Maurice de Vlaminck’s Les voiles blanches à Chatou 1906, a of New South Wales collection handbooks were among great Fauve painting, was acquired by funds from both the Art the nine major titles published in 2006–07. The Gallery Gallery of New South Wales Foundation and the Margaret operated a $53.8 million business, which included Hannah Olley Art Trust. a funding allocation of $27.9 million from the NSW government. • Janet Laurence’s In stance of memory 2005 is a haunting work that evokes memory and tragedy. While the above demonstrates another thriving year, full • A study for one of the most loved of William Dobell’s small of activity which successfully engaged the community, paintings in the collection, Study for ‘Pearl’ c1940, was the theft of a 17th-century Dutch painting by Frans purchased at auction. van Mieris I, A cavalier (self-portrait), in June 2007 was a sombre reminder that without constant diligence there • A large painting by Yukultji Napangati offered a sharp contrast are real risks to our collection. This work was a gift to the to the work of older-generation female Aboriginal artists. Gallery in 1993 from James Fairfax and sadly, to date, • Carol Maayatja Golding’s Warlu Tjukurrpa 2006 is an the whereabouts of the painting remain unknown. Since exceptional example of this artist’s work. the theft the Gallery has implemented additional security measures with more upgrades planned in the coming year. • Two works by Harry Tjutjana, one on paper and one on canvas, from this talented emerging artist from Ernabella, Some of the individual highlights for the year include: South Australia.

6 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 • Geoff and Vicki Ainsworth continued their generosity to the COLLECTION LOANS Gallery by gifting Paul McCarthy’s film Painter 1995. The majority of the Gallery’s iconic Heidelberg school paintings • Man Ray’s Mathematical object 1934–36 was an important by Arthur Streeton, Tom Roberts, Charles Conder and photography acquisition. Frederick McCubbin were lent to the Australian Impressionism exhibition organised by the National Gallery of Victoria and our • A Chinese 6th-century leaf-shaped stele with Buddha and best George W Lambert paintings to the National Gallery of two Bodhisattvas, from the Northern Wei period, was acquired Australia’s George W Lambert retrospective: heroes and icons. with the generous help of the Art Gallery of New South Wales The Gallery also benefited from the generosity of the National Foundation, the Mary Eugene Tancred Bequest Fund, Jim & Gallery of Australia who lent us five important old masters. Janette Bain, Nick Curtis, Rowena Danziger AM & Ken Coles AM, Chum & Belinda Darvall and Isaac & Susan Wakil. • Judith and Ken Rutherford also continued their generous donations this year, gifting a number of very rare Vietnamese rank badges from the 19th and early 20th centuries. • A Japanese Noh theatre costume dating from the early 1800s and worn by male performers was purchased through funds raised at a successful VisAsia dinner. • The Gallery purchased a full set of lifetime impressions of William Hogarth’s most famous engraved series, A harlot’s progress 1732. • The Gallery purchased Lotus-clad Radha and Krishna from left: c1700–10, a watercolour painting depicting the lovers Krishna Jeffrey Smart, Matisse at Ashford 2004, oil on canvas, 86 x 138 cm. Gift of the Art and Radha at play. Gallery Society of New South Wales with assistance from the Collection Circle 2007 © Jeffrey Smart

Man Ray, Mathematical object 1934–36, gelatin silver photograph, 23 x 29.7 cm. Alistair McAlpine Photography Fund 2007

India, Lotus-clad Radha and Krishna c1700–10, opaque watercolour on paper, 28.6 x 21.3 cm page; 21.9 x 16.2 cm image. Purchased 2007

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 7 EXHIBITIONS The arts of Islam: treasures from the Nasser D Khalili Collection Giacometti: sculpture, prints and drawings from the Maeght (22 June to 23 September 2007) was a major exhibition of Foundation (18 August to 29 October 2006) featured the work Islamic works coming from what has been recognised as the of Alberto Giacometti, who stands beside Pablo Picasso and best private collection of its type in the world. Some 350 Henri Matisse as one of the great masters of modern art. Best works showcased the diverse artistic traditions of the Islamic known for his unforgettable, hauntingly beautiful sculptures of world. Works from as early as the beginnings of the 7th century the human figure, this was the first exhibition of Giacometti’s right up to the 20th century were highlighted. Professor Khalili work in Australia and was toured by the Gallery to and his staff worked on the impressive catalogue that the Christchurch, New Zealand. Gallery published to accompany the exhibition. A major exhibition, Goddess: divine energy (13 October 2006 VOLUNTEER GUIDES to 28 January 2007), introduced our audiences to goddesses The Gallery is indebted to the enthusiasm and commitment of dating from as early 2000 BCE, including Kali, the dark our volunteer guides. In October 2006 we organised a goddess, and Radha, Krishna’s consuming love. With over 150 successful five-week Gallery guides training course. This short works gathered from around the world, this exhibition looked course was needed to increase the number of Adult guides at the divine goddesses in both Hindu and Buddhist art and and it also provided the children’s guides with the opportunity was nominated ‘exhibition of the year’ by The Australian to expand their guiding repertoire to adults. Fourteen guides newspaper’s art critic, Sebastian Smee. The exhibition was graduated. The course was also attended by many current accompanied by events, films, a major publication, a adult guides with an interest in professional development. symposium, a commissioned music CD, and a month-long installation relating to the goddess, Durga. AUDIENCES Art After Hours has become a prominent feature of the Sydney Anselm Kiefer: Aperiatur terra exhibition (19 May to 29 July mid-week night-life calendar with a total audience of over 2007) was the most substantial exhibition of Kiefer’s work ever 62 000 visitors throughout the year. Numbers attending the shown in Australia and constituted a new direction which was 6.30pm celebrity talks alone were in excess of 17 000. more colourful than works seen before from Kiefer. It also displayed the Gallery’s outstanding collection of major works The 2007 Arts of Asia course Literature and Legend 1 began by Kiefer, probably as good a body of work by this artist as with a focus on Islam and topics touching on the influence of can be found in any public museum collection in the world. the Qur’an and poetry on the visual arts.

8 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Gallerykids programs continued to be popular in 2006–07 SPONSORSHIP with the introduction of new programs for 3–5 year olds, It was an outstanding year for the Gallery with over $2.2 million commissioned performances for temporary exhibitions and raised in sponsorship (an increase of 59% from the previous new thematic approaches to holiday programs in 2007. year). Sponsorship highlights included JPMorgan’s principal sponsorship of the Brett Whiteley Studio enabling free access EDUCATION for the next three years. There was also a major sponsorship The overall participation rate for primary, secondary and from UBS, again for three years, supporting the Gallery’s tertiary education audiences (students, teachers and contemporary galleries. lecturers) in 2006–07 grew to 104 482, representing an increase of 14% on the 2005–06 audience. Our education strategy emphasised the visual arts curricula through the Gallery’s collections and exhibitions, but also involved other diverse curricula including growing education audiences studying languages, history and science in 2006–07. Other curricula areas that saw growth included English, studies of religion and mathematics. A growing number of gifted and talented students, students with disabilities, and disadvantaged metropolitan and regional students were attracted to the Gallery through innovative outreach programs.

REGIONAL The Gallery has continued negotiations with Armidale below, clockwise from top left: James Gleeson seated before his work The Ubu Dumaresq Council regarding proposed half-custodianship diptych; John Beard standing before his 2007 Archibald Prize winning portrait of Australian artist Janet Lawrence; Margaret Olley officially opening the Goddess: divine of the painting Mosman’s Bay by Tom Roberts. A submission energy exhibition; Nick Mourtzakis beside his 2006 Dobell Prize for Drawing self by the council went before the Supreme Court in April portrait; and Lewis Morley before participating in his Art After Hours celebrity talk. 2007, and will continue with a second hearing in the new opposite: Durga: creating a goddess, a three-week installation project coordinated by financial year. the Crafts Council of West Bengal.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 9 YEAR IN BRIEF performance summary

UNIT NOTE 2002–03 2003–04 2004–05 2005–06 2006–07 EFFICIENCY

Number of employees (EFT) 1 200 204203 210 208 Opening days lost to industrial dispute 2 00000 Hours lost to industrial disputes per employee 0 0 0 0 0 Days lost for workers compensation per employee 0.25 1.25 1.50 0.38 0.10 Average days sick leave per employee 4.75 4.00 5.00 2.70 5.00 Staff turnover rate 6% 10% 12% 8% 8%

SERVICES Total number of visitors (thousands) 1127 1513 1351 1690 1302 General admission 1000 1228 1072 1257 1179 Whiteley Studio 3 9 7 9 8 10 Touring exhibition 4 118 266 270 425 113 Art After Hours 5 27 73 61 63 62 Number of exhibitions 32 28 35 52 38 Value of exhibition program ($m) 6 455 890 232 890 921 Number of collection objects acquired during year 771 448 480 585 442 Value of collection objects acquired during year ($m) 7.8 8.0 11.2 9.9 8.2

FINANCIAL Core business expenses $ m -18.3 -19.2 -18.7 -20.0 -22.5 Government funding – recurrent & liabilities assumed $ m 18.1 18.8 17.9 19.1 22.5 Net core business income (deficit) $ m -0.2 -0.5 -0.8 -0.9 0.0 Exhibition and visitor services net income $m 7 1.5 1.41.63.91.5 Bequest & special funds net income $ m 8 5.9 7.011.7 11.315.4 Government funding – capital $m 9 14.2 2.8 2.8 1.85.4 Depreciation / other minor items $ m -2.1 -1.6 -2.5 -2.2 -1.9 VisAsia net income $ m 10 0.20.30.10.30.1 Surplus as per financial statements $ m 19.5 9.5 12.9 14.1 20.5

Collection $ m 11 596.0 603.8 614.8 628.7 781.7 Land & building$m 120.4 126.0 133.5 133.5 133.5 Other $ m 23.3 23.2 25.0 28.5 42.4 Total assets $ m 739.7 753.0 773.3 790.7 957.6 Total liabilities $ m 3.4 4.1 5.1 4.3 3.8 Net assets as per financial statements $ m 736.3 748.9 768.2 786.4 953.8

Data in this table has not been subject to audit

2006–07 REVENUE 2006–07 EXPENDITURE NET ASSETS AS AT 30 JUNE 2007 $53.8 million $36.9 million $953.8 million

Bequests & special funds Bequests 2% Plant, equip & other Other & special income 1% Government operating Land & building 28% funding 38% Personnel 17% 49% services Merchandise 47% sales 7% Admissions Insurance Collections Other revenue 3% 9% Depreciation 80% 13% 6%

Notes: 5Late opening each Wednesday until 9pm commenced 8 January 2003. 1 Equivalent full-time (EFT) staff numbers over a 12-month average. Increases from 2005–06 6 Value reflects major Picasso (2002–03); Caravaggio (2003–04); Pissarro (2005–06); mainly reflect temporary exhibition-related casuals. Arts of Islam (2006–07) exhibitions 2 The Gallery is open to the public 363 days per year (closed Good Friday and Christmas 7 Includes exhibitions, Gallery Shop and venue hire activities. Day). Closed 7 September 2007 APEC public holiday. 8 Includes Trust funds with controlled purpose, usually for acquisition of works of art. 3 Brett Whiteley Studio closed during May–June 2004 for roof replacement. 9 Special government capital funding received in June 2007 for projects in later years. 4 Includes regional NSW, interstate, overseas tours; 2005–06 had four major shows that 10 Controlled entity rolled into Art Gallery of New South Wales accounts. travelled to multiple venues – most years have only two shows travelling. 11 Collection assets revalued in 2006–07 – increased by $146 million.

10 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 YEAR IN BRIEF strategic plan and outcomes

CORPORATE GOALS AND OBJECTIVES 4 Inspire and explore artistic attitude and aspiration. In line with our vision, the Gallery seeks to excel at what we do 5 Operate the Gallery in an efficient and effective manner that by continuously improving our service to the public and thus encourages an increasing level of public visitation. maintaining our success as one of Sydney’s leading cultural 6 Ensure effective funding sources for the Gallery to support institutions. In May 2003 the Board of Trustees endorsed a its acquisition program and expansion of services. strategic plan for the five-year period 2003–08. To achieve these objectives the Gallery has developed key The strategic plan 2003–08 contains six major objectives: strategies. The performance outcome(s) of each of these 1 Enhance and conserve the state’s art collection and heritage objectives is outlined in the following table. building. 2 Operate a varied, exciting and active exhibition program to MEASURING OUR PERFORMANCE encourage visitors and expand appreciation of art. The strategic plan includes a number of annual performance 3 Provide education and research programs and services to an measurement targets. Listed here is a selection of the key target ever-broadening audience. and performance outcomes as at 30 June 2007.

PROGRAM OBJECTIVES AND OUTCOMES

Strategies Key targets Performance outcomes

Increase acquisitions of Acquire suitable works for the Major acquisitions include: Maurice de Vlaminck’s Les voiles artworks specifically ‘icons’ Gallery. blanches à Chatou 1906; Jeffrey Smart’s Matisse at Ashford; and maintain high standards of a Chinese 6th-century stele with Buddha and two Bodhisattvas. curatorial work and Many other important works were acquired. In total 442 works conservation. valued at $8.2 million were added to the collection. [Objective 1] For more information see Year in Review – Collections (p 19)

Maintain and refurbish the On-going building maintenance The building maintenance program was successfully completed on building in keeping with its as per plan, including fire time and on budget. An additional allocation of $3.6 million was heritage value and as a public compliance. granted late in June 2007 for new building works to be completed venue (including the Brett over the next three years. Whiteley Studio). [Objective 1] Resolve current storage issues/ The proposed solution under development is to construct a consolidation of off-site rental collection storage facility on land owned by Arts NSW. space.

Exhibit and feature the Present major Gallery-curated Goddess: divine energy exhibition presented over 150 works permanent collection in as exhibitions. Success measured gathered from around the world. This superb exhibition attracted attractive a manner as possible by critical and visitor response, over 48 244 visitors and introducedboth new and returning and develop significant catalogues and financial audiences to goddesses in Hindu and Buddhist art. temporary exhibitions. viability. [Objective 2] Anselm Kiefer: Aperiatur terra was the most substantial exhibition of this German artist’s work ever shown in Australia. It also showcased the Gallery’s world-class collection of major Kiefer works.

Also see Year in Review – Exhibitions & audiences (p 26).

Encourage loyalty and longer- Continue to develop and 48 333 people watched and participated in the Gallerykids term commitment among our improve children and family performances in 2006–07, a 73% increase from the previous year visitors; broaden visitor base. programs. and over double the numbers from 2004–05. A new program for [Objectives 2, 3 and 4] 3–5 year olds, Tours for Tots, was introduced which proved to be so popular sessions were doubled and a waiting list now exists.

For more information see Year in Review – Community, education and regional (p 40).

The society remains Australia’s largest arts support organisation Work with Art Gallery Society with a membership of 20 600 (33 291 cardholders). Members are and AGNSW Foundation to exceptionally loyal to the Gallery, their renewal rate now standing grow membership/donor base. at 89%, the highest level yet. The foundation has close to 700 current donors to the foundation and other areas of the Gallery.

For more information see Year in Review – Corporate support (p 46).

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 11 Strategies Key targets Performance outcomes

Expand the Gallery profile by Further develop Asian The second half of our 2006 Arts of Asia course, Goddesses in establishing a ‘centre of programs of exhibitions, Asian Art, continued a focus on the goddesses of Hinduism and excellence’ in Asian art without lectures, acquisitions etc. Buddhism as it built up our audience’s background knowledge for detracting from the Gallery’s the exhibition Goddess: divine energy. objective of covering all categories of art. The 2007 series, Literature and Legend 1, began with a focus on [Objective 1] Islam and topics touching on the influence of the Qur’an and poetry on the visual arts.

Lend/borrow works of art; Regional program to be Artside-In Regional was a special program held in 2006–07 targeting support regional galleries in continued. disadvantaged high school students in regional NSW. The unique their endeavours. two-week program involved 22 visual arts teachers from the New [Objectives 2 and 4] England region participating in a special Art Teachers Day at the Moree Plains Gallery on 7 May 2007, followed by 45 year 10–12 students participating in a three-day Moree Art Camp at the regional gallery. The students then travelled to Sydney for one week, where they had an immersive experience in the professional art world.

Regional activities have also included over 250 loans of artworks to many NSW regional galleries, an increase from last year’s 185 loaned works.

For more information see Year in Review – Community, education and regional (p 40).

Conduct public programs, Enhance public/education The overall participation rate for education audiences – kindergarten disseminate information on art programs for community. to tertiary students, and teachers and lecturers – was a record and contribute to scholarship 104 482 in 2006–07, a 14% growth on the previous year. to further enjoyment and appreciation of art, particularly The 2006–07 education programs, held at the Gallery and with young people. externally, focused on further developing the skills of Gallery [Objective 3] educators, volunteer guides, regional gallery staff, university trainee teachers and practicing teachers in the classroom. A total of 26 professional development programs for over 1200 teachers and educators were delivered.

For more information see Year in Review – Community, education & regional (p 40).

Inspire and explore artistic Focus on quality of research, Contemporary: Art Gallery of New South Wales contemporary attitude and aspiration. interpretation, publication, collection is part of the ongoing commitment to publish the [Objective 4] exhibition and events [at least Gallery’s collection in handbooks that are detailed, attractive and two major collection-based user friendly. publications – Aboriginal and Contemporary]. Major exhibition titles published during 2006–07 included Giacometti: sculptures, prints and drawings from the Maeght Foundation; Gifted: contemporary Aboriginal art, the Mollie Gowing Acquisition Fund; Goddess: divine energy and The arts of Islam: treasures from the Nasser D Khalili Collection.

For more information see Year in Review – Publications (p 36).

A total of $145 300 in prizes, scholarships and awards were presented during 2006–07 plus eight overseas tenancies in two Paris studios were also granted.

For more information see Appendix – Art prizes (p 59).

Manage the Gallery operations Ensure visitor access and The Gallery was fully operational 363 days of the year with no effectively. enjoyment; no disruptions to disruption to services. [Objective 5] service. The total visitor number for 2006–07 was over 1.3 million, which was lower than last year’s total by 388 000 primarily due to last year’s level of interstate touring of major Gallery exhibitions.

While in all other matters the Gallery had a very successful year, we also had an unwelcome incident with the theft of a valuable painting A cavalier (self-portrait) by a Dutch master Frans van Mieris I. For more information see President’s foreword (p 14).

12 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Strategies Key targets Performance outcomes

Meet customer needs by Art After Hours (AAH) to be The AAH evenings attract an average of 1200 visitors per week. improving service levels. continued. In total the program attracted 62 226 visitors over the year. The [Objectives 3 and 5] AAH website had 36 549 visits and now has over 8600 subscribers Develop electronic educational to the weekly email newsletter. Audience numbers attending the programs. 6.30pm celebrity talks throughout the year were in excess of 17 000 while 76 curatorial talks at 5.30pm engaged the visitors directly with the Gallery’s exhibitions and attracted approximately 2800 participants.

A completely new Education section (www.artgallery.nsw.gov.au/ed) was launched in July 2006. Structured like a website within a website, it features clearer navigation and richer content, making it easier for teachers and students to find information.

myVirtualGallery, the interactive, educational tool that allows anyone to create their own virtual exhibitions using the Gallery’s collection, continues to grow in popularity and usage. Over half of the 50 077 visits in 2006–07 were people logging in to edit their own exhibitions.

Implement state-of-the-art Digitisation of collection. Over 15 332 images of collection works are now available for technology and corporate viewing via the Gallery’s website (up from 9000 in 2005–06). systems. [Objective 5] The upgrade of the computerised records management system, to capture electronic records, continued to be rolled out during 2006–07.

Manage staff resources High morale and professionalism Staff morale continues to be high; there were no major work disputes effectively to ensure high with minimal industrial issues during the year and no time was lost to industrial disputation. employee morale, high skill and staff grievances. levels and support for continued expansion. Staff training and development. Professional standards for staff were maintained but further [Objective 5] development was limited again this year due to fiscal constraints and the proposed additional funding for training was not made available in 2006–07.

Effective use of government Secure sustainable funding for A three-year service agreement with the NSW government has funding and improvement of core business operations via a granted $1 million of additional recurrent funding in 2006–07. government relations. three-year funding plan with [Objective 6] agreed deliverables.

Manage operations within The Gallery’s core business continued to be a ‘deficit’ budget budget. due to award salary increases. However, the shortfall was underpinned in 2006–07 by improved commercial earnings providing a net surplus overall.

Sponsorship funding was significantly increased in 2006–07 to $2.2 million (up from $1.4 million).

Increase funding from Develop and grow commercial Improved commercial earnings underpinned core business commercial activities, and benefaction income. operations as noted above. They also contributed towards art bequests, donations and acquisitions. sponsorships. [Objective 6] Strengthen funding base for Another successful year of fundraising with donations and acquisitions. bequests of over $16 million and exhibition, visitor services and other revenue totalling $13.5 million.

AGNSW Foundation capital base has reached $26 million as at the end of June 2007.

Manage membership Maintain and increase Fundraising entities – AGNSW Foundation, VisAsia and Brett structures of all entities membership of fundraising Whiteley Foundation – all generated earnings and enhanced their (Trust, Foundation, Art Gallery programs. capital base in 2006–07. Society, Brett Whiteley Foundation, VisAsia and other fundraising programs). [Objective 6]

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 13 PRESIDENT’S FOREWORD

I am pleased to report that this was another successful year It is indeed a pleasure in this report to record my appreciation of achievement for the Art Gallery of New South Wales. of and thanks to my predecessor, David Gonski AC, who has given such outstanding service to the Gallery over the past Our world-class exhibition program continued to produce 10 years as president of the Trust. David has made an strong results, especially our major exhibitions Goddess: divine extraordinary contribution to the Gallery; his work for and energy, Giacometti: sculpture, prints and drawings from the commitment to the Gallery has been acknowledged and Maeght Foundation and Thearts of Islam: treasures from the appreciated by all and it is with due recognition of such Nasser D Khalili Collection and of course the annual Archibald, service that I record my own appreciation. He has been, and Wynne and Sulman prizes never fail to attract a strong remains, a great advocate for the arts in general and garnered following. Goddess and The arts of Islam received excellent political and private support for this Gallery, including his own reviews from the art critics and positive media coverage. very generous contributions. He established the Centenary With the support of benefactors the Gallery bequests and Fund and grew the President’s Council substantially over the donations income reached record levels this year at $16 period. The Gallery honoured David by granting him a life million in cash and artworks. The major item was the Yvonne governorship, the highest accolade conferred by the Gallery’s Buchanan May Bequest, valued at $4.9 million. The Art Gallery trustees on individuals, in recognition of their outstanding of New South Wales Foundation contributed over $2 million contributions. There have only been 27 people awarded this for a major acquisition of a Fauve painting by Maurice de honour. I follow David as president of the Trust with my thanks Vlaminck (France, 1876–1958) Les voiles blanches à Chatou for the role he has played and welcome his continued support 1906. Other significant contributions were received from the and involvement with the Gallery. Art Gallery Society and major benefactors, such as Geoff and Vicki Ainsworth, the Belgiorno-Nettis family and the perennial LOSS OF MAJOR BENEFACTORS Margaret Olley. This generosity will go a long way in enhancing During the year the Gallery lost a dear friend and benefactor the Gallery by providing resources to grow our art holdings Franco Belgiorno-Nettis CBE AC, a Life Governor of the and to support selected collection gallery spaces. Gallery, who died in July 2006. He had served as a Trustee of The Gallery’s other activities, namely public programs, the Gallery from 1974 to 1980 and, along with his wife Amina, Art After Hours, the Gallery Shop and venue hire, all performed was an original supporter of the Art Gallery of New South very well, with their success to some extent reflecting the Wales Foundation. His sons Luca and Guido have continued energies of the exhibitions activity. this support through their membership of the President’s Council and other support groups. The Gallery had a most successful year with a large increase in sponsorship income, from $1.4 million last year to $2.2 I would also like to thank the entire Belgiorno-Nettis family for million this financial year, primarily due to the support of the their generous benefaction and in their honour the contemporary Gallery’s principal sponsors for the past year: Ernest & Young, galleries on level 2 have recently been named the Franco and JPMorgan, Macquarie Bank, Myer, National Australia Bank, Amina Belgiorno-Nettis and Family Contemporary Galleries. Qantas Airways, The Sydney Morning Herald, UBS and During the year we also lost our dear friend and benefactor Westfield. Combined with the Gallery’s business councils, the James Agapitos. His friends and family attended the memorial President’s Council and VisAsia Council, the total income service at the Gallery and gave generously in his honour, generated from the corporate sector was $2.86 million. These providing a lasting memorial to James, who cared so much funds sustain many of the Gallery’s wonderful programs, in about philanthropy and the Gallery. particular exhibitions, and underpin its core business. The councils also provide a vital source of business expertise and Our thanks must also go to the late Yvonne Buchanan May, corporate networks. I look forward to working with them to who left a major bequest of a property at Rose Bay. This will further develop their level of engagement with the Gallery. be sold and the proceeds put towards an annual art prize and the balance to the Art Gallery of New South Wales Foundation Overall I am pleased to report that in 2006–07 the Gallery for the acquisition of artworks in the future. generated over 50% of its funds from non-government sources. In 2005, we entered a three-year service agreement with the ART THEFT AND SECURITY NSW government which committed the Gallery to delivering The Gallery has a long and successful security track record, some key performance outcomes in all its endeavours. I am but this year we suffered an unwelcome incident with the pleased to say that we are well on track to achieve or exceed theft of a valuable work of art by a Dutch artist, Frans van these targets and I thank the government for its confidence Mieris I, titled A cavalier (self-portrait). Since this time the in providing sustainable funding to ensure the Gallery has a Gallery has implemented recommendations from an external sound base for its operational activities. security review, particularly relating to operating practices. We are currently finalising a strategy to implement an BOARD OF TRUSTEES upgrade to our security system, both in terms of new I would like to thank my fellow trustees, who give their time and technology and the improved management structure of our expertise generously. Sandra McPhee’s appointment as vice security department. The Gallery is committed to president, Guido Belgiorno-Nettis’s appointment as trustee and implementing a sound security structure and will continue my appointment as president, were effective from 1 January. In this upgrade progress into the next financial year. addition three of our fellow trustees, Peter Young, Imants Tillers and Janice Reid, had their terms renewed for another three THE YEAR AHEAD years. To all of them and the others on the board, namely The Gallery plans several major exhibitions for 2007–08, in David Baffsky, Anne Fulwood, Irene Lee, Lindy Lee and John particular a superb Sidney Nolan exhibition scheduled to Schaeffer, I look forward to their support over the coming year. commence in November 2007.

14 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Maurice de Vlaminck, Les voiles blanches à Chatou 1906, oil on canvas, 91 x 73 cm. Purchased with funds provided by the Art Gallery of New South Wales Foundation and the Margaret Hannah Olley Art Trust 2006 © Maurice de Vlaminck/ADAGP. Licensed by Viscopy, Australia

Among the many acquisitions planned for early 2007–08 THANKS I must make mention of two outstanding works that are, at the I take this opportunity to thank the premier, Morris Iemma MP time of writing this report, in the final stages of being and Minister for the Arts, Frank Sartor MP and the former purchased. They are David Hockney’s six-panel A closer Minister for the Arts Bob Debus MP for their ongoing support winter tunnel 2006 and a Giorgio Morandi work Natura morta of the Gallery and our endeavours. 1957. The former will be funded by donations from Geoff and Vicki Ainsworth, the Art Gallery of New South Wales Foundation, I would also like commend the director, Edmund Capon AM and the family of Florence and Bill Crosby. The latter will be OBE, and all the staff at the Gallery for their commitment and funded by Rob and Jenny Ferguson, the Margaret Hannah professional skills, which are integral to the success of this Olley Art Trust and the Gallery’s own acquisition funds. I would Gallery today and in the future. Together with our beautiful like to express a personal thank you to these very generous collection and building, they create a vibrant environment full of donors who have made these major acquisitions possible. excitement. My thanks are also extended to the director-general Department of the Arts, Sport and Recreation, Robert Adby and As indicated above, a major priority for the year will be to deputy director-general of Arts NSW, Jennifer Lindsay. implement stronger security measures. Other priorities for 2007–08 will include securing funding for an off-site collection Finally, may I add how glad I am to take up the role of storage facility and the extension of the service agreement. president of this eminent organisation, and you can be assured The Gallery’s collection space has grown to full capacity in that I will work with the Board of Trustees and staff of the its current location within the building. It is now necessary Gallery to ensure the continued success of this Gallery. to establish an off-site secure collection store built to art environmental conditions that meet museum standards. This goal is in keeping with what other major galleries around Steven Lowy Australia already have in place to protect their collections. President The Gallery will develop a three-year service agreement for Art Gallery of New South Wales Board of Trustees consideration by government. 21 September 2007 One of my first initiatives as president has been the establishment of a strategy and development sub-committee to explore longer-term issues and opportunities facing the Gallery. Over the coming months and years this committee will be working to develop specific plans for enhancing the viability of the building and other resources to meet the future needs and opportunities of the Gallery.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 15 DIRECTOR’S STATEMENT

It should hardly come as a surprise to us, but this year we Savvas’ entertaining installation Atomic: full of love, full of really have been confronted with managing a building that is wonder, comprising some thousands of coloured balls dancing bursting at the seams. The combination of ever-increasing in the air; an exuberant delight for us, but a bit of a trial for our levels of activity in terms of changing displays, growing installation crew. The curator Wayne Tunnicliffe subsequently collections, exhibitions, public programs, late openings, submitted this work for acquisition; how could we resist? We evening and weekend events and the whole parade of bells may have to bide our time for its next presentation; I for one and whistles that are now deemed to be part of the life of a look forward to that. public art museum, with a limited budget and increasing Every bit as colourful and entertaining, but with a very audiences, is placing a huge strain on our resources. We different flavour, was Goddess: divine energy, a ranging seemed to feel the presence of these pressures more than and spectacular show that was the brainchild of our head ever this year. However, we’ve all had a great time, a healthy curator of Asian art, Jackie Menzies, assisted by our South million and a quarter plus visitors, have by all accounts and Southeast Asian curator, Chaya Chandrasekhar, which thoroughly enjoyed their time here and, as ever, the staff is explored the manifold realms and manifestations of the brimful of ideas for the future. We are by no means in our goddess in Hindu and Buddhist art. It was an experience cusps. But we do acknowledge that there are a number of and every visitor departed the exhibition on clouds of urgent matters that we need to address. One of those is ecstasy; not in tablet form though! It was an exhibition that maintenance – all those tiresome things like escalators (my attracted most generous and deserved critical acclaim; as absolute bête noire – I think they are hideous, noisy and quite The Australian newspaper exclaimed, ‘Goddess gets my vote incompatible with the spirit of an art museum, but I’m told they as exhibition of the year’. Towards the end of the year under are effective ‘people movers’), lifts, mechanical services, review the program was dominated by contemporary events, lighting and such practical issues are uppermost in our minds; again with plenty of variety, from the vivid imaginations of that as one of our visitors recently noted in the comments book, icon of the Japanese cartoon, Tezuka, to the rococo grandeur ‘noisy escalators – love the exhibitions on level 2 but the loud of Anselm Kiefer. This latter show, which head curator Anthony noise of the escalators grinding is very frustrating!’ Not the Bond had worked on, was previously shown in London and most exciting and colourful aspects of art museum included our two recent Kiefer acquisitions. management, but crucial nonetheless. Our slightly less than exquisite and effective loading dock also causes us some Which brings us to the matter of the development of the concern, in that it is no longer capable of properly serving as collections; that is, acquisitions. My first comment must as a dock, a disabled entrance, a staff entrance and a delivery ever be to express our profound thanks to the many loyal point for everything from Old Master paintings to the produce supporters, donors, benefactors and groups who sustain this for the restaurant. Such prosaic, but essential matters, are most crucial and fundamental of our responsibilities. Across engaging our attention. all areas of the Gallery’s collecting interests there was activity. I think, probably, the most substantial purchase of the year Another aspect of basic Gallery functioning is that of security. was something that I had been pursuing for 20 or more years, We recently received an unwelcome and uninvited reminder of a genuine Fauve painting. Finally we have a major Fauve our responsibilities and our liabilities when, in June 2007, a painting in the Gallery: Maurice de Vlaminck’s Les voiles small 17th-century Dutch painting by Frans van Mieris I was blanches à Chatou, dating from 1906 and painted at Chatou stolen from the Gallery walls. It is such untimely events that where he and Derain produced a number of absolutely classic serve to remind us so convincingly of the need to maintain moments of the short-lived but emphatic Fauve movement. our vigilance with regard to all aspects of the building and its In terms of colour, the hallmark characteristic of the Fauves, operations. Not surprisingly this particular incident has had its exuberant brushwork and bright breezy countenance, this is repercussions and the Gallery’s security measures are now a perfect example. The acquisition was made possible with being upgraded. funds from the AGNSW Foundation and yet another generous Discussions and negotiations are also continuing with regard contribution from our living national treasure, Margaret Olley. to the next enhancement of the Gallery which will, if all The Australian Department acquired a memorable work of proceeds as we fervently hope and plan, provide an extra James Gleeson entitled Crater with revenant, which the artist 1000 square metres of exciting new public display space for donated in memory of his life-long partner Frank O’Keefe; the modern and contemporary collections on level 2. This and the Art Gallery Society purchased two outstanding works, cause has been greatly encouraged by the very substantial Jeffrey Smart’s Matisse at Ashford, a painting which I had first donation of $4 million from the Belgiorno-Nettis family. These seen when in its formative stages in Jeffrey’s studio in Italy funds will be applied to the conversion of the storage space to and which I immediately marked as a potential acquisition, gallery space. In recognition of their huge generosity and their and Tim Storrier’s Boys own modern, an eloquent image of long association with the Gallery, our present contemporary transience in the form of a paper dart looking more like a galleries on level 2 have been named the Franco and Amina supersonic plane but made of newsprint. Belgiorno-Nettis and Family Contemporary Galleries. We enter There were plenty of contemporary acquisitions and apart the 2007–08 year with high hopes of progress towards from the already mentioned Nike Savvas, the star must be achieving major new contemporary galleries, a new, safer and James Angus’ spectacular if very sideways Bugatti type 35, more effective loading dock, better security and thus an ever a beautifully engineered and fabricated replica in traditional more fruitful experience for our visitors. French racing blue of that legendary car, but here it has, like Amid our (as usual) busy program of memorable exhibitions an automotive bonsai, been tortured into a severely sloping were Giacometti: sculptures, prints and drawings from the form. The windswept appearance is intriguing and in a way Maeght Foundation; and a particularly spectacular Balnaves gives it an even greater impression of an object at speed or Sculpture Project of which the star performer was Nike at least capable of speed. I must also mention Svetlana

16 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Kopystiansky’s Correct figures/incorrect figures, which appeals well reflected in the extraordinary contribution made to the life to my minimalist instincts; six black ink panels of forms that of the Gallery by our various volunteer groups – the Volunteer seem perfect and geometric but are not quite so. Guides, Task Force, Community Ambassadors and many others who give freely and willingly of their time and their Our Asian collections did well too with some splendid enthusiasms to enhance our role, our image and above all acquisitions. Two Japanese works stand out: a Noh theatre the visitor experience. This is also achieved through the costume with the kind of dramatic design that we expect from dedication of all the staff here and to everybody I express my such objects, but this time in a very contemporary mode, and thanks, and especially to our general managers, Anthony Bond, secondly a hanging scroll by Soga Sho-haku (1730–81), done Anne Flanagan, Rosemary Senn, Belinda Hanrahan, and entirely in black ink, of a dragon emerging from billowing benefaction manager, Jane Wynterr. I often have occasion to waves. It is a painting of extraordinary beauty and dynamic. mention the contribution that our Board of Trustees make and It excels in that curious mix of the conventional and the the invaluable time, advice and guidance that they individually eccentric, which is a hallmark of much Japanese art. One and collectively bring to the institution. No individual member other Asian acquisition which I must mention is a Chinese of the board has done more than our retiring president, David Buddhist sculpture that I first saw in London well over three Gonski, and I must take this opportunity to record my personal years ago. I pleaded for patience on the part of the vendor. thanks to David for the wealth of understanding, appreciation, It is now finally here: a fine example of early 6th-century guidance and sheer toil that he has over 10 years as president Chinese Buddhist sculpture carved from a hard dark grey of the board, brought to the Gallery. I regard myself as hugely limestone and dating from the late Northern Wei period, fortunate in having had such a president, and look forward a time when the tradition reached its first flourish. with equal enthusiasm to working with his successor, Steven Mentioning just a few select exhibitions and acquisitions is Lowy. Thank you all. really a quick skim over the surface for the Gallery, which has been as active as ever in all areas. We note daily and with great pleasure the number and the variety of our visitors, from Edmund Capon AM OBE happy throngs of schoolchildren to the daily busloads of Director tourists from Asia. It is a huge encouragement to us all in the Art Gallery of New South Wales Gallery that we play, I trust, such a significant role in the life of the community. I think our role in the community at large is 11 October 2007

Svetlana Kopystiansky, Correct figures / incorrect figures 1979, ink on paper with typewritten text, 6 panels: each 30 x 41.5 cm sheet; 61 x 47.5 x 2.5 cm frame. Mervyn Horton Bequest Fund 2006 © Svetlana Kopystiansky

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 17

Monika Tichacek The shadowers 2004, YEAR IN REVIEW 3-channel rear-projection video installation, 4:3, surround sound 35:15 minutes duration. Purchased 2006 © the artist

Collections recently-deceased life partner and a co-benefactor of the Gleeson O’Keefe Foundation, this painting is considered to be one of the artist’s finest paintings, where landscape and figure AUSTRALIAN ART are in perfect accord. The major painting acquisitions of the year were Jeffrey A further welcome addition to the collection was the gift from Smart’s Matisse at Ashford 2004, Tim Storrier’s Boys own Lex Aitken of two abstract paintings from the early 1960s by modern 2006, Guy Warren’s Hidden memories, secret lives Tony Underhill. Underhill is scarcely known in Australia as a 2006 and Angus Nivison’s Uncertain light 2006. With the result of his departure to England as a young artist in 1948, exception of Nivison, whose work is the first by the artist to but this outstanding colourist, whose work is held only at the enter the collection, these acquisitions all enabled updating National Gallery of Victoria, is deserving of recognition in the of artists already represented in the collection. city of his birth. Smart’s Matisse at Ashford was the inaugural purchase of the Special mention should be made here of the promised gift newly formed Art Gallery Society ‘Collection Circle’ of donors. of a large body of works by Albert Tucker, a major figure in Perhaps the finest masterpiece of Smart’s later years, its tight 20th-century Australian art. The Gallery’s representation of geometry and cool palette conspire to hold captive one of the depth and diversity of Tucker’s robust vision will be greatly Matisse’s most famous works as a magnificent specimen of enhanced as a result. Selected by Australian department his influence on the next generation of modernists. The Gallery curators for the collection, eight paintings and 83 drawings has not acquired a painting by Smart since the artist himself from across the artist’s career have been generously lent to the donated a painting in 1998, making this a most timely Gallery by his widow Barbara Tucker for an indefinite period. acquisition. It is also one that marks the peak of the artist’s It is intended that the works remain as an inward loan to the career, adding a sense of definition of his achievement without permanent collection, and eventually be gifted to the Gallery. peer among public collections in Australia. AUSTRALIAN PRINTS, DRAWINGS AND WATERCOLOURS Tim Storrier is one of Australia’s most successful painters but has been undeservedly neglected by the Gallery. Boys own A highlight for the Australian prints and drawings collection modern depicts a paper aeroplane with a burning tail, a was the purchase at auction of a study of one of the most symbol of transience and the folly of impractical ambition. loved of William Dobell’s small paintings in the collection, It is one of Storrier’s most exhilarating, romantically-charged Study for ‘Pearl’ c1940. Originally belonging to Pro Hart in images, and will enhance the presence in the collection not Broken Hill, this drawing and the painting featured in the only of his fine technical skills but also the impeccable sense Gallery’s Dobell exhibition The painter’s progress 1997–98. of light, space and distance which define his particular vision In lively, freely-drawn lines of pen and brown ink, the of the world. Acquisition was made possible through the sensuously-rounded forms of the female figure are accented generosity of donors – with funds for purchase once again in bold touches of charcoal. It is a delightfully modest, lyrical donated by the Art Gallery Society’s ‘Collection Circle’. and inspiring drawing. Guy Warren has had a long and distinguished career in Other important purchases included Vera Blackburn’s Sydney as a painter and teacher. Perhaps one of Australia’s evocative linocut Lake of swans 1935, a masterly watercolour finest practitioners of watercolour, he has produced a body and study of an apartment building in Istanbul by the late Earle of paintings over half a century and is greatly respected by Backen Façade 1994 (and the study for it The green house, his peers. Hidden memories, secret lives is a tough, Pera, Istanbul), a recent etching by eminent printmaker Hertha uncompromising composition of figures in the landscape, Kluge-Pott Face of a site with isolepis 1999 and Anne emerging from and about to be re-absorbed in layers of Starling’s recent linocut Post-industrial landscape 2006, pigment, counter pointed against black modulations of a cave together with the six original blocks from which it was printed. form, masking archaic histories of earth and forest. It is one A drawing by Allan Mitelman, entered in the 2006 Dobell Prize of the artist’s most mysterious and compelling conceptions, for Drawing, was purchased followed by a gift from the artist perhaps his masterpiece. Its purchase through the Patrick of two gouaches. Other purchases included Jörg Schmeisser’s White Bequest Fund has enabled a rectification of the long early series of Japanese landscape etchings Hokkaido 1974, neglect of his work in the collection. Daniel Moynihan’s Mount Pelaco, Peter’s house with angles Also purchased through the Patrick White Bequest Fund was 2004 complemented by the gift of Tiger town 2004 by the artist, Angus Nivison’s powerful triptych Uncertain light. Purchased G W Bot’s spare and elegant colour linocut Grassland 2006 to complement this monumental bushfire-inspired painting was and a sequence of delicate botanical etchings by Fiona Hall. a major acrylic work on paper, The light 2006, to which the Important among many gifts to this area, was the winning artist added two pastel studies as gifts. Born in 1953, Nivison drawing of the 2006 Dobell Prize for Drawing by Nick Mourtzakis, trained in Sydney during the early 1970s but until recently was a brilliantly intense and brooding self portrait, which will a dedicated grazier, his relationship with the land informing his complement the much larger self portrait with which he won imagery deeply as a painter since he began exhibiting in 1982. the prize in 2000. Again there were many outstanding gifts by Nivison’s paintings are a true reflection of experience; part of individuals: a watercolour by Len Annois from John Keightley, which perhaps is an inheritance of melancholic poetry from his a group of four drawings by Frank Hodgkinson from Kate Irish predecessors on this land, of which Nivison now sees Hodgkinson, a series of studies by Carl Plate from Jocelyn himself as guardian, rather than owner. Plate, 14 sketchbooks by John Coburn from Doreen Coburn, Among gifts of paintings to the collection this year, the most the Sandy Bay series of lithographs by Lloyd Rees from Alan important was James Gleeson’s Crater with revenant 1966. and Jancis Rees, a self portrait by Pam Hallandal from Ross Presented by the artist as a tribute to Frank O’Keefe, his Phillips, prints by Earle Backen, Rod Ewins, Chris van Otterloo,

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 19 Tim Storrier, Boys own modern 2006, synthetic polymer paint on canvas, 106.5 x 305.3 cm stretcher. Purchased with funds provided by the Art Gallery Society of New South Wales Collection Circle 2006 © Tim Storrier

Jörg Schmeisser and Elaine Haxton from Akky van Ogtrop, liberal use of paint. It also builds on the minimal qualities of and a sequence of abstract lithographs by Helen Eager from recent men’s work which relies on the use of alternating bands Christopher Hodges. of colour for optical effect. Walangkura Napanangka’s works combine bold graphic elements and an explosion of colour. BRETT WHITELEY STUDIO Napanangka is the widow of the founding Papunya Tula artist In the area of collection management, the project to catalogue Uta Uta Tjangala and her works are reminiscent of his bold all Brett Whiteley estate works currently held at the Brett paintings which evidence a strong attachment to Pintupi Whiteley Studio under the Gallery’s care was finalised. country. Funded by the Brett Whiteley Studio Foundation, this major The Gallery was also able to secure a major work by the undertaking, which began in July 2004, continued through the former Papunya Tula artist Fred Ward Tjungurrayi who after last two years and was completed in 2006. Almost 1800 works years of not painting is now working through Kayili Artists in were catalogued and photographed by Natalie Wilson, the Patjarr and the Warburton Art Centre which was established Gallery’s assistant registrar, Australian art, with assistance from in September 2004. Ward’s painting Kurlkutjanya 2004 volunteer Paul Solly. This cataloguing will greatly facilitate the epitomises the classic Tingari iconography of the Pintupi with Gallery’s role in custodianship and display of the Whiteley vibrating concentric circles linked in an intricate web. estate as part of its brief to manage the Brett Whiteley Studio. Mparntwe IMAGE LIBRARY Ngurratjuta Iltja Ntjarra is another new art centre operating in A priority for the image library was the ongoing maintenance Mparntwe (Alice Springs). It caters for numerous artists from of the image collection, including the digital scanning of the diverse language groups living in Alice Springs who would entire slide collection. The largest holding of slides – Australian otherwise have no representation and be at the mercy of art images – has now been fully digitised. dubious dealers. Emma Daniel Nungurrayi is one Warlpiri artist represented by the centre. Daniel is a traditional custodian of STUDY ROOM FOR PRINTS, DRAWINGS, WATERCOLOURS Karrinyarra (Mount Wedge) and the Gallery is fortunate to have AND PHOTOGRAPHS acquired a series of three of Daniel’s paintings that depict the Throughout the year approximately 1200 visitors utilised the important site of Karrinyarra which lies to the north of Study Room in order to access the Gallery’s permanent Papunya, in southern Warlpiri country. collection of over 17 000 works on paper in storage. Another important art centre in Mparntwe is Mwerre Anthurre Recognised as an important education and research facility Artists or Bindi Inc, an organisation established to provide for artists, students, museum and gallery professionals, and employment opportunities, support and advocacy for people interested members of the public, the Study Room has with a disability, both Indigenous and non-Indigenous. Billy become a key feature of the Gallery experience. It also Benn Perrurle is the most distinguished of the Bindi artists. continues to serve diverse groups from universities, TAFE Benn’s vast desert panoramas had been painted from memory and other colleges, community art centres, and primary and until recently when he returned (for the first time) to Artetyerre, secondary schools. his birthplace and the scene of the dramatic events of his early life. Artetyerre 2006 was painted following this visit and Benn’s ABORIGINAL AND TORRES STRAIT ISLANDER ART emotional response to the site is clearly evident in this Papunya Tula melancholic work. Artetyerre shows a substantial development A number of significant works were purchased this year for the in Benn’s practice and is the perfect counterpoint for the Aboriginal and Torres Strait Islander art collection. Our strong Gallery’s earlier work In the bush Barrow Creek way c1996. collection of works from Papunya Tula artists was further enhanced through the acquisition of a pair of small works by Warakurna Mick Namarari Tjapaltjarri from 1994 which will compliment Carol Maayatja Golding is one of the leading artists at the Gallery’s later works by Namarari. In addition two large Warakurna Artists, which was established in March 2005 to paintings by the leading female artists Yukultji Napangati and service the remote communities of Warakurna, Wannarn and Walangkura Napanangka were purchased. Yukultji Napangati’s Tjukurla in the Ngaanyatjarra lands. Warlu Tjukurrpa 2006 is an intricate detailing and refined application of paint offers a exceptional example of Golding’s work and is drawn from the sharp contrast to the work of the older generation of female first Sydney exhibition of works from Warakurna. In Warlu artists which is exemplified by bold use of colour and textural, Tjukurrpa Golding offers an array of dotting techniques that

20 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Mabel Juli, Karngin Ngarranggarni 2006, natural earth pigments on canvas, Patrick Mung Mung, Ngarrgoorroon country 2006, natural earth pigments on 182 x 152 cm stretcher. Purchased with funds provided by the Aboriginal Collection canvas, 152 x 183 cm stretcher. Purchased with funds provided by Warawara Benefactors Group 2006 © the artist courtesy Warmun Arts Centre Department of Indigenous Studies, Macquarie University 2006 © the artist courtesy Warmun Arts Centre enliven the canvas, celebrating the artist’s intimate knowledge Wirrimanu of the Warlu site and the richness of this desert environment. Kathleen Padoon Napanangka is one of a new generation of artists coming to the fore at Wirrimanu (Balgo). She is known Yulparji for her predominantly red and white paintings and etchings of Alma Kalaju Webou is a respected elder of Yulparija Artists Nakarra Nakarra (the Seven Sisters), in which a patchwork based at Bidyadanga (La Grange). The Gallery has purchased of red and white dotted segments stretch across the work. two of her works based on the site of Pinkalarta which show With their simple composition and restricted palette they are the mayl (bush food) and jila (living water) of this region. These in stark contrast to works by other artists from Wirrimanu. works are the first paintings to enter the collection from the The Gallery has acquired a selection of three etchings by Yulparija language group and also from the Bidyadanga Padoon which will complement the Gallery’s select group of community. Bidyadanga itself is on the land of the Karrajarri etchings by Wirrimanu artists. people, but has been home to the Yulparija since the severe droughts of the 1960s forced them to leave their desert Collection gifts country and move to this coastal community. This has resulted In addition to the works acquired, the Gallery has received in vibrant, energetic works that combine desert imagery with a number of significant gifts. Rabobank gifted the Gallery the a bright coastal palette. limited edition print portfolio Duyfken, which was produced in July 2006 to commemorate the 400th anniversary of East Kimberley Dutch–Australian relations. The title of the portfolio is drawn The Gallery has added two exceptional works to its holdings from the name of the first Dutch ship to land on Australian from the East Kimberley. Mabel Juli’s Karngin Ngarranggarni shores, the Duyfken or Little Dove. The Duyfken portfolio 2006 is a minimalist work dominated by strong iconographic brings together 10 Indigenous artists from across the country forms seemingly floating in space. These forms are the with diverse art practices, resulting in an important collection distinctive elements of Juli’s Karngin Ngarranggarni (Dreaming) of works that explore the notion of ‘first encounters’ in a which tells of Karngin (the moon man), his story of inappropriate number of ways. The portfolio was launched at the Art Gallery love and his constant presence each month as the new moon. by Crown Prince Willem-Alexander and Princess Máxima of Patrick Mung Mung’s richly coloured works set them apart the Netherlands. from other artists working in Warmun today. In his work the viewer is offered sweeping aerial views of Ngarrgoorroon, as if Mr Peter Clemenger generously gifted the Gallery, Kiwirrkura simultaneously flying over the landscape, while being grounded land claim painting 2001 by Bobby West Tjupurrula. Tjupurrula within it. Mung Mung’s meticulously dotted and detailed hills is an important member of the Kiwirrkura community and one are reminiscent of the work of the earlier generation of Gija of the more political of the Papunya Tula artists. This work artists including his father George Mung Mung, highlighting the focuses on the Tingari Tjukurrpa site of Marawa and the artist’s respect for these men who were his teachers. surrounding areas which form a considerable part of the region subject to the Kiwirrkura Native Title claim. The determination Ernabella of the Native Title claim was handed down on 19 October Harry Tjutjana is an extremely talented emerging artist from 2001, at the small community of Muyin, due to the early wet Ernabella, South Australia who only started painting in the season flooding at Kiwirrkura and this work formed the last few months of 2005. In addition to the three works by backdrop to the landmark event, which finally granted the Tjutjana purchased in early 2006, the Gallery has purchased Pintupi people rights to their homelands. another two works by Tjutjana, one on paper and one on canvas. Tjutjana is in his late 70s and his work reveals his Since 1998, Brenda L Croft has worked with digital media to seniority and wealth of cultural knowledge. Tjutjana’s works create images that layer photographs and text, exploring more herald an exciting new development in art from Ernabella. directly autobiographical subject matter. History and personal Hitherto the Ernabella artists have been known for a distinctive memory intersect in the series In my father’s house 1998, regional style featuring ‘paisley’-like motifs and decorative where Croft uses family snapshots, religious imagery and elements. language to consider her own experience of growing up in

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 21 the ‘suburbs’ with a white mother and an Aboriginal father Modern and contemporary who was stolen from his parents under government policy at A major acquisition for the international department this year the age of two. In these works Croft interrogates cultural was Maurice de Vlaminck’s Les voiles blanches à Chatou difference in Australia and exposes the personal impact of this 1906. The Gallery has long been looking for a great Fauve on her family. The artist generously gifted 17 works from this painting and now thanks to the generosity of the Art Gallery of series to the collection. New South Wales Foundation and the Margaret Hannah Olley Art Trust we have been able to secure a good early example. INTERNATIONAL ART Geoff and Vicki Ainsworth have continued their generosity to European paintings pre-1900 the Gallery by gifting Paul McCarthy’s film Painter 1995. This No acquisition of paintings or sculpture was made this year, film is a well-known example of the artist’s parodic work which but a number of important items came in on loan. The Gallery provides a lively edge to our more conceptual performance benefited from the generosity of the National Gallery of collection. The Ainsworths also gave the Gallery a set of boxed Australia (NGA) who lent five important old masters. A 14th- prints, Drypoint on acid 2006, by the up-and-coming American century gold-leaf and tempera painting by Jacopo di Cione artist Barry McGee. is now the earliest post-Classical European work in the building. The NGA’s two Peter Paul Rubens paintings, a self From the Biennale of Sydney we have acquired a large canvas, portrait and the Sketch for the triumphal entry of Henry IV into Construction site 2005–06, by the Yugoslavian artist now living Paris, 22 May 1594, add two outstandingly important 17th- in Singapore, Milenko Prvacki. We have also been able to century paintings, while a pair of seacapes by Joseph Vernet acquire a set of watercolours Correct figures/incorrect figures make a welcome addition to the display of 18th-century 1979 by Svetlana Kopystiansky made while she and her artist continental European art. Another highly important loan husband were still living in the Soviet Union. This set of received this year from an anonymous private collection is beautiful but ironic images provides a historical reference to Lord Leighton’s marble version of An athlete wrestling with earlier acquisitions by the Gallery of the film Incidents 1996–97 a python, one of only three full-scale examples of this seminal and the installation Trainer 1992. For many years we have sculpture made by Leighton himself, and a work credited noticed works by the Australian-born artist Lawrence Carroll with originating the British New Sculpture movement of the appearing in major exhibitions around the world and yet he late-19th century. had never had a presence in his homeland. This year we have European prints, drawings and watercolours finally put this right by acquiring a significant example of his Mr C John Keightley donated an engraved portrait, Robert sculpted paintings, Double sleeping painting 2006. Janius 1654 by Cornelis de Visscher. Also during the year the The contemporary Australian collection was enhanced through Gallery purchased a full set of lifetime impressions of William major acquisitions which updated the representation of key Hogarth’s most famous engraved series, A harlot’s progress artists, as well as introducing the work of artists new to the 1731; a complete set of 17 wood-engravings by the artist-poet collection. Janet Laurence’s poetic and evocative In stance of William Blake, The pastorals of Virgil 1821; Auguste Rodin’s memory 2005 combines all the elements that have made her Portrait of Victor Hugo 1885 drypoint; James Tissot’s The practice so distinctive and memorable over the last decade. widower 1877 etching, the painted version of which is in the Panels of clear material have poured and spilled chemicals Gallery’s collection; Samuel Palmer’s The sleeping shepherd and substances over photographic images of the 1857 etching; and Edouard Manet’s Olympia – small plate claustrophobic courtyard spaces of the Jewish Museum in 1867. A rare lithograph by Jean-Auguste-Dominique Ingres Berlin. It is a haunting work that evokes memory and tragedy. was purchased at auction in Paris, Four portraits on one stone: Lady Glenbervie; Lord Glenbervie; The Hon Frederick Sylvester A magnificent nine-panel painting by Tim Johnson’s Lotus born North Douglas; The Hon Frederick North 1815. This lithograph 2006, was purchased. This work continues Johnson’s visionary is directly related to the Gallery’s only drawing by Ingres, The and often eclectic search for artistic and spiritual connections Hon Frederick North 1815, which was presented by James between cultures and countries. It will feature in the Tim Fairfax in 1992. Johnson survey exhibition that is being co-curated by the

22 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 from left:

Auguste Rodin, Portrait of Victor Hugo 1885, drypoint, 22.2 x 17.5 cm. Purchased with funds provided by John Schaeffer 2006

William Hogarth, A harlot’s progress: plate 2 1732, engraving, 31.4 x 37.9 cm platemark; 47 x 59.2 cm sheet. Purchased 2006

Loretta Lux, The waiting girl 2006, Ilfochrome print, 38 x 53 cm image. Purchased with funds provided by the Photography Collection Benefactors Program 2006 © Loretta Lux. Torch Gallery, The Netherlands

Gallery and the Queensland Art Gallery. Robert Rooney’s enhanced the Gallery’s ability to rotate its various displays painting Petrouchka dead (or a bullet in the ballet) 2004 from more frequently. Many of these acquisitions were made with the series Balletomania finds inspiration in the radical modernist the assistance, financial and other, of the numerous donors design employed in early 20th-century avant-garde theatre and and supporters to whom the Asian Art Department is ballet. Rooney paints in a flat, almost schematic style which particularly indebted. sits between representation and hard-edge abstraction. The Asian Art Department was pleased to appoint Dr Khanh The Gallery also acquired the memorable and much- Trinh Pompili, formerly at the East Asian Museum in Berlin, as photographed room installation Atomic: full of love, full of its curator, Japanese art. Apart from working on the research, wonder 2005 by Nike Savvas that was exhibited in Adventures conservation and display of its main collections of East, South with form in space: the fourth Balnaves Foundation Sculpture and Southeast Asian art, this year members of the Asian Art Project. This shimmering field of coloured balls which evoked Department also worked on its Islamic collections so they the Australian landscape is one of the most popular could be shown at the time of the splendid, temporary Arts contemporary artworks the Gallery has ever exhibited. of Islam exhibition. This project involved working with conservators and visiting exhibition curator, Charlotte Schriwer, All these works were acquired with funds raised by the to catalogue and conserve our small holdings of Middle Contemporary Collection Benefactors (CCB) which continues Eastern ceramics and miniature paintings which had rarely to be the most important source of funding for acquiring been exhibited to date. contemporary Australian art. Chinese art The generous support of Andrew Cameron, along with the A very significant piece the Gallery acquired this year was the CCB and the Rudy Komon Memorial Fund, enabled the Gallery Chinese 6th-century Buddhist stele with Buddha and two to buy James Angus’s most ambitious sculpture to date, Bodhisattvas. With the generous help of a number of donors Bugatti type 35 2006. The winner of the Anne Landa Award for including the Art Gallery of New South Wales Foundation, the video and new media art, Monika Tichacek’s darkly erotic work Mary Eugene Tancred Bequest Fund, Jim & Janette Bain, Nick The shadowers 2004, entered the permanent collection and Curtis, Rowena Danziger AM & Ken Coles AM, Chum & Daniel von Sturmer’s Screen test 2004, also exhibited in the Belinda Darvall and Isaac & Susan Wakil, the Gallery was able Anne Landa Award exhibition, was acquired through the Rudy to purchase this exquisite leaf-shaped stele from the Northern Komon Memorial Fund. Wei period. Skilfully sculptured from limestone and with a PHOTOGRAPHY contemplative expression, the seated Buddha is dressed in voluminous robes and positioned between two Bodhisattvas. Due to generous gifts, especially from Lewis Morley, the On the reverse of the stele, a similar grouping of figures, each Gallery’s photography collection was able to grow substantially on a lotus pedestal, is incised into the stone itself. The stele is this year. Morley can now be represented in depth, which was in excellent condition and still has traces of original pigment not possible before. Contemporary Australian and international evident on the surface. Incised on both sides of the stele are artists acquired this year who were not previously represented the names of the numerous donors who included monks, nuns in the collection include Fiona Pardington, Elaine Campaner, and laymen. The sculpture is a beautiful example of the type Trent Parke, Roger Ballen, Petrina Hicks, Loretta Lux and Ben of Buddhist stele important for worship during this period. Cauchi. An important photograph by Man Ray’s Mathematical object 1934–36, was acquired, as were photographs by Sue For the first time, the Chinese collection has been given a Ford, August Sander and Olive Cotton. The Cotton is a rare pair of husband and wife ancestor portraits, c 18th century, vintage print and is an important variation on Interior (my donated by Allan Brittain. Complimenting our already growing room) 1933, which is also held in the photography collection. rank badge collection, these portraits give the viewer some idea as to how badges were worn on garments. The Chinese ASIAN ART collection also had the welcome addition of a Qi Baishi This year the acquisition of a number of significant Asian art painting, Two mice and an oil lamp, gift of Nancy and Terry works has added range and depth to the collections, and Lee in memory of Nancy’s husband Charles, father of Terry.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 23

Painted in Qi Baishi’s later years, the subject of two mice eating cherries on a table alludes to the simple life this artist experienced in his youth. The Chinese works on paper collection was enriched with a gift of seven early 20th-century woodblock prints from Suzhou (one New Year print; six scenes from Beijing operas), presented by Zhaoxian Ding. Japanese art Another Japanese Noh theatre costume has been sought for some time so that the magnificent textile tradition of Japan can always be represented in our Japanese displays, hence the acquisition of a robe dated from the early 1800s was a welcome addition. Purchased through funds raised at a successful VisAsia dinner, the costume, known as an atsuita, was a type of outer garment worn for male performers. The robe is resplendent with bold motifs such as whirlpools (uzumoyo), dragon roundels and the Bishamon diaper pattern, and is an excellent example of this type of Noh costume. Another addition to the Japanese collection, through the generous support of Ann and Warwick Johnson, was the dynamic painting by noted artist Soga Sho-haku (1730–81) Dragon, An’ei era 1772–81. Depicting in ink a fierce dragon Japan, Noh theatre costume c1800, silk and gold, ikat dyed threads for the warp, emerging from mountainous waves, this hanging scroll is a brocade weave using flat strips of gilt paper, 134.5 x 137 cm. Purchased with funds fine example of the skilful technique, originality and power provided by the VisAsia Dinner Fund to commemorate the Goddess: divine energy characteristic of Sho-haku’s work. exhibition 2006 The Reverend Muneharu Kurozumi continued to donate opposite: contemporary Japanese ceramics, thus enabling the Gallery to China, Buddhist stele with Buddha and two Bodhisattvas 6th century, limestone with become the most important holder of Japanese contemporary traces of pigment, h 68cm. Purchased with funds provided by the Art Gallery of New South Wales Foundation, the Mary Eugene Tancred Bequest Fund, Jim & Janette ceramics in Australia. The donation this year of Bizen ware Bain, Nick Curtis, Rowena Danziger AM & Ken Coles AM, Chum & Belinda Darvall showcases the work of artists not yet represented in the and Isaac & Susan Wakil 2006 collection, although a number of them are related to artists already in the collection. Thus the Gallery is developing a coherent representation of the dynastic connections of such Consistent with the Gallery’s aim to develop its Southeast pottery families in Japan. After the success of last year’s Zen Asian collection, an Indonesian stone Osa’osa seat, c 19th mind Zen brush exhibition, the Gallery felt privileged to receive century, was purchased. This seat from Nias was used for two Japanese Zen paintings that had been in the show. ceremonial purposes such as rites of passage. Its presence in Kanzan and Jittoku by JIUN Sonja and YUSHO Zakkean and - the displays will offer the opportunity to understand customs Zen horse by Nakahara NANTENBO were given by Dr Kurt and ceremonies prevalent in this specific part of Indonesia. A Gitter, from whose collection the exhibition was compiled. Another addition provided by the Ed and Goldie Sternberg South and Southeast Asian art Southeast Asian Art Fund was a Burmese Head of a Buddha The Indian collection is growing appreciably and the Gallery from the 18th–19th centuries. The modelling of this piece is in was able to acquire a notable Indian painting this year with the a style characteristic of later Burmese sculpture. Remains of assistance of the Asian Collection Benefactors Fund. The Jain original pigment reveal the stonework underneath. invitation scroll from Rajasthan, c1760, known as vijnaptipatra, The Southeast Asian collection grew further with some rare is beautiful example of an invitation for a Jain monk to spend pieces given with the continuing generosity of Ross and Irene four months in the community of Sirohi. Depicted are scenes Langlands of Nomadic Rug Traders. Outstanding among their of the town and what he might expect to experience if he gifts is an imposing Penji memorial grave marker from East accepted the invitation. The Gallery purchased Lotus-clad Sumba, Indonesia from the late 19th century. The work has Radha and Krishna c1700–10, a watercolour painting depicting engraved on it a number of symbolic narratives and of the lovers Krishna and Radha at play dressed in pink lotus particular interest is the image of a weaver, complimenting the petals, referencing phulasjya or flower dressing, a common many textiles from the region already in the collection. religious practice for portraying venerated images. An early 18th-century example of Mankot painting and very similar to Over the years Judith and Ken Rutherford have been extremely a work exhibited in the Goddess: divine energy exhibition, the kind donors to the Asian art collection. This year we were painting is fresh and romantic. A Madhubani painting of the fortunate enough that they continued their donations with a Ten Great Wisdoms (or goddesses) that was in the Goddess number of very rare Vietnamese rank badges from the 19th exhibition was a welcome gift from the Portvale Collection. and early 20th centuries. These badges, once assumed to be Chinese, have now been identified and acknowledged as Andrew and Ursula Tompkins kindly donated works from belonging to the Vietnamese courts which followed customs in Pakistan and Afghanistan, as well as a 20th-century China but had their own distinctive style. With this gift and a manuscript (kammavaca) from Burma. Another gift was a number of other pieces from past years, the Gallery was able beautiful Tibetan gilt bronze figure of Kubera from Sarah to exhibit the extensive range of rank badges in the Asian Mitchell in memory of her father Raymond Mitchell. collection, the largest in an Australia public collection.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 25 Exhibitions and audiences During the year the Gallery attracted over 1.3 million visitors, with over 308 000 participants in programmed events across all areas of the Gallery including the public programs accompanying the major exhibitions. This year’s exhibition and audience program was the most complex and far-reaching in an Australian art museum.

AUSTRALIAN ART For the Australian Art Department, the year was one of research and preparations for major exhibitions on Sidney Nolan, Bertram Mackennal and Jan Senbergs scheduled for display later in 2007 and 2008. The majority of the exhibitions Mollie Gowing activity this year was centred on the collection – with two medium-sized displays and a lively program of Australian Collection Focus displays. Project Space iconic Heidelberg school paintings by Arthur Streeton, Tom The major collection exhibition for the year was Australian Roberts, Charles Conder and Frederick McCubbin were lent etching and engraving 1880s–1930s, held in the Gallery’s to the Australian impressionism exhibition organised by the Project Space on the entrance level. Drawn entirely from the National Gallery of Victoria and our best George W Lambert Gallery’s rich holdings, this exhibition of more than 130 prints paintings, to the National Gallery of Australia’s George afforded an ideal opportunity to showcase important works Lambert retrospective. This created a dramatic shortage by Australian artists from a period when artists’ prints were at of important works in Court 9 but provided a relatively rare a high point of activity, popularity and prestige. opportunity of a temporary rehang with seldom-seen works from storage. The exhibition put many prints on display for the first time in decades, while some recent acquisitions were shown for the Australian Collection Focus first time. A comprehensive online catalogue was produced The Australian Collection Focus Room featured a richly and is available via the Gallery’s website. varied program of displays with continuing support through sponsorship by Macquarie Bank. The year began with From December to February, the Project Space was hung a display of European sketchbook drawings by Frank with Australian abstraction 1965–85: from the collection. Hodgkinson, documenting his travels in Europe following This exhibition featured a selection of paintings, sculpture World War II and featuring images of Italy (particularly and works on paper reflecting the abstractionist movement Florence), Paris and England; a gift to the Gallery from the in Australian art from its zenith in the late 1960s until the artist, shortly before his death in 2001. Following this was mid 1980s when its dominance was challenged by the rise a display of works from the collection by Carl Plate. Plate’s of conceptualism. As well as featuring some of the more intuitive and expressive paintings, drawings and prints were prominent practitioners of the period, the display enabled founded in his interest in nature, landscape and organic several infrequently seen works by lesser known artists to forms, with a commitment to abstraction. His work shows a be displayed in context with others of the period. remarkable affinity for harmonious form and composition and, Dobell Prize for Drawing particularly, lyrical colour. The exhibition presented paintings, The 2006 Dobell Prize for Drawing was judged by independent prints and drawings including a number recently acquired for curator and former senior curator of prints and drawings at the the collection and not seen in public before. National Gallery of Victoria, Irena Zdanowicz, on 24 September. During 2007 the Focus Room featured a selection from the Coordinated and hung by Australian Prints, Drawings and promised gift of works by Albert Tucker. They were paintings Watercolours staff, the exhibition opened on 29 September. and drawings lent to the Gallery by the artist’s widow Barbara The prize of $20 000, sponsored by the Sir William Dobell Art Tucker, intended as an eventual gift to the collection. Other Foundation, went to Melbourne artist Nick Mourtzakis for his displays included large-scale photographs by Anne Zahalka drawing nature insects plants flowers. shells fish corals. the and a focus on Arthur Fleischmann, Paradise then: Arthur microscopic creatures. dreams. As a condition of the prize, the Fleischmann in Bali 1937–39. Fleischmann had intended to winning drawing automatically entered the Gallery’s collection. publish a book, Bali through a sculptor’s eyes,following his The department also provided support for the annual move to Sydney during World War II, but it did not eventuate Archibald, Wynne and Sulman prize exhibitions; particularly until this year when, through the efforts of his widow and son, in the form of comments to the media and talks to various it was published by Pictures Publishers in the Netherlands and groups. This year Barry Pearce, head curator of Australian Art, launched by the governor Professor Marie Bashir, at a function was a judge for the Salon des Refusés, selected from the hosted by the Art Gallery Society. The Focus display included rejected Archibald and Wynne entries for display at the several of the artist’s exquisite sculptures, a recently acquired S H Ervin Gallery in Sydney. sketchbook and a selection of photographs. Collection loans Perhaps most colourful and crowd-pleasing among Focus Significant loans from the Gallery’s permanent collections were displays this year was an installation exploring the inventive made this year to both the National Gallery of Victoria and the genius of Sydney artists Peter Kingston and Martin Sharp; two National Gallery of Australia. The majority of the Gallery’s of the central figures of the infamous Yellow House in Kings

26 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Gifted: contemporary Aboriginal art, the Mollie Gowing Acquisition Fund exhibition (2 December 2006 – 24 June 2007)

Cross during the 1960s. In those halcyon days of the hippy, 1973 from display at the studio to display at the Gallery for anti-establishment era, these two artists produced images of the first time since 2000. A reprint of the Alchemy catalogue satirical humour and pop imagery in which art, theatre, music originally published by Whiteley in 1973 and a specially and writing coalesced in a way that was entirely unique in created Alchemy concertina card education kit were available Australian art. The title of the display, Notes from the River to the public to coincide with this special display. Caves: Peter Kingston and Martin Sharp, derived from their involvement with Luna Park in the late 1970s. Kingston and For the first time since the establishment of the Brett Whiteley Sharp subsequently became more widely known as crusaders Studio in 1995, the studio has secured substantial in their efforts to save and restore the iconic funfair. sponsorship: a three-year sponsorship from JP Morgan now provides free admission to the studio. Attendances reached a Artexpress 2007 record 3799 for April to June 2007 when the free admission Artexpress, now in its 24th year, continued to present HSC was introduced. Compared with the same three-month period excellence in the visual arts at the Gallery. Overall it attracted in 2006, this represented a 48.6% increase. approximately 120 000 visitors, including 22 172 booked students, an increase of 9% on the previous year. Several of the other interesting events held for and on behalf of the studio included Flamenco @ Whiteley in conjunction The innovative InsideARTEXPRESS mini-website, now in its with International Day of People with a Disability on Saturday third year, was further developed to incorporate education 2 December 2006. Discussion tours and drawing workshops content that supports the exhibition, including years 7–12 for primary and secondary schools, tertiary colleges and inquiry questions, connections and investigations of the special interest groups were held on Thursdays and Fridays Gallery’s collection, examples of exhibiting student visual art throughout four school terms. Studio Zoo (in association with diaries, a virtual tour of the exhibition and, for the first time, Taronga Park Zoo Education Centre) continued to be highly a curator’s podcast. successful with primary schools, and a very successful open The website has had 36 528 visits in 2006–07, with 19 488 house and talk was held at Wendy Whiteley’s Lavender Bay visits during the exhibition’s display at the Gallery. This home on Sunday 31 March 2007, organised by the Art Gallery represents a growth of 40% on the previous year. The website Society and attended by the maximum capacity of 80 people. continues to receive extremely positive feedback from students The Gallery would like to acknowledge and thank Wendy for and teachers and has become a key resource for Sydney her continued significant support and promotion of the studio. metropolitan and regional NSW schools and galleries, many of ABORIGINAL AND TORRES STRAIT ISLANDER ART whom engage with Artexpress, both at the Gallery and in their local area through the Artexpress regional tour of NSW. The Aboriginal and Torres Strait Islander Art Department spent the year working on displays of the permanent collection in the Brett Whiteley Studio Yiribana Gallery and planning for touring exhibitions from the A varied and interesting selection of exhibitions and programs National Gallery of Victoria and the National Gallery of Australia, was presented at the Brett Whiteley Studio during the year. Kitty Kantilla and Michael Riley: sights unseen, respectively. Following closure of Ink: Whiteley and others in August, Seasons Two major exhibitions, one of portrait photography and the highlighted drawings and paintings focusing on landscape and other a retrospective of a Western Desert artist’s work, are in was followed by the 2006 display of finalists from the Brett development. Also proposed is a survey of south-eastern Whiteley Travelling Art Scholarship. There were 119 entries for Aboriginal art and a number of Focus exhibitions. the 2006 Brett Whiteley Travelling Art Scholarship, which was awarded to Sydney artist Samuel Wade by the guest judge Gifted: contemporary Aboriginal art, the Mollie Gowing and artist Garry Shead, Edmund Capon, Gallery director and Acquisition Fund Barry Pearce, head curator of Australian Art. In mid 2006 the Yiribana Gallery showcased a selection of In early December the studio showed 9 shades of Whiteley, works drawn from the Gallery’s permanent collection, with a mini-retrospective of key works from throughout Whiteley’s subtle changes every few months as recent acquisitions were career. This exhibition required additional space for the display highlighted. Gifted: contemporary Aboriginal art, the Mollie of large works and provided an opportunity to bring Alchemy Gowing Acquisition Fund was displayed in the Gallery from

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 27 Anselm Kiefer, Palmsonntag 2006, mixed media. Loaned on behalf of the Trustees for Guy and Marion Naggar © Anselm Kiefer courtesy White Cube Gallery, London. Anselm Kiefer: Aperiatur terra exhibition (19 May – 29 July 2007)

December 2006 through to the end of June 2007. This A lecture was presented in conjunction with the Sydney collection-based exhibition brought together for the first time Writers’ Festival, titled The book in art and delivered by significant works the Gallery purchased through the support Andrea Stretton. The lecture explored the way many artists of long-time Indigenous art patron Mollie Gowing. The Mollie across the centuries have conveyed the potency of the book Gowing Acquisition Fund was established in 1992 and the as a symbolic object, from surrealists and futurists of the early inaugural purchase was the iconic work by Emily Kam 20th century to Anselm Kiefer, Joy Hester and the text work of Ngwarray, Untitled (Alhalkere) 1992. Since this time a artists from the Chinese creative diaspora, including Xu Bing’s staggering 380 works have been ‘gifted’ to the Gallery extraordinary A book from the sky. with funds provided by Mollie Gowing. This presentation An incomplete world: works from the UBS Art Collection of this collection paid tribute to one of the most significant The Gallery also co-curated with the National Gallery of champions of Indigenous art and her ongoing support for the Victoria an exhibition from one of the world’s finest corporate Gallery. Works from across Australia and ranging in medium collections, An incomplete world: works from the UBS highlighted the diversity of Aboriginal and Torres Strait Islander Art Collection. This exhibition presented the work of 31 art practices and include major acquisitions by Mawalan international artists and explored ideas in art about our world Marika, Ginger Riley Munduwalawala, Queenie McKenzie, as it is today and the ways in which we live in it. Works by Ken Thaiday and local artist Roy Kennedy. A number of these Andy Warhol, Cindy Sherman, Lucian Freud, Damien Hirst, works were featured in a catalogue that accompanied the Gerhard Richter and many others reflected the broad thematic exhibition in the Yiribana Gallery. groupings of mapping place, the natural and built environments, A forum was held on the subject of collecting Indigenous art and portraits and people. An enlarged version of this exhibition in June 2007 with presentations by Wally Caruana (former will also tour to the Mori Art Museum in Tokyo next year. curator, National Gallery of Australia, and now independent A well-attended contemporary art forum was held on art consultant), Greg Mallyon (Birrung Gallery) and Allan Fife 19 May 2007 in association with An incomplete world called (corporate collector, Fife Capital and ACB member). The forum paper/scissors/rock: what makes the art world tick? It was was extremely popular and followed by afternoon tea hosted a roundtable discussion of the different social actors and by the Aboriginal Collection Benefactors (ACB) group. A full professionals in the contemporary art world, and how they page editorial feature on the program was published in the are all bound to each other; critic, dealer, artist, curator and Australian Financial Review. collector were all represented. The panel included Petra Arends, An Indigenous focus was also maintained on the ground floor collection executive of the UBS Art Collection; Edward Colless, with a changing display of selected works from the Aboriginal head of visual art history and theory, University of Melbourne; and Torres Strait Islander collection in the Australian and Peter Hill, art critic, artist and head of painting, College of Entrance courts. Fine Arts, UNSW; John Young, artist represented by Sherman Gallery, Sydney; Amanda Rowell, general manager, Roslyn INTERNATIONAL AND MODERN ART Oxley9 Gallery, Sydney; and Wayne Tunnicliffe, the Gallery’s Modern and contemporary senior curator, contemporary art; and was mediated by The Anselm Kiefer: Aperiatur terra exhibition was a selection George Alexander, the Gallery’s coordinator of contemporary of very recent work that represented a new direction for Kiefer. art programs. This show (originally scheduled for 2008) was brought forward A new initiative in film at the Gallery was the introduction of an when it was realised that the works selected were to be shown ongoing experimental film series made possible through the at White Cube, an influential commercial gallery, in London in UBS sponsorship of the Gallery’s contemporary art collection. January 2007. Inevitably all the works would be dispersed to Titled Expansive cinema, there were five full-day programs collectors worldwide and loans would prove very difficult to over the year held on Saturdays. These explored the enduring achieve given the fragility and vast scale of the works. The traditions and lasting influence of experimental and avant- problem was solved when White Cube invited the Gallery’s garde filmmaking, and were curated into categories such as Anthony Bond, head curator of International art, to curate the visual music, alchemy and found footage. Series 1–5 attracted exhibition in London and write the main catalogue essay in a an enthusiastic new audience of 1070 viewers who were hardback book associated with the exhibition both here and drawn to these rare screenings, which demonstrated the at White Cube. White Cube undertook to reserve all the works crossover between visual art practices and cinema. that sold on the understanding that they could come to Sydney. This is the most substantial exhibition of Kiefer’s work Balnaves Foundation Sculpture Project ever shown in Australia and constituted a new direction which This year’s Balnaves Foundation Sculpture Project featured was more colourful than works seen before and had a strongly the work of eight Australian artists – Hany Armanious, redemptive atmosphere. It also showcased the Gallery’s Damiano Bertoli, Claire Healy, Sean Cordeiro, Jonathan Jones, outstanding collection of major works by Kiefer, probably as Nick Mangan, John Meade and Nike Savvas – and was titled good a body of work by this artist as can be found in any Adventures with form in space. It explored how contemporary public museum collection in the world. artists are creating formally inventive work in diverse materials and yet are still exploring ideas and concepts through their The popular film series Landscapes of the mind: the films of chosen media. The works included Nike Savvas’ shimmering Werner Herzog, attracting 3606 viewers, was held in field of coloured balls, Damiano Bertoli’s fractured and conjunction with the Anselm Kiefer exhibition. A contemporary reconstructed iceberg, Hany Armanious’ richly inventive of Kiefer, Herzog was one of the key filmmakers in the new objects that emulate everyday things and Nick Mangan’s German cinema movement of the 1970s. Keenly aware of the totemic constructions. This exhibition proved to be very legacy of Germany’s recent past, both Herzog and Kiefer are popular with the public and had the highest press profile romantic visionaries with an epic sense of chosen subjects. of any contemporary exhibition we have undertaken.

28 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007

Giacometti: sculptures, prints and drawings from the Maeght Foundation Alberto Giacometti stands beside Pablo Picasso and Henri Matisse as one of the great masters of modern art. Best known for his unforgettable, hauntingly beautiful sculptures of the human figure, this was the first exhibition of Giacometti’s work in Australia and was toured by the Gallery to Christchurch, New Zealand. The Facing Giacometti forum – held in conjunction with the exhibition and in association with Pro Helvetia (Arts Council of Switzerland) – presented a range of leading experts to discuss aspects of Giacometti’s sculpture and graphic work as well as the fascinating milieu in which this extraordinary artist lived and worked. Speakers included Edmund Capon, Giacometti exhibition curator and Gallery director; Isabelle Maeght, the Marguerite and Aimé Maeght Foundation; George Alexander, Gallery coordinator, contemporary programs; Professor Paul Carter, Faculty of Architecture, Building and Planning, University of Melbourne; Terence Maloon, the Gallery’s senior curator of special exhibitions; Sylvia Lawson, adjunct professor, University of Technology, Sydney; Dr Jacqui Strecker, Giacometti exhibition coordinator; and Ursula Prunster, coordinator of public programs for the Gallery. In an event partnered with Alliance Française, Edmund Capon and Isabelle Maeght discussed – in French – the Giacometti exhibition and their collaboration in bringing to Australia, for the first time, 35 sculptures and 44 graphic works by the artist. Devoured by space was a drawing forum held in association with the exhibition whereby drawing practitioners were invited to discuss their work in relation to Giacometti’s drawing. The forum included Elizabeth Cross, curator of NGV’s Edvard Munch exhibition, and renowned Australian artists Mike Parr, Ken Unsworth, Euan McLeod, Peter Powditch and Nick Mourtzakis. Giacometti up close was a program devised for tertiary students focusing on Giacometti’s studio practice. This program incorporated drawing in the exhibition space in the hour before it opened to the public with an introductory talk by public programs staff. Ten well-attended Giacometti lectures and floor talks were held. Beautiful nightmares: Paris after the war, a film series was held in conjunction with the exhibition, explored how filmmakers were affected by the sense of transition and uncertainty in Adventures with form in space: the fourth Balnaves Foundation Sculpture Project post-war Paris. Stories tainted by war-time experiences exhibition (9 August – 13 September 2006). From top: Hany Armanious courtesy Roslyn Oxley9, Jonathan Jones and Nike Savvas explored death, imprisonment, fate, corruption and the fragile nature of existence. These rare screenings of imported 35mm prints from French archives attracted an enthralled audience of 5642, many of whom were seeing these classics of French cinema for the first time. Other contemporary projects The Art Gallery of New South Wales Contemporary Projects series produced another stellar year of exhibitions, with projects by video installation artist Brendan Lee, painters Tony Clark and John Wolseley, new media artists Michele Barker and Anna Munster and an exhibition of sculptural situations by Gail Hastings. This proposal-based program places the Gallery at the cutting edge of contemporary art practice because it is able to respond to art as it is evolving. Dr David Headon, cultural advisor to the National Capital Authority and director of the Centre for Australian Cultural

30 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Giacometti: sculpture, prints and drawings from the Maeght Foundation (18 August – 29 October 2006)

Studies, delivered a lecture in association with the Gail the Gallery. This was the first time Morley’s work had been Hastings, Sculptural situations exhibition, titled In search of thoroughly assessed by an Australian art museum. the ideal city: radical democracy in the Griffiths Canberra plan. A series of lectures and floor talks were programmed for the A lecture by Dr John Gregory, author of the exhibition exhibition including speakers: Judy Annear, exhibition curator; catalogue and lecturer from Monash University in Melbourne, Judith White, Art Gallery Society executive officer; Nicholas was presented in partnership with the University of Sydney Art Pounder, bookseller; Mervyn Bishop, photographer; Robert History and Theory Department as part of the Howard Arkley McFarlane, photographer and critic; Kitty Hauser, research exhibition. fellow, University of Sydney; and Gael Newton, curator, National Gallery of Australia. The biannual Anne Landa Award for video and new media arts featured the work of seven Australian artists – Philip Brophy, The British new wave film series, held in conjunction with Daniel Crooks, James Lynch, Tony Schwensen, Grant Stevens, the Lewis Morley exhibition, examined the explosion of new Daniel von Sturmer and Monika Tichacek – revealing the energy in British cinema at the end of the 1950s. Young extraordinary breadth and depth of moving image art in this directors and a new breed of actors, many from working country. The works included Daniel Crooks’ imaginative class backgrounds, united to create a socially conscious, transformations of people and place liquefied into digital aggressively working class cinema, trampling taboos of sex dimensions, Daniel von Sturmer’s multi-channel video and class. The series attracted a total audience of 6139. installation of objects falling through space, Monika Tichacek’s A solid program of collection exhibitions is now occurring on breathtaking exploration of the eroticised body and Tony level 2. In late 2006 and early 2007 photographs from Bill Schwensen’s endurance performance in the packing room Henson’s various series were shown. This was followed in of the Gallery. April 2007 by the very popular Blossfeldt & the isolated object, UBS sponsorship which focussed on European modernist photography and its A major undertaking for this year was the publication of the influence on contemporary photography worldwide. contemporary collection handbook, Contemporary: Art Gallery of New South Wales contemporary collection. This substantial ASIAN ART publication features nine essays, 164 artists and 465 Goddess: divine energy photographs of works. It was launched in September 2006 The biggest event of the year was the exhibition Goddess: along with a new hang of the contemporary collection galleries, divine energy, curated by Jackie Menzies, head curator of contemporary website, public programs, film programs and Asian art, with assistance from Chaya Chandrasekhar, associated events. This launch heralded a new focus on the curator of South and Southeast Asian art, and held in the contemporary collection within the Gallery. This focus was Gallery’s major exhibition space. Introducing goddesses from made possible through the very generous sponsorship of the India, Tibet and Nepal dating from as early 2000 BCE, the contemporary collection programs by UBS for three years. exhibition presented the various forms the goddess could take, from Kali the dark goddess to Radha, Krishna’s PHOTOGRAPHY consuming love. The exhibition, with over 150 works gathered The year began with the very popular exhibition Lewis Morley, from around the world, attracted viewers both young and which presented a comprehensive view of Morley’s long career old from diverse backgrounds. The exhibition, the first of its as a photographer. Morley generously donated the bulk of the kind in Australia to look at the divine goddesses in both Hindu photographs in the exhibition to the permanent collection at and Buddhist art, was one of the largest held by the Gallery,

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 31 The goddess Durga was blessed in a traditional Hindu ceremony with offerings of flowers, incense and sweets, and celebrated with dance, drumming and a procession.

and was nominated ‘exhibition of the year’ by The Australian in a Hindu ceremony with offerings of flowers, incense newspaper’s art critic, Sebastian Smee. and sweets and celebrated with dance, drumming and a procession. The icons were driven to an idyllic location on The exhibition was accompanied by events, films, a major the Parramatta River for the final immersion. The traditional publication, a symposium, a commissioned music CD, and drummers for the Durga celebrations from Bengal took part a month-long installation relating to the goddess Durga. in the holiday performance program and the craftsmen also It was the focus of public programming for the summer of offered children’s workshops. 2006–07. The exhibition opened with an extensive symposium running over two days and featured lectures by contributors of The biggest success for this exhibition was an ambitious exhibition catalogue essays including John Guy of the Victoria program of dance performances. These performances were and Albert Museum, Himalayan art expert Jane Casey and held twice a day every Sunday, from October 2006 until the Madhu Khanna of the Indira Gandhi National Centre for the Arts. end of January 2007 and throughout the school holidays in January 2007 for a two-week season. The dances were There were many well-attended lectures, talks, tours and performed by different dance schools each week, encouraging performances throughout the exhibition, which also introduced repeat visitation. A major appeal of this program was its ability international visitors including Kali Ray, TriYoga founder from to bridge all age groups and provide audiences with an the US; Kulavadhuta Satpurananda, a tantra expert from opportunity to contextualise aspects of the Goddess: divine Sikkim; and the Venerable Robina Courtin, a Tibetan Buddhist energy exhibition. Due to its success, further thematic nun who directs the Liberation Prison Project. programs will be developed for future holiday programs. A remarkable event took place during January 2007. Durga: The Gallery’s Public Programs Department also conducted creating a goddess engaged the Crafts Council of West Teachings which explored the cultural and religious beliefs Bengal to create the traditional icons for the Durga festival as associated with the goddess through a series of talks and celebrated in Calcutta. Three craftsmen started with forming ceremonies by local and international religious leaders and the base of the sculptures in straw, covering them with layers practitioners. These included ‘Devi dance’ by Kali Ray; ‘Ten of clay and, for completion, brightly painting and elaborately aspects of the Mother Goddess: Mahavidyas’ by Kulavadhuta dressing the figures. Located in the café circulation area, the Satpurananda; ‘Tara: Buddhist Mother Goddess’ by entire process was on view to the public and broadcast over Kulavadhuta Satpurananda; and ‘Developing our Buddha the internet via a webcam. In Indian tradition the goddess is nature’ by the Venerable Robina Courtin. immersed in the Ganges, starting the cycle for the next year. The Indian community cooperated with the Gallery to offer an The Dreamgirls film series (1 November 2006 – 28 January authentic celebration for Sydney. The goddess was blessed 2007), celebrating some of the goddesses of Asian and

32 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Goddess: divine energy exhibition (13 October 2006 – 28 January 2007).

Western cinema in films from India and China as well as Western series of dharma talks, followed by artist demonstration classics, was an outstanding success, attracting 8787 visitors. screenings of a new documentary A Zen life: D T Suzuki. Visits from seven calligraphy artists attracted hundreds of curious Chinese art visitors wanting to try writing with brush and ink. Brush and ink The Modern Chinese prints: from we to me exhibition, curated was also the focus for the children’s holiday workshops led by by the Gallery’s Liu Yang, curator of Chinese art, utilised Hiroko Nagafuchi. Chinese prints from the permanent collection along with some works from the University of Sydney Art Collection. The works A very successful exhibition curated by Philip Brophy was looked at the cultural changes occurring in China from the Tezuka: the marvel of manga, organised by the National Gallery 1930s to the present. Addressing the societal issues pertinent of Victoria. It highlighted Japanese manga (comics) drawing to the collective masses during the Cultural Revolution and to works from the famous manga and anime artist Tezuka Osamu the discovery of the individual self in society, the exhibition (1928–1989), who was most known in the west for the Atom dealt with how such concerns were expressed in the art of the Boy and Kimba the white lion television series. He was also print. The exhibition also drew some attention to the earlier recognised for his complex manga stories, which were to print works of artists who are now significant players on the inform a generation of Japanese children and also adult contemporary Chinese art scene. readers, many of whom continue to read his manga stories to this day. Early Chinese bronze from the Luoyang Museum was a unique presentation of Chinese bronze from the collection of the The Studio Ghibli film series, mounted in conjunction with this Luoyang Museum in Henan Province. The small group of exhibition, represented the output of one of the world’s seven superb bronze vessels was representative of a period of foremost animation studios, and one of the most significant in Chinese bronze casting from the Shang to the Warring States Japan, which is dedicated to animation as an art form with dynasties (c1600–c221 BCE). The show gave audiences a continually expanding horizons. This series attracted a large glimpse into the high quality, originality and beauty of youthful audience of 8828, many of whom were first-time unexcelled Chinese bronze artefacts, and provided insight into visitors to the Gallery and attended the series regularly over its the history and development of one of China’s most vibrant 10 weeks. and enduring cultures. Contemporary Asian art Japanese art In line with maintaining a continued presence of contemporary The Zen mind Zen brush exhibition, which commenced in mid Asian art, the Gallery presented the exhibition Ishiuchi Miyako: June 2006 and continued into this reporting year, was mother’s, an exhibition originally shown for the first time at the supported by public programs including an ‘Experience Zen’ 2005 Venice Biennale and curated by Michiko Kasahara of the

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 33

The arts of Islam: treasures from the Nasser D Khalili Collection exhibition (22 June – 23 September 2007)

Students visiting The arts of Islam: treasures from the Nasser D Khalili Collection

Tokyo Metropolitan Museum of Photography. These haunting In a special program, the former NSW premier Bob Carr photographs are of Ishiuchi’s mother before her death and interviewed Professor Khalili about his remarkable collection. the desolate objects she left behind afterwards such as used This event was fully booked, attracting 320 participants. lipstick case, shoes, undergarments. The exhibition gave a The arts of Islam free lecture series on Fridays at 1pm sense of voyeurism, perhaps sympathetic to what can be presented local and international speakers on Islam’s lost in life, yet at the same time conjured up impressions sophisticated traditions in philosophy, cosmology, architecture, relating to a reminiscent past, held in those objects once design, the art of calligraphy and the sacred cultures of the used in a lifetime. book, and attracted a strong following. The arts of Islam: treasures from the A major 13-week series of Iranian films, The Iranian new Nasser D Khalili Collection wave, began screening in conjunction with The arts of Islam The end of the financial year saw the opening of the extensive exhibition on 13 June 2007 and attracted huge public interest. and magnificent exhibition The arts of Islam: treasures from the Many of the rare films were imported from Iran for this special Nasser D Khalili Collection. Held in the temporary exhibition series. The glories of Islam daily video screenings in the space, this major exhibition of Islamic works comes from what Gallery’s smaller 96-seat Centenary Auditorium were proving has been recognised as the best private collection of its type so popular in June that some visitors had to be turned away in the world. Coming from London, the exhibition had some to avoid overcrowding. 350 works on display in the most significant exhibition of its kind to come to Australia. The diverse artistic traditions of the Asian art collection exhibitions Islamic world were highlighted with works from as early as the In conjunction with the major exhibitions, the Asian Art 7th century up to the 20th century. While Professor Khalili and Department has also been able to highlight some aspects of his staff wrote and compiled the impressive catalogue that the collection through smaller exhibitions. This includes the accompanied the exhibition, in-house curatorial work at the exhibition of rank badges from China, Vietnam and Korea, Gallery was provided by Dr Charlotte Schriwer, a temporary showing the different types of badges produced in each region appointment to assist with the mounting of this important and and also their influences on each other. As well, through the timely show. continuing support of Japanese sword expert Colin McDonald, the Gallery was able to maintain a dedicated display of Programs for this major exhibition were continuing at the end Japanese swords. The Asian Art Department was also able of the financial year and will be reported on fully in next year’s to display its small holdings of Middle Eastern ceramics and annual report. However, early key events were successful, miniature paintings which have rarely been exhibited and including the Arts of Islam International Symposium, which which complimented The arts of Islam exhibition. was held on Friday 22 June and attracted 320 participants. This informative and scholarly program included contributions from Professor Khalili, Professor JM Rogers and Nahla Nassar, and was chaired by the Gallery’s head curator of Asian art, Jackie Menzies. The arts of Islam community day was held on Saturday 23 June with a free program of events including recitation of the Qur’an, music by the Ensemble of the Golden Age, a lecture on the Qur’an by Professor Khalili. Afternoon activities included Arabic calligraphy demonstrations, Iranian and Kurdish music by Jamal Rekabi and Turkish Music Egzotik. Volunteers from the Muslim community provided a free information service called 101 Questions about Islam, where they answered questions from the general public about Islamic culture and religion.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 35 Publications TITLES PUBLISHED 2006–07 Goddess: divine energy Jackie Menzies This year saw the publication of nine major new titles and 2006, 216pp, pb, 170 colour images one music CD. This lavish and engaging book surveys the imaginative expressions of the divine female found in the art of India, Tibet Two titles published to support major exhibitions from the and Nepal. Countless images of the goddess in Hindu and Asian program were of particular note. Goddess: divine energy Buddhist art depict her variously as seductive, benevolent, and The arts of Islam: treasures from the Nasser D Khalili malevolent: a loving mother, a compassionate saviour or rage Collection both proved to be an invaluable part of the personified. With her male counterpart she can be the exhibition experience. Goddess has now sold out and compliant consort, the passionate lover, or a symbol of the The arts of Islam was reprinted during the life of the exhibition. non-duality of ultimate reality. Both have attracted strong orders from overseas publishers and have worldwide distribution. To accompany The arts The arts of Islam: treasures from the Nasser D Khalili Collection of Islam exhibition, the Gallery also commissioned a music Michael Rogers CD, Ishq divine love. 2007, 272pp, pb, over 350 colour images The Nasser D Khalili Collection is the largest private collection A key part of the Gallery’s publishing program is the of Islamic art in the world. In this beautifully produced publication of ongoing series, in particular in the area of catalogue a selection of the finest works are reproduced and contemporary art. This year saw the publication of Anne Landa give an overview of the achievement of Islamic arts in Award 2006, the second in the series, and Adventures with architecture, painting, metalwork, jewellery and textiles. form in space: the Fourth Balnaves Foundation Sculpture The selection of works beginning in the 7th century not only Project. Contemporary: Art Gallery of New South Wales provides a window into the history of Islamic art and culture, contemporary collection is part of the ongoing commitment but also reflects its geographical diversity. to publish the Gallery’s collection in handbooks that are detailed, attractive and user-friendly. This title has found a Ishq divine love: music for The arts of Islam robust readership not only in the Gallery’s visitors but also 2007, CD in schools, and has been taken up strongly by general This disc is not a traditional Islamic recording. It is made up bookstores in Australia. of new compositions that respond to pictures and texts in The arts of Islam. It comes from the great traditions of Islamic Two other contemporary art titles were co-published with other music in scale, temperament, instrumentation and language. organisations. Anselm Kiefer: Aperiatur terra was published with White Cube in London and sold out during the life of the Contemporary: Art Gallery of New South Wales exhibition. An incomplete world: works from the UBS Art contemporary collection Collection was published in conjunction with the major Wayne Tunnicliffe sponsor UBS. 2006, 480pp, flexi, 200 colour images This book is one of the few to provide an accessible Giacometti: sculptures, prints and drawings from the Maeght introduction, in an easy-to-navigate format, to major topics in Foundation focused on works from the two most intense contemporary art over the last 30 years. Each of the 150 artists phases of the artist’s career – the Surrealist period from 1929 is individually listed along with key images and a 400-word to 1934 and the post-war period from 1947 to 1965 – explanatory text. The nine essays provide further development spanning the full developmental range of his mature style. The and explanation of key ideas and themes in contemporary art. inclusion of prints and drawings in this book emphasises the While the book covers international contemporary art, it has a importance of drawing to the creation of his sculpture. strong Sydney perspective, drawing on the Art Gallery of New South Wales contemporary collection, which serves to place In Australian and Aboriginal art there were two smaller Australian art in its international context. publications. Archibald 07 continued the popular practice of publishing all the prize finalists in a catalogue. Contemporary Giacometti: sculptures, prints and drawings from Aboriginal art from the Mollie Gowing Acquisition Fund the Maeght Foundation celebrated the wonderful benefaction of Mollie Gowing to the Edmund Capon Yiribana Gallery. 2006, 128pp, pb, 15 black and white images and 77 colour The book pays tribute to Alberto Giacometti as one of the Research for a proposed documentary series on Aboriginal most original and inventive artists of the 20th century. Each art – Art + Soul – has begun with a view to start writing in the work is represented by a full-page reproduction. Giacometti’s 2007–08 financial year. The series is being developed in portraits of individuals and groups of figures are regarded association with Hibiscus Films and has been supported by as legendary achievements in representing the condition of the Australian Broadcasting Commission and the Australian humanity in the 20th century. More importantly, they affirm Film Commission. the power of the artist’s imagination and creativity in transforming his observations of people into works which have extraordinary physical and emotional presence. Anselm Kiefer: Aperiatur terra Anthony Bond 2007, 89pp, hb, 70 colour images Anselm Kiefer is regarded as one of the most important and influential artists working today. This book reveals some of

36 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 37 the themes that Kiefer is currently exploring in his studio in PUBLICATION AWARDS France. One of these themes appears as a room dedicated to The high quality of our publications, including temporary Palm Sunday, with painting and sculpture, using mixed media exhibition websites, was recognised during the year with the such as date palms, thorns, clay and red oxide. Gallery presented with the following awards: Archibald 07 2007, 56pp, pb, 42 colour images ART ASSOCIATION OF AUSTRALIA AND Now in its third year this complete catalogue of the hung NEW ZEALAND AWARDS entries in the Archibald Prize has proved extremely popular. 2006 AAANZ University of Western Australia Prize for With a full reproduction of each painting, an artist statement Best Small Catalogue regarding the painting and short biography of the artist, it is Winner both a souvenir and a permanent record of one of Sydney’s Dr Liu Yang, The poetic mandarin, with Edmund Capon and favourite cultural events. Dr James Hayes, Art Gallery of New South Wales Anne Landa Award 2006 2006 AAANZ Power Institute Best Art Book Wayne Tunnicliffe Commendation 2006, 56pp, pb, 33 colour images Deborah Edwards, Margaret Preston: art and life, with Rose Peel, The Anne Landa Award is an important part of the Gallery’s Art Gallery of New South Wales programs, celebrating the strength and imagination of work being produced in the fields of video and new media arts. AUSTRALIAN PUBLISHERS ASSOCIATION – AUSTRALIAN Video is undoubtedly a staple of contemporary artistic PUBLISHERS AWARDS production and new media arts is now following suit. In the The Lamb Print (WA) Best Designed Exhibition past few years there has been a burgeoning of interest in Catalogue or Book these fields of practice and they have received much critical Winner and popular attention both in Australia and overseas. Art Gallery of New South Wales Adventures with form in space: the fourth Balnaves Sketchbook drawings by Kevin Connor in Sydney, Paris and Foundation Sculpture Project London Wayne Tunnicliffe Designer: Mark Boxshall, Art Gallery of New South Wales 2006, 72pp, pb, 45 colour images Highly Commended Part of the continuing series made possible by the Balnaves Art Gallery of New South Wales Foundation, this year’s book focuses on the work of younger Zen mind Zen brush: Japanese ink paintings from the Australians including Hany Armanious, Damiano Bertoli, Claire Gitter-Yelen Collection Healy, Sean Cordeiro, Jonathan Jones, Nick Mangan, John Designer: Vivien Sung, Art Gallery of New South Wales Meade and Nike Savvas. Commended An incomplete world: works from the UBS Art Collection Art Gallery of New South Wales Wayne Tunnicliffe Lewis Morley 2007, 176pp, pb, 70 colour images Designer: Karen Hancock, Art Gallery of New South Wales This publication presents the work of leading international artists including Andy Warhol, Roy Lichtenstein, Lucian Freud, MUSEUMS AUSTRALIA MULTIMEDIA AND PUBLICATION Damien Hirst, Andreas Gursky, Gerhard Richter and Cindy DESIGN AWARDS 2007 Sherman. Drawn from one of the finest corporate art collections Exhibition Catalogue Major – Level C in the world, this is an opportunity to view great contemporary Joint Winner works of art. The works selected for An incomplete world Art Gallery of New South Wales consider how we have shaped the world and how the world Sketchbook drawings by Kevin Connor in Sydney, Paris we have created shapes us. and London Several smaller exhibition catalogues were produced by the Designer: Mark Boxshall, Art Gallery of New South Wales Gallery during the year including Notes from the River Caves: Highly Commended Peter Kingston and Martin Sharp; A bird in the hand: Tony Art Gallery of New South Wales Clark and John Wolsley; and Brendon Lee: two birds with one Giacometti: sculptures, prints and drawings from stone. the Maeght Foundation Also, Contemporary Aboriginal art, the Mollie Gowing Designer: Analiese Cairis, Art Gallery of New South Wales Acquisition Fund pays tribute to Mollie Gowing, one of the Book – Level C most significant champions of contemporary Indigenous art. Joint Winner It included major works by Emily Kam Ngwarray, Ginger Riley Art Gallery of New South Wales Munduwalawala, Queenie McKenzie, Ken Thaiday and others. Contemporary: Art Gallery of New South Wales contemporary collection Designer: Analiese Cairis, Art Gallery of New South Wales Website B – Level C Winner Art Gallery of New South Wales Goddess: divine energy (www.goddessart.com.au) Designer: Jo Hein, Art Gallery of New South Wales

38 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Best in Show An incomplete world: works from the UBS Art Collection (All winners from each category were assembled (which went to the National Gallery of Victoria). for judges to review) Joint Winner The 9 shades of Whiteley education kit became available Art Gallery of New South Wales online in December 2006. This coincided with the retrospective Sketchbook drawings by Kevin Connor in Sydney, Paris and exhibition of Brett Whiteley’s major works, and included London curriculum-related questions and activities for students and Designer: Mark Boxshall, Art Gallery of New South Wales teachers. It can be downloaded through the Gallery’s education site or Whiteley website. Brett Whiteley’s Alchemy AUSTRALIAN REPORTING AWARDS online education kit had 1123 downloads over the year. Silver Award A series of teacher resource sheets examining strategies for Art Gallery of New South Wales looking at artworks, focusing on key works in temporary Art Gallery of New South Wales 2006 annual report exhibitions and the Gallery’s collection, were produced. These Coordinator: Trish Kernahan. resource sheets were made available to all teachers and tertiary students attending events or lectures within education programming, with the aim of supporting the development of EDUCATION KITS AND RESOURCES visual arts teaching for non-art specialists. The Education Department at the Gallery produced 11 education kits in 2006–07. This strategic mix of hardcopy and online formats continued to prove popular with over 8000 copies of these kits taken up by kindergarten to tertiary audiences. Hardcopy education kits were produced to accompany the exhibitions Goddess, Giacometti and Anselm Kiefer. The hard copy kits remain a core, hands-on resource for education audiences, but are also made available to download from the Gallery’s website. This strategy ensures that these resources, and through them the related exhibitions, are accessible to all education audiences, especially those in regional NSW. Collectively 3000 printed copies and 1327 downloads of the education kits were taken up by the audience. Online education kits continue to fulfil an important role as an efficient, economical, accessible and highly valued resource for metropolitan students and teachers, as well as regional audiences unable to visit the Gallery. These valuable education resources are widely used within NSW and across Australia, and are now gaining international attention. Seven education kits were presented solely online or in an extended format with a total of 2935 downloads by the audience. The continuing take up of online Gallery education kits is acknowledgment of their high-quality content and design, the growing importance of the internet in education and the audiences’ interest in the Gallery. The annual Archibald Prize: portraiture and the prize online education kit once again proved to be popular in 2007 for the duration of the exhibition. The important initiative to collaborate with leading K–6 and 7–12 teachers in the writing of the kit continued, as part of an ongoing strategy to incorporate the professional skills of classroom teachers into Gallery education resources. The project is an outcome of the continuing and successful partnership between the Gallery and Museums and Galleries NSW, the agency which tours the Archibald Prize regionally. The kit is also used as a key education and information resource at each NSW regional venue and Myers, Melbourne during the exhibition’s tour. Education kits (both hardcopy and online) have become a key component of the Gallery’s touring exhibitions. As well as Archibald Prize portraiture and the prize, education kits for touring exhibitions included Giacometti: sculptures, prints and drawings from the Maeght Foundation (this went to Christchurch Art Gallery Te Puna O Waiwhetu) and

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 39 Community, education and regional Art After Hours events associated with the Lewis Morley and Zen mind Zen brush exhibitions both drew appreciative The Gallery experienced another extraordinary year, with an audiences. Celebrity speakers included Lewis Morley, Tim array of ambitious and successful programs presented at the Ferguson, Bill Henson, Noel Tovey, Kylie Kwong, Elena Katz- Gallery and the Brett Whiteley Studio and with outreach Chernin and Margaret Throsby. Also featured in AAH were the programs at Moree, Albury and Byron Bay. Highlights for exhibitions Gifted: contemporary Aboriginal art, the Mollie education and general public audiences in 2006–07 included Gowing Acquisition Fund and An incomplete world: works Art After Hours and Film at the Gallery, both now consolidated from the UBS Art Collection with speakers Peter Holmes á core audience activities. Court, accompanied by special appearances from South The total attendances at public program events is summarised Sydney rugby league team members David Peachy and Nigel in the table below. Vagan for the Aboriginal Collection exhibition Gifted. Myf Warhurst, Louis Nowra, Jennifer Byrne and Andrew Upton Programs % Program visitors spoke in association with An incomplete world. Art After Hours – celebrity speakers 5 17 140 The Art After Hours 5.30pm curatorial talks program has Exhibitions & collection talks, attracted committed and diverse audiences. The audiences including Art After Hours 1 2800 range from student to engaged general visitor, and the Exhibitions, lectures and symposia 1 4980 speakers have been selected for both their knowledge of the Film at the Gallery 13 39 654 artworks and their ability to share their enthusiasm for the Sunday Concerts 3 8392 subject. During the year over 76 curatorial floor talks were Children and family programs 13 39 941 delivered during Art After Hours. Curatorial floor talks were Access programs 1 1708 conducted for the temporary free and paying exhibitions, the Tours by volunteer guides 19 59 251 Contemporary Project Space, the Australian Collection Focus Courses 6 20 408 Room, the modern and contemporary collections and the Education – primary 9 26 209 other permanent collection exhibitions. Due to the success of Education – secondary 24 72 916 Education – tertiary 2 5357 the 5.30pm curatorial talks they have been developed further Brett Whiteley Studio 3 9580 into a specific program of collection talks and curatorial or artists’ exhibition talks. Total100 308 336 In the AAH ArtBarr, special musical programs relating to the major exhibitions were presented throughout the year. ART AFTER HOURS Musicians included Pape Mbay, Stu Hunter, Sadool Singh, Art After Hours (AAH) has become a prominent feature of the Marharshi Raval, Harry Sutherland, Sub Bass Snarl, Sydney mid-week night-life calendar. The program continues Mr Percival, the Army Band and Davood Tabrizi. to develop and engage new audiences for the Gallery’s CHILDREN AND FAMILY exhibitions and collections. The successful celebrity speaker program attracted a wide spectrum of community groups who The popularity of Gallerykids programs continued in 2006–07 are drawn to the Gallery by accessible programming, which with the introduction of new programs for 3–5 year olds, enable them to engage more fully in the Gallery’s exhibitions. commissioned performances for temporary exhibitions and The Goddess: divine energy and The arts of Islam: treasures new thematic approaches to holiday programs in 2007. from the Nasser D Khalili Collection exhibitions, in particular, The regular 2.30pm Sunday and 1.30pm school holiday have provided excellent opportunities to introduce the Gallery performances also remained popular and the choice of to a multicultural audience and to program events profiling performers has been evaluated to meet the needs of the cross-cultural exchange. growing family audience with particular acts being offered more Art After Hours highlights this year included the well-attended opportunities to perform regularly. Since January 2007 holiday 14-week Goddess celebrity speaker program which engaged events have been themed to compliment major temporary wide-ranging audiences with some inventive new programs exhibitions. The positive effect of this move towards themed designed to illuminate different aspects of the exhibition. programs is evident in the increased visitor numbers for this These included Hindu Diwali celebrations, a sari fashion time period. The audience is provided with a comprehensive parade, Bollywood dancing, yoga classes and speakers and series of experiences throughout their time in the Gallery which performers. The program addressed diverse themes in the enhances their understanding of exhibitions and art. exhibition including philosophy and mythology of women in Hindu and Buddhist art. Speakers included Marcia Hines, New performances were commissioned for the Gallerykids Pru Goward, Kylie Kwong, Sarah Macdonald and Simon Borg- program: Open Stage Productions designed interactive Olivier. The Goddess celebrity speaker program attracted an storytelling/drama and were incorporated as ‘performers-in- audience of 6210 people. residence’ for contemporary exhibitions program in 2007. Open Stage also performed at special events for teachers in A ten-week celebrity speaker program for Archibald Prize 07 July 2006 and for a UBS ‘Family Day’ in May 2007. attracted a total audience of 4260. Speakers such as H G Nelson, Margaret Throsby, Clover Moore, Neville Wran, Paul The Etcetera Duo staged an ambitious portraiture-inspired McDermott and Peter Garrett spoke with great enthusiasm for ‘one-man’ performance based upon the Archibald Prize in this popular prize. Particularly large audiences attended the April 2007, a revised version of their successful program from talks given by Peter Garrett and Mandy Sayers, who both 2006. This performance attracted large and enthusiastic spoke of their experiences as sitters for Archibald portraits. audiences and was held in the Gallery’s central court.

40 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 ‘My experience as an Archibald sitter’, Peter Garrett MP, AAH celebrity speaker in association with the Archibald Prize 07 exhibition, 18 April 2007. The talk was signed in Auslan by Marcel Lenehan.

Collection Character Tours continue to attract large audiences program was initially held daily on the last Tuesday of every to the permanent collections. Ngununy the cheeky fruit bat, month, but as demand has been so great, from April 2007, the the Queen of Sheba and the Tomb guardian performed in the program is now offered twice on that day. It is sold out with a period, each having a three-month run and some holiday waiting list in anticipation of the new program for 2008. seasons. A proposal for 2007–08 is to develop new scripts and tours of different artworks to further develop these characters Sunday Concerts were presented by students from the as an integral part of family programming and to refresh their Australian Institute of Music, and held over three series during attraction for regular audiences. 2006–07. Each Sunday an average of 300 people experienced the ambience of the Old Courts and enjoyed the free Five full-colour children’s trails were prepared for the 2006–07 performances. These music concerts will continue into 2007–08. exhibition program. These trails incorporate looking and interpreting with practical drawing activities for children aged The Gallery also collaborated with the Chinese Youth League five and older. Ideas for activities at home have also been to present a day of free Chinese art and culture lectures as included in every trail to encourage the memory of the Gallery part of the City of Sydney Chinese New Year Festival. Four to last beyond the day of the visit. All trails are made available speakers covered recent developments in film, literature, art on the Gallery’s website and mini-sites as downloadable and architecture. A4 sheets. EDUCATION Workshops were held in all four of the holiday periods in The overall participation rate for the education audiences 2006–07 and were fully booked. The programs were: Japanese in 2006–07 grew to 104 482, representing an increase of Zen calligraphy paper scroll wall-hangings linked to Zen mind 14% over the 2005–06 result or a growth of 13 070 visitors. Zen brush: Japanese ink paintings from the Gitter-Yelen This figure is divided across the three categories: 26 209 in Collection in July 2006; figurative wire sculptures linked to kindergarten to year 6 (K–6); 72 916 in secondary years 7–12; Giacometti: sculptures, prints and drawings from the Maeght Foundation in October 2006; decorative jewelled crowns linked and 5357 tertiary students. These outstanding figures are the to Goddess: divine energy and traditional Bengali children’s result of major quality exhibitions, careful strategic planning puppets and flowers with visiting artists from Bengal in and programming, skilful marketing to the education audience January 2007; and collaged pop art homes linked to Howard and improved access to the collections through innovative, Arkley in April 2007. relevant programs and resources. These developments focused NSW education audiences on the Gallery as a major Family session workshops, which enable parents and children education site, enabling them to maximise their use of the aged 3–5 to participate together in active learning experiences, Gallery and what it has to offer to the visual arts and many have continued to be so popular that in July 2006 an other curriculum areas. innovative adventure tour, Tours for Tots, was introduced. This tour incorporates practical art-making activities and art The education programs strategy emphasised the visual arts appreciation as an interactive learning experience for both the curricula through the Gallery’s collections and exhibitions, child and adult. Tours are themed and use all aspects of the but also involved other diverse curricula including languages, Gallery’s collection as a stimulus. The program has also been history and science in 2006–07. Innovative outreach programs used as an example of programming for young children in attracted students of other curricula areas including English, reports and assignments undertaken by trainee teachers and studies of religion and mathematics, and growing numbers of university students from the University of Technology, Sydney, gifted and talented students, students with disabilities, and with an article published May 2007 in the UTS magazine. The disadvantaged metropolitan and regional students.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 41 Schoolchildren’s guided tour of the Gallery’s permanent collection

Despite the success of attracting the largest ever education Four students from Dulwich High School of Visual Arts and audience in 2006–07 and improvements made to our school Design, Granville South High School, JJ Cahill Memorial High bookings processes, constant challenges remain in working School and Illawarra Sports High School participated in the with this important audience, which need to be recognised. Stage 3 Mentorship Program which was expanded this year to This includes the physical limitations of our building’s fabric a total of 4.5 days. This stage of the program partnered them and space, and the human resources available to handle the with a professional mentor of their choice within the Gallery large scale of the education audience visiting during peak and introduced them to the Sydney arts world through meeting periods. and workshops. This was a beneficial and inspiring experience for the students and was documented by the students At the core of the Gallery’s education programs is our themselves in a PowerPoint presentation and a 10-minute film leadership role within the NSW visual arts education documentary. community. The Gallery has a valuable Critical Friends Teachers Advisory Group, consisting of eight K–6 and ten year The New Word Order, Critical Writing Prize was successfully 7–12 teachers selected from public and private, co- launched in 2006–07. It was designed for year 11 and 12 educational and single-sex, metropolitan and regional schools. visual arts students to enhance their critical writing skills in the The group meets once each school term, four times per year, visual arts. It is a partnership with the arts journal Art & to workshop new Gallery programs, resources and initiatives Australia, and offers an annual prize which was judged by art and provide advice, feedback and insights into current issues critic Christopher Allen, editor of Art & Australia Katrina in classroom teaching practice and visual art education. Schwarz, and Craig Malyon, head teacher, visual arts, MLC Critical Friends regularly contribute to K–12 education Burwood. The standard of writing was outstanding and six programs through presentations at teacher professional prizes were awarded with the inaugural first prize going to development programs, participating in the gallery educator Kylie Cheng, year 11, Sydney Girls High School. course and contributing material for resources, including Asian Gallery Art Adventure Tours and discussion tours, along education kits, and judging the student critical writing prize. with Asian artist workshops for schools in tea ceremony, Enrichment days for primary school teachers were in demand calligraphy, Indian dance and ink painting, drew a total education in 2006–07 with booked out programs. A total of 52 teachers audience of 2500 students (600 primary and 1900 secondary). attended these days, which presented an in-depth Tertiary students studying a variety of studio practice, fine arts, investigation of exhibitions through lectures, floor talks from education, arts administration, museum studies, ESL (English artists and K–6 Critical Friends, guided tours, discussion as a second language), Aboriginal studies and architecture opportunities, practical workshops and education resources. courses, as well as a growing contingent of international Group sizes are strictly limited to allow Gallery staff to work studies courses from visiting American university groups closely with colleagues in the teaching sector, enabling a constitute the core audience of tertiary programs. Twenty personal and focused engagement. presentations and lectures were given to undergraduate Teachers holiday workshops were a new initiative in 2006–07 students (early childhood, K–12 trainee teachers and the built to provide K–6 teachers with further opportunities for environment), and post-graduate students (museum studies, engagement with visual arts and the Gallery’s major exhibitions, arts administration and master of education). and to address the increasing challenge of teachers being Giacometti up close was a new initiative targeting tertiary art restricted to the classroom during school term. This proved to schools (TAFE and universities), offering special access to the be highly successful, allowing more flexible opportunities for exhibition Giacometti: sculptures, prints and drawings from the K–6 teachers to continue their professional development in Maeght Foundation, with an early entry at 9am for one hour of the visual arts. drawing time in front of the major artworks before the Gallery Art Adventure Tours have continued to be popular in 2006–07, opened to the general public at 10am. The response to this with 1911 tours for 13 265 K–6 students delivered by the program was extremely positive with 215 students in 25 volunteer children’s guides. This highly-regarded education groups from diverse art schools, including the National Art service explores the Gallery’s collections and selected School, Newcastle Art School and Enmore Design, St George, temporary exhibitions and incorporates looking and Meadowbank and Brookvale TAFEs. As a result, this initiative interpreting skills with practical art-making activities. will be offered again with selected sculpture exhibitions which enable students to gain special insights into studio practice. Professional development continues to be a core service with 932 enthusiastic secondary school teachers from a range of Tertiary student orientation sessions continued to be popular in subject areas participating in major annual programs such as 2006–07 with 344 undergraduate and postgraduate students Focus Fest Conference 2006, a two-day education conference participating in the program from a diverse range of faculties based on a key theme in the visual arts: this year ‘Gods and and institutions including the College of Fine Arts, Sydney goddesses, myths and meanings’ and Artexpress Teachers’ College of the Arts, University of Sydney, University of Western Day 2007. Sydney, University of New South Wales and the National Art School. This program presents tertiary students with an In 2006–07 a partnership between the Gallery and Dulwich introduction to the history of the Gallery, collections, exhibition High School of Visual Art and Design, the state’s first and only programs, research and learning resources and other facilities visual arts high school, was established. In line with similar as their key professional resources, targeted to the specific innovations in the UK and US, the partnership aims to foster requirements of the students’ course needs. Its delivery is ‘cooperative programming’ which is delivered jointly at the facilitated by Gallery staff presentations from a diverse range school and the Gallery, utilising the Gallery’s art collections of departments including library and archives, website, and exhibitions as a core teaching and learning resource. curatorial, public programs and education programs.

42 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007

collection to targeted students in printmaking and painting, developing their skills and stronger connections to Indigenous arts and culture. The program has proved to be extremely successful with 220 students from 11 schools participating, many of whom have had minimal engagement with the Gallery. These students are targeted from schools identified as disadvantaged, all with high populations of Aboriginal students including Alexandria Park Community School, Darlington Public School, Our Lady of Mt Carmel Primary School, Waterloo, St James Forest Lodge, Katoomba North Public School and the new Guruwa Campus of St Andrew’s Cathedral School, an Indigenous primary school. An ongoing Accessible programs: the Gallery’s director Edmund Capon presenting a certificate relationship is being developed with this school in particular. to a student from St Edmund’s School VOLUNTEERS The Art Gallery Society functions as an umbrella organisation for the Gallery’s four volunteer bodies: Volunteer Guides, Task ACCESS PROGRAMS Force, Community Ambassadors and Contempo. Between them they numbered more than 400 people and contributed Access programs at the Gallery continue to develop in 2006–07 some 58 000 hours of labour in the course of the year, valued with a total of 1708 people accessing these services – 1143 in-kind at $1.6 million. A full list of our volunteers is included people with a disability and 565 gifted and talented students – in the appendix, Staff and Volunteers Listing. representing an 11% increase from 2005–06. Access programs incorporate Signing Art – Auslan-interpreted events for people Volunteer Guides who are deaf or hearing impaired, In Touch tours for people The Gallery is indebted to the enthusiasm and commitment of who are blind or vision impaired, the Da Vinci Project for the volunteer guides, currently numbering 130. The guides students with an intellectual disability or who are gifted and provided wide-ranging expert tours of the permanent talented, and the Manioo program for gifted and talented collection and all the major temporary exhibitions over the Indigenous students. year, for the general public and school children years K–6, attracting 58 896 visitors. Adult audiences totalled 45 001 and The Gallery secured funding for access programs for the next included individual visitors to the Gallery, Art Gallery Society three years from law firm Clayton Utz. This enables the Gallery members, corporate clients, VIPs, visiting adult groups, to employ an access coordinator for one full day per week and tourists, people with disabilities and many others. During the to consolidate, refresh and expand the successful existing year the children’s guides provided Art Adventure Tours to programs. The new partnership was launched in May 2007 by 13 895 K–6 school children, and participated in teacher Graeme Innes, Disability Discrimination Commissioner, Human professional development programs. Rights and Equal Opportunity Commission. Key stakeholders in the field of disability services attended, with the launch and Archibald Prize 07 relied heavily on the volunteer guides for sponsorship gaining significant media attention. the artists’ background research and daily exhibition tours. Complex major exhibitions such as Goddess: divine energy Signing Art – Auslan is the Gallery’s longest running Access and The arts of Islam: treasures from the Nasser D Khalili Program and attracts a loyal and growing audience to regular Collection benefited hugely from the daily guided tours, which and changing events. In 2006–07 387 people (198 visitors were provided by knowledgeable guides who always attracted who are deaf and 189 hearing visitors) attended this program. large and appreciative audiences, keen to learn more about The successful integration of Auslan interpretation into the unfamiliar works on display. selected Art After Hours celebrity talks was continued and expanded this year with 49 deaf audience members attending Over the year specially trained guides provided In Touch five events. Speakers including Paul Livingston (aka Flacco), sculpture tours for people with visual impairment and assisted Greig Pickhaver (aka H G Nelson) and Peter Garrett MP were in the delivery of Da Vinci access programs for children with accompanied by an Auslan interpreter enabling interested disabilities. people who are deaf to attend and enjoy the vibrant and Over 30 years of service popular mainstream events while visibly and publicly The volunteer guides have been in official operation for more supporting the Gallery’s commitment to inclusiveness. than 30 years and special thanks goes to the longest serving Gifted and talented holiday workshops were introduced to of the volunteer guides whose association with the Gallery the Gallery in the last year expanding on the success of the dates back to the early 1970s: Judy Friend (1972); Lyla Rowe existing Da Vinci Project – HOT art program. Targeting 8–13 (1974); Lesley Miller and Carol Storch (1976); Anne Cohen, year olds, one workshop is delivered each school holiday, Betty Lloyd and Audre Pedder (1978); Gwen Ferguson (1979); focusing on a temporary exhibition. Seventy children and Licia Cattani and Mary Kavanagh (1981). Their combined participated during 2006–07. contribution represents almost 300 years of superb service. Manioo: gifted and talented program for K–6 Indigenous The volunteer management team that ensures the smooth students was initiated in March 2006. Manioo is an Eora word running of the guides is Annabel Baxter, volunteer guides meaning ‘to pick up anything’. This important program, funded coordinator, Jenny Garden, children’s guides coordinator, from a Telstra Foundation grant, presents workshops with Shirley Lilienthal, guides lecture coordinator, and Lisa Indigenous artists whose work is held in the Gallery’s Campbell, guides secretary/treasurer.

44 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Guide training program 7 May 2007, followed by 45 year 10–12 students participating The Gallery’s Public Programs Department coordinators in a three-day Moree Art Camp at the regional gallery. The supported the volunteer guides throughout the year with students then travelled to Sydney for one week, where they ongoing training, including organising and providing regular had an immersive experience in the professional art world. lectures and workshops as well as a successful five-week While in Sydney the students engaged with the Gallery and guide training course, which included assessment. This short Brett Whiteley Studio, the Museum of Contemporary Art, course was necessary to increase the number of adult guides National Art School, Sotheby’s, Gallery Barry Keldoulis and and was devised and implemented in October and November artist Ben Quilty. The program will conclude in Moree in 2006. It provided the Gallery’s children’s guides with the November 2007 when the Moree Plains Gallery presents an opportunity to expand their guiding repertoire to adults; exhibition of the students’ works which were produced at the 14 guides graduated. Other training included a series of Art Camp. This valuable program was made possible with bi-weekly workshops throughout the school year. In 2006–07 special Arts NSW funding under the ConnectEd Program. the theme ‘back to basics’ was adopted to revise core skills HSC Study Days and fundamental guiding strategies. This incorporated peer This valuable three-day program saw 408 year 11 students training by experienced and novice guides, peer assessments and 49 teachers participating, drawn from 29 high schools and brainstorming activities. The volunteer guides also across Western Sydney, South Western Sydney, the Hunter received training specifically focused on the Aboriginal and Valley and Central Coast. The annual HSC Study Days are a Torres Strait Islander collections and looked at many of the highly successful secondary education initiative. They provide social and political issues sounding the production of intensive one-day programs targeting year 11 students who Indigenous art. This important training aims to ensure the are disadvantaged in their preparation for the HSC visual arts guides are up to date with changing issues and to familiarise written examination by their lack of access and proximity to them with new acquisitions. direct experiences with art galleries, artists and works of art. Community Ambassadors One HSC Study Day was programmed for each of the three Our Japanese, Mandarin, Cantonese and Vietnamese speaking education regions: Western Sydney (137 students), South- volunteers have offered regular tours of the Gallery and taken Western Sydney (141) and Hunter/Central Coast (130). on special projects. Over the course of the year more than The program included workshops with Gallery educators, 1000 visitors attended Community Ambassador tours. The syllabus experts, the editor of Art & Australia and artist Ben program was awarded a cultural grant of $10 000 by the City Quilty, and aimed to assist students to develop their critical, of Sydney for training and promotion. The funds have provided analytical and writing skills. speakers for monthly training sessions focused in particular Loans to regional galleries on Aboriginal art. The highlight of promotion efforts is the All regional galleries in NSW are included in the libraries recording and broadcast of several ‘Light Conversation on the exchange program whereby they receive the Art Gallery of Arts’ segments for SBS Radio’s Cantonese language program. New South Wales publications free of charge. During the Task Force year the Gallery approved over 250 loans of artworks to many The Task Force held its 25th anniversary in February 2007 and NSW regional galleries including Hawkesbury Regional Gallery, the invaluable service of eight founding members was Tamworth City Gallery, Dubbo Regional Gallery, Bathurst acknowledged at the celebration: Annie Carlisle, Jean Downs, Regional Gallery, Orange Regional Gallery, Lake Macquarie Enid Gordon, Patricia James, Buff Netherton, Hetti Penn, Zella City Art Gallery, Penrith Regional Art Gallery and Albury Sandy and Anne Marie Stewart. Over the past year the Task Regional Gallery, and we renewed furnishing loans of artworks Force volunteers have provided dedicated administrative and to the Royal Alexandra Hospital for Children in Westmead. research assistance to the image library, the research library The Gallery has continued negotiations with Armidale and archive, various curatorial departments, and the conversation studio. Dumaresq Council regarding a proposed half-custodianship of the painting Mosman’s Bay by Tom Roberts. A submission by REGIONAL AND WESTERN SYDNEY the council went before the Supreme Court in April 2007, and will continue with a second hearing in the new financial year. Museum educators from NSW regional galleries, other state galleries and international art museums consulted regularly with the Gallery’s education coordinators, including staff from Artspace, Sydney, Maitland Regional Gallery, Gippsland Art Gallery, Victoria, and the Asian Civilisation Museum, Singapore, who participated in professional development programs, research and professional discussions. Also in the past year education coordinators consulted with, and gave presentations at, Albury Regional Gallery, Wagga Wagga Regional Gallery, Moree Plains Gallery and the Forty Eight Hours Visual Arts Festival, Byron Bay, on Gallery education programs and philosophy. Artside-In Regional was a special program targeting disadvantaged high school students in the Moree region of NSW. The unique two-week program involved 22 visual arts teachers from the New England region participating in a special Art Teachers Day at the Moree Plains Gallery on

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 45 Corporate support PRESIDENT’S COUNCIL The President’s Council was established in 1995 to offer companies a personal association with the Gallery. The BUSINESS DEVELOPMENT President’s Council furthers the tradition of corporate partnership and patronage, and aims to create a corporate In terms of sponsorship, the past year has been the network which attracts and retains the continuing support of Gallery’s most successful to date, with a 59% increase the business community. in sponsorship income (from $1.4 million last year to $2.2 million this financial year). Combined with the Gallery’s Funds raised through membership fees are devoted business councils, the President’s Council and VisAsia exclusively to the sponsorship of exhibitions and public Council, the total income generated from the corporate programs. In recent years the President’s Council has greatly sector was $2.86 million. contributed to the success of the Gallery’s exhibition program We are pleased to report a high increase in sponsorship and its ability to confidently plan extensive and stimulating retention, and the inclusion of several multi-year sponsorship exhibitions into the future. agreements, ensuring a greater degree of continuity and In January 2007, as president of the Gallery’s Board of stability for the Gallery. This year also saw some innovative Trustees, Steven Lowy has also assumed leadership of the new partnerships. President’s Council, continuing the incredible level of passion JPMorgan became principal sponsor of the Brett Whiteley and commitment begun by David Gonski, former president of Studio in Surry Hills. This three-year relationship enables free the Board of Trustees. access to the studio, the development of a new website and At 30 June 2007 there were 33 President’s Council members. the publication of the first comprehensive handbook of the studio containing many unpublished images of Whiteley at VISASIA COUNCIL work together with details of his early working life. Building on the successful model of the President’s Council, UBS entered into a three-year relationship with the Gallery the VisAsia Council was established in 2001 to connect whereby they sponsor the contemporary galleries. In addition, companies with Asian art and culture. The Gallery has the the Gallery curated a contemporary art exhibition from the largest specialist Asian art department of any art museum in UBS Collection called An incomplete world. Exhibitions Australia. The establishment of the VisAsia Council is an curated from the UBS Art Collection have previously been acknowledgment of Australia’s proximity to and growing presented at the Museum of Modern Art, New York and Tate involvement with the cultures of Asia. It assists the Gallery with Modern, London. our commitment to promote and cultivate a better understanding and enjoyment of Asian art and culture within Australia. Clayton Utz has become the Gallery’s access partner for a three-year term. This initiative enables the Gallery to run a During this financial year the VisAsia Council was chaired by series of programs specifically for people with disabilities, John Yu AC. At 30 June 2007 there were 20 VisAsia Council encouraging more people to enjoy the cultural riches of the members. Gallery. ART GALLERY SOCIETY Delta Electricity joined the Gallery as a sponsor for the first time, and through a unique three-way relationship between The Art Gallery Society of New South Wales contributed over Delta, the Gallery and our electricity supplier, are enabling the $1.145 million in acquisitions to the permanent collection in Gallery to significantly reduce our electricity spend. the financial year. The purchases of Jeffrey Smart’s Matisse at Ashford and Tim Storrier’s Boys own modern were assisted A special initiative was developed between Westfield and NAB, by the Collection Circle, the new giving program for members, two new sponsors of the Gallery, whereby they became co- and in addition a final payment was made on Cy Twombly’s principal sponsors of The arts of Islam: treasures from the Three studies from the Temeraire. Nasser D Khalili Collection exhibition. The society remains Australia’s largest arts support organisation The Gallery is tremendously grateful to our ongoing principal with a membership of 20 600 (33 291 cardholders). Members sponsors: Ernst & Young, for their second year as sponsor of are exceptionally loyal to the Gallery, their renewal rate now the Art After Hours program; Macquarie Bank, for their third standing at 89%, the highest level yet. Corporate membership year of sponsorship of the Australian Collection Focus Room; numbers grew by 12% and corporate evening viewings drew and Myer, for their second year of sponsorship of the large audiences to exhibitions. Contempo, the younger Archibald Prize. In addition, we thank our generous and loyal membership group, thrived with 1423 members and 1183 support sponsors: BNPP, City of Sydney, JCDecaux, Optimal student members enjoying a lively program of social and Fund Management, Porter’s Paints, SBS Radio, the Sofitel contemporary art events. Wentworth Hotel and the Sydney Morning Herald. Finally a very special thanks to Qantas who are our longest serving The monthly Look magazine provided members with in-depth sponsor, now in their 12th year supporting the Yiribana Gallery coverage of the Gallery’s work, while database development and major exhibitions. facilitated the improvement of online marketing and communications with members. Having achieved this significant increase in sponsorship support, the Gallery now plans to consolidate this level of Principal sponsors of the society’s programs were Resimac, corporate involvement, and to focus on sponsor retention in Taylors Wines, Qantas, Getronics, Lindsay Yates (Printers), 2007–08. 10 group, CPI Papers, GIO General and Lindt Chocolates.

46 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 The society’s governing council under its president, Professor The Centenary Fund’s first project, the Centenary Auditorium, Michael Feneley, began a review of strategic directions for the was opened in November 2001. Future projects include an organisation, while honorary treasurer Tze Masters, elected extension to the research library and archive; and considerable following the March 2007 annual general meeting, undertook a enhancement to the prints, drawings, photography and review of its investments and financial management. The watercolour study room. society’s council and management work closely with Gallery A full list of fund patrons can be found in the Sponsorship and management to develop membership and build the collection, Philanthropy appendix (p 58). and anticipate further growth through the Sidney Nolan exhibition and the 2008 program. COLLECTION BENEFACTOR AND OTHER SUPPORT GROUPS Many curatorial departments within the Gallery have their own ART GALLERY FOUNDATION support groups to help raise funds either for their collections The Art Gallery of New South Wales Foundation continues to or, in the case of the Library and Conservation Department, for raise funds to support the Gallery’s acquisition program. Its special projects. Members of all groups who pledge a minimum policy is to invest its capital (donations and bequests) and use commitment of $1500 per year for four years are listed within the income to purchase works of art for the Gallery’s the foundation. For a full list of foundation membership please permanent collection. see the Sponsorship and Philanthropy appendix. Since inception, the foundation has contributed over $24 The support groups are as follows: million to the Gallery’s collection (which over the years has • Aboriginal & Torres Strait Islander Art Department: Aboriginal increased in value to more than $50 million) and has Collection Benefactors (ACB); accumulated over $26 million in funds under investment. • Asian Art Department: VisAsia/acquisitions; This is an astounding $78 million of value brought to the • Asian exhibition and education programs: VisAsia; Gallery as a result of the tireless efforts of foundation donors • Australian Art Department; and benefactors, in particular the foundation trustees, past • Australian Contemporary Art Department: Contemporary and present. The foundation publishes its own annual report Collection Benefactors (CCB); where further details of its activities can be found. A copy is • Australian Prints Drawings & Watercolours Department (PDW); available on the Gallery’s website in the ‘About us’ section • Conservation Department: Friends of Conservation; (www.artgallery.nsw.gov.au/aboutus/annual_reports). • Photography Department: Photography Collection Benefactors (PCB); THE CENTENARY FUND • Foundation: Art Gallery of New South Wales Foundation; The Centenary Fund, which was established in the year 2000, • International Art Department; • Public Programs; comprises patrons who have pledged $100 000 to enhance • Research Library and Archive: Friends of the Library. the Gallery’s buildings. The amount pledged is payable in cash over a nominated period of time with the balance, if any, Acquisitions made, or projects undertaken by, these groups payable from the patron’s estate. are reported in the bi-annual foundation newsletter.

Principal sponsors

Exhibition program partners Media partners

Ongoing support sponsors

JPW JOHNSON PILTON WALKER

Government partners

Project support sponsors Foundation partners

Bharatiya Vidya Bhavan Australia, Executive Channel, Incredible India, Australian Research Council, Gordon Darling Foundation, Indian Link, Taj Hotels, Madman Entertainment, Sandersons Japan Foundation, Pola Art Foundation

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 47 Visitor services Environmental management During 2006–07 the Gallery’s heritage building attracted an average visitor rate of over 3250 people per day. The building’s GALLERY SHOP AND MERCHANDISING use of energy, and especially water, very much reflects the The Gallery Shop offers visitors a range of high-quality art volume of general public activity in the building throughout the books, catalogues and imaginative and affordable art-inspired year and has definite peaks linked directly to major temporary merchandise such as prints and postcards representing the exhibition periods. Gallery’s collection as well as many other such items. The Twenty-four-hour plant control is maintained through a range of fine art titles is the one of the widest offered in computerised building management system ensuring the Australia. Sales staff have expert knowledge of art and art Gallery’s building services staff have relevant building publications and are trained in sourcing and ordering specialist environmental information and react quickly to fluctuations in titles. This service is especially popular with our customers, conditions, so that temperature and humidity are continually including artists, arts professionals and schools. maintained and operations are as energy efficient as possible. From time to time we also have an exhibition shop offering specialist merchandise in keeping with the theme of a major WATER exhibition. This year the Goddess: divine energy exhibition In 2005–06 a water audit identified, as expected, that 46% of shop appealed to customers, who responded very positively the Gallery’s water usage was directly related to running the to its colourful and energetic merchandising. Some of the chillers that maintain the temperature and humidity levels products were aimed at supporting guest speakers and film within the building in keeping with essential international program which allowed visitors to enhance their experience museum standards. The average kilolitre per day (kL/d) water with further reading and DVDS on the subject. usage fell from 125kL/d to 99kL/d during 2006–07. This reduction in usage corresponds with the decrease in overall The Gallery Shop provides not only retail services but also visitor numbers for the same period. product development, wholesale publications to other galleries and bookstores, corporate sales and e-commerce. These ELECTRICITY services are all managed in-house in order to meet the The majority of electricity usage by the Gallery is for heating Gallery’s strategic objectives. ventilation and air conditioning (63%) and lighting (35%), again The turnover from the Gallery Shop for 2006–07 year was in-line with the requirements of keeping the building’s $3.9 million. environmental conditions at international museum standard levels. FOOD AND BEVERAGE SERVICES In accordance with NSW government policy the Gallery’s The Gallery provides a café and restaurant for our visitors and electricity usage comprises a 6% green energy component. a kiosk in the Art Gallery Society lounge for members. We also This year the maximum daily quantity (MDQ) for electricity hire out our function spaces, primarily to companies for their consumption has been reduced to 146 MDQ (down from 147 private functions. The food and beverage services for these in 2005–06). This amount is targeted for further reduction to activities are provided through a catering agreement with 140 MDQ in 2007–08. Each MDQ of electricity reduced will Trippas White Catering Ltd. result in an annual saving of $436 per unit. Savings will be used to offset increasing electricity network charges. The café continued to be our busiest outlet throughout the year, averaging over 400 customers each day. Menus were GAS adapted to suit different exhibitions and additional service points added to accommodate large crowds. The restaurant The Gallery will replace its main gas meter in early 2007–08, attracts many regular CBD patrons in addition to Gallery relocating it to a more secure and safer location outside the visitors. ‘High tea’ was introduced this year, providing Gallery building. visitors a more stylish afternoon tea and an opportunity for MOTOR VEHICLE FLEET group events. The Gallery has a very small fleet of only four cars (three Over 290 venue-hire events were held during the year. The sedans and one station wagon) and a one-tonne truck. Goddess: divine energy exhibition proved extremely popular Maintenance of the motor vehicle fleet is undertaken in for corporate guests, particularly financial and legal firms, and accordance with the NSW government fleet management state and federal governments. We entertained guests as policy, including purchasing fuel-efficient cars. diverse as European monarchy and federal politicians to runners enjoying breakfast before a local fun run. The Gallery’s motor vehicles procedures provide guidelines for environmentally sound driving and direct staff to use only Personal guided tours of exhibitions continue to be popular unleaded petrol. From August 2007, staff will be directed to with both corporate and private groups. With such a diverse use E10 unleaded petrol when refuelling Gallery vehicles which range of exhibitions, we looked after a number of new will result in a reduction in greenhouse gas emissions as well community groups as well as repeat business from our as being more cost effective. Savings will be applied against regulars. With large numbers during major shows such as the increased usage costs of fuel for the fleet. Archibald Prize 07, we also started bringing in groups before There has been an increase in fuel usage of approximately 7% regular opening hours to accommodate all guests comfortably. during 2006–07, primarily due to the consolidation of storage The revenue/commission from these services to the Gallery for units at Padstow (previously partly-based in Beaconsfield) 2006–07 year was again over $1 million. increasing the distance travelled from the Gallery to the off-site

48 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 store facility from five to 25 kilometres. Also the relocation of RECYCLED CONTENT the processing of Archibald Prize artworks from the Gallery to In conjunction with our caterers the Gallery is investigating the Padstow store contributed to the increased use the the use of takeaway containers with recycled content. Gallery’s truck. In early 2007–08 new more environmentally friendly takeaway cardboard cups will be the first recycled product to be REDUCTION OF THE GENERATION OF WASTE introduced and will replace styrofoam cups used currently. The Gallery is investigating replacing halogen down lights within the administration offices with LED or LUXEON lights, The Gallery continues to use other recycled paper products including toilet rolls and paper towels. We purchase plain A4 which would last 100 000 hours as opposed to the current paper with 50% recycled content and all envelopes are 5000–6000 hours. These lights do not generate heat, which recycled stock, which equates to over 5500 reams of paper. would place less strain on the building’s air-conditioning Toner cartridges purchased for printers have recycled system. components. The caterer ensures soft drinks and juices are The Gallery’s intranet has been developed to replace purchased in recyclable glass containers (approximately 10 the paper-based system and includes online workflow tonnes) and a number of suppliers are already delivering other booking processes which allow staff to apply for leave and products such as surface cleaners and detergents in refillable reserve resources such as meeting rooms and computer containers. equipment. This user-friendly web-based system also allows easy access to a range of information including policies PERFORMANCE and procedures, downloadable forms and the staff contacts The annual energy consumption and costs of fuels used by directory. the Gallery for the 2005–06 and 2006–07 financial years are indicated in the following table generated from the NSW During 2006–07 the Gallery records management system government environmental data gathering and reporting TRIM was upgraded to Context and staff training is gradually system EDGAR. being rolled out to departments. This upgraded system will allow staff to save their emails directly into the record management system rather than printing out paper copies Fuel type Total energy Energy use % Greenhouse Greenhouse consumed total emissionsemissions for storage in files. GJ (tonnes) % change between An e-newsletter, Artmail, replaces previous hardcopy years notification to media outlets and is used as a cost-effective 2005- 2006- 2005- 2006- 2005- 2006- general public news source, replacing hardcopy advertising 06 07 06 07 06 07 materials. Artmail currently has over 100 000 recipients, up Automotive from 85 000 subscribers last year. Diesel 136 164 0.19 .23 10 11 10.00 Petrol 339 352 .47 .50 22 23 4.55 RESOURCE RECOVERY INITIATIVES Natural Gas 40 381 39 633 55.44 55.83 2 108 2 069 -1.85 During 2006–07 the Gallery has implemented and promoted Greenpower 1 919 1 850 2.63 2.61 - - - to staff a new recycling system for batteries and compact Electricity 30 057 28 985 41.27 40.83 8 186 7 958 -2.79 disks. TOTALS 72 832 70 984 100 100 10 326 10 061 -2.57 A designated recycling mini-skip is located on the loading dock for recycling all paper products, including flattened cardboard boxes. Every office and workstation is issued with a recycling bin which is collected on a regular basis by the cleaners. A total of 38 new temporary exhibitions were mounted in 2006–07 and wherever possible construction and display materials are reused. All excess steel, workshop materials and wire are sent to an external recycler and the Gallery’s Conservation Department recycles its paper and cardboard off-cuts internally. Used toner cartridges are sent for recycling with approximately 150 cartridges being recycled in the 2006–07 period. The research library and Gallery Shop reuse cardboard boxes for packaging interlibrary loans and filling visitor and e-commerce merchandise orders. All Gallery functions are handled by our on-site caterers, Trippas White, who ensure all glass bottles from the Gallery’s food outlets and function events are recycled. The IT Department participates in the ReConnect.nsw program, a whole-of-government initiative which enables the donation of redundant computers to not-for-profit organisations and disadvantaged individuals.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 49 CORPORATE GOVERNANCE

Board of Trustees MEMBERS The Board of Trustees of the Art Gallery of New South Wales is constituted under part 2 (sections 5–10) of the Art Gallery Mr David Baffsky of New South Wales Act 1980. Section 6 stipulates that: AO ‘the Trust shall consist of 11 trustees who shall be appointed David Baffsky is chairman of Accor Asia Pacific, by the NSW Governor on the recommendation of the Minister which is the largest hotel management company in for the Arts and at least two of whom shall be knowledgeable the Asia Pacific; director, Tourism Asset Holdings; and experienced in the visual arts’. The two trustees that director and life member of the Tourism Task Force; currently fulfil this requirement are Australian artists Lindy Lee and director of the Indigenous Land Corporation. and Imants Tillers. In 2004 Mr Baffsky was appointed to the federal government’s National Tourism Infrastructure Investment Consultative Trustees are appointed for a term not exceeding three years Group and the Business-Government Advisory Group on National and may be re-appointed following the expiry of the appointed Security. In June 2001 he was awarded Officer in the General Division term, but no trustee shall hold office for four consecutive of the Order of Australia. Mr Baffsky was awarded the Centenary terms. Trustees do not receive any remuneration for their Medal in 2003 and was the 2004 Asia Pacific Hotelier of the Year. In 2007 Mr Baffsky was appointed to the federal government’s Northern board activities. Australia Land and Water Taskforce and the Prime Minister’s Community Business Partnership. Initial date of appointment 1 January 2006; expiry of current term PRESIDENT from 1 January 2007 31 December 2008. Mr Steven M Lowy B Comm (Hons) Mr Guido Belgiorno-Nettis Steven Lowy was appointed managing director of AM B Eng (Civil), MBA, MIE (Aust) Westfield Holdings in 1997 and currently serves as group managing director of the Westfield Group. Guido Belgiorno-Nettis is the joint managing Prior to joining Westfield in 1987 he worked in director, Transfield Holdings Pty Ltd and investment banking in the US. Mr Lowy is a Associated Companies; director, Transfield director of the Victor Chang Cardiac Research Institute; a director of Services Limited, Campus Living Pty Limited, and the Lowy Institute for International Policy; and a member of the Prime Middle Harbour Yacht Club; and joint chairman, Minister’s Business-Government Advisory Group on National Security. Australian Chamber Orchestra. In 2005 he was Initial date of appointment 1 January 2006; expiry of current term awarded the Australian Graduate School of Management’s 31 December 2008. Distinguished Alumni Award for leadership and innovation in business services. Mr Belgiorno-Nettis was made a member of the Order of Australia in the General Division on Australia Day 2007 PRESIDENT until 31 December 2006 for service to the construction industry, particularly through the management of large infrastructure projects and to the arts in Mr David Gonski executive and philanthropic roles. AC B Comm, LLB, SIA (Aff), FAICD, FCPA Initial date of appointment 1 January 2007; expiry of current term 31 December 2009. David Gonski is a solicitor and was a partner at Freehills; is chair of Investec Wentworth Pty Ltd, Coca-Cola Amatil Ltd, Investec Group in Australia and Sydney Grammar School; a director of ANZ Ms Anne Fulwood Banking Group Ltd, the Westfield Group and Anne Fulwood established her career in television Singapore Airlines; chancellor of the University of New South Wales; journalism before moving into corporate and media member of the Prime Minister’s Community Business Partnership, the consultancy. She has previously served on the Takeovers Panel and the Chairmen’s Panel of the Business Council of Council for Australian Honours, the Film and Australia; former member of the Committee of Inquiry into Charitable Literature Board of Review, the National Film and and Related Organisations, and the Nugent Committee which Sound Archive (ScreenSound Australia) and the examined the major arts organisations in Australia. He authored the Luna Park Reserve Trust. She is a current board Gonski Report into the Australian film industry. member of The Eye Foundation, a research funding initiative within the Initial date of appointment 1 January 1997; expiry of final term Royal College of Ophthalmologists. Her most recent appointment is by 31 December 2006. the prime minister to the role of Commonwealth Spokesperson for the APEC 2007 Taskforce in July 2007. Initial date of appointment 1 January 2002; expiry of current term VICE PRESIDENT 31 December 2007. Ms Sandra McPhee Dip Ed, FAICD Sandra McPhee has extensive experience as a non-executive director and senior executive in a range of consumer-oriented industries including retail, tourism and aviation, most recently with Qantas Airways Limited. Ms McPhee is a director of Coles Group Limited, Perpetual Limited, AGL Energy Limited, Australia Post and St Vincents and Mater Health; former deputy chairman of South Australian Water; and former director of Primelife Corporation, Tourism Council Australia and CARE Australia. Initial date of appointment 1 January 2004; expiry of current term 31 December 2007.

50 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Ms Irene Lee Mr Imants Tillers BA (History of Art), barrister-at-law BSc (Arch), DLitt (honoris causa) Irene Lee has held senior positions in investment Imants Tillers is a visual artist, writer and curator. banking and funds management over the past 20 Since 1973 he has had solo exhibitions in Australia, years. Ms Lee is executive chairman of Mariner Germany, Finland, Italy, Latvia, Mexico, New Bridge Investments Limited and a non-executive Zealand, Spain, Switzerland, the UK and USA, and director of TEN Network Holdings Limited, QBE in 2006 a major survey of his work, Imants Tillers: Insurance Group Limited and ING Bank (Australia). one world many visions, was held at the National She is also a member of the Takeovers Panel, the Advisory Council of Gallery of Australia. His public commissions include the dome of the JPMorgan Australia and the Executive Council of the UTS Faculty of Federation Pavilion in Centennial Park, Sydney, the Founding Donors Business. commission at the Museum of Contemporary Art, Sydney, and Initial date of appointment 1 January 2002; expiry of current term The attractor and Eight women sculptures at Overflow Park, Sydney 31 December 2007. Olympic Park. Awards and international prizes include the Gold Prize at the Osaka Painting Triennale in 1993 and a Doctor of Letters honoris causa by the University of New South Wales in 2005 for ‘his long Dr Lindy Lee and distinguished contribution to the field of arts’. Dip Ed (Art, Secondary School), BA (Visual Arts), Post Initial date of appointment 1 January 2001; expiry of current term Grad Dip (Painting), PhD (Art Theory) 31 December 2009. Lindy Lee is a senior lecturer, Sydney College of the Arts, University of Sydney. She is also an artist Mr Peter Francis Young whose works are held in the collections of the BSc, MBA National Gallery of Australia and the state galleries of New South Wales, South Australia and Western Peter Young is senior adviser, ABN AMRO Group Australia, as well as major corporate collections. She has had many (Australia and New Zealand); chairman of Delta solo exhibitions since 1985, in Adelaide, Brisbane, Melbourne, Sydney Electricity, Export Finance and Insurance and Singapore, and numerous group exhibitions since 1992 in Canada, Corporation, Transfield Services Infrastructure China, Hong Kong, Japan, Malaysia and Australia. She is a former Fund, and AIDA Fund Ltd (London); director of board member of Artspace and the Australian Centre of Photography; Fairfax Media, Australian Business Arts Foundation, former president of the Asian Australian Artists Association; and former Sydney Theatre Company, and Great Barrier Reef Research deputy chair of the Visual Arts and Craft Fund, Australia Council. Foundation. He was former chairman, National Rail Corporation; former Initial date of appointment 1 January 2006; expiry of current term director of the NSW State Transit Authority and NSW Maritime Services 31 December 2008. Board; and former member of the Takeovers Panel. Initial date of appointment 13 August 2001; expiry of current term 31 December 2009. Professor Janice Reid AM FASSA, BSc, MA, MA, PhD Janice Reid is vice-chancellor, University of Western Sydney; member of the UniSuper Ltd board, Salvation Army Greater Western Sydney Advisory Board, and governing board of the OECD program on Institutional Management in Higher Education (IMHE); member of the Kedumba Drawing Award Trust; former member Integral Energy Board and Federal Council on Australia-Latin American Relations; former chair Australian Institute of Health and Welfare; former trustee Queensland Museum; former deputy chair Queensland Institute of Medical Research; chair 1994–95 of the National Review of Nursing Education; recipient of the Wellcome Medal and Centenary Medal; and fellow of the Australian Academy of Social Sciences. Initial date of appointment 1 January 2004; expiry of current term 31 December 2009.

Mr John Schaeffer AO John Schaeffer is a recipient of the Order of Australia (2003); member of the National Gallery of Australia and Foundation Board; former board member of the National Portrait Gallery; former president of the Australian Building Services Association and the World Federation of Building Service Contractors. Initial date of appointment 13 August 2001; expiry of current term 31 December 2009.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 51 Trustee meetings

ATTENDANCES AT BOARD OF TRUSTEE MEETINGS director; Anne Flanagan, general manager, exhibitions and There were six meetings of the Trust during the period July building services; Rosemary Senn, general manager, finance 2006 to June 2007. Trustee attendances were as follows: and management services; Trish Kernahan, manager, David Gonski, chair until December 2006 (3/3); Steven Lowy, administration and strategy. There were five meetings of the chair from January 2007 (6/6); Guido Belgiorno-Nettis (3/3 Risk Management Sub-Committee during 2006–07. from January 2007); David Baffsky (6/6); Anne Fulwood (6/6); Attendances were: Steven Lowy (2/3); David Baffsky (5/5); Irene Lee (2/6); Lindy Lee (5/6); Sandra McPhee (6/6); Janice Guido Belgiorno-Nettis (1/1); Bruce Cutler (4/4); Edmund Reid (4/6); John Schaeffer (6/6); Imants Tillers (6/6); Peter Capon (5/5); Anne Flanagan (5/5); Rosemary Senn (5/5); Trish Young (3/6). Kernahan (5/5).

TRUST SUB-COMMITTEES SPONSORSHIP SUB-COMMITTEE The sub-committees generally comprise a subset of board The Sponsorship Sub-Committee is responsible for supporting members based on their respective areas of interest and the Gallery’s efforts in raising corporate funding for its various expertise. Relevant senior staff members and other experts are activities. included as appropriate. The sub-committees are responsible Trust Members: Anne Fulwood; Sandra McPhee; John for monitoring their respective areas and making Schaeffer; Peter Young. External members: David Gonski, recommendations to the full board for approval or otherwise. partner, Freehills and former AGNSW Trust president (Chair); They usually meet within the week before the main board Deeta Colvin, director corporate relations and events, PBL meeting, at which the minutes of their meetings are tabled. Media; Daniel Gauchat former vice-president, Korn Ferry International; Scott Walters, financial advice leader, Mercer ACQUISITIONS AND LOANS SUB-COMMITTEE Wealth Solutions. Staff: Edmund Capon, director; Belinda The Acquisitions and Loans Sub-Committee plays an Hanrahan, general manager, marketing: Leith Douglas, head important role in overseeing the Collections Policy. It considers of business development. There were five meetings of the curatorial proposals on acquisitions, gifts, inward and outward Sponsorship Sub-Committee during 2006–07. Attendances loans and (if applicable) deaccessions. were: David Gonski (5/5); Deeta Colvin (2/5); Anne Fulwood Trust members: Janice Reid (chair); Anne Fulwood; Irene Lee; (1/5); Daniel Gauchat (3/5); Sandra McPhee (4/5); John Lindy Lee; John Schaeffer; Imants Tillers. External member: Schaeffer (2/5); Scott Walters (4/5); Peter Young (0/5); Edmund John Yu, former AGNSW Trust vice president. Staff: Edmund Capon (5/5); Belinda Hanrahan (5/5); Leith Douglas (5/5). Capon, director; Anthony Bond, general manager, curatorial STRATEGY AND DEVELOPMENT SUB-COMMITTEE services; Donna Brett, project officer, curatorial services. There were six meetings of the Acquisitions and Loans Sub- The Strategy and Development Sub-Committee was Committee during 2006–07. Attendances were: Janice Reid established in February 2007 and takes over the role of the (6/6); Anne Fulwood (3/6); Irene Lee (4/6); Lindy Lee (5/6); Building Sub-Committee (discontinued in 2004–05 after the John Schaeffer (2/3); Imants Tillers (5/6); John Yu (5/6); completion of the major Asian galleries building extension Edmund Capon (6/6); Anthony Bond (5/6); Donna Brett (6/6). project). This new committee will consider strategies for the long-term objectives of the Gallery as a major New South FINANCE AND AUDIT SUB-COMMITTEE Wales cultural institution into the 21st century. The Finance and Audit Sub-Committee oversees all financial Trust members: Guido Belgiorno-Nettis (chair); Steven Lowy; aspects of the Gallery, including budgeting, monitoring David Baffsky. Staff: Edmund Capon, director; Anne Flanagan, performance and ensuring stewardship of the assets. All audit general manager, exhibitions and building services. There has matters are also tabled with the sub-committee. only been one meeting of the Strategy Development Sub- Trust members: Peter Young (chair); David Gonski (until 31 Committee. Attendances were: Guido Belgiorno-Nettis (1/1); December 2006); Irene Lee, Steven Lowy (from 1 January Steven Lowy (1/1); David Baffsky (1/1); Edmund Capon (1/1); 2007). External members: Jillian Broadbent, former AGNSW Anne Flanagan (1/1). Trust vice president; Bruce Cutler, partner Freehills. Staff: Edmund Capon, director; Rosemary Senn, general manager, finance and management services. There were five meetings of the Finance and Audit Sub-Committee during 2006–07. Attendances were: Peter Young (5/5); David Gonski (3/3); Steven Lowy (1/2); Jillian Broadbent (2/5); Bruce Cutler (3/5); Irene Lee (0/1); Edmund Capon (5/5); Rosemary Senn (5/5).

RISK MANAGEMENT SUB-COMMITTEE The Risk Management Sub-Committee is responsible for overseeing and providing guidance on both strategic and operational risk management matters and submitting reports and recommendations to the main board to enable it to discharge its responsibilities in this regard. Trust members: Steven Lowy (chair until January 2007); David Baffsky (chair from February 2007); Guido Belgiorno-Nettis (member from February 2007). External member: Bruce Cutler, partner Freehills from August 2007. Staff: Edmund Capon,

52 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Other Gallery entities

Art Gallery of New South Wales Trust Director: Edmund Capon Staff: 208 (FTE) Art Gallery Society of Net assets: $953.8 million New South Wales Trust president: Steven Lowy President: Michael Micchah Feneley The Centenary Fund Executive officer: Judith White The President’s Council Value: $1.2 million Collection Benefactor Groups Established in 1953 Bequests and SSpecial Funds

VisAsia Art Gallery of New South Wales Brett Whiteley Controlled Entity Foundation Foundation VisAsia Council

Chairman: Rowena Danzinger Chairman: John Meacock Chairman: John Yu Value: $26.0 million Value: $0.1 million Value: $1.1 million Established in 1983 Established in 1994 Established in 1999

The Gallery is responsible for providing administrative support BRETT WHITELEY FOUNDATION to three other entities, namely the Art Gallery of New South Non controlled entity. Wales Foundation, the Brett Whiteley Foundation and the Enabling legislation: Brett Whiteley Agreements 1994; VisAsia Council. Each of these entities has separate legal Incorporated entity. structures established by a Trust Deed or incorporated with a ABN/Gift Deductible status. Memorandum and Articles of Association. Each has a board of Purpose: To promote and encourage knowledge and trustees/directors as determined by its enabling legislation. appreciation of the work of the late Brett Whiteley. The board meetings are generally held on a quarterly basis. Board of directors comprise: The AGNSW Foundation also has a Finance Sub-Committee, Independent representative: John Meacock (chair). which monitors the funds invested. The support provided by Art Gallery of New South Wales representatives: Brian Ladd, the Gallery includes management, finance, corporate Barry Pearce. secretariat and general administrative services. Brett Whiteley Estate members: Wendy Whiteley, Anna Schwartz. The Brett Whiteley Foundation has its own audited financial ART GALLERY OF NEW SOUTH WALES FOUNDATION statements which are lodged with the Australian Securities and Non controlled entity. Investments Commission (ASIC). Enabling legislation: Art Gallery of New South Wales Foundation Deed 1983 with subsequent amendments. VISASIA ABN/Gift Deductible status. Controlled entity. Purpose: To raise funds through donations and bequests, Enabling legislation: VisAsia Constitution 1999; invest funds and use the income to acquire major artworks for Incorporated entity. the Gallery. Since inception, the foundation has contributed ABN/Gift Deductible status. over $24 million to the Gallery’s collection and has Purpose: To promote Asian arts and culture. accumulated over $26 million in funds under investment. Board of directors comprise: Board of trustees comprise: Art Gallery of New South Wales representatives: John Yu Art Gallery of NSW representatives: Rowena Danziger (chair), (chair), Edmund Capon, Jackie Menzies, Sabrina Snow plus Jillian Broadbent (deputy chair), Michael Feneley, Julien three vacant positions. Playoust, Denyse Spice and one vacant position. Director/member representatives: Steve Burdon, Philip Cox, NSW government representatives: Mark Nelson, Ray Wilson. Stephen Menzies, Judith Rutherford, Vicki Liberman. Donor representatives: Geoff Ainsworth, Brian France, Fraser VisAsia has its own audited financial statements which are Hopkins, Catriona Mordant, Reg Richardson, Susan Rothwell, lodged with the Australian Securities and Investments Isaac Wakil, Peter Weiss. Commission (ASIC). Being a controlled entity it is also Finance Sub-Committee: Jillian Broadbent (chair), Geoff consolidated into the financial statements of the Art Gallery Ainsworth, Brian France, Mark Nelson. of New South Wales. The Art Gallery of New South Wales Foundation has its own published annual report which is available on the Gallery’s ART GALLERY SOCIETY OF NEW SOUTH WALES website. A separate legal entity controlled and operated by the society’s council and members. The Art Gallery Society of New South Wales produces it own annual report. Edmund Capon and Janice Reid are AGNSW Trust representatives on the society’s council.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 53 Senior management

Edmund Capon AM, OBE, M Phil Rosemary Senn B Comm, FCPA, MAICD Dip Director General manager, finance and management services Edmund Capon took up his appointment as director of the Art Gallery of New South Wales in Rosemary Senn joined the Gallery in 1998. She November 1978 following his arrival from London is a fellow of the Australian Society of Certified where, for the previous five years, he held the Practising Accountants and holds a Bachelor of position of assistant keeper, Far Eastern Section, Commerce from the University of Melbourne. She Victoria & Albert Museum. Mr Capon attained a also holds qualifications in company directorship Master of Philosophy degree in Chinese art and archaeology and taxation matters and spent several years in the commercial sector. (including language) from the London University (Department of Oriental and African Studies) with his thesis ‘The interdependence of Ms Senn is the chief financial officer and company secretary for the Chinese Buddhist sculpture in bronze and stone from AD386 to 581’, Trust, the Foundation, VisAsia and the Brett Whiteley Foundation. and is a recognised world expert in his particular field. She is also responsible for human resources management, strategic planning, corporate services, legal, administration and records, In 1994 Mr Capon was made a member of the Order of Australia information technology, and visitor services, which includes the Gallery and in 2000 was awarded a Doctor of Letters honoris causa from the shop, venue hire and the management of the catering contract. University of New South Wales and a Chevalier of Arts and Letters from the French government. In 2004 he was appointed adjunct professor in the Department of Chinese and Indonesian Studies at Belinda Hanrahan B Comm the University of New South Wales. He is a member of the Council General manager, marketing of Australian Art Museum Directors (CAAMD). Belinda Hanrahan joined the Gallery in November 1992 as marketing manager. Prior to this she Anthony Bond OAM, B Ed (Hons) worked in marketing management for Unilever and General manager, curatorial services Johnson & Johnson for 10 years, later forming her own marketing training consultancy. She holds a Anthony Bond joined the Gallery in 1984 as curator Bachelor of Commerce from the University of New of contemporary art. In January 1995 he was South Wales. appointed to the position of general manager, curatorial services to oversee the Gallery’s Ms Hanrahan is responsible for the Gallery’s marketing department, curatorial staff and manage the curatorial services which encompasses advertising, promotions and publicity. departments: Conservation, Registration, Public Programs, Research Library and Archive, the Photography Studio/Digitisation and Copyright. This is coupled with his role as head curator, Western Art, with special responsibility for 20th-century and contemporary international collections. He was formerly director SUMMARY SENIOR OFFICER POSITIONS of Wollongong City Gallery and assistant director of the Art Gallery of Western Australia. Year Position No of senior Positions held level positions by women Mr Bond’s curatorial specialisation is in 20th-century and contemporary international art. His recent major projects include 2005–06 Senior executive service 4 1 0 curating Trace, the inaugural Liverpool Biennial in England (1999); Senior officer 2 1 0 Body, an exhibition tracing aspects of realism in art from the mid Senior officer 1 3 3 19th century; and last year the Self portrait exhibition in conjunction with the London Portrait Gallery. 2006–07 Senior executive service 4 1 0 Senior officer 3 1 0 Senior officer 2 2 2 Anne Flanagan Dip Int Design, Dip Ed, Dip Vis Arts Senior officer 1 3 2 General manager, exhibitions and building services Anne Flanagan joined the Gallery in 1992. Her academic background includes visual arts, interior design and education. For the last 22 years she has worked within arts organisations, initially at the Crafts Council of NSW, Powerhouse Museum, Biennale of Sydney, Australian Bicentennial Authority and then at the Historic Houses Trust of New South Wales. Ms Flanagan is responsible for the exhibition program including design, development and financial management, building services including capital and maintenance programs, publications and security services within the Gallery.

54 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 Organisation structure

The Gallery has four major function divisions: Each of these divisions is managed by a general manager who is a member of the Gallery’s senior management team • Curatorial services and reports to the director. Within these divisions activities are • Exhibition and building services divided into departments, which are the responsibility of the relevant department head. Also reporting to the director are • Finance and management services the department heads for benefaction, business development, • Marketing staff within the directorate and Gallery officers.

GENERAL MANAGER CCURATORIAL SERVICES

ASIAN ART AUSTRALIAN ART WESTERN ART Japan Paintings & Sculpture pre-1900 China Prints, Drawings & Watercolours Contemporary Southeast Asia Aboriginal & Torres Strait Islander Photography India

Brett Whiteley Registration

Conservation Public Programs DIRECTOR

Library Photography Studio/Digitisation

Curatorial Services Directorate GENERAL MANAGER FINANCE & MANAGEMENT SERVICES Benefaction Services

Human Resources Finance, Legal & Corporate Secretariat Business Development Information Technology Administration/Records Management Gallery Officers & Communications

Venue Management Gallery Shop

GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES

Security Building Management

Exhibitions Graphics

Installation

GENERAL MANAGER MARKETING

Publicity Office Marketing

Information Desk

STAFF PROFILE

Average over 12 months FTEs FTEs FTEs FTEs FTEs 30 Jun 03 30 Jun 04 30 Jun 05 30 Jun 06 30 Jun 07 Building services, security and gallery officers 57 60 59 60 60 Curatorial services 51 54 50 48 48 Curatorial 24 22 24 27 32 Exhibition/display 21 23 23 25 23 Finance and management services 21 18 18 18 18 Commercial services 15 14 15 16 14 Marketing and business development 11 13 14 16 13 TTOTAL 200 204 203 210 208

This table shows full-time equivalent (FTE) staff numbers. Increases in recent years reflect higher casual staffing levels for exhibition-related activity and Art After Hours.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007 55 Risk management

RISK MANAGEMENT SUB-COMMITTEE BUSINESS CONTINUITY PLANNING The Risk Management Committee, a sub-committee of the The draft of the Gallery’s Business-Wide Continuity and main board of trustees, identified a set of operations and Disaster Recovery Plan was completed during the year. strategic priorities for review over the next 18 months. Development of back-up systems for the Gallery’s key IT During 2006–07 the committee has reviewed building asset applications and desktop testing of the business continuity maintenance (August); IT and communications disaster plan, which are critical for effective disaster recovery, will recovery (December); financial investment management be undertaken in the 2007–08 year. (February); and a human resources risk analysis (April). Also during the year the committee recommended to the board the INDUSTRIAL RELATIONS adoption of the AGNSW Risk Management Statement of There were no industrial disputes during 2006–07. The Intent, which was approved at the Trust’s February 2007 Gallery’s Joint Consultative Committee (JCC), comprising meeting. More information about membership, meeting management and staff representatives, continued to meet attendance and the purpose of the committee can be found on a bi-monthly basis to address staff-related issues. under Trustee meetings detailed above in the Corporate governance section. INSURANCE The Gallery as a NSW statutory authority is covered by the SECURITY REVIEW Treasury Managed Fund (TMF), a government self-insurance As a direct result of the theft of the artwork by Dutch artist scheme. In 2006–07 there was one major claim against the Frans van Mieris I from the Gallery on 10 June 2007, an urgent scheme, being for the artwork stolen in June 2007. Liability special committee was convened by the board to guide the has been accepted by TMF and accordingly brought to activity following the incident. Urgent action was taken to account in the Gallery’s financial statements. The replacement secure other small works on display and an external review of of this artwork will be pursued, although such works are not security was undertaken to assess risks. The findings of the readily available on the market and it may take several years review led to certain actions being implemented immediately to locate a work of similar quality in this genre. where feasible and a priority list of actions compiled for implementation over the course of the next year. Two key The TMF insurance policy provides coverage at replacement items were a review of the security/gallery officers staff cost of property which includes Gallery’s permanent art structure and an assessment of the security technology which collections, the artwork on temporary loan for major are currently underway. It is expected that senior positions in exhibitions commenced throughout the financial year, and the new structure will be put in place in the next few weeks. our heritage building. It also covers public liability, workers’ The technology review will identify the requirements in context compensation, motor vehicle and other miscellaneous risks. of a museum environment, taking into account benchmarks in The NSW Treasury directly funds the premium as part of the other art galleries of international standing. An assessment of annual budget allocation. the cost/funding requirement from the security technology LEGAL review will be made with a view to installing improved security technology. There were no legal matters or legislative changes during 2006–07 which impacted the Gallery’s operations. AUDITS OCCUPATIONAL HEALTH AND SAFETY Internal audit reviews were conducted during the year on the CHRIS payroll/human resources system, workforce planning, Number of work-related injuries: 6 inward and outward collection loans, and compliance with Number of work related illnesses: 0 legislation and policy requirements. The audit findings were Prosecutions under the OH&S Act: 0 generally positive. Recommendations were carefully The Gallery’s Occupational Health and Safety (OH&S) considered and implemented as appropriate, with a key finding Committee is an internal advisory body that undertakes being the need for a workforce succession plan, which has workplace inspections and reviews procedures and practices now been set as a priority for the Gallery in 2007–08. and, where appropriate, makes recommendations to During 2006–07 the above reviews were conducted by IAB management for improvements to minimum OH&S workplace Services and the cost of this program was borne by Arts NSW risks. From 2007–08 workplace inspection reports and on behalf of all the arts portfolio agencies. Effective from recommendations will also be forwarded to management and 2007–08, Arts NSW has through a tender process selected the Trust’s Risk Management Committee. Deloitte to undertake the internal audit functions in the future. The chairman of the Brett Whiteley Foundation, John Meacock, is a managing partner at Deloitte and while this is not expected to create an issue, it has nevertheless been declared to Arts NSW and the Department of Arts, Sport and Recreation.

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ART GALLERY OF NEW SOUTH WALES FINANCIAL STATEMENTS

Financial commentary 90 Financial summary 91

START OF AUDITED STATEMENTS Independent audit opinion 92 Statutory financial statements for the year ending 30 June 2007: Trustees statement 94 Income statement 95 Statement of recognised income and expense 95 Balance sheet 96 Cash flow statement 97 Notes to and forming part of the financial statements: Note 1: Summary of significant accounting policies 98 Note 2: Income 103 Note 3: Expenses 104 Note 4: Current assets – cash and cash equivalents 104 Note 5: Current assets – trade and other receivables 105 Note 6: Current assets – inventories 105 Note 7: Current assets – land and buildings held for sale 105 Note 8: Non-current assets – financial assets at fair value through profit and loss 105 Note 9: Restricted assets 105 Note 10: Current/non-current liabilities – trade and other payables 105 Note 11: Non-current assets – property, plant and equipment 106 Note 12: Changes in equity 107 Note 13: Controlled entities 108 Note 14: Reconciliation of surplus for the year to net cash flows from operating activities 108 Note 15: Non-cash financing and investing activities 109 Note 16: Financial instruments 109 Note 17: Post balance date events 110 Note 18: Contingent liabilities 110 Note 19: Commitments for expenditure 110 Note 20: Results of fundraising appeals 110 Note 21: Accounting standards issued but not effective 111

END OF AUDITED FINANCIAL STATEMENTS

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FINANCIAL COMMENTARY

Financial stewardship Financial status The Gallery continues to maintain its financial soundness through The Gallery has over $953.8 million worth of net assets, comprising rigorous budgetary and expenditure control, stewardship of $781.7 million of artworks and library collection, $133.5 million in assets, cash flow management, and revenue enhancement. Our land and building, $42.4 other minor assets offset by $3.8m of accounting and management reporting system enables us to liabilities. During the year the collection was valued by a registered produce timely reports on a cost centre and business activity level, valuer resulting in an increase of $146.9 million which was so that management, the board of Trustees and the NSW recorded in the asset revaluation reserve. government can monitor financial aspects of the Gallery and direct resources in a punctual and effective way. Investments The Gallery policy is to invest its bequests and special funds in a Financial performance portfolio comprising term deposits and T.Corp’s Hour Glass The surplus for the year was $20.4 million (up 45%), reflecting: facilities – in particular the medium and long term growth facilities. These investments are in accordance with NSW Treasury • Improved revenues (up 7% to $29.5 million) on exhibition requirements under the Public Authorities (Financial Arrangements) admissions, merchandise, books and publications sales, other Act 1987, which confines investments to term deposits with commercial services, bequests and special funds. These earnings approved banks and financial institutions and T.Corp, the are used for the purchase of artworks and underpin core business government investment facility. This year for the first time the activities. Gallery received a bequest of a real estate property in Rose Bay • Increased recurrent funding from the NSW government primarily (valued at $4.9 million) which will be put up for sale in the coming reflecting higher insurance premiums and sustainable funding, and year. Under the terms of the bequest, if the property is sold the to cover award salary increases. Gallery is obliged to transfer the proceeds to the Art Gallery of New South Wales Foundation, which is expected to occur later in • A special one capital grant of $3.6 million from the NSW the 2007–08 year. government for specific work to be undertaken on building related items over the next three years. The investment returns during 2006–07 were 6.6% pa (weighted average) on bank deposits (compared with benchmark of 6.4%), About 51% of our revenue was derived from non-government 8.5% on T.Corp’s Medium Term facility (compared with benchmark sources in 2006–07. of 8.8%) and 13.8% on T.Corp’s Long Term facility (compared with Donations & bequests/ taxation incentives benchmark of 14.8%). The benchmarks quoted are sourced from T.Corp Hour Glass Facility Performance Summary for June 2007. A substantial contribution each year comes from donors and benefactors ($16.0 million revenue in 2006–07 compared to $11.3 The Gallery also manages investments on behalf of its related million in 2005–06). A higher than usual contribution in 2006–07 entities, primarily the Art Gallery of New South Wales Foundation was due to a major bequest of a real estate property from the ($26.0 million) with smaller amounts for the Brett Whiteley Yvonne Buchanan May Estate. The balance is largely in the form Foundation ($154 000) and the VisAsia entity ($1.1 million). The of gifts of artworks or cash to purchase artworks. It includes returns on the Art Gallery of New South Wales Foundation funds contributions from the Art Gallery of New South Wales Foundation improved considerably this year with the upturn in equity markets. for the purchase of a Fauves painting by Maurice De Vlaminck Les voiles blanches a Chatou as well as other contributions Looking forward from the Art Gallery Society of New South Wales and private The NSW government funding in the forthcoming year will be less individuals. Other donations were also received to support various than last year primarily due to a lower insurance premium. This initiatives such as scholarships, prizes or research. premium is calculated on the value of artworks included in the major temporary exhibitions held during the year. The normal A substantial component of the donations is preserved as a capital budget allocation escalations and the commitment made under base for future income generation. At the end of June 2007, the the Service Agreement are offset by allocation reductions for total amount of bequests and special funds amounted to $27.4 savings targets. Exhibition and visitor services revenues are million, much of which was given to the Gallery for specific expected to be higher as the program for 2007–08 includes a very purposes (primarily art acquisitions and other projects such as art popular Australian icon Sidney Nolan retrospective. We anticipate prizes and awards). These comprise over 90 bequests and special another good year for bequests and special funds, which are funds. restricted funds generally used for acquisition of artworks. The Taxation Incentives for the Arts (TIAS) has provided a major The Gallery continues to be committed to maintaining our high incentive for artists and donors to provide gifts of artworks to the level of performance and will work towards improving the delivery Gallery. These contributions have provided a significant resource of cultural service to the NSW community and beyond. for acquisitions of artworks and special projects, which would not otherwise have been feasible. The budget summary is in accordance with NSW government 2007–08 budget. This differs slightly from the internal budgets which have more stringent targets.

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Budget summary for 2007–08 Note: $m 1. Includes recurrent, capital and liabilities assumed by the NSW government 2. The figures quoted in the financial commentary have not been subject to audit. REVENUE NSW Government funding (note 1) 22.5 Other revenue 15.2 37.7 EXPENDITURE Personnel 17.9 Insurance 0.5 Depreciation 2.3 Other operating 16.0 36.7 SURPLUS 1.0

FINANCIAL SUMMARY

2002-03 2003-04 2004-05 2005-06 2006-07 Five year total Average p.a.

Total Visitors – Incl Touring/Studio million 1.13 1.51 1.35 1.69 1.30 6.98 1.40

Artworks purchased $ m $4.6 $5.2 $9.0 $7.7 $4.7 $31.3 $6.3 Donations of artworks $ m $3.2 $2.8 $2.2 $2.2 $2.7 $13.1 $2.6 Total works of art acquired $ m $7.8 $8.1 $11.2 $9.9 $7.4 $44.4 $8.9

Exhibition admission revenue $ m $2.6 $2.9 $1.6 $3.8 $1.9 $12.8 $2.6 Merchandise, books and publications sales $3.6 $4.0 $3.6 $5.2 $4.0 $20.3 $4.1 Other services/activities $ m $1.6 $3.3 $1.6 $2.7 $1.9 $11.1 $2.2 Bequests & special funds $6.8 $7.6 $12.4 $11.3 $16.0 $54.1 $10.8 Other grants & contributions/other misc $ m $3.1 $3.4 $3.2 $4.6 $5.7 $20.0 $4.0

Total revenue from exhibitions, visitor services and benefaction $ m $17.7 $21.2 $22.4 $27.5 29.5 $118.3 $23.7

Personnel expenses $15.0 $16.0 $16.8 $17.9 $17.3 $83.0 $16.6 Depreciation $2.1 $2.3 $2.3 $2.2 $2.1 $10.9 $2.2 Insurance $2.1 $2.3 $1.1 $1.7 $3.3 $10.4 $2.1 Other operating expenses $11.4 $12.7 $10.1 $12.5 $14.2 $60.9 $12.2

Total operating expenses $ m $30.5 $33.3 $30.2 $34.3 $36.9 $165.2 $33.0

Recurrent appropriation $ m $16.3 $16.9 $15.8 $18.3 $21.4 $88.6 $17.7 Liabilities assumed by government $ m $1.9 $1.9 $2.1 $0.8 $1.1 $7.7 $1.5 Capital appropriation/other $ m $14.2 $2.8 $2.8 $1.8 $5.4 $26.9 $5.4

Total Government grants $ m $32.3 $21.6 $20.7 $20.8 $27.9 $123.3 $24.7

Total revenue $ m $50.0 $42.8 $43.1 $48.4 $57.4 $241.6 48.3

Govt contribution as % of total revenue 65% 50% 48% 43% 49% 51% 51%

Net surplus $ m $19.5 $9.5 $12.8 $14.1 $20.5 $76.4 15.3

Employees – effective full time (EFTs) number 200 200 203 210 208

Average salary per head (EFT) $ 000 $75 $80 $83 $85 $83

Net cash flows $ m $0.2 $1.3 -$0.9 $5.5 $4.6

Net assets $ m $736.3 $748.9 $768.2 $786.4 $953.8

* Data in this table has not been subject to audit

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ART GALLERY OF NEW SOUTH WALES TRUST

STATUTORY FINANCIAL STATEMENTS For the year ended 30 June 2007

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ART GALLERY OF NEW SOUTH WALES TRUST

INCOME STATEMENT For the year ended 30 June 2007

STATEMENT OF RECOGNISED INCOME AND EXPENSE For the year ended 30 June 2007

The accompanying notes form part of these statements

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ART GALLERY OF NEW SOUTH WALES TRUST

BALANCE SHEET As at 30 June 2007

The accompanying notes form part of these statements

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ART GALLERY OF NEW SOUTH WALES TRUST

CASH FLOW STATEMENT For the year ended 30 June 2007

The accompanying notes form part of these statements

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ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2007

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ART GALLERY OF NEW SOUTH WALES APPENDICES

Sponsorship and philanthropy 58 Art prizes, grants and scholarships 59 AGNSW publications for sale 59 Visitor numbers 60 Exhibitions listing 61 Aged and disability access programs and services 62 Aboriginal & Torres Strait Islander programs and services 62 Women’s action plan 63 Ethnic affairs priorities statement 64 Overseas travel 65

Collection – purchases 66 Collection – gifts 68 Collection – loans 72

Staff, intern and volunteer list 78 Staff publications, presentations and related activities 81 Compliance reporting 86 Electronic service delivery 88

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SPONSORSHIP AND PHILANTHROPY

Sponsors Pola Art Foundation: Financial Sternberg AM; Fred Street AM; Miller, Sotheby’s; Emmanuel Pohl, supporter: Tezuka: the marvel of Diana Walder OAM; Neville Wran Hyperion Asset Management; Gail at 30 June 2007 manga AC QC; and John Yu AC. Kelly, St George Bank; David Australian Research Council Porter’s Original Paints: Official Gonski AO, Investec; Luca (Linkage grant with the University paint supplier Belgiorno-Nettis, Transfield of Sydney): Financial supporter: Centenary Fund President’s Council of the Art Holdings; Peter Ivany AM, Ivany Goddess: divine energy Patrons of the Centenary Fund as at Gallery of New South Wales: Investment Group; Philip Coleman, Avant Card: Support sponsor: 30 June 2007: Major exhibitions program partner UBS AG Australia; Stephen General Claire Armstrong, Alex & Vera Qantas Airways: Principal sponsor: O’Connor, JCDecaux Australia; Bharatiya Vidya Bhavan Australia: Boyarsky, Jillian Broadbent AO & Yiribana Aboriginal and Torres Strait Ilana Atlas, Westpac Banking Support sponsor: Goddess: divine Olev Rahn, Joanna Capon OAM, Islander Gallery, Airline sponsor: Corporation; and Bruce McComish. energy Judy Cassab AO CBE, David & Giacometti, Goddess: divine energy, BNP Paribas: Conservation partner: Michelle Coe, Kenneth Coles AM & Tezuka: the marvel of manga, and VisAsia Council Frans Snyders The boar hunt Rowena Danziger AM, Jenny The arts of Islam Channel Ten: Media sponsor: Ferguson, David Gonski AC & Orli Members of the VisAsia Business Sandersons: Conservation partner – Tezuka: the marvel of manga Wargon, In memory of Aida Gordon, Council as at 30 June 2007: John Briton Riviere, Requiescat City of Sydney: Support sponsor: Yvonne & Christopher Gorman, Alex Yu AC chairman; Mark Warren Sans S Wholesalers: Public Goddess: divine energy, Archibald Holland, Peter & Sharon Ivany, Australia Post; Lee Seng Huan Programs sponsor – art materials Prize 07 Nettie & Peter Joseph OAM, Anne Mulpha Australia; Stephen Menzies SBS: Media sponsor: Zen mind Clayton Utz: disability access Landa, Michelle & John Landerer Blake Dawson Waldron; Stephen Zen brush, The arts of Islam, programs partner CBE AM, Geoffrey & Deborah Levy, Knight NSW TCorp; Bill Ferris AO Goddess: divine energy Delta Electricity: Major sponsor: Elizabeth Longes, David Lowy, John CHAMP Private Equity; Warwick Sofitel Wentworth Sydney: Lewis Morley, Support sponsor: & Jane Morschel, Mrs Kerry Packer Johnson Optimal Fund Support sponsor: Archibald, Wynne Goddess: divine energy, The arts AO, Bridget Pirrie & Stephen Grant, Management; Philip Cox AO Cox and Sulman prizes; Goddess: of Islam Steven & Lisa Pongrass, John L Richardson; Terry Fern Petsec divine energy Ernst & Young: Principal sponsor: Sharpe, Brian Sherman AM, Dr Energy; Stephen MacMahon & The Sydney Morning Herald: Media Art After Hours Gene Sherman, Geoffrey Susskind, Robyn Norton The George sponsor: Lewis Morley, Goddess: Executive Channel: Support Malcolm & Lucy Turnbull, Michael & Institute; Paula Masselos SBS; divine energy, Tezuka: the marvel sponsor: Tezuka: the marvel of Eleonora Triguboff, and Phillip Penny Bingham-Hall Leighton of manga manga Wolanski. Holdings; David SG Goodman Taj Hotels and Resorts: Support Freehills: Principal sponsor: University of Technology Sydney; sponsor: Goddess: divine energy Giacometti President’s Council John Saunders The Linden Group; UBS: Contemporary Art on Level 2 Gordon Darling Foundation: Jennie Lang University of New sponsor, Principal sponsor: Members of the President’s Council Financial supporter: Goddess: divine South Wales; Nicholas Curtis Lynas An incomplete world: the UBS as at 30 June 2007: (president: energy Corporation; Michael Sternberg Collection and Anselm Kiefer David Gonski AC until 31 December Incredible India: Support sponsor: Valiant Hire; Matthew Bank VisAsia Council: Asian exhibitions 2006; Steven Lowy from 1 January Goddess: divine energy Macquarie Bank; Michael Hawker; program partner 2007); Peter Young ABN AMRO; Indian Link: Support sponsor: and William Clark. Westfield: Principal sponsor: David Kirk, John Fairfax Holdings; Goddess: divine energy The arts of Islam David Baffsky AO, Accor Asia Japan Foundation: Support sponsor: Pacific; Damian Roche, JPMorgan; Bequests Tezuka: the marvel of manga Life governors Roger Allen, Allen & Buckeridge; The following bequests were JCDecaux: Media sponsor: The arts Gary Reidy, Korn/Ferry received and/or notified this financial of Islam The Gallery has acknowledged the International; Warwick Smith, ANZ year: Estate of the late Thelma Jean Johnson Pilton Walker: Exhibition significant support of the following Banking Group; Chris Jordan AO, Hill bequeathed artworks; Estate of design partner: The arts of Islam individuals by appointing them as KPMG; John Symond AM, Aussie the late Margaret Mary Jones was JPMorgan: Principal sponsor: Brett life governors: Home Loans; Scott Walters, notified, but distribution of the Whiteley Studio Franco Belgiorno-Nettis AC CBE; Mercer Wealth Solutions; Bruce bequest has not yet been finalised; Macquarie Bank: Principal sponsor: Joseph Brender AO; Jillian Fink, Bickham Court Group; John and Estate of the late Yvonne Diana Focus Room Broadbent AO; Ken Cowley AO; C Conde AO, MBF Australia; Buchanan May bequeathed a Madman Entertainment: Support James Fairfax AO; James Gleeson Danny Goldberg, Dakota property in Rose Bay to the Gallery sponsor: Tezuka: the marvel of AO & Frank O’Keefe; Michael Corporation; Bill Wavish, Myer; with the condition that should it be manga Gleeson-White AO; David Gonski Giam Swiegers, Deloitte Touche sold and proceeds are to go to the Myer: Principal sponsor: Archibald, AC; Mollie Gowing; Shosuke Tohmatsu; Paul O’Sullivan, Optus; Art Gallery of New South Wales Wynne and Sulman prizes Idemitsu; James Leslie AC MC; Chum Darvall, Deutsche Bank AG; Foundation and a $10 000 annual National Australia Bank: Principal Frank Lowy AC; John Morschel; Alan Bell, Parnell; James Millar, art prize is to be established. sponsor: The arts of Islam Rupert Murdoch AC; Kenneth Myer Ernst & Young; Tony Harrington, Optimal Fund Management: AC DSC; J Hepburn Myrtle CBE; PricewaterhouseCoopers; Bruce K Principal sponsor: Zen mind Zen Margaret Olley AC; Max Sandow Cutler, Freehills; Geoff Dixon, brush, Support sponsor: Goddess: AM; John Schaeffer AO; Julie Qantas Airways; Clark Perkins, divine energy Schaeffer; Goldie and Edward Goldman Sachs JBWere; Justin

Grants/Partnerships During the year the following grants were received:

From Project Amount

Australia Council Venice Biennale $3 000 Sydney City Council Community ambassadors – outreach and training program $10 000 Pola Art Foundation Tezuka: the marvel of manga exhibition $10 366 Japan Foundation (Sydney) Japanese language kit $4 545 Nelson Meers Foundation Annual contribution to the Aboriginal Collection Benefactors $5 000 Australia China Council Nature through Chinese jade Symposium $5 000

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ART PRIZES, GRANTS AND SCHOLARSHIPS ART PRIZES

Art prizes SIR JOHN SULMAN PRIZE Grants and scholarships Australia and New Zealand. An award of $5000 was made to The 2007 Archibald, Wynne and The prize, judged by artist Hossein THE BASIL AND MURIEL Anita Bacic. Sulman prize competitions, Valamanesh, of $10 000 was HOOPER SCHOLARSHIP sponsored by Myer, were held in awarded to David Disher for his These scholarships, valued at BRETT WHITELEY TRAVELLING February 2007. A total of 1712 work Axis of Elvis. $4000 each, are available each ART SCHOLARSHIP entries were received, 107 of which year to fine art students attending were selected for display. The DOBELL PRIZE FOR DRAWING recognised schools in New South This scholarship was established Dobell Prize for Drawing, sponsored The $20 000 prize, judged by Irena Wales to assist with the costs of to provide young artists with an by the Sir William Dobell Art Zdanowicz, was awarded to Nick fees, materials and general living opportunity to travel to Europe and Foundation, was held in September Mourtzakis for his work titled nature. expenses. One scholarship was further their artistic interests. The 2006. Of the 617 entries received, insects plants flowers. shells fish awarded to Jacqueline Cavallaro. scholarship includes a financial 45 were selected for display. corals. the microscopic creatures. award and access to the Art dreams. THE ELIOTH GRUNER PRIZE Gallery’s Paris Studio for a period of ARCHIBALD PRIZE The prize of $1000 for the best three months. It is a memorial to the The prize of $35 000 for portraiture ANNE LANDA AWARD landscape in oil by an art student artist, the late Brett Whiteley, who in his youth was encouraged in his was awarded to John Beard for This award has been established in was awarded for 2006 to Catherine artistic endeavours by winning a his work titled Janet Laurence. honour of Anne Landa, a trustee of Moore. similar scholarship. Special thanks The Archibald Prize: People’s the Art Gallery of New South Wales are given to Beryl Whiteley, Brett’s Choice competition, which asks who died in 2002. This is the second THE ROBERT LE GAY mother, for providing the generous the viewing public to vote for in a biennial series of exhibitions for BRERETON MEMORIAL PRIZE donation to fund the scholarship. their favourite entry, was won by moving images and new media This prize, which aims to promote The 2006 scholarship of $25 000 Evert Ploeg for his work George work, each with an acquisitive award and encourage the art of draughts- was awarded to Samuel Wade. Ellis. Ploeg received $2500 and of $25 000. The exhibition is by manship, is available each year to a $1000 Myer gift card as did the invitation only and is not open to art students. The 2006 prize of Gallery patron whose vote for the applications. Both the exhibition and $800 was awarded to Rodrigo Luff. STUDIOS IN PARIS winning entry was drawn from a award are selected by a committee The Gallery allocates tenancy to barrel containing all votes cast for and this year it comprised Linda DYASON BEQUEST two art studios, the Moya Dyring the winning artist. Michael (curator, Adelaide Biennial of Administered under the terms of the Studio and the Dr Denise Hickey Australian Art 2006), Edmund Capon will of the late Miss Anthea Dyason, Memorial Studio, we lease at the WYNNE PRIZE and Natasha Bullock from the the bequest provides grants to Cité Internationale des Art in Paris. The prize of $15 000 for an Gallery. The 2006 recipient was Australian art students who have The studios were occupied during Australian landscape or figure Monika Tichacek for her video already won travelling scholarships the year by Bronwyn Clark-Coolee, sculpture was awarded to Philip installation titled The shadowers so as to enable them to better Jude Rae, Debra Phillips, Wayde Wolfhagen for his work Winter 2004, which has now become part study architecture, sculpture or Owen, Adrienne Doig, Newell Harry, Nocturne IV. of the Gallery’s collection. painting in countries other than James Hancock and Samuel Wade.

AGNSW PUBLICATIONS FOR SALE

• 19th century Australian • Camille Pissarro, Maloon, pb $50 • Contemporary Aboriginal art: the • Robert Klippel, Edwards, pb $50 watercolours drawings & pastels, • Caravaggio: darkness and light, Mollie Gowing Acquisition Fund, • Self portrait: Renaissance to Kolenberg, hb $45 Capon, pb $40 Perkins, pb $12 contemporary, Bond, pb $45 • Adventures with form in space: • Celestial silks: Chinese religious • Goddess: divine energy, Menzies, • Still life, Tunnicliffe, pb $25 the fourth Balnaves Foundation and court textiles, Rutherford & pb $50 Sculpture Prize Tunnicliffe, pb $35 • Tradition today: Indigenous art in Menzies, pb $35 • Ishq divine love: music for The • AGNSW collections, Capon, hb $88 Australia, Perkins, pb $40 • Charles Conder, Galbally, pb $45 arts of Islam, Cunio, CD $30 • An incomplete world: works from • True stories: artists of the East • Contemporary: Art Gallery New • Jeffrey Smart, Capon & Pearce, the UBS Art Collection, Tunnicliffe, Kimberley, DVD $30 South Wales contemporary pb $45 & hb $66 pb $45 • What colour is that? Keeler-Milne, collection, Tunnicliffe, hb $45 • Lets face it: history of the • Anne Landa Award 2006, pb $18.95 • Crossing country: the alchemy Archibald Prize, Ross, pb $50 Tunnicliffe, pb $25 • What number is that? Keeler- of western Arnhem Land art, • Man Ray, Annear, pb $30 • Archibald 05, pb $16 Perkins, pb $50 Milne, pb $18.95 • Margaret Olley revised edition, • Archibald 06, pb $16 • Crossing country: the alchemy of Pearce, hb $60 • Archibald 07, pb $16 western Arnhem Land art, DVD Bold denotes new titles in 2006–07 • Margaret Preston: art and life, $30 • The arts of Islam: treasures from Edwards, pb $50 & hb $80 the Nasser D Khalili Collection, • Dancing to the flute, Menzies, pb • Orientalism Delacroix to Klee, Rogers, pb $50 $44 Benjamin (ed), pb $45 • Asian collections, Menzies, pb $45 • Dobell Drawing Prize, 2nd edition, • Poetic Mandarin, Liu, pb $20 • Australian drawings, Kolenberg, Kolenberg, pb $22 pb $40 • Giacometti: sculptures, prints • Pre-Raphaelites and Olympians, • Belle Ile: Monet, Russell and and drawings from the Beresford, pb $20 Matisse in Brittany, Prunster, hb Maeght Foundation, Capon, pb • Rayner Hoff: this vital flesh, $25 $45 Edwards, pb $30.80

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VISITOR NUMBERS

Visitor numbers as at 30 June 2007

Total visitors Total visitors Total visitors Total visitors Total visitors Domain BW Studio Touring shows Month 2002–03 2003–04 2004–05 2005–06 2006–07 2006–07 2006–07 2006–07 July 115 250 85 229 115 194 95 690 113 979 96 638 691 16 650 August 75 305 87 094 102 579 112 172 115 769 104 548 565 10 656 September 64 005 93 306 100 238 91 764 93 398 85 967 841 6590 October 61 473 97 974 111 954 97 960 96 840 88 026 630 8184 November 87 442 88 898 93 854 130 102 82 506 75 161 545 6800 December 111 304 129 554 144 923 189 628 84 514 74 551 460 9503 January 140 771 177 706 123 277 231 202 105 646 94 986 517 10 143 February 114 713 145 421 96v651 126 184 88 781 82 676 637 5468 March 96 622 131 793 101 521 145 393 166 828 165 933 895 0 April 104 269 183 494 88 190 196 936 126 471 125 087 1384 0 May 81 593 181 284 151 085 157 541 94 058 81 522 1234 11 302 June 73 914 111 066 121 988 116 295 132 804 103 659 1181 27 964 YTD TOTAL 1 126 661 1 512 819 1 351 454 1 690 867 1 301 594 1 178 754 9580 113 260

Paid exhibition program for 2006–07 Month Total Zen mind Zen brush July–Sept 8 359 Lewis Morley July–Sept 21 320 Giacometti Aug–Oct 29 093 Goddess: divine energy Oct–Jan 48 244 Tezuka: the marvel of manga Feb–Apr 28 794 Archibald, Wynne & Sulman prizes Mar–May 118 496 The arts of Islam June 6 160 TOTAL 260 466

Average daily visitors 2006–07

6000

5000

4000

3000

Visitors 2000

1000

0 July August September October November December January February March April May June

Annual visitor numbers 1992–93 to 2006–07

1.7m 1.6m 1.5m 1.4m 1.3m 1.2m Visitors 1.1m 1m 0.9m 0.8m 0.7m 92–93 93–94 94–95 95–96 96–97 97–98 98–99 99–00 00–01 01–02 02–03 03–04 04–05 05–06 06–07

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EXHIBITIONS LISTING

DATE DEPARTMENT EXHIBITION TITLE Ticketed AGNSW AGNSW Tours Catalogue 01.07.06–24.07.06 Australian 19th-century Australian watercolours, drawings and pastels • 05.07.06–10.09.06 Western: Photography Lewis Morley •• 19.07.06–17.09.06 Australian Frank Hodgkinson • 09.08.06–13.09.06 Western: Contemporary Adventures with form in space: the fourth Balnaves Foundation Sculpture Project • 18.08.06–29.10.06 Directorate Giacometti: sculptures, prints and drawings from the Maeght Foundation ••• 26.08.06–26.11.06 Australian: Whiteley Studio Brett Whiteley Travelling Art Scholarship 26.08.06–26.11.06 Australian: Whiteley Studio Seasons 07.09.06–24.11.06 Library Wunderlust: artists’ books 15.09.06–29.04.07 Western: Contemporary Contemporary collection 20.09.06–19.11.06 Australian Notes from the River Caves: Peter Kingston and Martin Sharp • 29.09.06–03.12.06 Australian Dobell Prize for Drawing 2006 28.10.06–15.04.07 Australian: Aboriginal Gifted: contemporary Aboriginal art 13.10.06–28.01.07 Asian Goddess: divine energy •• 21.10.06–21.01.07 Asian Chinese modern prints: from We to Me 26.10.06–06.12.06 Western: Contemporary Brendan Lee • 22.11.06–14.01.07 Australian Carl Plate: works from the collection 18.11.06–11.02.07 Western: Contemporary Anne Landa Award for video and new media arts • 02.12.06–09.09.07 Australian: Whiteley Studio 9 shades of Whiteley 09.12.06–24.01.07 Australian Australian abstraction 1965–85: from the collection 14.12.06–28.01.07 Western: Contemporary A bird in the hand: Tony Clark and John Wolseley • 17.01.07–11.03.07 Australian Albert Tucker 14.02.07–22.04.07 Public Programs Artexpress 2007 29.01.07–12.04.07 Library Pictorial bookplates 08.02.07–22.03.07 Western: Contemporary Struck: Michele Barker and Anna Munster 23.02.07–29.04.07 Asian Tezuka: the marvel of manga • 03.03.07–13.05.07 Australian Archibald, Wynne and Sulman prizes ••• 10.03.07–06.05.07 Western: Contemporary Howard Arkley 14.03.07–02.05.07 Western: Photography Anne Zahalka 29.03.07–09.05.07 Western: Contemporary Sculptural situations by Gail Hastings 21.04.07–22.07.07 Western: Photography Blossfeldt & the isolated object 05.05.07–29.08.07 Australian Paradise then: Arthur Fleischmann in Bali 1937–39 05.05.07–22.07.07 Australian Australian etchings and engravings 1880s–1930s 19.05.07–05.08.07 Western: Contemporary An incomplete world: works from the UBS Art Collection • 19.05.07–29.07.07 Western: Contemporary Anselm Kiefer: Aperiatur terra 24.05.07–05.08.07 Asian Ishiuchi Miyako: mother’s 22.06.07–23.09.07 Directorate The arts of Islam: treasures from the Nasser D Khalili Collection ••

Touring exhibitions

DATE EXHIBITION VENUE CITY/STATE/COUNTRY EXHIBITION TITLE ATTENDANCE

01.07.06 – 16.07.06 Myer Mural Hall Melbourne, Vic Archibald Prize 06 10 542 29.07.06 – 03.09.06* Tamworth Regional Gallery Tamworth, NSW Archibald Prize 06 8 396 14.09.06 – 22.10.06* Tweed River Regional Gallery Cowra, NSW Archibald Prize 06 13 300 27.10.06 – 03.12.06* Wagga Wagga Regional Gallery Wagga Wagga, NSW Archibald Prize 06 5 248 09.12.06 – 14.01.07* Dubbo Regional Gallery Dubbo, NSW Archibald Prize 06 6 744 19.01.07 – 25.02.07* Musswellbrook Regional Gallery Musswellbrook , NSW Archibald Prize 06 1 708 17.11.06 – 25.02.07 Christchurch Art Gallery Christchurch, NZ Giacometti: sculptures, prints and drawings from the Maeght Foundation 18 818 01.07.06 – 13.08.06# Art Gallery of South Australia Adelaide, SA Margaret Preston: art and life 9 238 18.05.07 – 30.06.07 Myer Foundation Hall Melbourne Vic Archibald Prize 07 39 266

* Tour organised in association with the Museums and Galleries Foundation of NSW. # Margaret Preston tour to Art Gallery of SA began on 25/05/06. Only 2006–07 attendances included above.

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AGED AND DISABILITY ACCESS PROGRAMS AND SERVICES

The Gallery is committed to Disabled toilets are located on the The touch tour program will include STAFF TRAINING providing aged people and people upper level, level 1 and level 3. a component of audio description, Information and awareness sessions with disabilities excellent access to to be used in conjunction with are held for staff and volunteer services, the building, information existing tours and to complement VISITORS WHO ARE DEAF guides, with particular reference to and opportunities. selected temporary exhibitions. AND HEARING IMPAIRED servicing visitors with special needs. This year the Gallery entered into a These tours can also include art- Some volunteer guides and staff The Gallery engages sign language three-year partnership with Clayton making workshops to expand the have undertaken introductory interpreters for the regular advertised Utz to present a series of access experience of enjoying art. courses in sign language. programs for disabled visitors. This guided tours and in association with To support the In Touch tours, the A designated education officer partnership is designed to allow Deaf Awareness Week. Gallery is developing a sensory manages the Gallery’s accessible people with disabilities to enjoy Groups of visitors who are deaf who trolley which will include tactile arts programs and facilities for cultural experiences at the Gallery wish to make bookings are provided materials and props that people with disabilities. specifically through ‘touch’ and with sign language interpreters free complement tours of the Gallery. ‘sensory’ tours. In addition a of charge. HELPERS The main visitor elevator (servicing volunteering program where Clayton The TTY number (02) 9225 1711 is lower level 1, ground floor and the General entry to the Gallery is free Utz staff support the Gallery in art- listed in the Telstra TTY directory. upper level) has voice notification of to all visitors. However, where entry making workshops was launched. The Gallery provides free monthly floor and access information and fees are charged for major temporary Highlighted below are initiatives Auslan guided tours. The Gallery Braille floor buttons. exhibitions, helpers accompanying undertaken by the Gallery. conducts Signing Art, Auslan- visitors with disabilities are admitted interpreted free performances free of charge. CHILDREN WITH AN VISITORS WITH A PHYSICAL which incorporate mime, puppetry INFORMATION AND PUBLICITY and improvisation to create a INTELLECTUALLY DISABILITY DISABILITY The free regular publications vibrant and diverse educational The Da Vinci program is a Gallery Exhibitions and Events are available There are four dedicated disabled entertainment. initiative involving a specially at the ground floor information desk. parking spaces available at the front designed program for students with This year there were selected These booklets contain information of the Gallery and two at the rear. mild to moderate intellectual Art After Hours events which were for visitors with special needs. Special arrangements are also disabilities. This program provides Auslan-interpreted including celebrity Currently Exhibitions and Events are made for bus parking. Access to students with the opportunity to talks by Greg Pickhaver (aka H G posted to over 4000 interested the spaces at the rear of the Gallery experience art through stimulating is via the service road on the Nelson) and Peter Garrett MP. and fun-filled workshops which individuals and organisations. southern side of the building. From The Domain Theatre is equipped include discussion, role-play and the Free brochures on the accessible the rear of the Gallery access to all with audio-induction loop facilities use of sensory materials. arts programs are also available at for all lectures and films. exhibitions, displays, public and the information desk. administrative areas are by way of An FM microphone system for EMPLOYMENT PRACTICES ramps and lifts. All access routes hearing aid users is available on GENERAL are signposted. request for guided tours. COMMUNICATIONS The Gallery is committed to equal A wheelchair accessible bus (route opportunity principles for recruitment The Gallery’s Internet website 441) runs from the Queen Victoria and general employment practice. (www.artgallery.nsw.gov.au) can Building to the Gallery. Telephone VISITORS WHO ARE VISUALLY display large-print screen versions Of staff working at the Gallery, 3% 131500 or www.131500.info for IMPAIRED of all information. have a disability and 0.4% require timetable details. The In Touch at the Gallery program some form of adjustment to the The Gallery’s Internet website has The Domain Theatre and Centenary provides people who are visually workplace. myVirtualGallery which enables the Auditorium have access space impaired the opportunity to explore public to create their own online designed for wheelchair users. works through touch. Specially trained volunteer guides help visitors exhibition using works from the The Gallery provides wheelchairs experience the tactile qualities of Gallery’s collection. This website which are available from Security. marble, bronze and stone and allows people with limited mobility All exhibition spaces are accessible discover the stories and ideas the opportunity to have an by lift. surrounding these unique objects. interactive arts experience.

ABORIGINAL & TORRES STRAIT ISLANDER PROGRAMS AND SERVICES

There are many Gallery activities Indigenous art patron Mollie launched this year, was designed • Online education kits for the developed to introduce Aboriginal Gowing. Gifted paid tribute to one by the Gallery to specifically support recent Crossing country and Rover and Torres Strait Islander visitors of the most significant champions of and encourage underachieving, Thomas exhibitions. the Gallery and her ongoing support and others to the history and culture gifted K–6 students from differing • Kids Art Trails, which encourage of Indigenous peoples of Australia, for contemporary Indigenous art. backgrounds with a focus on children to engage more including temporary exhibitions, Included in the exhibition were Indigenous children, in an effort interactively with Indigenous art. public program events and the major acquisitions by Emily Kam to meet their intellectual, artistic, permanent collection on display in Ngwarray, Mawalan Marika, Ginger social and emotional needs using • One-hour educational tours of the Yiribana Gallery, the largest Riley Munduwalawala, Queenie the Gallery’s permanent collection the Yiribana Gallery designed for display focused on Aboriginal art in McKenzie, Ken Thaiday and local as a key resource within this kindergarten to secondary school artist Roy Kennedy. the southern hemisphere. ‘special environment’. Indigenous children, for tertiary students and special needs groups. This year the Gallery mounted a Services available and activities held artists whose work is in the special collection-based exhibition included: Gallery’s permanent collection • Guided tours conducted for Gifted: contemporary Aboriginal art, • The Manioo workshop. Manioo is talked to students about their Aboriginal people to assist in which highlighted significant works an Eora word meaning ‘to pick up work and assisted the students strengthening their appreciation purchased with the support of anything’. This free workshop, with art-making. of Aboriginal art and artists.

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As a part of Gallerykids the the Gallery resulted in the joint The Aboriginal Collection Art, was a member of the selection character of Ngununy, the cheeky development of two Indigenous art Benefactors Group continued to panel for the NSW Aboriginal Art fruit bat was created to take visitors units, taught and structured around raise funds specifically for the Award. on a lively tour of Aboriginal art, the Gallery’s extensive and unique acquisition of Indigenous art. A major Aboriginal art publication creating a greater understanding of Indigenous collection. Fifty percent Aboriginal and Torres Strait Islanders One sun one moon has been key art works from the collection. of the profits from the course’s Other Gallerykids events included revenue will go towards an represent 2.2% of the Gallery’s prepared for publication in 2007–08. weekend holiday guided tours by Aboriginal art acquisition fund. workforce which exceeds the NSW government’s Two Ways Together the Mimih and regular performances Strengthening our archive of public sector employment target of of didgeridoo and Aboriginal dance. Indigenous art, the Aboriginal and 2%. A unique partnership between Torres Strait Islander Art Department Warawara Department of Indigenous continued to film interviews with Hetti Perkins, senior curator, Studies, Macquarie University and Indigenous artists. Aboriginal and Torres Strait Islander

WOMEN’S ACTION PLAN

The Annual Reports (Statutory Goddess: divine energy The Gallery has created mini websites 53% women. Under the principle of Bodies) Amendment (Women’s (30 October 2006 – 28 January for both Margaret Preston: art and employment by merit, employees Action Plan) Regulation 1997 2007) life (www.artgallery.nsw.gov.au/ benefit by having their capabilities requires NSW public sector This exhibition surveyed the sub/preston/index.html) and fully utilised and their skills agencies to provide information innumerable, imaginative Goddess: divine energy expanded. Of the seven senior about their implementation of the expressions of the divine female (www.artgallery.nsw.gov.au/sub/ officers and above management NSW government’s Action Plan for found in the art of India, Tibet and goddess/index.html) exhibitions. positions, four are held by women Women. Nepal through over 120 paintings The Gallery has maintained a (57%) and of middle management The Gallery supports the whole-of- and sculptures, dating from the general free admission policy to positions 73% are occupied by government approach to addressing early centuries CE through to the ensure the broadest range of the women, reflecting the Gallery’s women’s issues and concerns and 20th century. Major public and community, including financially commitment to the advancement acknowledges that all areas of the private collections of Asian art disadvantaged visitors (who are of women based on merit. NSW public sector must commit to around the world were lenders to often women), have access to the Approximately 38% of women staff the exhibition. the principles of access, equity, state’s fine art collection and took advantage of the Gallery’s rights and participation of women Struck – Michele Barker and associated education programs. flexible work practices including by integrating the needs and Anna Munster part-time work, job sharing, working The Gallery administers two concerns of women as part of (8 February – 22 March 2007) from home, part-time leave without bequests open only to women. normal business. This exhibition by two women pay and the career-break scheme These are the John and Elizabeth artists was a multi-channel video in order to effectively balance The Gallery is committed to the Newnham Pring Memorial Prize for and sound installation that critically workplace priorities with family and advancement of women in all forms ‘the best landscape executed in addressed the complexities of personal commitments. The Gallery of cultural, artistic and work life and watercolours by a woman artist’; being diagnosed with a neurological as a whole benefits in the long term is aware of the need to identify and and a fund in the name of Viktoria disease. by being adaptable and responsive redress discrimination against Marinov, with interest earned on the to changing community needs and women by making services more Anne Zahalka investment used to purchase works expectations. accessible and responsive. From an (14 March – 2 May 2007) of art for the permanent collection organisational perspective, the Anne Zahalka is a Sydney-born ‘by female artists under the age of Gallery acknowledges the needs contemporary photographer 35 years’. The Gallery administers and interests of women as a direct whose work has been exhibited other awards and scholarships to occupational group and its extensively in Australia, Europe assist in the professional responsibility to promote a and Asia since the early 1980s. development of Australian artists workplace which is equitable, safe Zahalka has maintained an which are open to all artists, and responsive to women’s needs. interested in leisure activities as including women. an intrinsic part of Australia culture, CONTINUING THE COMMITMENT moving from the self-conscious ACHIEVEMENTS UNDER KEY stage-setting of her previous work TO THE PRINCIPLES OF ACCESS, OBJECTIVES IN THE ACTION to virtually pure documentation EQUITY, RIGHTS AND PLAN FOR WOMEN in spectacular scale and colour. PARTICIPATION MAKING SERVICES MORE These aspects, coupled with the The Gallery recognises that ACCESSIBLE AND RESPONSIVE artist’s ongoing research into art traditional gender imbalances on The following exhibitions exclusively history and photography’s place decision-making bodies can have or significantly featured the work of within those discourses, formed implications for strategic outcomes. female artists, were representative the basis of this exhibition. There are five women on the 11- of women artists’ contribution to Online education kits are available member Board of Trustees (45%). the history of art, reflected the which highlight the work of The Gallery is committed to the achievements of women in society; Australian women artists such as employment of all staff based on or focused on women and their role Grace Cossington Smith and selection by merit, and the Gallery’s in society. Margaret Preston. workforce is currently made up of

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ETHNIC AFFAIRS PRIORITIES STATEMENT

The Gallery is committed to the crafted materials. On the last day of showing the dynamism of contact • An exhibition of 158 photographs principles of multiculturalism as the project the goddess was taken zones in many different countries by August Sander, being shown in outlined in Section 3 of the by procession to Darling Harbour and cultures, around the world and Sydney only, which will acknowledge Community Relations Commission followed by an immersion ceremony in Australia. These are areas where Sander’s interest in typologies and and Principles of Multiculturalism in the Parramatta River. everyday life and relations between his aim to produce a definitive Act 2000. Tezuka: the marvel of manga individuals and cultures has been ‘atlas’ of the German people. shaped by poverty, war, colonisation, The NSW government has identified (23 February – 29 April) comprised • Translucent world: Chinese jade migration and displacement. four key objectives for respectful original drawings, designs for from the Forbidden City, a unique Films in this series included stories intercultural community relations: manga covers and posters. The presentation of Chinese jade from dealing with migration, colonisation leadership, community harmony, exhibition introduced Western the outstanding collection of the and cultural overlap. A total of 6756 access and equity, and economic audiences for the first time to the Palace Museum, Beijing with more attended this series. Films were and cultural opportunities. full scope of the work of this icon than 180 works representing all also screened in conjunction with To assist in achieving these and acknowledged master of the periods of Chinese jade carving, the Goddess and The arts of Islam objectives the Gallery has undertaken Japanese manga movement. from Neolithic times to the Qing exhibitions. exhibitions, public and education The arts of Islam: treasures from dynasty. The key object is a carved programs and other initiatives listed the Nasser D. Khalili Collection • Gallerykids and holiday jade mountain over one metre high in the outcomes below. (22 June – 27 September 2007) workshops: highlights included depicting The Nine Elders of was the finest display of the arts Zhenmu Shou, the guide from the Huichang, commissioned by the of the Islamic world ever seen grave, meet the Queen of Sheba Emperor Qianlong in 1787. ETHNIC AFFAIRS PRIORITY in Australia. It offered a rare and performances in conjunction The Gallery will present public and OUTCOMES 2006–07 opportunity to experience rich and with Goddess: divine energy and education programs supporting The following exhibitions on display diverse artistic achievements from The arts of Islam. both these exhibitions and others in during 2006–07 reflected and the 7th to early 20th centuries. Selected exhibitions and special promoted cultural diversity. 2007–08, including the lunchtime The on-going presentation of a events were advertised in various lecture series Arts of Asia and Zen mind Zen brush (17 June – dynamic and culturally varied series multicultural publications including Decoding the Renaissance II as 24 September 2006), drawn from Indian link and Oziran. The Gallery of public and education programs individual lunchtime and evening the remarkable private collection regularly advertises on SBS in reflects the Gallery’s commitment to lectures on topics ranging from of Dr Kurt A Gitter and Alice Rae various languages including making the collection and temporary Medieval Spain to calligraphy in Yelen, included works by the exhibitions readily accessible to the Mandarin, French, Arabic, Hindi, Islam. Art Adventure Tours will be greatest Zen masters of the last public. This year the program Punjabi and Vietnamese. run in conjunction with various three centuries with subjects included: The Gallery continues to provide exhibitions focusing on people and ranging from fierce-looking Zen • Art After Hours: special programs management services support to their cultural beliefs. The Gallery will patriarchs to minimal landscapes held each week included VisAsia, which promotes and and from intense calligraphy to continue to present a culturally performances, talks, films and cultivates a better understanding diverse range of films. whimsical depictions of Zen music and many of these events and enjoyment of Asian arts and The Gallery will continue to conundrums. highlight and explore cultural diversity. culture. encourage staff to participate in the Giacometti: sculptures, prints and • Arts of Asia: this lunchtime lecture The Gallery’s guide maps were drawings from the Maeght Community Language Allowance series invited leading curators and updated and are available in Foundation (18 August – 29 October Scheme and to extend the range of scholars to explore the inspiration Japanese, Mandarin and Korean, 2006) was the first exhibition of languages currently represented. of the word for artists spanning Italian, French, Spanish and German Giacometti’s work ever to be held in Ottoman Turkey to colonial languages. This year the Gallery Australia, offering a rare opportunity Indochina. released an Arabic guide map in to view his work and gain insight conjunction with the exhibition into the creative genius of one of • Decoding the High Renaissance: The arts of Islam. the most original and inventive this lecture series explored the artists of the 20th century. Alberto development of western culture Gallery staff identify as 19% from Giacometti stands beside Picasso through the examination of work non-English speaking backgrounds. and Matisse as one of the great of artists such as Bellini, Holbein, This compares favourably with the masters of modern art. Titian and Breugel. NSW government target of 20%. Goddess: divine energy • Education kits and language A number of employees who speak (13 October 2006– 28 January worksheets: this year the education community languages assist other 2007) was the first major exhibition kits produced included The arts staff and visitors, and earn a in Australia to explore the many of Islam, Goddess: divine energy, Community Language Allowance. manifestations of the divine female Adventures in Asia; Biennale of As at 30 June 2007 the Gallery had in Hindu and Buddhist art. Created Sydney, Tezuka: the marvel of staff officially designated as able to as a focus for veneration and manga, and Zen mind Zen brush. offer assistance in Hindi, Cantonese, meditation, over 150 exquisite Chinese language worksheets Polish, German, Italian, Mandarin, works from India, Tibet and Nepal were introduced to assist Chinese Spanish and Indonesian. language teachers with self-guided were gathered from collections An annual calendar of significant excursions to the Gallery. around the world for display. religious and holy days was As a part of the exhibition Goddess: • Mini websites produced for major circulated to all supervisors to divine energy, the ambitious project temporary exhibitions, mini-websites enable scheduling of staff Durga: creating the goddess present diverse information for commitments to meet religious allowed visitors to experience the a range of audiences including, obligations. living traditions of the Goddess in an exhibition overview, images, India – a sight rarely seen outside of marketing and promotional material, Bengal. Master craftsman Nemai public and education programs ETHNIC AFFAIRS PRIORITY Chandra Paul and his assistants and resources. This year they GOALS FOR 2007–08 spent three weeks constructing the included Goddess: divine energy Continuing to reflect and promote spectacular image of the goddess (www.artgallery.nsw.gov.au/sub/ cultural diversity and harmony, the Durga. Each element from straw to goddess/index.html). Gallery’s 2007–08 program of major clay, pigments to varnish, dressing • Film: the Zones of contact film exhibitions and associated and adorning the figures was done series screened in conjunction with educational programs will include by hand using organic and hand- the 2006 Biennale of Sydney the following:

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OVERSEAS TRAVEL

Terence Maloon, curator, Special Dr Richard Beresford, senior Donna Hinton, senior conservator, Richard Harling, manager, Exhibitions curator, European Art Objects Gallery Shop Europe, 3 May to 7 July 2006 USA and UK, 16 October to New Zealand, 25 February to USA and UK, 21 May to 9 June Research forthcoming exhibition 15 November 2006 1 March 2007 2007 The origins of abstraction. Courier Flemish diptych by Courier works in the Giacometti Attend New York Stationery Fair, Anthony Bond, general manager, Ambrosius Benson and research exhibition. Book Expo America and Pulse Curatorial Services Gallery’s collection of European Bambi Blumberg, coordinator, CCB Gift Fair. UK, Europe, Japan, 27 June to paintings and sculpture. New Zealand, 8–11 March 2007 Alan Lloyd, head of Conservation 24 July 2006 Anne Flanagan, general manager, Manage Contemporary Collection Europe, 23 May to 6 June 2007 Research for Anselm Kiefer exhibition Exhibitions and Building Benefactors (CCB) tour to the 3rd Courier shipment of works for and to develop partnerships with New Zealand, 9–11 November 2006 Auckland Triennial. The arts of Islam exhibition. Japanese institutions interested in Courier return of Giacometti works. Donna Hinton, senior conservator, Edmund Capon, director collaborating with Australian Donna Hinton, senior conservator, Objects Europe, 1–13 June 2007 partners. Objects France, 12–22 March 2007 Attend opening of Venice Biennale. Dr Richard Beresford, senior New Zealand, 10–16 November Courier return of Giacometti Anthony Bond, general manager, curator, European Art 2006 exhibitions works. Curatorial Services UK, 9 July to 21 August 2006 Courier return of Giacometti works. Charlotte Cox, assistant registrar, Europe, 1–29 June 2007 Research on the Gallery’s collection Judy Annear, senior curator, Exhibitions Research exhibition of 20th century in London libraries. Photography France, 13–22 March 2007 figurative sculpture, attend Venice Donna Hinton, senior conservator, Japan and Europe, 11–28 Courier return of Giacometti Biennale, Basel Art Fair, Documenta Objects November 2006 exhibition works. XII and 3rd Munster Sculpture France, 29 July to 9 August 2006 Invited by Hasselblad, Sweden, to Dr Liu Yang, curator, Chinese Art Project. Courier for Giacometti exhibition. award 2006 Hasselblad Prize. Hong Kong and China, Wayne Tunnicliffe, curator, Charlotte Cox, assistant registrar, Edmund Capon, director 15–25 March 2007 Contemporary Art Exhibitions UK, 11–28 November 2006 Present a paper at a symposium Europe, 3–24 June 2007 France, 29 July to 8 August 2006 Development meetings for The arts held at the Hong Kong Chinese Attend Venice Biennale and Courier for Giacometti and Goddess of Islam exhibition. University. negotiate future exhibitions. exhibitions. Barry Pearce, head curator, Mark Boxshall, graphic designer Emma Smith, senior registrar, Charlotte Davy, registrar, Exhibitions Australian Art China, 23 March to 5 April 2007 Collections New Zealand, 25–31 August 2006 UK and Italy, 26 November to Supervise printing of One sun, one The Netherlands, 5–6 June 2007 Courier for Margaret Preston 9 December 2006 moon publication. Courier sculpture Untitled (Old exhibition. Final selection of works for Sidney Gillian Williamson, assistant woman in bed) by Ron Mueck. Mark Boxshall, graphic designer Nolan retrospective. manager, Gallery Shop Belinda Hanrahan, general South Korea, 13–21 September Erica Drew, senior manager, USA, 13–17 April 2007 manager, Marketing 2006 Exhibitions Attend the Museum Stores Europe, 22 June to 21 July 2007 Supervise printing of Goddess Singapore, India, Hong Kong, Association Conference and Trade Attend marketing conference in catalogue. 30 December 2006 to 27 January Fair. Madrid. Jackie Menzies, head curator, 2007 Hetti Perkins, senior curator, Asian Art Establish professional contacts with Aboriginal Art Japan, 27 September to 2 October institutions in Asia. France, 19 April to 4 May 2007 2006 Judy Annear, senior curator, Finalise Australian Indigenous Art Attend forum in Tokyo to discuss Photography Commission. future exhibition opportunities. USA, 1 January to 31 March 2007 Dr Richard Beresford, senior Emma Smith, senior registrar, Work at J Paul Getty Museum on curator, European Art Collections proposed photography exhibition. UK, 24 April to 24 May 2007 Italy, 28 September to 4 October Edmund Capon, director Further research on the Gallery’s 2006 China, 9–21 January 2007 collection in London libraries. Courier delivery of two Pierre Select works for exhibition of stone Mark Boxshall, graphic designer Bonnard artworks. Buddhist sculptures plus other Italy, 28 April to 8 May 2007 Peter Raissis, curator, European Chinese exhibitions. Supervise printing of Art Gallery of Prints & Drawings Dr Liu Yang, curator, Chinese Art New South Wales photography France, 30 September to China, 9–24 January 2007 collection handbook. 5 October 2006 Select works for exhibition of stone Charlotte Davy, registrar, Exhibitions Courier return of Braque from Buddhist sculptures plus other UK, 7–23 May 2007 Musée Cantini. Chinese exhibitions. Courier works for The art of Islam Jesmond Calleja, senior registrar, Clare Germaine, registrar, exhibition. Collection Systems Integration Collections Malgorzata Sawicki, senior Europe and UK, 6–24 October 2006 Italy, 1–7 February 2007 conservator, Frames Present paper at ICOM conference Courier return of two Pierre Bonnard Poland, 9–28 May 2007 and research in UK. paintings. Present a paper at ICOM-CC Anthony Bond, general manager, Brent Willison, registration assistant Conference. Curatorial Services USA, 1–11 February 2007 Dr Liu Yang, curator, Chinese Art Singapore, UK, Europe Courier return of Ambrosius Benson Singapore and Taiwan, 17–28 May 7–22 October 2006 work. 2007 Present paper at AICA 2006 Edmund Capon, director Present lectures in Singapore and Congress. UK, 20–28 February 2007 speak at international symposium in Charlotte Davy, registrar, Negotiations for The arts of Islam Kaohsiung. Exhibitions exhibition. USA, 16–23 October 2006 Courier return of works included in Zen mind Zen brush exhibition.

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COLLECTION – PURCHASES

Dates of works given in brackets Prints, Drawings and Watercolours 1974, soft- and hard-ground Walangkura Napanangka are estimates. Titles in brackets are Benefactors Fund 2007 etching, aquatint, black ink on white (Australia, born c1946), Untitled descriptions rather than titles Sir Lionel Lindsay (Australia, Rives wove paper; Vor Esahi 1974, 2005, synthetic polymer paint on assigned by artists. 1874–1961), Melon and aubergine soft- and hard-ground etching, canvas. Purchased under the terms 1936, wood engraving, black ink on aquatint, foul bite, black ink on of the Florence Turner Blake Australian art white Japanese tissue. Accessioned white Rives wove paper. Purchased Bequest 2006 2007 with funds provided by the Yukultji Napangati (Australia, born Earle Backen (Australia, Allan Mitelman (Australia, b1946), Australian Prints, Drawings and c1970), Untitled 2005, synthetic 1927–2005), 1 watercolour and Untitled 2006, indian ink, gouache, polymer paint on linen canvas. Don 1 drawing: Façade 1994, pencil, Watercolours Benefactors Fund collage on two sheets of paper. D G Mitchell Bequest Fund 2006 watercolour on white wove paper; 2007 Wilson Bequest Fund 2006 Emma Daniel Nungurrayi The green house, Pera, Istanbul Martin Sharp (Australia, b1942), Daniel Moynihan (Australia, (Australia), 3 paintings: Karrinyarra (study for ‘Façade’) 1994, pencil, Tiny Tim, eternal troubadour 1982, b1948), Tiger town 2004, soft- (Mt Wedge) 2007, synthetic polymer pen and black ink, white pastel on four-colour screenprint on white ground etching, black ink on off- wove paper. Accessioned 2006 paint on linen canvas; Karrinyarra grey/green paper. Australian Prints, white Arches BFK Rives paper. (Mt Wedge) 2007, synthetic polymer Drawings and Watercolours Anne Starling (Australia, b1967), Purchased with funds provided by Post-industrial landscape 2006, paint on linen canvas; Karrinyarra Benefactors Fund 2006 QBE Insurance Group Limited 2006 (Mt Wedge) 2007, synthetic polymer Leonard Beck (active 1920s–50s), colour linocut, red and black ink on Angus Nivison (Australia, b1953), ivory Fabriano paper. Purchased paint on linen canvas. Purchased Argyle Cut Sydney, etching, Uncertain light 2006, triptych: with funds provided by the drypoint, black ink with plate tone with funds provided by QBE synthetic polymer paint, charcoal on Insurance Group Limited 2006 Warawara Department of on ivory laid paper. Accessioned Indigenous Studies, Macquarie canvas. Patrick White Bequest Fund Tim Storrier (Australia, b1949), 2007 University 2007 2006 Boys own modern 2006, synthetic Vera Blackburn (Australia; England, Angus Nivison (Australia, b1953), Kathleen Padoon Napanangka polymer paint on canvas. 1911–91), Lake of swans 1935, The light 2006, synthetic polymer (Australia, born c1938), 3 prints: Purchased with funds provided by linocut, black ink on Japanese paint, charcoal, gesso on paper. Nakarra Nakarra 2005, etching; the Art Gallery Society of New tissue. Australian Prints, Drawings Purchased with funds provided by Nakarra Nakarra 2005, etching; South Wales and Watercolours Benefactors Fund the Gil & Shay Docking Drawing Nakarra Nakarra 2005, etching. Guy Warren (Australia, b1921), 2006 Fund 2007 Purchased with funds provided by Hidden memories, secret lives G W Bot (Australia, b1954), John Peart (Australia, b1945), Gira Warawara Department of (2006), synthetic polymer paint on Grassland 2006, linocut, printed in 2004, colour etching, aquatint on Indigenous Studies, Macquarie canvas. Patrick White Bequest Fund red ink on cream wove paper. ivory Velin Arches 300gsm wove University 2007 2006 Purchased with funds provided by paper. Arthur Boyd Acquisition Fund Fred Ward Tjungurrayi (Australia, the Australian Prints, Drawings and 2006 born c1948), Kurlkutjanya 2004, Watercolours Benefactors Fund Carl Plate (Australia, 1909–77), SUB TOTAL 38 WORKS synthetic polymer paint on canvas. 2007 Study for ‘Graph segments’ 5 1963, Purchased with funds provided by Fred Britton (Australia, pencil, pen, brush and black ink, Aboriginal and Torres Strait the Aboriginal Collection 1889–1931), John Young Esq 1928, black and grey wash on cream Islander art Benefactors Group 2006 drypoint, black ink on thin white wove paper. Purchased with funds Billy Benn (Australia, b1943), Harry Tjutjana (Australia, born tissue. Accessioned 2007 provided by QBE Insurance Group Artetyerre 2006, synthetic polymer c1930), 2 paintings: Minymaku Ruth Burgess (Australia, b1932), Limited 2007 paint on hardboard. Purchased with Tjukurrpa 2006, synthetic polymer Winter forest 2006, wood paint on paper; Minyma Mingkari Jörg Schmeisser (Australia; West funds provided by the Patricia engraving, black ink on white wove 2006, synthetic polymer paint on Germany, b1942), 13 prints from the Lucille Bernard Bequest 2007 paper. Arthur Boyd Acquisition canvas. Mollie Gowing Acquisition portfolio Hokkaido, 1974: Title page, Mabel Juli (Australia, born c1931), Fund 2006 Fund for Contemporary Aboriginal 1974 offset lithograph, black ink on Karngin Ngarranggarni 2006, natural William Dobell (Australia, white Rives wove paper; Art 2006 earth pigments on canvas. 1899–1970), Study for ‘Pearl’ Kamomejima vor Esashi 1974, Purchased with funds provided by c1940, pen and brown ink, charcoal etching, aquatint, black ink on white SUB TOTAL 17 WORKS the Aboriginal Collection on paper. Purchased with funds Rives wove paper; Kamuimisaki Benefactors Group 2006 provided by the Gil & Shay Docking 1974, soft- and hard-ground TOTAL AUSTRALIAN ART Alma Kalaju Webou (Australia, Drawing Fund 2007 etching, aquatint, black ink on white DEPARTMENT 55 WORKS born c1928), Pinkalarta, synthetic Fiona Hall (Australia, b1953), Rives wove paper; Komagatake polymer paint on canvas. 5 prints: Wattle and mantid 2006, 1974, soft- and hard-ground Asian art Purchased with funds provided by etching, aquatint, black ink with etching, aquatint, foul bite, black ink the Aboriginal Collection BURMA chine collé of hand-made Japanese on white Rives wove paper; Okitsu paper, on ivory wove paper; jinja matsuri in Okushiri 1974, soft- Benefactors Group 2007 Head of a Buddha 1700s–1800s, Shrubby Dillenia leaf and wasps and hard-ground etching, aquatint, Alma Kalaju Webou (Australia, sandstone with plaster and nest 2006, etching, black ink with black ink on white Rives wove born c1928), Pinkalarta, synthetic pigments. Ed and Goldie Sternberg chine collé on ivory wove paper; paper; Sambonsugi vor Setana polymer paint on canvas. Southeast Asian Art Fund 2007 Green ant nest 2006, etching, 1974, etching, aquatint, printed Purchased with funds provided by aquatint, black ink with chine collé from two plates, black and brown the Warawara Department of SUB TOTAL 1 WORK on ivory wove paper; Sundew 2006, ink on white Rives wove paper; Indigenous Studies, Macquarie etching, black ink with chine collé Sanôkaku 1974, soft- and hard- University 2007 CHINA of hand-made Japanese paper, on ground etching, aquatint, black ink Carol Maayatja Golding (Australia, Buddhist stele with Buddha and two ivory wove paper; Palm and on white Rives wove paper; born c1930), Warlu Tjukurrpa 2006, Bodhisattvas 500s, Northern Wei paperwasp 2006, etching, aquatint, Shakotanmisaki 1974, soft- and synthetic polymer paint on canvas. 386–535, Northern dynasties black ink with chine collé on ivory hard-ground etching, aquatint, foul Purchased with funds provided by 386–581, limestone with traces of wove paper. Purchased with funds bite, black ink on white Rives wove Warawara Department of pigment. Purchased with funds provided by the Australian Prints, paper; Shikabe 1974, soft- and Indigenous Studies, Macquarie provided by the Art Gallery of New Drawings and Watercolours hard-ground etching, aquatint, black University 2007 South Wales Foundation, the Mary Benefactors Fund 2007 ink on white Rives wove paper; Patrick Mung Mung (Australia, Eugene Tancred Bequest Fund, Jim Hertha Kluge-Pott (Australia, Sôunkyo I 1974, etching, aquatint, born c1948), Ngarrgoorroon country & Janette Bain, Nick Curtis, Rowena b1934), Face of a site with isolepis blue/black and light brown ink on 2006, natural earth pigments on Danziger AM & Ken Coles AM, 1999, drypoint, black and green ink white Rives wove paper; Sôunkyo II canvas. Purchased with funds Chum & Belinda Darvall and Isaac & with chine collé on white wove BFK 1974, soft- and hard-ground provided by Warawara Department Susan Wakil 2006 Rives Arches paper. Purchased with etching, aquatint, black ink on white of Indigenous Studies, Macquarie funds provided by the Australian Rives wove paper; Hiyama kôen University 2006 SUB TOTAL 1 WORK

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JAPAN ever bare of moss 1821, printed Janet Burchill (Australia, b1955), paint on linen. Mervyn Horton Noh theatre costume c1800, Edo 1977, wood engraving; Colinet Jennifer McCamley (Australia, Bequest Fund 2006 (Tokugawa) period 1615–1868, silk resting by night 1821, printed 1977, b1957), SAFE 2005, neon, electric Robert Rooney (Australia, b1937), and gold; ikat dyed threads for the wood engraving; Colinet mocked by cables, fittings and transformer. Petrouchka dead (or a bullet warp; brocade weave using flat two boys 1821, printed 1977, wood Contemporary Collection in the ballet) from the series strips of gilt paper. Purchased with engraving; Menalcas watching Benefactors Program 2007 Balletomania 2004, synthetic funds provided by the VisAsia Dinner women dance 1821, printed 1977, Lawrence Carroll (Australia; United polymer paint on canvas. Fund to commemorate the Goddess: wood engraving; Thenot and Colinet States of America, b1954), Double Contemporary Collection divine energy exhibition 2006 lead their flocks together 1821, sleeping painting 2006, oil, wax, Benefactors Program 2006 - canvas, wood. Mervyn Horton Soga SHOHAKU (Japan, 1703–81), printed 1977, wood engraving; Nike Savvas (Australia; England, Bequest Fund 2006 Dragon, An’ei era 1772–81, Edo Thenot and Colinet eat their evening b1964), Atomic: full of love, full Juan Davila (Chile; Australia, (Tokugawa) period 1615–1868, meal 1821, printed 1977, wood of wonder 2005, polysterene, b1946), Pre-Modern self-portrait hanging scroll; ink on silk in engraving; Boy returning joyfully with nylon wire, paint, electric fans. 1988, silkscreen print. Rudy Komon paulownia wood storage box. plough and oxen 1821, printed Contemporary Collection Memorial Fund 2006 Purchased 2007 1977, wood engraving; Return of Benefactors Program 2006 Maurice de Vlaminck (France, Yoshihiro SUDA (Japan, b1969), the shepherd 1821, printed 1977, Monika Tichacek (Switzerland; 1876–1958), Les voiles blanches à Rose 2004, wood painted with wood engraving. Purchased 2006 Australia, b1975), The shadowers Chatou 1906, oil on canvas. mineral pigments. Jeremias Falck (Poland, 1610–77), 2004, 3-channel rear-projection Purchased with funds provided by Purchased with funds provided by after Bernardo Strozzi (Italy, video installation, 4:3, surround the Art Gallery of New South Wales Geoff and Vicki Ainsworth 2006 1581–1644), Vanitas 1600s, sound, 35:15 minutes duration. engraving. Purchased 1987 Foundation and the Margaret Anne Landa Award 2006 Hannah Olley Art Trust 2006 SUB TOTAL 3 WORKS William Hogarth (England, Daniel von Sturmer (New Zealand; 1697–1764), 6 prints: A harlot’s Tim Johnson (Australia, b1947), Australia, b1972), Screen test Lotus born 2006, synthetic polymer INDIA progress: plate 1 1732, engraving; 2004, 4-screen video installation: A harlot’s progress: plate 2 1732, paint on canvas, 9 panels. 1 dual-channel video, 3 single- Mankot, Punjab Hills, Lotus-clad engraving; A harlot’s progress: plate Contemporary Collection channel videos, custom-made Radha and Krishna c1700–10, 3 1732, engraving; A harlot’s Benefactors Program 2006 MDF screens. Rudy Komon opaque watercolour on paper. progress: plate 4 1732, engraving; Svetlana Kopystiansky (Russia; Memorial Fund 2007 Purchased 2007 A harlot’s progress: plate 5 1732, United States of America; Germany, Rajasthan probably Sirohi, Jain engraving; A harlot’s progress: plate b1950), Correct figures / incorrect SUB TOTAL 15 WORKS invitation roll c1760, gouache on 6 1732, engraving. Purchased 2006 figures 1979, ink on paper with prepared cotton, Sanskrit in black Jean-Auguste-Dominique Ingres type-written text, unique work, 6 Photography and red Devanagari script; seven (France, 1780–1867), Four portraits panels. Mervyn Horton Bequest Roger Ballen (United States of painted scenes; green border with on one stone: Lady Glenbervie; Fund 2006 America; South Africa, b1950), floral motif. Asian Collection Lord Glenbervie; the Hon Frederick Janet Laurence (Australia, b1949), Untitled 2005, printed 2006, gelatin Benefactors Fund 2006 Sylvester North Douglas; the Hon In stance of memory 2005, 12 silver photograph, selenium toned. Frederick North 1815, lithograph. panels: Duraclear on shinkolite, Purchased with funds provided by SUB TOTAL 2 WORKS Purchased with funds provided by oxides and ash in oil, rusted steel. the Photography Collection the Florence Turner Blake Bequest Contemporary Collection Benefactors Program 2007 INDONESIA and the J S Watkins Bequest 2007 Benefactors Program 2006 with the Elaine Campaner (Australia, Osa’osa seat c1800s, stone. Edouard Manet (France, 1832–83), assistance of The George Institute b1969), Internment #4 2006, Purchased with the assistance of Olympia (published plate) 1865, for International Health, 2 archival inkjet print. Purchased with Terry and Lynn Fern 2006 etching and aquatint. Purchased anonymous donors, Michèle Asprey funds provided by the Photography 2007 & Lindsay Powers, Anita & Luca Collection Benefactors Program SUB TOTAL 1 WORK Samuel Palmer (England, Belgiorno-Nettis, Kemsley Brennan, Ben Cauchi (New Zealand, b1974), 1805–81), The sleeping shepherd Bambi & Derek Blumberg, Natalia Photism 2006, ambrotype. TOTAL ASIAN ART DEPARTMENT 1857, etching on chine collé. Bradshaw, Andrew & Cathy Purchased with the assistance of 8 WORKS Purchased 2007 Cameron, Mark Clark & John Donald Campbell & Stephen Auguste Rodin (France, Pearson, Peter English & Fiona Freiberg, Jill & Neil Wilson, Rupert 1840–1917), Portrait of Victor Hugo McIntosh, James Hill & Jen European art pre-1900 Edwards, Elizabeth George & Dietmar 1885, drypoint. Purchased with Dowling, Michael & Doris Hobbs, William Blake (England, Tucha, the Hon Jane Mathews and funds provided by John Schaeffer Neville Keating McIlroy, Stephen 1757–1827), 17 prints from the Photography Collection 2006 MacMahon & Robyn Norton, Lisa Illustrations to Robert John Benefactors Program 2006 Medardo Rosso (Italy, 1858–1928), & Egil Paulsen, Janet Pennington, Thornton, ‘The Pastorals of Virgil’ Olive Cotton (Australia, The Jewish child 1892, bronze on Vivienne Sharpe, Andrew D Smith, 1821, printed 1977: Frontispiece: 1911–2003), By my window 1930, marble base. Acquired 2006 Miriam and Les Stein, Deborah Thenot and Colinet 1821, printed gelatin silver photograph, vintage. James Tissot (France; England, Thomas, Michael Whitworth & 1977, wood engraving; Thenot Purchased with funds provided by 1836–1902), The widower 1877, Candice Bruce, Corinne and John remonstrates with Colinet 1821, the Photography Collection etching and drypoint. Purchased Young, Brian Zulaikha printed 1977, wood engraving; with funds provided by John Paul McCarthy (United States of Benefactors Program 2006 Thenot under fruit tree 1821, printed Schaeffer 2006 America, b1945), Painter 1995, Sue Ford (Australia, b1943), 1977, wood engraving; Thenot single-channel colour video, sound, Shadow play from the series Last remonstrates with Colinet, Lightfoot SUB TOTAL 30 WORKS 50:01 minutes duration. Gift of light 2007, Chromira print on crystal in background 1821, printed 1977, Geoff and Vicki Ainsworth 2006 archive paper. Purchased with funds wood engraving; Colinet departs in Modern and contemporary Barry McGee (United States of provided by the Photography sorrow: ‘riven trunk’ at right 1821, America, b1966), Drypoint on acid Collection Benefactors Program printed 1977, wood engraving; art 2006, boxed portfolio of 10 prints 2007 Blasted tree and flattened 1821, James Angus (Australia; United incorporating drypoint, etching, spit Petrina Hicks (Australia, b1972), printed 1977, wood engraving; States of America, b1970), Bugatti bite aquatint, and collage, printed Shenae and Jade 2005, printed Shepherd chases away wolf 1821, type 35 2006, steel, aluminium, chine collé on a variety of coloured 2006, lightjet print. Viktoria Marinov printed 1977, wood engraving; fiberglass, rubber, leather, automotive gampi paper on Somerset Satin Bequest 2006 Sabrina’s silvery flood 1821, printed lacquer. Purchased with funds paper. Purchased with assistance Loretta Lux (Germany; Monaco, 1977, wood engraving; Colinet’s provided by Andrew Cameron, the from Geoff and Vicki Ainsworth 2006 b1969), The waiting girl 2006, journey: milestone marked lxii miles Contemporary Collection Milenko Prvacki (Yugoslavia; Ilfochrome print. Purchased with to London 1821, printed 1977, Benefactors Program and the Rudy Singapore, b1951), Construction funds provided by the Photography wood engraving; A rolling stone is Komon Memorial Fund 2006 site 2005–06, synthetic polymer Collection Benefactors Program 2007

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MORIMURA Yasumasa (Japan, Linda Slutzkin, former head of August Sander (Germany, b1951), Seasons of passion/ Public Programs, Art Gallery of 1876–1964), Maler (Anton A requiem: Mishima 2006, DVD, New South Wales 2006 Raederscheidt) 1926, printed 1978, Lambada print inside wooden Man Ray (United States of America; gelatin silver photograph. Alistair (paulownia) box, 7:47 minutes France, 1890–1976), Mathematical McAlpine Photography Fund 2007 duration. Purchased with funds object 1934–36, gelatin silver provided by the Photography photograph, vintage. Alistair SUB TOTAL 12 WORKS Collection Benefactors Program McAlpine Photography Fund 2007 2007 Jacky Redgate (England; Australia, TOTAL WESTERN ART Trent Parke (Australia, b1971), b1955), Untitled #1 1989, DEPARTMENT 57 WORKS Backyard swing set, Qld from the cibachrome photograph. series Minutes to midnight 2003, Purchased with funds provided TOTAL ALL DEPARTMENTS printed 2006, Chromogenic print. by the Photography Collection 120 WORKS PURCHASED Gift of Albie Thoms in memory of Benefactors Program 2007

COLLECTION – GIFTS

Australian art black ink on ivory Aquarelle Satine (Luna Park and Bridge) 2006, ALAN AND JANCIS REES LEX AITKEN paper; Soft night 4 1995, lithograph, linocut, black ink, hand coloured in Lloyd Rees (Australia, Tony Underhill (Australia, 1923–77), black ink on ivory Aquarelle Satine gouache on Japanese paper; Dent 1895–1988), 14 prints from the 2 paintings: untitled abstract 1961, paper at sea 2006, linocut, black and Sandy Bay set 1983: The sun at oil on canvas; untitled abstract coloured inks on thin cream Sandy Bay, a day on the Derwent 1961, oil on canvas KATE HODGKINSON Japanese tissue 1 1983, lithograph, black ink on Frank Hodgkinson (Australia, Arches Velin 250gsm white wove THE ART GALLERY SOCIETY OF 1919–2001), 4 drawings: (Italian BEQUEST OF MARGARET paper; The dawning, a day on the NEW SOUTH WALES WITH street scene with bicycles) 1995, BROOME MAXWELL Derwent 2 1984, lithograph, yellow ASSISTANCE FROM THE pen and black ink on ivory wove Livingston Hopkins (Australia, and black ink on Arches Velin COLLECTION CIRCLE paper; (Italian street scene with 1846–1927), (Old boats) 1886, 250gsm white wove paper; Early Jeffrey Smart (Australia, b1921), market stalls) 1995, pen and black etching, brown-black ink on cream morning, a day on the Derwent 3 Matisse at Ashford 2004, oil on ink on ivory wove paper; (Italian wove paper 1984, lithograph, yellow, blue and canvas building) 1995, pen and black ink, black ink on Arches Velin 250gsm wash on ivory wove paper; (Italian DANIEL MOYNIHAN white wove paper; Mid morning, a DAMIAN COBLEY-FINCH streetscape) 1995, pen and black Daniel Moynihan (Australia, day on the Derwent 4 1984, A H Fullwood (Australia, ink, wash on ivory wove paper b1948), Mount Pelaco, Peter’s lithograph, yellow, blue and black 1863–1930), Etching plate for ‘Old house with angles 2004, etching, ink on Arches Velin 250gsm white Mosman’s Sydney’ 1890, copper PETER JACKSON AND GREG black ink on off-white Arches BFK wove paper; Midday, a day on the etching plate SMITH Rives paper Derwent 5 1983, lithograph, black Frank Hinder (Australia, 1906–92), ink on Arches Velin 250gsm white DOREEN COBURN 3 drawings: Green accent 1972, ANGUS NIVISON wove paper; Early afternoon, a day John Coburn (Australia, gouache on brown card; Design Angus Nivison (Australia, b1953), 2 on the Derwent 6 1983, lithograph, 1925–2006), 14 sketchbooks: class, National Art School 1955, drawings: Untitled (2006), charcoal, black ink on Arches Velin 250gsm Sketchbooks no 1–14 1972–2003 brush and black ink, wash on white pastel, synthetic polymer paint, white wove paper; Early afternoon, paper; Rehearsal 1955, black fibre- scraping out on paper; Untitled a day on the Derwent 6 1983, THE SIR WILLIAM DOBELL ART tipped pen on paper (2006), charcoal, pastel on paper lithograph, black ink on Arches FOUNDATION Velin 250gsm white wove paper; Nick Mourtzakis (Australia, b1951), PETER JACKSON AND YVON TERRY O’DONNELL Mid afternoon, a day on the nature. insects plants flowers. shells GATINEAU Nora Heysen (Australia, Derwent 7 1984, lithograph, yellow fish corals. the microscopic Frank Hinder (Australia, 1906–92), 1911–2003), Native of New Guinea and black ink on Arches Velin creatures. dreams 2006, wax 2 drawings: Portrait of Margel (c1945), pen and red ink, carbon 250gsm white wove paper; Mid crayon, lithographic crayon, pencil, Hinder 1971, oil on paper; Dr E O P, pencil afternoon, a day on the Derwent 7 collage, wash, white gouache, Lake Conjola Mountains 1938, 1984, lithograph, black ink on scraping out on white paper pencil, watercolour on ivory wove ROSS PHILLIPS Arches Velin 250gsm white wove paper Pam Hallandal (Australia, b1929), paper; Late afternoon, a day on JAMES GLEESON IN MEMORY OF Self portrait 1983, charcoal on the Derwent 8 1984, lithograph, FRANK O’KEEFE JOHN KEIGHTLEY paper yellow and black ink on Arches James Gleeson (Australia, b1915), Len Annois (Australia, 1906–66), Velin 250gsm white wove paper; Crater with revenant 1966, oil on Working on a propeller c1945, JOCELYN PLATE Late afternoon, day on the canvas pencil, watercolour Carl Plate (Australia, 1909–77), Derwent 8 1984, lithograph, yellow 14 drawings: Study for ‘Green and black ink on Arches Velin CHRISTOPHER HODGES MICHAEL KEMPSON becomes black’ 1968, gouache on 250gsm white wove paper; Helen Eager (Australia, b1952), Michael Kempson (Australia, white wove paper; (Untitled Sunset, a day on the Derwent 9 N.Y. orange 1991, four-colour b1961), A native feature 2003, maquette for painting) 1950s–60s, 1984, lithograph, brown and black lithograph on white Magnani Pescia etching, aquatint, black, ochre and pastel, gouache, ink, collage on ink on Arches Velin 250gsm white 300gsm paper terracotta ink on cream wove paper paper, 13 all of the same name. wove paper; Night fall, a day on Helen Eager (Australia, b1952), 4 the Derwent 10 1984, lithograph, prints from the series The soft night PETER KINGSTON ROSLYN POIGNANT black ink on Arches Velin 250gsm 1995: Soft night 1 1995, lithograph, Peter Kingston (Australia, b1943), Hal Missingham (Australia, white wove paper; Night fall, a day black ink on ivory Aquarelle Satine 3 prints: Coney Island printed 1988, 1906–94), Native cabbage tree, on the Derwent 10 1984, paper; Soft night 2 1995, lithograph, hand coloured 2005, etching, black palm lily or grass palm (Cordyline lithograph, green-grey ink on black ink on ivory Aquarelle Satine ink, hand coloured in watercolour australis) 1953, pen and black ink, Arches Velin 250gsm white wove paper; Soft night 3 1995, lithograph, on white wove BFK Rives paper; watercolour paper

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ANNE STARLING colour ilfachrome photograph; lithograph, black and blue ink on the opera ‘Defeated at the town of Anne Starling (Australia, b1967), 7 Above them in the dust storm, Velin Arches 200gsm white wove Jieting’ (‘Shi Jieting’) early 1900s, printing blocks & plates: Lino block an angel appeared I 1998, colour paper woodblock print, colour on paper; for ‘Post-industrial landscape’ 2006, ilfachrome photograph; Everyday Leonie Pootchemunka (Australia, Scene from the opera of Yellow lino block; Lino block for ‘Post- we had to pray, on our knees in b1962), Moon sisters story 2006, Crane Pavilion (‘Huanghe lou’) early industrial landscape’ 2006, lino the dirt 1998, colour ilfachrome linocut, red and black ink on Velin 1900s, woodblock print, colour on block; Lino block for ‘Post-industrial photograph; We looked up and Arches 200gsm white wove paper paper; Scene from the opera ‘Battle landscape’ 2006, lino block; Lino saw a light 1998, colour ilfachrome Pedro Wonaeamirri (Australia, at Beiyuan’ (‘Zhan Beiyuan’) early block for ‘Post-industrial landscape’ photograph; Faith, hope and b1974), Yirrinkiri Jilamara 2006, 1900s, woodblock print, colour on 2006, lino block; Lino block for charity 1998, three colour lithograph, red, orange and black paper; Scene from the opera ‘Post-industrial landscape’ 2006, ilfachrome photographs, three ink on Velin Arches 200gsm white ‘Dongping Prefecture’ (‘Dongping lino block; Lino block for ‘Post- frosted mirrors, three prayer stools; wove paper fu’) early 1900s, woodblock print, industrial landscape’ 2006, lino Jesus wants me for a sunbeam colour on paper; Scene from the block 1998, colour ilfachrome SUB TOTAL 30 WORKS opera ‘Joyful Grove’ (‘Kuaihuo lin’) photograph; Oh look the early 1900s, woodblock print, Antichrist 1998, colour ilfachrome AKKY VAN OGTROP TOTAL AUSTRALIAN ART colour on paper; Scene from the photograph; My mother recognised Earle Backen (Australia, DEPARTMENT 121 WORKS opera ‘The Bala Temple’ early the man in the little boy 1998, 1927–2005), 3 prints: Dream 1900s, woodblock print, colour on landscape 1968, colour aquatint, colour ilfachrome photograph; Asian art paper etching on ivory wove Johannot Don’t go kissing at the garden AFGHANISTAN Unknown, Ink rubbing of an ancient paper; Stony landscape 1968, gate I 1998, colour ilfachrome Chinese astronomy chart, hanging colour photo etching, aquatint on photograph; Suffer the little children ANDREW AND URSULA scroll, ink on paper cream Johannot paper; The late 1998, colour ilfachrome TOMPKINS viewing 1968, colour etching, photograph; A moment’s grace Durga Mahishasuramardini, white ELIZABETH FINCHAM aquatint, engraving on cream wove 1998, colour ilfachrome marble Embroidered skirt late 1800s-early Johannot paper photograph; A calling card 1998, 1900s, embroidered silk Rod Ewins (Australia, b1940), 2 colour ilfachrome photograph; SUB TOTAL 1 WORK prints: Edge of memory 1985, Lifelines 1998, colour ilfachrome photo-etching, black ink on ivory photograph BURMA NANCY AND TERRY LEE IN MEMORY OF NANCY’S HUSBAND Hahnemühle paper; The juggler ANDREW AND URSULA CHARLES, FATHER OF TERRY 1985, photo-etching, black ink on ROSELLA NAMOK TOMPKINS QI Baishi (China, 1863–1957), Two ivory wove paper Rosella Namok (Australia, b1979), Manuscript (Kammavaca) 1900s, mice and an oil lamp 1900s, ink and Elaine Haxton (Australia, 1909–99), My relations 1999, screenprint cotton cloth, lacquer, gold leaf 2 prints: Colour experiment, Atelier colour on paper 17 1969, colour etching, aquatint RABOBANK AUSTRALIA LTD SUB TOTAL 1 WORK on cream laid paper; (Cockatoo) Australian Print Workshop SUB TOTAL 18 WORKS 1982, etching, aquatint, black ink (Australia), 11 prints from Duyfken: CHINA on ivory Arches paper the Aboriginal Print Portfolio 2006: INDIA ALLAN BRITTAIN Jörg Schmeisser (Australia; West Title page 2006, lithograph, black A pair of husband and wife funerary DR J MASSELOS Germany, b1942), (Landscape) and blue ink on Velin Arches Mithila, Bihar, Madhubani style, 200gsm white wove paper portraits, c1700s, Qing dynasty 1985, softground, aquatint, foul bite, Dasha Mahavidyas (Ten great Karen Casey (Australia, b1956), 1644–1911, colour on silk black ink with plate tone on ivory wisdoms) 1980s, pen and ink on wove watermarked paper The record keepers 2006, photo- EDMUND CAPON paper Chris van Otterloo (Austria; lithograph, black ink on Velin Arches HUANG Miaozi (People’s Republic Australia, b1950), 2 prints: Still life 200gsm white wove paper of China, b1913), Calligraphy in seal SUB TOTAL 1 WORK 1988, colour etching, soft ground, Dulamari (Australia, b1954), script 1989, hanging scroll, ink on aquatint, blue and yellow ink on Gawarrk (woman turned into rock) paper INDONESIA ivory wove paper; Still life 1988, 2006, linocut, red and black ink on LI Jinxue (People’s Republic of colour etching, soft ground, Velin Arches 200gsm white wove NOMADIC RUG TRADERS China, b1942), Peony and orchid aquatint, blue and yellow ink on paper East Sumba, ‘Penji’ memorial grave 1987, scroll, ink and colour on ivory wove paper Allan Mansell (Australia, b1957), i marker late 1800s, stone 2006, hard-ground etching, red, paper SUB TOTAL 91 WORKS blue and black ink on Velin Arches SUB TOTAL 1 WORK 200gsm white wove paper ZHAOXIAN DING 4 pieces of metalwork and 1 Aboriginal and Torres Strait Dhuwarrwarr Marika (Australia, JAPAN born c1946), The Macassan prahu ceramic: Coin with cast characters Islander art KURT A GITTER 2006, linocut, black ink on Velin ‘banliang’ (‘half tael’) Qin dynasty JIUN Sonja (Japan, 1718–1804), PETER CLEMENGER Arches 200gsm white wove paper 221-–06 BCE, copper; Coin with YUSHO Zakkean (Japan), Kanzan Bobby West Tjupurrula (Australia, Janice Murray (Australia, b1966), cast characters ‘wuzhu’ (‘five zhu’) and Jittoku, hanging scroll, ink on b1958), Kiwirrkura land claim Jilamara 2006, hard-ground etching 140–87 BCE, Western Han dynasty paper painting 2001, synthetic polymer and aquatint, red, orange and 206 BCE–9 CE, copper; Coin with - paint on canvas brown ink on Velin Arches 200gsm cast characters ‘kaiyuan tongbao’ Nakahara NANTENBO (Japan, white wove paper 713–41, Tang dynasty 618–907, 1839–1925), Zen horse 1921, BRENDA L CROFT Garry Namponan (Australia, copper; Coin with cast characters hanging scroll, ink on paper Brenda L Croft (Australia, b1964), b1960), Untitled 2006, hard-ground Qianlong ‘tongbao’ Qianlong 17 colour ilfachrome photographs etching, black ink and colour roll-up 1736–95, Qing dynasty 1644–1911, KYOU ISEZAKI AND REV from the series In my father’s house on Velin Arches 200gsm white wove copper; Pair of blue and white MUNEHARU KUROZUMI 1998: Only shadows remain 1998, paper dishes Guangxu 1875–1908, Qing Kyou ISEZAKI (Japan, b1970), colour ilfachrome photograph; Laurel Nannup (Australia, b1943), dynasty 1644–1911, porcelain, Bizen ware (Japan), Large sake Attractive to look at, a promising lad Old spirit of the sea 2006, lift- decorated with farewell scene in container, stoneware 1998, colour ilfachrome ground, aquatint and spit-bite underglaze blue photograph; I remember roses etching, black and brown ink with Taohuawu, Suzhou, Jiangsu MITSURU ISEZAKI AND REV 1998, colour ilfachrome hand colouring on Velin Arches Province, 7 prints by unknown MUNEHARU KUROZUMI photograph; She never got used to 200gsm white wove paper artists: Picture of one hundred sons Mitsuru ISEZAKI (Japan, b1934), the heat 1998, colour ilfachrome Chris Pease (Australia, b1969), (‘Baizi tu’) early 1900s, woodblock Inbe ware water jar in the form of a photograph; The messenger 1998, Thoughts on first contact 2006, print; colour on paper; Scene from bucket, stoneware

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SHIN ISEZAKI AND REV civil official 1800s, embroidered silk photograph, card with poem; fringe’ publicity, London 1961, MUNEHARU KUROZUMI in satin stitch Fashion, Paris 1959–61, printed printed later, gelatin silver Shin ISEZAKI (Japan, b1965), Rank badge for a 3rd rank civil later, gelatin silver photograph; photograph; Somerset Maugham, Bizen ware (Japan), Large plate, official 1800s, embroidered silk Fashion, Paris 1959–61, printed San Tropez, France 1961, printed stoneware Pair of rank badges for a 3rd rank later, gelatin silver photograph; Sally later, gelatin silver photograph; civil official early 1900s, Greenhill, model, Pont de Grenelle, Arthur Koestler, writer, political SOU ISEZAKI AND REV embroidered silk, gold wrapped Paris 1959–61, printed later, gelatin activist and social philosopher, MUNEHARU KUROZUMI thread, peacock feather work silver photograph; Maggie Eckhardt, Montpelier Square, London 1961, Sou ISEZAKI (Japan, b1968), Bizen model, London 1960, printed later, printed later, gelatin silver ware (Japan), Flower vase, SUB TOTAL 5 WORKS type C photograph; Tinka Paterson, photograph; François Truffaut, stoneware TOTAL ASIAN ART DEPARTMENT model, London 1960, printed later, London 1961, printed later, gelatin 43 WORKS gelatin silver photograph, vintage; silver photograph; Mrs Jonathan TAKU ISEZAKI AND REV Jean Shrimpton and Chris Powell, Miller, Brighton, England 1961, MUNEHARU KUROZUMI European art pre-1900 Racecourse fashion for ‘Go!’ 1961, printed later, gelatin silver Taku ISEZAKI (Japan, b1963), printed later, gelatin silver photograph; Paul Hamlyn, publisher, Bizen ware (Japan), Triangle flower C JOHN KEIGHTLEY photograph; Susannah York, Paris, London c1961, printed later, gelatin vase, stoneware Cornelis de Visscher (Netherlands, for ‘Go!’ 1961, printed later, gelatin silver photograph; Terence Greer, 1629–58), after Anthonie silver photograph; London fashion playwright, outside Gare St Lazare, RYUICHI KAKUREZAKI AND REV Palamedesz (Netherlands, (James Wedge hat) 1962, printed Paris 1952, printed later, gelatin MUNEHARU KUROZUMI 1601–73), Robert Janius, in lettered later, gelatin silver photograph; Anna silver photograph; Roddy Maude Ryuichi KAKUREZAKI (Japan, oval 1654, engraving Lee in front of Eros statue, Piccadilly Roxby, actor, Soho Square, London b1950), Bizen ware (Japan) Flower Circus, London c1963, printed later, 1962, printed later, gelatin silver vase, stoneware SUB TOTAL 1 WORK gelatin silver photograph; Twiggy for photograph; Is this Alfred ‘London Life’ 1965, printed later, Eisenstadt? at John Glenn’s Parade, KOSUKE KANESHIGE AND REV Modern and contemporary gelatin silver photograph; Mog Wall Street, New York 1962, printed MUNEHARU KUROZUMI RICHARD GOODWIN Smith, fashion designer, London later, gelatin silver photograph; Barry Kosuke KANESHIGE (Japan, Richard Goodwin (Australia, 1965, printed later, gelatin silver Humphries, London 1962, printed b1943), Bizen ware (Japan), Vase, b1953), Prosthetic re-thought 2003, photograph; Bobby Moore, captain later, gelatin silver photograph; stoneware stainless steel, steel, timber, cloth of the English soccer team, London, Victor Spinetti, War Memorial, Hyde for ‘She’ 1963–64, printed later, Park, London, publicity shot for ‘Oh! YUHO KANESHIGE AND REV PETER JACKSON AND YVON gelatin silver photograph; Marie-Lise what a lovely war’ 1963, printed MUNEHARU KUROZUMI GATINEAU Grey, for ‘She’ c1965, printed later, 1998, gelatin silver photograph; Yuho KANESHIGE (Japan, b1950), Savanhdary Vongpoothorn (Laos; gelatin silver photograph; Mynah Christine Keeler, London 1963, Inbe ware (Japan), Flower vase, Australia, b1971), Filaments 1998, Bird and Pete Smith on Camber printed later, gelatin silver stoneware watercolour on perforated white Sands, England 1966, printed later, photograph; Dudley Moore as the wove paper gelatin silver photograph; Barry Fairy Queen, Frith Street, London, HIKARU SHIMAMURA AND REV Fantoni, Willie Rushton and Diana for ‘Private Eye’ 1963–64, printed MUNEHARU KUROZUMI PETER JACKSON AND GREG Clark, spoof fashion for ‘Private Eye’ later, gelatin silver photograph; Hikaru SHIMAMURA (Japan, SMITH 1967, printed later, gelatin silver Franco Zefferelli, National Theatre, b1942), Bizen ware (Japan), Incense Savanhdary Vongpoothorn (Laos; photograph; Chain-mail fashion for London 1964, printed later, gelatin burner in the shape of Australia, b1971), Redleaf/Naga ‘She’ 1969, gelatin silver silver photograph; Pauline Boty, ‘noborigama’, stoneware 1997, synthetic polymer paint on photograph; Chain-mail fashion for artist, London c1964, printed later, perforated canvas ‘She’ 1969, printed later, gelatin cibachrome; Donovan, musician, SUB TOTAL 11 WORKS silver photograph; ‘Dolly’ fashion, London 1965, printed later, gelatin MIKE PARR Sydney 1974, printed later, silver photograph; Judi Dench, PAKISTAN Mike Parr (Australia, b1945), 1 cibachrome photograph; Chain-mail actor, London 1965, printed later, ANDREW AND URSULA sculpture, 1 dvd and 2 photographs fashion 1969, printed later, contact gelatin silver photograph; Joe Orton, TOMPKINS from the performance AMERIKA the sheet, gelatin silver photograph; playwright, London 1965, printed Ancient Gandhara, Lion c500, ice is melting … 2006: AMERIKA, Hussein Sheriff, painter, London later, gelatin silver photograph; Joe stucco with some remains of bride dress vitrine 2006, truncated 1958, printed 2003, gelatin silver Orton, playwright, London 1965, pigments wedge vitrine containing gold leaf photograph; Self-portrait in a mirror printed later, gelatin silver Possibly Charsadda, Female figure casting of the artist’s left arm and with Pat, Paris 1959, printed later, photograph; André Previn, c100 BCE, terracotta bride dress; AMERIKA, performance gelatin silver photograph; Cecil conductor/composer, Grosvenor Possibly Mehrgarh, Female figure for as long as possible, 9–12 May Beaton, Royal Hospital Chelsea, Hotel, London 1965, printed later, 3000–2000 BCE, terracotta 2006 2006, videostream, 74 hours, London 1959–60, printed later, gelatin silver photograph; Jeff Beck, stored on hard drive of a compaq gelatin silver photograph; Salvador musician, London 1967, printed SUB TOTAL 3 WORKS computer; Best man 2006, type C Dali, London 1960, printed later, later, gelatin silver photograph; Jude photograph; Primitive gifts 2006, gelatin silver photograph; Geoffrey Kuring, artist, Sydney early 1970s, TIBET type C photograph Fisher, archbishop of Canterbury, printed later, gelatin silver London 1960, printed later, gelatin photograph; Sculptress with SARAH MITCHELL IN MEMORY OF SUB TOTAL 7 WORKS silver photograph; Charlotte macramé body suit, Sydney early HER FATHER RAYMOND Rampling, London early 1960s, 1970s, printed later, gelatin silver MITCHELL Photography printed later, gelatin silver photograph; Pat, Germany late Kubera 1500s, gilt bronze photograph; Lord mayor’s banquet, 1970s, printed 2000, gelatin silver Manuscript cover c1400, wood ANONYMOUS GIFT London mid 1960s, printed later, photograph; Ben Eriksson and Lewis Morley (Hong Kong; gelatin silver photograph, solarised; Rodney Weidland, photographers, SUB TOTAL 2 WORKS England; Australia, b1925), Pont Kenneth Horne, art critic/comedian, Sydney 1972, printed later, gelatin Neuf 1999, printed 1999–2005, for ‘She’, London mid 1960s, silver photograph; Swedish VIETNAM gelatin silver photograph printed later, gelatin silver ambassador and his wife, Sydney JUDITH AND KEN RUTHERFORD photograph; Nancy Spain at the 1972, printed later, gelatin silver Pair of phoenix and dragon badges LEWIS MORLEY Albert Memorial, London, photograph; Sherbet, Sydney 1972, 1900s, embroidered silk Lewis Morley (Hong Kong; annotating Voltaire’s notebook mid printed later, gelatin silver Pair of rank badges for a 1st or 2nd England; Australia, b1925), 149 1960s, printed late 1970s, gelatin photograph; John Firth-Smith, artist, rank official 1800s, embroidered silk, works: Prague 1992, words Shura silver photograph; Peter Cook, Sydney 1974, printed later, gelatin couched gold thread Shihwarg, photograph by Lewis Dudley Moore, Alan Bennett and silver photograph; John Kaldor, Rank badge for a 1st or 2nd rank Morley 1992, gelatin silver Jonathan Miller for ‘Beyond the Sydney 1975, printed later, gelatin

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silver photograph; Helen Glad, photograph; Aldermaston march, 1977, printed later, gelatin silver comedy’ by Peter Schaffer, The Norman Lindsay’s granddaughter, Trafalgar Square, London 1958, photograph; Paris 1960s, printed National Theatre, London 1965, Sydney 1975, printed later, printed later, gelatin silver later, gelatin silver photograph; printed later, gelatin silver cibachrome; Self-portrait, Sri Lanka photograph; Luxembourg Gardens, Fossilised flower 1980s, printed photograph; Rodney Bewes, Tim 1977, printed later, gelatin silver Paris 1958, printed later, gelatin later, gelatin silver photograph; Preece, John Hurt and Kenneth photograph; Self-portrait, Sydney silver photograph; Fairground faces, Street sign, Europe 1980s, printed Colley in ‘Little Malcolm and his c1978, printed later, gelatin silver Cavesham, England 1959, printed later, gelatin silver photograph; struggle against the eunuchs’, photograph; Self-portrait with later, gelatin silver photograph; Untitled still life 1981, printed later, Garrick Theatre, London 1966, enamel bacon and eggs, Sydney Richmond station, Surrey, England gelatin silver photograph; Street printed later, gelatin silver c1980, printed later, gelatin silver 1959, printed later, gelatin silver crossing, Tokyo, Japan 1982, photograph; John Hurt in ‘Little photograph; Hunter S Thompson, photograph; Speakers Corner, Hyde printed later, gelatin silver Malcolm and his struggle against writer, Sydney early 1980s, printed Park, London 1960s, printed later, photograph; Garden at the Musée the eunuchs’, Garrick Theatre, later, gelatin silver photograph; Pat gelatin silver photograph; Margarine Rodin, Paris 1985, printed later, London 1966, printed later, gelatin and self-portrait reflection, Sydney advertisement, London 1960s, gelatin silver photograph; Musée silver photograph; Tim Preece, mid 1980s, printed later, gelatin printed later, gelatin silver Rodin, Paris 1985, printed later, Kenneth Farrington and June silver photograph; Lloyd Rees, photograph; Queenie and her gelatin silver photograph; Liversidge in ‘K D Dufford hears K D Sydney 1984–88, printed later, husband, London 1960s, printed Hampstead Heath, London c1990, Dufford ask K D Dufford how K D gelatin silver photograph; Pat at the later, gelatin silver photograph; Cosy printed later, gelatin silver Dufford’ll make K D Dufford’ by Musée Rodin, Paris 1985, printed Cafe, King’s Road, Chelsea, London photograph; Skeleton, Hobart David Halliwell, LAMDA Theatre, late 1980s, gelatin silver 1960s, printed 2003, gelatin silver Museum, Tasmania 1990s, gelatin London 1969, printed later, gelatin photograph; Wednesday Kennedy, photograph; Flea market, Paris silver photograph, vintage; Charles silver photograph; Warren Mitchell actor, Sydney 1990, printed later, 1961, printed later, gelatin silver bridge, Prague 1992, printed later, and cast in ‘The council of love’ by gelatin silver photograph; Sarah photograph; Bull fight, Nimes, gelatin silver photograph; Oscar Panizza, Criterion Theatre, Lucas, artist, Berlin late 1990s, France 1962, printed 1988, gelatin Tombstone, Japan 1993, printed London 1970, printed later, gelatin gelatin silver photograph, vintage; silver photograph; The Bowery, New later, gelatin silver photograph; silver photograph; On the set of Kerry Crowley, gallerist, ‘Another York 1962, printed later, gelatin Coco de mer and aubergine 1994, ‘Ferry cross the Mersey’ 1964–65, time, another place, another chair’, silver photograph; American sailors, printed later, gelatin silver gelatin silver photograph, vintage Sydney 1988, gelatin silver Puerto Rico 1962, printed later, photograph; Carousel, Place de la photograph, vintage; Barry gelatin silver photograph; Red Faller, Concord, Paris 2000, printed later, SUB TOTAL PHOTOGRAPHY Humphries on his 60th birthday, photographer, New York 1962, gelatin silver photograph; Albert 150 WORKS Sydney 1994, gelatin silver printed later, gelatin silver Finney in ‘Billy Liar’ by Keith photograph, vintage; Margaret Olley, photograph; The Bowery, New York Waterhouse and Willis Hall, TOTAL WESTERN ART Sydney c1998, gelatin silver 1962, printed later, gelatin silver Cambridge Theatre, London 1960, DEPARTMENT 158 WORKS photograph, vintage; Beth Orton, photograph; Nuns, Paris 1963, printed later, gelatin silver musician, Diss station, Norfolk, printed later, gelatin silver photograph; Zoë Caldwell and TOTAL ALL DEPARTMENT England c2000, gelatin silver photograph; Children, Sierra Leone Lindsay Anderson, during rehersals 322 WORKS GIFTED photograph, vintage; Fritz Gruber 1963, printed later, gelatin silver for ‘Trials’ by Logue, Royal Court and his wife, collector, Cologne photograph; Birmingham, England Theatre, London 1960, printed later, early 2000s, gelatin silver 1963–64, printed 1989, gelatin gelatin silver photograph; Peter photograph, vintage; Tracey Emin, silver photograph; Gorbals, Cook, Dudley Moore, Alan Bennett TOTAL WORKS PURCHASED artist, Sydney 2003, printed 2005, Glasgow 1964, printed later, gelatin and Jonathon Miller in ‘Beyond the AND GIFTED IN 2006–07: 442 digital print on canvas; Christine silver photograph; Anti-Vietnam war fringe’, Fortune Theatre, London Keeler 1963, printed later, contact demonstration, Trafalgar Square, 1961, printed 1988, gelatin silver sheet, gelatin silver photograph; London 1968, printed later, gelatin photograph; Peter O’Toole in ‘Baa’l’ Christine Keeler 1963, printed later, silver photograph; Anti-Vietnam war by Bertold Brecht, Phoenix Theatre, contact sheet, gelatin silver demonstration, London 1968, London 1963, printed later, gelatin photograph; Christine Keeler 1963, printed later, gelatin silver silver photograph; Athol Fugard printed later, contact sheet, gelatin photograph; Tariq Ali, Vanessa (author), Zaiks Mokae, John Berry silver photograph; Florence, Italy Redgrave, Noel Tovey and others at (director) and Ian Bannen in 1950s, printed later, gelatin silver the Anti-Vietnam war rehearsals for ‘The blood knot’, New photograph; Corner no 84 Charing demonstration, London 1968, Arts Theatre, London 1963, printed Cross Rd, London late 1950s, printed later, gelatin silver later, gelatin silver photograph; printed later, gelatin silver photograph; Fraser Nash car rally, Michael Caine and Barry Foster in photograph; Rue de Rivoli, Paris late Stelvio Pass, Italy demonstration, ‘Next time I’ll sing to you’ by James 1950s, printed later, gelatin silver London 1969, printed 1995, gelatin Saunders, New Arts Theatre, photograph; Christmas, Regent silver photograph; Dolls, Italy 1970s, London 1963, printed 1992, gelatin Street, London late 1950s, printed printed later, gelatin silver silver photograph; Nicol Williamson later, gelatin silver photograph; One- photograph; Berlin late 1970s, in ‘The ginger man’ by J P handed fiddle player, Regent Street, printed later, gelatin silver Donleavy, Royal Court Theatre, London late 1950s–early 1960s, photograph; Paris late 1970s, London 1963, printed later, gelatin printed later, gelatin silver printed later, gelatin silver silver photograph; Trevor Howard in photograph; Statue yard, Chiswick, photograph; Paris late 1970s, ‘The father’ by August Strindberg, London 1956, printed later, gelatin printed later, gelatin silver Piccadilly Theatre, London 1964, silver photograph; Regent’s Park photograph; John Olsen’s dog in printed later, gelatin silver zoo, London 1957, printed later, front of Nolan’s ‘Ned Kelly’, Sydney photograph; Anthony Hopkins in gelatin silver photograph; Bride in mid–late 1970s, printed later, gelatin ‘Edward II’ by Christopher Marlowe, the rain, Hammersmith, London silver photograph; Nikki South, Arts Theatre, London 1964, printed 1957, printed later, gelatin silver model, Sydney 1971–72, printed later, gelatin silver photograph; photograph; Regent’s Park zoo, later, gelatin silver photograph; Michael Crawford, Hazel Corpen London 1957, printed later, gelatin Kashmir, India 1977, printed later, and Henry H Corbett in ‘Travelling silver photograph; Watching the gelatin silver photograph; light’ by Leonard Kingston, Prince of trooping of the colour, London Observatory area, Centre Wales Theatre, London 1965, 1957, printed later, gelatin silver Pompidou, Paris 1977, printed later, printed later, gelatin silver photograph; Train spotter, gelatin silver photograph; Srinagar, photograph; Louise Purnell, Albert Richmond line, Surrey, England India 1977, printed later, gelatin Finney, Derek Jacobi, Maggie Smith 1957, printed later, gelatin silver silver photograph; Srinagar, India and Graham Crowden in ‘Black

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COLLECTION – LOANS

*Renewed loans. Altar vase (‘zun’), c1796–1820, 1949, charcoal ink, watercolour on textured porcelain; monochrome blue enamel Albert Tucker, Antipodean man wallpaper? Works lent to the Gallery glaze. Purchased 1977 (1956), brush and brown house Albert Tucker, Old man seated, Jingdezhen ware, Armorial plate paint? pencil, watercolour bearing the arms of Booth impaling Albert Tucker, Seated female nude Albert Tucker, Starving seated ANONYMOUS LOANS Irvine of Drum, c1723, porcelain (1940s), pencil man, pencil FANG Lijun, (painting), oil on with ‘rouge de fer’ enamel; gilt. Albert Tucker, Leaning female nude Albert Tucker, Bull (early 1950s), canvas Purchased 1972 (1940s), pencil black conté Unknown, Shaivite Saint Seto ware tea caddy, 18th century, Albert Tucker, Female nude Albert Tucker, Hornet, black and Chandesha, c 17th century, bronze stoneware (1940s), pencil yellow crayon Unknown, Buddha, c 18th century, Seto ware tea caddy, 18th century, Albert Tucker, Self portrait as a Albert Tucker, Seated female nude bronze and polychrome stoneware mask (1940s), pencil (1976), conté, pencil, gouache on Unknown, Figure of a ram, Yueyao, Seto ware tea caddy, 18th century, Albert Tucker, Harlequin? (late brown paper stoneware stoneware 1940s–early 1950s), ink, crayon, Albert Tucker, Sidney Nolan 1976, YOSHINORI, Pair of stirrups, iron watercolour, impasto in acrylic? pastel, gouache VICTORIA BRIEN & DEREK with gold and silver inlay Albert Tucker, Cratered head (late Albert Tucker, Explorer 1976, SICKLEN 2007 1950s), brush and brown house crayon on textured paper Unknown, Confucius and his PRIVATE COLLECTIONS, SYDNEY paint? Albert Tucker, On the beach II seventy-two disciples, c 15th Tracey Emin, I do not expect 2002, Albert Tucker, Sculptural head 1977, pastel, gouache century – 17th century, handscroll; mixed media: Appliqué blanket (1950s), black conté Albert Tucker, On the beach I ink and colour on silk Neo Rauch, Gebot 2002, oil on Albert Tucker, Antipodean man 1977, charcoal, watercolour canvas (1950s), brush and green house Albert Tucker, Self portrait 1977, GEORGINA CARNEGIE 2007 Dieter Roth, Insel paint pastel, watercolour Unknown, The peacock king, (Schokoladenpyramide) c1971, Albert Tucker, Study for ‘Head’ Albert Tucker, Explorer with parrot c1903, woodblock print; framed chocolate, iron and plaster on (1956), brush and black and white 1978, pencil, crayon, watercolour Unknown, Torso of Buddha, wooden board in plexiglass box, house paint? Albert Tucker, Sidney Nolan 1978, limestone; carved in the round with mounted to wooden board Albert Tucker, (Kelly) (1956–58), watercolour, pastel a narrow waist and rounded hips Sir Thomas Lawrence, Richard brush and brown house paint? Albert Tucker, Self portrait 1979, Meade, 3rd Earl of Clanwilliam, oil Albert Tucker, Kelly (1956–58), crayon, oil paint? on brown textured DR HUGH GALLAGHER 2007 on canvas black fibre-tipped pen paper Unknown, Ancestor figure (bulul), Lord Frederic Leighton, An athlete Albert Tucker, recto: Explorer Albert Tucker, Antipodean head 19th century, wood wrestling with a python, white verso: Female nude on beach 1981, pencil on yellow paper marble (1958), recto: black pastel, black Albert Tucker, Michael Keon 1982, MAXIMILIAN HUGHES 2007 Brian Blanchflower, Canopy XXXIII ink, watercolour verso: black ink, pastel, watercolour, gouache on Unknown, Marichi, c 16th century, (Skin) 1995–96, micaceous acrylic crayon, watercolour heavy textured paper gilt bronze with powdered pumice on acrylic Albert Tucker, Studies ‘Explorer’ Albert Tucker, Barrett Reid 1983, gesso on laminated hessian heads (late 1950s), pencil pencil, watercolour ROTRAUT KLEIN-MOQUAY AND Brian Blanchflower, Canopy Albert Tucker, Study of a Albert Tucker, Self portrait (1983), DANIEL MOQUAY XXXVIII (blue/sliver) 1997, oils with desiccated horse (1956), black pastel, watercolour Yves Klein, ANT 75 1960, dry powdered pumice on acrylic gesso fibre-tipped pen Albert Tucker, Self portrait (1983), pigment in synthetic resin on paper on laminated hessian Albert Tucker, Study for conté, pencil, white chalk laid down on canvas Tracey Moffatt, Some lads 1986, 5 ‘Apocalyptic horse’ (c 1955), black Albert Tucker, Self portrait 1986, Yves Klein, ANT 54 1960, dry gelatin silver photographs fibre-tipped pen crayon, watercolour pigment in synthetic resin on paper Destiny Deacon, Meloncholy 2000, Albert Tucker, Study for ‘Drought’ Albert Tucker, Study for ‘Bridge’ laid down on canvas Lamda print from Polaroid original (1956), black fibre-tipped pen (1987), charcoal, watercolour Yves Klein, Nouveau realist Destiny Deacon, Where’s Mickey Albert Tucker, Carcase (1956), Albert Tucker, No entry (1987), manifest 1960, dry pigment in 2003, light jet print from Polaroid black fibre-tipped pen conté, pencil, watercolour on heavy synthetic resin on canvas Ben Nicholson, Wharfedale 1972, Albert Tucker, Bathers (late 1950s), watercolour paper Yves Klein, Relief IKB 16c pencil and brown wash black fibre-tipped pen Albert Tucker, Nude 1987, (Maquette for the Gelsenkirchen Ben Nicholson, Wharfedale no 2 Albert Tucker, Sheet of studies charcoal, pastel, gouache theatre)1958, dry pigment in 1972, pencil and blue wash (1950s–60s), black fibre-tipped pen Albert Tucker, (Study for synthetic resin on bronze mounted Oskar Kokoschka, Landscape at Albert Tucker, A face on the street ‘Monumental figures’) (1988), on primed board Ullapool 1945, oil on canvas 1964, charcoal, grey watercolour crayon, watercolour on green/grey Yves Klein, Drip painting c1960, wash Canson Montgolfier paper dry pigment in synthetic resin on PRIVATE COLLECTION UK 2007 Albert Tucker, Dead tree (1966), Albert Tucker, Study for canvas Unknown, Green Tara, 15th century, charcoal, white crayon ‘Monumental figures’ (1988), pencil, Roman Opalka, 1965/1-oo: detail gilt bronze Albert Tucker, Mountain landscape watercolour 3531681-3546420, synthetic 1, black fibre-tipped pen Albert Tucker, (Monumental figures) polymer paint on canvas BARBARA TUCKER Albert Tucker, Head, black fibre- 1988, charcoal, watercolour Albert Tucker, Paddy 1932, pencil tipped pen Albert Tucker, Explorer 1988, black NATIONAL TRUST OF AUSTRALIA on laid paper Albert Tucker, Mountain landscape fibre-tipped pen, crayon, gouache (NSW) Albert Tucker, Father 1935, pencil 2, black fibre-tipped pen Albert Tucker, Nude looking in S H ERVIN GALLERY BEQUEST OF Albert Tucker, Study of feet for Albert Tucker, New man (late mirror (1980s), pastel, watercolour S H ERVIN 1977 ‘Cadaver’ c1943, black conté 1950s-–early 1960s), black fibre- Albert Tucker, Night form (1988), Horse and rider, Tang dynasty, Albert Tucker, Portrait 1 (early tipped pen charcoal, watercolour earthenware covered in chesnut 1940s), black conté, wash Albert Tucker, Antipodean head Albert Tucker, Night image in cream and olive glaze; head hands Albert Tucker, Portrait 2 (early (1950s), blue fibre-tipped pen Melbourne 1989, watercolour and calves of rider unglazed. 1940s), black conté, wash Albert Tucker, Antipodean head Albert Tucker, The torment of love Albert Tucker, Woman’s head (early (1950s), pen and black ink unsatisfied, the great torment of POWERHOUSE MUSEUM 1940s), brush and black ink Albert Tucker, Antipodean head as love satisfied (1989–1990), conté, Neolithic jar, c3000 BCE–1700 Albert Tucker, Self portrait with bed totem, brush and black ink gouache over monotype in black ink BCE, earthenware decorated in iron (1940), pen and blue ink, wash, Albert Tucker, Abstracted Albert Tucker, Abstracted rich pigments of red-brown and black conté on lined writing paper landscape, brush and black ink over Antipodean head, charcoal black Albert Tucker, Self portrait (1940s), monotype Albert Tucker, John Perceval 1990, Cup, c700–750, earthenware with pencil, charcoal Albert Tucker, Squatting man in pen and black ink, pastel, sancai (three colour) glaze Albert Tucker, Mary Dickson, Paris landscape (1960s), brush and black watercolour

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Albert Tucker, Death in a suit with Point 1937, watercolour paper 1986, screenprint on heavy white crow 1992, pencil, black fibre- Ure Smith, The Bridge from Potts John Coburn, Sentinel (1962), surfaced card tipped pen, black ink wash, Point 1936, watercolour colour screenprint, five colours on Elizabeth Rooney, Rocks I 1967, gouache Jean Broome Norton, Abundance white wove paper etching with heavy plate tone, Albert Tucker, Wendy Whiteley 1934 & 1987, bronze Vi Collings, Counterpoise 1970, brown-black ink on white Duchesse 1993, pastel, watercolour colour lithograph, grey, blue, red, paper Albert Tucker, Soldier with victory ART GALLERY OF SOUTH purple and magenta ink on grey Elizabeth Rooney, Goodbye girl 1994, carbon pencil, pastel, AUSTRALIA, SA wove paper Macquarie Place 1964, etching watercolour Gladys Reynell retrospective Brian Dunlop, At Pyrmont (1969), Elizabeth Rooney, Macquarie Albert Tucker, Gift bearers 1955, 7/7/06–17/9/06 etching, aquatint dark brown ink on Place revisited 1981, etching synthetic polymer paint on Gladys Reynell, Beaker with ivory wove paper David Rose, Donkey 1978, sugarlift hardboard abstract design 1922, earthenware Helen Eager, Iron on mess 1977, aquatint, drypoint on zinc, black ink Albert Tucker, Thames 1957, with slip and sgraffito decoration colour lithograph on white Velin Arches paper synthetic polymer paint, mixed Gladys Reynell, Beaker (with Joy Ewart, Fever II 1961, lithograph David Rose, Perforated game media on hardboard repeating design of a row of Ruth Faerber, Excavation 3, 1982, 1970, colour screenprint Albert Tucker, Death of an explorer terraces, a dog and a cat on a wall) cast and moulded paper relief, David Rose, Runner I 1966, 1959, synthetic polymer paint, sand 1917, earthenware with slip tinted in earth tones lithograph on hardboard decoration Roy Fluke, Capsicum 1962, colour David Rose, Wistaria still life 1967, Albert Tucker, Bushrangers Gladys Reynell, Vase with abstract linocut, green and black ink on colour screenprint, five colours on 1958–63, synthetic polymer paint design 1921, glazed earthenware white wove paper white Kent paper on hardboard with sgraffito design Thomas Gleghorn, Untitled 1963, Henry Salkauskas, Behind is Albert Tucker, After the bushfire Gladys Reynell, Plate with colour lithograph, black and fawn always the sun 1962, colour linocut 1962–66, synthetic polymer paint, strawberry and leaf design 1921, ink on white laid paper Henry Salkauskas, Windmill 1958, sand, leaves, bark on hardboard glazed earthenware with slip Yvonne Gooding, Ribbon machine colour linocut Albert Tucker, Brolga 1963, decoration 1970, colour lithograph, printed in Henry Salkauskas, Black harbour synthetic polymer paint on Gladys Reynell, Jug with blue and three colours on heavy white wove 1961, linocut, black ink on ivory hardboard brown decoration 1925, glazed paper wove paper Albert Tucker, Trees I 1964, earthenware with slip decoration Strom Gould, Escapeway of a city Anne Starling, Inner city 1999, synthetic polymer paint, sand, bark Gladys Reynell, Broglas, hand- (1961), lithograph, blue/black ink on woodcut, black ink on white rice on hardboard coloured linocut ivory wove paper paper Albert Tucker, Night ladies 1988, Tom Green, Ancient bird 1963, Michael West, Other people’s synthetic polymer paint on canvas S H ERVIN GALLERY, NSW colour screenprint, nine colours on gardens, lithograph Albert Tucker, Thames study 1956, Sydney print cream wove paper Michael West, The Mission monotype, black and brown ink, S H Ervin Gallery, NSW Weaver Hawkins, Cosmos 1958, (1960s), colour woodcut, from four turps wash? 19/8/06–24/9/06 linocut blocks Albert Tucker, Thames study 1956, Hawkesbury Regional Gallery, NSW Weaver Hawkins, Opposite two Rose Vickers, Richard lived here monotype, black ink 9/2/07–11/3/07 1963, woodcut for awhile 1981, colour etching Albert Tucker, Thames study Tamworth City Gallery, NSW Elaine Haxton, The divine archer 1956–1958, monotype, brown ink 24/3/07–29/4/07 1966, aquatint with stopping out, NATIONAL GALLERY OF Albert Tucker, Cratered head (late Joyce Allen, Death in the dump black ink on white wove paper AUSTRALIA, ACT 1950s), monotype, brown ink 1989, linocut, black ink on ivory Leonard Hessing, The night is a Imants Tillers: one world/many Albert Tucker, Antipodean head Japanese mulberry paper long snake1964, colour lithograph, visions (1950s), linocut, black ink Joyce Allen, Within a week 1967, three colours on white wove paper 14/7/06–22/10/06 Albert Tucker, Self portrait (1980s), linocut Frank Hinder, River bank (2) 1947, Imants Tillers, Monaro 1998, monotype, black ink with white Earle Backen, Thunder 1959, soft- lithograph, sepia ink on off-white gouache, synthetic polymer paint gouache highlights ground etching, engraving, aquatint, wove paper on 288 canvas boards, nos Albert Tucker, Self portrait (1980s), stopping out, open bite, deep etch, Eva Kubbos, The sudden wings of 52594–52881 monotype with black and white black and yellow ink on ivory wove blue1962, colour linocut highlights paper Graham Kuo, Reflection I 1973, MANLY REGIONAL ART GALLERY, Earle Backen, London series – screenprint NSW Works lent by the Gallery Smithfield 1977, photo-etching, Bruce Latimer, Black out Social riches: a century of craft. aquatint, coloured inks on three print1977, colour screenprint, The Society of Arts & Crafts of NSW plates on white wove Arches paper collage 28/7/06–3/9/06 McCLELLAND GALLERY AND Earle Backen, Cartiya 1975, colour Eileen Mayo, Pumpkin 1962, Ethel Atkinson, Salad bowl with SCULPTURE PARK, VIC photo-etching, aquatint, brown ink colour linocut gumnut and leaf design 1912, hand Louise Weaver: a survey exhibition on ivory Johannot paper Max Miller, Pure land – Henso painted porcelain 1/7/06–27/8/06 Earle Backen, Metamorphosis of 1989, soft-ground etching, aquatint, Ethel Atkinson, Vase with yellow Louise Weaver, Moonlight the city 1961, engraving, black ink printed in blue, purple, brown and banksia design 1919, hand painted becomes you (Tipsy Bolero) on ivory laid paper green ink from five zinc plates on porcelain 2002–03, antelope: hand crocheted George Barker, Kandinsky’s table five sheets of white wove paper Ethel Atkinson, Cup and saucer lambs wool over high-density foam, 1978, colour screenprint Michael Nicholson, In the depths with flannel flower design 1915, black sequined discs over surface, Margaret Breindel, The chorus (1957), colour lithograph, yellow and hand painted porcelain silk embroidery thread and plastic 1962, colour woodcut, green ink on black ink shiny ivory wove paper Merric Boyd, Bowl 1923, thread; artificial rock: high density white tissue paper Margaret Preston, Australian earthenware foam Sue Buckley, Soldier ants 1961, legend, number 4: Kangaroo dance Vi Eyre, Vase with applied frogs woodcut, printed in black ink on and pointing the bone (c1957), 1929, glazed earthenware HISTORIC HOUSES TRUST OF white laid rice paper colour woodcut on buff Japanese Vi Eyre, Vase with possums and NEW SOUTH WALES/MUSEUM OF Ruth Burgess, Figures in a future paper leaves design 1932, glazed SYDNEY landscape 1995, woodcut, red and Vaclovas Ratas, Fragment in space earthenware with inlaid clays Thoroughly Modern Sydney blue ink on two sheets of Japanese 1966, collagraph, black ink on ivory Violet Mace, Vase with green 1/7/06–15/10/06 mulberry paper wove paper transmutation underglaze 1929, John D Moore, Sydney Harbour Cressida Campbell, Tailor shop Vaclovas Ratas, The garden 1963, earthenware with transmutation 1936, oil on canvas 1984, colour woodcut plaster block print underglaze John D Moore, Chaos 1923, oil on John Coburn, Flame tree 1976, Vaclovas Ratas, The journey 1960, Ada Newman, Jardinière with canvas colour screenprint, maroon and woodcut butterfly design 1912, hand painted Ure Smith, The Harbour from Potts orange ink on ivory Arches wove Sally Robinson, Halley’s comet French porcelain with lustre glaze

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Ada Newman, Vase with flower and HAWKESBURY REGIONAL NATIONAL GALLERY OF VICTORIA, rainbow serpent c1985, natural leaf design, hand painted Rosenthal GALLERY, NSW VIC pigments on bark porcelain, deep red and blue The Windsor Group Howard Arkley – the retrospective John Mawurndjul, Yawkyawk Molly Bamberger, Hand mirror 1/9/06–26/11/06 National Gallery of Victoria, VIC 1985, natural pigments on bark frame with flax lily design 1910, Graeme Inson, Roderick Shaw 17/11/06–25/2/07 John Mawurndjul, Yawkyawk hand tooled leather stitched over 1956, oil on hardboard Art Gallery of New South Wales, 1985, natural pigments on bark mirror Roderick Shaw, Capricornia 1945, NSW 10/3/07–6/5/07 John Mawurndjul, Mardayin Molly Bamberger, Stud box with oil on canvas on plywood Queensland Art Gallery, QLD ceremony 2000, natural pigments lillypilly leaf and berry design Roderick Shaw, Cable layers 1946, 6/7/07–16/9/07 on eucalyptus bark (c1914), hand tooled leather oil on plywood Howard Arkley, Superb + solid James Iyuna, Ngalyod 2002, Eirene Mort, The Song of Brother Roderick Shaw, Fishermen 1947, 1998, synthetic polymer paint on natural pigments on eucalyptus bark Sun c1914, handmade book with oil on plywood canvas four pages of calligraphy reciting the NATIONAL GALLERY OF ART, prayer MUSEUM OF CONTEMPORARY LAKE MACQUARIE CITY ART WASHINGTON, USA Mira Mullens, ‘The Anzac Book’ ART, SYDNEY, NSW GALLERY, NSW Prayers and portraits: unfolding the with Waratah, gumnut and leaf and Juan Davila Found object Netherlandish diptych 3/11/06–10/12/06 12/11/06–4/2/07 bird design 1916, hand tooled Museum of Contemporary Art, Peter Atkins, Spanish journal 1998, Ambrosius Benson, Portraits of leather cover Sydney, NSW 9/9/06–12/11/06 20 panels, mixed media Cornelius Duplicius de Scheppere Ethel May Spring, Photograph National Gallery of Victoria, VIC and his wife Elizabeth Donche frame with gumnut and leaf design 30/11/07 NATIONAL LIBRARY OF c1540, diptych: oil on panel c1917, hand tooled leather Art Gallery of Western Australia, WA AUSTRALIA, ACT William Johnson, Eirene Mort, Tea 1/8/07–31/8/07 A charmed life QUEENSLAND ART GALLERY, QLD tray with Sturt’s desert pea design Juan Davila, Mexicanismo 1990, oil, collage on canvas 9/11/06–4/2/07 The Ian Fairweather Room c1914, inlaid wood Donald Friend, Old steps, Hunters 2/12/06–13/05/07 Susan Gether, Wall panel with Hill c1931, etching and aquatint Ian Fairweather, Glasshouse swan and landscape design c1908, MUSEUM OF CONTEMPORARY ART, SYDNEY, NSW Donald Friend, Study for etching Mountains (1958), gouache on handwoven wool ‘Old steps, Hunter’s Hill’ c1931, cardboard Susan Gether, Draw curtain with James Angus Museum of Contemporary Art, pencil cat design 1910, handwoven linen Donald Friend, The incinerator QUEENSLAND ART GALLERY, QLD Eirene Mort, Tablecloth with Sydney, NSW 13/9/06–26/11/06 Institute of Modern Art, QLD 1944, pen, ink, gouache, Asia Pacific Triennial of waratah design c1910, hand watercolour Contemporary Art: APT 2006 2/6/07–28/7/07 stencilled and embroidered organdy Donald Friend, Head of a woman 1/12/06–28/5/07 Art Gallery of Western Australia, WA Eirene Mort, Cushion cover with 1945, pen and brown ink, wash on Djambawa Marawili, Source of fire 24/11/07–2/3/08 gumnut and leaf design c1910, ivory wove paper 2005, natural pigments on James Angus, Bugatti type 35, embroidered silk Donald Friend, Sofala 1947, oil, eucalyptus bark steel, aluminium, fibreglass, rubber, Elizabeth Söderberg, Tankard with pen and ink on canvas leather, automotive lacquer frilled lizard, insect and gumleaf Donald Friend, In the rock temple I BATHURST REGIONAL ART design c1906–08, beaten copper 1961, pen and black and red ink, GALLERY, NSW GLEN EIRA CITY COUNCIL with chased and repoussé watercolour, gouache, pastel Janet Dawson survey GALLERY, VIC decoration Donald Friend, Youth, death and Bathurst Regional Art Gallery, NSW The Murrumbeena Boyds Elizabeth Söderberg, Candlestick the maiden c1965, pen and brown, 30/11/06–28/1/07 16/10/06–5/11/06 with dolphin design c1910, brass black and red ink, wash, Drill Hall Gallery Australian National Arthur Boyd, Christ walking on the with repoussé and chased watercolour, white gouache on buff University, ACT 22/2/07–8/4/07 water 1950–52, lead glazes on decoration wove paper S H Ervin Gallery, NSW ceramic Elizabeth Söderberg, Tray with Donald Friend, A view of the 30/4/07–10/6/07 Arthur Boyd, The mockers (1945), harbour (1981), pen and black and Queensland University Art Museum, cicada design handles, beaten oil on canvas on hardboard brass with repoussé design on red ink, watercolour, gouache, QLD 7/7/07–19/8/07 handles pastel on buff wove paper Tasmanian Museum & Art Gallery, COMPLESSO DEL VITTORIANO, Donald Friend, The sentence 1988, TAS 6/9/07–21/10/07 Elizabeth Söderberg, Bowl with ITALY flying fox decoration 1912, beaten pen and black ink, watercolour, Mornington Peninsula Regional Bonnard, Matisse and the gouache, gold leaf on white wove Gallery, VIC 30/10/07–2/12/07 copper with repoussé decoration Mediterranean Rhoda Wager, Opal pendant and paper Janet Dawson, Balgalal Creek 6/10/06–4/2/06 Donald Friend, The fortune teller 1974, synthetic polymer paint on chain c1910, silver and opal Pierre Bonnard, Bust in profile, red 1956, oil on canvas on hardboard canvas Rhoda Wager, Blister pearl brooch background (study) c1920, oil on Janet Dawson, Vers l’ombre 1960, with floral border design (c1917), canvas MUSEUM OF MODERN ART AT colour lithograph from three stones silver and pink blister pearl Pierre Bonnard, Self portrait HEIDE, VIC on ivory wove paper** Rhoda Wager, Blister pearl and c1938–40, oil on canvas Unmasked: Nolan and Kelly Janet Dawson, Italian landscape amethyst pendant and chain 1950–90 drawing 1960, charcoal on thick (c1914), silver, blister pearl and INSTITUTE OF MODERN ART, 11/11/06–4/3/07 ivory wove paper** four amethysts QLD Sidney Nolan, Kelly 1956, synthetic Janet Dawson, Italian landscape Intelligent design polymer paint on hardboard drawing 1960, charcoal on thick INSTITUTE OF MODERN ART, QLD 21/10/06–25/11/06 Sidney Nolan, Policeman floating in ivory wove paper** Richard Bell survey Hany Armanious, Turns in Arabba the river 1964, oil on hardboard **Works on paper to first 3 venues 9/9/06–14/10/06 2005, clay, wax, wick, pewter, only Richard Bell, Devine inspiration plaster, polyurethane, wood, THE DRILL HALL GALLERY, 1993, synthetic polymer paint and formply, silicone, peppercorns, AUSTRALIAN NATIONAL NATIONAL GALLERY OF collage on canvas, text panel ceramic, drums, speaker UNIVERSITY, ACT AUSTRALIA, ACT Mumeka to Milmilgkan Grace Crowley: being modern DUBBO REGIONAL ART GALLERY, MORNINGTON PENINSULA 2/11/06–15/12/06 National Gallery of Australia, ACT NSW REGIONAL GALLERY, VIC Jimmy Njiminjuma, Yawkyawk 23/12/06–6/5/07 Across the black soil plains Sidney Nolan Antarctica 1985, natural pigments on bark Art Gallery of South Australia, SA 1/9/06–31/1/07 29/11/06–25/2/07 Jimmy Njiminjuma, Yawkyawk 27/7/07–28/10/07 George W Lambert, Across the Sidney Nolan, Antarctic explorer 1985, natural pigments on bark Hawkesbury Regional Gallery, NSW black soil plain 1899, oil on canvas 1964, oil on hardboard Jimmy Njiminjuma, Ngalyod – the 21/12/07–3/2/08

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Mornington Peninsula Regional HISTORIC HOUSES TRUST OF S H ERVIN GALLERY, NSW Gilbert and George (Italy/England Gallery, VIC 19/3/08–18/5/08 NEW SOUTH WALES / MUSEUM Chris O’Doherty – a survey b1943, England b1942), Reaming Art Gallery of Western Australia, WA OF SYDNEY, NSW exhibition 1982, photo-piece, ink transfer on 14/6/08–21/9/08 Bridging Sydney S. H. Ervin, NSW 6/1/07–25/2/07 paper (30 panels) Tasmanian Museum and Art Gallery, 16/12/06–29/4/07 Mornington Peninsula Regional TAS 2/10/08–23/11/08 Will Ashton, Building the bridge Gallery, VIC 7/03/07–9/4/07 ROBERTSON ARTS PROJECTS, Grace Crowley, Draught horses 1932, oil on canvas Chris O’Doherty, Corner of a VIC (recto) Horse studies (verso) c1918, Grace Cossington Smith, The house and some garden, Tathra The Helen Lempriere centenary pencil on cream paper. curve of the bridge 1928–29, oil on NSW, synthetic polymer paint on exhibition Grace Crowley, recto: Emptying cardboard hardboard The Mansion at Werribee Park, VIC carts, White Bay; verso: Horse and Rose Phipps, Sydney Harbour Chris O’Doherty, Lines of trees, 1/3/07–27/5/07 cart study (1922), pencil on ivory Bridge 1932, bronze medallion near Tathra, synthetic polymer paint Helen Lempriere, Kultana receiving wove paper Henri Mallard, Untitled (The Sydney on hardboard spirits, colour lithograph Grace Crowley, Composition Harbour Bridge in construction: Chris O’Doherty, Self portrait with Helen Lempriere, Conception study: seated female nude (1932), girder on Milson’s Point side) a lumpy coat 1986, oil on totemism (1956), oil on canvas on pencil on ivory wove paper c1928, gelatin silver photograph hardboard hardboard Grace Crowley, Portrait of Lucie Henri Mallard, Untitled Chris O’Doherty, Untitled group Beynis (1929), oil on canvas on (The Sydney Harbour Bridge in (Coogee; Hobart, Tasmania; Princes ORANGE REGIONAL GALLERY, hardboard construction: girder on Milson’s Highway between Ballina and NSW Grace Crowley, Horses by a pond Point side) 1928–29, gelatin silver Grafton; Dunedin, New Zealand; Cuisine and country (Studies for painting?), pencil, photograph Hume Highway between Gundagai Orange Regional Gallery, NSW coloured crayons and wash Henri Mallard, Untitled (The Sydney and Yass; Coogee Beach; Invention, 6/4/07–20/5/07 Grace Crowley, Boy and his dog Harbour Bridge in construction: Princes Highway near Lake Macquarie City Art Gallery, (recto and verso) (Studies for view of Dawes Point pylon) Mullumbimby), synthetic polymer NSW 8/6/07–22/7/07 Harvest?) 1932–34, pen and ink, 1928–29, gelatin silver photograph paint on cardboard Mornington Peninsula Regional coloured pencil, watercolour on Henri Mallard, Untitled Chris O’Doherty, Two young Gallery, VIC 28/8/07–21/10/07 cream paper (The Sydney Harbour Bridge in persons in a modern interior 1974, Wagga Wagga City Art Gallery, Grace Crowley, The artist and his construction: Milson’s Point synthetic polymer paint on NSW 26/10/07–9/12/07 model 1938, oil on hardboard roadway) 1928–29, gelatin silver hardboard Riddoch Art Gallery, VIC Grace Crowley, Abstract drawing photograph Chris O’Doherty, Electricity pylon, 15/12/07–15/2/08 (Compositional schemes) 1947, Henri Mallard, Untitled (The Sydney near Taree, synthetic polymer paint Broken Hill City Art Gallery, NSW black, speckled black and white ink on hardboard 26/3/07–5/5/07 Harbour Bridge in construction: and gouache, some pencil on Manly Regional Art Gallery and view from Milson’s Point of nearly brown paper BALLARAT FINE ART GALLERY, Museum, NSW 16/5/08–15/6/08 completed arch), c1930, gelatin Grace Crowley, Abstract 1953, VIC Cairns Regional Gallery, QLD silver photograph oil on hardboard Criss Canning 1/7/08–15/8/08 Harold Cazneaux, Building the Ballarat Fine Art Gallery, VIC Artspace Mackay, QLD Bridge 1926, gelatin silver INSTITUTE OF MODERN ART, QLD 9/2/07–13/5/07 31/8/08–30/9/08 photograph Bricks are heavy Mornington Peninsula Regional Elaine Haxton, Sweet and sour Harold Cazneaux, Sydney Bridge 2/12/06–3/2/07 Gallery, VIC 4/7/07–19/8/07 1958, oil on hardboard c1934, gelatin silver photograph Scott Redford, PHOTO: The Pizza Criss Canning, Waratah 1999, oil Brett Whiteley, Still life with meat Jessie Traill, The red light, Boy … 1995, vinyl lettering on wall, on canvas 1975–76, synthetic polymer paint, Harbour Bridge, June 1931 1932, Converse trainers, black Doc Martin shell, bone on plywood etching, aquatint, brown ink, boots, black leather jacket, black ART GALLERY OF WESTERN David Strachan, Batterie de cuisine hand-coloured pink highlight on studded leather belt, Silvio’s pizza AUSTRALIA, WA 1956, oil on hardboard warmer, bathroom mirror with surf ivory wove paper Raised by wolves David Strachan, Fish 1953, oil on stickers, car tyre Jessie Traill, The great arch 1932, 9/2/07–17/6/07 wood etching and aquatint in brown ink Maria Kozic, Pulse Mk2 1994, Herbert Badham, Breakfast piece MUSEUM OF CONTEMPORARY on buff 4 incubators and mixed media 1936, oil on hardboard ART, SYDNEY, NSW Jessie Traill, Building the Harbour Arthur Streeton, Melon (c1926), Paddy Bedford Bridge I, beginnings 1927, etching, FUNDACAO CALOUSTE oil on canvas Museum of Contemporary Art, with foul biting and plate tone, GULBENKIAN, PORTUGAL Margaret Preston, Thea Proctor’s Sydney, NSW 7/12/06–15/4/07 brown ink on cream wove paper Ingenuity – photography and tea party 1924, oil on canvas on Art Gallery of Western Australia, WA Jessie Traill, Building the Harbour enginneering; hardboard 12/5/07–22/7/07 Bridge II, the works north side Nov. Fundacao Calouste Gulbenkian, Margaret Preston, Still life 1926, Bendigo Art Gallery, VIC 1927 1928, etching with foul biting Portugal 1/2/07–30/4/07 oil on canvas 11/8/07–16/9/07 and plate tone, brown ink on cream Palais des Beaux Arts, Belgium Margaret Olley, Still life with pink University Art Museum, University of wove paper 6/7/07–9/9/07 fish 1948, oil on cheesecloth on Queensland, QLD 16/11/07 – Jessie Traill, Building the Harbour Melvin Vaniman, Untitled (Zig Zag hardboard 1/3/08 Bridge III, the granite workers, April Railway, Lithgow) 1903–04, Eric Wilson, Abstract – the kitchen Paddy Bedford, Untitled 1999, 1929 1929, etching with foul biting platinum print stove 1943, oil, paper on plywood watercolour and pastel on black and plate tone, brown ink on cream Steven Lojewski, Untitled (early William Dobell, Pilchards (1953), wove paper wove paper stages of Darling Harbour re- oil on hardboard Paddy Bedford, Untitled 1999, Jessie Traill, Building the Harbour development) 1986, gelatin silver Jean Bellette, Still life with wooden watercolour on white wove paper Bridge V, going up 1930, etching photograph bowl c1954, oil on hardboard Paddy Bedford, Untitled 1999, with foul biting and plate tone, Steven Lojewski, Untitled (Darling watercolour on white wove paper brown ink on cream wove paper. Harbour re-development, harbour NATIONAL GALLERY OF VICTORIA, Paddy Bedford, Untitled 1999, Jessie Traill, Building the Harbour and foreshore) 1986, gelatin silver VIC watercolour on white wove paper Bridge VI, nearly complete 1931, photograph Australian Impressionism Paddy Bedford, Untitled 1999, etching with foul biting and plate 31/3/07–8/7/07 watercolour on black wove paper tone, brown ink on cream wove TATE MODERN, ENGLAND Charles Conder, Departure of the Paddy Bedford, Untitled 1999, paper Gilbert & George retrospective Orient – Circular Quay 1888, oil on watercolour on white wove paper Jessie Traill, Sydney Bridge IV, the Tate Modern, England canvas **Paddy Bedford, Untitled (emu) ants’ progress November 1929 15/2/07–7/5/07 Tom Roberts, An autumn morning, (1999), natural pigments on canvas 1929, etching with foul biting, Haus der Kunst, Munich, Germany Milson’s Point, Sydney 1888, oil on **1st venue only, did not tour brown ink on cream wove paper 9/6/07–16/9/07 canvas

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Tom Roberts, Evening train to black and cream/grey ink on white Fred Coventry, Carinthia (1929), George W Lambert, Holiday in Hawthorn (c1889), oil on cedar panel wove paper copper engraving, black ink on Essex 1910, oil on canvas Charles Conder, An Impressionist Bea Maddock, Four by two II cream laid paper George W Lambert, Still life (Pan) (Tom Roberts) c1889, oil on cedar 1977, five-plate photoetching, William Dobell, (City view) (early 1911, oil on canvas panel aquatint, black and cream/grey ink Sydney period) pen and ink George W Lambert, The red shawl Arthur Streeton, The national game on white wove paper Jan Mackay, In memory of Victoria 1913, oil on canvas (1889), oil on cardboard Bea Maddock, Four by two III Street, Kings Cross c1975, George W Lambert, Miss Helen Tom Roberts, Jealousy 1889, oil on 1977, five-plate photoetching, screenprint Beauclerk 1914, oil on canvas canvas on hardboard aquatint, black and cream/grey ink Lorna Nimmo, Tall city window George W Lambert, Woman’s Arthur Streeton, Beach scene on white wove paper 1945, pen and black ink, head 1914, pencil 1890, oil on canvas on paperboard Bea Maddock, Four by two IV watercolour on paper George W Lambert, Important Arthur Streeton, Still glides the 1977, five-plate photoetching, Sydney Ure Smith, Woollahra Point people (1914–1921), oil on canvas stream, and shall for ever glide aquatint, black and cream/grey ink 1941, watercolour, pen, ink George W Lambert, The maid 1890, oil on canvas on white wove paper Adrian Feint, Del Rio, Elizabeth Bay 1915, oil on canvas Tom Roberts, Smike Streeton age Maurice Denis, Tenderness 1893, 1944, oil on canvas George W Lambert, Alfred 24 1891, oil on canvas colour lithograph Will Ashton, Kirribilli Wharf, morning Munnings 1918, pencil Arthur Streeton, Fire’s on 1891, (c1919), oil on canvas George W Lambert, The road to oil on canvas NATIONAL GALLERY OF VICTORIA, Jericho (1918), oil on canvas Tom Roberts, Aboriginal head – VIC MUSEUM OF MODERN ART AT George W Lambert, The white Charlie Turner 1892, oil on canvas Kitty Kantilla Kutuwulumi HEIDE,VIC glove 1921, oil on canvas on paperboard Purawarrumpatu The goddess grins: the female George W Lambert, Light Horse Tom Roberts, Eileen 1892, oil on National Gallery of Victoria, VIC image in the art of Albert Tucker veteran 1925, pencil canvas 27/4/07–19/8/07 29/5/07–29/8/07 George W Lambert, Old man with Arthur Streeton, The railway Art Gallery of New South Wales, Albert Tucker, Woman’s head (early pipe 1926, pencil station, Redfern 1893, oil on canvas NSW 6/9/07–18/11/07 1940s), brush and black ink George W Lambert, Tulips and Arthur Streeton, Pastoral 1894, Kutuwulumi Purawarrumpatu, Albert Tucker, Wendy Whiteley other stimulants 1927, oil on canvas oil on wood Untitled 2001, natural organic 1993, pastel, watercolour George W Lambert, Mrs Lambert, Tom Roberts, The golden fleece pigments on linen canvas Mr Gordon and Mr Snekker 1927, 1894, oil on canvas Kutuwulumi Purawarrumpatu, THE HAGUE SCULPTURE, THE pencil Tom Roberts, Bailed up 1895/1927, Untitled 2001, natural organic HAGUE, NETHERLANDS George W Lambert, Recumbent oil on canvas pigments on linen canvas De Overkant/Down Under figure 1927, pencil Arthur Streeton, A bush idyll 1896, Kutuwulumi Purawarrumpatu, 1/6/07–31/8/07 George W Lambert, Julian Ashton oil on wood Untitled 2000, natural pigments on Ron Mueck, Untitled (Old woman 1928, oil on canvas Frederick McCubbin, On the paper in bed) 2000–2002, mixed media George W Lambert, Self portrait, wallaby track 1896, oil on canvas Kutuwulumi Purawarrumpatu, oil on canvas Arthur Streeton, Cremorne pastoral Untitled 2001, ochres on paper ROCKHAMPTON CITY ART George W Lambert, The letters 1895, oil on canvas Kutuwulumi Purawarrumpatu, GALLERY, QLD 1901, pencil, pen and ink Untitled 1997, ochre on paper Rupert Bunny and music George W Lambert, Arthur MONASH UNIVERSITY MUSEUM Kutuwulumi Purawarrumpatu, 8/6/07–29/7/07 Streeton 1906, pencil on paper OF ART, VIC Untitled 1997, ochres on canvas Rupert Bunny, Salome (c1919), Brook Andrew: eye to eye – oil on canvas MUSEO MADRE, ITALY, a survey exhibition; UNIVERSITY ART MUSEUM, QLD Rupert Bunny, Bell dance (1920s), KUNSTMUSEUM LIECHTENSTEIN, Monash University Museum of Art, Our way: contemporary Aboriginal oil on canvas LIECHTENSTEIN VIC 4/4/07–23/6/07 art from Lockhart River Rupert Bunny, A cradle song Jannis Kounellis retrospective Lewers Bequest and Penrith 5/5/07–1/7/07 1894–96, conté crayon, wash Additional venue approved in Regional Art Gallery, NSW Rosella Namok, That day 1999, Rupert Bunny, Siren c1898, colour 2006–07 18/8/07–14/10/07 synthetic polymer paint on canvas monotype on thick white wove Kunstmuseum Liechtenstein Brook Andrew, Chip on the shoulder paper 20/10/06–21/01/07 1996, high Cibachrome print OLD PARLIAMENT HOUSE, ACT Jannis Kounellis, Untitled Australians in the Great Depression NATIONAL GALLERY OF 1984–87, steel, wood, plaster, cloth, MORNINGTON PENINSULA 1929–1939 AUSTRALIA, ACT gas burner, paint soot marks REGIONAL GALLERY, VIC 17/5/07–27/11/07 George Lambert: retrospective Emotions Noel Counihan, At the start of the exhibition MUSEUM VICTORIA, VIC 18/4/07–24/6/07 march 1932 1944, oil on hardboard 29/6/07–16/9/07 Colliding worlds Francisco Goya Y Lucientes, The George W Lambert, A bush idyll Additional venues approved in sleep of reason produces monsters CENTRO CULTURAL PALACIO LA (1896), oil on canvas 2006–07 1797–98, etching and aquatint MONEDA, SANTIAGO, CHILE George W Lambert, Across the Australian Museum, NSW Max Klinger, Kiss (in the park) Asia–Pacifica Exhibition black soil plains 1899, oil on canvas 6/4/07–19/8/07 1887, etching and aquatint on 9/5/07–1/7/07 George W Lambert, Ada Beattie in Albury Regional Art Gallery, NSW cream wove paper Simryn Gill, Roadkill 2000, found bed with influenza (1898), pencil 11/1/08–24/2/08 Käthe Kollwitz, Woman thinking run-over objects, toy wheels George W Lambert, Hugh Ramsay Araluen Arts Centre, NT 1920, lithograph (c1902), oil on canvas 7/3/08–20/4/08 Käthe Kollwitz, Maria and Elisabeth MUSEUM OF CONTEMPORARY George W Lambert, Miss Thea Willy Tjungurrayi, Tingari story 1928, woodcut ART, TAIPEI (TAIWAN) Proctor 1903, oil on canvas 1986, synthetic polymer paint on Jean Massard, after Jean-Baptiste Fashion accidently George W Lambert, Riding past linen canvas Greuze, The well-beloved mother 26/5/07–22/7/07 1903, pencil, wash, opaque white Uta Uta Tjangala, Untitled 1775, engraving Simryn Gill, Out of my hair 1995, highlights 1975–76, synthetic polymer paint Rembrandt Harmensz van Rijn, four gelatin silver photographs, one George W Lambert, Hugh Ramsay on linen canvas The agony in the garden c 1657, type C photograph (1901–02), pencil etching and drypoint George W Lambert, Equestrian Ludwig Hirschfeld-Mack, HISTORIC HOUSES TRUST OF group (c1905), oil on canvas Desolation, internment camp, NEW SOUTH WALES / MUSEUM George W Lambert, Portrait of Orange, NSW 1941, woodcut, OF SYDNEY Thea Proctor 1905, charcoal on black ink on thin ivory wove paper Homes in the sky – apartment living paper Bea Maddock, Four by two I 1977, in Sydney George W Lambert, The shop five-plate photoetching, aquatint, 12/5/07–26/8/07 1909, oil on canvas

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Furnishing loans * SUPREME COURT, CHIEF William Marlow, The Rialto Bridge, JUSTICE SPIGELMAN Venice, oil on canvas Justin O’Brien, Little boy in John Salvana, The road to * LOWY INSTITUTE costume (1957), oil on hardboard Wollombi 1936, oil on canvas Charles Lloyd Jones, Afternoon Jean Appleton, Bush landscape William Marlow, San Giorgio light 1941, oil on canvas on with rocks (1952), oil on hardboard Maggiore, oil on canvas paperboard Jean Appleton, Landscape John Longstaff, Sir George Reid, Sidney Nolan, Ant hills, Australia (c1955), oil on hardboard oil on canvas 1950, synthetic polymer paint on Will Ashton, Pont Philippe IV, Paris, Tom Roberts, Sir Henry Parkes hardboard oil on canvas c1894, oil on canvas Paquita Sabrafen, Australian Robert Campbell, Avenue du George W Lambert, The three wildflowers 1990, oil on canvas Maine, Paris c1930, oil on canvas kimonos, oil on canvas Maud Sherwood, Belladonna Douglas Dundas, Chianti country James R Jackson, The timber lilies, oil on paperboard on (1929), oil on canvas schooner, oil on canvas hardboard George Lawrence, Autumn Charles Wheeler, The Upper Will Ashton, The Cornish coast morning, Hyde Park (1948), oil on Murray, oil on plywood 1932, oil on canvas paperboard John Masquerier, Warren Hastings Lance Solomon, Country lane Seymour Lucas, The Gordon riots (1732–1818), 1810, oil on canvas 1947, oil on canvas on hardboard 1780, 1879, oil on canvas Rupert Bunny, Waterfront, Bandol John Brack, In the corner 1973, Sidney Nolan, Kelly and policeman c1929, oil on canvas oil on canvas 1964, oil on hardboard Howard Ashton, Jamieson Valley Sidney Nolan, Ned Kelly at the river * ROYAL ALEXANDRA HOSPITAL 1931, oil on canvas bank 1964, oil on hardboard FOR CHILDREN, WESTMEAD Will Ashton, Kosciusko, oil on Sidney Nolan, Policeman floating in Sidney Nolan, Broome sunset WA canvas the river 1964, oil on hardboard 1985, synthetic polymer paint on Charles Bush, Landscape near Justin O’Brien, Supper at Emmaus hardboard Tarquinia, Italy 1952, oil on ,oil on hardboard Sam Fullbrook, Ford on the hardboard Desiderius Orban, Village church in Condamine with Jacaranda Sali Herman, Lane at the Cross Hungary (c1925–26), oil on canvas (c1985), oil on canvas 1946, oil on canvas on plywood on paperboard on plywood Guy Grey-Smith, Gascoyne River Charles Bryant, Low tide, St Ives, Lloyd Rees, Dusk at North Ryde country 1958, oil on hardboard 1948, oil on canvas oil on canvas Sam Byrne, Mt Robe, highest Jeffrey Smart, Alma Mahler feeding Kevin Connor, Man on stairs 1963, peak, Barrier Range, oil on the birds (1968), oil on canvas oil on hardboard hardboard Tony Tuckson, Interior with figures Alun Leach-Jones, Monsoon Lawrence Daws, Summer (1954), oil on canvas 1979, synthetic polymer paint on landscape 1994, oil on canvas canvas William Delafield Cook, Waterlilies 1972–73, synthetic polymer paint Albert Rydge, Morning in Neutral * HON NICK GREINER, on canvas Bay 1955, oil on hardboard MACQUARIE STREET OFFICE Fred Williams, Lal-Lal Falls 1976, Douglas Pratt, The old toll house, Kenneth Green, Fallen tree 1963, oil on canvas Rushcutters Bay 1959, oil on oil on hardboard canvas George Lawrence, River suburb * PREMIER’S OFFICE, GOVERNOR Jeffrey Smart, Parkland 1950, 1948, oil on cardboard MACQUARIE TOWER oil on canvas H Enslin Du Plessis, Snow in Paul Partos, Untitled (black-grey) Lawrence Daws, Poinciana Highgate, oil on canvas tree I 1991, oil on hardboard 1990, oil on canvas Charles Bryant, Quayside, St Ives, * LEGISLATIVE COUNCIL, * HISTORIC HOUSES TRUST Cornwall, oil on canvas on PARLIAMENT HOUSE OF NEW SOUTH WALES / paperboard Arthur Streeton, Beneath the peaks, GOVERNMENT HOUSE Russell Drysdale, Rocky landscape Grampians 1921, oil on canvas Adrian Feint, (Flowers) 1949, (early 1960s), oil on canvas Dora Toovey, How does your oil on canvas Max Ragless, Second valley 1954, garden grow (1939), oil on canvas Clifton Pugh, Acacia and bush oil on canvas on paperboard 1957, oil on hardboard, Eugene Claux, Street scene, François Bossuet, La Place de la Hans Heysen, A bowl of roses oil on canvas constitution 1880, oil on paper over 1924, oil on canvas Jan Senbergs, Structure with black masonite Will Ashton, Building the bridge peaks 1973, oil, screenprint on George Bell, Lady in black 1932, oil on canvas canvas (c 1923), oil on canvas Clifton Pugh, The eagle and the Dora Meeson, Thames at Chelsea J Browne, Landscape with view of baobab trees 1957, oil on Reach, oil on canvas Salisbury Cathedral 18th century, hardboard Michael Kmit, Woman and girl oil on canvas Rupert Bunny, Flowers c1927–30, 1957, oil on hardboard H A Hanke, Low tide, Balmoral oil on canvas 1947, oil on canvas Albert Sherman, Gordonias (1945), * OFFICE OF THE SPEAKER, Dorothy Thornhill, Morning at oil on canvas PARLIAMENT HOUSE Cremorne 1939, oil on canvas Tom Roberts, Harrow Hill Arthur Boyd, Landscape at James R Jackson, The old road, c1910–12, oil on canvas on Murrumbeena (c1968), oil on South Coast, oil on canvas plywood canvas Gion Pentelei Molnar, Pears, Robert Johnson, Macleay River Sir William Dargie, La Perouse oil on canvas (1958), oil on canvas (1947), oil on canvas Nora Heysen, Petunias 1930, Elioth Gruner, New England (1921), Sydney Long, Spring, St Albans, oil on canvas oil on canvas McDonald River (c1926), McDonald James Kerr-Lawson, Refugees Robert Johnson, Out west, oil on River,oil on canvas returning to Cambrai under canvas Max Ragless, Back of the mill protection of an Australian trooper, Douglas Dundas, The towers of 1941, oil on canvas oil on canvas San Gimignano, oil on canvas

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STAFF, INTERN & VOLUNTEER LISTINGS

Staff Senior curator, Photography Archivist Conservators, Paintings Judy Annear BA Steven Miller BA (Hons), B Theol, Paula Dredge B App, Sc (Cons), as at 30 June 2007 Assistant curator Grad Dip IM (Arch) BA (Fine Arts) Elizabeth Maloney BFA, Grad Dip Kristel Smits B App Sc (Cons), MA (Fine Arts) Mus Studies Head, Public Programs Director Brian Ladd Dip Fine Art, Dip Ed Senior conservator, Works on Paper Edmund Capon AM, OBE, M Phil Rosemary Peel BA (Fine Arts) Head curator, Asian Art Senior coordinator, Public Programs Executive personal assistant Conservator, Works on Paper Jackie Menzies BA (Hons), MA and Art After Hours to the director Sheona White BA Post Grad Profl Carolyn Murphy BA, Grad Dip Lisa Franey BA (Hons) Curator, Japanese Art (Museum Studies), B App Sc Khanh Trinh Pompili BA, MA, PhD Art Studies & Visual Arts Curator, Exhibitions (Cons), MA (Writing) Assistant, Art After Hours Terence Maloon BA (Hons), Dip Art Curator, Chinese Art Senior conservator, Objects Ashlie Pellow B (Creative Arts) & Design Yang Liu BA, MA, PhD Donna Hinton MA App Sci (Cons), Curator, South & South East Senior coordinator, Education Dip Museum Tech Programs Asian Art Senior conservator, Frames Benefaction manager Tristan Sharp BA, MA (Arts Admin), Chaya Chandrasekhar BA, MA, Malgorzata (Margaret) Sawicki BA Jane Wynter BA, LLB Dip Ed (Secondary) PhD (Cons), MA App Sci (Materials Development coordinators Senior coordinator, Asian Programs Manager, Information Conservation) Fiona Barbouttis BA, Dip Ed Jonathan Cooper Dip Art, Ed Barbara Cressall Ann MacArthur BA (East Asian Conservators Studies), M Intl Mgmt Administration assistant Victoria Bramwell-Davis Assistant registrar (curatorial) Naomi Morris Matt Cox BA (Indonesian Studies), Head, Business Development Asian Art Museum educator/curator, Special MA (Art History and Theory) Leith Douglas BA Natalie Seiz BA (Hons), M Art Projects Kerry Head (Communications) Admin Ursula Prunster BA (Hons), MA Elizabeth McCarthy MA App Sci Business development coordinator Museum educator, Contemporary (Cons), BFA (Hon) Fine Arts Merryn Schriever BA (Fine Arts) Art Andrea Nottage Head curator, Australian Art (Photography), Post Grad in George Alexander BA (Hons) Conservators, Frames Management Barry Pearce Dip Art Ed Coordinator, K–6 Schools and David Butler Senior curator, Australian Art Family Programs Barbara (Basia) Dabrowa MA Deborah Edwards BA (Hons), (Cons) General manager, Curatorial Victoria Collings MA, BA (Hons), M Phil Services PGCE, Nat Dip Senior conservator, Asian Art Head curator, Western Art Assistant curators, Australian Art Museum educator Sun Yu BA (Art History) Curator, 20th Century Helen Campbell BA (Hons), Grad Jethro Lyne BA (Hons), MA Conservator, Asian Art Dip (Museum Studies) International Art Museum educator Yang Yan Dong Natalie Wilson BA (Visual Arts), MA Anthony Bond B Ed (Hons) Danielle Gullotta (Art History & Theory) Registrar, Collections System Coordinator, Tertiary Programs Senior registrar, Collections Senior curator, Australian Prints, Integration Coordinator, Gifted and Talented Emma Smith BA, Grad Dip Drawings & Watercolours Jesmond Calleja BA programs (Decorative Arts) Hendrik Kolenberg Coordinator, Study Room Sherryl Ryan M Ed (Gifted & Assistant registrars Deborah Jones BA, Grad Dip Curator, Australian Prints Talented), PGD, FA B Ed Clare Germaine BA, MA (Arts Anne Ryan BA (Hons), M Art Admin (Museum Studies) Coordinator, Access Programs Admin) Curatorial projects and research Assistant curators, Australian Art Amanda Peacock BA, Dip Ed Brent Willison BA (Visual Arts) officer Caroline Geraghty Coordinator, Secondary and Asian Registration assistants Donna Brett BA (Visual Arts), MA Denise Mimmocchi BA (Hons) Education Programs Paul Solly (Art History & Theory) (on leave) Leeanne Carr B Ed (Visual Arts) Nick Strike BA (Visual Arts) Maria Concetta Tornatore-Loong Image reproduction officer Clerical manager BA (Art History & Theory), MA Michelle Andringa Liliana Torresan Senior photographer (Curatorship & Modern Art) Bookings officers Jenni Carter Senior curator, European Art, Sienna Brown Photographer Senior curator, Aboriginal and pre-1900 Petra Pattinson Diana Panuccio Torres Strait Islander Art Richard Beresford BA (Hons), MBA, Photographers, Digitisation Hetti Perkins BA Image librarians PhD Dot Kolentsis Dip (Visual Arts), Chilin Gieng Curator, Aboriginal and Torres Strait Curator, European Prints, Drawings Grad Dip (Visual Arts) Miriam Stirling Islander Art & Watercolours Meredith Robinson BA Cara Pinchbeck BA (Visual Arts), Peter Raissis BA (Hons) MA (Visual Arts) General manager, Exhibitions & Senior curator, Contemporary Art Building Management Coordinator, Aboriginal Programs Coordinator, Brett Whiteley Studio Wayne Tunnicliffe BA (Hons), MA, Anne Flanagan Dip Int Design, Dip Jonathan Jones BA (Fine Arts) Alec George Dip Ed M Art Admin Ed, Dip Ed (Visual Arts) Exhibitions manager Assistant registrar (curatorial), Manager, AV Services Head librarian Erica Drew BA (Hons) Western Art Laurence Hall BA (Comm) Judy Peacock BA, Grad Dip App Susan Schmocker BA, Dip Lib Exhibitions assistant Coordinators, AV Services Sc, M Art Admin Senior librarian/technical services Edwina Brennan Brian Blackwell Kay Truelove BA, Dip Lib Exhibitions project officer, Curator, Contemporary Art Simon Branthwaite Natasha Bullock BA (Hons), Librarians Installation Coordinator, Film Program Postgrad Dip (Art Curatorship & Richard Goodwin Stefanie Tarvey Robert Herbert Museum Management) MA Robyn Louey BL Arch, Grad Dip IM Senior registrar, Exhibitions Coordinator, Contemporary (Lib) Charlotte Davy BA (Art History), Collection Benefactor and Aboriginal Valerie Tring Head, Conservation Adv Dip (Fashion Design) Collection Benefactor John Tse Alan Lloyd Registrar, Exhibitions Bambi Blumberg B Econ, Dip Ed, Library technician Senior conservator, Paintings Charlotte Cox BA, Grad Dip (Works Cert Teach English Vivian Huang Assoc Dip Arts Stewart Laidler Dip Cons of Art)

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Assistant registrar, Exhibitions Accounts payable supervisor Marketing coordinator Patricia Teece Amanda Green BA, Dip (Prehistoric Graeme Callaghan Kylie Wingrave BA (Visual Arts), B Mary Thom and Historical Archaeology), Grad Accounts payable clerk Comm Steve Triantos Dip (Museum Studies) Maria Montenegro Marketing assistant Mark Turner Ticketing supervisors Molly Waugh BA (Comm) Russell Ward Chris Aronsten Gisella Weber Management accountant Carmel Crisp Paul Woolcock Bernadine Fong, B Bus (Banking Supervisor, Information Desk Lorraine Xuereb Ticketing officer & Finance) Jeanette Klease Prue Watson Accounting clerks Weekend coordinator Rita Briguglio Sally Bates Print production manager/Studio Viva Chelvadurai Receptionist coordinator Michelle Berriman BA (Hons), Cara Hickman B Sc (Arch) Manager, Information & Technology Dip HE Multimedia designer Maurice Cirnigliaro M Bus Information officers Jo Hein (Information Technology) Minette Brewin Senior graphic designer Manager, Network Operations Anna Davis Mark Boxshall BA (Visual Arts) Theo Papalimperis Kate Dorrough Graphic designer Tracey Keogh Help desk officers Karen Hancock Olivia Prunster Adam Dunn Roseann Phillips Manager, Building Services Manager, Security Services Phil Johnstone George Alamanos Manager, Human Resources Manager, Engineering Services Security officers Jenny Capdor Ray Cunico, Adv Dip Mech Emilio Cruz Engineering Human resources coordinators Glenn Gavin Shirley Dunshea B Bus (HRM) Maintenance officer Scott Gulliford Kimberley Milicevic Rob Schumacher Telly Linakis Valita Manu Plant fitter/Operator David Paine JP Julio Angulo Manager, Management Services & Strategic Planning Bob Partridge Trish Kernahan Hudson Qureshi Senior lighting technician Supervisor, Administration services Bryan Reynolds Simm Steel & records co-ordinator Trade assistant Louise Fischer BA, MA Manager, Gallery Services Lindsay Drummond Administrative support officer Michael Bennett Deborah Spek Senior gallery officers Senior installation technician Kuldeep Duhan Nikolaus Rieth Peter Howlett Manager, Retail and Publishing Installation officers Peter Rozario Richard Harling BA (Hons) Mary-Anne Cornford Gallery officers Assistant manager, Retail Brett Cuthbertson Freddi Alam Gillian Williamson B Sc John Freckleton Ian Bolt Alyosha Pearce Book buyer Arthur Boucas Peter Tsangarides Denise Faulkner BA (Fine Arts) Alan Boyd Shop supervisor & merchandising Kevin Callope Stores officer coordinator Anthony Caracoglia Steve Peters JP Rebecca Allport Murray Castles Stock & sales officers Ana Crespi Stephen Davies Senior display technician, Carpentry Carlotta Arias Romeo Domingo Bill Viola Lynne Barwick BA (Visual Arts) MA (Writing) Terry Forde Display technicians, Carpentry Julie Fraser Khaled Ghloum Gary Bennett Marc Hartl David Grech Luke James Janak Kadian BA Ram Mudaliar Daniel McCready Maryanne Marsh Peter Karamanis Senior display technician, Painting Cassandra Willis John Kavallaris Michael Brown Rayson Light Stores officer Display technicians, Painting Juan Lira Bevynn Wilkerson Daniel Green Ramon Lozada Alan Hopkinson Stuart Matheson Venue manager Jamil Mati Caroline Harvey Patrick McBride BA (Hons), MA General manager, Finance & Nigel Milsom Management Services Venue assistant Kevin Nguyen Rosemary Senn B Comm, FCPA, Joanne Oldfield Ray Nguyen MAICD Dip Antonio Ozcan Project officer General manager, Marketing Dominque Pirrie Jackie Bullions Belinda Hanrahan B Comm Peter Rawlins Publicity officers Debasish Ray Financial controller Susanne Briggs Assoc Dip B Sharat Sharma France Du Buisson Perrine B Fin Studies Dip Counselling Peta Sirec B (Visual Arts) Admin, CPA, Grad Dip (Fin Claire Martin BA (Hons), Dip Suzanne Slavec Planning), Fellow of Finsia (F Fin) Marketing Joan Standfield

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Internships Helen Holmes; Roslyn Hunyor; Marie James; Patricia James; Maconachie; Alison McDonald; Yaeli Marie Huxtable; Pam Jennings; Heather Jelfs; Jennifer Jenkins; Ohana; Brooke Pepper; Alicia Tertiary internships took place Margot Johnston; Mary Kavanagh; Patricia G Johnson; Karen Poppett; Kate Steel; Ant Thomas across a wide range of Gallery Diane Kempson; Jill Kloster; Kay Johnston; Margaret Johnston; departments, including public and Knight; Daphne Kool; Pat Kreuiter; Margaret J Johnston; Nita Jones; OTHER GALLERY education programs, curatorial, Dorothea Labone; Sharon Lain; Meri Sandra Jones; Noel Jordan; Donna DEPARTMENT VOLUNTEERS: exhibitions, library and archives, Lane; Jenny Latham; Shirley Kelly; Sue Kemp; Vere Kenny; registration, conservation, marketing Joyce Allegretto, Archive Lilienthal; Sue Lowes; Fiona Loxton; Ursula Knight; Miho Kondo; Anneke and the Brett Whiteley Studio. Arnaldo Buch, Library Angela Luessi; Susan Ma; Wendy Kunz; June Lessick; Penny Levette; Fourteen internship placements for Elizabeth Callanan, Australian Art Matthews; Romola McConnachie; Linda Ann Littlemore; Roslyn undergraduate and post-graduate Rylie Keogh, Library Juliet McConochie; Frances Luger; Jan McClelland; Raymond students from Australia and Marilyn Keys, Archive McNally; Cherry McWilliam; Serene J McDonald; Robin McIntyre; overseas took place in 2006–07, Nalini Kumar, Library Miles; Lesley Millar; Norma Milne; Kristine J MacKenzie; Lesley from faculties such as Museum Patrizia Ribul, Contemporary Art Gwyneth Morgan; Janet Morse; Mackintosh; Margaret McLellan; Studies, Arts Administration, Art Paul Solly, Conservation Les Moseley; Maureen Murphy; Marlene McPherson; Suzanne History and Theory, Visual Arts Marsha Svenson, Conservation Diana Northedge; Virginia Osborne; Maddison; Sue Mandelberg; Trish Education and Conservation Dianne Ottley; Ruth Owen; Mandy Mappin; Patrick Marco; Margaret Management. Participating Palmer; Wendy Payne; Audre Marshall; Barbara Martin; Barbara institutions included College of Fine Pedder; Philippa Penman; Carolyn Mason; Heather Mead; Mary Arts, University of New South Penn; Keith Potten; Caroline Meppem; Sheila Milroy; Barry Wales, University of Sydney, Presland; Dilys Renham; Pamela Molloy; Denise Morris; Pat Morton; University of Western Sydney, Rex; Margaret Rich; Pam Rogers; Hilary Moxon; Gael Murphy; Peter University of Technology Sydney, Alison Ross; Lyla Rowe; Christine Nicholls; Kate Noble; Brian Nugent; University of Newcastle and the Rustamzadeh; Louise Samer; Ruth Marlies Oakley; Lyn Oliver; Elizabeth Cologne University of Applied Sams; Pauline Sayle; Lilli Scott; Oomens; Ruth Osen; Diana Page; Sciences. Beverley Shea; Patricia Smith; Susan Pajor; Eveline Paxton; The Artexpress Education Internship Beatrice Sochan; Claire Souillac; Rebecca Pearson; Hetti Penn; initiative continued in 2006–07 for Denyse Spice; Fiona Still; Dianne Maryann Phillips; Dian Pitson; trainee teachers studying at Stinson; Caroline Storch; Dorinda Michael Poole; Penny Porter; Judy university. The ongoing internship Sullivan; Jennifer Sutton; Susan Preshaw; Cynthia Pretty; Marie program assists the Artexpress Swan; Jill Thompson; Prue Todd; Puntigam; Hanne Raad; Margaret curator during the exhibition Lee Tredinnick; Jan Tydd; Patricia Radford; Patricia Reed; Joan selection process in the Wilson; Mary Woodburne; Brenda Roberts; Astrid Robinson; Stana development of related education Woods; Linda Zurnamer Rogac; Charles Rushton; Kim programs and the preparation of Sandford; Zella Sandy; Annette content for the Inside ARTEXPRESS VOLUNTEERS – TASK FORCE Searle; Cassie Sheehan; Margaret 07 website, from October to MEMBERS Sheppard; Irene Shillington; Penny December each year. This highly Shore; Dana Skakavac; Ann Smith; sought-after internship was Betty Allerton; Robin Amm; Greta Joyce Smith; Shirley Smyth; Lesley awarded to three leading students: Archbold; Meredith Aveling; Julia Sommerville; Merrilyn Sowell; Judith Alacoque Dash and Adele Maskiel, Baldo; Alexandra Ballard; Linda Stefanek; May Steilberg; Peter Masters of Education, University of Barnes; Julia Bate; Diana Berlyn; Strand; Barbara Stubberfield; Sydney; and Annette Mauer, Wendy Beverly; Anne Blomfield; Marsha Swenson; Margaret Masters of Art Administration, Georgie Blythe; Joyce Botta; Swinton; Joan Tasker; Irene Thom; College of Fine Arts UNSW. W S Bough OAM; Pamela Bough; Halina Brett;’ Shirley Brettle; Sue Thomas; Fay Thurlow; Susan Tompkins; Judith Twist; Mary Unwin; Volunteers 2006–07 Valda R Brook; John Buchanan; Helen Buckland; Petah Burns; Ursulal Ure; Jill Vaughan; Shirley VOLUNTEER GUIDES Wendy Canning; Annette Carlisle; Vogan; Valerie Vogt; Julie Wallace; Dale Amir; Sidney Anderson; Mary Casey; Faith Charity; June Ellen Watson; Gail Watt; Carolyn Carolyn Andrew; Jan Angus; Chatfield; Maria Cicutto; Jill Clapin; Webb; Rita Weberbauer; Maggie Margaret Anthony; June Armitage; Annie S. Clarke; Lea-Ann Clarke; Weiley; Peter Whawell; Jill White; Phillippa Baird; Pamela Barr; Robyn Anne Cole; Gabrielle Cousins; Annie Wicks; Clarice Wilkins; Bathurst; Annabel Baxter; Janet Patricia Anne Curtis; Beverley Joanne Wilson; Jennifer Wood; Bell; Kay Berryman; Carolyn Darby; Ann Dawson; Gail Dendle; Jill Wunderlich; Margot Yeomans Bethwaite; Dale Bird; Jenny Birt; Lynette Dening-Franklin; Charlotte Rosalie Blackshaw; Vicki Brown; Denison; Francine De Valence; VOLUNTEERS – COMTEMPO Cathy Cameron; Lisa Campbell; Carleen Devine; Ann Dodd; COMMITTEE Norma Castaldi; Licia Cattani; Margaret Doherty; Elizabeth Committee elections are held each Valerie Chidgey; Bella Church; Donnelly; Ruth Dornan; Jutta Dubiel; March. Susie Clark; Anne Cohen; Ann Cole; Judith Duff; Peter Eames; Caroline Mark Andrews, president 2006–08 Helen Cowlishaw; Liz Crenigan; Eburn; Joan Economus; Pam Ellis; Norma Tran, senior vice president Janice Cronly; Sally Cullen; Daile Falconer; Eva Feher; Yvonne 2006–07 Adrienne Dan; Lorraine Davids; Fell; Coralie Fergus; Carol Forsythe; Lynn McColl, senior vice president Jackie de Diana; Ro Dermody; Val Freeman; Kitty Gassner; Yvette 2007–08 Sue Dominguez; Jill Dunlop; Patricia Geczy; Shonie Glasgow; Patricia Sascha Tyson, vice president Elliott; Diane Everett; Susan Farrell; Governor; Leonie Grattan; Lyn Gray; 2006–07 Louise Fennel; Gwen Ferguson; Sheba Greenberg; Beverley Griffiths; Renee Siros, vice president Betty Floyd; Judy Friend; Pam Kirsten Gross; Aiko Hagiwara; 2007–08 Fuller; Caroline Furniss; Jennifer Dagmar Halas; Simone Hancock; Kirby Weston, secretary/treasurer Gardiner; Mary-Lou Gilbert; Inge Susan Hand; Averil Hargreaves; 2006–08 Grant; Deirdre Greatorex; Anna- Jocelyn Harris; Eva Havas; Committee members: Maryke Grey; Joan Grimes; Trish Hay; Frances Hellier; Ann Helen Biles; Brad Buchel; James Alison Gross; Callie Guinness; Henderson; Mary Hillier; Margaret Edmondson; Simone Esamie; Julie Jennifer Harrison; Annie Herron; Hunt; Madeline Hunter; Pamela Flowers; Melanie Goldwater; Martin Shirley Hillman; Joyce Hodges; Hyles; Teresa Jakubowski; Katzler; Emily Lees; Rob

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STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES

Unless otherwise stated all lectures 24 Aug 2006 Article: ‘Miracles of naturalism’, Opened: Drawing exhibition, COFA and presentations were held at the Floortalk: Balnaves (with Hany Look, Feb 2007, pp 22–23 UNSW, 31 Aug 2006 AGNSW. Armanious) Article: ‘Nobility and realism’, Look, Opened: Alan Charlton exh, Abbreviations: Floortalk: Anne Landa Award Feb 2007, pp 22–24 Annandale Gallery, Sydney, 27 Sept AGS: Art Gallery Society of NSW (with all artists), 18 Nov 2006 Lecture: ‘Who is Bartolomeo di 2006 AGNSW: Art Gallery of New South Floortalk: LL2 collection, 7 March Giovanni?’, Decoding the Opened: John Beard exh, Buckley Wales 2007 Renaissance, Sept 2006 Gallery, Melbourne, 8 Nov 2006 CCB: Contemporary Collection Floortalk: Gail Hastings, 2 May 2007 Lecture: ‘Reading Duccio’s Maestà: Opened: Mike Parr exh, Anna Benefactors Floortalk: Anne Zahalka, 4 April forwards and backwards’, Decoding Schwartz Gallery, Melbourne, PCB: Photography Collection 2007 the Renaissance (repeat lectures), 29 March 2007 Benefactors Floortalk: UBS, 13 June 2007 Oct 2006 Opened: John Nixon exh, Tarra Exh: exhibition Paper: ‘Art as transit visa through Lecture: ‘The Sistine Chapel’, warra Museum of Modern Art, UNSW: University of New South zones of contact’, Biennale of Decoding the Renaissance II, Melbourne, 31 March 2007 Wales Sydney, CoFA, 12 Aug 2006 March 2007 Opened: Sigmar Polke exh, SCA USyd: University of Sydney Paper: ‘Giacometti and surrealism’, Floor talk: ‘Francois Boucher’s USyd, 2 May 2007 UWS: University of Western Sydney AGNSW Symposium, Feb 2006 Lady with a pug dog’, July 2006 Judge: Sculpture Society Annual Paper: ‘Paper, scissors, rock: Floor talk: ‘Gatti’s Hungerford Prize, 31 July – 1 Aug 2006 George Alexander (Coordinator, what makes the artworld tick?’ Palace of Varieties: Second turn Judge: Maitland Art Prize, 9 Feb contemporary programs) Roundtable UBS Forum discussion of Miss Katie Lawrence by Walter 2007 Principal writer: Lewis Morley, with Peta Arends, John Young, Sickert’, Aug 2006 Academic review panel for Art Giacometti, Gods & Goddesses Edward Colless, Peter Hill, Amanda Floor talk: ‘Procaccini’s Dead Christ History at Adelaide University, (Focus Fest text), DVD Conversation Rowell, 19 May 2007 on the cross with Sts Mary Sept 2007 with artists booklet Opening speech: Margaret Grafton Magdalen, Augustine and Jerome’, Chair: AAANZ, Reinventing the Article: ‘Noel Sheridan’ Art & survey show, Cross City projects, Aug 2006 medium, session Australia, summer vol 44, no 2, Kings Cross, 9 Sept 2006 ‘Modern/Postmodern 2006 p190 Opening speech: ‘Andrea Stretton Anthony Bond (Head curator, debate in the early Modern period’, Article: ‘State of the Art (Feature): “Books in art”’, AGNSW and International Art) Monash University, Dec 2006 The loaded brush’, ArtAsiaPacific, Sydney Writer’s Festival, 26 May Curator: Anselm Kiefer, White Cube Conference paper: ‘The evolving issue no 52, March/April 2007, 2007 London, Jan 2007; AGNSW, May roles of curator and the role of the pp 46–48 Speaker: Amateur art group in 2007 critic’, AICA 2007 Congress, Paris, Review: ‘Juan Davila’, Erskineville, 7 Feb 2007 Collection rehangs: level LL2, UBS Oct 2006 ArtAsiaPacific, issue no 52, Speaker: Art Gallery Society Tour Contributing author: ‘Fields of Board memberships: chair, NSW March/April 2007, p 102 Talk, 17 Feb 2007 reference’, Anselm Kiefer: Aperiatur branch of AAANZ (Art Historians); Review: ‘Howard Arkley’, ‘Venice Outside assessor, MFA student terra, White Cube London, pp50–69 Treasurer, AICA (International Art Biennale: Australian Pavilion’ (sculpture) at CoFA, 21 Feb 2007 Chapter: ‘International modernism’, Critics); Power Institute, USyd; ArtAsiaPacific, issue no 53, p 118 Corporate talk: UBS, 5 June 2007 Photography: Art Gallery of New Biennale of Sydney Review: ‘Peter Hill and Gail Australian desk editor for South Wales collection, AGNSW, Hastings: Cue the Sun’, ArtAsiaPacific Sydney 2007 Donna Brett (Curatorial project ArtAsiaPacific, issue no 54, Chapter: ‘Imagining the body’ and and research officer) May/June 2007, p 90, p 118 Judy Annear (Senior curator, ‘Object and associations’, Chapter: ‘Expression and the Review: ‘Peter Lyssiotis’, (Feature), Photography) Contemporary: Art Gallery of New figure’, Contemporary: Art Gallery Art & Australia, spring, vol 44, no 3, Curator: Lewis Morley, 7 July – South Wales contemporary of New South Wales contemporary 2007, p 434 10 Sept 2006 collection, AGNSW, 2006 collection, AGNSW, 2006 Essay: ‘Daniel Crooks, Sherman Co-curator (with Virginia Heckert, Essay: ‘Anselm Kiefer in the studio’, Chapter: ‘The surrealist aesthetic’, Galleries’, Sydney, 2006 associate curator, JPGM): The Art and Australia, March 2007 Photography: Art Gallery of New Chapter: ‘Popism and Screen photographs of August Sander from Article: ‘Anselm Kiefer Aperiatur South Wales collection, AGNSW, Culture’, Contemporary: Art Gallery the J Paul Getty Museum, Los terra’, Look, AGS, May 2007 Sydney 2007 of New South Wales Contemporary Angeles, AGNSW, 17 Nov 2007 – Article: ‘Anselm Kiefer’, Kultur, Chapter: ‘A postwar modernist Collection, AGNSW, 2006 3 Feb 2008, JPGM 6 May – 10 Aug Goethe Institute, April 2007 vision’, Photography: Art Gallery Chapter: ‘Tableaux, memento mori, 2008 Artists’ entries: Tony Cragg, Michael of New South Wales collection, screen culture’, Photography: Art Editor/author: Lewis Morley, Craig Martin, Gerhard Richter and AGNSW, Sydney 2007 Gallery of New South Wales AGNSW, Sydney, 2006 Andy Warhol for the UBS collection Catalogue entries: Nobuyoshi Araki, Collection, AGNSW, Sydney 2007 Editor/author: Photography: Art exhibition catalogue, An incomplete Roy Lichtenstein, Alighiero e Boetti, Entry: ‘Australia’, ArtAsiaPacific Gallery of New South Wales world, AGNSW, Sydney, 2007 An incomplete world: works from Almanac 2007, vol 2, pp 112–113 collection, AGNSW, Sydney, 2007 Workshop: Echigo Tsumari triennial, the UBS art collection, AGNSW, (forthcoming July 2007) Essay: ‘Not careful? The Ewing and Tokyo, 14 July 2006 Sydney 2007 Producer: Conversations with George Paton Galleries Lecture: ‘Why art matters’, Kyoto Article: ‘Yvonne Boag: mapping Australian artists, vol 2 ‘Connecting 1979–1982’, H Vivian (ed), Walls University of Art and Design, place, memory and conversations’, flights’, DVD Video, 2006 sometimes speak: George Paton 10 July 2006 Artlink, vol 26, no 3, 2006, Lecture: ‘Biennale of Sydney Gallery 1971-2006, MacMillan, Lecture: ‘Why art matters’, pp 28–33 lecture’, Auditorium, 23 June 2006 Melbourne [forthcoming] T Nigata University, 21 July 2006 Essay: ‘Yvonne Boag, a Korean Lecture: ‘Art vs death in Member: Photography Collection Lecture: ‘Performance art’, Cofa metonymy: memory, body, place’, contemporary art’, ARTFORUM Benefactors Committee, AGNSW, UNSW, 21 and 22 Aug 2006 Sixth Drawing Biennale, ANU, series, National Art School, Sydney Lecture: ‘Kiefer’, Tweed Heads, Canberra, July – Sept 2006 28 March 2007 Jury member: Hasselblad 4 Feb 2007 Essay: ‘Yvonne Boag: unravelling Lecture: ‘Howard Arkley’, Foundation Photography Award, Lecture: ‘Kiefer’, National Art conversations and spaces’, (cat 13 April 2007 Gothenburg, Sweden School, 7 March 2007 essay), Yvonne Boag: Unravelling: Lecture: ‘Andy Warhol’, UBS, Director: Artspace, Sydney Lecture: ‘Kiefer’, Newcastle a survey exhibition, Stonington 25 May 2007 Guest scholar: The J Paul Getty University, 24 April 2007 Stables Museum of Art, Deakin Lecture: Volunteer guides (on Museum, Los Angeles, 2 Jan – Lecture: ‘Kiefer’, Cofa UNSW, University, Oct 2006 Morley, Arkley, UBS) 31 March 2007 15 May 2007 Essay: Laura Matthews, Vista – Lecture: CoFA tertiary orientation, Lecture: ‘Why art matters’, Print Orange 2007, Art Equity, May 2007 8 Feb 2007 Richard Beresford (Senior curator, Council Australia, Tweed Heads, Lecture: ‘Collection provenance and Lecture: SCA tertiary orientation, European Art pre-1900) 6 May 2007 looting issues’, USyd, Museum 23 May 2007 Article: ‘Visitors from Canberra’, Lecture: ‘Kiefer’, Newcastle Studies, Sept 2006 Floortalk: Lewis Morley, 26 July and Look, Sept 2006, pp 24–27 University, 23 May 2007 Lecture: ‘Collecting at the AGNSW’,

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USyd, Museum Studies, May 2007 Introduction: Bird in the hand: Floor talk: ‘Visnu and his Avatars’, Charlotte Davy (Senior registrar, Paper: ‘Transformation and paintings by Tony Clark and John curator’s talk, June 2007 exhibitions) resurrection as medium: Cornelia Wolseley, Art After Hours, Jan 2007 Speeches: Goddess: divine energy Workshop: ‘Couriers: the Parker’s suspended metaphors’, Floor talk: Ricky Swallow’s Killing exhibition viewings, AGNSW, Oct management and practice of AAANZ, Reinventing the medium Time, Art After Hours, March 2007 2006 – Jan 2007 accompanying objects in transit’, conference, Monash Uni, Dec 2006 Floor talk: Anne Zahalka, Women Interview: The spirit of things with Full day w/s, Museum of New Floor talk: ‘Post-war modernist in Art group, March 2007 Rachel Kohn, ABC Radio National, Zealand Te Papa Tongarewa, NZ, photography’, Art After Hours, Nov Floor talk: Gail Hastings, UBS young 22 Oct 2006 Aug 2006 and March 2007 2006 achievers program, April 2007 Interview: Sunday arts review, Workshop: ‘Couriers: the Floor talk: ‘Dennis Del Favero’, Floor talk: Anne Zahalka, Govett- ABC-TV, 12 Nov 2006 management and practice of Art After Hours, Feb 2007 Brewster Benefactors Group, NZ, Several other interviews for local, accompanying objects in transit’, Workshop: Digitising the AGNSW April 2007 Melbourne, and Indian newspapers Full day w/s; Auckland Art collection, MA NSW, St George Introduction: Anne Zahalka, CCB Gallery and National Services Regional Museum, March 2007 and PCB groups, April 2007 Victoria Collings (K–6 School and (2 workshops open to participants Member/treasurer: Art Association Introduction: Anne Zahalka, Art After Family Programs Coordinator) from museums and galleries of Australia and New Zealand Hours, April 2007 nationally in New Zealand), NZ, Judge: The Dymocks Golden Paw (Art Historians Association) Curator’s group, AGNSW, Sydney March 2007 Zealand) Award in conjunction with the Member: Museums Australia, Art, Paper: ‘Navigating risk: legislative Foundation for National Parks and craft and design SIG Jesmond Calleja (Senior registrar, parameters for importing and Wildlife, Sept 2006 Committee member: SafARI Collections Systems Integration) exporting loans’, Australasian Education consultant: Albury Member: Editorial Working Group, Conference paper: ‘Managing digital Registrars Committee annual Regional Gallery’s children’s Dictionary of Australian Artists technologies’, DEMHIST’s Managing conference, Hobart, Nov 2006 programs and Kidspace, May 2007 Online, UNSW Sydney the Past for the Future, 10–13 Oct President: Australasian Registrars Member: AICA 2006, Valletta, Malta Committee Workshop: ‘Creating a virtual world Jonathan Cooper (Manager Natasha Bullock (Curator, of information: AGNSW digitisation of Information) Deborah Edwards (Senior curator, Contemporary Art) project’, Digitisation Workshop, MA Lecture: ‘Authority versus Australian Art) Curator and editor: Anne Landa NSW, St George Regional Museum, autonomy: allowing public Curator and author: Bertram Award 06, 17 Nov 2006 – 11 Feb 9 March 2007 participation in a government Mackennal monograph and cd-rom 2007 Training: AGNSW Vernon Collection website’, NSW Government catalogue raisonné, 17 Aug – 4 Nov Curator and editor: Brendan Lee: Management System, produced Website Managers Group, Sydney, 2007 two birds with one stone, 15 Sept – the Vernon user manual 5 Dec 2006 Examiner: Master of Arts degrees, 22 Oct 2006 Coordinator: ARC research Lecture: ‘An introduction to School of Art, University of Managing curator and editor: partnership with the University of myVirtualGallery’, Creative Tasmania, 19–20 July A bird in the hand: paintings by Melbourne, Copyright and industries online forum, Interview: Channel 9, Bronwyn Tony Clark and John Wolseley, Digitisation in Cultural Institutions organised by Arts NSW, Sydney, Oliver, Aug 2006 14 Dec – 28 Jan 2007 23 Jan 2007 Floor talk: Giacometti, Sept 2006 Curator and editor: Struck: Michele Dr Chaya Chandrasekhar (Curator, Floor talk: ‘Unity in blue’ by Floor talk: Permanent Australian Barker and Anna Munster, South and Southeast Asian Art) Godfrey Miller, Art After Hours, collections, Sept–Oct 2006 8 Feb – 22 March 2007 Assistant curator: Goddess: divine 11 Oct 2006 Essay: ‘Janet Dawson retrospective, Curator and editor: Sculptural energy, 13 Oct 2006 – 28 Jan 2007 exhibition cat’, Bathurst Regional Art situations by Gail Hastings, Article: ‘Durga Puja: celebrating the Paper: ‘Digital meta-collections: Gallery, Sept 2006 29 March – 9 May 2007 victorious’, TAASA Review, vol 16, myVirtualGallery as an example of Paper: ‘George Lambert as Curator: Anne Zahalka, Australian no 2, June 2007, pp 26–27 sociable technologies applied to sculptor’, George Lambert Collection Focus, 14 March – 2 May Essays: ‘Vajrayana’; ‘Adi Buddha digitised collections’, National 2007 couples’; ‘Jina Prajnas: Female Summit on Digital Collections, Symposium, Australian War Memorial Chapter: ‘Time, memory, place’, Buddhas of the Mandala’; ‘Heruka Adelaide, 15 Aug 2006 Canberra 27–29 June 2007 Photography: Art Gallery of New Buddhas’; and with Anu Vedagiri, Judge: Royal Easter Show: Marine Judge: 2007 Mosman Art Prize South Wales collection, AGNSW, ‘Lakshmi, Goddess of well-being’, and Seascape Painting section, Committee member: Power Sydney, 2007 Goddess: divine energy, AGNSW, Homebush Bay, 26 March 2007 Department, University of Sydney Chapter: ‘Landscape, mapping, Sydney, 2006 Member: ‘Dictionary of Australian USyd alumni nature’, Contemporary: Art Gallery Catalogue entries: 33 object entries, Artists Online’, Technical Working of New South Wales contemporary Goddess: divine energy, AGNSW, Group, UNSW, Sydney Alec George (Coordinator, Brett collection, AGNSW, Sydney, 2006 Sydney, 2006 Whiteley Studio) Coordinator and author: 9 Shades Essay: ‘Times of our lives’, Anne Lecture: ‘Jina Prajnas: female Matt Cox (Conservator) education kit (online), Dec 2006 Landa Award 06, AGNSW, Sydney, Buddhas of the Mandala’, Goddess: Exhibition designer: Utility: tacit Alchemy Concertina Card 2006 divine energy Symposium, Oct 2006 tactics, Sydney College of the Arts, (education kit), AGNSW, Feb 2007 Essay: ‘Continuous monumental Lecture: ‘Exhibition analysis, USyd 8 Aug – 9 Sept 2006 Interview: Wendy Whiteley and moments: Damiano Bertoli’, Goddess: divine energy’, Focus Curatorial assistant: Utzon’s Barry Pearce for Brett Whiteley Adventures with form in space, Fest: Annual teacher’s conference, Winning Vision, Sydney Opera AGNSW, Sydney, 2006 Dec 2006 studio handbook and for archival House, 29 Jan – 28 Feb 2007 Entries: ‘John Baldessari’, ‘Damien Lecture: ‘Exhibition case study, purposes, recorded 18 May 2007 Article: ‘The changing face of Hirst’, ‘Maria Kontis’ and ‘Thomas Goddess: divine energy’, for St Mary’s Floor talk: Alchemy, as a self Conservation’, Look, Aug 2006 Ruff’ in J Smith and W Tunnicliffe, Senior College students, Dec 2007 portrait, Art After Hours, Mar 2007 Lecture: Pirates to Prophets: (eds), An incomplete world: works Lecture: ‘Battles, bravery and Legendary heroes and icons of from the UBS Art Collection, beyond: chronicles of the Mughal Donna Hinton (Objects AGNSW, Sydney, 2006 Emperors’, Arts of Asia series, Malaysia, Asian Arts Lecture Series, conservator) Lecture: ‘Contemporary Australian April 2007 15 May 2007 Talk: ‘Couriering the Giacometti photography’, Nanyang Academy of Lecture: ‘Indian sculpture’, Sydney Recipient: Australian Malaysia exhibition between France, Sydney Fine Arts, Singapore, June 2006 Sculptors’ Group supper series, Institute Grant, Cultural and Christchurch NZ’, Australian Floor talk: Anne Landa Award, April 2006 Understandings Program 2007 Institute for Conservation of Cultural Contemporary Collection Floor talk: ‘Tara and the divine Recipient: AGS, Research Material, Dec 2006 Benefactors Group CCB, 16 Nov female’, Goddess: divine energy, scholarship 2007 2006 Nov 2006 Internship: Islamic Arts Museum Vivian Huang (Library technician) Floor talk: Anne Landa Award, Floor talks: Goddess: divine energy, Malaysia, Kuala Lumpur, Malaysia Supervised TAFE Library and curator’s talk, 22 Nov 2006 Oct 2006 – Jan 2007 Feb–March 2007 Information Studies Student

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Deborah Jones (Coordinator, Study Judge: Operation Art, Penrith Article: ‘Aroma of fresh ink’, Look, ‘The Gothic Cathedral’, 23 May 2007 Room co-ordinator) Regional Art Gallery, 28 June 2007 Oct 2007, pp 25–27 Lecturer: Department of Art History, Entries: Artist entries for Director: Brett Whiteley Foundation, Interview: The history show, 2BL, & postgraduate coordinator, ‘International documentary Sydney 15 Sept 1988, producer Virginia National Art School; Doctoral photography’ chapter, Photography: Director: William Fletcher Johnston research ongoing, French Medieval Art Gallery of New South Wales Foundation, Sydney Lecture: ‘Prajnaparamita: the sculpture collection, AGNSW, Sydney, 2007 Member: Editorial advisory panel, perfection of wisdom in Buddhist Art and Australia, Sydney religion and art’, Arts of Asia series, Terence Maloon (Curator, Special Hendrik Kolenberg (Senior curator, Steering committee member: Sites July 2006 Exhibitions) Australian Prints, Drawings and of Ccommunication: Art Museums Lecture: ‘22 years collecting at Essay: ‘Tuckson and tradition’, Watercolours) Symposium series, Australia AGNSW’, University of Wollongong, Tony Tuckson, 2nd ed, Watters Curator: Albert Tucker Australian Member: Australian National Heads Wollongong, June 2006 Gallery/Craftsman House/Thames Focus, 17 Jan – 11 March 2007 of Education and Public Programs Floor talks: Modern Chinese prints: & Hudson, 2006 Author: Kevin Lincoln, art and life, (NHEPP) Forum Ffrom WE to ME, 21 Oct 2006 – Essay: ‘Out of the web: Aida Melbourne: Niagara Publishing, 2006 Member: Sculpture Curatorium 21 Jan 2007 Tomescu’s drawing’, Sixth Drawing Essay: ‘Stephen Hart, seeking the Member, The Sculpture Park, Paper: ‘Civil service examination and Biennale, ANU, Canberra, July–Sept human’, Stephen Hart - Wild blue Middle Head, Sydney reciprocation: catching a glimpse of 2006 yonder, Jan Martin art, Brisbane, Interviews: Radio 2SER and 2NSR, the social history of calligraphy art in Translator: ‘The buried and the Sept 2006 2007 Archibald Prize Qing dynasty’, Double Bbeauty II: visible’, by Isabelle Maeght, Interview: ‘Albert Tucker’, ABC 2005–2006: International Conference on Giacometti: sculptures, prints and Radio, 4 Feb 2007 Conference keynote paper: ‘Behind Couplets of the Qing Dynasty, drawings from the Maeght Interview: ‘Albert Tucker’, ABC TV the scenes: the artist as educator’, Chinese University of Hong Kong, Foundation, AGNSW, Sydney, 2006 (Asia Focus), 9 March 2007 Taipei Fine Arts Museum’s 16–17 March 2007, Hong Kong Paper: ‘Giacometti’s drawing’, Floor talk: ‘Albert Tucker’, Art After International Symposium on Art Opening speech: Heaven and earth Giacometti symposium, 19 Aug Hours, 7 Feb 2007 Museum Education, Taiwan, exhibition, Hazelhurst Gallery, Sept 2006 Gallery Guides talk: ‘Albert Tucker’, 10–11 Sept 2005 2005 Paper: ‘Giacometti’s drawing’, 12 Feb 2007 Judge: ‘Operation art’, Penrith Professorial visiting fellow, School of Giacometti symposium, Book launch: Peter Pinson, Jean Regional Art Gallery, 22 July 2005 Art and Art History and Theory, Christchurch, NZ, 10 Dec 2006 Campbell and Peter Laverty (with Judge: ‘Artibald Prize for UNSW, till 2009 Paper: ‘Paul Cézanne and foreword by H Kolenberg), The Portraiture’, Lambton High School, Adjunct senior research fellow, Sensation’, Seminar 9, Sydney Australian Watercolour Institute, 20 June 2006 Department of Chinese and Seminar for the Arts and Phillip Mathews, Sydney, Dec 2006 Director: William Fletcher Indonesian Studies, Philosophy, organised by the Opened: Annual watercolour Foundation, Sydney Faculty of Arts and Social Sciences, University of Western SydneyUWS, exhibition, Australian Watercolour Member: Editorial advisory panel, UNSW, till 2008 19 Nov 2006 Institute, Mosman Art Gallery, Dec Art and Australia Honorary associate, School of Talk: ‘Cézanne centenary’, NSW 2006 Member: Brett Whiteley Foundation, Letters, Arts and Media, USyd, till Medical Arts group, Roseville, Talk: ‘Intensely Dutch’, hosted by Brett Whiteley Studio, Sydney 2008 13 March 2006 the Netherlands Consul-General, Member: Steering Ccommittee, Convened: ‘Giacometti’s drawing Margarita Bot, Dutch Consulate, Sites of communication 2: Art Jethro Lyne and printmaking’ conference, Bondi Junction, 26 March 2007 Museums Symposium, National Lecture: ‘Urbino – a Renaissance 30 Sept 2006 Talk: ‘Dobell Drawing Prize’, Gallery of Victoria 2007 court and studiolo’, Decoding the Host: AGS/Alliance Française ‘Drawing breath’ Symposium, Member: National Heads of Renaissance, AGS, 9 Aug 2006 Giacometti exhibition lecture by National Art School 30 March 2007 Education and Public Programs Lecture: ‘Dürer and the Isabelle Maeght (in French) and film Talk: ‘Intensely Dutch’, collection Forum, Australia Renaissance print’, Decoding the screening, 20 Aug 2006 and exhibition talk, members of Member: Engage, UK Renaissance, AGS, 7 March 2007 Tour: Giacometti exh, for group ‘Dutch Link’, 30 May 2007 Interviews: Radio 2SM, 2NSR, Lecture: ‘Holbein and the modern from the French Consulate, Opened: ‘Sydney printmakers’, Max 2ESR and SBS Radio on selected face’, Decoding the Renaissance, 26 Oct 2006 Taylor Gallery, Sydney, 17 Aug Art Gallery exhibitions and events; AGS, 20 June 2007 Open: exhibition by John Peart, Opened: ‘Sydney prints, 45 years of incl: the Biennale of Sydney; Lecture: ‘The form of the modern Campbelltown Regional Gallery Sydney printmakers’, curator, Anne Celestial Silks; Crossing Country; museum’, AGS Volunteer Guides, & Hadyn Wilson, Manly Art Gallery, Ryan, S H Ervin Gallery, 18 Aug 2006 Bill Henson; Artexpress; Archibald 21 May 2007 April 2007 Judging panel: ‘Margaret Flockton and Photo Portrait Prizes; as well as Floor talk: ‘August Rodin, The AGS Tour: AGS France tour to Award’ for botanical illustration, Art After Hours, film and family Prodigal Son’, 12 July 2006 commemorate the centenary of the Red Box Gallery, Botanic Gardens, programs at the Gallery. Floor talk: ‘Sano di Pietro, Madonna death of Paul Cézanne, Aug–Sept Sydney, 21 Feb and exh opening, and Child’, 19 July 2006 2006 16 March 2007 Dr Liu Yang (Curator, Chinese Art) Floor talk: ‘Jacopo di Cione, AGS Tour: Led a tour of Rome and Judge: ‘Outback Art Prize’, Broken Curator: Modern Chinese prints: Madonna and Child with Saints’, Naples, April 2007 Hill Regional Art Gallery, 22 March from WE to ME, 21 Oct 2006 – 6 June 2007 Residency: Cité Internationale des 2007 21 Jan 2007 Paper: ‘The significance of figurative Arts, conducted research for the Essay: ‘The subversive archivolts in the analysis of early forthcoming exhibition, Paths to Brian Ladd (Head, Public Programs compositional schema in Qing Gothic portals’, version 1, abstraction, June–July 2006 Department) landscape painting’, in Turmoil, ANZAMEMS (Australian & New Conference: Cézanne colloquium, Essay: ‘Ron Robertson-Swann’, representation and trends: modern Zealand Association for Medieval Musée Granet in Aix-en-Provence, Untitled: portraits of Australian Chinese painting, 1796-1949, & Early Modern Studies) Biennial France, 14–15 Sept 2006 artists, Macmillan Art Publishing, Chang Foundation & Kaohsiung Conference, University of Adelaide, Member: Société Paul Cézanne 2007 Museum of Arts, Taiwan 2007, 7–10 Feb 2007 Member: Alliance Française of Conference paper: ‘Successful art pp 297–309 Paper: ‘The significance of figurative Sydney, vice president gallery programs’, ICOM/CECA Essay: Wuliang ci: Zhongguo archivolts in the analysis of early Member: ICOM International Commission on gudai huaxiang yishu de sixiang Gothic portals’, version 2, Museums Conference, Vienna, xing [The Wu Liang Shrine: the International Congress on Medieval Jackie Menzies (Head curator, 22 Aug 2007 ideology of early Chinese pictorial Studies, University of Western Asian Art) Judging panel: Moya Dyring art] by WU Hung, trans, Sanlian Michigan, Kalamazoo, 10–13 May Curator: Goddess: divine energy, Memorial and Denise Hickey Press, Beijing, 2006 2007 13 Oct 2006 – 28 Jan 2007 Memorial Studios, Cité Article: ‘The mirror of pictorial Interviews: ABC 702 Richard Glover Curator/in house: curated by Internationale des Arts, Paris, images’, Reading, 8, 2006, Show: ‘Mona Lisa’, 22 Nov 2006; Michiko Kasahara; Ishiuchi Miyako: 27 June 2007 pp 65–71 ‘Picasso’s Guernica’, 14 Feb 2007; mother’s, 24 May – 5 Aug 2007

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Lecture: various relating to Steven Miller (Archivist) Gallery of New South Wales Peter Raissis (Curator, European Goddess: divine energy and Ishiuchi Curator: Liz Jeneid, Alexander Arcus collection, AGNSW, Sydney, 2007 Prints, Drawings & Watercolours) Miyako: mother’s and Steven Miller, Wanderlust: Lecture: ‘Paper power’, Queens Curator: Vorticism: prints and Editor: Godess: divine energy, A travelling exhibition of artists’ Club, Sydney, Feb 2007 drawings, Wedge Room, Nov AGNSW, Sydney, 2007 books on travel by Liz Jeneid and Judge: ‘Flora: the art and science 2006 – Feb 2007 Essays: ‘Concepts of the goddess’ Alexander Arcus, AGNSW Research of the plant’, Sixth annual award Curator: Picasso, Matisse and the and ‘Kali and the wisdom Library and Archive, 7 Sept – 24 exhibition of the Botanical Art School of Paris, Wedge Room, goddesses’, Godess: divine energy, Nov 2007. Toured: Burra Art Gallery, Society of Australia, Palm House, March – July 2007 AGNSW, Sydney, 2007 SA, Jan 2007; Riddoch Gallery, Mt Royal Botanic Gardens, Oct 2006 Floor talk: Vorticism exhibition, Article: ‘Goddess power’, Look, Gambier, SA, 23 Feb – 5 April 2007; Opening speech: Sixth annual Dec 2007 Sept 2006 Flinders University Art Museum, award exhibition of the Botanical Art Lecture: ‘The rise of drawing in Article: ‘Gathering goddesses’, Adelaide, SA, 13 April – 27 May Society of Australia, Palm House, 16th-century Italy’, Decoding the TAASA Review, vol 15, no 4, Dec 2007; Maitland Regional Art Gallery Royal Botanic Gardens, Oct 2006 Renaissance II, AGS, May 2007 2006 NSW, 29 June – 5 Aug 2007; Member: Conservation Benefactors Interview: 2SER, press preview on Article: ‘Memories of an artist’s Goulburn Regional Art Gallery, NSW, Member: PSA workplace committee the donation by Margaret Olley of mother’, Look, May 2007 11 Aug – 8 Sept 2007; New Member: Risk management Cézanne, Picasso, Bonnard and Article: ‘Readers in Frame’ interview, England Regional Art Gallery and committee Vuillard, 13 & 14 July 2006 Art & Australia, Dec 2006 Museum, NSW, 28 Sept – 26 Nov Talk: ‘William Blake’s woodcuts for Judge: Sydney, city of villages art 2007; and Artspace, Mackay, Qld, Hetti Perkins (Curator, Aboriginal the pastorals of Virgil’, Sydney exhibition, 12 June 2006 Feb 2008, and Torres Strait Islander Art) University Literature Society, Oct Lecture: ‘Curatorial practice’, College Curator: Pictorial bookplates from Curator: Gifted: contemporary 2006 of Fine Arts, UNSW, 2 July 2006 the Corrigan collection, AGNSW Aboriginal art and the Mollie Lecture: Masters students in ‘Art Research Library and Archive, Gowing Acquisition Fund Anne Ryan (Curator, Australian museums and cultural change’ 29 Jan – 1 June 2007 Author: Gifted: contemporary Prints) course of the Research School of Article: ‘Daniel Thomas: empathy Aboriginal art, the Mollie Gowing Curator: Frank Hodgkinson, Pacific and Asian Studies, Australian and understanding’, Artlink, vol 26, Acquisition Fund exhibition European sketchbook drawings, National University ANU, 24 Aug 2006 no 4, Dec 2006, pp 28–31 catalogue AGNSW, 19 July – 19 Sept 2006 Lecture: ‘Goddess’, Task Force, Catalogue essay: ‘Cultural capital: Curator: Australian Indigenous Art Curator: Dobell Prize for drawings, 2 Sept; Guides, 25 Sept; Asialink key moments in the collecting of Commission, Musée du quai Branly, AGNSW, 29 Sept – 3 Dec 2006 Leadership Program, 7 Sept 2006; Australian Art & Australia, Books & Australian Curator: Carl Plate, works from the Lecture: ‘Asian collections’, Indigenous art’, One sun, one Council publication collection, 22 Nov 2006 – 14 Jan Asia–Pacific Conference of Friends moon: Aboriginal art in Australia, Author/editor: One sun, one moon: 2007 of Museums, 8 Sept 2006 AGNSW, Sydney, 2007 pp 29–41 Aboriginal art in Australia, AGNSW, Curator: Sydney prints, 45 years of Paper: Forum on Australia–Japan Chapter: ‘In every house and in Sydney, 2007 the Sydney Printmakers, National visual arts ‘futures’, National Arts every tent’, Photography: Art Gallery Article: ‘Rarrking the sky’, Trust S H Ervin Gallery, Sydney, Centre, Tokyo, Australia–Japan Year of New South Wales collection, Art Monthly, June 2007 19 Aug – 24 Sept 2006; of Exchange, 29–30 Sept 2006 AGNSW, Sydney, pp33–51 Essay: ‘Richard Bell’ and ‘John Hawkesbury Regional Gallery, Lecture: ‘Introduction to the Chapter: ‘Australian pictorialism’, Mawurndjul’, National Indigenous 9 Feb – 11 March 2007; Tamworth exhibition’ at the Goddess Photography: Art Gallery of New Art Triennial, NGA, Canberra Regional Gallery, 24 March – symposium, 13–14 Oct 2006 South Wales collection, AGNSW Essay: ‘Michael Riley: common 29 April 2007 Lecture: ‘Goddess’, Australian Sydney pp 71–91 sense’, Brought to light II: Curator: Australian etchings and Centre for Asian Art and Lecture: ‘Tools for art historical contemporary Australian art engravings 1880s–1930s from the Archaeology, USyd, Oct 2006 research’, Postgraduate COFA 1966–2006, QAG, Brisbane 2006 gallery’s collection, 5 May – 22 July Lecture: ‘East Asian values and students, 2 Aug 2006 Chair: Collectors forum presented 2007 identities’ course at UNSW, Lecture: ‘Artists on artists’, Sydney on the occasion of Gifted: Author: Sydney prints, 45 years of 1 Feb 2007 College of the Arts students, contemporary Aboriginal art, the the Sydney Printmakers, National Keynote address: ‘Exhibition 22 Aug 2006 Mollie Gowing Acquisition Fund Trust S H Ervin Gallery, Sydney, challenges’, Museums Australia Lecture: ‘History of the Art Gallery Submission: Senate inquiry ‘Securing 2006 National Conference: Museums in a of New South Wales’, Abbotsleigh the future: Australia’s Indigenous Author: Australian etchings and changing climate, Canberra 17–20 School study day, 25 Jan 2007 visual arts and crafts sector’ and engravings 1880s–1930s from May 2007 Lecture: ‘Publications in the modern appearance as an expert witness the gallery’s collection online Presenter: Goddess, Australia museum environment’, COFA Member: Australian International catalogue, Sydney, 2007 Network Television; speaker on Museum Cultural Council (www.artgallery.nsw.gov.au/ Radio National re Goddess, Nov Management students, 14 March Trustee: Michael Riley Foundation collection/catalogues/australian_ 2006 and Ishiuchi 30 June, plus 2007 etchings_engravings) other radio interviews for Goddess Cara Pinchbeck (Assistant Author: ‘When prints ruled, and Arts of Islam. Denise Mimmochi (Assistant curator, Aboriginal and Torres Australian etchings and engravings Convenor: ‘Representations of curator, Australian Art) Strait Islander Art) from another era’, Look, May 2007, nature across cultures before 20th Chapter: ‘International pictorialism’, Author:, ‘Elaine Russell’, Culture pp 25–27 century’ panel of ‘Crossing cultures’ Photography: Art Gallery of New warriors: National Indigenous Art Article: ‘Preview – Australian conference, 32nd Congress of South Wales collection, AGNSW Triennial 07, National Gallery of etchings and engravings 1880s to International Committee of the Sydney, 2007 Australia, Canberra, 2007 1930s from the gallery’s collection’, History of Art (CIHA) to be held in Author: ‘Strategies of a sculptor: Imprint, vol 42, no 2, pp 4–5 Melbourne Jan 2008 the shifting allegories of Bertram Ursula Prunster (Museum Lecture: ‘Australian art’, AGNSW Member: Australia–Japan Historical Mackennal’s civic sculpture’, educator/curator, Special Projects) Community Ambassadors, 4 Oct Photo Exhibition Committee for Bertram Mackennal monograph, Lecture: ‘Casting fresh light on 2006 2006 Australia–Japan Year of AGNSW, Sydney 2007 Leonardo da Vinci’s Virgin of the Lecture: ‘Collecting works of art Exchange, 2006–07 Rocks’, 20/21 Sept 2006 on paper’, AGS Contempo Lecture Director: VisAsia (The Australian Rosemary Peel (Senior Lecture: ‘Renaissance eccentrics: series, 11 Oct 2006 Institute of Asian Culture and Visual conservator, Works on Paper) Piero di Cosimo and Lucas Floor talk: Sydney prints, Arts) Chapter: ‘Australian postwar photo- Cranach’, Decoding the S H Ervin Gallery, Sydney, Member: Morrissey Bequest documentary’, Photography: Renaissance II, AGS, 14–15 March 27 Aug 2006 Committee, USyd Art Gallery of New South Wales 2007 Floor talk: ‘Fred Williams You Yangs Member: Vice–Chancellor’s Advisory collection, AGNSW, Sydney, 2007 Lecture: ‘Pontormo: visionary or landscape’, Art After Hours, Committee, Nicholson Museum, Entries: ‘Australian postwar photo- stylist?’, Decoding the Renaissance 13 Sept 2006 USyd documentary’, Photography: Art II, AGS, 6–7 June 2007 Floor talk: Dobell Prize, Art After

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Hours, 4 Oct 2006 Susan Schmocker (Head librarian) Observatory Hill Environmental NSW and the Museum of Sydney Floor talk: Dobell Prize, AGNSW, Article: ‘Research Library and Education Centre, March 2007 (Historic Houses Trust of NSW), Sydney, 7 Oct 2006 Archive’, Foundation Newsletter #9, Judge: St Vincent’s College, Senior March 2007 Floor talk: Carl Plate, Art After 2006 Art Exhibition Awards, Potts Point, Floor talk: Yirbana Gallery, Hours, 22 Nov 2006 Lecture: ‘Role and function of the Nov 2006 25 Oct 2006 Floor talks: Archibald Prize, various Gallery’s Research Library and Interview: ARTEXPRESS 2007, Interview: Punjab Community Radio, dates, 16 March – 3 May Archive’, Information Management Sydney Morning Herald Online, 5 Nov 2006, producer Harinder Floor talk: Printmaking, AGNSW students, Charles Sturt University, 8 Feb 2007 Kaur Children’s guides, 28 May 2007 30 Aug 2006 Interview: ARTEXPRESS 2007, Interview: Secrets of the Sari with Conference paper: ‘The Sydney Lecture: ‘Methods used to preserve 2SER Radio, 15 Feb 2007 Sonia Ali, TVS Curry Culture, printmaking scene’, Past, present, and conserve important and rare Interview: ARTEXPRESS 2007, producer Raj Natarajan, 10 Nov future: Printmaking in Sydney, collections at the Research Library Australia Television, ABC TV, 2006 National Trust S H Ervin Gallery, and Archive’, Art Libraries Society, 14 March 2007 Assisted with Wollongong City Sydney, 18 Sept 2006 Sydney, 27 March 2007 Interview: The forty eight hours Gallery’s fundraising dinner by Co-judge: AGNSW Paris Studio, Talk: ‘Management of special of visual arts festival education arranging Margaret Olley as guest July 2007 collections in an art library’, UTS programs and young people as of honour Judge: Printmaking, Royal Easter students, 30 Aug 2006 artists, ABC Radio North Coast, Judge: Still Life Painting Prize 2007, Show, March 2007 World Library and Information 27 June 2007 Royal Agricultural Society, Sydney, Interview: Art talk, Eastside Radio, Congress: 72nd IFLA General Member: Visual Education Round March 2006 Interviewer Sean O’Brian, 11 Sept Conference and Council, Seoul, Table, National Association for the Corporate talks on Archibald and 2006 Republic of Korea, 20–24 Aug 2006 Visual Arts, Sydney An incomplete world corporate Interview: Sky news, Sky Channel, Conference: Framing the Future: functions on Archibald Prize, 2 March 2007 ARLIS/ANZ Biennial Conference, Kay Truelove (Librarian, Technical Developed and implemented Gallery Interview: ABC Asia Pacific, on 21–23 Sept 2006 Services) Guide training course for the Archibald Prize, 13 March 2007 Chief investigator: ‘Dictionary of Represented the Gallery at NSW Gallery’s Volunteer Guides Interview: RRR FM, on Archibald Australian Artists Online’, UNSW Spun meetings held at Ryde and Prize, 23 March 2007 Treasurer: ARLIS/ANZ executive Wahroonga Natalie Wilson (Assistant curator, Opened: The seed Northside Represented the Gallery at several Australian Art) Printmakers exhibition, Palm House, Tristan Sharp (Senior coordinator, Libraries Australia user group Curator: Notes from the River Royal Botanic Gardens, Sydney, Education Programs) meetings at the State Library of Caves: Peter Kingston and Martin 23 Sept 2006 Project coordinator and writer: Au3: NSW Sharp, Australian Collection Focus Chief investigator: Dictionary of Australians at the Venice Biennale Room, AGNSW, 19 Sept – 19 Nov Australian Artists Online, University 2007 education resource kit, Wayne Tunnicliffe (Curator, 2006, and online exhibition of New South WalesUNSW, Sydney Australia Council for the Arts, Contemporary Australian Art) catalogue on AGNSW website Sydney, June 2007 Curator and editor: Adventures with Curator: Australian abstraction Malgorzata Sawicki (Senior Review: Syllabus validator, Abu form in space, the fourth Balnaves 1965–1985, from the collection, conservator/ Head, Frame Dhabi years 6-9 curriculum project: Foundation Sculpture Project 2006, Project Gallery, AGNSW, 9 Dec Conservation) visual arts syllabus, NSW 9 Aug – 13 Sept 2006 2006 – 24 Jan 2007 Presentation: ‘Monet’s Port- Department of Education and Co-curator and editor: An Curator: Paradise then: Arthur Goulphar, Belle-Ilê revisited: the Training, May 2007 incomplete world: works from the Fleischmann in Bali 1937–39, significance of the frame’, Poster Lecture: ‘ARTEXPRESS: from ideas UBS art collection, with Jason Australian Collection Focus Room, presentation at the IIC Congress, to exhibition’, ARTEXPRESS Smith, NGV, 19 May – 5 Aug 2007 AGNSW, 5 May – 29 Aug 2007 28 Aug – 2 Sept, Munich, Teachers Professional Development Managing editor: Contemporary: Essay: ‘(Works of) Paradise, and Germany, 2006 Symposium, Wagga City Gallery, Art Gallery of New South Wales yet: Stan Moriarty, Tony Tuckson Paper: ‘Losses compensation Wagga Wagga, July 2006 contemporary collection, AGNSW, and the collection of Oceanic Art at in gilded wood conservation: Lecture: ‘Inside ARTEXPRESS: Sydney 2006 the Art Gallery of New South Wales, tendency in aging behaviour of strategies for developing a body of Chapters: ‘Cultural memory, critical Sydney’, in Susan Cochrane and surfaces gilded using selected work’, Student Education Program, distance’, ‘Reality bytes’, and Max Quanchi (eds), Hunting the synthetic polymers’, Upholstery Forty eight hours of visual arts ‘Collecting contemporary at collectors: Pacific collections in + ICOM-CC, interim meeting festival, Bangalow, North Coast, AGNSW’, Contemporary: Art Gallery Australian museums, art galleries of three working groups, textile, June 2007 of New South Wales contemporary and archives, Cambridge Scholars leather and wood, furniture and Lecture: ‘From the classroom to the collection, AGNSW, Sydney 2006 Publishing, Cambridge, 2007 lacquer, Krakow, Poland, Gallery: the value of teaching with Floor talk: Adventures with form in Author: Catalogue of the University 13–18 May 2007 the original art object’, Teacher space, CCB, 7 Aug 2006 & Schools Club art collection, Research: ‘Research into non- Development Program, Forty eight Floor talk: An incomplete world: University & Schools Club, Sydney, traditional gilding techniques as hours of visual arts festival, works from the UBS art collection, 2007 a substitute for traditional matte Bangalow, North Coast, June 2007 18 May 2007 Floor talk: Notes from the River water-gilding’, PhD research Floor talk: ‘Gallery school Caves: Peter Kingston and Martin project, UWS, continuing partnerships’, Dulwich Visual Art Sheona White (Senior Sharp, Art After Hours, AGNSW, Interviews: SBS Polish Radio and Design High School Parents coordinator, Public Programmes) 15 Nov 2006 on the following exhibitions: and Citizens Association, Nov 2007 Curator: Archival photographs from Member: Oceanic Art Society, Giacometti, Archibald Prize 07 Floor talk: ‘The value of the Gallery: the National Archive for Linking Sydney introduction for education’, Dulwich Generations Muslim cultural expo Natalie Seiz Assistant registrar, Visual Art and Design High School for Islamic Council of New South Asian Art (curatorial) Parents and Citizens Association, Wales, Campbelltown Regional Article: ‘The Suda Rose: difficult June 2007 Gallery to tell the real from the art’, Floor talk: ‘ARTEXPRESS 2007’, Tour lecturer: ‘Great cities, art LOOK, Nov 2006, p 37 Sydney Morning Herald, April 2007 and architecture of America’, AGS Paper: ‘The situation of Workshop: Year 12 body of work World Art Tours, Aug/Sept 2006 contemporary Asian art history in critical review, Byron Bay High Lecture: ‘Damien Hirst’, 1 June the museum’, Museums Australia School Visual Arts Department, 2007 National Conference, Canberra, Byron Bay June 2007 Lectures: Australian collection 17–20 May 2007 Opening speech: Sydney Rocks on lecture series Member: Management Committee, Heritage Week exhibition of student Paper: ‘Arts of Islam, The big chill: The Asian Arts Society of Australia, artworks inspired by the self-censorship in an age of TAASA conservation of The Rocks, uncertainty’, Museums & Galleries

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COMPLIANCE REPORTING

Major assets Payment performance The Gallery’s major assets are our artwork collections valued at $781.7 Aged creditor analysis at the end of each quarter 2006–07 million (as at 30 June 2007); and the perimeter land and building in the Quarter ended Current Less than Less than Less than More than Domain valued at $133.5 million (as at 30 June 2007). (ie within 30 days 60 days 90 days 90 days due date) overdue overdue overdue overdue $$$$$ Engagement and use of consultants Sept 2006 254 459 – 632 160 – There were three consultancies in 2006–07 costing a total of $36 715. Dec 2006 303 107 4 598 492 – – The main one was as follows: Mar 2007 419 762 17 255 643 – – Consultant Costs June 2007 538 764 21 300 – – – Ross Campbell & Associates Business Continuity Plan $32 315 Accounts paid on time each quarter The remaining two consultancies were each paid less than $30 000 and were engaged in the Management Services category. Total accounts paid on time Total paid Quarter Target Actual Amount Amount %% $ $ Major capital works Sept 2006 90.00 98.63 9 242 636 9 371 151 Capital works projects Cost 2006–07 Completion Overrun Dec 2006 90.00 95.28 6 396 453 6 713 482 $ 000 date $ Mar 2007 90.00 90.35 3 672 607 4 064 909 June 2007 90.00 99.37 6 793 333 6 836 086 Artworks purchased 4738 ongoing nil Building works 1612 ongoing nil Total 90.00 96.74 26 105 028 26 985 627 Plant & equipment replacement 399 ongoing nil Total 6749

EEO statistics

PARLIAMENTARY ANNUAL REPORT TABLES

A TRENDS IN THE REPRESENTATION OF EEO GROUPS

% of total staff EEO group Benchmark or target 2004 2005 2006 2007 Women 50% 50% 53% 51% 53% Aboriginal and Torres Strait Islander people 2% 2.0% 2.5% 1.8% 2.2% People whose first language is not English 20% 18% 19% 20% 19% People with a disability 12% 3% 3% 2% 3% People with a disability requiring work-related adjustment 7% 1.1% 1.1% 0.4% 0.4%

B TRENDS IN THE DISTRIBUTION OF EEO GROUPS Distribution index EEO group Benchmark or target 2004 2005 2006 2007 Women 100 112 113 117 117 Aboriginal and Torres Strait Islander people 100 n/a n/a n/a n/a People whose first language is not English 100 95 93 90 90 People with a disability 100 n/a n/a n/a n/a People with a disability requiring work-related adjustment 100 n/a n/a n/a n/a

Notes: 1 Staff numbers are as at 30 June 2007. 2 Excludes casual staff 3 A distribution index of 100 indicates that the centre of the distribution of the EEO group across salary levels is equivalent to that of other staff. Values less than 100 mean that the EEO group tends to be more concentrated at lower salary levels than is the case for other staff. The more pronounced this tendency is, the lower the index will be. In some cases the index may be more than 100, indicating that the EEO group is less concentrated at lower salary levels. The distribution index is automatically calculated by the software provided by ODEOPE. 4 The distribution index is not calculated where EEO group or non-EEO group numbers are less than 20.

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Customer complaints Signage – too small; badly placed services whereby customers order and associated information as at the counter and are given a table accessible as possible to the In accordance with our Pledge of The placement of labels and size number to which their order is general public and we welcome Service visitors are invited to leave and font of text is considered for delivered. public interest and participation in both praise and complaints in the each new major exhibition. However Gallery activities. Gallery’s visitor comments book and often low lighting requirements for Complaints are forwarded to our during 2006–07 there were 198 the conservation of the artworks on contract caterers to assist them in Documents held by the Gallery: comments recorded. This book is display, especially for works on planning future staff requirements Art Gallery of New South Wales regularly reviewed by the Gallery’s paper, make reading labels more and to consider their pricing points. Act 1980; accounts manual; management for appropriate difficult for some people. The Gallery Lack of adequate access administrative policies and generally produces a free printed procedures; agendas and minute of response and further action if This area of concern also includes exhibition guide which includes meetings; collection management appropriate. The majority of praise complaints about lack of adequate details of all works in each of the policy and procedures; annual comments are thanks for the pram access at the front of the major temporary exhibitions. reports; EEO annual report; film and wonderful volunteer guides’ services heritage building and seating photography policy; strategic plan provided free every day. They also Inadequate cloaking facilities throughout the building. The Gallery 2003–2008; financial reports; and cover highlights from the Gallery’s continues to explore better ways Expanding cloaking facilities would human resources policies and collections and also the major for disabled and pram entry into require converting the heritage procedures. temporary exhibitions. Also popular building’s front foyer which is being the building and has developed The gallery publishes a range of and well appreciated are the various considered temporarily for the building plans for a second entrance catalogues and art books for public programs on offer, again upcoming, and anticipated popular, on the northern side of the building. purchase (see appendix – AGNSW many for free, especially on Sidney Nolan exhibition. Also It is envisaged that transferring publications for sale p 59). weekends and during school commencing within the first school the entry by school groups to the Publications prices are regularly holidays. term in 2008, the Gallery will trial back of the building will provide reviewed by the Gallery Shop. bringing school groups into the some relief to the congestion at The major areas of complaint reflect Selected items are available building via the back Yiribana Gallery the front entrance. the high-volume activity of the from the Gallery’s website entrance with provision for cloaking Gallery’s business and heritage (www.artgallery.nsw.gov.au/shop). of school bags at this point. building. And while all complaints Freedom of Information – The Gallery publishes regular are considered critically, the very Food services statement of affairs exhibitions and events bulletins. small volume of complaints in The majority of visitor concerns are The following Statement of Affairs is relation to the total number of presented in accordance with the about the timeliness of service or Freedom of Information visitors (annually over one million prices being too high. Fast service Freedom of Information Act 1989, visitors) reflects the generally high is sometimes difficult to achieve section 14 (1) (b) and (3). The procedures rating of visitor enjoyment. during the Gallery’s busiest Gallery’s statement is correct as at Application for access to Gallery We are able to advise that months, even with additional staff 30 June 2007. The Gallery (FOI documents under the Freedom of complaints relating to our aging engaged for peak periods, Agency no 376) received two formal Information Act 1989 should be escalators will be addressed over especially during the annual requests for information, both accompanied by a $30 application the next 12–18 months as an Archibald Prize exhibition, where classified as ‘other’, under the Act fee and directed in writing to: additional capital funding grant of over 291 000 visitors came to the during 2006–07. All requests were Human Resources Manager $1.8 million was received from the Gallery during March and April completed. No requests were (FOI coordinator) NSW government for the escalator 2007. In response to demand in carried over from the previous Art Gallery of New South Wales replacement works to commence peak periods the Gallery has financial year. Art Gallery Road in the 2007–08 financial year. placed additional tables to The Gallery regularly receives The Domain, NSW 2000 temporarily expand the café area; representations from the public The table below shows details Other key areas of visitor concerns had the caterer operate dual concerning its operations. We of freedom of information (FOI) during 2006–07 include: cashiers; and introduced semi table endeavour to make the collection requests received by the Gallery.

Freedom of Information requests

2006–07 2005–06 FOI requests Personal Other Total Personal Other Total New applications 0 2 2 0 2 2 Completed 0 2 2 0 2 2 Total processed 0 2 2 0 2 2 Unfinished (carried forward) – Nil Results of FOI request Granted in full 0 2 2 0 0 0 Completed 0 2 2 0 2 2 Request details – Nil Fees of requests processed Fees received 0 $30 $30 0 $60 $60 Type of discounts allowed – Nil Days to process 0–21 days 0 2 2 0 0 0 22–35 days 0 0 0 0 2 2 Processing time 0–10 hours 0 2 2 0 2 2 Review of appeals – Nil Basis of internal review grounds on which requested access reviewed – Nil

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Policy development Domain Sydney NSW 2000 Production costs 2007 provision of the PPIP Act, can be 2. Block of units contacted at: During the year a gifts and benefits annual report Address: 21 Newcastle Street, Rose Human Resources, policy was developed, based on The total external costs incurred in Bay NSW 2029 Art Gallery of New South Wales ICAC guidelines, which requires the production of the 2007 annual Art Gallery Road amongst other things all staff to report is approximately $30 000 The Domain, NSW 2000 declare any material gift or benefit Land disposal (this includes text editor, print Telephone: (02) 9225 1795 or offered to or received by them in the The Gallery did not acquire or management and print production). Fax: (02) 9226 1622 course of their employment. dispose of any land in 2006–07. The report is provided free to key stakeholders and other interested Credit card usage Heritage management parties. It is also available on our The director certifies that credit website in the ‘About us’ section The Gallery’s heritage register (www.artgallery.nsw.gov.au/aboutus) card usage in the Gallery has been is being reviewed to ensure conducted in accordance with . compliance by 2009. An updated Privacy management relevant Premier’s Memorandum conservation plan is under and NSW Treasury Directions. development and will be completed During 2006–07 there were no in 2007–08. The building is internal reviews conducted by Summary of land holdings maintained to serviceable standards or on behalf of the Gallery under The following is a listing of land via an annual capital grant of part 5 of the Privacy and Personal owned by the Art Gallery of New $1.37 million from the NSW Information Protection Act 1988 South Wales as at 30 June 2007: government. The Gallery’s (PPIP Act). 1. Art Gallery of New South Wales collections are maintained to The Gallery’s designated privacy Address: Art Gallery Road, The international museums standards. officer, in accordance with the

ELECTRONIC SERVICE DELIVERY

The Gallery’s main website and its myVirtualGallery A completely new ‘Education’ section been sent by members of the public many sub-sites continue to grow (www.artgallery.nsw.gov.au/ed) was to other people. The site won the The interactive, educational tool that in sophistication and richness of launched in July 2006. Structured Museums Australia Multimedia and allows anyone to create their own content, resulting in more people like a website within a website, Publication Design Awards 2007. virtual exhibitions using works from it features clearer navigation and from Australia and abroad accessing the Gallery’s collection continues A webcam streamed live video of richer content, making it easier for information and interacting with the to grow in popularity and usage. the Durga: creating a goddess teachers, and students, to find Gallery. Over half of the 50 077 visits in event to both the Gallery’s main information. The total number of actual visits for 2006–07 were people logging in website and the Goddess website the year (to all websites) was over to edit their own exhibitions. In the New ‘encapsulated mini-websites’ in January 2007. 1.3 million, with an average of 3685 2007 first university semester it have been created for the Inside ARTEXPRESS 07 visits per day, peaking at 5585 per was used as an assessment tool exhibitions Zen mind Zen brush, (www.insideartexpress.com.au) was day in March 2007. ‘Exhibitions’ for both the University of Newcastle Lewis Morley, Giacometti: launched in February 2007 with an was the most visited section of the and the University of New South sculptures, prints and drawings online audio-tour in conjunction with website (27%), followed by ‘Press Wales College of Fine Arts for their from the Maeght Foundation, an interactive, virtual walkthrough. Office’ (14%), ‘Events’, ‘Education’ Australian Art History course. Notes from the River Caves: Peter Kingston and Martin Sharp and and ‘About us’ (11% each). CD-ROM development Gallerykids website the new contemporary collection Further important development of focus. These are located within the Multimedia content was created for the Gallery’s website constituted The web presence of the ‘Exhibitions’ section of the primary two language education kits (Italian improvements in both the technical Gallerykids program continues website but also have their own and Japanese), featuring general and content aspects of this with its own special mini-site internal navigation menus. The information on the Gallery, its increasingly valuable communication (www.gallerykids.com.au), devoted Giacometti and contemporary collection and services. Programming medium. to the performances, tours, collection mini-websites have their work was done to convert a In early 2006, it was decided to workshops and activities for young own URLs (www.giacometti.com.au catalogue raisonné of the work of upgrade the Gallery’s website children and families in the Gallery. and www.contemporary-art.com.au Bertram Mackennal from a series to a next-generation content The website includes photographs respectively) that redirect to them. of Microsoft Word documents to management system, MySource and images of performers and The River Caves mini-website was HTML, for a CD to accompany the characters, and will continue to be Matrix, with a major restructuring used in lieu of a printed catalogue, Bertram Mackennal monograph. updated regularly. A new section and redesign of the site. In and extended labels within the was added this year called Gallery December 2006, after extensive physical exhibition directed visitors Tots in order to publicise new consultation with key stakeholders to the website for more information. programming for the 3–5 year-old to produce a new, provisional site age group. The Gallery’s new Asian Art website structure, usability testing was (www.asianart.com.au) was soft- conducted. The actual migration launched in August 2006. A website to MySource Matrix has begun, New website content for the Goddess: divine energy with the creation of a new Apart from regular updates to the exhibition (www.goddess-art.com.au) Brett Whiteley Studio website principal website (particularly in the was launched in October 2006, (www.brettwhiteley.org). Work has ‘Events’, ‘Exhibitions’ and ‘Press complete with an animated begun on building a new event office’ sections), the following e-card (that can be personalised) and exhibition calendar functionality significant developments were which promoted the exhibition. for the Gallery’s websites. implemented in 2006–07. To date, over 20 900 copies have

88 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2007