DOCSLIB.ORG

The James Gleeson Oral History Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The James Gleeson Oral History Collection research library Painted in words: the James Gleeson oral history collection It doesn't matter how the paint is put on, as long as something is said. Jackson Pollock Rosemary Madigan Eingana 1968 The Research Library at the National Gallery of Australia Oral history has an interesting place in a museum carved English lime wood collects catalogues raisonn•, auction catalogues, rare serials context. It revolves around the power and reliability of 61.0 x364.8 x30.4cm and books and other printed and pictorial media relating memory and the spoken word in an environment that National Gallery of Australia, Canberra to the visual arts. In addition to bibliographic collections, more often values the written word, the document, the Purchased 1980 the library keeps manuscripts and documentary material image and the object. Spoken words have a number of Murray Griffin such as diaries, photographs and ephemera. It also holds qualities that make them different from other ways of Rabbit trapper's daughter 1936 communicating. They are able to capture the emotions linocut, printed in colour, from a collection of ninety-eight recorded interviews and multiple blocks behind what it means to be a person who is living printed image 35.0 x 27.8 cm transcripts with Australian artists created in the late 1970s, and making art at a particular time in history. And the National Gallery of Australia, before the National Gallery of Australia was built. Canberra storytelling in the interview captures both the pleasures of The interviews were conducted by the well-known memory and the act of creativity. Surrealist artist James Gleeson (b. 1915), who served as Oral history plays a vital role in keeping us aware of the chaitman of the Acquisitions Committee at the Gallery centrality of the individual artist's experience. Even after the from 1974 to 1975. At the time of the interviews, he most sensitive arrangement, it is difficult for rmariuscripts was member of the Australian National Gallery Council and photographs to reveal something as nuanced as the and the visiting curator of Australian art. The Gallery's cultural and working environment of an artist. There is also director, James Mollison, commissioned the interviews to interplay between material evidence and personal reflection collect more information for the Gallery's Research Library when Gleeson shows the artists photographs of their works collection, They were not formal interviews intended for a to prompt recollection and reflection. wider public audience but rather conversations between Painter Judy Cassab (b. 1920) was interviewed by artists. The resulting recordings are powerful on multiple Gleeson in January 1978. Born in Vienna, she was raised levels, As well as the artists' personal recollections about by her grandparents in Hungary, where she began studying how a work was made, the recordings also link to the painting. Migrating to Australia after the Second World Gallery's corporate and official memories -the history of War, she was influenced by the Australian landscape and its acquisitions, the choice of artists whose works were continued to develop her skills into an easily recognisable acquired and the histories of the works themselves, personal style. 14 national gallery of australia 'cc Fairly early in the interview, Gleeson asks her about Yes, yes ... after a while I just started to feel the picture as Merric Boyd House in country landscape 1952 capturing a likeness in portraiture: almost being like music ... in the studio where I worked, coloured pencil which was an old deserted barn, there were about forty 16.5 x 20.0 cm I think that I could express it by saying that catching the fruit bats that lived there and they had a particular sound. National Gallery of Australia, likeness or drawing the bone structure or using paint is Canberra There was the droning almost like scales on a piano now. Because I'm much more of bees that were perpetually Gift of Arthur, David and Guy around; wasps and the whole creaking sound of summer, Boyd, Lucy Beck and Mary Nolan interested in digging deeply into the character and, as I in honour of their father Merric get older, I know more about the psychology of my sitter. you know, in a sense that started to become the music of Boyd 1975 the picture But I'm still more intuitive and instinctive, I think, than (opposite) conscious of what I'm doing. Elaine Haxton At the end of the 1970s, Albert Tucker (1914-1999) and Set design for the Palace 6f Listening to Gleeson and Cassab on the audio recording, his wife donated to the Gallery a group of his paintings and Moonrays from Journey to the Moon 1960 we start to get a very strong feel for the personalities, the drawings. In his interview with Tucker, Gleeson asks him to gouache, pencil, pen and ink on paper laid on cardboard rhythm of Cassab's storytelling and her absolute delight in describe what being an artist is like and Tucker replies: 38.2 x 56,1 cm the act of painting. National Gallery of Australia, ... in a sense, I was like a zombie. I hardly knew what I was Canberra In another interview, James Gleeson asks the painter doing ... I often had the feeling that: what am I doing here. I Purchased 1977 Brett Whiteley (1939-1992) about the 'symphonic' mean this isn't life as I've expected it to be. It's something else qualities of the work Summer at Sigean 1962-63. Whiteley altogether. But I'm here and I'm breathing and acting and I've responds: got to be producing an image of some sort. artonview winter 2008 17 Elaine Haxton Costume designer Elaine Haxton (1909-1999) was heritage. The UNESCO Memory of the World program Costume design for a male interviewed by Gleeson in 1979. She had worked on sets announced the inscription at its conference Communities bird from Journey to the Moon 1960 and costumes for theatre, ballet and opera, including and Memories: A Global Perspective in Canberra, 19-22 gouache, crayon and pencil in 1960 for the Borovansky Ballet and February 2008. The Gleeson interviews join other culturally on paper Journey to the moon 52.7 x 41.5 cm Parades in 1962. Musing on why she stopped designing for significant material on the register, including the Endeavour National Gallery of Australia, journal of James Cook, the Mabo Case manuscripts, the Canberra the theatre, Haxton confides in Gleeson: Purchased 1977 Sorry books and the 1906 film The story of the Kelly Gang. It was never a very well paid job doing the theatre. One These items are all national treasures. It is suitable Grahame King did it for love and the smell of the grease paint, all that Tribal image 1965 keyed very high recognition of the significance and value of an artist's planographic printed image: sort of thing. It was ... you were always 43,0 x 30.5 cm, and you know the actors and the dancers. It was a terribly words that the interviews have been entered on the sheet: 56.0 x 43.0 cm interesting life and it was thrilling. But Australian designers register. The recordings allow the voices of these Australian National Gallery of Australia, Canberra have never been given their ... any real credit ... artists to be heard by future generations. Their words add another dimension to the understanding and appreciation (opposite) In contrast to the delicacy and lightness of touch in her Albert Tucker of the body of work they created during their life. Portraitof Adrian Lawlor 1939 ballet designs, Haxton's frank interview with Gleeson oil on paperboard mounted on reveals some of the tensions and uncertainties of theatre Jennifer Coombes composition board Special Collections Archivist, Research Library 48.2 x 35.0 cm life, the punishing deadlines and strong personalities. National Gallery of Australia, The James Gleeson oral history collection has been Canberra Interviews by James Gleeson, Canberra, 1977-79, held by the Purchased 1982 inscribed into UNESCO's Australian Memory of the World National Gallery of Australia Research Library, Canberra. register 2008 as being of significant Australian cultural artonview winter 2008 19 COPYRIGHT INFORMATION TITLE: Painted in words: the James Gleeson oral history collection SOURCE: Artonview no54 Wint 2008 The magazine publisher is the copyright holder of this article and it is reproduced with permission. Further reproduction of this article in violation of the copyright is prohibited. To contact the publisher: http://nga.gov.au.
Load more

Recommended publications
  • Just a Feeling Selected Works 1987–2005
    Brent Harris Just a feeling Selected works 1987–2005 i Brent Harris Just a feeling Selected works 1987–2005 Contents 4 Foreword Dr Chris McAuliffe 6 Just a feeling: Brent Harris, selected works 1987–2005 Bala Starr 9 The passion of Brent Harris Sarah Thomas 15 Demonology Jonathan Nichols 19 Singapore paper pulp works James Mollison, AO 24 Plates 34 List of works in the exhibition 40 Brent Harris—biography and bibliography When speaking of Brent Harris’s work, especially his Grotesquerie paintings, there’s a tendency to use words like ‘elegant’, or even ‘decadent’. Those are appropriate enough as descriptive terms; they do capture something of the aesthetic tone of the work. But for the artist himself, different words are required. Words like ‘diligent’ or ‘adventurous’; the very antithesis of the languid and agoraphobic artists of the fin-de-siècle period. Brent Harris is an artist who has often worked programmatically, using a sequence of paintings or prints to systematically hunt down an idea, a form or a quality of his medium. With this persistence comes a willingness to learn, to explore, to renew. What this exhibition amounts to, I think, is a testimony to the hard graft of art. Behind the pristine refinement of the works displayed are accumulated layers not only of studio craft but of reading, reflection, looking and travelling. Surprising new works combine artistic ambition with a willingness to accept the challenge of innovative processes. Familiar works reclaim their subtlety as the resonances threading through an accumulated oeuvre become apparent. The job of being an artist, and the rewards that this offers us as viewers, are both writ large.
    [Show full text]
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • The Blot on the Landscape: Fred Williams and Australian Art History
    The blot on the landscape: Fred Williams and Australian art history Keith Broadfoot There is a blot on the Australian landscape. It has been there for a long time, but its existence only really became apparent with a defining shift in Australian art historiography which occurred with Bernard Smith’s 1980 Boyer Lecture series, The Spectre of Truganini. Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Sigmund Freud, Smith proposed in his pivotal text that the history of Australian art was a history of repression. After Smith, contemporary art historian Ian McLean has developed the most detailed account of the history of Australian art according to this methodology. This essay examines the work of the modern Australian artist Fred Williams in relation to both Smith and McLean’s understanding of the history of Australian art but to expand on their work I argue that, rather than Freud alone, it is Jacques Lacan’s refiguring of Freud that offers us the most insight into Williams’s work. Further, insofar as I argue that the history of Australian art is the very subject matter of Williams’s work, his work stands in for a wider project, the writing of a history of Australian art according to Lacan’s proposal of a foundational split between the eye and the gaze. But first, to that blot. From colonial melancholy to a modern uncanny In a brilliant observation, Ian McLean, in drawing attention to emigrant artist John Glover’s attempt to control the disorderly dispersion of gums across the hillsides in the background of some of his paintings, suggests that therein could be found the origin to the art of Fred Williams.
    [Show full text]
  • The Making of Indigenous Australian Contemporary Art
    The Making of Indigenous Australian Contemporary Art The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler The Making of Indigenous Australian Contemporary Art: Arnhem Land Bark Painting, 1970-1990 By Marie Geissler This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Marie Geissler All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5546-1 ISBN (13): 978-1-5275-5546-4 Front Cover: John Mawurndjul (Kuninjku people) Born 1952, Kubukkan near Marrkolidjban, Arnhem Land, Northern Territory Namanjwarre, saltwater crocodile 1988 Earth pigments on Stringybark (Eucalyptus tetrodonta) 206.0 x 85.0 cm (irreg) Collection Art Gallery of South Australia Maude Vizard-Wholohan Art Prize Purchase Award 1988 Accession number 8812P94 © John Mawurndjul/Copyright Agency 2020 TABLE OF CONTENTS Acknowledgements .................................................................................. vii Prologue ..................................................................................................... ix Theorizing contemporary Indigenous art - post 1990 Overview ................................................................................................
    [Show full text]
  • Annual Report 2010–11
    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
    HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting.
    [Show full text]
  • Education Resource
    Education Resource This education resource has been developed by the Art Gallery of New South Wales and is also available online An Art Gallery of New South Wales exhibition toured by Museums & Galleries NSW DRAWING ACTIVITIES Draw with black pencil on white paper then with white pencil on black paper. How does the effect differ? Shade a piece of white paper using a thick piece of charcoal then use an eraser to draw into the tone to reveal white lines and shapes. Experiment with unconventional materials such as shoe polish and mud on flattened cardboard boxes. Use water on a paved surface to create ephemeral drawings. Document your drawings before they disappear. How do the documented forms differ from the originals? How did drawing with an eraser, shoe polish, mud and water compare to drawing with a pencil? What do you need to consider differently as an artist? How did handling these materials make you feel? Did you prefer one material to another? Create a line drawing with a pencil, a tonal drawing with charcoal and a loose ink drawing with a brush – all depicting the same subject. Compare your finished drawings. What were some of the positive and negatives of each approach? Is there one you prefer, and why? Draw without taking your drawing utensil off the page. What was challenging about this exercise? Draw something from observation without looking down at your drawing. Are you pleased with the result? What did you learn? Create a series of abstract pencil drawings using colours that reflect the way you feel.
    [Show full text]
  • Picture Paradise # Richard Larter # Gleeson Interviews
    artonview artonview artonview ISSUE No.54 ISSUE No.54 winter 2008 W I N T E R 2008 NATIONAL Richard Larter Sliding easy 1970 (detail) synthetic polymer paint on composition board National Gallery of Australia, Canberra Purchased 1970 G A L L E R Y O F AUSTRALIA a retrospective Canberra only 20 June – 14 September 2008 The National Gallery of Australia is an Australian Government Agency PICTURE PARADISE ¬s¬RICHARD LARTER ¬s¬¬',%%3/.¬).4%26)%73 Jan JanBillycan Billycan (Djan (Djan Nanundie) Nanundie) Yulparija Yulparija people people All the All Jilathe Jila2006 2006 acrylic acrylic binder binder with withlangridge langridge dry pigmentdry pigment and andmarble marble dust dust on plyboard on plyboard National National Gallery Gallery of Australia, of Australia, Canberra Canberra Purchased Purchased 2007 2007 © Jan © BillycanJan Billycan (Djan (Djan Nanundie) Nanundie) A.W.W.A.W.W. Plâté Plâtéand Co & Co Sinhalese Sinhalese man man c. 1920c. 1920 (detail) (detail) gelatin gelatin silver silver photograph photograph Collection: Collection: David David Knaus, Knaus, California California A NATIONALA NATIONAL GALLERY GALLERY OF OF AUSTRALIA AUSTRALIA TRAVELLING TRAVELLING EXHIBITION EXHIBITION PICTUREPICTURE PARADISEPARADISE ArtArt Gallery Gallery of Southof South Australia, Australia, Adelaide, Adelaide, SA, SA, 20 June20 June – 31 – August31 August 2008 2008 ArtArt Gallery Gallery of Westernof Western Australia, Australia, Perth, Perth, WA, WA, 20 September20 September – 23 – November23 November 2008 2008 GalleryGallery of Modernof Modern
    [Show full text]
  • Ann Stephen, Narelle Jubelin, Cannibal Tours
    Heide Heide Museum of Museum of Modern Art Modern Art Narelle Jubelin Cannibal Tours Ann Stephen Foreword Heide Museum of Modern Art is which draws on the Heide Collection 9–9 delighted to present Narelle Jubelin: and an iconic image associated with Cannibal Tours, the sixth exhibition Heide: Sidney Nolan’s Boy and the moon. to be held in the Albert & Barbara Alongside Trade Delivers People Jubelin Tucker Gallery and the first to presents eleven of her BOXED.SET extend into the adjacent Kerry works, typically exquisite petit-point Gardener & Andrew Myer Project renditions of photographs provided Gallery. Cannibal Tours is also the by artist friends that represent their first exhibition in the Tucker Gallery childhood encounters with modernism series to contextualise an aspect — from Jacky Redgate’s Mondrian of Albert Tucker’s practice with dress to Rafaat Ishak’s family’s the work of a contemporary artist. modernist apartment in Cairo. These Based in Madrid since 1997, Narelle are juxtaposed with Albert Tucker’s Jubelin graduated from Alexander photographs from his travels in Europe Mackie College of Fine Arts in Sydney and America, signalling an Australian in 1982 and has been exhibiting expatriate experience of modernism. extensively since 1989. Her projects are Cannibal Tours has been curated realised through a process of intensive by Ann Stephen, Senior Curator, research in which she sources objects University Art Collection, University with complex histories and re-creates of Sydney. Stephen has a long-standing them: sometimes literally, as petit- association with Jubelin, and Heide point renditions, at other times in appreciates their collaboration in combinations that refer to the historical, realising Cannibal Tours.
    [Show full text]
  • Inge King Eulogy
    Inge King Memorial Service NGV Great Hall, Monday 9 May 2016, 10:30 am I’m deeply honoured to be speaking today about Inge’s extraordinary career. I’m conscious of there being many others eminently qualified to speak, including Professors Judith Trimble and Sasha Grishin, each of whom have published eloquent monographs on Inge, and Professors Margaret Plant and Jenny Zimmer, who have both written informed, extended essays for two of Inge’s earliest survey exhibitions. In addition the NGV’s curator of Australian art, David Hurlston, and former NGV curator and recently retired director of the Geelong Gallery, Geoffrey Edwards, have both worked closely with Inge in the sensitive presentation of two retrospectives held here at the gallery, in 1992 and 2014. In the presence of such a wealth of knowledge and experience, I’m frankly humbled to have been asked to speak. I’d like to briefly mention how I came to know Inge, if only to contextualise my appearance here. Inge was arguably the best-known member of the Centre Five group, which forms the subject of my PhD thesis. I began reading about her work in 2008, while still living in Ireland and planning a return to Australia after a nine-year absence. The reading prompted faint memories of seeing her work at the Queensland Art Gallery while still a student in Brisbane. The following year, six months after embarking on doctoral studies at Melbourne University, I finally met my appointed supervisor, Professor Charles Green, who had until then been on sabbatical. One of the first things he said to me at that meeting was: ‘Now, you do know I’m Inge King’s godson, don’t you?’ Well, no, I didn’t.
    [Show full text]
  • National Portrait Gallery of Australia Annual Report 13/14
    National Portrait Gallery of Australia Annual Report 13/14 National Portrait Gallery of Australia Annual Report 13/14 © National Portrait Gallery of Australia 2014 issn 2204-0811 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical (including photocopying, recording or any information storage and retrieval system), without permission from the publisher. This report is also accessible on the National Portrait Gallery’s website portrait.gov.au National Portrait Gallery King Edward Terrace Canberra, Australia Telephone (02) 6102 7000 portrait.gov.au 24 September 2014 Senator the Hon George Brandis qc Attorney-General Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the National Portrait Gallery of Australia Board, I am pleased to submit the Gallery’s first independent annual report for presentation to each House of Parliament. The report covers the period 1 July 2013 to 30 June 2014. This report is submitted in accordance with the National Portrait Gallery of Australia Act, 2012 and the Commonwealth Authorities and Companies Act, 1997. The Performance Report has been prepared according to the Commonwealth Authorities (Annual Reporting) Orders 2011. The financial statements were prepared in line with the Finance Minister’s Orders made under the Commonwealth Authorities and Companies Act, 1997. Yours sincerely Dr Helen Nugent ao Chairman national portrait gallery of australia annual report 2013/14 i Contents Chairman’s letter 3 Director’s report 7 Agency overview 13 Accountability and management 17 Performance summary 23 Report against corporate plan 27 Financial statements 49 Appendices 1.
    [Show full text]