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Ipf-Report-2008-2009-Web.Pdf
2 3 The Ian Potter Foundation was established in 1964 Chairman’s Report 4 by Sir Ian Potter and is now one of Australia’s leading Contents Funding Principles 5 philanthropic foundations. The Ian Potter Foundation CEO’s Report 6 donates nationally, supporting a wide range of Community Wellbeing 8 projects across many sectors of the community. Alec Prentice Sewell Gift 20 The Governors and staff of the Foundation work Education 22 to uphold Sir Ian’s legacy by supporting Australia’s Health 28 community leaders and innovators to bring a positive Environment & Conservation 32 contribution to our society. Science 36 Medical Research 40 GOVERNORS STAFF Arts 44 The Ian Potter Foundation is governed by a Board of Chief Executive Officer Travel 54 Governors. The Chairman is Mr Charles Goode, AC. Mrs Janet Hirst Governors also serve terms on the Finance and Audit Conference 60 Finance Committees. The Board meets four times each year. Mr John Kellaway Review 62 Life Governor Ms Therese Reidy Lady Primrose Potter, AC Grant Management Governors Ms Caitriona Fay Mr Charles B Goode, AC (Chairman) Ms Helen Murray Professor Geoffrey N Blainey, AC Ms Claire Rimmer Mr Leon Davis, AO Ms Maria Roberts The Hon Sir Daryl Dawson, AC, KBE, CB Communications The Hon Sir James Gobbo, AC, CVO, QC Ms Avalee Weir Mr John B Gough, AO, OBE Professor Thomas W Healy, AO Administration Ms Gail Lewry Dr Thomas H Hurley, AO, OBE Ms Rebecca Clark Mr Allan J Myers, AO, QC Mr Frank L Nelson Assistant to the Chief Executive Officer Dr P John Rose, AO Ms Kay Roworth Professor Graeme B Ryan, AC Above The Chairman and staff of The Ian Potter Foundation The Ian Potter Foundation 2008–09 The Ian Potter Foundation 2008–09 4 5 Chairman’s Report Funding Principles This past year was one of unprecedented financial The Ian Potter Foundation has continued to develop Six common principles are central to the Foundation’s grant-making turmoil that saw the global financial market in crisis, its professionalism and improve its efficiency. -
VERONICA BREMER & ANNE-MARIE VAN DE VEN The
Veronica Bremer & Anne-Marie Van de Ven, The Bauhaus Link in the Life & Work of Émigré Artist Gerard Herbst VERONICA BREMER & ANNE-MARIE VAN DE VEN The Bauhaus Link in the Life and Work of Émigré Artist Gerard Herbst ABSTRACT The German-born artist Gerard Herbst (1911-2011) arrived in Australia in 1939 with practically nothing. He would go on to transform a multitude of artistic fields such as typography, poster design, window displays, art education, film, theatre, photography, and textile design. This article contextualizes the work and life of Herbst by illustrating his Bauhaus-inspired education, migrant experience, and his ongoing artistic interactions and collaborations with émigré photographer Wolfgang Sievers (1913-2007) once in Australia. To situate and exemplify Herbst’s deeply rooted German Modernist aesthetic we explore the connection and influence of prominent Bauhaus figures such as László Moholy-Nagy, Walter Gropius, and Josef Albers on Herbst’s artistic creations and on the Prestige Studio, a multi-disciplinary industrial and commercial design studio, which Herbst ran. By demonstrating the central role that Herbst played as a major exponent of a German Modernism on Melbourne soil, we hope to further illuminate the complex Bauhaus’ story of mobility and exchange between Australia and Germany. Keywords: Australia, Gerard Herbst, Modernism, Bauhaus On April 17, 1939, German designer Gerard Herbst (1911-2011) arrived in Port Melbourne, Australia aboard the Romolo. He bought with him an understanding of modernist traditions -
Heide Museum of Modern Art 2008 Annual Report Heide Museum of Modern Art 2008 Annual Report
Heide Museum of Modern Art 2008 Annual Report Heide Museum of Modern Art 2008 Annual Report page CONTENTS 1. vision & mission 3 2. honorary appointments 4 3. chairman & director’s report 5 4. cultural programming 8 4.1 exhibitions 4.2 heide public programs 4.3 heide education 5. commercial operations 18 5.1 heide store 5.2 visitor services 5.3 heide café 5.4 heide membership 6. heide collection 21 6.1 acquisitions 6.2 outward loans 7. facilities 26 7.1 maintenance 7.2 gardens 7.3 heide café redevelopment 8. communications & marketing 29 9. development 31 9.1 heide foundation 9.2 heide partnerships 10. governance 38 10.1 board 10.2 human resources 10.3 risk management 10.4 Board Directors & Senior Management Personnel 11. staff & volunteers 44 12. financial statements 47 Front cover: Back cover: Melinda Harper The art of existence, Les Kossatz exhibition Untitled 2003 Photograph: David Pidgeon 2009 oil on canvas 183.0 x 152.0 cm Purchased through the Heide Foundation with the assistance of the Heide Foundation Collectors’ Group 2008 © Melinda Harper 2 1. Vision & Mission Heide Museum of Modern Art 2008 Annual Report 1. VISION & MISSION Vision Heide’s vision is to be a significant national and international public museum of modern and contemporary art respected as a cultural destination combining art, architecture, landscape and heritage as well as a site for the innovative generation of new ideas and exhibitions. Mission The purpose of Heide Museum of Modern Art is three-fold: – to provide high quality stewardship and development of Heide’s unique assets comprising the collection, architecture, landscape and heritage – to provide public access to and enjoyment of a unique cultural destination – to generate and present new ideas in modern and contemporary culture 3 2. -
Rmation S Iration Everyone
Information Board of Victoria Library Ideas Inspiration Library for everyone Annual Report O7 – O8 O8 Board of Victoria Annual Report O7–O8 In launching The Medieval Imagination, the Premier said, ‘We should not be surprised that amongst the state libraries of Australia it is the State Library of Victoria that is delivering this unique exhibition to the Australian people, and we can be very proud of that.’ Image Mark Strizic, The Edna Walling-designed Garden at Mawarra, Sherbrooke, c. 1980 Contents 04 President’s Message Infrastructure, Skills and Partnerships 06 CEO’s Year in Review 53 Redefi ning our Role as Leaders 08 Vision and Values in the Library Sector 10 The Medieval Imagination 55 Building Commercial and 18 Highlights of the Year Philanthropic Relationships 21 Financial Summary 55 State Library of Victoria Foundation 21 Key Performance Indicators 59 Identifying Opportunities for Collaboration 22 Service Agreement with the 59 Strengthening Corporate Capability Minister for the Arts 60 Financial Management 25 Government Priority Areas 60 Major Contracts 27 Output Framework 60 Victorian Industry Participation Policy 60 National Competitive Neutrality Collections, Content 60 Compliance with Building and Maintenance and Information Resources Provisions of Building Act 1993 30 Digitisation of the Collection 60 Library Redevelopment 31 Digital Storage and Management Capacity 60 Technology Services 33 Building the Collection 61 Web Services 37 Conservation and Preservation 61 Applications Development and Services 37 Physical Storage 37 -
37 48'S Artists'& Curator's Half Page CV's 2
https://www.facebook.com/37degrees48S CURATORS: Dianna Gold & Dr Carmel Wallace PROJECT ARTISTS: Angela Cavalieri, Bindi Cole, Carmel Wallace, Cat Poljski, Debra Luccio, Eolo Paul Bottaro, Heather Shimmen, Regan Tamanui aka HA! HA! Judy Holding, Marco Luccio, Rona Green, Rone Key artists and curator’s CV’s Dianna Gold curator Dianna was Director/Curator of Gallery 101 from 1991 until 2010. She was also responsible for the public art collection at 101 Collins Street. In 1993 Dianna introduced an annual Acquisition Art Award known as Artworkz - 101 Collins Street Acquisitive Award, sponsored by 101 Collins Street Pty Ltd. Artworkz ran for four years and over 200 artists had their work exhibited at Gallery 101 in association with the award. Dianna was Portfolio Reviewer for the Ballarat International Fotobiennale 2009 and 2010 and is regularly invited to participate in judging art awards. She headed the judging panel for Yering Station Sculpture Prize for four years. Dianna also gives guest lectures in professional development at several institutions including Victoria College of the Arts and Deakin University. Partnerships include the Chinese International Festival – Faces of China Photographic Exhibition; and the book Melbourne Marvellous To Modern: Mark Strizic in association with the State Library of Victoria and Thames and Hudson. She is currently Copyright Agent for the Photographic Archive of the Estate of Mark Strizic. Dianna has curated a number of international exhibitions and 37° 48ʹ S: artists navigate MELBOURNE will be the second to be shown in New York. Partnerships 2009 Melbourne Marvellous To Modern: Mark Strizic (book) with the State Library of Victoria and Thames & Hudson. -
La Trobe Art Institute Art Collection Project Significance Assessment
La Trobe Art Institute Art Collection Project Significance Assessment Prepared by Belinda Nemec November 2016 – March 2017 Prepared for La Trobe University at the request of the La Trobe Art Institute, by Dr Belinda Nemec, November 2016 – March 2017. © Copyright La Trobe University 2016–17 and individual copyright holders of artworks illustrated and sources cited. The views expressed in this report are those of the author, Belinda Nemec, or of individuals and written sources cited. They are not necessarily the views of La Trobe University, the La Trobe Art Institute, or individual La Trobe staff. This Report was edited by LAI staff in August 2017 to remove any information that may compromise the security of the University Collections. Areas of redacted content are indicated through the use of this symbol: Further information regarding this decision can be sought by contacting the La Trobe Art Institute. Cover image: ‘Spring’, one of four panels from Leonard French, The four seasons, 1975. La Trobe University Art Collection, purchased 1978. Photograph: La Trobe University Media Library, 2006. ii iii Australian collections are the memory bank of the nation and a key to its future. They embody the people, history, cultures, science and environment of Australia, and they show the creativity of Australians in all dimensions. Collections give a sense of our place in the world, and explain how the land and nation have evolved.* Significance is the values and meanings that items and collections have for people and communities. Significance helps unlock the potential of collections, creating opportunities for communities to access and enjoy collections, and to understand the history, cultures and environments of Australia.† The founders of La Trobe University believed it important that students be surrounded by art.