DOCSLIB.ORG

Art Gallery of New South Wales Annual Report 2017–18 Art Gallery of New South Wales Annual Report 2017–18 2 Art Gallery of New South Wales Annual Report 2017–18

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Gallery of New South Wales Annual Report 2017–18 Art Gallery of New South Wales Annual Report 2017–18 2 Art Gallery of New South Wales Annual Report 2017–18 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 2 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales is located. The Hon Don Harwin MLC Minister for the Arts Parliament of New South Wales Macquarie Street SYDNEY NSW 2000 Dear Minister, It is our pleasure to forward to you for presentation to the NSW Parliament the Annual Report for the Art Gallery of New South Wales for the year ended 30 June 2018. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely, Mr David Gonski AC Dr Michael Brand President Director Art Gallery of New South Wales Trust Art Gallery of New South Wales 12 October 2018 Contents 8 PRESIDENT’S FOREWORD 10 DIRECTOR’S STATEMENT 14 BUILDING 18 ART 58 IDEAS 64 AUDIENCE 70 PARTNERSHIPS 80 PEOPLE 94 SUSTAINABILITY 106 FINANCIAL REPORTS © Art Gallery of New South Wales Compiled by Emily Crocker Designed by Trudi Fletcher Edited by Lisa Girault Art Gallery of New South Wales ABN 24 934 492 575. Entity name: The Trustee for Art Gallery of NSW Trust. The Art Gallery of New South Wales is a statutory body established under the Art COVER: Christine Streuli, Smash it 2013 Gallery of New South Wales Act 1980 and, acrylic on canvas, with acrylic and lithograph on paper, from 15 March 2017, an executive agency display dimensions variable, canvas: 230 x 300 cm related to the Department of Planning and Art Gallery of New South Wales. Purchased with funds Environment. provided by Margrit Bachmann 2018 © Christie Streuli ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 6 Highlights 49% of education participants from Western Sydney 344 339 and regional NSW people 1.61 million attended our public and visitors education programs came to the Gallery, – 94 038 students and Brett Whiteley Studio teachers attended and attended our education programs touring exhibitions (primary, secondary Indigenous and tertiary) Advisory Group – 40 288 people attended public programs launched – 95 985 people attended our family programs – 73 729 visitors attended guided tours – 40 299 film program attendees 266 volunteer guides and task force members 3857 Art Pathways 25 000 participants volunteer hours 57 601 Art After Hours attendees 7 41% growth in YouTube subscribers 32% growth Instagram followers $1.4 billion total value of collection 12% growth Facebook fans $103.3 million total Gallery revenue 647 artworks including NSW acquired Government’s recurrent contribution of $23.8 million $7.6 million worth of artworks gifted to collection $5.73 million in sponsorship 2014 Archibald, Wynne and Sulman entries (2018) $96 million pledged to Sydney Modern Capital Campaign $200 000+ in art prizes (2018) ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 8 President’s foreword It is an exciting time for the This year, in addition to the wonderful Our presenting sponsors have also Art Gallery of New South benefaction committed to the new provided strong continued support in building, we received support from 2017–18. Thanks to Aqualand for The Wales as we await the a generous group of sponsors, National: new Australian art; Herbert determination of the State benefactors and partners to allow Smith Freehills, our legal partner and Significant Development the Gallery to stage a series of supporter of our Asian Galleries; JP Application for the Sydney exceptional exhibitions and provide Morgan for continued support of the Modern Project, which extensive and innovative public and Brett Whiteley Studio; Macquarie educational programming. Group which continues to support was submitted following the Australian Galleries; and UBS for an extensive period of The Crown Resorts Foundation and ongoing support of our Contemporary public consultation. Packer Family Foundation continue to Galleries. support the Gallery through two major philanthropic grants. This year the Important sponsorship from presenting The project team at the Gallery have $1 million annual grant provided sponsor EY and major partner worked assiduously with the globally through the Sydney Arts Fund allowed Singapore Airlines allowed the Gallery renowned architects SANAA to the Gallery to develop a range of to transport and exhibit artworks from finalise the design in response to strategic initiatives and research. The the Rijksmuseum for the landmark community input. I thank them, and expansion of the Western Sydney Arts exhibition Rembrandt and the Dutch all the Gallery’s staff for their dedication Initiative into a third year and a total golden age. to the expansion project. of $375,000 supported the continued impact of the Art Pathways education Thanks also to major partners On behalf of the Board of Trustees and access program. Clemenger BBDO, whose support and staff at the Gallery, I thank the made Robert Mapplethorpe possible; State Government for its ongoing I thank the Art Gallery of New event partner Glenfiddich; and official support, not only for the $244 million South Wales Foundation and other hotel partner Sofitel Sydney Wentworth. announced in the 2017 Budget but for benefactors for their ongoing Welcome and thanks to new major the resources and expertise committed support for the Gallery, particularly partners Robert Oatley Wines and to the planning process. in supporting the acquisition of new The Woolmark Company. works for the state’s art collection. The project reflects a whole-of- I acknowledge our support partners government commitment to New We enjoyed the eighth year of our Crestone and Paspaley Pearls for our South Wales’ cultural infrastructure partnership with Destination NSW in Next Generation cultivation program and to enriching the community. The the Sydney International Art Series. Atelier; official paint supplier Porter’s expansion will be a landmark building The program continues to attract Original Paints; Valiant Events who in Sydney that will greatly increase extraordinary exhibitions to this state – enhance our VIP functions; Variety – public access to art, and presents in 2017–18, the Dutch masters from the the Children’s Charity, our partner in a transformative opportunity for the Rijksmuseum. I also note with gratitude the Starting With Art program; City of Gallery to become one of the world’s the support from Destination NSW Sydney; and media partners Fairfax great art museums and to continue to which allowed the Gallery to display Media (SMH) and JCDecaux. generate an energetic cultural hub in The lady and the unicorn tapestries the Domain precinct. from Paris’s Musée de Cluny. The members of the President’s Council and VisAsia Council also made The Gallery has worked hard this I thank our leadership partners ANZ important ongoing contributions in year behind the scenes to meet its and Macquarie University, whose 2017–18. Funds and other support commitment to raise $100 million in steadfast support for the Gallery provided by these groups allow the private philanthropic contributions to enables us to present much-loved Gallery’s exhibitions and programs the Sydney Modern Capital Campaign. exhibitions such as the Archibald prize to thrive. We also appreciate the time I am pleased to note that we are very as well as learning and participation and valuable advice provided to us close to reaching this goal, with activities that enrich the public’s by members of these groups. $96 million confirmed at 30 June 2018. experience and understanding of art. I thank all the supporters of what we believe is Australia’s most significant ever public–private partnership in the arts sector. 9 This year the Gallery commenced We are lucky to have a talented and its Luxury Syndicate corporate committed Executive team and staff. membership program, and I welcome Thanks go to every single one of them; and thank the organisations who have through their hard work the Gallery is joined us. In the first half of 2018 the well placed to deliver an ever-broader Syndicate’s support played a crucial suite of programming and exhibitions role in bringing The lady and the as it expands its physical presence as unicorn tapestries to Sydney for the well as broadening its reach through first time. In the latter half of the year other platforms. and in 2019, the Luxury Syndicate initiative’s goal is to support the Thanks also to my fellow trustees Gallery’s exceptional learning and who continue to provide strategic participation outreach programs. and artistic focus to the Gallery. I acknowledge the dedication and During the year we had considerable significant expertise they have provided support from individuals. I note here the in leading this institution through this immense support for the Gallery from period of transformation. Particular the Hon Gladys Berejiklian MP, Premier thanks to vice president Mark Nelson of New South Wales and our minister, and the other sub-committee chairs the Hon Don Harwin MLC, Minister for Geoff Ainsworth and Samantha Meers the Arts. The Gallery is also grateful for their leadership and commitment for the support of Carolyn McNally, to strong governance. Secretary, Department of Planning and Environment and Alex O’Mara, Deputy Secretary, Create NSW, Department of Planning and Environment. Our Gallery is beloved across New South Wales. It could not provide its visitors with such wonderful artistic David Gonski AC experiences and access without the President sizeable contribution of its volunteers, Art Gallery of New South Wales Trust and I thank each and every volunteer 12 October 2018 for their dedication – in many instances for decades of service. I appreciate and acknowledge the ongoing stewardship of director Michael Brand. I thank him for all his achievements in 2018 as well as his leadership in planning and realising the Gallery’s artistic and organisational future.
Load more

Recommended publications
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • Each Wild Idea: Writing, Photography, History
    e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory.
    [Show full text]
  • Queensland Art Gallery Board of Trustees Annual Report 2015–16
    QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific.
    [Show full text]
  • KEVIN CONNOR B
    KEVIN CONNOR b. 1932, Sydney Biography Connor has lived and worked in Sydney, painting full time between 1963 to 1976 and 1987 to the present, with periods of overseas work and travel throughout his career. 2006-2014 Various travels. Worked in Sydney 2005 Lived and worked in Paris and London for two months 2003 Lived and worked in Paris for two months 2001-2002 Worked in Paris for five months 1999 Lived and worked in Paris and London for five months 1998 Lived and worked in Paris and London for two months 1996 Lived and worked in Paris and London for three months 1995 Worked in Paris for two months 1994 Worked in Paris for two months 1991 Three week drawing expedition of war damaged areas in Iraq Three week drawing expedition in Jordan, Syria and Jerusalem 1988 Two months drawing and making lithographs with Jacques Champfleury in Paris 1985 Three months study tour of Egypt, Paris and London 1981-1987 Trustee of the Art Gallery of New South Wales 1979 Six months study tour in Egypt and Paris 1976-1987 Lecturer in painting and drawing at the National Art School, Alexander Mackie College of Advanced Education and the City Art Institute, Sydney 1966-1968 Lived and worked in New York, United States of America 1965-1966 Thirteen months travel in Europe including a seven month stay in Spain 1954-1957 Travelled, lived and worked overseas in Canada and England Solo Exhibitions 2018 The Forever One Day, Orange Regional Gallery 2015 Drawings, Liverpool Street Gallery, Sydney 2013 Paintings, Liverpool Street Gallery, Sydney 2012 Paintings, Liverpool
    [Show full text]
  • Sabine Cotte Education Professional Experience
    Sabine Cotte Paintings Conservation 31, Niagara Lane Melbourne Vic 3000 M: 04 02 843 543 E: [email protected] W: www.sabinecotte.com Nationalities: French and Australian. Arrived in Australia in 2001. Since 1990, works for mu- seums, galleries and private collectors in France, Australia and the Himalayas. Cultural Conservation Expert for UNESCO since 1997, focus on South East Asia Honorary fellow, University of Melbourne, Faculty of Arts, Grimwade Centre for Cultural Ma- terials Conservation Education 2017 PhD Arts, ‘Art in the making: Mirka Mora’s techniques and materials and their meaning in conservation’ University of Melbourne. 2011 Masters by Research. ‘Tibetan paintings in Australia: conservation of a living heritage’ University of Melbourne (First Class Honours) 1994 Certificate in Mural Paintings Conservation International Centre for the Preser- vation of Cultural Property in Rome (ICCROM) 1986-1990 Masters in Conservation and Restoration Institut National du Patrimoine (INP- IFROA) Paris. Easel painting conservation (High Distinction, Congratulations of the jury) 1982-1986 Honours Bachelor in Fine Arts, Ecole Nationale des Beaux-Arts, Paris, Screen- printing and Lithography (High Distinction). 1982-1986 Honours Bachelor in Art History. University of Paris I, History of Art and Ar- chaeology Professional experience Collaboration with contemporary artists Consultation with the artists, research and documentation of methods and materials. Work with Mirka Mora, Lara Merrett, David Keeling, Peter Booth, Paul Boston and Philip Wolf- hagen, Daniel Buren, Jean Pierre Raynaud, Pierre Soulages and Christian Boltanski. Survey of collections and condition reports Documentation, risk assessment, prioritisation of needs, preventive conservation recommen- dations and planning, condition assessment. Clients include museums, auction houses and art dealers.
    [Show full text]
  • Art Gallery of New South Wales 2015 Year in Review
    Art Gallery of New South Wales Art Wales South Gallery New of ART GALLERY OF NEW SOUTH WALES 2015 2015 ART GALLERY OF NEW SOUTH WALES 2015 2 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 3 Our year in review 4 Art Gallery of New South Wales 2015 Art Gallery of New South Wales 2015 5 We dedicate this inaugural Art Gallery of New South Wales annual review publication to the Australian artists represented in the Gallery’s collection who have passed away during the year. 8 OUR VISION 9 FROM THE PRESIDENT Guido Belgiorno-Nettis 10 FROM THE DIRECTOR Michael Brand 12 YEAR AT A GLANCE 14 SYDNEY MODERN PROJECT 23 ART 42 IDEAS 50 AUDIENCE 60 PARTNERSHIPS 74 EXECUTIVE 75 CONTACTS 80 2016 PREVIEW Our vision From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum for scholarship, art education and the exchange of ideas. Our goal is that by the time of our As Australia’s premier art museum, 150th anniversary in 2021, the Gallery we must reflect the continuing evolution will be recognised, both nationally of the visual arts in the 21st century and internationally, for the quality of alongside the development of new our collection, our facilities, our staff, channels of global communication that our scholarship and the innovative increasingly transcend national ways in which we engage with our boundaries.
    [Show full text]
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • R-M-Mcgivern-Catalogue-2019.Pdf
    23 November 2019 to 1 February 2020 ii Nicholas Aplin Kate Beynon Amber Boardman Angela Brennan Janet Burchill Dord Burrough Penelope Cain Hamish Carr Kevin Chin Nadine Christensen Dale Cox Nicola Dickson Fernando do Campo Briell Ellison Josh Foley Juan Ford Betra Fraval Deanne Gilson Helga Groves Stephen Haley Katherine Hattam Euan Heng Sophia Hewson Miles Howard-Wilks Deborah Klein Kate Kurucz Emma Lindsay Tony Lloyd Dane Lovett Simon MacEwan Jordan Marani Sam Martin Andrew Mezei Luke Pither Kenny Pittock Victoria Reichelt Mark Rodda Evangelos Sakaris Kate Shaw Shannon Smiley Julian Aubrey Smith Jacqui Stockdale Camilla Tadich Jelena Telecki Sarah Tomasetti Message from Maroondah City Councillors The inaugural R & M McGivern Prize was held in 2003 and since this time has grown to become a prestigious national painting prize attracting artists from all over the country. Well-regarded Australian artists such as Martin King, Rose Nolan and Rosslynd Piggott have each been significant recipients of this award. Submissions to the R & M McGivern Prize this year were of outstanding range and quality, with a record number of 450 entries. Thank you to all of the artists who entered. We are honoured to have three distinguished judges for this year’s prize: Charlotte Day, Director, Monash University Museum of Art; Ryan Johnston, Director, Buxton Contemporary; Penny Teale, Bunjil Place Gallery Curator. The winning recipient of the Prize receives $25,000, and the work is acquired by Council to become part of the Maroondah City Council Art Collection. This is a distinguished collection maintained by Council for the enjoyment of the Maroondah community and wider audiences.
    [Show full text]
  • Australian & International Photography
    Australian & International Photography Collectors’ List No. 178, 2015 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th Century Photography Established 1977 1. Hill and Adamson Address: 103a Anzac Parade, Kensington (Sydney) NSW (Scot t ish, David 1802-1870; Robert 1821-1848). Pres by­ Postal: PO Box 93, Kensington NSW 2033, Australia tery Group 24, c1845. Salt Phone: +61 2 9663 4848 • Mobile: 0411 755 887 paper photo graph, 14.4 x 19.6cm. Old stain to upper Email: [email protected] • Website: joseflebovicgallery.com right corner. Open: Mon. to Sat. by appointment or by chance. ABN 15 800 737 094 $12,500 Illustrated in Stevenson, David Member: Aust. Art & Antique Dealers Assoc. • Aust. & New Zealand Assoc. of Octa vius Hill and Robert Adam son, Antiquarian Booksellers • International Vintage Poster Dealers Assoc. • Assoc. of 1981, p183, with the caption “The International Photography Art Dealers • International Fine Print Dealers Assoc. reporters’ table - Skene standing, W. Robertson, J.R. Fyfe, John Johnstone, John MacDonald and COLLECTORS’ LIST No. 178, 2015 Rev Andrew Cameron.” Australian & International 2. Hill and Adamson (Scottish, David 1802- Photography 1870; Robert 1821-1848). Unknown Man #31, c1845. Salt paper photograph, 19.6 x 14.4cm. On exhibition from Wed., 5 August to Sat., 26 September. $11,000 Illustrated in Stevenson, David Octavius Hill and Robert All items will be illustrated on our website from 15 August. Adamson, 1981, p119. Prices are in Australian dollars and include GST. Exchange rates as at time of printing: AUD $1.00 = USD $0.74¢; UK £0.47p © Licence by VISCOPY AUSTRALIA 2015 LRN 5523 Compiled by Josef & Jeanne Lebovic, Dimity Kasz, Takeaki Totsuka, Lenka Miklos Cover: Lining Up, c1936.
    [Show full text]
  • 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]
  • KEVIN CONNOR B
    KEVIN CONNOR b. 1932, Sydney BIOGRAPHICAL NOTES Connor has lived and worked in Sydney, painting full time between 1963 to 1976 and 1987 to the present, with periods of overseas work and travel throughout his career. 2006-2014 Various travels. Worked in Sydney 2005 Lived and worked in Paris and London for two months 2003 Lived and worked in Paris for two months 2001-2002 Worked in Paris for five months 1999 Lived and worked in Paris and London for five months 1998 Lived and worked in Paris and London for two months 1996 Lived and worked in Paris and London for three months 1995 Worked in Paris for two months 1994 Worked in Paris for two months 1991 Three week drawing expedition of war damaged areas in Iraq Three week drawing expedition in Jordan, Syria and Jerusalem 1988 Two months drawing and making lithographs with Jacques Champfleury in Paris 1985 Three months study tour of Egypt, Paris and London 1981-1987 Trustee of the Art Gallery of New South Wales 1979 Six months study tour in Egypt and Paris 1976-1987 Lecturer in painting and drawing at the National Art School, Alexander Mackie College of Advanced Education and the City Art Institute, Sydney 1966-1968 Lived and worked in New York, United States of America 1965-1966 Thirteen months travel in Europe including a seven month stay in Spain 1954-1957 Travelled, lived and worked overseas in Canada and England SOLO EXHIBITIONS 2015 Drawings, Liverpool Street Gallery, Sydney 2013 Paintings, Liverpool Street Gallery, Sydney 2012 Paintings, Liverpool Street Gallery, Sydney 2010 Kevin Connor,
    [Show full text]
  • MRAGM Newsletter March at 2Pm at MRAG
    Feb/March maitland regional art gallery 1 2008 members (MRAGM) newsletter Maitland Regional Art Gallery Members’ (MRAGM) primary role is to promote public awareness of Maitland Regional Art Gallery (MRAG) and its activities. MRAGM is recognised by the art gallery as a vital ingredient to the growth of the Cultural Precinct. Exhibitions at MRAG “Heads Up! “showcases the work of prominent Australian artists Vicki Varvaressos and Richard Larter. Vicki Varvaressos started exhibiting in 1975. She has held over 28 solo exhibitions and has been included in numerous group shows. Prizes included winning the Portia Geach Memorial Award - winner in 2002. Varvaressos is represented in many important collections in Australia, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and most Regional Galleries. She is also featured in overseas collections. Richard Larter came to Australia from London in 1962. He has been in many significant exhibitions and is well represented in the Australian National Gallery, State Galleries and numerous other collections. “Heads Up!” has been supported by Watters Gallery in Sydney – one of Australia’s most successful and longest running commercial art galleries. To complement this thought provoking exhibition MRAG has curated an exhibition of “Portraiture from the MRAG Collection” featuring unique paintings by Brett Whiteley and Charles Blackman. Other portrait paintings and works on paper by Peter Kingston, Salvatore Zofrea and Newcastle’s own Norma Allen are included in this exhibition along with a selection of photographs featuring famous Australian artists in their own homes such as Donald top: richard larter (detail) julie 143 2001 oil on Friend and Margaret Olley.
    [Show full text]