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. I was delighted when Michael’s contract was renewed this year and I look forward to continuing to work with him. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 10 Director’s statement

In the past financial year, At the same time as the Gallery has As a truly 21st-century building, we are the Art Gallery of New concentrated efforts on practical committed to achieving the highest project milestones, the last year has environmental and design credentials. South Wales has combined allowed us to reflect on our broader With the goal of a five-star Green Star unprecedented activity goals as a leading state cultural rating and a design that maximises and levels with a deep ongoing institution. We have considered the enhances green and accessible public commitment to our place our expanded art museum will space, we aim to set new standards for cultural mission. occupy in the future, not only physically public art museums in Australia. at our Domain site but also as a key contributor to the overall cultural The project will also provide a new fabric of New South Wales and its home for our collection of Indigenous Vision international reputation. art, located on the entrance level with the prominence we believe it The Gallery enjoyed its highest ever The Sydney Modern expansion will deserves in the premier state’s public attendance in 2017–18. As demand for not only double our art display space, art museum. Against this backdrop, and engagement with our collection, allowing over two million people each in 2018 the Gallery was proud to exhibitions and public programs year to access more works from our announce the formation of our continues to grow, the timeliness of collection and the most exceptional Indigenous Advisory Group. our expansion is increasingly clear. exhibitions from around the globe. Comprised of Aboriginal and Torres It will also allow us to double our Strait Islander leaders from across the This year our Pritzker-winning education program – already one of nation, the Advisory Group will help architects SANAA finalised the Sydney the best attended in the world – to guide the Gallery’s staff as we consider Modern Project design, and our State host 200,000 students each year. the rich history of our site and our Significant Development Application future goals. now awaits approval by the Minister The project will also present Sydney for Planning. The design has evolved with a new cultural meeting place, Visitation in response to community feedback, a unique site seamlessly linking resulting in a beautifully realised indoor and outdoor spaces. The Visitation at the Gallery continues to art museum that is sensitive to its design responds to its unique be strong. Following stunning 23.7% surrounds, where people will be able to position between one of the world’s growth in visitation in 2016–17, the experience art and engage with ideas most beautiful harbours and the Gallery continued to see increased through our collection, our exhibitions extraordinary Royal Botanic Garden. attendance in 2017–18, with 1.4 million and our many related programs. Our visitors will be encouraged to people attending the Gallery’s main engage deeply and personally with Domain site and Brett Whiteley During the last three years of the works of art they encounter, in Studio in Sydney. Including our community consultation across an environment they could not find regional touring exhibitions, total the state, it has been heartening to anywhere else. visitation reached 1.61 million, engage with so many people from all another all-time high. walks of life, and to see the growing We have collaborated with our excitement for this once-in-a-lifetime neighbours and stakeholders to Our regional touring program enables opportunity to transform our institution ensure the expansion achieves the new audiences from across the state for the future. We eagerly await the best possible outcomes for our and Australasia to access the works start of construction in early 2019, precinct. I appreciate their strong in our collection, as well as a suite of with expected completion in 2021, support for the project, in particular related programs supported by our our 150th anniversary year. the Royal Botanic Gardens and staff. In 2017–18 we toured seven Domain Trust. exhibitions to state institutions and regional galleries in New South Wales, Queensland, Victoria and Christchurch, New Zealand. These were seen by over 200,000 visitors. Of these, more than half – 108,500 – were in regional New South Wales, an 82% increase on last year. 11

Looking to the future and new ways of Major exhibitions The Gallery was proud to again partner engaging our audiences with art, the with Carriageworks and the Museum Gallery’s digital presence continues of Contemporary Art Australia on The exhibition program continued to grow. The number of sessions and The National, a biennial exhibition to provide an exciting mix of page views on the Gallery website grew showcasing emerging thinking and Australian and international by over 10% this year. innovation in contemporary Australian perspectives. Our seven major visual art. Our Henry VR immersive ticketed exhibitions, including experience, developed in partnership New media formats provide growing O’Keeffe, Preston, Cossington with the University of New South Wales opportunities to enrich people’s lives Smith: making modernism and and Australian National University, every day, with 41% growth in our Robert Mapplethorpe: the perfect also highlighted how innovations YouTube subscribers, 32% growth medium, were visited by over 495,000 in art conservation can bring fresh in Instagram followers and a 12% people – approximately 50,000 more understandings of old works. increase in Facebook fans. than attended paid exhibitions in the previous year. Works from the Gallery’s art collection Financial position are showcased internationally on The Sydney International Art Series Google Arts and Culture; this year our exhibition, Rembrandt and the Dutch The Gallery continued its trend of pages were visited by nearly 800,000 golden age: masterpieces from improvements in its financial position users across 1.2 million page views. the Rijksmuseum, enjoyed strong by controlling discretionary costs attendance and was the result of and building and maintaining strong Art collection our continuing to develop extensive commercial revenues. Consistent with strategic partnerships with leading previous years, our increased revenues As one of the state’s most significant international institutions. from ticketing and commercial activities cultural assets, the Gallery’s art such as venue hire, catering and retail collection of 34,500 works is now Another highlight was The lady ensured a positive net result. worth $1.4 billion. Our collection grows and the unicorn. Coupled with the only with the support of our generous French president’s official visit to Acknowledgments benefactors, who provide funds for all the Gallery, the exhibition garnered the Gallery’s art acquisitions as well significant global media attention as The Gallery owes much to the as providing gifts and bequests of well as providing local audiences with extraordinary generosity of our works. This year, the Gallery added the chance to view a collection of benefactors. The Sydney Modern 647 artworks worth $7.6 million. treasures that very rarely leave France and are unlikely to again. This unique Capital Campaign’s Foundation Donors – including Isaac Wakil Major acquisitions include: Tony opportunity was another result of the AO and the late Susan Wakil , the Tuckson, Four uprights, red and Gallery’s efforts to develop strong AO Ainsworth family, the Lowy family, black c1965, a gift of Frank Watters; global working relationships. Kerr Neilson, Mark and Louise Nelson, Jonathan Jones, barrangal dyara (skin and Gretel Packer – have ensured a and bones) 2016, a gift of John Kaldor This financial year saw portions of both landmark moment in Australian visual and the artist 2017; William Kentridge, the 2017 and 2018 exhibitions of the arts. Likewise, the support of the I am not me, the horse is not mine Archibald, Wynne and Sulman prizes. Crown Resorts and Packer Family 2008, a gift of Anita Belgiorno-Nettis In response to public demand, in 2018 Foundation has provided access to and Luca Belgiorno-Nettis the Gallery extended the exhibition AM AM the arts for new generations across 2017; and Kimsooja, Archive of mind period and scheduled it earlier in the diverse backgrounds. Combined, our 2017, purchased with funds provided year, and the new timing received a supporters’ legacy will ensure new by the Art Gallery of New South very positive audience response. audiences have unprecedented access Wales Foundation 2018. A number of to the enrichment of art. acquisition highlights are showcased in the chapter title pages of this report. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 12

I wish to echo the president’s I thank the Art Gallery Society’s acknowledgement of our many executive director Ron Ramsay for his generous and loyal sponsors. marvellous support, along with that of the individual members. I appreciate My thanks to the Executive team, the invaluable contribution of our comprising Maud Page, John dedicated volunteer guides, front- Richardson and, in an acting capacity of-house staff, task force volunteers for part of 2018, David Antaw, for their and Community Ambassadors, who exceptional leadership and support. continue to provide an outstanding The last year saw the departure of our experience for all our visitors. highly respected chief operating officer, John Wicks, who has been appointed In closing, my thanks to Board deputy director at M+ in Hong Kong. president David Gonski AC and his We also farewelled our director of fellow trustees, whose guidance and public engagement, Jacquie Riddell, support continue to make this Gallery and I thank her for her significant an institution of which we can all be contributions to the Gallery. Hakan very proud. Harman commenced in the role of chief operating officer on 2 October 2018, and I look forward to announcing the appointment of our new director of public engagement in the near future.

All my colleagues on the dedicated staff of the Gallery provide outstanding Dr Michael Brand art experiences for the people of New Director South Wales and visitors from across 12 October 2018 Australia and around the world. It is an exciting time for our team and I thank them for their ongoing commitment to our vision, and for their work and planning as the Sydney Modern Project evolves. 13

ABOVE: Young visitors engage with tapestries at The lady and the unicorn Children’s Party. Photo © Fiora Sacco

and Rowena AM Interior 370 (foyer I) 2017, oil on linen, 2017 © Jude Rae AM Jude Rae, RIGHT: RIGHT: Purchased 260 x 198 cm. Art Gallery of New South Wales. with funds donated by Ken Coles Danziger … a vibrant new cultural landmark for Sydney and NSW …

01 BUILDING

Sydney ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 16 Modern Project

The Gallery’s vision to While working to secure philanthropic The new standalone building creates create a vibrant new cultural funding for the once-in-a-generation opportunities for visitors to experience transformation, the Gallery has an art museum in different ways with landmark for Sydney and NSW focused on refining the design in spectacular galleries and outdoor moved a step closer to being response to all submissions received spaces including an Entry Plaza and realised after submission of on the development application. We public Art Garden, which will link the a development application have worked very closely with our new and existing buildings through art and a capital campaign that key stakeholders, including Royal and landscape. Botanic Gardens and Domain Trust is attracting unprecedented and Roads and Maritime Services, and As well as enhancing the experience philanthropic support. our neighbours and project partners to of art, architecture and landscape ensure the development and delivery of in Sydney, the project will maximise an internationally renowned art museum and enhance public open space and The Gallery’s expansion project that benefits the broader precinct. civic amenity across the site through reached a major milestone in November accessible roof terraces, green 2017 with the submission of a State The Gallery also hosted a number of roofs, courtyards and an improved Significant Development Application community forums and information universal pathway. (SSDA) for the new building. sessions in Sydney and across the state, as well as presentations, A range of sustainability initiatives It was the culmination of an extensive workshops and project briefings for a will also contribute to the Gallery program of community and stakeholder variety of stakeholder groups. achieving the highest environmental consultation that commenced in 2015 and design credentials. With the goal with the announcement of Pritzker The expansion will provide much- of a five-star Green Star rating from Architecture Prize-winners SANAA as needed space to display more of the the Green Building Council of Australia, the preferred architects by the Sydney Gallery’s outstanding collection and the we aim to set new standards for public Modern jury. best exhibitions from around the world, art museums. increasing visitation to more than two million people a year. 17

Following extensive consultation The Building Founders join a generous Highlights of the Gallery’s and feedback, the Gallery lodged community of philanthropists led by community consultation its Response to Submissions to Isaac Wakil AO and the late Susan the NSW Department of Planning Wakil AO, whose $20 million gift is and engagement and Environment in April 2018. the largest monetary donation in the Community engagement will continue institution’s 147-year history, along with Community forums with artists, until the planned commencement of the Ainsworth family, the Lowy family, university deans, Aboriginal and Torres construction in early 2019. Kerr Neilson, Mark and Louise Nelson, Strait Islander communities, disability and Gretel Packer, who made lead gifts groups and a Greater Sydney Forum The $344 million expansion project of $5 million and more. held at Casula Powerhouse Arts is one of Australia’s most significant Centre. public–private partnerships in the arts. As the project looks to its next As well as the NSW Government’s milestones, community consultation Community information and $244 million funding, announced in continues to be an important part of feedback sessions that engaged June 2017, the Gallery is raising the Gallery’s exciting transformation. close to 800 people across Sydney $100 million in private funds. The There will be further opportunities and NSW, including Martin Place, Capital Campaign was officially to be part of the conversation as the Chatswood, Blacktown, Fairfield, launched in August 2017 and the project progresses. Construction is Orange, Newcastle, Wollongong and Gallery was delighted to announce in anticipated to begin in early 2019 with Broken Hill. June that $96 million had been pledged the expansion due to be completed to date. On the cusp of reaching the in late 2021, for the Gallery’s 150th Multilingual Gallery staff supported campaign’s ambitious $100 million anniversary. several community sessions in target, the Gallery recognised the Mandarin, Cantonese, French and Building Founders, a group of donors The Sydney Modern Project website Arabic to provide feedback from who had each given $1 million to continues to be updated with the diverse audiences. support the construction of the latest information about the project, new building. as well as news and events. The During the SSDA public exhibition Sydney Modern Project display in the period, the Gallery hosted several Gallery also provides visitors with the information sessions about the project opportunity to learn more about the and how to provide a submission. project and see in-progress images of the design. The Gallery hosted a presentation by SANAA to the architecture and tertiary education community.

LEFT AND ABOVE: Image of the Sydney Modern Project as produced by Kazuyo Sejima + Ryue Nishizawa / SANAA

and Johanna Featherstone untitled: brokenupturnedhouse AM Phyllida Barlow, RIGHT: RIGHT: 360 x 480 x 330 cm. Art Gallery of New South Wales. Ainsworth Gift of Geoff 2013, steel armature, polystyrene, polyfiller, papier polyfiller, polystyrene, 2013, steel armature, varnish, plywood, timber, sand, mâché, paint, PVA, 2017 © Phyllida Barlow

… the Gallery’s greatest asset …

02 ART

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 20 Art collection

Broadly divided into Grace Cossington Smith (Australia, Tracey Moffatt (Australia; United Australian and international 1892–1984), Sister Diddy c1920, pencil, States of America, b1960), ten crayon on buff wove paper. Purchased photographs from the series Body art, the Gallery’s collection with funds provided by Guy, Marian remembers 2017: Spanish window continues to grow. It is the and Meredith Paynter 2018 2017, pigment print; Spirit house 2017, Gallery’s greatest asset, as pigment print; Touch 2017, pigment well as a significant cultural John Brack (Australia, 1920–99), print; Rock shadow 2017, pigment print; asset of the state of New Study for ‘The bacon cutter shop no.1’ Bedroom 2017, pigment print; Weep 1955, pen and black ink on paper. Gift 2017, pigment print; Shadow dream South Wales and the country. of Evan Hughes. Donated through the 2017, pigment print; Kitchen 2017, Over this financial year, the Australian Government’s Cultural pigment print; Washing 2017, pigment Gallery acquired 647 artworks Gifts Program print; Worship 2017, pigment print. from 97 Australian artists, Purchased with funds provided by Vicki Olsson and Naomi Milgrom 2017 18 Indigenous artists and Tony Tuckson (Egypt; England; AO Australia, 1921–73), Four uprights, 42 international artists. Of red and black c1965, polyvinyl Jude Rae (Australia, b1956), Interior these, 233 artworks (valued at acetate pigment on hardboard. Gift of 370 (foyer I) 2017, oil on linen. $5,207,927) were purchased Frank Watters. Donated through the Purchased with funds donated and 414 artworks (valued at Australian Government’s Cultural by Ken Coles AM and Rowena Gifts Program Danziger 2017 $7,612,134) were gifted, adding AM a total value of $12,820,061 to Richard Larter (England; Australia, William Kentridge (South Africa, the Gallery’s collection. 1929–2014), Five in a row show b1955), I am not me, the horse is not 1969, synthetic polymer paint on five mine 2008, eight-channel digital tape composition board panels. Gift of (betacam) shown as eight-channel Acquisition highlights Frank Watters. Donated through the digital video, colour, sound. Gift of Australian Government’s Cultural Anita Belgiorno-Nettis AM and Luca Gifts Program Belgiorno-Nettis AM 2017. Donated Charles Conder (England; Australia, through the Australian Government’s 1868–1909), Rainy day 1888, oil on Kaapa Tjampitjinpa (Australia, c1920– Cultural Gifts Program cedar cigar box lid. Purchased with 89), untitled (Kangaroo ceremony) funds provided by the Art Gallery 1972, synthetic polymer paint on Kimsooja (Korea, b1957), Archive of Society of New South Wales 2017 composition board. Gift in memory mind 2017, participatory installation of Janet and Norma Robertson 2018. with clay, wooden table and stools, and Violet Teague (Australia, 1872–1951), Donated through the Australian sixteen-channel sound performance. Margaret Alice 1900, oil on canvas. Government’s Cultural Gifts Program Purchased with funds provided by Purchased 2017 with funds provided the Art Gallery of New South Wales by the Australian Masterpiece Fund, Jonathan Jones (Australia, b1978), Foundation 2018 including the following major donors: barrangal dyara (skin and bones) 2016, Barbara Gole (in memory of), Antoinette gypsum, audio. Gift of John Kaldor Reena Saini Kallat (India, b1973), Albert, Anita Belgiorno-Nettis and AM and the artist 2017. Donated through Woven Chronicle 2018, circuit boards, Luca Belgiorno-Nettis , Andrew AM the Australian Government’s Cultural speakers, electrical wires and fittings, Cameron and Cathy Cameron, AM Gifts Program sound component. Roger Pietri Fund Krystyna Campbell-Pretty and the and Asian Benefactors’ Fund 2018 late Harold Campbell-Pretty, Rowena Betty Kuntiwa Pumani (Australia, Danziger and Ken Coles , AM AM b1963), Antara 2017, acrylic on linen. Ed Atkins (England, b1982), Safe Kiera Grant, Alexandra Joel and Philip Acquired with funds provided by the conduct 2016, three-channel Mason, Carole Lamerton and John Art Gallery of New South Wales Board computer-generated video, colour, Courtney, Alf Moufarrige , Elizabeth AO of Trustees 2017 sound, scaffold. Mervyn Horton Ramsden, Susan Rothwell, Denis Savill, Bequest Fund and Germany Penelope Seidler , Denyse Spice, AM Mikala Dwyer (Australia, b1959), Foundation Tour 2018 Georgie Taylor, Max and Nola Tegel, The divisions and subtractions 2017, Ruth Vincent mixed media. Contemporary Collection Phyllida Barlow (England, b1944), Benefactors 2018 untitled: brokenupturnedhouse 2013, steel armature, polystyrene, 21

polyfiller, papier mâché, paint, PVA, Drawing for ‘Epic’ 1967–69, acrylic, Agatha Gothe-Snape (Australia, sand, plywood, timber, varnish. Gift pencil on paper; Red hold 1967–69, b1980), You and everything that is not of Geoff Ainsworth AM and Johanna acrylic, pencil on paper; Ticondera you (Art Gallery of New South Wales) Featherstone 2017 1967–69, acrylic, pencil on paper; 2017, adhesive vinyl. Contemporary Yellow close 1967–69, acrylic, pencil on Collection Benefactors and Clinton Kawanabe KYÔSAI (Japan, 1831–89), paper. Purchased with funds provided Bradley 2017 School for Spooks (‘Bakebake gakko’) by Ruth Vincent, Key Foundation, no. 3 from the series Drawings for Anthony Scott, Estate of Grace Rubaba Haider (Australia; Pakistan, Pleasure by Kyosai (Kyosai rakuga) Cossington Smith, Robert Postema, b1987), two watercolours: The spider’s 1874, Meiji period 1868–1912 colour Christian Dan Cuthbert, Jill Choulkes, touch, how exquisitely fine! Feels at woodblock print; oban. Yasuko Myer and Gary Helprin 2017 each thread and lives along the line Bequest Fund 2018 (Alexander Pope) V 2017, gouache Jon Campbell (Australia; Northern on Fabriano paper; The spider’s Colin McCahon (New Zealand, Ireland, b1961), It’s a world full of touch, how exquisitely fine! feels at 1919–87), Clouds 5 from the series cover versions 2017, artist’s book, each thread, and lives along the line Clouds 1975, synthetic polymer paint twenty pages of risograph prints. (Alexander Pope) IV 2017, watercolour on paper mounted on hardboard. Gift Thea Proctor Memorial Fund 2017 on Fabriano paper. Kathleen Buchanan of John Sharpe 2018. Donated through May Bequest Fund 2018 the Australian Government’s Cultural Charles Conder (England; Australia, Gifts Program 1868–1909), Rainy day 1888, oil on Gwyn Hanssen Pigott (Australia, cedar cigar box lid. Purchased with 1935–2013), Trail with purple beakers Pablo Picasso (Spain; France, 1881– funds provided by the Art Gallery 2012, bowl, six beakers, six bottles: 1973), two prints from the series Sueño Society of New South Wales 2017 wood-fired porcelaneous stoneware. y Mentira de Franco 1937: Dream and Mollie Douglas Bequest Fund 2017 lie of Franco – Plate I 1937, etching and Grace Cossington Smith (Australia, aquatint on chine collé; Dream and lie 1892–1984), Sister Diddy c1920, pencil, Richard Lewer (New Zealand; of Franco – Plate II 1937, etching and crayon on buff wove paper. Purchased Australia, b1970), Never shall be aquatint on Chine collé. Purchased with funds provided by Guy, Marian forgotten – a mother’s story 2017, with funds provided by Hamish Parker, and Meredith Paynter 2018 single-channel digital animation, Guy and Marian Paynter and the Hon. colour and black and white, Ashley Dawson Damer 2017 Anne Dangar (Australia, 1885– sound. Contemporary Collection 1951), The guitarist c1947, glazed Benefactors’ 2017 Christine Streuli (Switzerland, b1975), earthenware. Mollie Douglas Bequest Smash it 2013, acrylic on canvas, Fund 2018 Margo Lewers (Australia, 1908– with acrylic and lithograph on paper. 78), Machine shop 1953, pencil, Purchased with funds provided by eX de Medici (Australia, b1949), watercolour, gouache on paper. Margrit Bachmann 2018 Root and branch 2016, watercolour, Australian Prints, Drawings and gouache on paper. Purchased with Watercolours Benefactor Fund 2017 Martin Creed (England, b1968), Work funds provided by Paul and Valeria no. 2821 2017, yellow 11-inch balloons. Ainsworth Charitable Foundation, Frank Mahony (Australia; England, Purchased with funds provided by the Kathleen Buchanan May Bequest Fund 1862–1916), three drawings: untitled Mollie and Jim Gowing Bequest Fund and the Australian Prints, Drawings and (Reclining female nude), brown conté and Atelier 2017 Watercolours Benefactors Fund 2017 on thin smooth cream wove paper; untitled (Recling female nude, arms Collection purchases James Drinkwater (Australia, b1983), extended) 1903, pencil on thin smooth two drawings: Grass trees 4 2015, cream wove paper; untitled (Woman in pencil, pastel on etching and aquatint night cap sitting near bed) 1904, Australian art printed in brown ink on white wove pencil on thin smooth cream wove paper; River bend 2015, charcoal, paper. Purchased with funds provided Sydney Ball (Australia, 1933–2017), pastel on aquatint printed in brown ink by the Gil and Shay Docking Drawing seven drawings: Modular sketch (Study on white wove paper. Purchased with Fund 2018 for ‘Black reveal) 1969, acrylic, pencil funds provided by the Gil and Shay on paper; Strata span 1967–69, acrylic, Docking Drawing Fund 2018 pencil on paper; Drawing for ‘Reach’ 1967–69, acrylic, pencil on paper; ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 22

Arthur Murch (Australia, 1902–89), AM, Andrew Cameron AM and Cathy Between #8 2017, C-type print on lustre The aeroplane 1929–30, oil and egg Cameron, Krystyna Campbell-Pretty paper; Graveyards in Between #9 2017, tempera on canvas on board. The and the late Harold Campbell-Pretty, C-type print on lustre paper. Purchased Australian Collection Benefactors’ Rowena Danziger AM and Ken Coles with funds provided by the Aboriginal Fund 2017 AM, Kiera Grant, Alexandra Joel and Collection Benefactor’s Group 2018 Philip Mason, Carole Lamerton and John Nixon (Australia, b1949), ten John Courtney, Alf Moufarrige AO, Glen Mackie (Australia, b1975), collages: Untitled 2015, collage of Elizabeth Ramsden, Susan Rothwell, two prints: The Githalai effect II 2015, cardboard; Untitled 2012, collage of Denis Savill, Penelope Seidler AM, vinylcut on paper; Kurrs (hammerhead paper, corrugated cardboard and Denyse Spice, Georgie Taylor, Max shark), vinylcut on paper. Purchased cardboard; Untitled 2012, collage of and Nola Tegel, Ruth Vincent with funds provided by Vicki cardboard on corrugated cardboard, Olsson 2017 pencil; Untitled 2017, collage of Tony Tuckson (Egypt; England; newspaper clippings and cardboard, Australia, 1921–73), Black, yellow, Nonggirrnga Marawili (Australia, born pencil; Untitled 2016, collage of blue c1959, oil on composition board. c1939), eleven paintings: Lightning paper and cardboard on corrugated Edward Hamilton Stinson Fund 2017 2017, enamel paint on aluminium cardboard; Untitled 2015, collage of composite board; Lightning 2017, cardboard; Untitled 2015, collage of Tony Tuckson (Egypt; England; enamel paint on aluminium composition paper, sandpaper and cardboard; Australia, 1921–73), Wind 1970, board; Lightning 2017, natural pigments Untitled 2015, collage of paper, enamel synthetic polymer paint on canvas. and synthetic polymer paint on paper; paint, ribbon and cardboard; Untitled The Australian Masterpieces Fund 2017 Baratjula 2018, natural pigments and 2012, collage of paper, corflute and synthetic polymer paint on paper; cardboard; Untitled 2012, collage Tony Tuckson (Egypt; England; Baratjula 2018, natural pigments and of paper and cardboard. Australian Australia, 1921–73), TD 2559 1970, synthetic polymer paint on paper; Prints, Drawings and Watercolours acrylic on newspaper. The Gil and Baratjula 2018, natural pigments and Benefactors Fund 2018 Shay Docking Drawing Fund 2017 synthetic polymer paint on paper; Baratjula 2018, natural pigments and Catherine O’Donnell (b1961), Helen Wright (Australia, b1956), Wild synthetic polymer paint on paper; Inhabited Space 2015–16, charcoal ride, drosscape versus landscape Baratjula 2018, natural pigments and on three sheets of paper, charcoal 2014, woodcut, collage on paper. synthetic polymer paint on paper; wall drawing. Purchased with funds Purchased with funds provided by Baratjula – Lightning and the Rock provided by the Gil and Shay Docking Philippa Warner 2017 2018, natural pigments and synthetic Drawing Fund 2017 polymer paint on paper; Baratjula 2018, Subtotal: 43 works natural pigments and synthetic polymer Adelaide Perry (Australia, 1891–1973), paint on paper; Baratjula – Lightning three drawings: Life study (John Aboriginal and Torres Strait and the Rock 2018, natural pigments Passmore, artist, reclining) c1933, Islander art and synthetic polymer paint on paper. pencil on thin smooth cream wove Purchased with funds provided by the paper; untitled (Portrait of a seated Robert Fielding (Australia, b1969), Wendy Barron Bequest Fund 2018 woman) c1930s, pencil on thin smooth nine photographs from the series buff wove paper; Study for ‘The Graveyards in Between 2017: Nonggirrnga Marawili (Australia, Bridge, October 1929’ 1929, pencil Graveyards in Between #1 2017, C-type born c1939), four prints: Lightning and on thin smooth buff wove paper. print on lustre paper; Graveyards The Rock 2016, lithograph on paper; Purchased with funds provided by the in Between #2 2017, C-type print Baratjula 2016, etching on paper; Baru Gil and Shay Docking Drawing Fund on lustre paper; Graveyards in 2013, screenprint on paper; Lightning 2018 Between #3 2017, C-type print and the Rock 2018, screenprint. on lustre paper; Graveyards in Mollie Gowing Acquisition Fund for Violet Teague (Australia, 1872–1951), Between #4 2017, C-type print on Contemporary Aboriginal Art 2018 Margaret Alice 1900, oil on canvas; lustre paper; Graveyards in Between Purchased 2017 with funds provided #5 2017, C-type print on lustre Daniel O’Shane (Australia, b1990), by the Australian Masterpiece Fund, paper; Graveyards in Between #6 two prints: Gir kep (bird arrow) 2013, including the following major donors: 2017, C-type print on lustre paper; vinylcut on paper; Saui ene Gauei II Barbara Gole (in memory of), Antoinette Graveyards in Between #7 2017, C-type 2014, vinylcut on paper. Purchased with Albert, Anita and Luca Belgiorno-Nettis print on lustre paper; Graveyards in funds provided by Vicki Olsson 2017 23

34 500 ARTWORKS IN THE GALLERY COLLECTION

Betty Kuntiwa Pumani (Australia, International art and blue pencil on buff wove paper, b1963), Antara 2017, acrylic on linen. with blue ballpoint pen overdrawing by Acquired with funds provided by the Art Helen Dennett; Wai’i, a spirit associated Pacific art Gallery of New South Wales Board of with fighting shields 1973–75, pencil Trustees 2017 Papua New Guinea on buff wove paper; Wai’i, a spirit associated with fighting shields 1973– Simon Nowep (Papua New Guinea, Garawan Wanambi (Australia, b1965), 75, pencil on buff wove paper; Spirit c1902–84), seventy-four drawings: Marrangu 2018, natural pigments figures 1973–75, pencil on thin tan Pattern associated with feathers on wood. Purchased with funds wove paper, with black ballpoint pen 1973–75, pencil on buff wove paper; provided by the Aboriginal Collection overdrawing by Helen Dennett; Wain Pattern associated with fishbones and Benefactor’s Group 2018 1973–75, pencil on buff wove paper, woven walls 1973–75, pencil on buff with blue ballpoint pen overdrawing wove paper; Mopul 1973–75, pencil Roy Wiggan (Australia, 1930–2016), by Helen Dennett; Ancestor and on buff wove paper; Mopul 1973–75, spirit figures 1973–75, pencil on buff Jeroman Wiggan (Australia) and Roy pencil on buff wove paper; Mopul Jr Wiggan (Australia), five sculptures: wove paper, with blue ballpoint pen and Wain, Mopul’s brother 1973–75, overdrawing by Helen Dennett; The Ilma 1994, chip board, wool, PVA glue, pencil on buff wove paper; Mopul spirit Yanmari 1973–75, pencil on buff synthetic polymer paint, florence paint; 1973–75, pencil on buff wove paper; wove paper, with black ballpoint pen Ilma 1994, chip board, wool, PVA glue, Mopul 1973–75, pencil on buff wove overdrawing by Helen Dennett; Wain synthetic polymer paint, florence paint; paper; Mopul 1973–75, pencil on buff and his followers 1973–75, pencil Ilma 1994, chip board, wool, PVA glue, wove paper; Mopul and his followers on buff wove paper, with blue and synthetic polymer paint, florence paint; 1973–75, pencil on buff wove paper, black ballpoint pen overdrawing by Ilma 1994, chip board, wool, PVA glue, with blue ballpoint pen overdrawing Helen Dennett; Mopul flanked by two synthetic polymer paint, florence paint; by Helen Dennett; Mopul and spirit female followers 1973–75, pencil on Ilma 1994, chip board, wool, PVA glue, figures 1973–75, pencil on thick buff buff wove paper, with blue ballpoint synthetic polymer paint, florence paint. wove paper; Mopul 1973–75, pencil on pen overdrawing by Helen Dennett; Commissioned for the opening of the buff wove paper, with blue ballpoint Ancestral and mythical figures 1973– Yiribana gallery 1994 pen overdrawing by Helen Dennett; 75, pencil on buff wove paper, with red Mopul 1973–75, pencil on buff wove and blue ballpoint pen overdrawing Roy Wiggan (Australia, 1930–2016), paper, with blue pencil overdrawing by by Helen Dennett; Ancestral and six sculptures: Ilma 2013, acrylic on Helen Dennett; Mopul 1973–75, pencil mythical figures 1973–75, pencil plywood, cotton wool; Rai 2014, acrylic on buff wove paper, with ruled paper on buff wove paper; Ancestral and on plywood, cotton wool; Borrorr – addition; Mopul 1973–75, pencil on buff mythical figures 1973–75, pencil on buff Hairbelt Ilma 2013, acrylic on plywood, wove paper, with blue ballpoint pen wove paper, with slight blue ballpoint cotton wool; Ilma 2013, acrylic on overdrawing by Helen Dennett; Mopul pen overdrawing by Helen Dennett; plywood, cotton wool; Flower 2003, 1973–75, pencil on buff wove paper, Ancestral and mythical figures 1973–75, acrylic on plywood, cotton wool; with blue ballpoint pen overdrawing pencil on buff wove paper, with black Ulnaadda 2010, acrylic on plywood, by Helen Dennett; Wain and his wives fibre-tipped pen overdrawing by Helen cotton wool. Mollie Gowing Acquisition Sisili and Yiripi 1973–75, pencil on Dennett; Ancestral and mythical figures Fund for Contemporary Aboriginal buff wove paper, with green, blue and 1973–75, pencil on buff wove paper; Art 2018 black ballpoint pen overdrawing by Ancestral and mythical figures 1973–75, Helen Dennett; Wain and his wives pencil on buff wove paper; Ancestral Mumu Mike Williams (Australia, Sisili and Yiripi 1973–75, pencil on tan and mythical figures 1973–75, pencil b1952), Willy Muntjantji Martin wove paper, with black ballpoint pen on thin buff wove paper; Mumbwan, (Australia, b1950) and Sammy Dodd overdrawing by Helen Dennett; Wain, a mythical figure associated with war (Australia), Ngura (Country) 2017, Mopul’s brother (centre), follower of canoe prow shields 1973–75, pencil on acrylic, ink and acrylic marker pen on Wain (left), ‘deman’ spirit (upper left), thin buff wove paper, with red ballpoint canvas mailbags with kulata (spear) female spirit (right) 1973–75, pencil on pen overdrawing by Helen Dennett; made from punu (wood), malu pulyku buff wove paper, with blue ballpoint Mumbwan, a mythical figure associated (kangaroo tendon) and kiti (resin made pen overdrawing by Helen Dennett; with war canoe prow shields 1973–75, from spinifex grass). Purchased with Wai’i, a spirit associated with fighting pencil on buff wove paper; Mumbwan, funds provided by the Aboriginal shields 1973–75, pencil on buff wove a mythical figure associated with Collection Benefactors’ Group 2017 paper; Wai’i, a spirit associated with war canoe prow shields 1973–75, fighting shields 1973–75, pencil on buff pencil on buff wove paper, with blue Subtotal: 43 works wove paper; Wai’i, a spirit associated ballpoint pen overdrawing by Helen Total: 86 works with fighting shields 1973–75, pencil Dennett; Kaplap, a spirit associated ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 24

with butterflies 1973–75, pencil on pen overdrawing by Helen Dennett; on paper; Cooking Pork with Pine buff wove paper; Kaplap, a spirit Spirit figures 1973–75, pencil on thin Branches 2017, ink and color on paper. associated with butterflies 1973–75, tan wove paper, with blue ballpoint Edward and Goldie Sternberg Chinese pencil on buff wove paper, with slight pen overdrawing by Helen Dennett; Art Purchase Fund and private black ballpoint pen overdrawing by Pandame, a spirit figure 1973–75, pencil funds 2018 Helen Dennett; The legend of Mondo on thin tan wove paper, with blue and Subtotal: 5 works 1973–75, pencil on buff wove paper; green ballpoint pen overdrawing by Serampam, a spirit figure associated Helen Dennett; Pandame, a spirit figure with initiation rituals 1973–75, pencil on 1973–75, pencil on buff wove paper, Hong Kong buff wove paper, opaque white, with with blue ballpoint pen overdrawing Howie Tsui (Hong Kong, b1978), blue and red ballpoint pen overdrawing by Helen Dennett; Cassowary spirit Retainers of Anarchy 2017, algorithmic by Helen Dennett; Serampam, a spirit figure 1973–75, pencil on buff wove animation sequence, five-channel video figure associated with initiation rituals paper; Spirit figures 1973–75, pencil projection, six-channel audio. Asian 1973–75, pencil on tan wove paper, with on buff wove paper; upper image: Collection Benefactors’ Fund 2018 red ballpoint pen overdrawing by Helen Creatures lower image: Deman spirits Dennett; Serampam, a spirit figure 1973–75, upper image: pencil on buff Subtotal: 1 work associated with initiation rituals 1973– wove paper lower image: pencil on 75, pencil on buff wove paper, with buff wove paper, with blue ballpoint India blue and red ballpoint pen overdrawing pen overdrawing by Helen Dennett; Reena Saini Kallat (India, b1973), by Helen Dennett; Serampam, a spirit Deman and konyim spirits 1973–75, Woven Chronicle 2018, circuit boards, figure associated with initiation rituals pencil on buff wove paper, with red speakers, electrical wires and fittings, 1973–75, pencil on buff wove paper; and blue ballpoint pen overdrawing by sound component. Roger Pietri Fund Serampam, a spirit figure associated Helen Dennett; Deman spirits 1973–75, and Asian Benefactors’ Fund 2018 with initiation rituals 1973–75, pencil pencil on buff wove paper, with red on tan wove paper; Serampam, a spirit ballpoint pen overdrawing by Helen Sudarshan Shetty (India, b1961), From figure associated with initiation rituals Dennett; Creatures of the Kambot world here to there and back again 2009, 1973–75, pencil on tan wove paper; 1973–75, pencil on buff wove paper; wood, suitcases, motor. Purchased Bowar, a spirit figure 1973–75, pencil Spirit figures 1973–75, pencil and red with the support of the Indian on buff wove paper, with blue ballpoint coloured pencil on buff wove paper; A Travellers’ Fund, DG Wilson Bequest pen overdrawing by Helen Dennett; pig hunt 1973–75, pencil on buff wove Fund, Gene Sherman and Brian Bowar, a spirit figure 1973–75, pencil paper; The Christian God surrounded AM Sherman , Geoff Ainsworth and on buff wove paper; Yapon, a spirit by angels and creatures 1973–75, pencil AM AM Johanna Featherstone, 2017 figure1973–75, pencil on buff wove on buff wove paper, with blue ballpoint paper; Yapon, a spirit figure 1973–75, pen overdrawing by Helen Dennett; The Dayanita Singh (India, b1961), pencil on buff wove paper; Spirit figures Christian God 1973–75, pencil on buff Suitcase Museum 2017–18, forty-four 1973–75, pencil on buff wove paper; wove paper; The Christian God with framed book covers, two suitcases. Spirit figures 1973–75, pencil on buff two angels playing trumpets 1973–75, Purchased with funds provided by wove paper; The legend of Lawena pencil on thin tan wove paper, with Geoff Ainsworth and Johanna and Dawena 1973–75, pencil on buff blue ballpoint pen overdrawing by AM Featherstone wove paper, with blue and red ballpoint Helen Dennett. Purchased with funds pen overdrawing by Helen Dennett; provided by the Mollie and Jim Gowing Subtotal: 3 works Lawena 1973–75, pencil on thin buff Bequest Fund 2017 wove paper, with red ballpoint pen Japan overdrawing by Helen Dennett; Dawena Subtotal: 74 works 1973–75, pencil and red pencil on thick Hiroshige Andô/Utagawa (Japan, buff wove paper, with blue ballpoint pen Asian art 1797–1858), three prints: Hitachi overdrawing by Helen Dennett; Dawena Province, Daijingu Shrine in Kashima (Hitashi Kashima Daijingu) from the 1973–75, pencil, red and blue coloured China pencil on buff wove paper, with red series Pictures of famous places of ballpoint pen overdrawing by Helen Shuyong Liu (China), five paintings: the sixty-odd provinces (Rokujuyoshu Dennett; Creatures of the Kambot Going to bed with the fish 2017, ink meisho zue) 1853, Edo (Tokugawa) world 1973–75, pencil on buff wove and colour on paper; Mother waits for period 1615–68, colour woodblock paper, with red and black ballpoint my return 2017, ink and watercolour on print; two prints from the series pen overdrawing by Helen Dennett; paper; Adrift with flowers 2017, ink and Thirty-six views of Mount Fuji (Fuji Spirit figures 1973–75, pencil on thin watercolour on paper; Lotus blooming sanjurokkei) 1858: Koganei in Musashi tan wove paper, with purple ballpoint in the heart 2017, ink and watercolour Province (Musashi koganei) 1858, Edo 25

(Tokugawa) period 1615–68, colour Vietnam Noel McKenna (Australia, b1956), woodblock print; Futami Bay in Ise Australian art history 1933–1978 2004, The Propeller Group (United States of Province (Ise futamigaura) 1858, Edo synthetic polymer paint on canvas. America; Vietnam, 2006–16), The living (Tokugawa) period 1615–68, colour Wendy Barron Bequest 2018 need light, the dead need music 2014, woodblock print. Yasuko Myer Bequest single-channel projection, colour, five- Fund 2018 Jonathan Monk (England, b1969), channel sound. Roger Pietri Fund 2017 five prints: 24 Dessins Isométriques Kawanabe KYÔSAI (Japan, 1831–89), Subtotal: 1 work (Afrique Cubique) 2017, bound book: School for Spooks (‘Bakebake gakko’) twenty-four screenprints on wax print no. 3 from the series Drawings for Modern and contemporary fabric; Dessins Isométriques (Afrique Pleasure by Kyosai (Kyosai rakuga) Cubique) A3 2017, screenprint on wax 1874, Meiji period 1868–1912 colour print fabric, metal grommets; Dessins Ed Atkins (England, b1982), Safe woodblock print; oban. Yasuko Myer Isométriques (Afrique Cubique) B2 conduct 2016, three-channel 2017, screenprint on wax print fabric, Bequest Fund 2018 computer-generated video, colour, metal grommets; Dessins Isométriques sound, scaffold. Mervyn Horton (Afrique Cubique) C5 2017, screenprint Tsukioka Yoshitoshi (Japan, 1839– Bequest Fund and Germany 92), two prints from the series New Foundation Tour 2018 on wax print fabric, metal grommets; Forms of Thirty-six Ghosts (Shingata Dessins Isométriques (Afrique Cubique) D5 2017, screenprint on wax sanjurokkaisen 1890: Ii no Hayata Phyllida Barlow (England, b1944), killing a nue at the Imperial Palace untitled: brokenupturnedhouse print fabric, metal grommets. Mervyn 1890, Meiji period 1868–1912, colour 2013, steel armature, polystyrene, Horton Bequest Fund 2017 woodblock print; oban; Kiyomori polyfiller, papier mâché, paint, PVA, Sees Hundreds of Skulls at Fukuhara sand, plywood, timber, varnish. Gift Michael Parekowhai (New Zealand, 1890, Meiji period 1868–1912, colour b1968), ten sculptures: Over the of Geoff Ainsworth AM and Johanna woodblock print; oban. Yasuko Myer Featherstone 2017 rainbow 2015, unique automotive Bequest Fund 2018 paint on polyurethane; Over the rainbow 2015, unique automotive Subtotal: 6 works Fahd Burki (Pakistan, b1981), Park 2016, acrylic and pencil on paper. DG paint on polyurethane; Over the Wilson Bequest Fund 2017 rainbow 2015, unique automotive Korea paint on polyurethane; Over the Kimsooja (Korea, b1957), Archive of Martin Creed (England, b1968), Work rainbow 2015, unique automotive mind 2017, participatory installation no. 2821 2017, yellow 11-inch balloons. paint on polyurethane; Kapa haka with clay, wooden table and stools, and Purchased with funds provided by the (maquette) 2015, automotive sixteen-channel sound performance. Mollie and Jim Gowing Bequest Fund paint on polyurethane; Kapa haka Purchased with funds provided by and Atelier 2017 (maquette) 2015, automotive the Art Gallery of New South Wales paint on polyurethane; Kapa haka Foundation 2018 Mikala Dwyer (Australia, b1959), (maquette) 2015, automotive The divisions and subtractions 2017, paint on polyurethane; Kapa haka Subtotal: 1 work mixed media. Contemporary Collection (maquette) 2015, automotive Benefactors 2018 paint on polyurethane; Kapa haka The Philippines (maquette) 2015, automotive paint on polyurethane; Kapa haka Nona Garcia (Philippines, b1978), Susan Hiller (United States of America, (maquette) 2015, automotive paint Recovery 2017, sixty light boxes: x-ray b1940), Die gedanken sind frei on polyurethane. Purchased with images, plexiglass, wooden frames, (Thoughts are free) 2012, 102 songs on funds provided by the Friends of New wires, sound, midnight blue wall paint. customised Wurlitzer walnut jukebox, Zealand Art 2017 Roger Pietri Fund 2017 vinyl lettering, books, benches. Gift of Geoff Ainsworth AM and Johanna Pablo Picasso (Spain; France, 1881– Geraldine Javier (Philippines, b1970), Featherstone 2017 1973), two prints from the series Sueño The bond is stronger in the age of y Mentira de Franco 1937; Dream and division 2017, wood, silk screen; Colin Lanceley (New Zealand; Australia, 1938–2015), Atlas 1965, lie of Franco – Plate I 1937, etching and organza, synthetic yarn; embroidery oil on carved wood and metal. aquatint on chine collé; Dream and lie and crochet. DG Wilson Bequest Purchased with funds provided by of Franco – Plate II 1937, etching and Fund 2017 Pat Corrigan AM and the Barbara Tribe aquatint on Chine collé. Purchased Subtotal: 2 works Bequest Fund 2017 with funds provided by Hamish Parker, ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 26

$1.4 billion VALUE OF THE GALLERY COLLECTION

Guy and Marian Paynter and the Hon. print; Rock shadow 2017, pigment print; Coen Young (Australia, b1988), Ashley Dawson Damer 2017 Bedroom 2017, pigment print; Weep Fundamental fantasy 2017, twelve 2017, pigment print; Shadow dream selenium toned gelatin silver Jude Rae (Australia, b1956), 2017, pigment print; Kitchen 2017, photographs, framed individually. Interior 370 (foyer I) 2017, oil on linen. pigment print; Washing 2017, pigment Purchased in memory of Reginald John Purchased with funds donated by print; Worship 2017, pigment print. Vincent 2017 Ken Coles and Rowena Purchased with funds provided by Vicki AM Subtotal: 25 works Danziger 2017 Olsson and Naomi Milgrom 2017 AM AO Total: 147 works Total all departments: 233 works Simon Starling (England, b1967), Trent Parke (Australia, b1971), seven Portrait of the master mask maker photogaphs from the series Please Yasuo Miichi wearing a mask of the step quietly everyone can hear you Collection gifts artist Simon Starling while carving 2008–09: light bulbs 2009, pigment a mask of himself 2017, steel, brass, print; Stage fly tower Opera Theatre Australian art paulownia wood, gesso, pigment, 2008, pigment print; Untitled 2009, urushi lacquer, animal hair, handmade pigment print; Untitled 2009, pigment The estate of the late Sydney Ball incandescent bulbs. Purchased with print; Untitled 2009, pigment print; funds provided by the 2017 Germany Untitled 2009, pigment print; Untitled Sydney Ball (Australia, 1933–2017), Foundation tour 2009, pigment print. Purchase with seven drawings: Original drawing for funds provided by the Photography ‘Banyon wall’ 1968, coloured paper Jessica Stockholder (United States Collection Benefactors’ Program 2017 collage on paper; Drawing for ‘Temple’ of America, b1959), Two frames 2007, 1967–69, acrylic, pencil on paper; pink plastic, pink children’s chair, Debra Phillips (Australia, b1958), three Drawing for ‘Zonal turn’ 1967–69, fake fur, miscellaneous plastic parts, photographs: A perfect thing moves in acrylic, pencil on paper; Drawing for vinyl, halogen light and fixture, weight, circles (fig. 2) 2017, pigment inkjet print; ‘Delphi’ 2 1967–69, acrylic, pencil on bracket, cable, extension cord, black Untitled (Constant #4) 2017, gelatin paper; Drawing for ‘New Seasons’ garbage bag, yarn, beads, acrylic and silver photograph, selenium toned; 1967–69, acrylic, pencil on paper; oil paint, wooden drawer, metal frame. Untitled (Constant #2b) 2017, gelatin Drawing for ‘Diamond float’ 2 1967–69, Purchased with funds provided by silver photograph, selenium toned. acrylic, pencil on paper; Drawing for Atelier 2017 Purchased with funds provided by ‘Beam’ 2 1967–969, acrylic, pencil on the Photography Benefactors paper Christine Streuli (Switzerland, b1975), Program 2018 Smash it 2013, acrylic on canvas, Pam Hallandal. Donated through the with acrylic and lithograph on paper. Taryn Simon (United States of Australian Government’s Cultural Purchased with funds provided by America, b1975), one photograph and Gifts Program Margrit Bachmann 2018 one multimedia: Chapter VI from the series A living man declared dead Pam Hallandal (Australia, b1929), Subtotal: 29 works and other chapters I–XVIII 2011, inkjet four prints: In the schoolyard c2006, prints and text, framed; Cutaways woodcut on cream rice paper; The Photography 2012, single-channel digital video, set up c2006, woodcut on thin pale colour, sound, Letraset on wall. grey laid paper; untitled (Self portrait with shelf and specs) c2007, woodcut Harold Cazneaux (New Zealand; Purchased with funds provided by the on thin cream laid paper; Tsunami Australia, 1878–1953), Spring Street, Photography Collection Benefactors’ 2005–10, linocut on ivory rice paper Sydney looking into Pitt Street c1910, Program and the Mollie and Jim gelatin silver photograph face mounted Gowing Bequest 2017 Evan Hughes. Donated through the to glass. Purchased with funds Australian Government’s Cultural provided by the Photography Collection Lyndal Walker (Australia, b1973), Gifts Program Benefactors’ Program 2017 Carl-Henrik and I with painter’s trolley and teal drapery from the series The Davida Allen (Australia, b1951), Tracey Moffatt (Australia; United artist’s model 2015, printed 2017, Ray Hughes, Sam Neil, pen and ink, States of America, b1960), ten pigment print, framed glass mirror. pastel, oil, collage elements on off- photographs from the series Body Purchased with funds provided by the white wove paper remembers 2017: Spanish window Photography Collection Benefactors’ 2017, pigment print; Spirit house 2017, Program 2018 pigment print; Touch 2017, pigment 27

Del Kathryn Barton (Australia, b1972), Brian Dunlop (Australia, 1938–2009), wove paper; Study for portrait of E.E. Del Kathryn thanking Ray Hughes for Looby in Rome 1964, pencil, wash Hughes II 1996, pencil on off-white her show 2001 2001, pencil, colour and ink on paper wove paper pencil on paper Joe Furlonger (Australia, b1952), Allan Mitelman (Australia; Poland, Charles Blackman (Australia, b1928), twelve drawings: Acrobats 1986, pencil, b1946), untitled 1972, pencil, four drawings: Limbering up, charcoal pen and black ink and watercolour on watercolour and pastel on paper on cream wove paper; Beach, charcoal cream wove paper; Fishermen 1986, on cream wove paper; Camera 1952– charcoal and brown conté on cream Jon Molvig (Australia, 1923–70), eight 53, charcoal on cream wove paper; wove paper; Head and supertanker drawings: untitled (Female I), brush and Camera II 1954, black conté on paper 1985, charcoal, pastel and oil on cream black ink on buff wove paper; untitled wove paper; Figure 1986, watercolour (Female II) 1956, brush and black ink Peter Booth (Australia, b1940), two on cream wove paper; Glasshouse on buff wove paper; untitled (Female drawings: Bending insect monster Mountains, pastel on two seets of III), brush and black ink on buff wove 1980, fibre-tipped pen on paper; Heads white wove paper; Pieta 1989, ink and paper; Head, colour fibre-tipped pens 1982, pen and black ink on paper gouache on Arches Aquarelle paper; on paper; untitled (Female IV) 1963, Evan being a shark, Max screaming charcoal on buff wove paper; untitled Paul Boston (Australia, b1952), Untitled 1989, charcoal on four sheets of cream (Female V), brusk and black ink on buff 1988–89, gouache on paper wove paper; Madonna and Child 1989, wove paper; Head of a male, pen and pen and ink and watercolour on paper; black ink on buff wove paper; Portrait John Brack (Australia, 1920–99), Study Harold 1995, pencil on paper; Dark study of Charles Blackman 1966 for ‘The bacon cutter shop no.1’ 1955, Glasshouse 2012, gouache on paper; Archibald 1966, pencil on paper pen and black ink on paper Kuage’s Workshop 1994, pen and black ink on paper; Study for Harold Kevin Mortensen (Australia, b1939), Vincent Brown (Australia, 1901–2001), Shenbergs 1995, pen and black ink 60 ways to fool a trout 1981, pencil Sleeping nude 1940, brown conté on on paper on paper cream wove paper Joy Hester (Australia, 1920–60), three Jim Paterson (Australia, b1944), Robert Brownhall (Australia, b1968), drawings: Umbrellas on the beach two drawings: Allan Mitelman 1970s, View from Ray Hughes Gallery, Red 1947–48, watercolour on paper; Nude, pencil and charcoal on paper; Heads Hill ud, pencil on paper brush and black ink on paper; Two 1985, black pencil on paper sunken lovers bodies lay, pen, brush Jon Campbell (Australia; Northern and ink on heavy brown card John Perceval (Australia, 1923–2000), Ireland, b1961), Study for ‘The rumble’ five drawings: Head, pencil on cream 1986, black fibre-tipped pen, wash, Jun Chen (Australia; China, b1960), wove paper; Jack in the Box, pencil on pencil and collage elements on paper Female Nude, black fibre-tipped pen paper; Man on crutches 1943, pencil on off-white wove sketchbook page on cream wove paper; The giant and Roy Churcher (England, 1933–2014), the dwarf, pencil on cream wove paper; Nude 1993, sanguine on buff wove Mary Macqueen (Australia, 1912– Oakleigh landscape, pencil on paper paper 94), Glasshouse I 1981, collage of handmade paper and corrugated Jason Phu (Australia, b1989), Maybe Lucy Culliton (Australia, b1966), cardboard he is their father, or at least a distant three drawings: Mini bar Berlin 2010, uncle 2013, brush and ink on rice paper watercolour, gouache on paper; Dog Godfrey Miller (Australia, 1893–1964), on Couch Aug 2010, pencil on paper; three drawings Standing male, pencil Douglas Roberts (Australia, 1919–76), Bantam, Australian game duck wins on paper; Still life, pencil, oil on canvas; seven drawings: untitled (nude) 1940s, best male 2003, pencil and oil stick Horse Study, pencil on paper pen and ink on cream wove paper; on white wove paper Girls II 1940s, pen and black ink on buff Lewis Miller (Australia, b1959), three wove paper; Group of figures, gouache William Dobell (Australia; England, drawings: Study for portrait of Ray on paper; Girls III 1940s, pen and black 1899–1970), Study for Helen of Troy Hughes 1990, ink on two sheets of Ray ink on paper; Surrealist Study, gouache 1936, pencil, pen and black ink on Hughes Gallery letterhead paper and on paper; Figure group, gouache on paper pencil on two sheets of grey paper; Ray paper; Farmyard, pencil on cream wove at Langan’s 1998, pencil on off-white TH Saunders paper ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 28

Joy Roggenkamp (Australia, 1928– Danila Vassilieff (Australia, 1897– medium-weight off-white wove paper; 99), Queensland Landscape 1971, 1958), two drawings: untitled (portrait), Untitled 2016, watercolour and ink watercolour on paper watercolour on paper; Blue face, on very thick off-white wove paper; watercolour and gouache on paper Untitled 1993, watercolour on very William Rose (Australia, 1929–97), thick off-white wove paper Untitled 1959, pencil, pen and black, Ken Whisson (Australia, b1927), three brown and red ink on brown paper drawings: Motor car drivers, three of John Nixon. Donated through the each 1978, pencil, black pen and ink Australian Government’s Cultural Gareth Sansom (Australia, b1939), on cream wove paper; Rocks, ships, Gifts Program four drawings: My Voyage 1992, pencil, cloud, woman 1976, pen and black ink John Nixon (Australia, b1949), ten watercolour, pen and ink, gouache, on paper; Naked pianist 1983, pencil, collages: Untitled 2015, collage of acrylic, glue and polaroid photo collage pen and black ink on off-white newspaper, photographic print and elements on off-white wove Waterford wove paper cardboard; Untitled 2012, collage of paper; Self Portrait 1992, pencil, corrugated cardboard and cardboard; watercolour, acrylic, glue, tape and Brett Whiteley (Australia; England, Untitled 2017, collage of newspaper collage elements on off-white wove 1939–92), Rainy Sunday on Lavender clippings, paper and cardboard; Waterford paper; Untitled 1992, pencil, Bay 1973, pencil, black pastel and Untitled 2017, collage of newspaper watercolour, ink, gouache and collage watercolour on cream wove paper clippings, cardboard, acrylic paint elements on off-white wove Waterford and pencil; Untitled 2015, collage paper; Ray’s Vision 1994, brush and Matisse Mitelman. Donated through of newspaper clippings, cardboard, black ink on white rice paper the Australian Government’s Cultural Gifts Program enamel paint, acrylic paint and pencil; Untitled 2015, collage of magazine Jan Senbergs (Australia; Latvia, Allan Mitelman (Australia; Poland, clippings, corflute and cardboard; b1939), Nude and Mask 1995, charcoal, b1946), seventeen drawings and three Untitled 2012, collage of newspaper watercolour and oil on paper watercolours: Untitled 2000, ink on clippings, cardboard and pencil; thick off-white wove paper; Untitled Untitled 2015, collage of newspaper Ian Smith (Australia, b1950), three 2014, ink and pencil on very thick clippings and cardboard, pencil; drawings: Red and green between cream wove paper; Untitled 2015, Untitled 2015, collage of cardboard; Indy City and the deep blue sea watercolour, ink, pencil on medium- Untitled 2015, collage of newspaper 1994, pencil, watercolour and collage weight off-white wove paper; Untitled clippings, acrylic paint and cardboard on paper; Ray Hughes, charcoal on 2001, ink on thin cream laid paper; paper; Where virgins moan on moonlit Untitled 2001, collage of sheet music Catherine O’Donnell. Donated through esplanades 1984, pen and black ink and ink and watercolour on very thick the Australian Government’s Cultural on paper off-white wove paper; Untitled 2014, Gifts Program ink, watercolour on thick brown wove Jack Smith (England, 1928–2011), card; Untitled 2014, ink, acrylic on Catherine O’Donnell (b1961), Available Written on yellow 1970, coloured ink on thick off-white wove paper; Untitled for public hire 2009, charcoal, graphite paper on board 2014, ink, acrylic on thick off-white on paper wove paper; Untitled 2014, ink, acrylic Madonna Staunton (Australia, b1938), on very thick off-white wove paper; Ben Quilty and the Art Gallery of New two drawings: Untitled 1983, collage Untitled 2014, ink, acrylic on very thick South Wales Foundation of paper, fabric and string on paper; off-white wove paper; Untitled 2014, Ben Quilty (Australia, b1973), Lesbos untitled (Jacob and Wilhelm Grimm) ink, acrylic on very thick off-white 2017, colour etching, aquatint printed 1978, collage of paper and cardboard wove paper; Untitled 2015, tempera on in black and orange ink on off-white on board medium-weight off-white wove paper; woven paper Untitled 2014, ink, acrylic on very thick Rover Thomas (Australia, 1926–98), off-white wove paper; Untitled 2014, Professor Peter Read. Donated Owl 1989, pencil, oil on canvas board ink, acrylic on very thick off-white wove through the Australian Government’s on board paper; Untitled 2014, ink, watercolour Cultural Gifts Program on very thick off-white wove paper; Tony Tuckson (Egypt; England; Untitled 2000, ink, watercolour and Frank Hinder (Australia, 1906–92), Australia, 1921–73), two drawings: acrylic on very thick off-white wove two watercolours: landscape 1943, Head of a young man 1951, black paper; Untitled 2013, acrylic, ink, pencil watercolour and gouache on paper; conté on paper; Newspaper 13 Jan on very thick off-white wove paper; ballet dancers 1940, gouache and 1970, gouache on newspaper Untitled 2016, watercolour, pencil on pencil on paper 29

647 ARTWORKS ACQUIRED

Alan and Jancis Rees, the artist’s son hills, pencil on paper; recto: Houses in Roadway with entrance gates and and daughter-in-law. Donated through rolling landscape verso: Studies of a house, black fibre-tipped pen on paper; the Australian Government’s Cultural woman, recto: carbon pencil, black ink Rock wall with figure and gate pillar, Gifts Program wash on ivory wove paper verso: pencil; Waverton (1930s), pencil on buff wove recto: Landscape with fence posts paper; Rural landscape (Kurrajong Lloyd Rees (Australia, 1895–1988), 101 verso: Country road and Landscape or Bathurst), carbon pencil, black ink drawings: Seated female nude (twice), sketch, carbon pencil on ivory wove wash on cream wove paper; Sketch of blue ballpoint pen, black and blue ink paper; recto: Ploughed field and landscape with petrol drums, carbon wash on thin ivory wove paper; recto: Roadway verso: Tree, road and house, pencil on cream wove paper; South Harbour landscape and Male nude, recto: pencil on buff wove paper verso: Coast 1951, charcoal pencil, pencil on back view and Foot verso: Head study, black fibre-tipped pen; recto: Portrait cream wove paper; Standing female Leaning male nude; Hand and Male of a man (George Lawrence) verso: nude (twice) post 1945, blue and black nude, back view, pencil, sepia conté Portrait studies of two men (George ballpoint pen, black and blue ink wash on cream laid paper; Four drawings Lawrence or William Pidgeon), carbon on thin ivory wove paper; Study for on folded sheet, pencil on ivory wove pencil, sepia conté on buff wove paper ‘Omega pastoral’ 1950, carbon pencil paper; recto: Bush with tree fern (verso: carbon pencil on paper); recto: on buff wove paper; recto: Country (twice) and Sketch of mallee trunks Portraits of John Santry verso: Portrait landscape with tree verso: Standing verso: Mallee trunks, pencil on cream studies of John Santry, pen and black male nude and portrait of the model; wove paper; recto: Two studies of ink on buff wove paper; recto: Portraits Standing male nude, carbon pencil tree ferns verso: Two studies of trees, of Roland Wakelin and Studyof a man on cream wove paper; recto: Rooftop pencil on cream wove paper; recto: verso: Portrait studies of John Santry behind trees and Sketch of tree trunk Sketch, Gerringong with horse and (1940s), recto: pen and black ink, wash verso: Two heads (Self portrait and cart and Landscape with rounded on buff wove paper verso: pen and Alan), pencil on cream wove paper; hills, South Coast verso: Fallen rocks black ink, carbon pencil; recto: River Recto: Over the roofs from Northwood and Landscape sketch, carbon pencil landscape (Werri) verso: Two tree (twice) verso: Dead tree at Werri, on ivory wove paper; Across Sydney studies, pencil on cream wove paper; carbon pencil on ivory wove paper; Harbour from the north, carbon pencil, recto: River view verso: Eucalypt Trees on riverbank, carbon pencil on sepia conté on buff wove paper; Bend trunks, recto: carbon pencil on ivory cream wove paper; Landscape with of a country road and shed with wove paper verso: pencil; recto: Rocky rounded hills, Mt Saddleback and watertank, carbon pencil on cream hillside and pathway verso: Sketch of Landscape with water and bare tree, wove paper; Country landscape, landscape with fence, pencil on cream carbon pencil on cream wove paper; carbon pencil, black ink wash on cream wove paper; recto: Shed interior with Werri beach headland 1940s, pencil wove paper; Country road with fence trunk verso: Standing female nude, on cream wove paper; Werri Creek, and house, pencil on buff wove paper; pencil on buff wove paper; recto: looking south, carbon pencil on buff Female nude and Head (post 1945), Sheds verso: Country sketch, pencil on wove paper; Werri lagoon, with two blue and black ballpoint pen, black ink, buff wove paper; recto: Sheet of male figures, pencil on buff wove paper; wash, watercolour on thin ivory wove portraits (George Lawrence and one Boat on the Derwent 1987, pastel paper; Garden urn and tree, carbon other) verso: Head of a man, two men wash, charcoal; Boat on the Derwent pencil on cream wove paper; Houses and two studies of a left arm, pencil on River 1988, watercolour, pastel; on a road, pen and black ink on ivory cream wove paper; recto: Sydney from The Bridge, Opera House and the wove paper; Landscape with cloudy the north shore verso: Sitting male Harbour 1981, charcoal; Cityscape, sky, carbon pencil on buff wove paper; nude, Head and hand, charcoal pencil, black fibre-tipped pen, watercolour; Landscape with road, carbon pencil on pencil on buff wove paper; recto: Country landscape (Mount Canobolas, ivory wove paper; Northwood and view Trees and river verso: Two studies of Orange), carbon pencil, charcoal, of the Harbour, carbon pencil on cream the river, carbon pencil on ivory wove watercolour; Country landscape wove paper; recto: Farmhouse and paper; recto: Two studies of a hand with road (Bathurst), carbon pencil, truck, Studies of truck and a woman holding a brush verso: Three hand watercolour, pastel; Country landscape verso: Man drawing beside a gateway studies (two with brush), pencil on with shed, black ballpoint pen; to a house, recto: carbon pencil on cream wove paper; recto: Werri Creek Country road, ballpoint pen, charcoal; ivory wove paper verso: pencil; recto: and Mount Saddleback verso: Sketch Derwent River 1988, pastel, wash; Farm verso: Farmland, carbon pencil of Werri Creek, pencil on cream wove Farm, Tasmania 1967, fibre-tipped pen; on cream wove paper; recto: George paper; recto: Werri landscape verso: Figures in the landscape 1988, pastel, Lawrence at easel in a studio verso: Landscape and Sketch, charcoal turpentine wash; From Northwood George Lawrence, pencil on ivory pencil, pencil on cream wove paper; Point, black fibre-tipped pen, carbon wove paper; recto: Harbour view from River shoreline from Northwood, pencil, watercolour; Gerringong, pastel, Northwood verso: Towards Omega carbon pencil on cream wove paper; charcoal; Gerringong road, charcoal, ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 30

watercolour; The Harbour with a ferry Alan and Jan Rees, the artist’s son synthetic polymer paint; Antipodean 1978, charcoal; House by the beach and daughter-in-law man 1956, brush and brown synthetic 1988, pastel, wash; House, tree and a polymer paint; Cratered head late Lloyd Rees (Australia, 1895–1988), couple on a bench, pen and black ink, 1950s, brush and brown house untitled (Drawing of tree trunk) late carbon pencil, blue ink/watercolour paint; Antipodean man 1950s, brush 1930s, pencil on cream wove paper wash; Houses and the mountain 1988, and green house paint; Study for charcoal, turpentine wash; Landscape ‘Head’ 1956, brush and black and Albert and Barbara Tucker Foundation 1988, watercolour, pastel, scraping white house paint; kelly 1956–58, out; Landscape (Bathurst or Rockley), Albert Tucker (Australia, 1914–99), brush and brown house paint; Kelly charcoal, carbon pencil pastel wash/ thirteen paintings and sixty-one 1956–58, black fibre-tipped pen; watercolour; Landscape sketch, black drawings: Thames 1957, polyvinyl Sculptural head 1950s, black conté; ballpoint pen; Landscape with fence acetate, cardboard, hessian and recto: Explorer verso: Female nude 1988, pastel, wash; Landscape with sand on hardboard; Death of on beach 1958, black pastel, black road and rocky hill, black fibre-tipped Leichhardt 1959, polyvinyl acetate ink, watercolour; Studies ‘Explorer’ pen, black ballpoint pen, carbon pencil, and sand on hardboard; Bushrangers heads late 1950s, pencil; Study of a black ink wash; Opera House, pastel, 1958–63, synthetic polymer paint desiccated horse 1956, black fibre- wash; recto: Boats on the water (Lane on hardboard; After the bushfire tipped pen; Study of a desiccated Cove River) verso: Sydney Opera 1962–66, synthetic polymer paint, horse 1956, black fibre-tipped pen; House 1978, pastel, watercolour; recto: sand, leaves, bark on hardboard; Study for ‘Apocalyptic horse’ c1955, Landscape, Tasmania verso: Boat on Brolga 1963, synthetic polymer black fibre-tipped pen; Study for the river Derwent 1967, carbon pencil, paint on hardboard; Trees I 1964, oil, ‘Drought’ 1956, black fibre-tipped pen; balck ink wash, watercolour; River sandpaper on hardboard; Thames Carcase 1956, black fibre-tipped pen; and undulating hills (Mt Saddleback, study 1956, monotype, printed in Bathers late 1950s, black fibre-tipped pen; Sheet of studies 1950s–60s, Gerringong), charcoal, watercolour; black and brown ink, grey watercolour; Thames study 1956, monotype, black fibre-tipped pen; A face on the River landscape (Werri Creek), carbon printed in black ink on paper; Thames street 1964, charcoal, grey watercolour pencil, balck ink wash; River with study 1956–58, monotype, brown wash; Dead tree 1966, charcoal, white boat, crayon; Rocks, harbour and acrylic with scraping out; Cratered crayon; Mountain landscape 1, black city/Rocks and towers of Sydney head late 1950s, monotype, printed fibre-tipped pen; Mountain landscape Harbour 1960s–70s, charcoal, pastel in brown ink on paper; Antipodean 2, black fibre-tipped pen; Head, black wash; Rocky hillside (Tasmania), head 1950s, linocut, printed in black fibre-tipped pen; New man late 1950s– charcoal, watercolour wash; Rocky ink on paper; Self portrait 1980s, early 60s, black fibre-tipped pen; peaks, Tasmania 1987, pastel, crayon; monotype, printed in black ink with Antipodean head 1950s, blue fibre- Rounded hill (Bathurst), carbon white gouache highlights on paper; tipped pen; Antipodean head 1950s, pencil, watercolour; Rounded hills, recto: Self portrait verso: (self portrait) pen and black ink; Antipodean head as watercolour; Sandy Bay, the Derwent 1980s, monotype with black and white totem, brush and black ink; Abstracted 1982, charcoal, pastel, wash; Sea and highlights; Paddy 1932, pencil on laid landscape, brush and black ink rocks, Gerringong, charcoal, pastel paper; Father 1935, pencil; Study over monotype; Squatting man in wash; Sea, cliff and rocks, Gerringong of feet for ‘Cadaver’ c1943, black landscape 1960s, brush and black ink, late 1960s, charcoal, watercolour; conté; Portrait 1 early 1940s, black watercolour on textured wallpaper; Sydney – rocks, water and houses, conté, wash; Portrait 2 early 1940s, Old man seated, pencil, watercolour; carbon pencil, pastel, watercolour; black conté, wash; Woman’s head Starving seated man, pencil; Bull Sydney and the harbour (1960s), early 1940s, brush and black ink; Self early 1950s, wax crayon with scraping charcoal, watercolour; Sydney Opera portrait 1940s, pencil, charcoal; Self out; Hornet, black and yellow crayon; House 1978, pastel, wash, fibre-tipped portrait with bed 1940, pen and blue Seated female nude 1976, black conté, pen; Sydney view – Northwood to city ink, wash, black conté on lined writing gouache on brown paper; Explorer 1960s, carbon pencil, compressed paper; Mary Dickson, Paris 1949, 1976, crayon, gouache on textured charcoal, watercolour; Tasmanian charcoal on Naples yellow paper; paper; On the beach I 1977, charcoal, landscape 1987, pastel; Verandah, Female nude, seated and leaning watercolour; On the beach II 1977, black ballpoint pen; Water 1987, pastel; 1940s, pencil on paper; Female nude, pastel, gouache; Self portrait 1977, Water view 1987, pastel, wash; Water standing and leaning 1940s, pencil on pastel, watercolour; Explorer with view 1987, pastel wash; Werri Creek paper; Female nude 1940s, pencil on parrot 1978, pencil, pen and black landscape late 1960s–70s, carbon paper; Self portrait as a mask 1940s, ink, pastel, gouache, watercolour; pencil, watercolour, charcoal; Werri pencil; Harlequin late 1940s–early 50s, Antipodean head 1981, pencil on rocks late 1970s, charcoal, wash ink, crayon, watercolour, impasto in yellow paper; Study for ‘Bridge’ 1987, 31

charcoal, watercolour; No entry 1987, pencil on paper; Still life with golden John Kaldor and Jonathan Jones. black conté, watercolour, gouache on background 1986, charcoal and pastel Donated through the Australian heavy watercolour paper; Nude 1987, on paper Government’s Cultural Gifts Program charcoal, pastel, gouache; Explorer Jonathan Jones (Australia, b1978), 1988, black fibre-tipped pen, crayon, John Peart (Australia, 1945–2013), barrangal dyara (skin and bones) 2016, gouache; Nude looking in mirror Rabir Kirtan 1982, acrylic on canvas gypsum, audio 1980s, pastel, watercolour; Night form 1988, charcoal, watercolour; Night Tony Tuckson (Egypt; England; Reko Rennie. Donated through the image in Melbourne 1989, watercolour; Australia, 1921–73), one drawing and Australian Government’s Cultural The torment of love unsatisfied, two paintings: untitled (TD7072) 1968– Gifts Program the great torment of love satisfied 1973, charcoal on paper; Four uprights, 1989–90, black conté, gouache over red and black c1965, polyvinyl acetate Reko Rennie (Australia, b1974), monotype in black ink; Abstracted pigment on hardboard; untitled c1960, Regalia 2015, aluminium, steel, Antipodean head, charcoal enamel on hardboard synthetic polymers

Frank Watters. Donated through the Vicki Varvaressos (Australia, b1949), In memory of Janet and Norma Australian Government’s Cultural Still Life: West Australian gum Robertson 2018. Donated through Gifts Program blossoms 1985, synthetic polymer the Australian Government’s Cultural paint on hardboard Gifts Program Wally Barda (Australia, b1956), two drawings: Ends ravelling 2012, Kaapa Tjampitjinpa (Australia, c1920– Ken Whisson (Australia, b1927), watercolour on paper; Tulipfera 1997, 89), untitled (Kangaroo ceremony) Classical composition with hawk and watercolour on paper 1972, synthetic polymer paint on falcon 2013, oil on line composition board Mostyn Bramley-Moore (Australia, Subtotal: 329 works b1952), Tonneau 25 May 2014, pencil, Gene and Brian Sherman. Donated colour pencil, gouache and collage Aboriginal and Torres Strait through the Australian Government’s elements Islander art Cultural Gifts Program Jonathan Jones (Australia, b1978), Bob Jenyns (Australia, 1944–2015), untitled (illuminated tree) 2012, wood, two paintings and one drawing: Culture Ian Hill. Donated through the electrical cables, lighting (right wing) 1998, oil on canvas board; Australian Government’s Cultural Black dog red background 2000, oil on Gifts Program Subtotal: 7 works canvas board; Image of the Virgin 2001, Emily Kame Kngwarreye (Australia, Total: 336 works crayon and pastel on paper 1916–96), untitled (awelye) 1994, synthetic polymer on polyester canvas International art Pat Larter (England; Australia, 1936– 96), two paintings: Pat’s anger 1992, Christopher Hodges and Helen Eager. European art pre-1900 acrylic and mixed media on board; Donated through the Australian untitled 1994, acrylic and mixed media Government’s Cultural Gifts Program Michael Crane in memory of Dr Lee on board MacCormick Edwards Maxie Tjampitjinpa (Australia, c1945– Richard Larter (England; Australia, 97), untitled 1996, acrylic on polyester Sir Hubert von Herkomer (England; 1929–2014), three paintings: Five in canvas Germany, 1849–1914), two prints: a row show 1969, synthetic polymer Etched invitation to private viewing by paint on five composition board panels; Helen Johns, Judith O’Callaghan, Hubert von Herkomer with pen and untitled, Soldiers (The unenlightened Simeon Kronenberg, Diane Appleby, ink inscription to The Hon W Littleton or Limp blimps) 1965, alkyds and Lou Ewins and Vaughan Rees. and friends 1881, etching; It always epoxies on board; untitled (abstract Donated through the Australian gets worse and never gets better 1877, screen) 1984, acrylic on board, four Government’s Cultural Gifts Program watercolour and scraping out panels painted both sides Rusty Peters (Australia, b1935), Subtotal: 2 works Gamerre – What’s This Museum? Chris O’Doherty (Australia, b1951), two 2004, triptych: natural pigment with drawings: Transcendental Australian acrylic binder on Belgian linen canvas Jesus 1996, charcoal and colour ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 32

$12.5 million WORTH OF ART ACQUIRED

Asian art Korea John Conomos (Australia, b1947), Lake George (after Rothko) 2007, Kimsooja single-channel digital video, China Kimsooja (Korea, b1957), A needle colour, sound Anonymous gift woman 2009, single-channel digital video, colour, silent Daniel Crooks (New Zealand; Su Xiaobai (China, b1949), Australia, b1973), Static no. 13 Magnanimous – Blue 2016, oil and Subtotal: 1 work (Underwater flight recording) lacquer on linen and wood 2010, single-channel digital video, Indonesia colour, sound Mrs Vicki Liberman Andrew Cameron. Donated through Jingdezhen, Jiangxi Province, Blue the Australian Government’s Cultural Hayden Fowler (New Zealand; and White Chinese Bowl 1600s, Ming Gifts Program Australia, b1973), Goat odyssey dynasty 1368–1644, under glaze blue 2006, single-channel digital video, decoration Val Wens (Indonesia, b1974), six colour, sound photographs from the series Cinta Mati Professor Pierre and Mrs HF 2011: Cinta Mati #1 2011, pigment on Shaun Gladwell (Australia, b1972), Ryckmans silver rag paper; Cinta Mati #2 2011, Midnight traceur 2011, single-channel pigment on silver rag paper; Cinta Mati digital video, colour, silent Huang Binhong (China, 1865–1955), #3 2011, pigment on silver rag paper; Summer mountain 1940s, hanging Cinta Mati #4 2011, pigment on silver William Kentridge (South Africa, scroll; ink and colours on paper rag paper; Cinta Mati #5 2011, pigment b1955), I am not me, the horse is not on silver rag paper; Cinta Mati #6 2011, mine 2008, eight-channel digital tape Yang Zhichao pigment on silver rag paper (betacam) shown as eight-channel Yang Zhichao (China, b1963), digital video, colour, sound Jumaadi. Donated through the Washing, digital tape (HDCAM) shown Australian Government’s Cultural as single-channel digital video, colour, Jess MacNeil (Canada; England; Gifts Program sound Australia, b1977), Revolution Jumaadi (Indonesia, b1973), The 2011, single-channel digital video, Subtotal: 4 works bridge to Alengka 2014–15, red card; colour, sound cut out Japan Arlo Mountford (England; Australia, Subtotal: 7 works Geoff Ainsworth and Johanna b1978), The lament 2010–11, dual- Featherstone AM. Donated through channel digital animation, colour, the Australian Government’s Cultural Modern and contemporary art sound, framed photograph Gifts Program Anonymous gift. Donated through Marion Borgelt. Donated through Koganezawa Takehito (Japan; the Australian Government’s Cultural the Australian Government’s Cultural Germany, b1974), two multimedia: Gifts Program Gifts Program untitled (soft sculpture sunset) 2008, digital tape (HDCAM) shown as single- David Griggs (Australia, b1975), Marion Borgelt (Australia, b1954), channel digital video, colour, silent; Renewing the spirit no 4 2006, Bloodlight Optic Rhythm: nos. 1–9 untitled (neon) 2005, single-channel synthetic polymer paint on canvas 2002–03, pigment, oil, jute, timber digital tape (betacam), colour, silent Moya McKenna (Australia; England, Martin Browne. Founding patron Mai Yamashita (Japan, b1976) and b1973), Milk 2008, oil on linen of the Friends of New Zealand Art. Naoto Kobayashi (Japan, b1974), Donated through the Australian When I wish upon a star 2004, single- Anita and Luca Belgiorno-Nettis. Government’s Cultural Gifts Program channel digital video, colour, sound Donated through the Australian Israel Birch (New Zealand, b1976), Government’s Cultural Gifts Program Subtotal: 3 works Te wai-a-rangi 2015, lacquer on Daniel Canogar (Spain, b1964), Sikka stainless steel 2012, 140 movie DVDs, metal disc and rods, single-channel digital video, sound, pixel mapping program 33

Mikala Dwyer. Donated through the Sol LeWitt (United States of America, Puerto Rico 1995, black and white line Australian Government’s Cultural 1928–2007), Nine linocuts 2006, bound positive transparency; Moya, writer, Gifts Program book of nine colour linocuts Australia 1995, black and white line positive transparency; Ouliana, foreign Mikala Dwyer (Australia, b1959), Ben Quilty. Donated through the trader, Bulgaria 1995, black and white two sculptures and one painting: Australian Government’s Cultural line positive transparency; Wendy, Possession 2015, synthetic Gifts Program manager, Barbados 1995, black polymer paint on canvas, IKEA bed, and white line positive transparency; polyurethane, coins, stones, gems, Ben Quilty (Australia, b1973), The Last Yvonne, student, Yugoslavia Marys; Backdrop for Saint Jude 2015, Supper 2017 2017, oil on linen 1995, black and white line positive synthetic polymer paint on canvas, transparency ceramic, glass; Sigil for Heaven and John Sharpe. Donated through the Earth 2015, synthetic polymer paint Australian Government’s Cultural Chris Fortescue on canvas Gifts Program Chris Fortescue (Australia, b1953), Colin McCahon (New Zealand, 1919– Fraser Hopkins. Donated through three photographs: The blue album 87), Clouds 5 from the series Clouds the Australian Government’s Cultural 2015, pigment print; naturalism #12 1975, synthetic polymer paint on paper Gifts Program from the series naturalism 08 2008, mounted on hardboard pigment print; Road, Chris, Fog, Road Brent Harris (New Zealand; Australia, 027 from the series Rectified Searches b1956), Court 1993, oil on linen Penelope Seidler AM in memory 2007, pigment print of Harry Seidler AC OBE. Donated Tim Maguire. Donated through the through the Australian Government’s Gael Newton Australian Government’s Cultural Cultural Gifts Program Gifts Program Robyn Beeche (Australia, 1945–2015), Max Bill (Switzerland, 1908–94), Half Greasy pole II 1986, printed 2010, Tim Maguire (United Kingdom; sphere around one axis 1965–66, direct positive colour photograph Australia, b1958), Untitled 20081003 black granite 2008, diptych: oil on canvas Subtotal: 29 works Debra Phillips Tomislav Nikolic. Donated through Debra Phillips (Australia, b1958), the Australian Government’s Cultural Photography twenty photographs from the series Gifts Program The roundest object in the world – A to Z 2012: The roundest object Tomislav Nikolic (Australia, b1970), Geoffrey Batchen in the world – I 2012, gelatin silver 25: Galgaliel, Vibration, Somehow, I JW Lindt (Germany; Australia, printing-out-paper photograph from know that I am haunted to be wanted 1845–1926), untitled (reclining man) a series of 26; The roundest object 2003–04, triptych: synthetic polymer 1873, albumen photograph in the world – V 2012, gelatin silver paint and marble dust on canvas printing-out-paper photograph from Julia Champtaloup and Andrew a series of 26; The roundest object Vicki Olsson. Donated through the Rothery in the world – X 2012, gelatin silver Australian Government’s Cultural printing-out-paper photograph from Gifts Program Simryn Gill (Singapore; Malaysia; Australia, b1959), Eyes and storms 24 a series of 26; The roundest object John Currin (United States of 2012, printed 2013, ilfachrome print in the world – C 2012, gelatin silver America, b1962), seven prints from the printing-out-paper photograph from portfolio Milestones 2006: Girl in bed Daniel Mudie Cunningham. Donated a series of 26; The roundest object 2006, etching, aquatint and drypoint; through the Australian Government’s in the world – D 2012, gelatin silver Milestones 2006, etching, aquatint Cultural Gifts Program printing-out-paper photograph from and drypoint; The dream of the doctor a series of 26; The roundest object 2006, etching, aquatint and drypoint; Luke Roberts (Australia, b1952), Edie in the world – M 2012, gelatin silver The pink tree 2006, etching, aquatint 2010, giclée pigment print printing-out-paper photograph from and drypoint; Anna 2006, etching, a series of 26; The roundest object aquatint and drypoint; Dogwood 2006, Merilyn Fairskey in the world – B 2012, gelatin silver etching, aquatint and drypoint; Sho-bo Merilyn Fairskye (Australia, b1950), printing-out-paper photograph from 2006, etching, aquatint and drypoint five photographs from the series After a series of 26; The roundest object images 1995: Edwin, travel agent, in the world – E 2012, gelatin silver printing-out-paper photograph from ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 34

a series of 26; The roundest object National Art Archive Lynne Eastaway in the world – F 2012, gelatin silver The personal archive of Sydney Ball printing-out-paper photograph from The Archive made the following a series of 26; The roundest object acquisitions of particular note in Rayner Hoff and Stephen Henstock. in the world – G 2012, gelatin silver 2017–18. Donated through the Australian printing-out-paper photograph from Government’s Cultural Gifts Program a series of 26; The roundest object Alan and Jancis Rees. Donated The personal archive and library of in the world – H 2012, gelatin silver through the Australian Government’s Rayner Hoff printing-out-paper photograph from Cultural Gifts Program a series of 26; The roundest object in the world – J 2012, gelatin silver The personal archive of Lloyd Rees, Evan Hughes. Donated through the printing-out-paper photograph from along with selected books from his Australian Government’s Cultural a series of 26; The roundest object library and objects from his studio Gifts Program in the world – N 2012, gelatin silver The gallery archive of Ray Hughes printing-out-paper photograph from Andrew Klippel. Donated through a series of 26; The roundest object the Australian Government’s Cultural Kathy and Laurence Freedman. in the world – O 2012, gelatin silver Gifts Program Donated through the Australian printing-out-paper photograph from The personal archive of Robert Klippel Government’s Cultural Gifts Program a series of 26; The roundest object The Stills Gallery archive in the world – P 2012, gelatin silver Professor John Clark printing-out-paper photograph from His personal archive of research and a series of 26; The roundest object writings on contemporary art in Asia in the world – Q 2012, gelatin silver printing-out-paper photograph from Professor Donald Brook a series of 26; The roundest object in the world – T 2012, gelatin silver His personal archive of research and writings on conceptual art, printing-out-paper photograph from a series of 26; The roundest object in the the philosophy of art, non-verbal world – U 2012, gelatin silver printing- representation and cultural evolution out-paper photograph from a series of 26; The roundest object in the world – Y 2012, gelatin silver printing-out- paper photograph from a series of 26; The roundest object in the world – Z 2012, gelatin silver printing-out-paper photograph from a series of 26

Subtotal: 32 works Total: 78 works Total all departments: 414 works Total purchased and gifted in 2017–18: 647 works

RIGHT: Gallery installation team at work in Behind the scenes project. Photo © AGNSW 35

Exhibitions

The Gallery’s Domain in New South Wales, Queensland Maud Page and Jacquie Riddell. site hosted twenty-seven and Victoria and internationally to The tour of European old masters Christchurch, New Zealand. These 16th–19th century to Hazelhurst Arts exhibitions in 2017–18, seen exhibitions – 2016 Archibald Prize Centre was the first time those works by 1.3 million visitors. Of Regional Tour, 2017 Archibald Prize were displayed outside of the Gallery’s these, seven were ticketed Regional Tour, Landmarks: works from Old Courts, and received record exhibitions which attracted the John Kaldor & AGNSW collections, attendance for the tour venue. The over 495,000 visitors Brett Whiteley: other places 2016 Archibald Prize regional tour was (somewhere else), Close to home: the first Archibald Prize to be displayed including major projects Dobell Australian Drawing Biennial at Geelong Gallery; throughout its with the Rijksmuseum 2016, Matisse: Jazz and European old tour of Victoria and regional New and Musée de Cluny. Key masters 16th–19th century – were seen South Wales the exhibition was well strategic partnership by over 200,000 visitors. supported by participating artists through local education and public exhibitions included the first There were many highlights from these programming. Matisse: Jazz was iteration of The National touring exhibitions. Most notably, displayed at Christchurch Art Gallery Te with Carriageworks and the the openings for Landmarks: works Puna o Waiwhetu with key works from Museum of Contemporary Art from the John Kaldor & AGNSW their collection of New Zealand and Australia, and participation in collections, a key partnership between Pacific artists. the Gallery and the Blue Mountains the 21st Biennale of Sydney. Cultural Centre, at Tamworth Regional Gallery and Murray Art Museum Albury coincided with broad reaching and Touring program well-received Sydney Modern Project community consultation events. These Between July 2017 and June 2018, events were attended by Gallery the Art Gallery of New South Wales Trustees Gretel Packer (Tamworth)

toured seven exhibitions to major and Ashley Dawson Damer (Albury) BELOW: Auslan interpreter presents in Rembrandt state institutions and regional galleries and Gallery executives Michael Brand, and the Dutch golden age. Photo © AGNSW ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 36

Monthly Gallery visitors 2013–18

BW Regional Total visitors Total visitors Total visitors Total visitors Total visitors Domain Studio touring Month 2013–14 2014–15 2015–16 2016–17 2017–18 2017–18 2017–18 2017–18 July 101,535 194,761 109,343 207,223 118,691 102,671 1508 14,512 August 87,890 119,222 135,525 160,847 150,683 130,256 890 19,537 September 91,766 107,699 109,862 136,592 131,689 113,129 1179 17,381 October 92,808 91,988 112,830 135,663 155,265 109,138 1045 45,082 November 96,539 118,653 106,079 135,329 164,511 110,631 1084 52,796 December 89,217 102,056 94,621 99,838 126,815 105,166 554 21,095 January 116,089 118,686 146,793 150,967 147,156 132,570 1048 13,538 February 80,334 119,806 119,763 115,969 154,579 148,723 1192 4664 March 102,956 100,388 81,850 127,911 114,453 110,213 1398 2842 April 114,819 83,525 95,966 116,820 111,142 107,213 1231 2698 May 101,995 76,696 85,420 107,544 116,001 109,929 965 5107 June 87,743 70,027 88,223 92,683 116,732 111,297 1441 3994 YTD TOTAL 1,163,691 1,303,507 1,286,275 1,587,386 1,607,717 1,390,936 13,535 203,246

Paid exhibition program

Exhibition Months Visitors O’Keeffe, Preston, Cossington Smith: making modernism July – October 36,935 Archibald, Wynne and Sulman prizes 2017 July – October 134,766 Robert Mapplethorpe: the perfect medium October – March 34,415 Rembrandt and the Dutch golden age: masterpieces from the Rijksmuseum November – February 130,206 The lady and the unicorn February – June 86,031 Archibald, Wynne and Sulman prizes 2018 May – September 72,816* TOTAL 495,189

*Note: Visitor numbers from 1 July 2017 to 30 June 2018 for exhibitions running over two financial years. 37

List of exhibitions

Dates Exhibition Ticketed Tour Catalogue 15.10.2016 – 06.08.2017 Primary structures and speculative forms 04.06.2016 – 08.10.2017 Sentient lands 30.03.2017 – 16.07.2017 The National 2017: new Australian art X 15.04.2017 – 23.07.2017 David Stephenson: human landscapes 19.05.2017 – 19.11.2017 Brett Whiteley: west of the divide X 27.05.2017 – 2019 Glorious: earthly pleasures and heavenly realms 02.06.2017 – 03.12.2017 Victorian watercolours X 24.06.2017 – 07.01.2018 Passion and procession: art of the Philippines 24.06.2017 – 08.10.2017 Mervyn Bishop X 01.07.2017 – 02.10.2017 O’Keeffe, Preston, Cossington Smith: making modernism X X X 29.07.2017 – 22.10.2017 Archibald, Wynne and Sulman prizes 2017 X X X 29.07.2017 – 29.10.2017 Australian art and the Russian avant-garde 16.08.2017 – 11.02.2018 Pat Brassington: the body electric 19.08.2017 – 11.02.2018 Something living 19.08.2017 – 11.02.2018 Out of the ordinary: works from the ARTAND Emerging Artist Collection 26.08.2017 – 04.02.2018 Mikala Dwyer: a shape of thought X 09.09.2017 – 12.08.2018 Unpainting 13.10.2017 – 19.11.2017 Brett Whiteley Travelling Art Scholarship 2017 27.10.2017 – 04.03.2018 Robert Mapplethorpe: the perfect medium X X 28.10.2017 – 28.01.2018 Glen Mackie and Daniel O’Shane 11.11.2017 – 18.02.2017 Janet Laurence: the matter of the masters 11.11.2017 – 18.02.2018 Rembrandt and the Dutch golden age: masterpieces from the Rijksmuseum X X 24.11.2017 – 25.03.2017 Brett Whiteley: beach 26.01.2018 – 25.04.2018 ARTEXPRESS 2018 10.02.2018 – 24.06.2018 The lady and the unicorn X X 03.03.2018 – 29.04.2018 Ewa Pachucka: Arcadia: landscape and bodies 16.03.2018 – 11.06.2018 21st Biennale of Sydney: Superposition: equilibrium and engagement 12.05.2018 – 09.09.2018 Archibald, Wynne and Sulman prizes 2018 X X X 12.05.2018 – 09.09.2018 Henry VR 12.05.2018 – 29.07.2018 Hold still: the photographic performance ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 38

Regional exhibitions

Dates Venue Location Exhibition Attendance 27.04.2017 – 02.07.2017 Cairns Regional Gallery Cairns, QLD Brett Whiteley: other places (somewhere else) 194 06.05.2017 – 02.07.2017 Western Plains Cultural Centre Dubbo, NSW Close to home: Dobell Australian Drawing Biennial 2016 482 19.05.2017 – 02.07.2017 Hawkesbury Regional Gallery Windsor, NSW Archibald Prize regional tour – 2016 329 09.06.2017 – 13.08.2017 Tamworth Regional Gallery Tamworth, NSW Landmarks: works from the John Kaldor & AGNSW collections 2316 07.07.2017 – 20.08.2017 Western Plains Cultural Centre Dubbo, NSW Archibald Prize regional tour – 2016 15,333 15.07.2017 – 17.09.2017 Caboolture Regional Gallery Caboolture, QLD Brett Whiteley: other places (somewhere else) 3289 06.08.2017 – 12.11.2017 The Christchurch Art Gallery Christchurch, Te Puna o Waiwhetu New Zealand Matisse: Jazz 46,865 27.09.2017 – 03.12.2017 Hazelhurst Arts Centre Gymea, NSW European old masters 16th–19th century 24,574 29.09.2017 – 04.12.2017 Murray Art Museum, Albury Albury, NSW Landmarks: works from the John Kaldor & AGNSW collections 5823 29.09.2017 – 03.12.2017 Tweed Regional Gallery and Murwillumbah, Brett Whiteley: other places Margaret Olley Arts Centre NSW somewhere else) 19,703 27.10.2017 – 10.12.2017 Geelong Gallery Geelong, VIC Archibald Prize regional tour – 2017 44,395 09.12.2017 – 04.02.2018 Gosford Regional Gallery Gosford, NSW Brett Whiteley: other places (somewhere else) 17,990 15.12.2017 – 28.01.2018 Murray Art Museum, Albury Albury, NSW Archibald Prize regional tour – 2017 4880 02.02.2018 – 18.03.2018 Grafton Regional Gallery Grafton, NSW Archibald Prize regional tour – 2017 4522 23.03.2018 – 06.05.2018 Casula Powerhouse Arts Centre Casula, NSW Archibald Prize regional tour – 2017 5544 11.05.2018 – 24.06.2018 Newcastle Art Gallery Newcastle, NSW Archibald Prize regional tour – 2017 6821 29.06.2018 – 19.08.2018 Goulburn Regional Art Gallery Goulburn, NSW Archibald Prize regional tour – 2017 186

*Note: Attendance from 1 July 2017 to 30 June 2018 only for exhibitions running over two financial years. 39

Registration

During the 2017–18 Australia, National Art School, Museum la Cité at dusk 1990, charcoal, pen and financial year, Registration of Applied Arts and Sciences. black ink, gouache, collage, plaster on canvas; The island 1967, gouache, pen administered and packed Registration supervised visits from and ink, collage on hardboard; Jenny’s the outward loan of 512 works 431 people to the offsite storage Lake c1983, brush and black ink, wash of art from the collection centre, including tertiary art students, on rice paper; Lovers on a park bench to sixty-five national benefactors, institutional colleagues 1989, gelatin silver photograph; New cultural institutions and and members of the public viewing York 1 1968, oil, collage, chrome and specific works in the collection. mixed media on plywood; Pages from two international cultural New York Sketchbooks 1967, assor ted institutions. Registration also The Registration department continued sketchbook material loosely bound managed the new or renewed to manage the Gallery’s Print Study (ten pages); Paris I (with bridges) 1990, inward long-term loan of 223 Room and Works on Paper Store and charcoal, pencil, ink, collage, synthetic the offsite collection store. twine on canvas; Pigalle 1989, brush objects from eighteen lenders and black ink on white wove Arches for collection purposes. Gallery touring exhibitions paper; The pink heron 1969, synthetic polymer paint on hardboard; The Pont Neuf in evening light 1989, pen and The department managed 1406 Brett Whiteley: other places brush and sepia ink on tan cardboard; movement requests to relocate 6195 (somewhere else) Portrait of Jean-Paul Sartre glimpsed collection artworks and undertook the Caboolture Regional Gallery, from a taxi 1989, pencil, pastel, brush collection inventory of the Australian Art 14 July – 17 September 2017 and black ink, collage on white Arches Collection comprising 15,637 works. Tweed Regional Gallery and Margaret wove paper; The roofs in the rain 1990, Olley Art Centre, charcoal, ink, oil, collage, plaster on During 2017–18 the Gallery was 29 September – 3 December 2017 canvas; Rue du Sabot 1989, silver loaned 429 artworks in thirty-two gelatin photograph, black gouache; Gosford Regional Gallery and Arts consignments from international Rue Fromage 1989, pencil, pen and Centre, 9 December – 1 February 2018 lenders, including private collections black ink, synthetic polymer paint, and leading institutions comprising Brett Whiteley, The 15 great dog pisses collage on white wove Arches paper; Kunsthal Rotterdam, Los Angeles of Paris 1989, charcoal, oil, collage, Self portrait drawing calligraphically County Museum of Art, Georgia wax, plaster on canvas; Palm tree (Bali) 1975, black ink on brown paper; O’Keeffe Museum, Rijksmuseum, 1976, pen and brush and black ink Sleeping children (Japan) 1989, gelatin Christchurch Art Gallery Te Puna o on canvas on board; Acrobat (Japan) silver photograph; St. Germain-des- Waiwhetu and the Musée de Cluny – 1989, gelatin silver photograph; Bali Prés with Picasso sculpture and poster Musée national du Moyen Âge. c1971, gouache, ink and collage on 1989, gelatin silver photograph; Street paper; Balinese dancer 1975, brush poster and the traffic on St. Michel The Gallery was also loaned 1034 and black ink on two sheets of white 1989, silver gelatin photograph; View artworks in 121 consignments from laid paper mounted on black board; from taxi (Japan) 1989, gelatin silver Australian lenders, including private Balzac at 4.26am (after 4th coffee) photograph; View of Paris I 1982, collections and institutions comprising 1989, brush and black ink on ivory charcoal, graphite, oil, cardboard, Western Plains Cultural Centre, Arches wove paper; Bob Dylan (... wood, plaster on plywood; Vision of Hawkesbury Regional Gallery, Murray You realise he’s not selling any alibis) Queensland (Preliminary drawing for Art Museum Albury, Grafton Regional 1972, brush and black ink on silk; Bus oil painting) 1981, pencil, charcoal, Gallery, Geelong Gallery, Casula stop in Bali 1980, pen and brush and conté, pen and black ink, gouache Powerhouse Arts Centre, Newcastle brown ink on brown paper; Colette on off-white wove paper; Watching Art Gallery, Goulburn Regional Art 1989, black conté on white Arches BFK Josephine Baker on video at midday Gallery, Museum of Contemporary Art, Rives wove paper; Dizzy Gillespie 1974, 1989, pencil, collage on white wove Carriageworks, Australian Museum, brush and brown ink, collage on ivory paper; Wategoes Beach III 1989, brush Monash University Museum of Art, wove paper; Glasshouse Mountains and black ink on rice paper on white Artspace, National Gallery of Australia, 1978, pencil, pen and brush and black wove paper; Wategoes Beach no. Art Gallery of South Australia, National ink, watercolour, gouache on cream 17 1989, pencil, charcoal, gouache, Gallery of Victoria, Shepparton Art wove paper; The green mountain (Fiji) collage on white wove paper; Window Museum, Mosman Art Gallery, Bendigo 1969, oil, collage on cardboard; Henri cleaners (Japan) 1989, gelatin silver Art Gallery, Queensland Art Gallery Matisse reading a newspaper in the photograph | Gallery of Modern Art, Biennale Luxembourg Gardens 1989, brush and of Sydney, Art Gallery of Western black ink on ivory wove paper; Ille de ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 40

512 GALLERY ARTWORKS LOANED

Henri Matisse: Jazz paint, photographs; Sir Richard Long, on canvas; Joseph Wright of Derby, A moved line in Japan 1983, text Margaret Oxenden early 1740s, oil Christchurch Art Gallery, work in red and black; Sir Richard on canvas; Matthias Stomer, Mucius 6 August – 12 November 2017 Long, A hundred mile walk along a Scaevola in the presence of Lars straight line in Australia 1977, three Porsenna c1757–c1759, oil on canvas; Henri Matisse, The circus 1947, colour gelatin silver photographs, pencil on Richard Wilson, St Peter’s and the stencil; The clown 1947, colour stencil; board; Sir Richard Long, Circle in Vatican from the Janiculum, Rome The Codomas 1947, colour stencil; The Africa 1978, gelatin silver photograph, early 1640s, oil on canvas; Sir Joshua cowboy 1947, colour stencil; Destiny coloured pencil on board; Sir Richard Reynolds, Stephen Croft 1757– 64, oil 1947, colour stencil; Forms 1947, colour Long, Sydney Harbour driftwood on canvas; Sir Charles Lock Eastlake, stencil; The heart 1947, colour stencil; 1977, driftwood, sixteen pieces; Sir An antique rural scene 1760, oil on The horse, the rider and the clown Richard Long, River Avon mud drawing canvas; Johann Georg Platzer, The 1947, colour stencil; Icarus 1947, colour 1983, mud on paper; Andreas Gursky, sculptor’s studio 1823–24, oil on stencil; Jazz 1947, artist’s illustrated Meersbusch, Krefeld 1989, type C copper panel; William Hamilton, Christ book of twenty colour stencils on photograph; Simryn Gill, Vegetation and the woman of Samaria 1730, oil Vélin d’Arches; The knife thrower 1999, five gelatin silver photographs; on canvas; Sir Henry Raeburn, John 1947, colour stencil; The lagoon 1947, Imants Tillers, Counting: one, two, Spottiswoode of Spottiswoode 1792, colour stencil; Monsieur Loyal 1947, three 1988, synthetic polymer paint, oil on canvas; Francis Danby, The colour stencil; The nightmare of the gouache, oilstick on 162 canvas three sisters of Phaethon weeping white elephant 1947, colour stencil; boards; Andy Goldsworthy, Leaf over the tomb of their brother c1820, Pierrot’s funeral 1947, colour stencil; throws, Blairgowerie, Perthshire, oil on canvas; Giovanni Domenico The swimmer in the tank 1947, colour Tayside, 3 January 1989 1989, four Tiepolo, The apotheosis of a pope and stencil; The sword swallower 1947, Cibachrome photographs, unique martyr 1841–45, oil on canvas; Jacopo colour stencil; The toboggan 1947, prints; Christo, Wrapped Vestibule, Amigoni, Bacchus and Ariadne colour stencil; The wolf 1947, Project for the Art Gallery of New colour stencil c1780–1785, oil on canvas; Sir Joshua South Wales, Sydney 1990, collage: Reynolds, James Maitland, 7th Earl of photograph by Tim Marshall, pencil, Lauderdale c1740–c1742, oil on canvas; Landmarks: works from the John charcoal, enamel paint, wax crayon, Philippe Jacques de Loutherbourg, A Kaldor & AGNSW collections canvas, 1930 shipwreck off a rocky coast 1759– 60, Tamworth Regional Gallery, oil on canvas; Nicolas de Largillierre, 9 June – 13 August 2017 European old masters 16th–19th Portrait of an officer 1760s, oil on Murray Art Museum Albury, century from the Art Gallery of canvas; John Glover, Ullswater, early 29 September – 26 November 2017 New South Wales morning c1714–c1715, oil on canvas; Hazelhurst Regional Gallery and Frans Snyders, The boar hunt c1824, oil Christo, Wrapped Book Modern Arts Centre, on canvas; Richard Westall, Landscape Art 1978, polyethylene, twine, book; 28 September – 3 December 2017 – solitude c1650s, oil on canvas; David Christo, Package 1967, polyethylene, Roberts, Edinburgh from the Calton fabric, rope, staples; Christo, Wrapped Nicolò dell’Abate, Portrait of a Hill 1858, oil on canvas Island, Project for South Pacific Ocean gentleman with a falcon c1548–c1550, 1970, collage: pencil, fabric, twine, oil on canvas; Jean-Marc Nattier, staples, photograph, crayon, charcoal, Madame de La Porte 1754, oil on Long-term inward loans pastel, Perspex box; Christo, Wrapped canvas; Luca Cambiaso, Holy Family Paintings 1968, stretched canvases, with St John the Baptist c1578, oil John Kaldor AM tarpaulin, rope; Christo, Packed Coast, on canvas; Canaletto, The Piazza 1 July 2017 – 30 June 2022 One Million Square Feet, Project for San Marco, Venice 1742–1746, oil on Australia 1969, scale model: fabric, canvas; Bernardo Strozzi, The release Francis Alÿs, Untitled 1999, mixed rope, twine, staples, cardboard, wood, of St Peter c1635, oil on canvas; Jan media on tracing paper; Francis Alÿs, plaster, paint, pencil, Perspex; Christo, van Bijlert, Girl with a flute c1630, oil Untitled (study for The modern The Gates, Project for Central Park, on canvas; Giulio Cesare Procaccini, procession) 2002, collage, oil and NYC 1985, diptych: pencil charcoal, The dead Christ on the cross with pencil on tracing paper; Francis Alÿs, pastel, wax crayon, enamel paint, three Sts Mary Magdalene, Augustine Railings 2004, digital tape (betacam) photographs by Wolfgang Volz and and Jerome, and angels c1618, oil shown as single-channel digital video, map; Christo, Surrounded Islands, on canvas; Thomas Gainsborough, colour, sound; Francis Alÿs, Sleepers II Project for Biscayne Bay, Greater Samuel Kilderbee c1758, oil on canvas; 2001, eighty 35 mm slides, colour, Miami, Florida 1982, diptych: pencil, William Hogarth, Dr Benjamin Hoadly carousel projector; Francis Alÿs, The pastel, charcoal, wax crayon, enamel MD c1783 (partially repainted), oil last clown 2001, digital tape (betacam) 41

shown as single-channel digital video and pins; Paul Chan, A free press photograph, crayon, charcoal, pastel, animation, black and white, sound; (formerly Ursa Minor) 2005, archival Perspex box; Daniel Crooks, Elevator Francis Alÿs, Three men in cravats inkjet print; Paul Chan, A jury of peers no.3 2002, single-channel digital video, triptych 1995, oil on board, enamel on (formerly Aquarius) 2005, archival inkjet colour, silent; Daniel Crooks, Static metal series consisting of one painting print; Paul Chan, Democracy to come no.6 2003, single-channel digital video, by Francis Alÿs (left) and sign paintings (formerly Ursa Major) 2005, archival colour, sound; Aleks Danko, Art stuffing by Juan Garcia (centre) and Emilio inkjet print; Paul Chan, Distributive 1970, synthetic polymer paint on paper Rivera (right); Francis Alÿs, Untitled justice (formerly Orion) 2005, archival stuffed hessian bag; Aleks Danko, Just 2005, mixed media on tracing paper; inkjet print; Paul Chan, Freedom of one more light work 1974, chair, light Francis Alÿs, Untitled (man asleep with speech (formerly Centaurus) 2005, sockets, bulbs, electrical flex, wheels, hand on head) 2000, chalk; Francis archival inkjet print; Paul Chan, No Traffolyte panels; Aleks Danko, Log Alÿs, Untitled (man curled asleep) cruel and unusual punishment dog 1970, wood, metal, chain, leather, 2000, chalk; Francis Alÿs, Untitled (formerly Perseus) 2005, archival inkjet casters; Thomas Demand, Modell/ (study for The modern procession, and print; Paul Chan, No taxation without Model 2000, type C photograph/ Girl with skeleton) 2001, collage, oil and representation (formerly Andromeda) Diasec; Thomas Demand, Recorder pencil on tracing paper; Francis Alÿs, 2005, archival inkjet print; Paul Chan, 2002, 35 mm film, colour, optical Untitled (study for The modern Right to keep and bear arms (formerly sound; Thomas Demand, Rolltreppe/ procession II) 2002, collage, oil and Cancer) 2005, archival inkjet print; Paul Escalator 2000, 35 mm film, colour, pencil on tracing paper; Francis Alÿs, Chan, Right to peaceably assemble optical sound; Gilbert and George, Dig Untitled (study for The modern (formerly Cassiopeia) 2005, archival 2005, mixed media; Shaun Gladwell, procession III) 2000, collage, oil and inkjet print; Paul Chan, Separation of Approach to Mundi Mundi 2007, digital pencil on tracing paper; Francis Alÿs, church and state (formerly Gemini) tape (DVCProHD) shown as dual- Untitled (study for The modern 2005, archival inkjet print; Paul Chan, channel digital video, colour, silent; procession – Frida Kahlo) 2001, Beginning of love, end of war V 2006, Andreas Gursky, Chicago Mercantile collage, oil and pencil on tracing paper; charcoal on paper; Paul Chan, Exchange 1997, type C photograph; Carl Andre, Steel-copper plain 1969, Beginning of love, end of war III 2005, Andreas Gursky, Meersbusch, Krefeld steel and copper; Bernd Becher, Hilla charcoal on paper; Paul Chan, Untitled 1989, type C photograph; Gary Hill, Becher, Coal mines and steel plants (drawing for 5th light) 2006, charcoal Liminal objects #5 1996, analog disc printed 1988, four unique gelatin silver and cut paper; Paul Chan, Untitled (laserdisc) shown as single-channel photographs; Bernd Becher, Hilla (drawing for 5th light) 2006, charcoal digital video, black and white, silent, Becher, Cooling towers, Germany and cut paper; Christo, Package 1967, modified CRT monitor, metal stand; 1964–93, printed 2003, nine gelatin polyethylene, fabric, rope, staples; Jeff Koons, Basketball 1985, bronze; silver photographs; Bernd Becher, Hilla Christo, The Gates, Project for Central Jeff Koons, Split-rocker (green/blue) Becher, Framework houses 1959–71, Park, NYC 1985, diptych: pencil 1999, polychromed aluminium; Jeff printed 2000, fifteen gelatin silver charcoal, pastel, wax crayon, enamel Koons, Art Magazine Ads 1988–89, photographs; Bernd Becher, Hilla paint, three photographs by Wolfgang portfolio of four colour lithographs; Becher, Quenching towers: Zeche Volz and map; Christo, Packed Coast, Michael Landy, Common dandelion Hugo, Gelsenkirchen, D 1978, printed One Million Square Feet, Project for 2002, etching; Michael Landy, Feverfew 2004–05, gelatin silver photograph; Australia 1969, scale model: fabric, 2002, etching; Michael Landy, Four Bernd Becher, Hilla Becher, Blast rope, twine, staples, cardboard, wood, walls 2004, digital tape (DVCAM) shown furnaces, Germany, France, plaster, paint, pencil, Perspex; Christo, as single-channel digital video, colour, Luxembourg, United States 1970–84, Running Fence, Project for Sonoma sound; Michael Landy, H.2.N.Y. printed 1989, twelve gelatin silver and Marin Counties, State of California Self-destroying work of art 2006, oil photograph; Bernd Becher, Hilla 1974, collage: fabric, staples, stick on paper; Michael Landy, Michael Becher, Quenching towers: Zeche cardboard, brown paper, pencil, Landy’s (lifestyle) destruction of Emscher-Lippe, Datteln, D 1985, charcoal, crayon, ballpoint pen; Christo, personal property 1998, pen and ink printed 2004–05 gelatin silver Surrounded Islands, Project for on paper; Michael Landy, Michael photograph; Vanessa Beecroft, Biscayne Bay, Greater Miami, Florida Landy’s (lifestyle) household contents VB40.070.VB.POL 1999, digital type C 1982, diptych: pencil, pastel, charcoal, 2002, pen and ink on paper; Michael photograph; Daniel Buren, Frise 1979, wax crayon, enamel paint, Landy, Drawing (2) 2007, charcoal on work in situ; Christian Capurro, photographs; Christo, The Umbrellas, paper; Michael Landy, Painting (1) Compress (pit of doublivores) 2006– Project for Japan and Western USA 2007, paint on metal; Michael Landy, 07, fourteen works-on-paper drawn 1986, collage: wax crayon, pastel, Sculpture 2007, paint on metal; Michael under the pressure of erasing other fabric, pencil; Christo, Wrapped Island, Landy, Scrapheap services 1995, ink images then corrected, magazine Project for South Pacific Ocean 1970, on paper; Michael Landy, Shelf life pages with erasure, correction fluid, ink collage: pencil, fabric, twine, staples, 2004, 16 mm film shown as single- ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 42

channel digital video, colour, sound; shown as dual-channel digital video, recto: pencil, synthetic polymer paint Michael Landy, Print 2007, ink on colour, sound; Saskia Olde Wolbers, on linen verso: collaged newspaper; paper; Sol LeWitt, Non-geometric form Placebo 2002, digital tape (betacam) Ugo Rondinone, (splotch) #2 1999, painted fiberglass; shown as single-channel digital video, SIEBENUNDZWANZIGSTER- Sol LeWitt, Non-geometric form colour, sound; Saskia Olde Wolbers, JANUARZWEITAUSENDUNDNULL (splotch) #6 1999, painted fiberglass; Trailer 2005, digital tape (betacam) 2000, ink on paper, wooden frame, Sol LeWitt, Non-geometric form shown as single-channel digital video, Plexiglass plaque with caption; Ugo (splotch) #4 1999, painted fiberglass; colour, sound; Nam June Paik, Video Rondinone, Sol LeWitt, Non-geometric form design 1985, type C photograph; Nam FUENFZEHNTERFEBRUARZWEIT- (splotch) #3 1999, painted fiberglass; June Paik, TV birds 1976, coloured AUSENDUNDZWEI 2002, ink on paper, Sol LeWitt, Non-geometric form pencil on paper, twelve panels; Nam wooden frame, Plexiglass plaque with (splotch) #1 1999, painted fiberglass; June Paik, TV faces 1976, coloured caption; Ugo Rondinone, Sol LeWitt, Non-geometric form pencil on paper, twelve panels; Paul siebterdezember- (splotch) #5 1999, painted fiberglass; Pfeiffer, Caryatid 2004, single-channel zweitausendundfuenf 2005, recto: Sol LeWitt, Pyramid 2005, painted digital video, colour, silent, chromed pencil, synthetic polymer paint on linen wood; Sol LeWitt, Wall structure 54321 television with inbuilt DVD player; Paul verso: collaged newspaper; Ugo 1979, baked enamel on brass with Pfeiffer, Corner piece 2004, single- Rondinone, black line (five pieces); Sol LeWitt, channel digital video, colour, silent, SECHSUNDZWANZIGSTER- Rectangle – open 1977, painted wood; monitor with metal armature, DVD AUGUSTZWEITAUSENDUNDNULL Sol LeWitt, All two part combinations player; Paul Pfeiffer, Goethe’s message 2000, synthetic polymer paint on of arcs from four corners, arcs from to the New Negroes 2001, single- polyester, Plexiglass plaque with four sides, straight, not-straight and channel digital video, colour, silent, caption; Peter Rostovsky, Epiphany broken lines in four directions 1977, ink monitor with metal armature, DVD model: the painter 2004, oil on linen, and pencil on paper; Sol LeWitt, Form player; Paul Pfeiffer, Goethe’s message super-sculpey, wood, plastic, paper, derived from a cube 1982, pencil on to the New Negroes 2002, single- flocking, synthetic polymer paint; paper; Sol LeWitt, Form derived from a channel digital video, colour, silent, Gregor Schneider, Totes Haus u r Im cube 1982, pencil on paper; Sol LeWitt, monitor with metal armature, DVD Kern Venedig 2001, gelatin silver Irregular grid 2001, gouache on paper; player; Richard Prince, American photograph; Gregor Schneider, Totes Sol LeWitt, Tangled bands 2002, English (If I die in a combat zone) 2006, Haus u r Keller Venedig 2001, gelatin gouache on paper; Sol LeWitt, Tangled two books in a case made of bondo, silver photograph; Gregor Schneider, bands 2002, gouache on paper; Sol synthetic polymer paint and wood; Totes Haus u r Unter im Kern Venedig LeWitt, The location of twenty-one Richard Prince, Untitled (cowboy) 2001, gelatin silver photograph; lines with lines from midpoints mostly 1980–89, Ektacolor photograph; Thomas Struth, Chicago Board of 1974, pencil and ink and paper; Sol Richard Prince, Untitled (sunset) 1981, Trade I, Chicago 1990, type C LeWitt, The location of six geometric Ektacolor photograph; Richard Prince, photograph; Ricky Swallow, Picture a figures 1975, pencil and ink on paper; Untitled (hippie drawing) 2000–05, ink screaming sculpture 2003, piezo Sir Richard Long, A hundred mile walk and synthetic polymer paint on paper; pigment print on hahnemuhle paper, along a straight line in Australia 1977, Robert Rauschenberg, Nugget 1976, moulded frame, museum glass; Meyer three gelatin silver photographs, pencil fabric, bamboo pole, string, tin cans; Vaisman, Not just shelf 1986, process on board; Sir Richard Long, A moved Robert Rauschenberg, Zurich pool glut inks, polyester on canvas; Daniel von line in Japan 1983, text work in red and 1988, assembled metal parts; Ugo Sturmer, Limits of the model black; Sir Richard Long, Circle in Africa Rondinone, all MOMENTS stop here (sequence 3) 2006, single-channel 1978, gelatin silver photograph, and together we become every digital video, colour, silent; Daniel von coloured pencil on board; Sir Richard memory that has ever been. 2002, Sturmer, The truth effect 2003, Long, Sydney Harbour driftwood 1977, Plexiglass; Ugo Rondinone, five-channel digital video, colour, driftwood, sixteen pieces; Sir Richard fuenfterdezember- sound, projectors, custom table and Long, River Avon mud drawing 1983, zweitausendundfuenf 2005, recto: screens; Christo, Wrapped Book mud on paper; Sir Richard Long, River pencil, synthetic polymer paint on linen Modern Art 1978, polyethylene, twine, Avon mud drawing 1983, mud on verso: collaged newspaper; Ugo book; Christo, Wrapped Vestibule, paper; Sir Richard Long, Spring Rondinone, sechsundzwanzigster- Project for the Art Gallery of New showers circle 1992, delabole (Cornish) septemberzweitausendundfuenf 2005, South Wales, Sydney 1990, collage: slate, Barry McGee, Untitled (man with recto: pencil, synthetic polymer paint photograph by Tim Marshall, pencil, baseball hat) 2000, housepaint on on linen verso: collaged newspaper; charcoal, enamel paint, wax crayon; Sol metal, seventy panels; TV Moore, The Ugo Rondinone, sechsundzwanzigster- LeWitt, Wall Drawing #1274: Scribble dead zone 2003, digital tape (betacam) septemberzweitausendundfuenf 2005, Column (Horizontal) 2006, graphite; Sol 43

LeWitt, Yellow circles and arcs from SH Ervin Gallery Nelson Meers Foundation four sides 1972, ink on paper; Sol 1 July 2017 – 30 June 2022 16 December 2017 – 15 December LeWitt, Wall drawing #871: A black 2018 square divided vertically by a wavy Horse and rider, Tang dynasty 618–907, line. Left: glossy; right: flat 1998, earthenware covered in chesnut cream Sidney Nolan, Giggle Palace 1945, synthetic polymer paint; Paul Chan, and olive glaze; head hands and calves Ripolin enamel on hardboard Untitled 2011, oil paint on book cover; of rider unglazed Paul Chan, Untitled 2011, oil paint on Eddy Batache and Reinhard Hassert book cover; Paul Chan, Untitled 2011, Michael Whitworth 27 February 2018 – 27 February 2021 oil paint on book cover; Allora & 28 August 2017 – 27 August 2022 Calzadilla, Intermission (Halloween Iraq Francis Bacon, Study for portrait of 2) 2008, hand made paper prints from James Angus, Seagram building 2000, Reinhard Hassert, Study for portrait wood template (ink on muslin); Allora & spruce, composition board, plexiglass; of Eddy Batache 1979, oil on canvas; Calzadilla, Petrified Petrol Pump 2010, Rosemary Laing, NASA – Dryden Eugène Delacroix, Study for fantasia fossil–filled limestone; Allora & Flight Research Centre #1 1998, type 1832, watercolour; Eugène Delacroix, Calzadilla, Shapeshifter 2015, used C photograph; Micah Lexier, A minute Heads of Arabs 1832, pen and sandpaper on canvas; Daniel von of my time 2001, waterjet-cut hot-rolled black ink; Palma Giovane, Study for Sturmer, Material from another steel, metal posts Flagellation c1613, pen and brown medium (sequence 2) 2001, single- ink; Donald Friend, The Antipodeans channel digital video, colour, sound; Peter Towson 1966–70, sketchbook Wilhelm Sasnal, Two men at a rail 2010, 20 October 2017 – 20 October 2019 oil on canvas; Paul Chan, 4th light Nicola Forrest Sydney Ball, Canto no 10 1965, 2006, single-channel computer- 1 March 2018 – 1 March 2019 synthetic polymer paint on canvas; generated projection, colour, silent; Sydney Ball, Transoxiana 9 1968, Emily Kame Kngwarreye, Earth’s Paul Chan, Oh why so serious? 2008, synthetic polymer paint on canvas Creation I 1994, synthetic polymer plastic and electronics, computer paint on Belgian linen keyboard; Gregor Schneider, Schatten Clinton Ng Fenster 1996, mixed media: paint, Michael Sternberg lacquer, window; Stanley Whitney, Just 23 October 2017 – 22 October 2022 1 April 2018 – 31 March 2021 like Ornette 2010, oil on linen; Paul Brook Andrew, Dingo 2010, neon, Pfeiffer, Live evil (Copenhagen) 2003, transformer Hiroshige Andô/Utagawa, ‘Kanôzan, single-channel digital video, colour, Kazusa’ 1852, woodblock print; silent, monitor with plastic armature, Vicki Olsson ink and colour on paper; Hiroshige DVD player; Gerhard Richter, Sphere I 23 October 2017 – 29 April 2019 Andô/Utagawa, ‘Akasaka’ 1833, 1989, stainless steel sphere, polished; woodblock print, ink and colour on Josh Smith, Untitled (JSC11001) 2011, Leon Kossoff, John Lessore 1992, oil paper; Hiroshige Andô/Utagawa, mixed media on panel (eight panels); on board; David Hockney, Looking east ‘Shimonoseki, Nagato’ 1853–56, Daniel Crooks, Static no. 9 (a small 2006, oil on canvas woodblock print, ink and colour on selection of something larger) 2005, paper; Hiroshige Andô/Utagawa, single-channel digital video, colour, Barbara Contini ‘Narumi’ c1840, woodblock print, sound; Tino Sehgal, This is so 21 November 2017 – 21 November ink and colour on paper; ‘House of contemporary 2004, performance; 2020 Shinagawa: Ko-Genkichi’ 1888, colour Gary Hill, Liminal objects #8 1998, woodcut; Utagawa Kunisada II, Actor digital tape (betacam) shown as Wassily Kandinsky, Untitled 1940, Bandô Hikosaburô, woodblock print, single-channel digital video, black and gouache ink and colour on paper, Longquan white, silent, modified CRT monitor, ware, Dish with decoration of a pair metal stand; Paul Chan, Untitled 2006, David Rofe of fish, celadon; Longquan ware, Plate charcoal; Paul Chan, Untitled 2006, 1 December 2017 – 30 November 2022 with floral motifs on rim, celadon; charcoal; Adrian Villar Rojas, Untitled Small dish decorated with dragon, Sebastiano Ricci, The rest on the flight 2012, unfired clay, cement, wood, wucai enamel; ‘Wucai’ bowl with into Egypt c1710–c1711, oil on canvas; metal, styrofoam, latex, sand, burlap dragon, phoenix and floral designs, Ary de Vois, Portrait of a young man fabric; Thomas Struth, Chiesa dei Frari porcelain with ‘wucai’ (five colour) 1631–80, oil on copper; Louis Léopold 1995, type C photograph polychrome enamel decoration; Bowl Boilly, Portrait of a man ud, oil on (Nanjing cargo), exterior brown glaze, canvas; Pierre Paul Prud’hon, Portrait interior underglaze blue; Bowl (Nanjing of a woman ud, oil on canvas cargo), underglaze blue; Large bowl, ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 44

porcelain with ‘qingbai’ glaze; Painted Bill Bowness Moree Plains Gallery figure of dancing lady, earthenware; 1 May 2018 – 30 April 2020 Yeladu! Kamilaroi art today Stone relief of Guanyin, stoneware; Moree Plains Gallery, Seated Buddha, stoneware; Four small Jane Burton, It is Midnight, Dr._ _, 3 July – 14 October 2017 bronze deer, bronze on black laminated image 2 2016, type C photograph; It is base; Pair of Chinese silk banners, Midnight, Dr._ _, image 9 2016, type Jonathan Jones, untitled (graphite b) 18th century, brocade, wooden pelmet, C photograph; It is Midnight, Dr._ _, 2005, charcoal, graphite on paper; Negoro lacquerware; Square tray, 19th image 10 2016, type C photograph untitled (graphite c) 2005, charcoal, century, lacquer, Negoro lacquerware; graphite on paper; untitled (graphite Tripod tray, 19th century, lacquer; Paul Taylor d) 2005, charcoal, graphite on paper; Porcelain tray, porcelain with enamel 10 May – 1 December 2018 untitled (graphite g) 2005, charcoal, decoration; Negoro lacquerware, Small graphite on paper table, 19th century, lacquer; Guardian William Dobell, Storm approaching, Wangi 1948, oil on cardboard on figure, stone; Head of Buddha, bronze; Heide Museum of Modern Art Wu Changshuo, Lotus 1908, hanging composition board scroll, ink on paper; Wu Changshuo, Call of the avant-garde: Loquats 1915, hanging scroll, ink and Denis Savill constructivism and Australian art colour on paper; Lu Yanshao, Garden 18 May 2017 – 17 May 2019 5 July – 8 October 2017 after rain 1980, hanging scroll, ink Brett Whiteley, The arrival – a glimpse Frank Hinder, Brown construction and colour on paper; Gao Jianfu, Pear in the Botanical Gardens 1984, oil – study 1954, ink and collage on blossom after rain 1930, hanging collage and charcoal on canvas sandpaper; Margel Hinder, Revolving scroll, ink and colour on paper; Zhao construction 1957, wire, plastic and Qi, Prunus blossom 1917, hanging Commonwealth Bank of Australia electrical motor; Margel Hinder, scroll, ink and colour on paper; Zhu Untitled wall sculpture c1955, steel Xiuli, Shadow of a banana tree 1981, 1 June 2018 – 31 May 2019 wire, Gerald Lewers, Signaller c1960, hanging scroll; ink and colour on paper; attrib. Yoshin, Kanzan and Jittoku iron on wooden base; Stanislaus Zhu Qizhan, Chrysanthemum and rock 19th century, single six-panel screen Ostoja-Kotkowski, Sunrise c1965, 1959, hanging scroll, ink and colour on (byobu); ink on silver ground collage and synthetic polymer paint paper; Cheng Shifa, Goddess of Xiang on aluminium; Stanislaus Ostoja- River 1979, hanging scroll, ink and Outward loans Kotkowski, Nymphex 1966, gelatin colour on paper; Fu Xiaoshi, Seated silver photograph from electronic lady drinking, hanging scroll, ink image; Cecil Bostock, Problem and colour on paper; Zi Qing, Ladies NSW Premier’s Department c1932, gelatin silver photograph; Cecil standing under a tree, hanging scroll, Furnishing loan (renewed) Bostock, Phenomena c1938, gelatin ink and colour on silk; Xie Zhiliu, Pure 1 July 2017 – 1 June 2019 silver photograph; Olive Cotton, dew in a pond, hanging scroll, ink and Tea cup ballet c1935, gelatin silver colour on paper; Emperor Qianlong, Euan Macleod, Two up, two down photograph; Max Dupain, Pyrmont Calligraphy in running script 1744, 2004, oil and synthetic polymer paint silos 1933 (printed later), gelatin silver hanging scroll, ink on gold painted blue on canvas; Roland Wakelin, The photograph; Erich Buchholz, Sign P paper; Okada Beisanjin, Landscape bridge 1958, oil on hardboard; James 1922, oil on wood relief; Dame Barbara with immortal crane, hanging scroll, ink Simon, My Favourite Place 1996, Hepworth, Orpheus (Maquette 2) on paper diptych: synthetic polymer paint on Version II 1956, brass, string on canvas; Tony Tjakamarra, Untitled wooden base; Valentina Kulagina, For Robert Cheval and Natasha Blain 2000, synthetic polymer paint on linen the Siberia Pavilion (VSKHV) 1959 1 April 2018 – 1 April 2020 canvas; Margaret Olley, Ranunculus (edition), gelatin silver photograph, and pears 2004, oil on hardboard; vintage, from photomontage; El Shane Cotton, After New Zealand; William Salmon, Six frames 1975, Lissitzky, Untitled (Pressa catalogue) the second version 2005, synthetic synthetic polymer paint on canvas; 1938, photo-collage, ink and paint on polymer paint on canvas Kenneth Jack, Drifting dust, white photographic paper; Kazimir Malevich, cliffs, NSW 1970, synthetic polymer Untitled 1928, pencil; László Moholy- National Gallery of Australia paint on hardboard; Arthur Boyd, Nagy, An outline of the universe c1915, 23 April 2018 – 23 June 2019 River bank and four rocks 1993, gelatin silver photograph, vintage; oil on canvas; John Perceval, Dairy Victor Pasmore, Relief construction Sir Peter Paul Rubens, Sketch for the farm, Victoria 1960, oil on canvas on in white, black, maroon and ochre triumphal entry of Henri IV into Paris hardboard; Brett Whiteley, Stanner’s 1930, ochre and synthetic polymer 22 May 1594 1628, oil on panel dream 1974, oil on plywood paint on wood; Aleksandr Rodchenko, 45

1463 INWARD LOANS RECEIVED

Composition 1956–57, oil on wooden Museum of Sydney, Sydney Living Richard Larter, (Still from ‘Sex is panel; Aleksandr Rodchenko, Untitled Museums tatty dudes’) 1976–77, gelatin silver (Stepanova in hat) 1961, gelatin silver photograph; Pat Larter, (Still from The Moderns: European designers in photograph ‘Just a tract’) 1977, cardboard and four Sydney gelatin silver photographs; Richard 22 July – 26 November 2017 Museum of Contemporary Art Larter, (Still from ‘Porno-Parody’) Australia Sali Herman, Portrait of Rabbi Porusch 1976, cardboard and three gelatin silver 1960, oil on canvas; Desiderius Orban, photographs; Francis Alÿs, Sleepers Jenny Watson Rough sea at Bronte 1945, oil on II 2001, eighty 35 mm slides, colour, 5 July – 2 October 2017 canvas carousel projector Jenny Watson, Alice in Tokyo 1984, oil, synthetic polymer paint, ink and Artspace The Ian Potter Museum of Art horse hair on hessian; Wings of The public body .02 The score desire 2 1989, oil, Indian pigments, 27 July – 2 October 2017 1 August – 5 November 2017 haberdashery on Belgian linen; Wings of desire 1 1989, oil, Indian pigments, Pat Larter, Self Exposure/Bulk Head/ Roy de Maistre, Rainbow scale. D# haberdashery on Belgian linen; Eternal Epic/Art Fool/Femail Art/Oh Pun Legs Minor – F# Minor 1930s, coloured youth 1992, oil on velvet, false horse tail c1980, gelatin silver photograph, print, crayon, pencil; Rainbow scale. C and ribbon, synthetic polymer paint on stamps; Richard Larter, Art risk Pat Major and D Minor 1930s, coloured canvas; Classic Black 1 2010, synthetic c1980, screenprint on brown paper; crayon, pencil; Rainbow scale E and polymer paint on Italian nursery paper; Pat Larter, (Still from Silvia paints Pat C, coloured crayon, pencil; Rainbow Classic Black 2 2010, synthetic polymer #1) 1978, gelatin silver photograph; scale. E and A 1930s, coloured crayon, paint on Italian nursery paper; Classic Pat Larter, (Still from Artart Actions: pencil Black 3 2010, synthetic polymer paint Stock Exchange Crash) 1987, gelatin on Italian nursery paper; Classic Black silver photograph; Silvia Jansons, Museums and Galleries NSW 4 2010, synthetic polymer paint on Art Core Meltdown Official Mailing Angelica Mesiti Relay League Italian nursery paper; Classic Black List 1979; Richard Larter, (Pat Larter The Lock-Up Cultural Centre, 5 2010, synthetic polymer paint on performs) c1980, gelatin silver 12 August – 17 September 2017; Italian nursery paper; Classic Black photograph, typed text; Pat Larter, Orange Regional Gallery, 30 March 6 2010, synthetic polymer paint on (Portrait of Pat Larter) c1974, gelatin – 12 May 2019; Glasshouse Regional Italian nursery paper; Classic Black silver photograph; Richard Larter, A Gallery, 18 May – 21 July 2019; 7 2010, synthetic polymer paint on funny thing happened on the way Moree Plains Gallery, 2 August – 28 Italian nursery paper; Classic Black to the... c1975, stapled artist’s book: September 2019; Queensland College 8 2010, synthetic polymer paint on fourteen leaves, eleven collages using of Art, 30 November 2017 – 24 February Italian nursery paper; Classic Black gelatin silver photographs, newspaper 2018; Griffith University, 30 November 9 2010, synthetic polymer paint on cuttings, gold foil, magazine cuttings; 2017 – 24 February 2018; Geraldton Italian nursery paper; Classic Black 10 Pat Larter, (Still from Get arted) Regional Art Gallery, 10 August – 6 2010, synthetic polymer paint on Italian 1981, gelatin silver photograph; Pat October 2018 nursery paper Larter, (Still from Nova Pomerania) 1975, gelatin silver photograph; Angelica Mesiti, Relay league 2017, National Gallery of Victoria Richard Larter, (Still from World’s three-channel digital video, colour, worst ballerina) 1981, gelatin silver sound Brave new world; Australia 1930s photograph; Richard Larter, (Still from 14 July – 15 October 2017 World’s worst ballerina) 1981, gelatin Drill Hall Gallery, Australian National Arthur Murch, The idle hour 1933, silver photograph; Pat Larter, (Still from University oil on canvas on hardboard; Arthur World’s worst ballerina) 1981, gelatin Jude Rae: a space of measured light Murch, Beach idyll 1930, tempera on silver photograph; Richard Larter, (Still 18 August – 15 October 2017 canvas on plywood; Daphne Mayo, A from World’s worst ballerina) 1981, young Australian 1930, bronze, marble; gelatin silver photograph; Pat Larter, Jude Rae, SL 266 2010, oil on linen; SL Max Dupain, Illustration for Kelvinator (Still from Tailored maids) 1979, gelatin 359 2016, oil on Belgian linen; WCSL advertisment 1931 (cast), gelatin silver silver photograph; Richard Larter, (Still 126 2009, watercolour on white wove photograph; Henri Mallard, Pedestrians from ‘Flashing’) 1977, cardboard and paper; WCSL 110 2009, watercolour on 1936, gelatin silver photograph; Keast gelatin silver photograph; Pat Larter, white wove paper Burke, Husbandry 1 c19340, gelatin (Still from ‘Hands’) 1977, cardboard silver photograph, vintage and two gelatin silver photographs; ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 46

Geelong Art Gallery Margo Lewers, Plexiglass wall relief ud, at Palm Beach 1889, oil on plywood; Perspex; Margo Lewers, Mine tunnel William Howells, The goblin’s curtain Fred Williams in the You Yangs 1956, oil on hardboard; Margo Lewers, 1919, Bromoil photograph; Harold Geelong Art Gallery, Orange shapes 1956, oil on hardboard; Cazneaux, Untitled (opening night of 19 August – 5 November 2017 Gerald Lewers, Tortoise ud, limestone; Sydney Harbour Bridge) 1927, gelatin Fred Williams, You Yangs landscape Gerald Lewers, Camel’s head c1934– silver photograph; Lionel Lindsay, Walk 1963, oil on hardboard; You Yangs c1945, stone (trachyte); Judy Cassab, at Admiralty House 1916, etching, landscape 1962, gouache on paper; Portrait of Margo Lewers 1967, oil on aquatint, printed in brown ink on paper You Yangs landscape 1963, charcoal, canvas pencil on ivory wove paper; Water Art Gallery of Western Australia pond in the landscape 1964, charcoal Dubbo Regional Art Gallery Heath Ledger: a life in pictures on Kent paper; Landscape drawing Shaded 14 October 2017 – 29 January 2018 number 3 1963, black, white, ochre 28 August – 3 December 2017 pastel on wove paper Vincent Fantauzzo, Heath 2008, oil Roy de Maistre, Botanical Gardens on canvas Museum of Contemporary Art Sydney 1918, oil on canvas board; Theo Australia Scharf, Burglars c1923, etching, printed The Dowse Art Museum in black ink on cream laid paper; Hilarie Mais Nicholas Mangan: limits to growth Sydney Long, By tranquil waters 1894, Museum of Contemporary Art 19 August – 5 November 2017 oil on canvas on hardboard; Harold Australia, 24 August – 19 November Cazneaux, The Canyon, Martin Place Nicholas Mangan, Limits to growth 2017; TarraWarra Museum of Art, 1925, gelatin silver photograph; Lucien 2016–17, three single-channel digital 24 February – 29 April 2018; Drill Hall Henry, Devil’s Coach-house, Fish videos, colour, sound; two monitors Gallery, Australian National University, River Caves 1883, oil on canvas; Max mounted onto steel poles; six 7 June – 29 July 2018 Dupain, Domain Dossers 1938, gelatin chromogenic photographs; one silver Hilarie Mais, RES 2010, oil on wood silver photograph; J Llewelyn Jones, gelatin photograph The dry season c1889, oil on canvas; Office of the Premier of NSW, New Nicholas Caire, The fairy scene, Black Ian Potter Centre, National Gallery South Wales Parliament House Spur c1878–1900 (printed later), gelatin of Victoria Furnishing loan (renewed) silver photograph, sepia toned; Sydney Long, Fantasy 1981 (printed), oil on Gareth Sansom 25 July 2017 – 24 July 2019 canvas; Eugene von Guérard, A fig tree 15 September 2017 – 21 January 2018 Sidney Nolan, Gallipoli soldier (3) ud, on American Creek near Wollongong, Gareth Sansom, Du hast keine chance, synthetic polymer paint on hardboard; NSW c1916–c1917, oil on canvas; John nutze sie 1981, triptych: synthetic Sidney Nolan, Magpie 1950, synthetic Paine, Grand Arch, looking east 1861, polymer paint, oil, enamel, collage, ink, polymer paint on hardboard; John albumen photograph; Nancy Goldfinch, pencil on hardboard; Gareth Sansom, Eldershaw, Tilba Tilba (NSW) c1938, Merrigang Street, Bowral 1880s, oil on Made in Wadeye 2012, ink, lead oil on canvas; Sidney Nolan, Wounded canvas; Fearnleigh Montague, Mount pencil, graphite, coloured watercolour Kelly 1969, synthetic polymer paint Warning, New South Wales 1937, oil pencil, fibre–tipped pen, ballpoint pen, on hardboard; Arthur Boyd, Cattle on canvas; Danila Vassilieff, Nocturne egg tempera, earth, collage on white on hillside, Shoalhaven c1975, oil on no. 3, Commonwealth Lane 1875, oil cartridge paper canvas; Rita Kunintji, Special Law and on canvas; Theo Scharf, The revellers Ceremony Ground, synthetic polymer 1936, etching, drypoint, printed in Tweed Regional Gallery and paint on canvas; Bryan Westwood, black ink on cream laid paper; Harold Margaret Olley Art Centre Cazneaux, Shadow play c1923, gelatin South of Alice Springs after good rains (working silver photograph; Olive Cotton Storm Duxford Street interiors 1992, oil on canvas; Margaret Olley, Still title) life with leaves c1960, oil on hardboard; c1919, gelatin silver photograph; Julian Sidney Nolan, Broome – Continental Ashton, Tamarama Beach, forty years 15 September 2017 – 18 March 2018 Hotel 1949, synthetic polymer paint and ago, a summer morning 1938, oil Justin O’Brien, Study for ‘Interior no 4’ red ochre oil paint on hardboard on canvas; Nicholas Caire, Untitled 1989, pen and ink (Condon’s Gully) 1899, gelatin silver Penrith Regional Gallery and The photograph, sepia toned; WC Piguenit, University of Queensland Art Lewers Bequest The Upper Nepean c1884 (printed Museum later), oil on canvas; Elioth Gruner, The Emu Island – modernism in place wattles 1981 (printed), oil on canvas; Ecstasy: baroque and beyond 26 August – 26 November 2017 Roy de Maistre, Woman with parasol 16 September 2017 – 25 February 2018 47

Nigel Milsom, Judo house Part 6 (the handwritten text in black; William Yang, Office of the President of the white bird) 2014–15, oil on linen; Louise Fear of AIDS c1992 (printed), gelatin Legislative Council, New South Bourgeois, Arched figure 1993, bronze, silver photograph with handwritten Wales Parliament House fabric, wood and metal; Claude Mellan, text in black; Scott Redford, Boy with Furnishing loan The ecstasy of Saint Ignatius 2010 surfboard cross 1993 (printed later), 25 September 2017 – 24 September (cast), engraving; Claude Mellan, The computer offset lithograph on paper; 2019 ecstasy of St Francis of Paola 17th Olive Cotton, Max after surfing 1998 century, engraving (printed), gelatin silver photograph; François Antoine Bossuet, La Place de Max Dupain, Untitled (workman) la constitution 1880, oil on paper over Canberra Museum and Art Gallery 1999, gelatin silver photograph; Keast masonite; Rupert Bunny, Waterfront, Burke, Composition for lines and Bandol c1929, oil on canvas; Douglas Eirene Mort: a livelihood curves 2005 (printed), gelatin silver Dundas, The towers of San Gimignano 29 September 2017 – 25 February 2018 photograph; Keast Burke, Javelin 1939 ud, oil on canvas; Rupert Bunny, Eirene Mort, Tablecloth with waratah (printed later), gelatin silver photograph; Fishermen’s houses, Port Vendres design c1910, hand stencilled and Keast Burke, Karl with Discus 1998 c1926, oil on canvas; Douglas Dundas, embroidered organdy; Eirene Mort, (printed), gelatin silver photograph; Chianti country 1929, oil on canvas; Adjutants 1913, etching and aquatint Keast Burke, Earth’s Riches 1930s, Henry Hanke, Shops on Ponte gelatin silver photograph; Keast Burke, Vecchio, Florence 1950, oil on canvas Yarra Ranges Regional Museum Untitled (Man in surf) c1940, gelatin on cardboard; Henry Hanke, Santa silver photograph; Keast Burke, Labour Eulalia, Murcia 1950, oil on canvas on Charity: Melba’s gift book 1915 c1938, gelatin silver photograph; Keast hardboard; Sali Herman, Sleeping cat 11 October 2017 – 4 February 2018 Burke, Snowshoes c1938, gelatin 1960, oil on canvas; Dora Meeson, Ville John Shirlow, Fish markets, Melbourne silver photograph; Bettina Rheims, Jay Franche-Sur-Mer 1983, oil on linen; 1914, etching, printed in black ink on III c1940, gelatin silver photograph; James R Jackson, Sand dunes, Botany cream paper Bettina Rheims, Leo I late 1930s, 1927, oil on canvas on plywood; Will gelatin silver photograph Ashton, Kosciusko 1930, oil on canvas Bathurst Regional Art Gallery Queensland Art Gallery/Gallery of Minister for the Arts The unflinching gaze: photo media Modern Art and the male figure Furnishing loan 13 October – 3 December 2017 Gerhard Richter 25 September 2017 – 24 September 14 October 2017 – 4 February 2018 2019 Robert Mapplethorpe, Robert 1983, gelatin silver photograph; Eadweard Gerhard Richter, Abstract painting Elaine Haxton, Sweet and sour Muybridge, Animal Locomotion – An (812) 1994, oil on canvas; Ema 1992, 1958, oil on hardboard; Arthur Boyd, Electrophotographic Investigation Cibachrome photograph Landscape at Murrumbeena c1968, oil of Consecutive Phases of Animal on canvas; William Dargie, La Perouse Movements. Plate 291. Cricket, Drill Hall Gallery, Australian National 1947, oil on canvas batting and drive [Vol. 2 Males (nude)] University Government House 1885–86, collotype plate; Eadweard Liz Coats: active seeing Muybridge, Animal Locomotion – An 19 October – 17 December 2017 Furnishing loan (renewed) Electrophotographic Investigation 26 September 2017 – 25 September of Consecutive Phases of Animal Liz Coats, Soundings group painting 2019 Movements. Plate 332. Boxing, cross– no. 4 1984, synthetic polymer paint buttocks [Vol. 5 Males (Pelvis Cloth)] on canvas Robert Johnson, Macleay River 1958, 1885–86, collotype plate; Eadweard oil on canvas; Robert Johnson, Out Muybridge, Animal Locomotion – An National Gallery of Australia west ud, oil on canvas; Pro Hart, At the Electrophotographic Investigation trots 1977, oil on hardboard; James R Hyper real sculpture 1973–2016 of Consecutive Phases of Animal Jackson, The old road, South Coast 20 October 2017 – 18 February 2018 Movements. Plate 290. Cricket, 1934, oil on canvas; Max Ragless, overarm bowling [Vol. 2 Males (Nude)] Ugo Rondinone, if there were Second valley 1954, oil on canvas; 1885–86, collotype plate; William Yang, anywhere but desert. wednesday Sali Herman, Sydney 1942 1981, oil Alpha late 1960s (printed later), gelatin 2000, fibreglass, paint, clothing; Ron on canvas; Willy Tjungurrayi, Untitled silver photograph with handwritten Mueck, Old woman in bed 2000–02, 2000, synthetic polymer paint on linen text in black; William Yang, Darrin mixed media canvas; Willy Tjungurrayi, Untitled and Linden (part 3) 1991 (printed 2000, synthetic polymer paint on linen later), gelatin silver photograph with canvas; Albert Sherman, Gordonias ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 48

6195 COLLECTION ARTWORKS MOVED

1945, oil on canvas; Albert Sherman, Grace Crowley, (Figure study, nude gelatin silver photograph; Roland Peonies c1936, oil on hardboard; holding a book) 1928–29, pencil on Norman, Interior Fred Lane’s tent, Emma Daniel Nungurrayi, Karrinyarra buff wove paper; Evelyn Chapman, Curlew Camp c1907, gelatin silver (Mt Wedge) 2007, synthetic polymer (Ruined church with poppies, photograph; Roland Norman, ‘Spion paint on linen canvas; Emma Daniel Villers-Bretonneux) c1919, oil on Kop’, Dad’s tent, Curlew Camp c1907, Nungurrayi, Karrinyarra (Mt Wedge) thick grey card; Evelyn Chapman, gelatin silver photograph; Roland 2007, synthetic polymer paint on linen (Seated female nude, left arm behind Norman, Dining department, Curlew canvas; Emma Daniel Nungurrayi, head) 1912, charcoal on laid paper; Camp c1907, gelatin silver photograph; Karrinyarra (Mt Wedge) 2007, synthetic Eveline Syme, The castle chapel, Roland Norman, View of tent tops, polymer paint on linen canvas Amboise late 1920s, linocut, printed Curlew Camp c1907, gelatin silver in black ink on paper; Grace Crowley, photograph; Unknown, (Group shot, New South Wales Parliament House Composition study: seated female Curlew Camp) c1907, gelatin silver Furnishing loan (renewed) nude c1928, pencil on thin ivory wove photograph; Frederick Lane, Local paper; Ethel Carrick, Flower market, sketch of the Curlew Camp and how 30 September 2017 – 29 September Nice c1926, oil on canvas; Marie Tuck, to get there afloat or on shore c1905, 2019 The gossips c1910, oil on canvas; postcard; Frederick Lane, Shopping John Longstaff, Sir George Reid ud, Jessie Traill, L’homme qui boit (the list for the Curlew Camp 7 June oil on canvas; Tom Roberts, Sir Henry drinking man) 1908, etching with 1907, typed invoice; Frederick Lane, Parkes c1894, oil on canvas heavy plate tone, printed in brown/ Embossed letterhead writing paper for black ink on ivory wove paper, laid on the Curlew Camp c1907, embossed Ian Potter Centre, National Gallery paperboard; Janet Cumbrae Stewart, paper; Frederick Lane, Embossed of Victoria The model disrobing 1914 (printed), envelope for the Curlew Camp c1907, pastel on paper; Hilda Rix Nicholas, embossed paper; Unknown, Brother Del Kathryn Barton – the highway is Portrait 1917, charcoal, pastel; Moya Smudgers c1907, typed poem; a disco Dyring, Quai d’Anjou, winter c1912, Frederick Lane, Cash expenses at 18 November 2017 – 12 March 2018 watercolour, ink, gouache on paper; Curlew Camp c1907, handwritten list; Del Kathryn Barton, girl #8 2004, pen, Eveline Syme, Skating 1963, colour Frederick Lane, Rules for living at gouache, watercolour and acrylic on linocut, printed from two blocks Curlew Camp c1907, handwritten notes polyester canvas on thin cream laid tissue; Kathleen O’Connor, Still life, Paris – study Mornington Peninsula Regional Boomalli Aboriginal Co-operative in whites c1930, oil on cardboard; Gallery Gladys Reynell, Vase with abstract Coast The Boomalli ten design 1936, glazed earthenware with 8 December 2017 – 18 February 2018 3 November 2017 – 28 January 2018 sgraffito design; Gladys Reynell, Vase Jeffrey Samuels, A changing continent with abstract design 1922, glazed Nicholas Chevalier, Pulpit Rock, 1986, oil on hardboard earthenware with sgraffito design Cape Schanck, Victoria 1860s, oil on paperboard on hardboard; Tunnel Logan Art Gallery TarraWarra Museum of Art Rock, Cape Schanck, Victoria 1862, oil on cardboard Ponyland (the big pony show) Rosemary Laing 2 December 2017 – 11 February 2018 1 December 2017 – 27 January 2018 Bunjil Place Gallery, City of Casey Rosemary Laing, groundspeed (Red Jenny Watson, Classic Black 9 2010, Let’s play: art of our time Piazza) #4 2001, type C photograph; synthetic polymer paint on Italian 14 December 2017 – 26 February 2018 nursery paper; Kate Breakey, Untitled Rosemary Laing, burning Ayer #12 (horse) 1981, gelatin silver photograph, 2003, type C photograph Yanagi Miwa, Sachiko 2000, type C hand coloured with pencil and photograph and text watercolour; Kate Breakey, Untitled Mosman Art Gallery (horse and hand) 1981, gelatin silver Bush to bay: Hinton and the artists National Gallery of Australia photograph, hand coloured with pencil camps of Mosman Arthur Streeton: the art of war and watercolour 2 December 2017 – 28 January 2018 15 December 2017 – 29 April 2018

SH Ervin Gallery Roland Norman, ‘The Tabernacle’, Arthur Streeton, The stairway, Peronne Billiard Tent at the Curlew Camp, 1918, watercolour; Ruins, Peronne Intrepid women: Australian women Sydney c1907, gelatin silver 1918, watercolour; Villers Bretonneux artists in Paris 1950 photograph; Roland Norman, Interior 1918, oil on canvas on paperboard; 1 December 2017 – 25 March 2018 G. Gibson’s tent, Curlew Camp c1907, Boulogne 1918, oil on canvas 49

Monash University Museum of Art William Dobell, Portrait of Thelma Art Gallery of Ballarat Clune 1946, oil on hardboard; Thea Mutlu Cerkez survey exhibition The artist as traveller: Eugene von Proctor, Self portrait 1921, transfer 10 February – 14 April 2018 Guerard’s sketchbook lithograph, printed in brown on cream/ 24 March – 27 May 2018 Mutlu Çerkez, Untitled: 18 April 2013 grey wove paper; Thea Proctor, Portrait 2002, oil on canvas; Untitled: 19 April of Richard Smart 1926, pencil Eugene von Guérard, Jebel Cherib 2013 2002, oil on canvas; Untitled: 21 1885, oil on cardboard April 2013 2002, oil on canvas Ian Potter Centre, National Gallery of Victoria Museum of Applied Arts and Tate Britain (England) Sciences Colony: Australia 1770–1861 All too human: Bacon, Freud and a 15 March – 15 July 2018 Long-term outward loan century of painting life 28 February 2018 – 30 September 2020 JW Lewin, The Gigantic Lyllie of New 28 February – 27 August 2018 South Wales 1810, pencil, watercolour Léonard Morel-Ladeiul, The Milton Francis Bacon, Triptych 1974–77 on cream laid paper; Joseph Lycett, shield 1865, electroplated silver; 1974–77, oil, pastel and dry transfer View of the Heads, at the entrance into Léonard Morel-Ladeiul, The Bunyan lettering, 1977 (reworked) Port Jackson c1822, watercolour; John shield 1865, electroplated silver; Ulisse Sherwin, Portrait of Captain James Cantagalli, Hispano – Moresque dish Office of the Speaker, New South Cook 1784, engraving, after Nathaniel c1900, earthenware, polychrome, Wales Parliament House Dance-Holland lustre; Ulisse Cantagalli, Hispano – Furnishing loan (renewed) Moresque charger c1900, earthenware, Monash Gallery of Art polychrome, lustre; Ulisse Cantagalli, 1 February 2018 – 31 January 2020 Hispano – Moresque dish c1900, Antipodean emanations: cameraless earthenware, polychrome, lustre; Ulisse Michael Shannon, Autumn landscape, photographs from Australia and New Cantagalli, Castel Durante dish c1900, Heathcote no. 1 1985, oil on canvas; Zealand Thelma Hulbert, Mecklenburgh Square earthenware, enamel; Ulisse Cantagalli, 10 March – 27 May 2018 1947, oil on canvas; Clifford Hall, Maida Romagna dish c1900, earthenware, Vale in snow c1947, oil on hardboard; Sue Ford, Photogram (dark fern, polychrome; Ulisse Cantagalli, Faenza Edgar Holding, Littlehampton ud, death) c1986, gelatin silver photograph; style dish c1900, earthenware, oil on pulpboard; Robert Campbell, Sue Ford, Photogram (light fern, life) polychrome; Ulisse Cantagalli, Faenza Avenue du Maine, Paris c1930, oil on c1986, gelatin silver photograph; Max style dish c1900, earthenware, canvas; Charles Bryant, Low tide, St. Dupain, Untitled (abstraction using polychrome; Ulisse Cantagalli, Deep Ives ud, oil on canvas; Jack Carington graphic artist’s utensils) c1951–c1952, dish (bowl) c1900, earthenware, Smith, Regatta, Sandy Bay 1949, Solarised gelatin silver photograph; polychrome; Ulisse Cantagalli, Deruta oil on canvas; Eugene Crick Claux, Juliana Swatko, Untitled (overlapped dish c1900, earthenware, polychrome, Street scene ud, oil on canvas; George stems, branches and leaves with lustre; Ulisse Cantagalli, Faenza dish Lawrence, Foveaux Street, Surry Hills bunch of long leaves/grass) 1980, c1900, earthenware, polychrome; 1945, oil on canvas on paperboard; thermal monoprint; Juliana Swatko, Ulisse Cantagalli, Faenza dish Clem Millward, Red ground near Weipa Untitled (branches crossed centre c1900, earthenware, polychrome; 1977–78, oil on canvas image, with spiked leaves and one Ulisse Cantagalli, Round dish c1900, flower) 1980, thermal monoprint; earthenware, polychrome; Ulisse The Noel Shaw Gallery of the Baillieu Juliana Swatko, Gum leaves 1981, Cantagalli, Dish c1900, earthenware, Library, University of Melbourne thermal monoprint polychrome, lustre; Ulisse Cantagalli, Gubbio dish c1900, earthenware with Dark imaginings: gothic tales of Queensland Art Gallery/Gallery of enamel and lustre; Ulisse Cantagalli, wonder Modern Art Round Cafaggiolo dish c1900, 1 March – 31 July 2018 earthenware, enamel; Ulisse Cantagalli, Patricia Piccinini: curious affection James Gillray, Tales of wonder! 1802, Faenza dish c1900, earthenware, 24 March – 5 August 2018 hand-coloured etching and aquatint enamel; Ulisse Cantagalli, Iznik dish Patricia Piccinini, The comforter 2010, c1900, earthenware, polychrome; Carrick Hill mixed media; silicone, fibreglass, steel, Ulisse Cantagalli, Imitation Turkish human hair and fox fur, clothing dish c1900, earthenware, polychrome, Inside the cover: patron & painter: glazing; Ulisse Cantagalli, Gubbio the bookplates of Adrian Feint dish c1900, earthenware, polychrome, 7 March – 30 June 2018 copper lustre; Ulisse Cantagalli, ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 50

Faenza dish c1900, earthenware, Flower Bowl, stoneware, smearglaze; blown glass, enamel; Salviati and Co, polychrome; Ulisse Cantagalli, Faenza Wedgwood, Vase – Royal Lancastrian Wine glass c1851–99, blown glass; dish c1900, earthenware, polychrome; ware c1915, earthenware, lustre; Salviati and Co, Vase 19th century, Ulisse Cantagalli, Faenza dish c1900, Wedgwood, Duplessis ware 1869, blown soda glass; Unknown, Vase earthenware, polychrome; Ulisse porcelain (bone china), painted, gilt; with four handles 19th century, blown Cantagalli, Gubbio dish c1900, Pilkington Tile and Pottery Company, glass; Salviati and Co, Wine glass earthenware, polychrome, lustre; Duplessis ware 1869, porcelain (bone with cover 19th century, blown glass; Ulisse Cantagalli, Round dish c1900, china), painted, gilt; Minton, Candle Unknown, Wine glass cover 19th earthenware, polychrome, lustre, holder in Henri deux ware style 1872, century, blown glass; Unknown, Vase gold; Ulisse Cantagalli, Urbino platter cream coloured earthenware; Minton, 1851–99, blown glass; Unknown, c1900, earthenware, polychrome; Vase, Royal Lancastrian ware c1914, Wine glass 19th century, blown glass; Ulisse Cantagalli, Urbino dish c1900, earthenware, lustre; Minton, Urn Unknown, Pourer 19th century, blown earthenware, enamel; Ulisse Cantagalli, c1795, black stoneware (basaltes), glass; Unknown, Vase 1851–99, blown Urbino dish c1900, earthenware, jasper decoration; after Charles glass; Unknown, Ornate wine glass polychrome; Ulisse Cantagalli, Toft, Jar with cover, Flambe style 1851–99, blown glass; Unknown, Urbino platter c1900, earthenware, c1900, earthenware, flambe glaze; Bowl with three handles c1850, blown polychrome; Ulisse Cantagalli, Richard Joyce, Jardinière c1900, glass; Unknown, Jug c1870, blown Urbino platter c1900, earthenware, earthenware, flambe glaze; Pilkington glass, engraved; Unknown, Vase moulded form, polychrome; Ulisse Tile and Pottery Company, Ewer with bird decoration c1910, moulded Cantagalli, Urbino platter c1900, c1795, black stoneware (basaltes) with glass, hand tinting; Unknown, Vase earthenware, polychrome; Ulisse jasper decoration; Wedgwood, Vase c1910, moulded glass, satin finish Cantagalli, Marmora dish c1900, c1878, stoneware; Bernard Moore, with polished decoration; Unknown, earthenware, polychrome; Ulisse Vase c1820, porcelain with transfer Decanter with a stopper c1900, Cantagalli, Marmora dish c1900, decoration (underglaze), glaze; Bernard moulded glass; Unknown, Perfume earthenware, polychrome; Ulisse Moore, Vase c1820, porcelain with decanter c1910, moulded glass, satin Cantagalli, Deep dish, Turkish style underglaze transfer, glaze; Wedgwood, finish, traces of hand-tinting; Stevens c1900, earthenware, polychrome; Vase c1900, earthenware, lustre glazes; and Williams, Flask, two handles Ulisse Cantagalli, Castel Durante dish Villeroy and Boch, Vase 1903, porcelain c1900, stencil etched glass, gilded; c1900, earthenware, polychrome; with underglaze paint, glazed; Spode Rene Lalique, Flask c1880, blown Ulisse Cantagalli, Large punchbowl Pottery and Porcelain Factory, Vase glass, engraved; Rene Lalique, Vase on pedestal c1900, earthenware, with four handles c1900, porcelain – cameo cut decoration 1850–1910, polychrome; Ulisse Cantagalli, with underglaze paint, glaze; Spode cased glass, cameo cut; Rene Lalique, Large jug/ewer c1900, earthenware, Pottery and Porcelain Factory, Vase Vase – cameo cut 1899, glass, cameo polychrome; Ulisse Cantagalli, Urn (Decorated with a lake scene) 1902, cut; Rene Lalique, Loving cup c1900, c1900, earthenware, polychrome, porcelain with underglaze paint, glaze; glass, stencil etched; Stevens and lustre; Ulisse Cantagalli, Ewer c1900, Clement Massier, Tray – Nymphen Williams, Flask c1880, blown glass, earthenware, glazing, polychrome, Schmücken Pan c1870, porcelain with engraved; Thomas Webb and Sons, lustre; Ulisse Cantagalli, Ewer c1900, polychrome, gilded; Carl Lüsberg, Glass 1862, engraved glass; Thomas earthenware, polychrome; Ulisse Tazza 19th century, blown glass; Royal Webb and Sons, The Carrington Jug Cantagalli, Tazza c1900, earthenware, Copenhagen, Ewer 19th century, c1880, engraved glass; Stevens and enamel, lustre; Ulisse Cantagalli, clear brownish, blown glass; Julius Williams, Tazza c1850, blown glass; Iznik style jug c1900, earthenware, Guldfrandsen, Wine glass 19th century, Stevens and Williams, The Aurora vase glazing, polychrome; Ulisse Cantagalli, clear brownish, blown glass; Royal c1880, cameo cut glass; Thomas Webb Turkish style jug c1900, earthenware, Copenhagen, Jug 19th century, soda and Sons, Saucer 1850–99, clear polychrome; Ulisse Cantagalli, Urn glass, blown; Angelica Kauffmann, glass, enamel; Baccarat Glasshouse, c1900, earthenware, polychrome, Standing bowl c1850–70, blown glass, Saucer 1850–99, clear glass, enamel; lustre; Ulisse Cantagalli, Vase with two enamelled, gilt; Unknown, Standing Pownall and Pilsbury, Tazza 1850–99, handles c1900, earthenware, painted, bowl c1850, blown glass, gilt enamel; glass, enamel; Frank Webb, Dessert glazed; Ulisse Cantagalli, Vase with Unknown, Goblet c1850, red and clear bowl 1850–99, clear glass, enamel; two handles c1900, earthenware, glass, blown, tinted, gilt, enamelled; Unknown, Vase – bird design c1880, polychrome, glaze; Walter Crane, Unknown, Cover for missing ‘Blue- engraved glass; Thomas Woodall, Lancastrian ware wall plaque c1907, green jar with figure decoration’ Jug with a monogram c1800, cream lancastrian ware, copper lustre; CE c1851–99, blown glass, gilded and coloured earthenware; Thomas Webb Cundell, Ewer c1790, black stoneware enamelled; Unknown, Small dish late and Sons, Vase 1810–15, porcelain (basaltes), moulded decoration; 19th century, tortoiseshell ‘marbled’ with glaze, gilt; Unknown, Sucrier 1785, Pilkington Tile and Pottery Company, glass; Salviati and Co, Vase c1851–99, porcelain with glaze, decorated blue, 51

gilded; Unknown, Tea bowl and saucer polymer paint on wall; Painting no. 3 Dubbo Regional Art Gallery c1785, porcelain with glaze, decorated Sydney 1987, synthetic polymer paint Bowerbird: Clinton Bradley and the blue, gilded; Unknown, Tazza 1850–99, on plywood art of collecting blown glass; Unknown, Jug mid 19th 9 June – 26 August 2018 century, porcelain; Thomas Webb and TarraWarra Museum of Art Sons, Teapot 1969, glazed stoneware; Brook Andrew, Parrot 2006, type C Edwin Tanner: mathematical Wedgwood, Tea bowl ud, stoneware photograph; Koji Ryui, Cloud 2 2014, expressionist steel, enamel, polystyrene, Fimo 12 May – 15 July 2018 Orange Regional Gallery clay; Koji Ryui, Smiley face 2014, Edwin Tanner, Message 1960, oil on tinsel, steel; Michael Parekowhai, Interiors canvas on hardboard Cosmo McMurtry 2006, woven nylon 31 March – 1 July 2018 substrate, pigment Margaret Olley, Chinese screen and Blue Mountains Cultural Centre yellow room 1996, oil on hardboard; Art Gallery of Ballarat Mary Alice Evatt: art for the people Francis Lymburner, The studio corner 12 May – 24 June 2018 Into light c1964, oil on hardboard; Brett Whiteley, 23 June – 9 September 2018 Portrait of Joel Elenberg 1980, oil and Henri Matisse, Torso of a woman mixed media on canvas 1913, lithograph; Ossip Zadkine, Head Gustave Courbet, Landscape with stag of a woman 1923–24, blue Pyrenees 1873, oil on canvas Tweed Regional Gallery and marble, white and grey marble, and Margaret Olley Art Centre red cement; William Roberts, Study Elizabeth Bay House, Sydney Living for ‘The Prodigal sets out’ 1926 –27, Museums A painter’s house watercolour, pencil; Fernand Léger, The 30 March – 7 October 2018 Long-term furnishing loan (renewed) bicycle 1930, oil on canvas; Honoré 30 May 2018 – 30 May 2023 Margaret Olley, Cornflowers c1978– Daumier, Don’t meddle with the press! c1982, oil on hardboard; Late afternoon 1834, lithograph; John Coburn, Facade Charles Coleman, St Peters at sunset 1972, oil on hardboard 1968, triptych: synthetic polymer paint from the Doria Pamphili Gardens, on canvas Rome c1865, oil on canvas; Unknown, Ian Potter Centre, National Gallery Madonna della Sedia, ud, oil, after of Victoria Shepparton Art Museum Raphael The field revisited Raquel Ormella survey exhibition Vaucluse House, Sydney Living 27 April – 26 August 2018 26 May – 12 August 2018 Museums James Doolin, Artificial landscape Raquel Ormella, I’m worried this will Long-term furnishing loan (renewed) 68–1 1968, synthetic polymer paint become a slogan (Anthony) 1999– 1 June 2018 – 31 May 2023 on canvas; Sydney Ball, Transoxiana 2009, double-sided banner, sewn wool 9 1968, synthetic polymer paint on and felt; I’m worried I’m not political Costa Conti, La Madonna delle canvas; Michael Johnson, Frontal enough (Julie) 1999–2009, double- Arpie, oil; after Andrea del Sarto, 2 1968, synthetic polymer paint on sided banner, sewn wool and felt; This Madonna di San Sisto, oil; Unknown, canvas; Paul Partos, Vesta II 1968, dream 2013, nylon The Annunciation, oil; after Raphael, synthetic polymer paint on canvas; Madonna col libro, oil; Costa Conti, John Peart, Cool corner II 1968, Bathurst Regional Art Gallery after Andrea del Sarto, Porcelli synthetic polymer paint on canvas; Ron Rachel Ellis: sustaining light Robertson-Swann, Golden breach SBS Television 8 June – 5 August 2018 1965, synthetic polymer paint on Long-term furnishing loan (renewed) canvas; Dick Watkins, October 1967, Rachel Ellis, Evensong 2011, charcoal 1 June 2018 – 31 May 2020 diptych: synthetic polymer paint on on paper canvas Peter Schipperheyn, Maschera Queensland Art Gallery Maschio 1991, carrara marble; National Gallery of Victoria Maschera Femina 1991, carrara marble Tony Albert – visible Robert Hunter survey 2 June – 7 October 2018 27 April – 26 August 2018 Tony Albert, Headhunter 2007, Robert Hunter, Untitled (white series synthetic polymer paint and vintage no 6) 1968, synthetic polymer paint Aboriginal ephemera on canvas; Non-titled 1976, synthetic ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 52

Conservation

Two Gallery exhibitions successor, Tom Langlands, was showcased Conservation’s trained by David over four years with the generous funding of the work this year. + Henry VR Nelson Meers Foundation and the 1500 offered a virtual reality Clitheroe Foundation. WORKS ASSESSED AND experience exploring PREPARED FOR DISPLAY the history, analysis and Generous donations from Conservation restoration of a portrait of Benefactors and other donors made several treatment projects possible this Henry VIII in the Gallery’s year. Dick Watkins’ painting October + collection. Staff carried out 1967 was treated in preparation for 1000 conservation activities in a loan. Treatment of Brett Whiteley’s NEW ACQUISITIONS iconic outdoor sculpture Almost Once gallery space in Behind the ASSESSED AND PREPARED , giving visitors an 1968, 1991 was undertaken to stabilise Scenes and protect the sculpture. Treatment insight into the extensive was completed for the frame of Thomas work of analysing and Miles Richardson Jnr’s Eagle Crag and conserving artworks. Gate Crag, Borrowdale, Cumberland + 1875, the first commissioned artwork 490 in the Gallery collection. A large and WORKS FOR OUTWARD LOAN Conservation work included significant collection of prints by ASSESSED AND PREPARED assessment, research, analysis, Sydney Ure Smith, a leading figure in treatment, mounting, installation Sydney’s etching revival in the early and documentation. Key exhibition 1900s, also received treatment. conservation projects included a major treatment of Chinese Bible by Yang Zhichao, an installation comprising 3000 Chinese diaries and notebooks; the preparation of nineteen old master paintings and their frames; and the re-fabrication of Just like drops in time, nothing 2002, Ernesto Neto’s installation made from stocking and spices.

The Conservation Department hosted eight interns; provided fourteen tours for benefactors, students, staff and professional colleagues; gave public talks, workshops and conference papers in Australia and internationally; and provided Caring for Collection training for Gallery staff and contractors. Intern projects included the development of a conservation plan for The outlands 2011 by David Haines and Joyce Hinterding, a computer- generated artwork in the Gallery’s collection, and cataloguing and analysis of the Brett Whiteley Studio materials archive.

Reproduction Frame Maker David Butler, a thirty-year veteran of the Gallery, retired in August. His 53 The National Art Archive and The Capon Research Library 5826 RESEARCHERS ASSISTED

Exceptional gifts were received this year, including the personal archives of Robert Klippel, Lloyd Rees, Sydney Ball and Rayner Hoff, the business archives of the Ray Hughes and Stills Gallery, and the research archives of Professors John Clark and Donald Horne. Alan and Jancis Rees also generously donated $50,000 to assist with the cataloguing and digitisation of the Rees archive.

The Gallery’s rich archival holdings were a focus of the 2018 Biennale of Sydney, with three rooms of archival display organised by librarian Claire Eggleston and curator Lisa Catt.

Steven Miller, the head of the National Art Archive and Capon Research Library, was elected to the international council of art libraries as representative for the Asia–Pacific region.

During the year, 4626 researchers used our resources onsite, with another 1200 enquiries answered online or by phone. An average of half an hour is spent on each online request. Statistics reveal that 25% of online enquiries come from Greater Sydney, 20% from regional New South Wales, and the remaining 55% from interstate and overseas.

LEFT: Head of Frames Conservation, Margaret Sawicki at work in the Behind the scenes project. Photo © AGNSW ABOVE: An acquisition of the National Art Archive 2017: Lloyd Frederic Rees, recto: Bush with tree fern (twice) and Sketch of mallee trunks, verso: Mallee trunks, pencil on cream wove paper, 38.2 x 25.5 cm sheet, Gift of Alan & Jancis Rees, the artist’s son and daughter in law 2017. Donated through the Australian overnment’s Cultural Gifts Program © A&J Rees. Licensed by Copyright Agency Prints, Drawings ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 54 and Photographs Study Room

The Prints, Drawings and Interdepartmental staff collaborations Photographs Study Room expanded the Study Room usage to outreach and access programs stores the Gallery’s collection including partnerships with ICE and 22 000 of works on paper. It is Studio A, Starting with Art programs, WORKS ON PAPER increasingly recognised as an Art Pathways program and Djamu IN THE COLLECTION important resource for diverse Indigenous Art program. educational and interest Study Room staff completed groups, with repeat visits from the Australian inventory sighting universities, TAFE, colleges, 10,438 works, processed 224 new 10 438 community art centres, artist acquisitions, managed the preparation WORKS INVENTORIED workshops and secondary of 173 works for display within the schools. International and Gallery, seventy-eight works for touring exhibitions, and ninety-two works Australian visitors included for twenty-two loans to local and artists, benefactors, museum interstate venues. and gallery professionals, 860 VISITORS art historians, collectors, art and design students, artists’ descendants, film-makers, writers and musicians, BELOW: Head of Library Services Steven Miller in the Prints and curious members of Drawing and Photographs Study Room for ABC Art Bites production ‘Carla and Lisa’s Countdown of Australian Art’. the public. Photo © AGNSW 55 Photography Studio 150+ GALLERY EVENTS AND ACTIVITIES PHOTOGRAPHED

The Photography Studio The Studio photographed all works undertook work for major exhibited in the Archibald, Wynne and Sulman prizes for catalogue, media and exhibitions including web purposes: 104 works in July 2017 Rembrandt and the Dutch and 120 works in April 2018. The Studio golden age: masterpieces also photographed fifty-two Young from the Rijksmuseum, Archie artworks in 2017 and fifty-four in , 2018. High-resolution images and film The lady and the unicorn were compiled for The Archibald Prize John Russell: Australia’s documentary in 2017. French impressionist, Mikala Dwyer: a shape of thought, The Studio photographed Gallery programs including Art Pathways for Dobell Australian Drawing and . primary and high school students, Art Biennial 2018 Unpainting After Hours and the Disability Inclusion Extensive photography and Access Plan programs. The Studio also videography of the Anglo- participated in the Behind the Scenes Netherlandish workshop display in the major exhibition gallery, c1535–c1540 where the team photographed large King Henry VIII artworks and complicated installations painting exhibition was of new acquisitions and previously undertaken in conjunction undocumented works in public view. with the Henry VR project. New photography of The Photography Studio sourced, Collection works was colour-checked and provided 1079 high-resolution images for 320 undertaken for the Tuckson: external image sales requests, the abstract sublime, Out of including over 500 Brett Whiteley the ordinary: works from the works from the Whiteley estate for a catalogue raisonné. ARTAND Emerging Artist , , Collection Something living The generous donation from Elisabeth Pat Brassington: the body and Phillip Ramsden of a medium electric, Glen Mackie and format Leica–SL 75 mm lens allows the Daniel O’Shane and Mervyn Studio to photograph exhibitions and archival material in the Gallery holdings. Bishop exhibitions. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 56 Brett Whiteley Studio 13 535 STUDIO VISITORS

The Brett Whiteley Studio Tweed Regional Gallery Writers Festival. Classical Sundays are continues to welcome the 29 September – 3 December 2017 held monthly from March to November, Total audiences: 19,703 with a musical repertoire including general public from Friday to contemporary and classical composers Sunday, with 10,530 visitors Gosford Regional Gallery 9 December 2017 – 4 February 2018 and an ensemble of flute, clarinet and in 2017–18. The Studio’s Total audiences: 17,990 guest musicians performing harp, public programs – drawing marimba, violin, cello and oboe. workshops, poetry readings Brett Whiteley Travelling Art Communications and learning and musical recitals – Scholarship 2017 attracted 941 people. On resources Wednesdays and Thursdays, Sally Anderson, 27, from Surry Hills, NSW, won the 2017 Brett Whiteley An exciting digital educational the Studio hosted private resource, the Brett Whiteley Art Board, functions for 406 people, Travelling Art Scholarship for her body of work, highlighted by her painting was launched in May 2018. It has had as well as 1658 education Dilling’s Bromeliads with Gullfoss Falls 2971 page views since 22 May 2018. group visitors. 2016. Ten finalists were selected from 131 entries and judged by Australian The Studio website received 84,053 painter, Ildiko Kovacs. A selection page views in 2017–18. The most Continued support from principal of finalists’ works was exhibited viewed Whiteley works in the online sponsor JP Morgan, now in its at the Gallery from 13 October to collection were Self-portrait in the eleventh year, allows the Studio to 19 November 2017. studio 1976, with 9412 page views and offer free admission. The Studio The Balcony 2 1975 with 5266 page sincerely appreciates Wendy Whiteley’s Now in its 19th year, the Scholarship views. The Brett Whiteley artist page significant support as curator and was established by the artist’s mother, had 9366 views. in promoting the Studio and its the late Mrs Beryl Whiteley, who touring exhibitions. generously made funds available The Brett Whiteley Studio Artmail to continue the legacy. It is open e-newsletter is distributed three times a year with Studio news, exhibitions Exhibitions annually to young Australian painters aged between 20 and 30 years. The and events with over 4223 subscribers. winner is awarded $40,000 (increased The Studio’s Facebook page provides West of the divide in September 2017 from $30,000) regular news, conversation and content 19 May – 19 November 2017 and a three-month residency at the about Whiteley, and schedules of events for 6508 followers. The Brett Brett Whiteley Travelling Art Cité Internationale des Arts in Paris, Whiteley Studio Instagram has Scholarship administered by the Gallery, and three 4675 followers. 12 October – 19 November 2017 months to travel anywhere in Europe. Beach Special events 22 November 2017 – 25 March 2018 Education programs Pathways to figuration Australian graffiti artists DabsMyla The Brett Whiteley Studio provided 31 March – 7 October 2018 were filmed in the Studio responding education programs (discussion to Brett Whiteley artworks for ABC tours and drawing workshops) on iView series The Wanderers, which Touring exhibitions Wednesdays and Thursdays for 1247 first screened on ABC television in students and self-guided visits for 411 July 2017. Brett Whiteley: other places interstate and regional students from (somewhere else) Friday to Sunday. A feature-length documentary Whiteley Total audience attendance across received four AACTA documentary all venues: 65,378 Public programs awards in December 2017: Best Cairns Regional Art Gallery Director, Best Editing, Best Original 28 April – 2 July 2017 The Studio holds quarterly six-week Score and Best Sound. It aired on ABC Total audiences: 24,396 drawing courses and monthly Sydney TV on 10 June 2018 and is available Caboolture Regional Art Gallery Poetry sessions. In May, special on ABC iView. 15 July – 17 September 2017 additional Sydney Poetry events were Total audiences: 3289 hosted in association with Sydney 57

65 378 TOURING EXHIBITION ATTENDANCE

48% growth Eight short film vignettes which depict financial support for the Studio’s public the Studio’s behind-the-scenes work programs and outreach as well as IN TOURING ATTENDANCE were launched in May 2018. Available archival and conservation work and on the Gallery website, the vignettes further cataloguing of works. outline the processes of archiving, conservation, curating and installing The Gallery is grateful for the exhibitions. They were developed generosity of the initiative’s founding $40 000 in collaboration with the Studio, the donors: Tim Fairfax AC, Philip Bacon SCHOLARSHIP FUNDS Gallery and Felicity Blake of Northern AM, Ian Darling AO and Min Darling, Pictures Impact. John Leece AM and Anne Leece, the Nelson Meers Foundation, Justin Miller, Cult Australian fashion brand Aje Steven Nasteski, Mark and Louise collaborated with the Studio and Nelson, Gretel Packer, Eleonora and 84 053 Wendy Whiteley on a line of women’s Michael Triguboff, Patrick Corrigan AM, STUDIO WEBSITE PAGE VIEWS clothing inspired by selected Whiteley Robert Gould and David Kent. artworks. The runway show was staged in Wendy Whiteley’s Secret Garden in May 2018. 2971 Brett Whiteley Studio Foundation WHITELEY ART BOARD Chair, Sam Meers, initiated The Brett Whiteley Studio Benefactors Dinner at PAGE VIEWS

the Studio in March 2018. The success BELOW: Students visit the Brett Whiteley Studio. of the dinner has enabled ongoing Photo © AGNSW IDEAS 03

… leading international voices …

RIGHT: Tracey Moffatt, Touch from the series Body remembers 2017, pigment print, 162 x 244 cm, Art Gallery of New South Wales. Purchased with funds provided by Vicki Olsson and Naomi Milgrom AO 2017 © Tracey Moffatt. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 60 Art prizes

Archibald Prize Trustees’ Watercolour Prize Artist Abdul Abdullah was guest judge for the annual children’s Young Archie competition in both 2017 and First awarded in 1921, the Archibald Entries in the Wynne Prize are also 2018. The competition continues in Prize is awarded annually to the best eligible for the Trustees’ Watercolour its popularity with over 3650 entrants portrait, ‘preferentially of some man Prize. Trustees awarded the 2017 prize across the two years, many of them or woman distinguished in art, letters, to John Murray for his watercolour on entering for a second or third time. science or politics, painted by any paper Bellinger River, Thora and the Increased media attention and support artist resident in Australasia’. This open 2018 prize to Phillip Edwards for his from presenting partner ANZ has also competition is judged by the trustees watercolour and mixed media on paper positively impacted the popularity and of the Art Gallery of New South Wales. Glory be, water tree. community interest in the competition. Although it is a non-acquisitive prize, several of the entries are now part of Sir John Sulman Prize the Gallery’s collection. The $100,000 2017 winners Archibald Prize 2017 was awarded to Ages 5–8: Poppy Barnes The Sulman Prize is awarded for the Mitch Cairns for his portrait of Agatha Ages 9–12: Claire Shin best subject painting, genre painting Gothe-Snape. The Archibald Prize 2018 Ages 13–15: Jessica Thompson or mural project by an Australian was awarded to Yvette Coppersmith for Ages 16–18: Chantelle Que Self-portrait after George Lambert. artist. In 2017 the prize of $40,000 was judged by Tony Albert and awarded to Joan Ross for her painting Oh history, 2018 winners The Packing Room Prize is awarded by you lied to me. In 2018 the prize was the Gallery staff who receive entries for Ages 5–8: Harvey Heazlewood judged by Angela Tiatia and awarded the Archibald Prize. In 2017, the prize Ages 9–12: Nauen Lee to Kaylene Whiskey for her painting was awarded to Peter Smeeth for his Ages 13–15: Jessica Thompson Kaylene TV. portrait of Lisa Wilkinson. In 2018, the Ages 16–18: Charlotte Coady winner was Jamie Preisz for his portrait of Jimmy Barnes. The Roberts Family Aboriginal and Torres Strait Islander The People’s Choice was awarded in Prize 2017 to Ahn Do for his portrait of Jack Charles; the 2018 winner was Established in 2018, the Roberts Family Anne Middleton for her portrait of Aboriginal and Torres Strait Islander Guy Pearce. Prize is an annual prize of $10,000 to be awarded to an Aboriginal and/or Torres Wynne Prize Strait Islander artist for a work entered in the Wynne Prize. In 2018 the prize The Wynne Prize is awarded annually was awarded to Wawiriya Burton for for ‘the best landscape painting Ngayuku ngura (my country). 2014 of Australian scenery in oils or ARCHIBALD, WYNNE AND watercolours or for the best example of Young Archies figure sculpture by Australian artists’. SULMAN ENTRIES (2018) The prize of $50,000 was awarded Budding artists between the ages in 2017 to Betty Kuntiwa Pumani of 5 and 18 were invited to submit for Antara, and in 2018 to Yukultji a portrait for the Gallery’s Young Napangati for Untitled. Archie competition, as part of the Gallery’s family-focused activities for 1400 In 2018, thanks to the generous the Archibald, Wynne and Sulman YOUND ARCHIE ENTRIES (2018) support of the Roberts family, a new prizes exhibition. The portrait is to be annual acquisition fund of $40,000 of ‘a person who is special to you – was allocated towards Aboriginal someone who is known to you and and/or Torres Strait Islander artworks plays a significant role in your life’. + from the Gallery’s Wynne Prize. $200 000 Acquisitions are to be approved by IN ART PRIZES (2018) the Board of Trustees. 61

Publishing

2017–18 was a busy year of publishing Published titles Rembrandt and the Dutch golden and developing new titles. The thirst age: masterpieces from the for all things related to the Archibald Rijskmuseum Let’s face it: the history of the Prize was satisfied with the sixth Archibald Prize 6th edition Gerdien Weustman edition of Let’s face it: the history of November 2017, 212 pp, hc, rrp $40 (Gallery price Jo Litson / Peter Ross $39.95) the Archibald Prize, and the Gallery July 2017, 192 pp, pb, revised edition, rrp $50 published books with each of the Introduces the work of the greatest Archibald Prize exhibitions which fell 2017 Archibald Prize artists of the period, providing a vivid in the same financial year. In response Jo Litson and compelling panorama of Dutch life to visitor demand, we also published July 2017, 64 pp, pb, rrp $16 from domestic scenes to the high seas. a new souvenir book showcasing the The 13th in the series of this ever- Gallery and its history. Mikala Dwyer: a shape of thought popular title featuring the year’s Archibald finalists and winners. Wayne Tunnicliffe The catalogue for the summer show March 2018, 144 pp, pb, rrp $45 (Gallery price Rembrandt and the Dutch golden age: $39.95) Unpainting: AGNSW contemporary masterpieces from the Rijskmuseum The first in a new mid-career artist collection project series #3 proved popular with visitors, selling out series, this book looks at Dwyer’s by the end of the exhibition. Nicholas Chambers September 2017, 48 pp, pb, rrp $16.95 work over the past three decades, documenting the evolution of her Unpainting was the third in the A look at the Gallery’s extraordinary practice and her influences. contemporary collection project holdings of abstract paintings, focusing series; we also published the first in a on unconventional and experimental 2018 Archibald Prize new series on mid-career artists with approaches from the 1960s to the Jo Litson Mikala Dwyer: a shape of thought, to present day through the work of May 2018, 84 pp, pb, rrp $16 be followed in 2018 with Nonggirrnga 25 artists. Marawili: from my heart and mind, The 14th in the series of this ever- popular title featuring the year’s designed to live on beyond their Art Gallery of New South Wales Archibald finalists and winner. associated exhibitions. (souvenir book) October 2017, 120 pp, pb, rrp $19.95 In production The development and production of An essential guide and memento a major publication − John Russell: following a visit to the Gallery covering Australia’s French impressionist − the history, the building and the John Russell: Australia’s French for July 2018 was a key focus during highlights of the collection. impressionist (July 2018) 2017−18. Modern masters from the Hermitage Ancestral art of the Indonesian (October 2018) archipelago: the Christopher Worrall Wilson Bequest Nonggirrnga Marawili: from my heart Niki van den Huevel and mind (November 2018) November 2017, 92 pp, pb, rrp $24.95 Tony Tuckson (November 2018) Demonstrates the antiquity and National Palace Museum, Taipei continuity of animist religious and cultural practices in island Southeast (February 2019) Asia through exquisite sculpture, The National 2019 (March 2019) ceremonial objects, regalia and weapons. Daniel Thomas: writing on art (June 2019) Indigenous ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 62 Advisory Group

This year marked the creation of the The Advisory Group was first convened Attendance was as follows: Tony Albert Gallery’s Indigenous Advisory Group. on 13 March 2018 and met for the (Chair) (2/2); Uncle Charles (Chicka) Among other important roles, the second time on 7 June 2018. Chaired Madden (1/2); Uncle Allen Madden (0/2); Advisory Group is working with staff by Tony Albert (Kuku Yalanji, QLD), Wesley Enoch (1/2); Stephen Gilchrist to develop the Gallery’s Indigenous the Advisory Group’s membership (2/2); Hetti Perkins (2/2); Jason Glanville Action Plan for final approval by the also includes Uncle Charles (Chicka) (1/2); Rachel Piercy (1/2). Gallery Trustees. Madden (Gadigal Elder, NSW); Uncle Allan Madden (Gadigal Elder, NSW); The Advisory Group will provide Hetti Perkins (Arrernte/Kalkadoon, NT/ the Gallery with advice on cultural QLD); Wesley Enoch (Noonuccal Nuugi, policy and protocol and reflecting QLD); Stephen Gilchrist (Yamatji, WA); the needs and interest of Aboriginal Jason Glanville (Wiradjuri, NSW); and and Torres Strait Islander artists Rachel Piercy (Murrawarri, NSW/QLD). and communities. It will also provide guidance on supporting staff working in Aboriginal and Torres Strait Islander art, and assist in achieving the Gallery’s ambitious vision in the Sydney Modern BELOW: Tony Albert Self-portrait (ash on me) 2017, acrylic Project transformation. on linen, 102 x 102 cm © Tony Albert. Photo © AGNSW 63 Talks and lectures

Guest directors

Among our many engaging speakers in 2017–18, several leading museum directors joined Michael Brand for stimulating conversations, including Taco Dibbits (Rijksmuseum, Amsterdam), Neal Benezra (San Francisco Museum of Modern Art) and Glenn D Lowry (Museum of Modern Art, New York).

Other speakers included UK artist Tracey Emin, Musée de Cluny director Elisabeth Taburet-Delahaye and Rembrandt scholar Stephanie Dickey. Papers from a symposium on art and philosophy, co-produced with University of Adelaide, will soon be published in an international peer-reviewed journal including commentary from Gallery staff on the symposium’s innovative symposium delivery method, taking place entirely in the gallery space in a dialectical and conversational format. Khadim Ali for a discussion about the ABOVE: AGNSW director Michael Brand in conversation calligraphic and illustrative traditions with MoMA director Glenn Lowry. Photo © AGNSW Sydney Asian Art Series of the 10th-century Persian poem, Shahnameh (Book of Kings). Winnie Wong, Associate Professor of Rhetoric The Sydney Asian Art Series is and History of Art at the University an initiative presenting leading of California, Berkeley, presented her international voices on early, modern work on 19th-century Chinese export and contemporary Asian art. This artist Lam Qua, whose portraits drew three-year series of talks and events from eclectic sources in European is co-presented by the University art history. And finally, Ajay Sinha, of Sydney’s China Studies Centre, Professor of Art History, Asian Studies The Power Institute and VisAsia, and Film Studies programs at Mount with support from the Art Gallery of Holyoke College, USA, delivered a New South Wales and Sydney Ideas. lecture on the transcultural exchanges In 2017–18, the Gallery welcomed of Indian dancer Ram Gopal and four scholars working across Asian American photographer Carl art history, addressing themes of van Vetchen. the contexts for art production and transculturalism across the continent and beyond. Saloni Mathur, professor of modern and contemporary South Asian art, University of California, Los Angeles, spoke about the radical stakes of contemporary Asian art. David J Roxburgh, Prince Alwaleed Bin Talal Professor of Islamic Art History, Harvard University, presented a lecture on the art of 19th-century Iran, as well as joining Michael Brand and AUDIENCE 04

… inspire the next generation of artists and art lovers …

RIGHT: Martin Creed, Work no 2821 2017, yellow 11-inch balloons, installation dimensions variable, Art Gallery of New South Wales. Purchased with funds provided by the Mollie and Jim Gowing Bequest Fund and Atelier 2017 © Martin Creed/DACS. Licensed by Copyright Agency

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 66 Learning and participation

Public programs Community engagement In late 2017, the Gallery began RAW, a new two-year youth program where artists Tom Polo, Marian Abboud and The Gallery’s public programs have The Gallery aims to be at the forefront Miranda Samuels ran workshops continued to evolve and diversify this of community engagement and in Woolloomooloo. The program year, engaging over 40,000 visitors with programming. Our programs ensure was developed in partnership with art, culture and ideas. all audiences, irrespective of cultural Artspace, Save the Children and the background and economic situation, City of Sydney, including a $80,000 City Our flagship programArt After Hours have access to art through deep of Sydney grant. celebrates its 15th anniversary in 2018, engagement opportunities and feel making it one of the longest-sustained welcomed and represented within the The Gallery’s Disability Inclusion night-time museum programs in the Gallery and the community. Action Plan 2017–20, launched world. This year was enriched by in November 2017, reinforces our creative partnerships with the Sydney In 2017–18 several new partnership commitment to the inclusion and Gay and Lesbian Mardi Gras, Vivid programs were designed by, for and representation of people with disability. Sydney, Vice magazine and others. with the community. These included The disability-led plan was developed an art-making program for people at in consultation with disability advocate Performing and visual arts again risk of homelessness, working with Sarah Houbolt and Accessible Arts. united in two in-exhibition productions. Artspace and the Ozanam Learning Training for all front-of-house staff, Rembrandt live, produced with the Centre in Woolloomooloo, and a pilot including volunteers and security, was Australian Brandenburg Orchestra for poetry writing program, Fool’s Gold, in rolled out in 2018. the Sydney Festival, attracted capacity partnership with Outlandish Arts, the audience and glowing reviews. With State Library of NSW, UTS and Big Fag An Indigenous Action Plan is being Red Room Poetry and Sydney Writers Press for people with mental illness. developed to reflect the Gallery’s Festival, the Gallery presented Poetic commitment to supporting and threads, intimate and powerful The Gallery started a two-year celebrating Aboriginal and Torres performances by three diverse partnership with Information and Strait Islander people, perspectives Australian poets, Mirrah, Candy Royalle Cultural Exchange (ICE), Parramatta and cultural practices; an advisory and Scott Wings, responding to The in July 2017, including a program for committee was set up in 2018. In July lady and the unicorn tapestries. new migrant and refugee families, 2017, archivist Shari Lett and programs mentorships for musicians on the producer Amanda Peacock presented Practising artists led many of our autism spectrum, and a youth digital the Gallery’s Djamu program at the programs, especially during the engagement program. World Indigenous People’s Conference Biennale of Sydney. Hands-on in Canada. workshops, from drawing to tapestry, Western Sydney–based disability responded to audience demand for organisation Front Up (led by Ability tactile experiences in a digital world. Options) continued to work with the Weekly Recollections talks invited Gallery on their flagship program artists, academics and gallery staff Emerge, mentoring and engaging to reflect on one work of art that over 30 artists with disability over a inspires them. four-month period. In July 2017, the Art and Dementia ‘Arts Engagement The Gallery launched Art in mind, for Liveable Communities’ project which brings meditation and with UTS and the Black Dog Institute 94 038 mindfulness techniques to the began with over 50 people participating ATTENDED SCHOOL experience of looking at art. The in artist-led art-making experiences. sell-out monthly sessions and Access producer Danielle Gullotta EDUCATION PROGRAMS occasional deeper courses are having presented research findings as profound impacts on participants, part of Dementia Awareness Month signifying art’s power to enhance our in September alongside Emeritus lives and wellbeing. Professor Steven Sabat from Georgetown University, USA and 49% Dr Gail Kenning from UTS. OF EDUCATION PARTICIPANTS FROM WESTERN SYDNEY AND REGIONAL NSW 67

40 288 ATTENDED PUBLIC PROGRAMS 57 601 ATTENDED ART AFTER HOURS Education An exciting new youth collective was launched in February 2018, empowering young people to develop The Gallery seeks to inspire the programs for their peers. In partnership next generation of artists and art with Macquarie University, eighteen lovers by providing creative learning people aged 15–24 years were 3857 opportunities for students and teachers chosen from across Sydney and outer STUDENTS AND TEACHERS across the state. Over the past year, metropolitan areas. The inaugural the Gallery expanded its partnerships ATTENDED ART PATHWAYS Youth Collective has launched the with Western Sydney and regional art FOMArt (Fear of missing ART) program galleries, community organisations that takes place monthly in the Gallery and schools enabling increased and, at times, at outer metropolitan participation for those living outside of art centres. metropolitan Sydney. As a result, 49% 95 985 of all education audiences in 2017–18 ATTENDED FAMILY PROGRAMS were from Western Sydney or regional Visitor experience New South Wales. The Visitor Experience team’s The Gallery’s Art Pathways Plus best-practice customer service program developed flagship education standards continue to enrich onsite 136 partnerships with Casula Powerhouse visitation. Gallery Hosts maintain a VOLUNTEER GUIDES Arts Centre and Campbelltown Arts welcoming message across front-of- Centre. The groundbreaking regional house operations such as ticketing, outreach education program, Home: information, and at exhibition Aboriginal art from New South Wales, entrances. The team has also played developed in partnership with The Arts an important role in enhancing visitor Unit, Department of Education NSW experience through experimental 130 and regional galleries expanded to projects such as Henry VR. TASK FORCE VOLUNTEERS reach twenty-four schools in Wiradjuri country and Kamilaroi country and The Visitor Experience team relies on based at regional galleries in Wagga ongoing volunteer support to engage Wagga, Western Plains, Albury and audiences with quality interpretation Tamworth. through the volunteer guide programs, 73 729 and assist with learning and ATTENDED GUIDED TOURS An innovative Brett Whiteley digital participation programs. During the year learning resource was launched in between 130–150 volunteer guides and collaboration with Northern Pictures 130 task force volunteers collectively and Good Pitch, producers of the gave over 25,000 hours to the Gallery award-winning documentary Whiteley. to enhance the quality of visitors’ 74 035 This dynamic digital portal uses experience and support in a range ATTENDED ARTEXPRESS the innovative Art Boards platform, of tasks. developed by the Gallery’s Digital Engagement team, allowing users The Gallery continues to draw on to self-navigate through rich content audience research to transform the about the art and life of Brett Whiteley. visitor experience and initiate new It includes learning strategies projects in readiness for Sydney 7047 developed by teachers for teachers. Modern Project. ATTENDED TERTIARY PROGRAMS 25 000 VOLUNTEER HOURS ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 68 Digital engagement

Audio Experience Platform 2017 and 2018 Archibald, Wynne and Artists in Profile Sulman prizes A continuing series of interviews The Audio Experience Platform aims Due to the 2018 Prizes being held with artists, this year’s included local to create consistent, scalable and earlier than usual, there were two exhibiting artists Mikala Dwyer and varied audio experiences for visitors, Archibald, Wynne and Sulman Janet Laurence, visiting international developed in conjunction with service prizes this financial year. There were artist Tracey Emin, and Archibald Prize– design experts Meld Studio and audio 2154 entries submitted online for the winners Mitch Cairns (2017) and Yvette experts Art Processors. Stage 1, Archibald, Wynne and Sulman prizes Coppersmith (2018). launched in July 2018 with the ‘John in 2017, and 2174 entries for 2018. Russell Audio Experience’, was created Online entry allows immediate access Exhibition videos in conjunction with the exhibition to statistics on the gender, location For the Rembrandt and the Dutch John Russell: Australia’s French and other demographic information of Golden Age exhibition, the Gallery impressionist. all entrants and sitters, for use by the produced an explainer video illustrating Gallery’s communications team and art from the golden age. The Gallery continues to develop other interested media. internal capabilities as it transforms into Pocket Theatre an art museum for the 21st century, The Gallery also presented digital Art coinciding with the opening of the Sets; children’s labels and exhibition The new pop-up ‘Pocket Theatre’ Sydney Modern Project in 2021. trail; education resources; and setups allow visitors to view video examinations of Indigenous finalists, content relevant to where they are Digital for exhibitions women winners across the Archibald’s in the Gallery, including exhibitions history, and subjects by background. and the permanent collection. This The lady and the unicorn year it was set up in the cafe and in 2017 and 2018 marked the second the Yiribana gallery to highlight the The lady and the unicorn exhibition and third years offering Archibald Indigenous art collection. featured a discovery room with touch Prize finalist labels in audio and auslan screens that provided visitors with the format for ACCESS audiences. Analytics opportunity to get closer to the detail of each tapestry from the front and YouTube Whiteley digital learning – Total subscribers: 7451 (+41%) the back. There were also two touch resource screens for children, showing the – Total watch time: 1,155,163 minutes animals that could be found by looking (+21% from the previous year) closely at each of the six tapestries. The Gallery launched the first digital – Total plays: 831,042 (+111% from learning resource on artist Brett the previous year) Rembrandt and the Dutch golden Whiteley, using the Art Board template age to deliver a media-rich self-directed Audio learning experience for secondary – SoundCloud: 24,349 plays A suite of digital content was produced students and lifelong learners. to support the summer show Collection artist profiles Rembrandt and the Dutch golden age, Video highlights including an online feast of materials on golden age art, fashion, food and In an ongoing project, more than fifty religion, plus a beautifully animated The Art of Giving artist profiles have been added to the video explainer revealing just what collection area of the Gallery website. A series of videos commissioned by This tranche drew on the work for the made Dutch art from this period so the Gallery Foundation introducing special or what made it a ‘golden age’. Victorian watercolours exhibition some of our benefactors and their and brings the total to more than stories, in particular, why they have 200 profiles. Robert Mapplethorpe decided to leave the Gallery a bequest The Mapplethorpe digital resource in their wills. extended the story of Robert Mapplethorpe with tales of New York, photography, his friendship with Patti Smith and his political legacy. 69 40 299 FILM PROGRAM VISITORS

Strategy and planning year, making this the first year that Social media growth content was accessed (and viewed) Facebook +12% (141,900 fans) more frequently using mobile devices A high-level digital strategy for Sydney YouTube +41% (7,451 subscribers) than on desktop computers. Modern Project was developed over Twitter +11% (56,100 followers) the past year, outlining the digital Instagram +32% (134,200 followers) opportunities and challenges that come The most popular artists (by profile with an expansion of this scale. page views rather than number of works) were Tracey Moffatt, Albert Film Namatjira, Tom Roberts, Sidney Nolan, A digitisation specialist is working Brett Whiteley, Margaret Preston, with the Digital Engagement team The Gallery’s free weekly film program Jeffrey Smart, Rosalie Gascoigne, and internal stakeholders to assess continued to grow, attracting record Margaret Olley and Lin Onus. the current state of digitisation at the attendance of 40,299 in 2017–18. Each Gallery and research best practice. This Wednesday and Sunday, audiences will be developed into a gap analysis to Visitation to the Gallery’s pages on had an opportunity to enjoy four identify needs and a roadmap to inform Google Arts & Culture (which includes major thematic and retrospective the gallery’s future direction. 624 works from the Gallery’s collection) film seasons. These included a for this year was 775,393 users (+66%) series of British gothic horror cinema and 1,196,361 page views (+55%). (‘Straightlaced and Scandalous’) Planning is well underway to deliver a Interestingly, the audience accessing and a sold-out season of Chinese new responsive and visually rich Art the Gallery’s pages on Google cinema (‘Starburst’), which heralded Gallery of New South Wales website. Arts & Culture is predominately an the Gallery’s ongoing commitment to The new website is planned to launch international audience (96%) compared showcasing Asia–Pacific moving-image three to six months before the Gallery’s to the much smaller percentage of culture. Other highlights included the expansion opens. international visitors that accesses the premiere of Isaac Julien’s recently Gallery’s website (18%). restored classic of black queer Overall online visitation cinema, Looking for Langston 1989, Social media with the artist in attendance, and a Visitation to the Gallery’s website series of silent film events with live Social networking continues to grow (including our mobile site) for this accompaniment by emerging Sydney in importance and activity levels, year was 4,092,908 sessions (+11%), musicians. In 2017–18, the film program demonstrating strong interaction, 2,919,886 users (+9%) and 14,841,000 maintained its partnerships with the sharing and communication with page views (+12%). The highest number Sydney Film Festival, Japan Foundation an extremely engaged audience. of sessions for any one day was 56,755 and the Documentary Australia Instagram remains the fastest growing on 20 July 2017 when the winners of Foundation. The Gallery expanded channel, with 32% growth in followers the 2017 Archibald, Wynne and Sulman its commitment to developing into an over the last twelve months. prizes were announced. internationally renowned space for screen culture in Sydney, a UNESCO The Gallery’s growth on social media This year, the most visited part of City of Film. can be attributed to the high-quality, the site was the prizes database engaging and interactive content online showcasing the finalists and shared across these channels, with winners throughout the years of the an increased investment in content Archibald, Wynne and Sulman prizes creation and amplification of posts. and the Dobell Prize for Drawing (27%), followed by the collection online (19%), exhibitions (13%), calendar Email newsletters (5%), education including Inside ARTEXPRESS (5%) and the Gallery Title Issues and frequency Subscriber numbers Shop online (4%). The homepage Artmail 17 (monthly plus specials) 186,200 received 5% of the traffic. Art After Hours 48 (weekly) 8100

Eighty-two per cent of all online Brett Whiteley Studio e-news 4 4000 visitations are from Australia, with 73% Education update 6 1500 of these from New South Wales. The Tertiary update 2 2400 percentage of website users accessing Gallery Shop 2 1700 the Gallery’s website via mobile devices (mobile or tablet) reached 52% this Auslan 11 270 Ngayuku ngura (my country) Wawiriya Burton, Wawiriya RIGHT: RIGHT: 2018, acrylic on linen canvas, 240 x 201 cm. Roberts Burton. Tjala Arts Family Acquisition 2018 © Wawiriya … the Gallery’s … the Gallery’s family of sponsors and supporters …

05 PARTNERSHIPS

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 72 Corporate partners

The Gallery is able to We welcome and thank our new Partnership with the Gallery provides present inspiring exhibitions, partners Robert Oatley Wines and opportunities for the corporate The Woolmark Company. community to imaginatively and programs and initiatives creatively build their brand identity due to the outstanding Thanks also go to our presenting and to engage with their clients in a and committed support of partners: Aqualand for its continued way that sets them apart from their its family of sponsors and support; Herbert Smith Freehills, competitors. The Gallery’s position partners. These organisations our Asian Galleries partner and legal as a cultural icon, presenting world- partner; JP Morgan for its ongoing class exhibitions and cultural events, share the Gallery’s support of the Brett Whiteley Studio; allows us to create valuable and lasting commitment to the vibrancy Macquarie Group for its commitment partnerships. of culture in Sydney and are to Australian art; and UBS for its a vital part of our vision for continued connection with our With an exciting program of upcoming the future. Contemporary Galleries. Thanks also to exhibitions, community and education official media partnersFairfax Media initiatives, and strategically tailored (SMH), JCDecaux and official hotel partnerships, there has never been partner Sofitel Sydney Wentworth. better time to be involved with the We gratefully acknowledge the support Gallery. of all our sponsors and partners, who In February 2018, the Gallery launched enabled us to raise $5.731 million cash an expansion into the luxury brands sponsorship and $589,000 of in-kind Sponsorship sector. The Luxury Syndicate support in 2017–18. is a new corporate membership ANZ: Leadership partner; Presenting program offering prestige brands partner: Archibald, Wynne and Sulman Sponsorship retention remained high the opportunity to demonstrate their prizes thanks to our loyal corporate partners commitment to the arts and cultural and the inclusion of several multi- sector. year sponsorship agreements which Aqualand: Presenting partner; increase financial stability for the Presenting partner: The National: new We thank our generous and loyal Gallery. Australian art supporters: Clemenger BBDO for its support of Robert Mapplethorpe; : Support partner: This year marked the eighth year of Crestone and Paspaley Pearls, City of Sydney the Sydney International Art Series, an attached to our Next Generation Archibald Prize and Rembrandt and the Dutch golden age: masterpieces ongoing partnership with Destination cultivation program, Atelier; Porter’s from the Rijksmuseum NSW to bring the world’s most Original Paints, our official paint outstanding exhibitions to Australia. supplier; Valiant Events for enhancing The Gallery acknowledge the support our unique VIP events; Variety – the Clemenger BBDO: Major partner; received from the NSW Government Children’s Charity, for supporting Major partner: Robert Mapplethorpe: through Destination NSW. Destination our Starting with Art program; and the perfect medium NSW’s support also enabled The lady City of Sydney. and the unicorn tapestries to travel Crestone Wealth Management: from the Musée de Cluny in Paris to The Gallery also receives substantial Program supporter for Atelier Sydney for the first time. support from members of the President’s Council and VisAsia Destination NSW: Strategic sponsor: Our leadership partners ANZ and Council. The funds raised by these Nude: art from the Tate Collection and Macquarie University have enabled bodies sustain many of the Gallery’s The lady and the unicorn the Gallery to present exciting and programs, particularly the Exhibitions important exhibitions and programs program. Council members also EY: Presenting sponsor; Major sponsor: such as the Archibald Prize and provide a vital source of business Rembrandt and the Dutch golden age: Learning and participation engagement expertise and advice and we are masterpieces from the Rijksmuseum activities. Valued sponsorship from extremely grateful for their enthusiastic EY and Singapore Airlines allowed and loyal support of the Gallery. Fairfax Media (SMH): Media partner: masterpieces from the Rijksmuseum Archibald Prize and Rembrandt and to travel to Sydney for Rembrandt and the Dutch golden age: masterpieces the Dutch golden age. from the Rijksmuseum 73

Glenfiddich and Hendrick’s Gin: Event S&S Creative: Support partner: Andrew Best – JP Morgan and Support partners education programs James Kennedy – Kennedy Luxury Group Herbert Smith Freehills: Presenting Luxury Syndicate: Presenting partner: Martin Blake – KPMG partner: Asian Galleries and legal The lady and the unicorn Steven Lowy AM – LFG provider John Pickhaver – Macquarie Capital The Woolmark Company: Major ANZ JCDecaux: Media partner: Archibald partner; Major partner: The lady and David Wilkinson – Macquarie University Prize and Rembrandt and the Dutch the unicorn Drew Bradford – National Australia golden age: masterpieces from the Bank Rijksmuseum UBS: Presenting partner; Michael Bracher – Paspaley Pearls Contemporary Art: Contemporary Group JP Morgan: Presenting partner; Galleries; Major partner: The National Shaun Bonett – Precision Group of Presenting partner: Brett Whiteley Companies Studio Valiant Events: Support partner Peter Allen – Scentre Group Alfred Moufarrige OAM – Servcorp Macquarie Group: Presenting partner; Variety – the Children’s Charity: Ryan Stokes – Seven Group Holdings Presenting partner: Australian Art Support partner: Starting with Art Tim Church – UBS AG Australia Collection VisAsia Council of the Art Gallery of Luxury Syndicate Macquarie University: Leadership New South Wales: Asian exhibition partner; Presenting partner: O’Keeffe, program partner Membership Preston, Cossington Smith; Support partner: Art After Hours; Venue President’s Council Bang & Olufsen sponsor: ARTEXPRESS 2018; CEO Magazine Presenting partner: Youth Collective Members of the President’s Council Frasers Hospitality 1 July 2017 – 30 June 2018 Glenfiddich Paspaley Pearls: Program supporter GRAFF for Atelier Hendrick’s Gin President: David Gonski AC Kennedy Group Porter’s Original Paints: Official Membership La Prairie paint supplier and Support partner: Ocean Alliance Archibald Prize and Rembrandt and Noel Condon – AIG TOD’S the Dutch golden age: masterpieces Vera Wang from the Rijksmuseum Emma Gray – ANZ Banking Group Limited Waterford Jin Lin – Aqualand Wedgwood President’s Council of the Art Gallery Ytd. of New South Wales: Major exhibitions Sandy Oatley – Balmoral Australia, program partner Robert Oatley Vineyards, Hamilton Island Robert Morgan – Clemenger Group Robert Oatley Wines: Major partner; Support partner: Archibald, Wynne Michael Chisholm – Crestone Wealth and Sulman prizes Management Sandra Chipchase – Destination NSW Damian Hackett – Deutscher and Singapore Airlines: Major partner; Hackett Official airline Rembrandt and the Paul Harapin – Domo Australia Dutch golden age: masterpieces from Andrew Price – EY the Rijksmuseum Lisa Davies – Fairfax Media Limited Darren Goodsir – Fairfax Media Limited Sofitel Sydney Wentworth: Major Miles Bastick – Herbert Smith Freehills partner; Official hotel and Support Milton Samios – Investec Australia partner: Archibald Prize and Limited Rembrandt and the Dutch golden age: Stephen O’Connor – JCDecaux masterpieces from the Rijksmuseum Australia ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 74

$5.731million IN SPONSORSHIP

Corporate membership Energy Action NBRSARCHITECTURE Energy Industries Superannuation Nettleton Tribe News Corp Australia The Corporate Membership program Scheme Pty Limited Norman Disney & Young successfully developed and extended Eric & Tonia Gale its levels of membership, the benefits ExpertsDirect North Shore Private Hospital included and the events presented to Faber-Castell Australia Pty Ltd NTT Communications ICT Solutions reflect the results of the 2017 Corporate Fairfax Media Limited (Aust) Pty Ltd Members survey. Members include: FiftyFive5 Pty Ltd Ole Lynggaard Copenhagen FM Global ORC International Ord Minnett Limited Allen & Overy Fortress Private Wealth Allen Jack + Cottier Fox Symes & Associates Precision Group – CEO Office Allens Geyer Pty Ltd Precision Group – CFO Office American Express Public Affairs Gilbert + Tobin Private Portfolio Managers Pty Ltd AMP Capital Gilmore Interior Design Professional Opinions Arab Bank Australia Goldrick Farrell Mullan Solicitors QBE Insurance Group Ltd Architectus Hall & Wilcox QBE Lenders’ Mortgage Insurance Arinex Pty Ltd Herron Todd White Renaissance Tours Arredorama Hicksons RESIMAC Limited Arterial Marketing Holman Webb Lawyers Robeco ARUP Pty Ltd Hostplus Sasphire Legal Ashurst HUB24 Savills Project Management ASX Limited Hutchings Pianos Scan Pacific International Atomic 212 Group IBM Australia Servcorp Aurecon icourts Shapiro Auctioneers Australian Unity IMB Ltd Sky News Business Channel AxiTrader Integrated Design Group Smart Design Studio BAI Communications Ironshore SMS Management & Technology Bain & Company iSentia Solgen Energy Group Baker McKenzie Jackson Teece Architecture SomnoMed Ltd Ball & Doggett Jirsch Sutherland Sparke Helmore Lawyers BDO John Claudianos Steensen Varming Blue Star Print Johnson Pilton Walker Pty Ltd Stephenson Mansell Group Carroll & O’Dea Lawyers Just Sydney PTY LTD Stuart Jacquet Cartier Group Pty Ltd Kareena Private Hospital Surface Design CBRE Knoxweb Investments Pty Ltd Taylor Thomson Whitting Challenger Lander & Rogers Taylors Wines ClearView Wealth Limited Lansa Pty Ltd Taylors Wines Family Clifford Chance Liberty International Underwriters Teece Hodgson & Ward Clouston Associates Lindsay Yates Group Thomson Geer Coffey Environments Australia Pty Ltd Loop Brands Pty Ltd Veolia Environmental Services Copyright Agency l Viscopy macpeople (Australia) Pty Ltd Cottee Parker JPRA Macquarie Telecom Vestech Pty Limited Cox Architecture Martin & Savage Pty Ltd Viral Diagnostic & Referral Laboratory Crone MaxMara Australia Vivid Tours International Cundall McCabes Lawyers Pty Ltd VoIP Pty Ltd Curwoods Lawyers McGrathNicol Warren Smith & Partners Pty Ltd David Stevens Media Super Wentworth Galleries Dentons Australia Pty Ltd Morgan Stanley Wealth Management Wesfarmers Limited DFS Galleria Australia Australia Pty Ltd Wood & Grieve Engineers DibbsBarker Mosman Art Gallery & Cultural Centre Woodbury Financial Services Pty Ltd Directioneering Pty Ltd Multi-Pak Industries Pty Ltd Woods Bagot dwp | suters Mundipharma Pty Ltd Woven Image Egencia Munich Re WSP | Parsons Brinckerhoff EIZO Nanda\Hobbs Pty Ltd WT Partnership Emirates SkyCargo National Australia Bank XL Catlin Australia 75

VisAsia Council

VisAsia, the Australian Institute of Asian Culture and Visual Arts, was established in 1999. Managed by a board of directors, it includes both the VisAsia Council and individual VisAsia membership.

VisAsia’s mission is to promote the appreciation of Asian visual arts and culture. Funds raised through membership fees are devoted exclusively to the sponsorship of Asian exhibitions, publications and education programs. Membership is invitation-only and restricted to chief executives, chairpersons and individual business leaders.

Membership of the VisAsia Council 1 July 2017 – 30 June 2018

Chairman: Warwick Johnson – Optimal Fund Management

Membership

Ann Proctor Evan Hughes Judith Rutherford Simon Chan Warwick Smith

Andrew Low – CLSA Australia Pty Limited Mark Lazberger – Colonial First State Global Asset Management Ryan Gollan – Dongtian Global Evan Hughes – Herringbone Asset Management Seng Huang Lee – Mulpha Australia Luigi Tomba, Yixu Lu – The University of Sydney William Purcell – University of Technology Sydney Michael Sternberg – Valiant Hire

RIGHT: Corporate viewing evening, Entrance Courts. Photo © AGNSW ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 76

Philanthropy

Art Gallery of New South of $1800 per year for four years the estate of Roger Pietri, which funded Wales Foundation Acquisition are deemed to be patrons of the the acquisition of works for the Asian Foundation and are entitled to have collection; and from the estate of Gil Program their names listed on the Foundation’s and Shay Docking, which funded works honour board for the duration of their for the Australian Prints, Drawings and The Art Gallery of New South Wales support or as otherwise agreed. From Watercolours department. Foundation continues to raise funds 2016, $300 of every $1800 donation to support the Gallery’s acquisition is directed to the Foundation’s Two major bequests were received in program. Its policy is to invest its endowment fund and the balance of 2017–18: the first was $1.438 million capital and use the income to $1500 is directed to the donor’s area from the estate of Margarita Zaneff and purchase works of art for the Gallery’s of choice. the second was $1.035 million from the permanent collection. estate of Peter L Binnie. Examples of works acquired in whole The Foundation has over $63 million or in part with collection benefactor Recognition in funds under investment. With the groups’ funds last year include: income from these investments the Donors of both art works and Foundation has to date acquired 39 Aboriginal Collection Benefactors cash, and supporters who have major works for the collection. Most of Mumu Mike Williams, Willy Muntjantji pledged a bequest to the Gallery these works were funded exclusively Martin and Sammy Dodd, Ngura or to the Foundation, are generally from Foundation income, however, in (Country) 2017 offered acknowledgement through recent years with the price of the major membership of the Foundation and are Gallery acquisitions being in the many Contemporary Collection invited to have their names included millions, funding is often a combination Benefactors on the Foundation’s honour board in of Foundation and other sources, Mikala Dwyer, The divisions and a category and for a length of time such as bequest funds and targeted subtractions 2017 commensurate with their gift. They fundraising. are also invited to Foundation events. Australian Prints, Drawings Donations to the Gallery and the The most recent work acquired solely and Watercolours Foundation are tax deductible. with funds from the Art Gallery of New John Nixon, Suite of ten untitled South Wales Foundation was Kimsooja, collages 2012–17 Life Governors Archive of mind 2017. This participatory installation with clay, wooden table In addition to acquisitions, benefaction As at 30 June 2018, the Gallery and stools, and a sixteen-channel has enabled the Gallery to stage once- has acknowledged the significant soundtrack, was purchased in 2018. in-a-generation exhibitions. The lady support of the following individuals by and the unicorn, a highlight of 2017–18, appointing them as Life Governors: The Foundation publishes its own received significant private support bi-annual newsletter and a bi-annual from the following patrons: Principal Franco Belgiorno-Nettis ; e-newsletter, which contain details patron Hon Ashley Dawson-Damer ; AC CBE AM Joseph Brender ; Jillian Broadbent of recent acquisitions, arts-based and Supporting patrons Bernard AO activities and events, a listing of new AO; Edmund Capon AM OBE; Rowena Le Boursicot OAM and Linna Le patrons and a financial summary. A Danziger AM; Ken Cowley AO; James Boursicot, Joan Clemenger AO, Peter copy of the Foundation’s financial Fairfax AC; Brian France AM; James Clemenger AO and Martin Dickson AM. reports is also available on the Gallery’s Gleeson AO and Frank O’Keefe; Michael Gleeson-White ; David website: www.artgallery.nsw.gov. Bequests AO au/about-us/corporate-information/ Gonski AC; Mollie Gowing; Shosuke annual-reports/foundation/ Idemitsu; Richard Johnson AO MBE; The Gallery’s acquisition programs James Leslie AC MC; Frank Lowy AC; Collection benefactors and have again received considerable Steven Lowy AM; John Morschel; support through bequest funds, Rupert Murdoch ; Kenneth Myer other support groups AC AC most notably from the estate of DSC; J Hepburn Myrtle CBE; Margaret Wendy Barron, which funded works Olley AC; John Olsen AO OBE; Max Many Gallery departments have their for the Australian and Aboriginal Sandow AM; John Schaeffer AO and own support group which raises art departments; from the estate of Julie Schaeffer; Edward Sternberg AM funds either for their collection or for Annie Douglas, in the name of Mollie and Goldie Sternberg; Fred Street AM; special projects. Patrons of all groups Douglas, which funded the acquisition Diana Walder OAM; Peter Weiss AO; who pledge a minimum commitment of ceramic works of Anne Dangar; from Neville Wran AC QC; John Yu AC. 77

Foundation Members Hazel; Nancy and Terry Lee; Nelson totalling $375,000), which enabled Meers Foundation; Catriona Mordant the delivery of the Art Pathways Plus and Simon Mordant ; Neilson program to build enduring relationships The Gallery has acknowledged major AM Foundation; Vicki Olsson; Hamish between the Gallery (staff and gifts and bequests of both works and Parker; Roger Pietri; Alan and Jancis resources) and teachers, students and money (including pledged bequests) Rees; Mark Thompson and Kerry art centres in Western Sydney. through membership of its Foundation. Comerford; Barbara Tribe; Wendy The three highest levels of Foundation Whiteley ; Lyn Williams ; David membership, as at 30 June 2018, are OAM AM Other philanthropic grants were also George Wilson; Craig and Charanjit listed below: received from: Young-Anand. Life Benefactors Gordon Darling Foundation for Benefactors a Darling Travel Grant for staff international travel James Agapitos and Ray OAM Robert Albert and Elizabeth Wilson ; Len Ainsworth and AO RFD RD Copyright Agency Cultural Fund OAM AM Albert; Kathleen Elizabeth Armstrong; Margarete Ainsworth; Geoff Ainsworth supported the development of James Barker; Mr and Mrs PL and Johanna Featherstone; Art resources for the HOME project AM Binnie; Jillian Broadbent ; Justin Gallery Society of New South Wales; AO Butterworth; William and Florence Belgiorno-Nettis Family; Mary-Jane Campbell Edwards Trust supported Crosby; Don and Cristine Davison; Brodribb; Maurice Cashmere; Ken the Djamu Aboriginal student mentoring Francine de Valence; Vincent Fairfax Coles and Rowena Danziger ; program AM AM Family Foundation; Mr John Gandel Crown Resorts Foundation; John Fairlie Pohl Foundation supported and Mrs Pauline Gandel; John M Cuningham; Sir William Dobell Art AC conservation work Gillespie; Judy and Michael Gleeson- Foundation; James Fairfax ; James AC White ; David Gonski and Orli Gleeson and Frank O’Keefe; Mollie AO AC Greatorex Foundation supported AO Wargon ; Robert Quentin Hole; and Jim Gowing; Walter Hartwig; Mary OAM several programs Fraser Hopkins; Isa and Hal Jones; Heseltine; Mervyn Horton; John Kaldor Despina and Iphygenia Kallinikos; Parramore Family Foundation Family; Yvonne Buchanan May and Andrew Klippel; Brian Ladd; Sophie supported the acquisition of Victorian Hugh Buchanan May; Lowy Family; Landa; Carole Lamerton; Mr and watercolours. Kerr Neilson; Mark and Louise Nelson; Mrs Teck-Chiow Lee; Adrian Claude Margaret Olley ; Packer Family AC Lette; Judith Mackey; Jim Masselos; Government grants were received as Foundation; Gretel Packer; Kenneth Jacqueline Menzies ; David Moore; follows: R Reed ; John Schaeffer and OAM AM AO Lewis Morley ; Carole Muller; Tom Bettina Dalton; Charles and Denyse OAM Parramore; Susan and Garry Rothwell; City of Sydney gave a Community Spice; Mary Eugene Tancred; Isaac Watters Gallery; Mrs GF Williams Grant for a project engaging young Wakil AO and Susan Wakil AO; SHW people in Woolloomooloo with digital (Jean); Dr John Yu AC and Dr George and EM Watson; Peter Weiss AO; Beryl art Soutter AM. Whiteley OAM. NSW Department of Industry Gold Benefactors Grants supported the 2018 IRUG Conference for international conservators. Mark Ainsworth and Family; Paul The Gallery is very appreciative of the and Valeria Ainsworth; Jim Bain AM grants it received in 2017–18. and Janette Bain; The Balnaves Foundation; Guido Belgiorno-Nettis Crown Resorts Foundation and AM and Michelle Belgiorno-Nettis; Packer Family Foundation, major Luca Belgiorno-Nettis AM and Anita philanthropic partners of the Gallery, Belgiorno-Nettis AM; Andrew Cameron provided two visionary, multi-year AM and Cathy Cameron; Dr Janet Carr; grants: Susan Chandler; Patrick Corrigan AM; Ian Darling and Min Darling; – Sydney Arts Fund ($1 million annual AO grant over ten years), which supported Shay and Gil Docking OAM; Nancy and Mollie Douglas; Douglass Family; gallery-wide strategic initiatives aligned John Anthony (Tony) Gilbert; David with the Gallery’s expansion Gonski AC and Orli Wargon OAM; – Western Sydney Arts Initiative Ginny and Leslie Green; Dr Elizabeth (extended from two to three years, ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 78 Art Gallery Society

The Art Gallery Society’s Look magazine continued to be a key proud and significant history benefit for and connection to members, offering an insider’s view of the Gallery, of supporting the Art Gallery exhibitions and events. As well as 28 040 of New South Wales dates the 84-page bi-monthly publication, ART GALLERY SOCIETY to its formation in 1953. It is members also received the eight-page MEMBERS an independent body whose ‘what’s on’ calendar, At the Gallery. purpose is to provide a range World Art Tours continue to grow. of services and programs to In 2017–18 the program included members and to support twenty tours to destinations including 9% more the Gallery. the Caucasus, Uzbekistan, Bhutan, SOCIETY EVENTS HELD Jordan, Morocco, Madrid, Tokyo and the Setouchi Islands, St Petersburg In 2017–18 the Society’s vibrant and Eastern Italy. Highlights included programs and exclusive benefits the sold-out Elbe Art and Music River attracted 18,785 memberships Cruise, from Berlin to Prague, plus Hamburg and Vienna. 14 117 representing 28,040 members. TASK FORCE VOLUNTEER The Society delivered 454 diverse This year we acknowledged Sir HOURS member events attended by 43,842 Laurence Street who sadly passed people. Many of these supported the away. Sir Laurence’s father, Sir Kenneth Gallery’s exhibition program, ranging Street, established the Art Gallery from talks and lectures to workshops, Society in 1953. concerts and tours. Highlights included the always-popular Art Appreciation lectures, Resonate and Jazz at the Gallery concert series, and exclusive member parties. The task force volunteers continued to assist with Society and Gallery events and activities, contributing a total of 14,117 hours.

Society members donated $292,800 to acquire Charles Conder’s significant work Rainy day 1888, an exceptional addition to the Gallery’s collection which will remain on permanent display. The Society again supported the Art After Hours program with a major contribution of $250,000 to ensure Wednesday evenings continue to be an energised gathering of thousands of new and regular visitors, embracing stimulating programs and exhibitions.

RIGHT: AGNSW VisAsia 2018 Lunar New Year Dinner. Photo © Belinda Rolland Photography 79 PEOPLE 06

… knowledgeable and experienced in the visual arts …

RIGHT: Grace Cossington Smith, Sister Diddy c1920 pencil, crayon on buff wove paper, 34 x 26.7 cm Art Gallery of New South Wales. Purchased with funds provided by Guy, Marian and Meredith Paynter 2018 © Estate of Grace Cossington Smith

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 82 Board of Trustees

President Vice-President Member

Mr David Gonski AC Dr Mark Nelson Mr Geoff Ainsworth AM B Com, LLB, FAICD (Life), FCPA, Hon LLD (UOW) BSc (Hons), MPhil, PhD BA (Hons), MA (Counselling), Dip Fin Mgt

David Gonski is chairman of the Mark Nelson is a founder and chairman Geoffrey Ainsworth is a director of Australia and New Zealand Banking of the Caledonia Investment Group and Benthic Geotech Pty Ltd and a former Group Ltd. He is also chancellor of a director of The Caledonia Foundation. director of Aristocrat Leisure Ltd. He is the University of New South Wales; He is a deputy chairman of Art a member of the Council of the Sydney chairman of the UNSW Foundation Exhibitions Australia and Kaldor Public Symphony Orchestra, a past director Ltd; a member of the ASIC External Art Projects; a trustee of the Sydney of the Bundanon Trust, a former trustee Advisory Panel and the board of Swans Foundation; and governor of the of the Art Gallery of NSW Foundation, the Lowy Institute for International Florey Institute of Neuroscience. and a patron of several arts and Policy; and a patron of the Australian cultural organisations. Indigenous Education Foundation Initial date of appointment 10 February and Raise Foundation. Mr Gonski 2010; expiry of current term 31 Initial date of appointment 10 February was previously a member of the December 2018. 2010; expiry of current term 31 Takeovers Panel; director of Singapore December 2018. Airlines Limited, the Westfield Group and Singapore Telecommunications Limited; and chairman of the Australian Securities Exchange Ltd, the Guardians of the Future Fund, the Sydney Theatre Company, the National Institute of Dramatic Art (NIDA), the Australia Council for the Arts, the Board of Trustees of Sydney Grammar School, Investec Bank (Australia) Ltd and Coca- Cola Amatil Ltd. He was also previously president of the Art Gallery of NSW Board of Trustees from 1997 to 2006.

Initial date of appointment 1 January 2016; expiry of current term 31 December 2018. 83

Member Member Member

Mr Khadim Ali Ms Catherine Brenner Hon Mrs Ashley Dawson-Damer AM BEc, LLB, MBA Khadim Ali is an internationally A director of Yuills group of companies acclaimed contemporary artist. Born Catherine Brenner was chairman of since 2000, Ashley Dawson-Damer has in Quetta, Pakistan of Hazara ethnicity AMP Limited, and a former chairman been a member of the Opera Australia (a minority group from Afghanistan), he of AMP Life Limited and The National Capital Fund Council of Governors moved to Australia on a Distinguished Mutual Life Association of Australasia since 2005 and a board director since Talent Visa and is now based in Limited. She is also currently a director 2014, and a trustee of the National Western Sydney. Mr Ali was trained of Boral Limited, Coca-Cola Amatil Gallery of Australia Foundation since in the tradition of Persian and Indian Limited and SCEGGS Darlinghurst 2004. She was a Festival of Sydney miniature painting and graduated Limited, and a panel member of Adara board director from 2012 to 2016, from the National College of Arts in Partners. A former senior investment alternate for the NSW Premier from Lahore, Pakistan. His works are in banker and corporate lawyer, Ms 2012 to 2014, board director of the the collections of leading galleries Brenner has served on public company National Art School from 2012 to 2014, and museums, including the Victoria boards in the resources, property and member of the National Gallery of and Albert Museum, British Museum, biotech sectors for over a decade Australia Council from 2005 to 2014, Guggenheim Museum, Australian War and as a board member and trustee board member of the National Institute Memorial Museum, Canberra and of not-for-profit and government of Dramatic Arts from 1997 to 2003, the Art Gallery of New South Wales. organisations, including the Sydney trustee of the Museum of Sydney He has won the Qantas Foundation’s Opera House. She was previously a Foundation from 1995 to 1999 and Encouragement of Australian member of the Takeovers Panel. member of the Acquisitions Committee Contemporary Art Award and a for the Australiana Fund from 1993 fellowship from the Australia Council. On 30 April 2018 Ms Brenner to 1994. temporarily stood aside from the Initial date of appointment 1 January Art Gallery of NSW Board of Initial date of appointment 26 February 2015; expiry of current term 31 Trustees pending the release of 2014; expiry of current term 31 December 2020. the Interim Report of the Banking December 2019. Royal Commission.

Initial date of appointment 1 January 2017; expiry of current term 31 December 2019. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 84

Member Member Member

Professor S Bruce Dowton Ms Samantha Meers Ms Gretel Packer MB BS MD FACMG FRACP FAICD BA, LLB, MLitt, FAICD Gretel Packer is currently chair of the Professor S Bruce Dowton is the Samantha Meers is executive deputy advisory board for Crown Resorts vice-chancellor and president chairman of property and investment Foundation Limited and a trustee of the of Macquarie University. He is a group the Nelson Meers Group, and Sydney Theatre Company Foundation. paediatrician, clinical geneticist, co-founder and trustee of the Nelson She is the founding patron of the molecular biologist, researcher and Meers Foundation. Her current board Taronga Zoo Conservation Science academic, and has served as a appointments include chairman Initiative and founding governor of the senior medical executive at a range of Belvoir St Theatre; chairman of Taronga Zoo Foundation. Previously, of universities, healthcare institutions Documentary Australia; chairman of she was a member of the Royal and consulting organisations. Most Brett Whiteley Foundation; deputy Botanical Gardens Foundation and notably, he served as a paediatrician chairman of the Federal Government’s a director of the Royal Hospital for at the Massachusetts General Hospital Creative Partnerships Australia; and Women Foundation. for Children, and clinical professor of a director of the State Library of NSW paediatrics at Harvard Medical School. Foundation. She also sits on advisory Initial date of appointment 5 February Professor Dowton serves on a number boards for the University of Sydney 2014; expiry of current term 31 of boards and is the chairman of Open and the Centre for Social Impact at the December 2019. Universities Australia. He was born in University of NSW. Ms Meers began Ivanhoe, New South Wales, and raised her career as a commercial lawyer in Dubbo before moving to Sydney as with Mallesons Stephen Jacques the first in his family to go to university. (now King and Wood Mallesons), and her executive career included senior Initial date of appointment 1 January management roles in the media sector. 2015; expiry of current term 31 She is a member of Chief Executive December 2020. Women and a fellow of the Australian Institute of Company Directors.

Initial date of appointment 1 January 2011; expiry of current term 31 December 2019. 85

Member Member

Mr Ben Quilty Mr Andrew Roberts BA (Visual Arts), B Des (Vis Com) Andrew Roberts is the principal of Ben Quilty is a practising artist and RF Capital Pty Ltd, a private funds Sydney College of the Arts graduate. management company focusing on He also graduated from the Western alternative asset classes, including Sydney University (WSU) School of real assets, financial markets and Design, has completed studies in credit. He is also a major shareholder Aboriginal culture and history through in CorVal Partners, a property funds Monash University, Melbourne, management business. Mr Roberts and in 2015 received an honorary sits on the advisory council of the doctorate from WSU. His work is held University of NSW Australian School in numerous institutional collections of Business. Previous roles include including the Museum of Contemporary CEO of Multiplex Group, and board Art Australia, Art Gallery of South roles on various philanthropic and arts Australia and Art Gallery of New South organisations including the Australian Wales. He has won numerous awards Museum, MCA Foundation and the in Australia including the Archibald University of WA Business School. Prize at the Art Gallery of New South Wales, Doug Moran Portrait Prize, Initial date of appointment 5 February Redlands Westpac Art Prize, National 2014; expiry of current term 31 Self Portrait Prize and Brett Whiteley December 2019. Travelling Art Scholarship. Mr Quilty has guest lectured extensively and is a former board member of Artspace in Woolloomooloo.

Initial date of appointment 1 January 2013; expiry of current term 31 December 2018. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 86

Board of Trustees meetings Acquisition and Loans Audience and Engagement Sub-committee Sub-committee The Board of Trustees comprises eleven trustees appointed by the The Acquisition and Loans Sub- The Audience and Engagement Governor on the nomination of the committee oversees the Gallery’s Sub-committee provides oversight Minister for the Arts, at least two of collections policy. It considers and on the Gallery’s various engagement whom must be knowledgeable and makes recommendations to the Board strategies. The Audience and experienced in the visual arts. A trustee on curatorial proposals on acquisitions, Engagement Sub-committee met five holds office for three years and is gifts, inward and outward loans and, times between July 2017 and June eligible for reappointment for no more if applicable, de-accessions. The 2018. Trustee attendances were as than three consecutive terms. Acquisitions and Loans Sub-committee follows: Samantha Meers (Chair) (5/5); met six times between July 2017 and Ashley Dawson-Damer (4/5); Gretel June 2018. Trustee attendances were Packer (4/5); Ben Quilty (4/5). There were six meetings of the Board as follows: Geoff Ainsworth AM (Chair) of Trustees during the period July 2017 (6/6); Mark Nelson (6/6); Samantha to June 2018. Capital Campaign Committee Meers (3/6); Ben Quilty (4/6); Gretel Packer (5/6); Ashley Dawson-Damer Trustee attendances were as follows: The Capital Campaign Committee met (5/6); Khadim Ali (3/6); Catherine David Gonski (6/6); Mark Nelson (6/6); five times between July 2017 and June Brenner (3/4; joined sub-committee in Geoff Ainsworth (6/6); Khadim Ali 2018. Trustee attendances were as January 2018 and temporarily stood (5/6); Catherine Brenner (5/5); Ashley follows: Mark Nelson (Chair) (4/5); David aside in May 2018). Dawson-Damer (6/6); Bruce Dowton Gonski (5/5); Prof S Bruce Dowton (5/6); Samantha Meers (6/6); Gretel (1/5); Andrew Roberts (2/5); Andrew Finance, Audit and Risk Packer (4/6); Ben Quilty (5/6); Andrew Cameron (2/5); Gretel Packer (2/5). Sub-committee Roberts (4/6). The Finance, Audit and Risk Sub- Board of Trustees committee oversees strategic sub-committees and operational risk and financial management. It provides guidance and The sub-committees generally makes recommendations to the Board comprise a subset of board members in relation to all financial, audit and risk based on their respective areas of matters. The Finance, Audit and Risk interest and expertise. Relevant senior Committee met four times between staff members and other experts July 2017 and June 2018. Attendances are included as appropriate. The were as follows: Geoff Ainsworth (4/4), sub-committees are responsible for Miles Bastick (4/4). Catherine Brenner monitoring their respective areas and (2/2), Mark Nelson (4/4); Bruce Dowton making recommendations to the full (4/4); Ross Gavin (3/4); David Gonski board for approval or otherwise. They (2/4), Andrew Roberts (2/4). usually meet in the lead-up to the main board meeting, at which the minutes of their meetings are tables. 87

ABOVE: Women in Media event, The lady and the unicorn. Photo Felicity Jenkins ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 88

Executives

Director Deputy Director and Director of Development Director of Collections Dr Michael Brand John Richardson BA (Hons), MA, PhD (Art History) Maud Page MA (Arts Administration), BA (Economics) BA (Hons) Michael Brand joined the Art Gallery of John Richardson joined the Gallery New South Wales as director in June Maud Page joined the Gallery in 2017 in 2014. He is responsible for leading 2012. Prior to his appointment, he was as deputy director and director of the unprecedented Sydney Modern consulting director of the new Aga collections. She was previously deputy Project Capital Campaign that to date Khan Museum in Toronto while it was director, collection and exhibitions at has raised $96 million towards the under construction. From 2005 to 2010, the Queensland Art Gallery | Gallery private contribution target of $100 Dr Brand was director of the J Paul of Modern Art (QAGOMA), Brisbane. million, to complement the NSW State Getty Museum in Los Angeles, leading She played a key leadership role in Government’s funding commitment both the Getty Center and Getty Villa formulating the museum’s strategic of $244 million. An expert in high-end sites and establishing its new Center direction and was instrumental in stakeholder management, a strategic for Photography. Previously, he was the realisation of major exhibitions leader and commercial strategist, director of the Virginia Museum of and projects, including the Asia he is deeply committed to building, Fine Arts in Richmond from 2000 to Pacific Triennials of Contemporary maintaining and growing corporate 2005; assistant director, curatorial Art. Her former role as senior curator partner, government and benefactor and collection development, at the of Pacific art saw her develop the relationships. He has worked at Back Queensland Art Gallery in Brisbane most comprehensive collection of Row Productions and the New 42nd from 1996 to 2000; curator of Asian art contemporary Pacific art in the region. Street Project in New York City, and at the National Gallery of Australia in was the chief commercial officer at the Canberra from 1988 to 1996; and co- Ms Page oversees the development South Sydney Rabbitohs from 2006 director of the Smithsonian Institution and direction of the Gallery’s to 2014, turning the off-field business Mughal Garden Project in Lahore, impressive collections. She is pillars into one of the benchmark Pakistan from 1988 to 1993. responsible for the management and commercial sports administrations operation of the Gallery’s acquisition in Australia. Dr Brand currently serves on the program, the conservation and display Visiting Committee of the Harvard of the collection, curatorial content and Mr Richardson is responsible for the Art Museums and the International development of exhibitions and the Philanthropy, Corporate Partnership, Advisory Board of the State Hermitage Gallery’s extensive research archive. As Venue Hire, Restaurant, Catering Museum in St Petersburg. He is a past deputy director, she contributes to the and Sydney Modern Project Capital member of the Governing Board of the Gallery’s ambitious expansion plans. Campaign Departments at the Gallery. Courtauld Institute of Art in London. He is honoured to serve in the role, connecting individuals and companies with the capacity to support with the incredible projects, art acquisitions and public programs that make the Art Gallery of New South Wales such a rich and inspiring place for local residents, interstate and international visitors alike. 89

Chief Operating Officer Director of Public Engagement

July 2017 – June 2018 July 2017 – February 2018 John Wicks Jacquie Riddell B Bus, FCPA Jacquie Riddell joined the Gallery John Wicks joined the Gallery in 2008. in 2014. Her career has involved He is a fellow of the Australian Society senior leadership positions within of Certified Practising Accountants, cultural institutions and she is highly a member of the NSW Public Sector experienced at audience development, Community of Finance Professionals creative direction, strategy Advisory Board, and holds a Bachelor development, content creation, of Business with an accounting major programming, brand development, from Charles Sturt University. He and marketing and communications. spent ten years in the banking and As the director of marketing at SBS, finance sector and has over twenty she created, programmed and years’ experience in the arts sector, launched national arts television including as executive director, finance channel STUDIO, and developed the and services at the Australia Council organisation’s content strategy for for the Arts in Sydney and thereafter television, radio and online as well as as chief financial officer at the Cultural the multi-award-winning brand platform Facilities Corporation in Canberra. His ‘Six Billion Stories and counting…’. At last position was chief financial officer the ABC, she led the Triple J network, at Hurstville City Council. including spearheading the expansion of the network to 44 regions across This position acts as the chief financial Australia. She has also held the role officer and company secretary for of general manager of Foxtel’s music the Art Gallery of NSW Trust, the Art television channels group, leading a Gallery of NSW Foundation, VisAsia large production team in the creation of and the Brett Whiteley Foundation. new television channels, documentaries It is also responsible for finance, and live television productions. administration, human resources, corporate governance, legal services, This position is responsible for information technology, audio visual, public engagement, including public procurement, security and risk programs, learning and participation, management, building services, the web/digital content, marketing Gallery Shop and Sydney Modern and communications, design and Project team. publishing, and for liaising with the Gallery’s membership organisation. This position was vacant at 30 June 2018. This position was vacant at 30 June 2018. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 90 Organisation chart

Minister for the Arts

Department of Planning and Environment

Art Gallery of New South Wales Board of Trustees

President: David Gonski AC

Art Gallery of New South Wales Trust Staff Agency

Director: Dr Michael Brand

Directorate Deputy Director/ Chief Operating Director of Public Director of Director of Officer Engagement Development Government Collections Relations John Wicks Jacqueline Riddell John Richardson Maud Page (ceased employment (ceased employment 15 June 2018) 27 February 2018) Business Development Australian Art/ Campaign Brett Whiteley Studio Administration Design Foundation International Art Building Services Digital Engagement Philanthropy Collection Finance Learning & Venue Management Management Gallery Shop Participation Conservation Human Resources Marketing & Exhibition Information & Communications Management/ Communication Membership Installation Technology/Audio Publishing Photography Visual Services Research Library Legal & Archives Security & Risk Registration Management Sydney Modern Project 91

Staff

Staff profile Gallery employees

Staff head count in classifications 2014–15 2015–16 2016–17 2017–18 Women represent 66% of Gallery Administration and clerical staff 244 244 254 248 employees, an increase of 1% from last financial year. This percentage Conservators 12 14 13 13 continues to surpass the NSW Public Curators and registrars 43 41 39 38 Sector benchmark of 50%. Women Education officers 7 8 4 5 also represent 40% of the Gallery’s Executive team and the representation General division staff 32 34 32 47 in the Leadership team is 67%. Librarians and archivists 6 8 9 10 Security staff 16 15 15 15 Cultural diversity Public service senior executives 8 8 9 8 This year 33% of Gallery employees Total 368 372 375 384 indicated that their first language Staff number (effective full-time) 190 205 212 218 spoken as a child was not English and

*Total headcount and effective full-time staff number figures refer to number of employees paid during the financial year. 8% of employees identify as coming from a racial, ethnic or ethnic-religious minority group. Many employees Senior executive reporting who speak community languages assist other staff and visitors as well 2016–17 2017–18 as earning a Community Language Allowance. As at 30 June 2017 the Band Female Male Female Male Gallery had staff officially able to offer Band 4 0 0 0 0 assistance in community languages Band 3 0 1 0 1 such as Hindi, Polish, Italian, French, Mandarin and Indonesian. An annual Band 2 3 1 1 1 calendar of significant religious Band 1 1 3 2 3 and holy days was circulated to all Totals 4 5 3 5 supervisors to enable scheduling of Totals 9 8 employees’ commitments to meet their religious obligations.

Indigenous employees Band Range ($) Average remuneration 2016–17 ($) Band 4 452,251 – 522,500 0 Aboriginal and Torres Strait Islanders Band 3 320,901 – 452,250 452,250 represent 1.3% of the Gallery’s Band 2 255,051 – 320,900 276,000 workforce which represents a slight decrease from last financial year. Band 1 178,850 – 255,050 229,000 We are still below the NSW Public sector employment target of 2.6% but continue to work on strategies Band Range ($) Average remuneration 2017–18 ($) including the recruitment of many new Band 4 463,551 – 535,550 0 Aboriginal artists educators. Band 3 328,901 – 463,550 463,550 Band 2 261,451 – 328,900 290,375 Band 1 183,300 – 261,450 228,961 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 92

Parliamentary Annual Report tables Employee remuneration and staff benefits Trends in the representation of workforce diversity groups The Crown Employees (Public Sector Workforce diversity group Benchmark 2016 2017 2018 Salaries) Award July 2017 provided Women 50% 63.7% 64.8% 65.9% a 2.5% pay increase to Gallery staff with effect from 14 July 2017. The Aboriginal and/or Torres Strait Islander Gallery continues to provide a range people 3.3% 1.7% 1.4% 1.3% of staff benefits to employees. These People whose first language spoken include salary sacrifice for personal as a child was not English 23.2% 10.9% 37.6% 33.2% contributions to superannuation and People with a disability 5.6% 0.6% 1.9% 2.2% salary packaging for purchase of motor vehicles. People with a disability requiring work-related adjustment N/A 0.6% 1.9% 0.4% Other staff benefits include staff Note 1: The benchmark of 50% for representation of women across the sector is intended to reflect the gender discounts at the Gallery Shop, on composition of the NSW community. Art Gallery Society membership, the Note 2: The NSW Public Sector Aboriginal Employment Strategy 2014 – 17 introduced an aspirational target of 1.8% by 2021 for each of the sector’s salary bands. If the aspirational target of 1.8% is achieved in salary bands not currently at or restaurant and cafe. The Gallery has above 1.8%, the cumulative representation of Aboriginal employees in the sector is expected to reach 3.3%. also re-negotiated arrangements for Note 3: A benchmark from the Australian Bureau of Statistics (ABS) Census of Population and Housing has been staff to access discounted parking at included for People whose First Language Spoken as a Child was not English. The ABS Census does not provide information about first language, but does provide information about country of birth. The benchmark of 23.2% is the the Domain Car Park. percentage of the NSW general population born in a country where English is not the predominant language. Note 4: Work is underway to improve the reporting of disability information in the sector to enable comparisons with Staff are also offered before and after- population data. For this reason, no benchmark has been provided for People with a Disability or for People with a Disability Requiring Work-Related Adjustment. hours on-site classes in pilates and yoga through a pay-per-use system.

Trends in the distribution of workforce diversity groups Conditions of employment

Workforce diversity group Benchmark 2016 2017 2018 The Gallery continues to review recruitment and employment practices Women 100 111 110 113 ensuring that legislation and guidelines Aboriginal and/or Torres Strait Islander people 100 N/A N/A N/A are met and practices are monitored People whose first language spoken on a regular basis. This year the Gallery as a child was not English 100 97 94 90 undertook a review of recruitment, People with a disability 100 N/A N/A N/A language used, processes and practices to ensure that all members People with a disability requiring of the community feel encouraged work-related adjustment 100 N/A N/A N/A to apply for roles. The Gallery also

Note 1: A Distribution Index score of 100 indicates that the distribution of members of the Workforce Diversity group renewed its staff induction process across salary bands is equivalent to that of the rest of the workforce. A score less than 100 means that members of the with the inclusion of a starter pack Workforce Diversity group tend to be more concentrated at lower salary bands than is the case for other staff. The more pronounced this tendency is, the lower the score will be. In some cases, the index may be more than 100, indicating that for new staff, followed by a series of members of the Workforce Diversity group tend to be more concentrated at higher salary bands than is the case for other welcome sessions in which participants staff. hear directly from the Executive and Note 2: The Distribution Index is not calculated when the number of employees in the Workforce Diversity group is less than 20 or when the number of other employees is less than 20. Leadership team members on topics including the role of the Executive team, a brief history of the Gallery, staff responsibilities in relation to the Code of Ethics and Conduct, as well as caring for the collection and important work, health and safety responsibilities. 93

Training and scholarships Employee Assistance Program The Gallery’s Work Health and Safety (WH&S) Committee is an The Gallery is an active supporter of For many years the Gallery has offered internal advisory body, meeting on professional development. Staff are employees a confidential counselling a quarterly basis that undertakes supported through the provision of service, external to the Gallery. The workplace inspections and reviews study leave and flexible working hours counselling service is available to procedures and practices and, where and work arrangements to enhance all staff and their immediate family appropriate, makes recommendations their academic qualifications. This year and provides counselling on a range to management for improvements full-time staff members undertook of issues including interpersonal to minimise WH&S workplace risks. further study. relationships, financial planning, stress Quarterly reports on WH&S including and critical incident debriefing. The initiatives, the incidence of accidents The Gallery also offered a Leadership current provider of counselling services and worker’s compensation claims are Development program to department to the Gallery is Optum. reviewed by the Committee, the Trust’s heads. The program was led by Audit and Risk Committee and the People Development Australia and Work, health and safety Board of Trustees. ran for one day per month over a period of four months. Over twenty Number of work-related injuries Industrial relations heads of department participated in resulting in workers compensation topics ranging from Leading Others to claims: 3 There were no industrial disputes Leading the Organisation. Number of time lost injuries: 0 during 2017–18. Number of work related illnesses: 0 After the launch of the Gallery’s first Prosecution under the OH&S Act: 0 Disability and Inclusion Access Plan, disability awareness training was For the first time in at least 18 years offered to front-of-house staff and the Gallery has achieved a no-time- managers. lost record due to injury in a twelve- month period – this is an outstanding In conjunction with Art Gallery Society, achievement. the Gallery was proud to offer four staff members a paid scholarship of $6250 The Gallery’s injury management each to undertake study, research process is effective in returning workers or development in an area of their to pre-injury duties as quickly as professional interest which aligned possible. This is reflected in reduced to the Strategic Goals. Eligible staff time lost and the capacity of the were asked to submit an application Gallery to provide suitable duties with endorsement from their manager. and gradual return to work programs The four scholarship winners for – minimising time lost. The Gallery 2017–18 were Karen Hancock (Graphic actively implements injury management Designer), Sarah Bunn (Conservator), by maintaining contact with injured Rebecca Allport (Manager Retail) and workers, treating doctors and insurers. Josephine Touma (Manager Public Preventative measures such as flu Programs; research trip scheduled for injections and pilates classes are made the 2018/19 financial year). available to all staff. SUSTAINABILITY 07

… essential to good corporate governance …

RIGHT: Kimsooja, Archive of mind 2017, participatory installation with clay, wooden table and stools, and sixteen-channel sound, display dimensions variable. Art Gallery of New South Wales. Purchased with funds provided by the Art Gallery of New South Wales Foundation 2018 © Kimsooja

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 96 Risk management

Risk management is The Finance, Audit and Risk Sub- Insurance essential to good corporate committee confirmed the setting of the Gallery’s internal audit program and As a NSW statutory authority, the governance. The Gallery risk profile for 2017–18 and regularly Gallery’s insurable risks are covered is committed to a risk- reviewed work health and safety under the Treasury Managed Fund quarterly reports. management approach when (TMF), the Government self-insurance implementing activities under scheme. our corporate plan’s seven Work undertaken in policy and procedure areas included reviews key strategic areas. External of Gifts, Benefits and Hospitality, Policy development risks, their indicators and Financial Delegations, Performance the management strategies Development Business Continuity During 2017–18 the Gallery continued that control them are part and Disaster Management Plan and to revise and refresh key policies of the Gallery’s strategic the Code of Ethics and Conduct. The including Gifts, Benefits and committee meets each year with the Hospitality, Financial Delegations, management processes. senior managers of the external and Performance Development Business Internal risks are addressed internal audit team to discuss findings Continuity and Disaster Management through policies, procedures from their review of statutory accounts Plan and the Code of Ethics and and internal controls. and other audited areas. Conduct, as outlined under the Risk Management Section. Internal audits 2017–18 The Gallery’s strategic risks include: Other Gallery entities strategic financial management, Two internal audit reviews were relevance, change management, completed by Deloitte during the year: The Gallery is responsible for providing expansion and transformation administrative support to three other project, strategic intent, government Catering contract internal audit entities, namely the Art Gallery of New relationships and stakeholder South Wales Foundation, the Brett management. This internal audit assessed the Whiteley Foundation and VisAsia. Each adequacy and effectiveness of internal of these entities has a separate legal The operational risks are: corporate controls to ensure that licence fees structure established by a trust deed governance, storage and protection payable to the Gallery are made in or incorporated with a memorandum of art work, security management, accordance with the contract. and articles of association. Each business continuity/disaster has a board of trustees/directors, as recovery, information and cyber Information systems internal audit determined by its enabling legislation. security, contract and procurement Board meetings are generally held management, performance The internal audit assessed the quarterly. The Gallery provides support management and succession planning, effectiveness of general internal including management, finance, operational financial management, controls used to mitigate risks corporate secretariat and general intellectual property, work health and associated with IT security. administrative services. safety, legislative compliance and management of hazardous substances. Recommendations from the audits are implemented by management on The Gallery’s risk-management an agreed timeframe, as resources framework is managed in accordance allow. The Finance, Audit and Risk with the NSW Government’s Internal Sub-Committee reviews and monitors Audit and Risk Management policy implementation of internal audit (Treasury Policy Paper: TPP 15-03). review findings. The mandatory annual attestation certification is included below. 97 Customer service delivery

In accordance with our pledge of Rembrandt and the Dutch golden service, visitors to the Gallery are age gained praise for its exhibition invited to leave feedback at the design and curation, with one visitor information desk using the hard copy commenting, ‘I just wanted to say Feedback Form or online via email or how impressed we were with the the ‘contact us’ form on the Gallery’s Rijksmuseum exhibition. It was very website. In 2017–18, 501 comments well displayed and we thought the were received. Overall, there were written information was particularly well 191 positive comments, 198 negative done. The information at each picture comments and 112 suggestions was a good length (not too long), very and general comments. Comments relevant and very clear to read. Overall are responded to by reception desk the exhibition brought the era, the officers and referred to a relevant styles and the artists to life for us.’ senior staff member for their reference or action, as appropriate. The associated event, Rembrandt Live, also received a very strong, positive The majority of positive comments response. Negative comments noted received in 2017–18 related to the the absence of seating with backs in exhibitions Rembrandt and the Dutch the Gallery and disappointment with golden age and The lady and the the cafe. unicorn. The free guided tours provided by the volunteer guides, especially those of the Yiribana gallery, continue to be a source of inspiration to our visitors.

The lady and the unicorn caused many visitors to be moved, with one commenting: ‘The lady and the unicorn took my breath away. As soon as I entered the room, the hairs stood up on my arms! Loved it, and will tell everyone to go see it.’ Another visitor went even further stating, ‘I am still feeling so out of this world with the sheer magnitude and beauty of the tapestries. The size was challenging just to drink in the vastness of the work …’ ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 98

Compliance

The Gallery incurred $8160 in external • McGregor Coxall Unit Trust provided Land holdings and disposals costs for the production of its 2017–18 landscaping services. Total cost: Annual Report. The copies for $291,234. Land owned by the Gallery as at 30 submission were printed in-house with June 2018 includes: comb binding. The report is available • Rider Levett Bucknall NSW P/L online at www.artgallery.nsw.gov. provided quantity surveying and Art Gallery of New South Wales site au/about-us/corporate-information/ cost planning. Total cost: $224,172. Art Gallery Road annual-reports/agnsw The Domain • SANAA provided architectural Sydney NSW 2000 Consultants services. Total cost: $3,654,588. and • Steensen Varming Aust. provided Brett Whiteley Studio The Gallery engaged seventy mechanical, electrical and vertical 2 Raper Street consultancies costing a total of transportation engineering services. Surry Hills NSW 2010 $10,173,288 during the reporting Total cost: $744,434. period. Of these consultancies, twelve The Gallery did not dispose of any land were valued at greater than $50,000. • WSP Buildings provided during the reporting period. environmental sustainability Loaded Technologies was engaged services. Total cost: $186,090. to extend the Customer Relations Legal change Database and improve functionality. Total cost: $226,390. Other consultancies included: No changes were made to the Art Gallery of New South Wales Act 1980 The following eleven consultancies • Conservation and curatorial – one during the reporting period and there provided services for the Sydney engagement costing $3939. were no significant judicial decisions Modern Project: affecting the Gallery. • Information technology and telecommunications – twelve • The Architectus Group was engaged Major assets as the partner architect with SANAA engagements costing $105,985. to provide architectural services. The Gallery’s two major asset Total cost: $2,365,076. • Marketing and public relations – six engagements costing $70,888 categories, as at 30 June 2018, are its artwork collection valued at $1.4 billion; • ARUP P/L provided a variety of and the perimeter land and building in engineering advice including • Strategic development and the Domain, Sydney, the Brett Whiteley acoustics, fire engineering, lighting, organisational review – two Studio at Surry Hills and the building at pedestrian studies, security, engagements costing $32,690. Lilyfield valued at $267,511,000. structural and civil engineering and traffic management. Total cost: • Sydney Modern Project – thirty- $1,758,546. seven engagements costing Principal legislation $380,244. • Clousten Services Australia P/L The Art Gallery of New South Wales provided visual impact assessments. Heritage management is a statutory body established under Total cost: $74,335. the Art Gallery of New South Wales The Gallery’s museum building Act 1980 and is an executive agency • Coffey Geotechnics provided located in the Domain parklands of under the Department of Planning and geotechnical services. Total cost: Sydney’s CBD is listed on the NSW Environment. $100,304. Government’s heritage register. A conservation plan has been developed Our purpose, as defined by the Art • Flip Landscape provided landscape to assist in the management and Gallery of New South Wales Act services. Total cost: $71,601. maintenance of the building. The 1980, is to develop and maintain collection assets and works of art on a collection of works of art, and to • GML Heritage P/L undertook loan to the Gallery are maintained to increase knowledge and appreciation archaeological and heritage international museum standards. of art, which we do through a range of assessments. Total cost: $63,685. exhibitions, programs and activities. 99

Privacy management Public Interest Disclosures The Gallery received one access application for information that was held by the Gallery. This information During 2017–18 there were no internal During 2016–17 the Gallery updated the was publicly available from our reviews conducted by or on behalf of Public Interest Disclosures Policy. No Research Library and the applicant the Gallery under Part 5 of the Privacy public officials made a Public Interest was provided with assistance to access and Personal Information Protection Disclosure to the Gallery, no Public the information. Act 1988 (PPIP Act). Interest Disclosures were received and no Public Interest Disclosures were No access applications were refused The Gallery’s designated privacy finalised during the reporting period. by the Gallery because the application officer, in accordance with the provision was for disclosure of information of the PPIP Act, can be contacted at: Government Information for which there is a conclusive (Public Access) Act 2009 presumption of overriding public Administration interest against disclosure. Art Gallery of New South Wales Art Gallery Road The Gallery has reviewed information The Domain, Sydney, NSW 2000 available to the public under Section Telephone: 02 9225 1655 7(3) of the Government Information Fax: 02 9225 1701 (Public Access) Act 2009 (the Act). No Email: [email protected] new information has been identified as appropriate for public access.

Table A: Number of applications by type of applicant and outcome*

Access Access Access Information Information Refuse to Refuse to Application granted in full granted in part refused in full not held already deal with confirm/deny withdrawn available application whether information is held Media 0 0 0 0 0 0 0 0 Members of Parliament 0 0 0 0 0 0 0 0 Private-sector business 0 0 0 0 0 0 0 0 Not-for-profit organisations or community groups 0 0 0 0 0 0 0 0 Members of the public (application by legal representative) 0 0 0 0 0 0 0 0 Members of the public (other) 1 0 0 0 1 0 0 0 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 100

Table B: Number of applications by type of application and outcome

Access Access Access Information Information Refuse to Refuse to Application granted in full granted in part refused in full not held already deal with confirm/deny withdrawn available application whether information is held Personal information applications* 1 0 0 0 1 0 0 0 Access applications (other than personal information applications) 0 0 0 0 0 0 0 0 Access applications that are partly personal information applications and partly other 0 0 0 0 0 0 0 0

*A ‘personal information application’ is an access application for personal information (as defined in clause 4 of Schedule 4 to the Act) about the applicant (the applicant being an individual).

Table C: Invalid applications Table D: Conclusive presumption of overriding public interest against disclosure – matters listed in Reason for invalidity Number of applicants schedule 1 to the Act Application does not comply with formal requirements (Section 41 of the Act) 0 Number of times consideration used* Application is for excluded information Overriding secrecy laws 0 of the agency (Section 43 of the Act) 0 Cabinet information 0 Application contravenes restraint order Executive Council information 0 (Section 100 of the Act) 0 Contempt 0 Total number of invalid applications received 0 Legal professional privilege 0 Invalid applications that subsequently Excluded information 0 became valid applications 0 Documents affecting law enforcement and public safety 0 Transport safety 0 Adoption 0 Care and protection of children 0 Ministerial code of conduct 0 Aboriginal and environmental heritage 0

*More than one public interest consideration may apply in relation to a particular access application and, if so, each such consideration is to be recorded (but only once per application). This also applies in relation to Table E. 101

Table E: Other public interest considerations against disclosure – matters listed in Section 14 of the Act

Number of occasions when application not successful Responsible and effective government 0 Law enforcement and security 0 Individual rights, judicial processes and natural justice 0 Business interests of agencies and other persons 0 Environment, culture, economy and general matters 0 Secrecy provisions 0 Exempt documents under interstate Freedom of Information legislation 0

Table F: Timeliness

Number of applications Decided within the statutory timeframe (20 days plus any extension) 1 Decided after 35 days (by agreement with applicant) 0 Not decided within time (deemed refusal) 0 Total 1

Table G: Number of applications reviewed under Part 5 of the Act (by type of review and outcome)

Decision varied Decision upheld Internal review 0 0 Review by Information Commissioner * 0 0 Internal review following recommendation under Section 93 of the Act 0 0 Review by ADT 0 0 Total 0 0

*The Information Commissioner does not have the authority to vary decisions, but can make recommendations to the original decision-maker. The data in this case indicates that a recommendation to vary or uphold the original decision has been made by the Information Commissioner.

Table H: Applications for review under Part 5 of the Act (by type of applicant)

Number of applications under review Application by access applicants 0 Applications by persons to whom information the subject of access application relates (see Section 54 of the Act) 0 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 102

Digital Information Security

Annual Attestation Statement for the 2016–17 Financial Year

I, Michael Brand, am of the opinion that the Art Gallery of New South Wales has implemented actions towards an Information Security Management System during the financial year, consistent with the Core Requirements set out in the Digital Information Security Policy for the NSW Public Sector.

I, Michael Brand, Director, Art Gallery of New South Wales, am of the opinion that the security controls in place to mitigate identified risks to the digital information and digital information systems of the Art Gallery of New South Wales are adequate for the foreseeable future. We will work with our new parent agency, the Department of Environment and Planning, to achieve full compliance.

Dr Michael Brand Director, Art Gallery of New South Wales 12 October 2018 103

Internal Audit and Risk Management Attestation Statement for the 2017–2018 Financial Year for the Art Gallery of New South Wales

I, Michael Brand, am of the opinion that the Art Gallery of New South Wales has internal audit and risk-management processes in operation that are compliant with the eight (8) core requirements set out in the Internal Audit and Risk Management Policy for the NSW Public Sector, specifically:

Core Requirements For each requirement, please specify whether compliant, non-compliant, or in transition Risk Management Framework 1.1 The agency head is ultimately responsible and accountable for risk management in the agency Compliant 1.2 A risk management framework that is appropriate to the agency has been established and maintained and the framework is consistent with AS/NZS ISO 31000:2009 Compliant Internal Audit Function 2.1 An internal audit function has been established and maintained Compliant 2.2 The operation of the internal audit function is consistent with the International Standards for the Professional Practice of Internal Auditing Compliant 2.3 The agency has an Internal Audit Charter that is consistent with the content of the ‘model charter’ Compliant Audit and Risk Committee 3.1 An independent Audit and Risk Committee with appropriate expertise has been established Compliant 3.2 The Audit and Risk Committee is an advisory committee providing assistance to the agency head on the agency’s governance processes, risk management and control frameworks, and its external accountability obligations Compliant 3.3 The Audit and Risk Committee has a Charter that is consistent with the content of the ‘model charter’ Compliant

Membership

The chair and members of the Audit and Risk Committee are:

Chair: Dr Mark Nelson, appointed to the Committee 19 October 2016 to 18 October 2019 Member: Mr Geoff Ainsworth AM appointed to the Committee 19 October 2016 to 18 October 2019 Member: Mr Miles Bastic appointed to the Committee from August 2013 to 7 August 2019 Member: Prof. S. Bruce Dowton, appointed to the Committee 8 February 2016 to 7 February 2019 Member: Mr Ross Gavin appointed to the Committee from March 2013 to 8 May 2019. Member: Mr Andrew Roberts appointed to the Committee 19 October 2016 to 18 October 2019

Dr Michael Brand Director, Art Gallery of New South Wales ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 104 Building management

Building upgrades Building maintenance Through ongoing generous government The maintenance of all three buildings 8% support, the Gallery continues to owned by the Gallery – the Gallery REDUCTION IN ELECTRICITY upgrade and refurnish its building Domain building, the off-site Collection assets in line with other prominent Store and the Brett Whitely Studio USAGE state institutions and government – continued throughout the 2017–18 requirements. Projects completed in financial year, with minor upgrades the 2017–18 financial year include: to ensure the buildings remained regulation and code compliant, as well − Refurbishment of the Rudy Komon as ensuring the buildings continued to 13% Gallery, including upgrades to air- operate within the strict environmental REDUCTION IN GAS USAGE conditioning to improve air flow, standards necessary to protect the making the ceiling trafficable to allow collections and meet artwork loan ongoing maintenance of services requirements. above the ceiling, and replacement of house lights with energy-saving Energy management LED lights. Electricity − Refurbishment of the ceiling above the main travertine staircase, Average daily electricity consumption with installation of new acoustic at the Gallery’s Domain site during insulation and LED lighting. the 2017–18 financial year was 15,913 kilowatt hours. This represents an 8% − The office areas housing the reduction in daily usage compared Learning and Participation, Events to 2016 –17. and Sydney Modern Project teams were reconfigured and refurbished, Gas including new meeting spaces, an Artist’s Prep room for the preparation of materials for public The average daily gas consumption programs, and the installation of at our Domain site during the 2017–18 energy-saving LED lighting. financial year was 88 gigajoules. This is a 13% reduction in daily usage compared to 2016–17. − A new office area was created on lower level 3 to house the Design, Digital Engagement and Publications Water and Rights teams. The average daily water consumption remained consistent with a 1% reduction in daily usage to 97 kilolitres per day in the 2017–18 financial year.

105 Energy management

Motor vehicle fleet The Gallery continues to recycle used batteries. The Gallery’s small permanent motor vehicle fleet is maintained The Gallery plans to upgrade the and acquired in accordance with the records management system and roll NSW Government fleet management out to more staff, which will enable policy, including purchase of fuel- more efficient capture of digital records efficient cars. to decrease the use of paper-based records. The Gallery’s fleet comprises seven motor vehicles, including one sedan Resource Recovery Initiative and one van which run on E10 petrol; one utility truck, one 2-tonne truck and A designated recycling mini-skip one 4.5-tonne truck which use diesel; is located on the loading dock for and a Prius Hybrid wagon. The Gallery recycling all paper products, including overachieves the NSW Government flattened cardboard boxes. Every work policy that 5% of passenger fleets station is issued with a recycling bin, be hybrid, plug-in hybrid electric or which is collected regularly by the electric vehicles. cleaners.

The Gallery’s motor vehicle procedures Bins are provided in the loading dock provide guidelines for environmentally- to ensure that glass and plastic can be sound driving. All employees using appropriately recycled. petrol-powered fleet vehicles are directed to refuel with E10 unleaded Wherever possible, construction petrol. and display materials are reused for exhibitions. All excess steel, wire and Waste reduction workshop, building materials, plant materials and hazardous materials Development of a new customer are sent to an external supplier. The relationship management (CRM) Conservation department recycles its system has allowed the Gallery to paper and cardboard off-cuts internally move to email invitations for the and disposes of needles and syringes majority of Gallery events and other appropriately. correspondence. This has achieved significant reductions in paper Expired lights are collected and consumption. disposed of appropriately. Used toner cartridges, drums and waste collectors The main Gallery printers/photocopiers are sent for recycling. are set to default to double-sided black-and-white printing. Staff are The Research Library and Gallery increasingly scanning documents, Shop continue to reuse cardboard such as plans and contracts, rather boxes and bubble wrap for packaging than photocopying them and sending inter-library loans and filling visitor and documents via the post office. e-commerce merchandise orders.

The development of the Gallery’s All food and beverage services are intranet to replace previously paper- handled by our contract cafe. based systems continued in 2017–18. The ‘log a job’ feature allows staff to book work by, or report problems to, key service departments. The intranet also hosts training for a number of Gallery systems. FINANCIAL REPORTS 08 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 106

… the Gallery continues to build detailed plans …

RIGHT: Colin McCahon, Clouds 5 from the series Clouds 1975, synthetic polymer paint on paper mounted on hardboard, 108 x 72 cm. Art Gallery of New South Wales Gift of John Sharpe 2018. Donated through the Australian Government’s Cultural Gifts Program © Estate of Colin McCahon, Courtesy of the Colin McCahon Research and Publication Trust 107 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 108 Overseas travel

Overseas travel

Name Position Destination Reason for travel Days on duty Period of travel Shari Lett Archivist Canada Present at the World Indigenous Peoples 32 10/07/2017 – Conference on Education in Toronto, Canada. 11/08/2017 Research Canadian museums’ engagement with First Nations material. Travel funded by the Australia Council. Amanda Peacock Programs Producer Canada Present at the World Indigenous Peoples 32 10/07/2017 – Conference on Education in Toronto, Canada. 11/08/2017 Research Canadian museums’ engagement with First Nations material. Travel funded by the Australia Council. Georgia Connolly Manager, Exhibition New Zealand Accompany works on loan from Sydney to 7 25/07/2017 – and Loans Touring Christchurch; meet with major cultural institutions 1/08/2017 to discuss international touring opportunities. 7 Steven Miller Head of Italy and Represent Australasia & the Pacific at International 16 13/08/2017 – Library Services Poland Federation of Library Associations and Institutions 29/08/2017 ` world conference. Oversee sorting, packing and shipping to Australia of nationally significant archive of art dealer and philanthropist Frank McDonald. Michael Brand Director Russia and Attend the Hermitage’s International Advisory board 8 30/08/2017 – Finland meeting; negotiate exhibition loans; consult with 7/09/2017 architect on latest Sydney Modern project designs. Yin Cao Curator, Chinese China Accompany benefactors to China; investigate 6 7/11/2017 – Art potential loans for upcoming exhibition. Travel 13/11/2017 funded by benefactor tour. Justin Paton Head Curator, Germany Provide an art tour to benefactors in multiple 14 12/11/2017 – International Art German cities. Travel funded by benefactor tour. 26/11/2017 Jane Wynter Head of Philanthopy Germany Provide an art tour to benefactors in multiple 14 12/11/2017 – German cities. Travel funded by benefactor tour. 26/11/2017 Fiona Barbouttis Philanthropy Germany Provide an art tour to benefactors in multiple 14 12/11/2017 – German cities. Travel funded by benefactor tour. 26/11/2017 Michael Brand Director India Attend Bizot Group meetings of international art 4 15/11/2017 – museum directors in Mumbai, India. Attend 19/11/2017 exhibitions and meet with local artists. Nicholas Chambers Senior Curator, United States Undertake professional development as International 11 7/12/2017 – Modern and of America Awardee for the 2017/18 Foundation Engagement 18/12/2017 Contemporary Program for International Curators. Travel part-funded International Art by Association of Art Museum Curators. Malgorzata Sawicki Head of Frames United States Attend experts meeting on the cleaning of gilded 8 11/03/2018 – Conservation of America surfaces at Getty Conservation Institute. Travel 19/03/2018 funded by Getty Conservation Institute. Michael Brand Director New Zealand Attend opening of Toi Art, Museum of New 1 16/03/2018 – Zealand Te Papa Tongarewa. 17/03/2018 Clare Eardley Acting Head of Canada Attend the International Exhibitions Organisers 6 17/04/2018 – Exhibitions / Sydney Annual Conference. 23/04/2018 Modern Project Exhibitions and Commissions Manager Rebecca Allport Manager Gallery United States Attend Museum Store Association annual 21 25/04/2018 – Shop of America conference in Washington, DC. Conduct site 16/05/2018 research on cultural retail in national galleries and museums. Travel funded by Trustees Scholarship. Nicholas Chambers Senior Curator, United States Undertake professional development as International 16 25/04/2018 – Modern and of America Awardee for the 2017/18 Foundation Engagement 11/05/2018 Contemporary and Canada Program for International Curators. Travel part-funded International Art by Association of Art Museum Curators. 109

Overseas travel (continued) Name Position Destination Reason for travel Days on duty Period of travel Julie Donaldson Publishing Manager United States Attend National Museum Publishing Seminar. 6 30/04/2018 – of America 6/05/2018 Asti Sherring Conservator United States Present a paper at symposium on time-based 16 18/05/2018 – of America media art conservation. Travel funded by Gordon 3/06/2018 and Mexico Darling Foundation and Create NSW. Lisa Catt Curator United States Present a paper at symposium on time-based 10 18/05/2018 – of America media art conservation. Travel funded by Gordon 28/05/2018 Darling Foundation and New York University. Ashlie Hunter Producer Public United Kingdom Present paper on late-night economy at the 10 28/05/2018 – Programs and United at the National Gallery in London. Travel 7/06/2018 States of funded by WAGS, Art Gallery Society and Culture 24. America

Couriers (travel with outgoing loans from the Gallery’s collection; funded by the borrowing institution)

Name Position Destination Reason for travel Days on duty Period of travel Kerry Head Conservator France Accompany artworks loaned to the Musée du 4 9/07/2017 – Luxembourg. 13/07/2017 Kasi Albert Conservator New Zealand Accompany artworks loaned to the Auckland 2 24/07/2017 – Art Gallery. 26/07/2017 Brent Willison Registrar Germany Accompany artworks loaned to the Museum 8 23/10/2017 – Kunstpalast, Dusseldorf. 31/10/2017 Paul Solly Registrar United Accompany artworks loaned to the Tate Museum. 8 7/02/2018 – Kingdom 15/02/2018 Emma Smith Senior Collection United States Accompany artworks loaned to the Metropolitan 6 24/02/2018 – Registrar of America Museum of New York. 2/03/2018 Melissa Harvey Assistant Latvia Accompany artworks loaned to the Latvian 9 23/08/2018 – Conservator National Museum of Art. 1/09/2018

Sydney Modern Project (Tokyo workshops alternating with Sydney workshops; benefactor tours)

Name Position Destination Reason for travel Days on duty Period of travel Michael Brand Director Japan Attend meetings with Sydney Modern Project 4 1/08/2017 – architects. 5/08/2017 Sally Webster Head Sydney Japan Attend meetings with Sydney Modern Project 4 1/08/2017 – Modern Project architects. 5/08/2017 Justin Paton Head Curator Japan Attend meetings with Sydney Modern Project 5 1/08/2017 – of International Art architects. 6/08/2017 Sally Webster Head Sydney United Attend workshops on Tate Modern development; 8 3/09/2017 – Modern Project Kingdom, facilitate a peer review on Sydney Modern 11/09/2017 France, Project; investigate museum technologies in Switzerland SANAA-designed public buildings. Sally Webster Head Sydney Japan Attend meetings with Sydney Modern Project 4 16/12/2017 – Modern Project architects. 20/12/2017 Michael Brand Director Japan Attend meetings with Sydney Modern Project 3 17/12/2017 – architects. 20/12/2017 John Richardson Director of Hong Kong Host benefactor events to grow philanthropic 3 25/03/2018 – Development network for Gallery and Sydney Modern. 28/03/2018 Michael Brand Director Hong Kong Host benefactor events to grow philanthropic 5 24/03/2018 – network for Gallery and Sydney Modern. 29/03/2018 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 110 Financial performance

The Gallery’s financial The Gallery holds investments with Looking forward position in 2017–18 was TCorp as well as term deposits with commercial banks. Investment revenue The Gallery continues to build detailed consistent with prior years. increased to $2.8 million in 2017–18 plans supporting its expansion. The Gallery was able to ($2.6 million in 2016–17). Working groups have been formed maintain its financial position across the Gallery to focus on specific by controlling discretionary In terms of costs, employee costs aspects of the plan as we await costs and increasing its have increased due to the compulsory the outcome of the Development pay increase to all staff and the Application process. commercial revenues. employment of additional staff as the Gallery commences increased The Gallery remains focused on activity levels relating to the Sydney delivering an exciting program as it During the financial year, visitation Modern Project. Fixed costs were moves into the new financial year. The was maintained at 2016–17 levels, largely in line with prior years; however, financial performance in the first two which had experienced a significant increased security charges and gas months of the new financial year has increase on 2015–16. The main drivers utility charges have had an impact. been in line with expectations. supporting the strong ongoing visitation Increases in variable costs were mainly level were a successful exhibition a result of the higher level of trading program; creative use of the Gallery’s activity across the Gallery’s commercial art collection in its various galleries operations. in conjunction with a range of public programs; the ongoing success of the The overall net result for the year was Art After Hours program on Wednesday $44.5 million ($34.9 million in 2016–17), nights; and a popular lecture and as reported in the Gallery’s Statement film program. of Comprehensive Income (SOCI), which is prepared in accordance with Revenues from the Gallery’s Australian Accounting Standards. The commercial activities continue to result includes non-operating specific make a vital contribution to its overall funds such as capital grants from financial performance. A successful government, art works donated, and exhibition program benefited from the cash and non-cash donations. These outstanding success of The lady and funds have already been expended the unicorn exhibition and the earlier either to acquire assets such as works start date of the Archibald, Wynne and of art or on specific capital projects. Sulman prizes exhibition in 2018. This Consequently, these funds are not had a flow-on effect to commercial available for operating purposes. The revenues from venue hire and retail. Gallery’s underlying operating result in 2017–18 was a surplus of $55,000 Exhibition ticket sales increased by ($286,000 in 2016–17). 12% in 2017–18 through an increase in the volume of paid visitors. Venue hire, catering revenue and shop revenue increased by 11% over the previous year.

The Gallery continues to attract a high level of donations of works of art in-kind, with $8.7 million in 2018 ($18.7 million in 2016–17). Cash donations for the acquisition of art and the Sydney Modern Project amounted to $20.8 million ($13.9 million in 2016–17). 111 Year in brief

Revenue 2017–18 $103.3 million Government capital funding Government recurrent $21.2 m 21% funding $24 m 23%

Other revenue $4.1 m 3%

Bequests, special Rendering of services funds, grants and $12 m 12% other contributions $37.1 m 36%

Sales of goods and services $4.9 m 5%

Expenditure 2017–18 $58.8 million

Other operating costs $27.4 m 47%

Depreciation $3.8 m 6%

Personnel services $27.6 m 47%

Net assets as at 30 June 2018 $1.707 billion Land and buildings $266 m 16%

Bequests, special Collection funds and other $1,380 m 81% $58 m 3%

Plant and equipment $3 m 0.1%

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 112

Budget summary

2013–14 2014–15 2015–16 2016–17 2017–18 5 year total Average p.a

Total visitors – incl touring/studio m 1.16 1.3 1.28 1.59 1.61 6.94 1.39 Artworks purchased $’m $5.7 $8.8 $6.3 $4.8 $4.5 $30.1 $6.0 Donations of artwork $’m $3.6 $4.2 $6.2 $18.7 $8.7 $41.4 $8.3 Total Works of art acquired $’m $9.3 $13.0 $12.5 $23.5 $13.2 $71.5 $14.3 Exhibition admission revenue $’m $2.0 $3.8 $4.4 $7.1 $7.9 $25.2 $5.0 Merchandise, books and publication sales $’m $3.5 $3.3 $3.8 $4.7 $4.9 $20.2 $4.0 Other services/activities $’m $4.6 $5.1 $3.7 $3.8 $5.0 $22.2 $4.4 Bequests and special funds $’m $4.6 $12.0 $7.6 $13.5 $20.8 $58.5 $11.7 Other grants and contributions / other misc $’m $9.1 $9.6 $10.9 $26.5 $18.5 $74.6 $14.9 Total revenue from exhibitions, visitor services and benefaction $’m $23.8 $33.8 $30.4 $55.6 $57.1 $200.7 $40.1

Personal expenses $’m $20.6 $22.2 $24.0 $24.7 $27.6 $119.1 $23.8 Depreciation $’m $4.1 $3.5 $2.5 $3.6 $3.8 $17.5 $3.5 Insurance $’m $1.2 $1.3 $1.3 $1.6 $1.8 $7.2 $1.4 Other operating expenses $’m $18.8 $19.4 $17.9 $21.9 $27.4 $105.4 $21.1 Total operating expenses $’m $44.7 $46.4 $45.7 $51.8 $58.7 $249.2 $49.8

Recurrent appropriation $’m $23.9 $23.8 $23.9 $23.9 $24.0 $119.5 $23.9 Liabilities assumed by government $’m $0.8 $1.0 $1.7 $1.7 $1.0 $6.2 $1.2 Capital appropriation/other $’m $6.0 $9.0 $15.6 $5.5 $21.2 $57.3 $11.5 Total government grants $’m $30.7 $33.8 $41.2 $31.1 $46.2 $183.0 $36.6 Total revenue $’m $54.5 $67.6 $71.6 $86.7 $103.3 $383.7 $76.7

Government recurrent contribution as a % of operating revenues % 50% 41% 44% 30% 30% N/A 31% Government contribution as % of total revenue % 56% 50% 58% 36% 45% N/A 48% Net surplus $’m $9.8 $21.2 $25.9 $34.9 $44.6 $136.4 $26.9 Employees – effective full time (FTE) Number 199 205 212 212 218 N/A 209 Average salary per head $’000 103 110 110 110 107 N/A 108 Net assets $’m $1,366.8 $1,578.6 $1,620.1 $1,657.6 $1,706.7 N/A $1,586.0 113 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 114 115 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 116 117 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 118 119 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 120 121 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 122 123 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 124 125 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 126 127 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 128 129 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 130 131 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 132 133 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 134 135 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 136 137 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 138 139 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 140 141 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 142 143 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 144 145 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2017–18 146 147

Payment of accounts 2017–18

Quarter Current within Less than 30 days Between 30 and Between 60 and More than 90 due date overdue 60 days overdue 90 days overdue days overdue $ $ $ $ $ All suppliers September 2017 2,074,633 1,092,199 261,529 96,069 - December 2017 4,506,353 757,083 436,126 183,459 - March 2018 2,580,248 49,809 320,070 98,111 - June 2018 4,541,970 142,532 397,865 14,837 -

Small business September 2017 1,867,169 982,979 235,376 86,462 - December 2017 4,055,718 681,375 392,514 165,113 - March 2018 2,322,224 44,828 288,063 88,299 - June 2018 4,087,773 128,279 358,079 13,354 -

All suppliers September 2017 December 2017 March 2018 June-2018 Total number of accounts due for payment 681 658 677 555 Number of accounts paid on time 623 647 677 555 % of accounts paid on time based on number of accounts 91 98 100 100 $ amount of accounts due for payment 3,524,430 5,883,022 3,048,238 5,097,205 $ amount of accounts paid on time 3,473,057 5,742,184 2,957,747 5,046,233 % of accounts paid on time based on $ amount of accounts 99 98 97 99 Number of payments for interest on overdue accounts 0 0 0 0 Interest paid on overdue accounts 0 0 0 0

Small business September 2017 December 2017 March 2018 June-2018 Total number of accounts due for payment 477 296 542 389 Number of accounts paid on time 476 296 542 389 % of accounts paid on time based on number of accounts 100 100 100 100 $ amount of accounts due for payment 2,170,806 4,232,140 2,286,178 3,822,904 $ amount of accounts paid on time 2,155,731 4,189,818 2,263,317 3,784,675 % of accounts paid on time based on $ amount of accounts 99 99 99 99 Number of payments for interest on overdue accounts 0 0 0 0 Interest paid on overdue accounts 0 0 0 0 General access

Access Cafe at the Gallery Physical and postal Online address The Gallery is open every Open daily 10am–4.30pm artgallery.nsw.gov.au day (except Easter Friday and Wednesday until Art Gallery of New South artgallery.nsw.gov.au/ and Christmas Day) 10am– 9.30pm. Wales instagram artgallery.nsw.gov. 5pm and until 10pm every Art Gallery Road au/facebook artgallery.nsw. Wednesday for Art After Brett Whiteley Studio The Domain gov.au/twitter artgallery.nsw. Hours (except during the Sydney NSW 2000 Australia gov.au/youtube Christmas/New Year period). General admission is free. Located at 2 Raper Street, Surry Hills, NSW, 2010. Contact the Gallery Charges apply for some major temporary exhibitions. Open to the public Friday to Sunday 10am–4pm. Australia-wide toll-free 1800-NSW-ART Gallery Shop Free admission is made (1800-679-278) possible by JP Morgan. Information desk Open daily 10am–4.45pm Open to education groups 02 9225 1744 and Wednesday until 9pm. Wednesday to Thursday. General switchboard Charges apply. 02 9225 1700 General fax 02 9225 1701 Study Room Bookings and enquiries General email 02 9225 1740 [email protected] Open to the public Monday to Friday, 10am–4pm. Access for all Closed public holidays. Bookings recommended. The Gallery is committed Bookings and enquiries to providing access to our 02 9225 1758 collections and exhibitions for all audiences, including National Art Archive people with disability. Circular and Capon Research For those requiring assisted Quay Library entry or entrance at the rear of the building, we recommend you contact the Open to the public Tuesday, Gallery before arrival on Thursday and Friday 02 9225 1775. 10am–4pm, Wednesday 10am–6.30pm and Saturday More information artgallery. 12–4pm. nsw.gov.au/access No appointments necessary. Enquiries 02 9225 1785 Access program tours Email [email protected] Our range of access Chiswick at the programs, including free Gallery Auslan interpreters, Deaf-led tours, sensory tours, audio- described tours, art and Open Monday to Friday dementia program tours, 12pm–3.30pm, Wednesday and other tailored guided 12pm–9pm and Saturday to tours, is aimed at engaging Sunday 12pm–4pm. diverse audiences. Bookings and enquiries Bookings and enquiries 02 9225 1819 02 9225 1740 Email [email protected]

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