DOCSLIB.ORG

Art Gallery of New South Wales Annual Report 2000 Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Gallery of New South Wales Annual Report 2000 Table of Contents ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2000 TABLE OF CONTENTS PRESIDENT’S REPORT 2 DIRECTOR’S STATEMENT 4 YEAR IN REVIEW 8 AIMS / OBJECTIVES / PERFORMANCE INDICATORS 21 CORPORATE GOVERNANCE 24 SENIOR MANAGEMENT PROFILE 26 LIFE GOVERNORS 27 ORGANISATION CHART 28 FINANCIAL STATEMENTS 29 APPENDICES 50 INDEX 76 GENERAL INFORMATION 77 Bob Carr MP Premier, Minister for the Arts, and Minister for Citizenship Level 40 Governor Macquarie Tower 1 Farrer Place SYDNEY NSW 2000 Dear Premier, In accordance with the requirements of the Annual Report (Statutory Bodies) Act 1984, we have pleasure in submitting to you the Annual Report for the Art Gallery of New South Wales for the year ended 30th June, 2000, for presentation to Parliament. The annual report of the Gallery, in our opinion, has been prepared in full compliance with the requirements of the Annual Reports (Statutory Bodies) Act and the Annual Reports ( Statutory Bodies) Regulations. Yours sincerely, David Gonski Edmund Capon President Director ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS MORE THAN ONE MILLION VISITORS ATTRACTED TO 40 EXHIBITIONS AND THE PERMANENT 1 COLLECTION RECORD TURNOVER FOR GALLERY SHOP OF $4.1 MILLION, OF WHICH $1.2 MILLION WAS REVENUE 2 FROM ART GALLERY OF NSW PUBLICATIONS ART ACQUISITIONS BOOSTED BY MORE THAN $5 MILLION, COMPARED WITH $4.1 MILLION THE 3 PREVIOUS YEAR NET INCOME FROM BEQUEST AND SPECIAL FUNDS WAS $5.2 MILLION, MAKING A TOTAL OF 4 $75.6 MILLION OVER THE LAST NINE YEARS CONSOLIDATION OF IN-HOUSE PRESENTATION OF MAJOR EXHIBITIONS THROUGH JEFFREY SMART 5 RETROSPECTIVE AND MICHELANGELO TO MATISSE: DRAWING THE FIGURE ART GALLERY’S COSTS PER VISITOR MAINTAINED AT $15.20 AND STAFF NUMBERS REMAINED 6 STEADY AT UNDER 200 OPENING OF THE DOROTHY STREET GALLERIES OF 7 TWENTIETH CENTURY AUSTRALIAN ART THE VERY POPULAR ARCHIBALD EXHIBITION TOURED TO EVEN MORE REGIONAL GALLERIES 8 THAN IN PREVIOUS YEARS THE CENTENARY FUND ESTABLISHED TO SUPPORT BUILDING PROJECTS 9 THE FIRST OF THEM A 100-SEAT AUDITORIUM Cover: Juan Muñoz NSW GOVERNMENT FUNDING SUPPORT FOR THE Conversation Piece (Art Gallery of New South Wales) 5 YEAR TOTAL ASSET MANAGEMENT PLAN 22 figures in resin, sand and cloth, installation. 12th Biennale of Sydney 2000, 26 May – 30 July, 2000 10 PRESIDENT’S FOREWORD As with previous years, this has been a demanding but successful one for the Art Gallery. During the year, we were active in fundraising and one of the major initiatives in this regard celebrates the past by taking a step into the future. This is the formation of the Centenary Fund to commemorate 100 years of Australian Federation in 2001 and a century since the completion of the original galleries of the Art Gallery of New South Wales. The Centenary Fund will raise money for building projects and aims to recruit 100 patrons, each of whom pledges $100,000 over a designated period of time. It was launched in February 2000 and had 21 patrons signed up by the end of the financial year. The first project to be underwritten by the Fund is a new 100 seat auditorium, which will be completed in 2001. It replaces the small auditorium which had to be demolished to make way for the expanded Gallery Shop this year. The relocation of the Shop enabled the creation David Gonski, Dorothy & Fred Street, Bob Carr of the Dorothy Street Galleries of Twentieth Century Australian Art, which give a fresh and exciting focus to that area of the collection. The President’s Council has continued to provide invaluable help in many aspects of the Art Gallery’s life. Primarily, the President’s Council has assisted in funding part of our exhibition programme and also in helping us to find new ways in which to fundraise. Membership of the President’s Council was increased during the year. I welcome the five new Council members: Ken Borda, Chief Executive Officer, Deutsche Bank AG; Peter Ivany, Ivany Investment Group; Daniel Gauchat, Vice-President Korn/Ferry; Fred Hilmer, Chief Executive Officer, John Fairfax Holdings Limited, and Angela Clark, Managing Director, JCDecaux Australia. 2 Diagram of proposed new Centenary Fund auditorium by Peddle Thorp Walker During the year, Government funding of $13.5 volunteer guides. These people are often the unsung, front million for the next major addition to the building - a row heroes who most certainly deserve our thanks and new Asian gallery - was approved. We are very thankful praise. to the New South Wales Government for this. The Above all, I thank our truly dedicated staff. We have construction to be paid for from these funds is expected been successful this year in exhibitions, in establishing the to commence during next calendar year and will greatly new Shop, in fundraising - to name but a few improve not only the Asian gallery space but also a achievements – and this undoubtedly is due to a staff that number of other key areas of the building. is motivated and successful at what they do. I take this opportunity of thanking all Trust members personally for their assistance during the year. In particular, Kim Santow, who is leaving the Board of David Gonski Trustees after nine years of very active participation and President many good ideas. We are sorry to lose Kim but delighted Art Gallery of New South Wales that the Gallery’s relationship with him will continue through his membership of the VisAsia Board. Pierce Cody has replaced Kim Santow on the Board of Trustees. We welcome Pierce and look forward to working with him. My thanks also go to everyone who has served on the committees of the Trust during the year, especially to Greg Daniel and Bruce Cutler, both members of the President’s Council. Thanks also to all the people who work in the Society and the Foundation and to our 3 DIRECTOR’S STATEMENT In a year of relentless activity and unsurpassed delights perhaps none has left a more certain and erudite mark on the progress of civilization and the cause of art in this country than the engagement of Roy and HG as judges of the one-off Sporting Archie. It was, of course, a process of profound enlightenment in which those two great connoisseurs learned much about sport and I, their colleague judge, learned much about art. I recall just some of those richly rewarding moments of revelation which occurred during that tense and drama- filled week when the three of us judged this unique – thankfully – award: that paintings should, if they are to be properly judged, be dry; that the portraits should bear some resemblance to the subject – an innovative notion I thought; that Adam Cullen – who incidentally won the Archibald prize with his portrait of an endearingly spikey David Wenham – probably painted his sporting entry of Mark Occolupo with his own vomit and that it was, Roy Slaven, Lewis Miller, HG Nelson therefore, in the eyes of my sensitive colleagues, ineligible on technical grounds; that a somewhat tactile picture of a cricketer called Mr.Taylor was evidently painted shortly after the subject had been struck firmly in the face by a rather forceful delivery and that the painting was, therefore, best viewed at a distance of 22 yards; that a slightly tendentious painting of the famous surfer, Mr. Carroll, set against a background of a breaking wave, was highly symbolic in suggesting that the subject was, apparently, about to experience a moment of ‘vision’; and that the eventual winner of this deeply moving contest was in fact a very good painting of a pair of trousers and that HG, who likes to be challenged – physically - in matters of art was very much of the view that the subject, the precipitate Mr. Ron Barassi, was about to leap off the 4 Ian Fairweather, The pool 1959 synthetic polymer paint on cardboard on hardboard, 96.5 x 117.8 cm Purchased with funds provided by the Cezanne Dinner Fund 1999 canvas and punch him on the nose. A good omen for a The challenges, though, remain much the same and winning portrait painting we all felt. fundamentally revolve around maintaining such levels of In the meantime the new format for the presentation activity without prejudice to the content and quality of of our Annual Report permits this review to consider less the Art Gallery’s activities. The political and economic the detail and more the principles and momentums that climate in which we now operate is very different from as determine the Gallery’s progress. However, the details and recently as 15 or 20 years ago when art museums such as activities of the Gallery in the 1999-2000 year may be this were naturally assumed to be wholly government summarised in the achievement of staging some forty responsibilities and we relied upon government for the exhibitions all but three of which were curated and vast majority of our capital and recurrent funding. Our organised within the Gallery; in purchasing $3.6 million situation, of ever-increasing financial self-reliance, is worth of works of art without a cent of Government paralleled in the experiences of other State art galleries. funding for acquisitions and receiving through gifts However, there are substantial levels of government further works of art to the value of $2 million; publishing investment in permanent resources and we are only too ten major catalogues among which were the very aware of the commitments of around $100 million plus to successful and substantial Michelangelo to Matisse: the National Gallery of Victoria for the refurbishment of Drawing the figure and Jeffrey Smart books; delivering the St. Kilda Road premises, of the $100 million for the over 150 public lectures in addition to a non-stop range Queensland Gallery to extend its building facilities and of public and family programmes; hosting over 260 the $60 million for the National Gallery.
Load more

Recommended publications
  • Emu Island: Modernism in Place
    Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living.
    [Show full text]
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • List of Works
    4 JANUARY – 22 MARCH 2020 Margaret's Gift acknowledges and celebrates the generous legacy of Margaret Olley AC (1923-2011). Olley was a preeminent artist who had more than 90 solo exhibitions during her lifetime. Using funds from her own exhibition sales Olley would purchase fellow artists works, which she would then in turn donate to numerous galleries. She was also an entrepreneur who invested wisely in residential properties, that in turn brought in a steady income. This put her in a unique position in which she could, not only focus on her own artistic practice but she had the time and means to paint, travel, acquire and donate. The working relationships and life-long friendships she developed with gallery curators, directors and fellow artists are testament to her unwavering support of art and culture within this country. Throughout her lifetime, Olley continued to donate and provide funds to various institutions. This approach enabled institutions to acquire significant works of art. Many of these works are now considered collection highlights, spanning national, state, regional and university art collections. The Margaret Olley Art Trust was established in 1990. This legacy continues today, with the ongoing support of the trustees of the Margaret Olley Art Trust, through both donation of work or funds allocated to a specific project. This exhibition is the second in a series of three that has the generous support of the Margaret Olley Art Trust. Curated by Renée Porter, the exhibition presents over 60 works from collections in Queensland, New South Wales and the ACT and include works by European masters, Australian artists and ceramics from Papua New Guinea which were her earliest known gifts.
    [Show full text]
  • ANZAC Memorial Visit
    ANZAC Memorial Hyde Park June 2013 On Thursday 27th June the Scouts from 1st Ermington had the opportunity to visit the ANAZ Memorial at Hyde Park in the city. We caught the train from Eastwood station for the journey into Sydney - alighting from the train at Town Hall station. Fortunately the weather was kind and we had a nice walk up to the memo- rial through Hyde park. Although it was early evening and dark the memo- rial looked terrific. The curator for the evening introduced himself to the troop and there was much interest in his background as he was both a Vietnam veteran and a former scout. The evening started with a short video and the scouts were surprised at the footage of the opening because at the time the memorial was the tallest building in the city and the opening was attending by 100,000 people. We were given a tour of the different parts of the memorial (inside and out). Learning about the different parts of the memorial was extremely in- teresting. The Scouts were invited to release a Commemorative star representing an Australian service man or woman killed while serving their country or since deceased - a very humbling experience Another highlight of the evening was the Scouts being able to see a banner signed by Baden Powell. We departed the memorial at 8:20 for our return trip, arriving back into Eastwood at 9:10pm. A big thank you to the Scouts and Leaders that were able to participate in this activity. The ANZAC War Memorial, completed in 1934, is the main commemorative military monument of Sydney, Australia.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • Emu Island: Modernism in Place 26 August — 19 November 2017
    PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program.
    [Show full text]
  • Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
    Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions.
    [Show full text]
  • Making 18 01–20 05
    artonview art o n v i ew ISSUE No.49 I ssue A U n T U o.49 autumn 2007 M N 2007 N AT ION A L G A LLERY OF LLERY A US T R A LI A The 6th Australian print The story of Australian symposium printmaking 18 01–20 05 National Gallery of Australia, Canberra John Lewin Spotted grossbeak 1803–05 from Birds of New South Wales 1813 (detail) hand-coloured etching National Gallery of Australia, Canberra nga.gov.au InternatIonal GallerIes • australIan prIntmakInG • modern poster 29 June – 16 September 2007 23 December 2006 – 6 May 2007 National Gallery of Australia, Canberra National Gallery of Australia, Canberra George Lambert The white glove 1921 (detail) Art Gallery of New South Wales, Sydney purchased 1922 photograph: Jenni Carter for AGNSW Grace Crowley Painting 1951 oil on composition board National Gallery of Australia, Canberra Purchased 1969 nga.gov.au nga.gov.au artonview contents 2 Director’s foreword Publisher National Gallery of Australia nga.gov.au 5 Development office Editor Jeanie Watson 6 Masterpieces for the Nation appeal 2007 Designer MA@D Communication 8 International Galleries Photography 14 The story of Australian printmaking 1801–2005 Eleni Kypridis Barry Le Lievre Brenton McGeachie 24 Conservation: print soup Steve Nebauer John Tassie 28 Birth of the modern poster Designed and produced in Australia by the National Gallery of Australia 34 George Lambert retrospective: heroes and icons Printed in Australia by Pirion Printers, Canberra 37 Travelling exhibitions artonview ISSN 1323-4552 38 New acquisitions Published quarterly: Issue no. 49, Autumn 2007 © National Gallery of Australia 50 Children’s gallery: Tools and techniques of printmaking Print Post Approved 53 Sculpture Garden Sunday pp255003/00078 All rights reserved.
    [Show full text]
  • Art Gallery of South Australia Major Achievements 2003
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance.
    [Show full text]
  • The Paragon, Katoomba
    The Paragon, Katoomba McLaughlin Lecture, Wentworth Falls, 1 March 2014 Ian Jack Fig.1 The Upper Mountains are well supplied with icons both of the natural environment and of the European built environment. The built environment from the later nineteenth century onwards relates overwhelmingly to the tourist industry: the railway which brought city-dwellers up here for holidays, the hotels and guest-houses, the cafés and restaurants and the homes of those who serviced the visitors. I want to talk about one particular café, its local setting and its wider ethnic context, its aesthetics and its archaeology. The Paragon in Katoomba was presciently named by Zacharias Simos in 1916. There are quite a lot of Greek cafés in New South Wales, forming an important heritage genre. But I can think of no other surviving Greek café in the state which has comparable stylishness, integrity and wealth of aesthetic and industrial heritage. The Paragon dates from quite near the beginning of a new phenomenon in Australian country towns, the Greek café. Fig.2 This is the Potiris family café in Queanbeyan 1914. Although the Greek diaspora, especially to America and Australia, had begun early in the nineteenth century, it had gained momentum only from the 1870s: over the following century over 3 million Greeks, both men and women, emigrated. The primary reason for many leaving their homeland in the late nineteenth century was economic, exacerbated by a sharp decline in the price of staple exports such as figs and currants and the wholesale replacement in some places of olive-groves by 1 vineyards.
    [Show full text]