ART GALLERY OF APPENDICES 2010–11

Sponsorship 94 Philanthropy 94 Art prizes and scholarships 95 AGNSW publications for sale 95 Visitor numbers 96 Exhibitions listing 97 Aged and disability access programs and services 98 Aboriginal and Torres Strait Islander programs and services 99 Multicultural policies and services plan 100 Electronic service delivery 101 Overseas travel 102 Collection – purchases 103 Collection – gifts 105 Collection – loans 111 Staff, volunteers and interns 118 Staff publications, presentations and related activities 121 Customer service delivery 125 Compliance reporting 125 Image details and credits 126 SPONSORSHIP the Prat Collection, and The Grants received First Emperor: China’s entombed warriors During 2010–11 the following funding was received: UBS Principal sponsor: Contemporary galleries Program Entity Project $ amount Sponsors Partner Arts NSW NSW Aboriginal visual arts 106,000 as at 30 June 2011 VisAsia Council Asian exhibition industry introduction program program partner China Council International symposium ‘Innovations 5,000 ANZ Principal sponsor: Archibald, WesTrac Support sponsor: and creativity in ancient Qin’ Wynne and Sulman Prizes 2010 The First Emperor: China’s Communities NSW Aboriginal art education kit 25,000 Avantcard Support sponsor: entombed warriors general Chang Ching-kuo International symposium ‘Innovations 19,817 and creativity in ancient Qin’ City of Support sponsor: President’s Council Archibald, Wynne and Sulman Copyright Agency Limited Aboriginal artist-in-residence 16,840 Members of the President’s Council Prizes and The First Emperor: research program as at 30 June 2011: China’s entombed warriors Goethe Institute The mad square symposium 13,146 Delta Electricity Alfred Stieglitz: Steven Lowy AM, Westfield Gordon Darling Foundation Travel grant 2,900 the Lake George Years and The Holdings, president Meers Foundation Aboriginal Collection Benefactors 5,000 First Emperor: China’s entombed warriors Michael Fraser, AGL Energy TOTAL 193,703 Limited; Nigel Williams, ANZ Ernst and Young Principal Banking Group; John Symond sponsor: Paths to abstraction AM, Aussie Home Loans; 1867–1917 Giam Swiegers, Deloitte; Greg Freehills Principal sponsor: Legal Everett, Delta Electricity; Chum provider and Major sponsor: David Darvall, Deutsche Bank AG; PHILANTHROPY South Wales; Mary-Jane Brodribb; to Cézanne: master drawings from Damian Hackett, Deutscher and Maurice Cashmere; Ken Coles AM the Prat Collection, Paris Hackett; Rob McLeod, Ernst & AND BEQUESTS & Rowena Danziger AM; Sir William Hyperion Asset Management Young; Geoff Parmenter, Events RECEIVED Dobell Foundation; Mr J O Fairfax conservation support for the William New South Wales; Peter Fray, AO; AO & Frank Strutt painting David’s first victory Fairfax Media Limited; Kim O’Keefe; Mollie & Jim Gowing; Williams, FOXTEL; Kathryn Walter Hartwig; Dr Elizabeth Hazel; JCDecaux Media sponsor: Everett, Freehills; Emmanuel Pohl, Mary Heseltine; Mervyn Horton; Paths to abstraction 1867–1917 Hyperion Asset Management; Life governors Yvonne Buchanan May & Hugh and The First Emperor: China’s David Clarke, Investec Bank as at 30 June 2011 Buchanan May; News Limited; entombed warriors (Australia) Limited; Stephen The Gallery has acknowledged the AC; Kenneth R JP Morgan Principal sponsor: O’Connor, JCDecaux Australia; significant support of the following Reed; Mary Eugene Tancred; Peter Studio Rob Priestley, JP Morgan; Chris individuals by appointing them as Weiss AM; Beryl Whiteley OAM Macquarie Capital Principal Jordan AO, KPMG; John Clayton, Life Governors: sponsor: Art After Hours Marsh; Paul O’Sullivan, Optus; Kerr Neilson, Platinum Asset Franco Belgiorno-Nettis AC GOLD BENEFACTORS Marsh Principal sponsor: Risk and CBE; Joseph Brender AO; Jillian Management; Alan Joyce, Geoff Ainsworth AM & Vicki Insurance Partner and sponsor The Broadbent AO; Ken Cowley AO; Airways; Alfred Moufarrige OAM, Ainsworth; Jim & Janette Bain; poetry of drawing: pre-Raphaelite James Fairfax AO; Brian Servcorp; Ryan Stokes, Seven The Balnaves Foundation; Susan designs, studies and watercolours AM; James Gleeson AO & Frank Group Holdings; Virginia Mansell, Chandler; Patrick Corrigan AM; Principal sponsor: Open O’Keefe; Michael Gleeson-White Optus Stephenson Mansell Group; Luca Mervyn Horton; Nelson Meers Gallery program for priority-funded AO; David Gonski AC; Mollie Belgiorno-Nettis AM, Transfield Foundation; Alan & Jancis Rees; schools Gowing; Shosuke Idemitsu; James Holdings; Philip Coleman, UBS AG Lyn Williams AM; David George Leslie AC MC; Frank Lowy AC; Porter’s Original Paints Official Australia; Jeff Mitchell, Westpac Wilson paint supplier Banking Corporation John Morschel; Rupert Murdoch AC; Kenneth Myer AC DSC; President’s Council of the Art J Hepburn Myrtle CBE; Margaret BENEFACTORS Gallery of NSW Major exhibitions VisAsia Council Olley AC; Max Sandow AM; John Kathleen Elizabeth Armstrong; program partner Members of the VisAsia Council Schaeffer AO; Julie Schaeffer; Paul & Valeria Ainsworth; James Qantas Airways Principal sponsor: as at 30 June 2011: Edward Sternberg AM & Goldie Barker; Mr & Mrs P L Binnie; Yiribana Gallery of Aboriginal and Sternberg; Fred Street AM; Diana Warwick Johnson, Optimal Fund Jillian Broadbent AO; Andrew Torres Strait Islander art. Official Walder OAM; Peter Weiss AM; Management, chair & Cathy Cameron; Francine de airline: The First Emperor: China’s Neville Wran AC QC; John Yu AC Valence; Patricia Englund; Vincent entombed warriors Stephen Menzies, Blake Dawson; Fairfax Family Foundation; John M Su-Ming Wong, CHAMP Ventures; Seven Network Media sponsor: Art Gallery of NSW Gillespie; David Gonski AC & Orli Philip Cox AO, Cox Richardson; The First Emperor: China’s Foundation Wargon OAM; Robert Quentin Hole; Robyn Norton & Stephen entombed warriors Fraser & Hopkins; Isa & MacMahon, The George Institute; The Gallery has acknowledged Sofitel Sydney Wentworth Official Hal Jones; Andrew Klippel; Sophie Matthew Banks, Macquarie major gifts and bequests of both hotel partner and support sponsor: Landa; Mr & Mrs Teck-Chiow Lee; Bank; Seng-Huang Lee, Mulpha works and money (including Archibald, Wynne and Sulman Adrian Claude Lette; Mr C Lloyd Australia; Hiroyuki Roy Nishikawa, pledged bequests) through Prizes; Paths to abstraction Jones CMG; Frank Lowy AC; Jim Nomura Australia Limited; membership of its Foundation. The 1867–1917 and The First Emperor: Stephen Knight, Nick three highest levels of Foundation Masselos; David Moore; Catriona & China’s entombed warriors NSW Tcorp; Curtis, Riverstone Advisory Pty membership, as at 30 June 2011, Simon Mordant; Lewis Morley OAM; The Sydney Morning Herald Ltd; William Purcell, University are listed below: Carole Muller; Judith & Kerr Neilson; Media partner: Paths to abstraction Susan & Garry Rothwell; Charles of Technology Sydney; Michael LIFE BENEFACTORS 1867–1917, Alfred Stieglitz: the Sternberg, Valiant Hire & Denyse Spice; Isaac & Susan Lake George years, David to James Agapitos OAM & Ray Wilson Wakil; Dr John Yu AC & Dr George Cézanne: master drawings from OAM; Art Gallery Society of New Soutter AM

94 ART GALLERY OF NSW ANNUAL REPORT 10–11 New bequests SIR JOHN SULMAN PRIZE BRETT WHITELEY TRAVELLING • Brett Whiteley: studio, Pellow, ART SCHOLARSHIP softbound $45 The following bequests were The prize of $20,000 was judged by artist Richard Bell and awarded Established to provide young • Buddha: radiant awakening, received and/or notified this artists with an opportunity to financial year: to Peter Smeeth for his work The Menzies, softbound $35 artist’s fate. travel to and further their • Molly Gowing – $3,277,642 artistic interests, this scholarship • Celestial silks: Chinese religious and court textiles, Rutherford & • Yasuko Myer – $165,201 FOR DRAWING comprises $25,000 and a three- month residency in the Gallery’s Menzies, softbound $35 • Perpetual Trustee Co Ltd – The $25,000 prize, judged by Paris studio. It is a memorial to • Brett Whiteley: Studio, Pellow & $16,659 Alun Leach-Jones, was awarded the artist Brett Whiteley, who in George (eds), pb, $45 to Suzanne Archer for her work his youth was encouraged in his Derangement. • Celestial silks: Chinese religious artistic endeavours by winning a and court textiles, Rutherford & ANNE LANDA AWARD similar scholarship. Special thanks Menzies, pb, $35 are given to Brett’s mother, the This award has been established in ART PRIZES, late Beryl Whiteley, for providing • Contemporary: Art Gallery of honour of Anne Landa, a trustee of GRANTS AND the generous donation to fund the New South Wales contemporary the Art Gallery of New South Wales, scholarship, which in 2010 was collections, Tunnicliffe, flexibound SCHOLARSHIPS who died in 2002. This year’s award awarded to Belem Lett. $45 was the fourth in a biennial series • Crossing country: the alchemy of exhibitions for moving image STUDIOS IN PARIS of western Arnhem Land art, and new media work, each with The Gallery allocates tenancy to Perkins, softbound $50 an acquisitive award of $25,000. two art studios, the Moya Dyring Art prizes The exhibition is by invitation only. • Giacometti: , prints and Studio and the Dr Denise Hickey Competitions for the 2011 This year New Zealand curator and drawings, Capon, softbound $45 Memorial Studio – which it leases Archibald, Wynne and Sulman author Justin Paton was appointed • Half light: portraits from Black at the Cité Internationale des Prizes, sponsored by ANZ, were to curate a themed exhibition. The Australia, Perkins, softbound $45 Arts in Paris. During the year held in March 2011. A total of award was selected by a committee the studios were occupied by • Harold Cazneaux: artist in 2241 entries were received, 109 comprising Edmund Capon and Deborah Edwards, Nicole Kelly, photography, Bullock, softbound of which were selected for display. Wayne Tunnicliffe from the Gallery. Peter Spilsbury, Nathalie Hartog- $45 The Dobell Prize for Drawing, The 2011 recipients were David Gautier, Tobias Richardson, Robert sponsored by the Sir William Haines and Joyce Hinterding for • Highlights from the Gallery Malherbe, Stephanie Nova and Dobell Art Foundation, was held their video installation The outlands, collection, Capon, flexibound $40 Robert Milne, Emanuel Raft, in November 2010. Of the 635 which has now become part of • Homage to the ancestors: ritual Khanh Trinh and Jackie Menzies, entries received, 45 were selected the Gallery’s collection. art from the Chi kingdom, Liu, and Guy Benfield. for display. softbound $35 Grants and scholarships • Intensely Dutch: image, abstraction and the word: post- BASIL AND MURIEL HOOPER The prize of $50,000 for portraiture war and beyond, Kolenberg, SCHOLARSHIP was awarded to Ben Quilty for softbound $40 his portrait of Margaret Olley. The AGNSW These scholarships, valued • Jeffrey Smart, Capon & Pearce, People’s Choice competition, in PUBLICATIONS at $4000 each, are available softbound $45, hardbound $66 which the viewing public vote for each year to fine art students FOR SALE their favourite entry in the Archibald, attending recognised schools in • John Kaldor Family Collection, Bold denotes new titles in 2010–11 was won by Adam Chang for his NSW to assist with the costs of Tunnicliffe, hardbound $89.95 portrait of J M Coetzee. Chang fees, materials and general living • Justin O’Brien, Pearce, received $2500 and a $1000 ANZ expenses. One scholarship was softbound $45 Visa Debit Card, as did the Gallery awarded to Caroline Karlsson. • Let’s face it: the history of the visitor whose vote was drawn from • Adventures with form in space: Archibald Prize, Ross, softbound all votes cast for the winning artist. ELIOTH GRUNER PRIZE fourth Balnaves Foundation $50 The winning voter also received The 2010 prize of $1000 for the Project, Tunnicliffe, • Lewis Morley, Annear $40 one night’s accommodation at the best landscape in oil by an art softbound $35 Sofitel Sydney Wentworth. student was awarded to Meredith • Man Ray, Annear, softbound $30 • Alfred Stieglitz: the Lake George The Packing Room Prize gives the Birrell. years, Annear, softbound $40 • Monet and the Impressionists, Gallery staff who receive the entries Shackelford, flexibound $40 for the Archibald the chance to vote ROBERT LE GAY BRERETON • An incomplete world, Tunnicliffe, • Monet and the Impressionists, for their favourite portrait. In 2011 MEMORIAL PRIZE softbound $45 Shackelford, hardbound $65 the prize was awarded to Vincent This prize, which aims to promote • Anne Landa Award 2006, Fantauzzo for his work Matt Moran, and encourage the art of Tunnicliffe, softbound $25 • One sun one moon: Aboriginal art in Australia, Perkins, hardbound for which he received $1000 and draughtsmanship, is available each • Anne Landa Award 2011: $120 a $500 ANZ Visa Debit Card. year to art students. The 2010 unguided tours, Paton, prize of $800 was awarded to softbound $20 • Orientalism: Delacroix to Klee, Mai Thi Tran. Benjamin (ed), softbound $45 • Archibald 05, pb, $16 The prize of $25,000 for an • Paths to abstraction, Maloon, DYASON BEQUEST • Archibald 06, pb, $16 Australian landscape or figure softbound $60 sculpture was awarded to Administered under the terms of the • Archibald 07, pb, $16 Richard Goodwin for his sculpture will of the late Anthea Dyason, this • Photography collection, Annear, • Archibald 08, pb, $16 Co-isolated slave. bequest provides grants of $5000 softbound $45 to students who have • Archibald 09, pb, $16 • , Edwards, TRUSTEES’ WATERCOLOUR already won travelling scholarships • Archibald 10, pb, $16 softbound $50 PRIZE so as to enable them to better • Archibald 11, pb, $16 • : new retrospective, Entries in the Wynne Prize are also study architecture, sculpture or • Asian collections, Menzies, Pearce, hard and softbound $80 eligible for the Trustees’ Watercolour painting in countries other than and $50 Prize. In 2011 the $2000 prize was Australia and New Zealand. In 2010 softbound $45 awarded to Graham Fransella for an award was made to Marissa • Bertram Mackennal, Edwards, • Still life, Tunnicliffe, softbound $25 his work Tree. Looby. hardbound $80

APPENDICES 10–11 95 • Tradition today: Indigenous art in Education kits Australia, Perkins, softbound $40 • Adventures in Asia, $45

• Victorian visions: nineteenth- • Art speaks Italian, $55 century art from the John • Art speaks Japanese, $55 Schaeffer collection, Beresford, • Aspects of Australian art, $45 softbound $45 • Country culture community, $45 • What colour is that?, Keeler- • Encounters with contemporary art, $45 Milne, softbound $18.95 • Focus on photography, $45 • What number is that?, Keeler- Milne, softbound $18.95 • Wilderness: Balnaves contemporary painting, Tunnicliffe, hardbound $40

VISITOR NUMBERS

MONTHLY VISITORS

Total visitors Domain BW Studio Touring Average daily Month 2005–06 2006–07 2007–08 2008–09 2010–11 2009–10 2009–10 2009–10 Domain 2010–11 July 113,979 121,745 175,816 150,040 91,300 84,239 757 6,304 2,717 August 115,769 98,682 160,732 122,655 92,503 83,277 813 8,413 2,776 September 93,398 85,902 140,283 109,013 82,064 70,393 774 10,897 2,346 October 96,840 70,786 130,563 86,233 80,779 72,979 846 6,954 2,354 November 82,506 81,415 142,874 74,239 68,971 66,446 570 1,955 2,215 December 84,514 86,642 109,878 94,706 123,326 121,209 379 1,738 3,910 January 105,646 121,333 221,202 129,989 165,542 162,588 562 2,392 5,245 February 88,781 114,862 88,483 88,629 165,840 159,825 711 5,304 5,708 March 166,828 165,731 173,406 95,024 152,424 150,783 967 674 4,864 April 126,471 146,874 143,698 140,368 99,804 98,853 951 0 3,295 May 94,058 113,014 113,193 115,617 109,977 109,011 966 0 3,516 June 132,804 148,560 105,405 76,349 94,171 93,232 939 0 3,108 YTD TOTAL 1,301,594 1,355,546 1,705,533 1,282,862 1,326,701 1,272,835 9,235 44,631

Paid exhibition program 2010–11 Annual total visitor numbers 2001–02 to 2010–11 Exhibition Months Visitors

David to Cézanne: master drawings Sept–Dec 22,245 1.7 from the Prat Collection, Paris 1.6

The First Emperor: Dec–Mar 305,621 1.5 million China’s entombed warriors 1.4 Archibald, Wynne and Sulman Apr–June 146,816 Prizes 2011 1.3 The poetry of drawing: pre-Raphaelite June 2,474 1.2 designs, studies and watercolours 1.1 TOTAL 550,426 02–03 05–06 06–07 01–02 1 million 03–04 04–05 10–11

0.9

0.8

96 ART GALLERY OF NSW ANNUAL REPORT 10–11 EXHIBITIONS LISTING

Dates Department Exhibition Ticketed Tour Catalogue 09.05.09–15.08.10 Australian: Indigenous The dreamers 10.07.09–24.10.10 Asian Innovation and continuity – modern Japanese ceramics from the AGNSW collection 12.09.09–22.08.10 Australian: Iconic Whiteley Brett Whiteley Studio 13.03.10–11.07.10 Australian Colour, rhythm, design: wood and lino cuts of the 20s and 30s ● • 12.05.10–01.08.10 Western: contemporary 17th Biennale of Sydney: the beauty of distance: songs of survival in a precarious age 20.05.10–29.08.10 Western: European Victorian visions: nineteenth-century art from the • John Schaeffer Collection 27.05.10–18.07.10 Asian Dadang Christanto: they give evidence 17.06.10–05.09.10 Western: photography Alfred Stieglitz: the Lake George years • • 26.06.10–19.09.10 Directorate Paths to abstraction 1867–1917 • • 04.07.10–04.07.11 Australian: Endlessnessism Brett Whiteley Studio 16.07.10–10.10.10 Australian: Indigenous La Per: an Aboriginal seaside story 11.08.10–12.09.11 Western: contemporary Stephen Vitiello: the birds. A Kaldor Public Art Project 19.08.10–03.01.11 Asian The Indian empire: multiple realities 28.08.10–13.06.11 Australian: Indigenous art + soul • 22.09.10–05.12.10 Western: European David to Cézanne: master drawings from the Prat Collection, Paris • • 12.10.10–24.10.10 Directorate Operation art 2010 16.10.10–09.01.11 Australian Nolan, Boyd, Fairweather, Rees: some recent acquisitions 16.10.10–15.02.11 Western: European Ken Reed Collection 27.10.1014.02.11 Asian Homage to Rengetsu: Kevin Lincoln and Asian ceramics • 06.11.10–30.01.11 Australian Dobell Prize for Drawing 2010 10.11.10–17.12.11 Research Library and Archive 13th Annual Exhibition of Bookbinders 02.12.10–13.03.11 Asian The First Emperor: China’s entombed warriors • • 18.12.10–27.02.11 Australian Justin O’Brien: the sacred music of colour • 15.01.11–22.05.11 Australian Rosemary Madigan, sculptor • 04.02.11–26.04.11 Asian Homage to the ancestors: ritual art from the Chu kingdom • 09.02.11–10.04.11 Australian ARTEXPRESS 2011 16.03.11–29.05.11 Western: photography Photography & place: Australian landscape photography • 1970s until now 16.04.11 – 26.06.11 Australian Archibald, Wynne and Sulman Prizes 2011 • • • 05.05.11 – 10.07.11 Australian Unguided tours: Anne Landa Award for video and • new media arts 2011 12.05.11–07.08.11 Asian Eikoh Hosoe: theatre of memory 21.05.11–14.08.11 Western: contemporary Sam Smith: cameraman 21.05.11–18.09.11 Western: photography : up in the sky 21.05.11–02.05.12 Western: contemporary New contemporary galleries featuring the • John Kaldor Family Collection 28.05.11–14.08.11 Australian Antonio Dattilo-Rubbo • 18.06.11–04.09.11 Western: European The poetry of drawing: pre-Raphaelite designs, • studies and watercolours 25.06.11–04.12.11 Australian: Indigenous The new Australians

Touring exhibitions Dates Venue Location Exhibition Attendance 26.03.10–04.07.10* National Gallery of Victoria , VIC : artist in Paris 2,205 05.06.10–11.07.10*# Goulburn Regional Art Gallery Goulburn, NSW Archibald Prize 2010 1,461 22.07.10–22.08.10# Wagga Wagga Art Gallery Wagga Wagga, NSW Archibald Prize 2010 3,215 23.07.10–04.10.10 Art Gallery of , SA Rupert Bunny: artist in Paris 12,777 30.08.10–24.09.10# Tamworth Regional Gallery Tamworth, NSW Archibald Prize 2010 6,693 04.10.10–27.10.10# Coffs Harbour Regional Gallery Coffs Harbour, NSW Archibald Prize 2010 6,217 04.11.10–05.11.10# Muswellbrook Regional Arts Centre Muswellbrook, NSW Archibald Prize 2010 2,383 14.12.10–18.01.11# Shoalhaven City Arts Centre Shoalhaven, NSW Archibald Prize 2010 2,818 27.01.11–03.03.11# Albury Art Gallery Albury, NSW Archibald Prize 2010 6,862 * Total attendance figure for Rupert Bunny in Melbourne was 37,862; total attendance figure for Archibald Prize 2010 in Goulburn was 5456 # Tour organised in association with Museums & Galleries NSW

APPENDICES 10–11 97 AGED AND tours delivered by Community ramps and lifts and is signposted. who are blind or vision impaired Ambassadors. The Seniors Week A wheelchair-accessible bus if booked at least two weeks in DISABILITY events attracted more than 220 (route 441) runs from the Queen advance. ACCESS visitors. Victoria Building to the Gallery. The main visitors’ elevator, servicing PROGRAMS Timetable details are available by lower level 1, the ground floor AND SERVICES Education programs telephoning 13 15 00 or visiting and the upper level, has voice www.131500.info. notification of floor and access Starting with Art is the Gallery’s Wheelchairs are available at the information, as well as braille initiative for K–12 students with information desk and at the rear floor buttons. special learning needs. It presents entrance for use in the Gallery innovative workshops that utilise without charge. The Art Gallery of NSW recognises the Gallery’s collections for students Visitors with intellectual and supports the right of people with intellectual disabilities. The The Domain Theatre and Centenary disabilities with disabilities to be involved in program attracted strong interest Auditorium have access space Groups of visitors with intellectual the life of the community generally from both new and returning designed for wheelchair users. disabilities are encouraged to and the cultural life of Sydney in schools. In 2010–11 a total of Wheelchair-accessible toilets are contact the Gallery to discuss particular. Accordingly, the Gallery 400 students (151 primary and located on the upper level, lower their needs. Free, guided tours of commits to providing people with 249 secondary) participated in level 1 and lower level 3. the permanent displays are available disabilities with equitable access 41 groups. Teachers were able if booked at least two weeks to our services, the building, to choose from five different Visitors who are deaf in advance. information and opportunities. permanent collection workshops based on the needs of their or hearing-impaired Access programs students. Tactile resources were Signing Art is the Gallery’s longest General also incorporated into the running access program, providing Access programs and services at COMMUNICATIONS workshops to help students relate Auslan-interpreted tours and events the Gallery incorporate a range of The Gallery’s website (www. to and engage with the selected for deaf and hearing-impaired programs for general and education artgallery.nsw.gov.au) can display artworks. people. It attracts a loyal audience audiences with special needs. In large-print screen versions of to regular and changing events. 2010–11 a total of 1457 people For the exhibition Paths to all information. The Gallery website In 2010–11, 186 deaf and hearing accessed these services. abstraction 1867–1917 an also contains detailed access visitors attended the Gallery’s free Understanding Abstraction tour information, including facilities, The design of the Open Weekend tours at 1.30pm on the last Sunday was developed for students with events and procedures. program in October 2010 and May special needs, using sensory and of every month. The successful 2011 included selected Auslan- tactile materials and supported by integration of Auslan interpretation INFORMATION AND PUBLICITY interpreted talks and audio tours. into selected Art After Hours an online education kit with pre-visit The biannual Highlights brochure, The Open Weekend programs and post-visit classroom activities. celebrity talks also continued were promoted through the various this year. which includes information for visitors access networks and through Several schools that were not able with special needs, is available free Groups of visitors who are deaf Accessible Arts. to make the journey to the Gallery at the information desk along with were able to access education and who book at least two weeks free brochures about our access With the increased community material online. The Gallery’s in advance can be provided with programs. awareness of the positive benefits coordinator of access programs Auslan interpreters free of charge. of engagement with the arts on made contact with schools to The TTY number, (02) 9225 1711, HELPERS well being and life-long learning, suggest strategies for engagement is listed in the Telstra TTY directory the health and disability sector is General entry to the Gallery is free with art and the Gallery via the web. and on the Gallery’s website, increasingly viewing the Gallery as for all visitors. However, where entry which also provides information on a valuable resource and a place that Programs for gifted and talented fees are charged for major temporary contacting the Gallery through the provides a stimulating and inspiring students continued at the Gallery exhibitions, helpers accompanying National Relay Service. experience for groups with special up until October 2010, with visitors with disabilities are admitted needs. Enquiries about the Gallery’s 105 students participating in The Domain Theatre and Centenary free upon presentation of their outreach programs from assisted art workshops. However, it was Auditorium are equipped with Companion Card. decided that in 2011 gifted and audio-induction loop facilities. living facilities and community STAFF TRAINING organisations increased in 2010–11. talented programming would be integrated into the mainstream Visitors who are visually Information and awareness sessions are held for staff and volunteer education program, as the impaired Seniors Week previous program was becoming guides, with particular reference From 21–27 March 2011 the Gallery cost prohibitive for many schools. In Touch, the Gallery’s program of to serving visitors with special participated in Seniors Week events Training was provided for the free sculpture touch tours for the needs. Some guides and staff have funded and promoted by the NSW Gallery’s volunteer childrens blind or visually impaired, attracted undertaken introductory courses Department of Ageing, Disability guides and teacher/lecturers 15 visitors. The extension of In in Auslan. A designated education and Home Care. A range of to provide more in-depth tours Touch to include audio descriptions officer manages the access talks and exhibition tours were for this audience. of two-dimensional artworks has programs and facilities for people programmed across the week led to increased interest in the with disabilities. highlighting the contemporary Visitors with physical program, attracting 34 blind or vision-impaired people and their EMPLOYMENT PRACTICES collection and the exhibitions art disabilities + soul, Homage to the ancestors: 40 companions. Several audio- The Gallery is committed to equal ritual art from the Chu kingdom The Gallery has four disabled described tours of the exhibition opportunity principles for recruitment and Photography & place: parking spaces: two at the front The First Emperor: China’s and general employment practice. Australian landscape photography and two at the rear in the Gallery’s entombed warriors were requested. Of staff working at the Gallery, 1.5% 1970s until now. In association with parking area. Special arrangements As well as being available to the have a disability and 0.1% require Homage to the ancestors and to are also made for bus parking. general public, these tours are some form of adjustment to the highlight Chinese cultural heritage, Access to the spaces at the rear able to be adapted to meet the workplace. a calligraphy demonstration of the Gallery is via the service road educational needs of K–12 school and traditional Chinese musical on the southern side of the building. students. performance were programmed. From the car park at the rear of the Audio-described tours of the The Seniors Week program also Gallery, access to all exhibitions and permanent galleries and temporary included two Mandarin-language public and administrative areas is by exhibitions are available for visitors

98 ART GALLERY OF NSW ANNUAL REPORT 10–11 ABORIGINAL On the 2010 October long weekend Arts Industry Introduction Program, 2011. The Gallery developed the the Gallery hosted an Open is a strategic initiative in which the programs in conjunction with the AND TORRES Weekend in conjunction with the Art Gallery of NSW works with Sydney Region Aboriginal Education STRAIT ISLANDER launch of the art + soul exhibition key partners in the NSW visual Unit, local schools and educators, PROGRAMS AND and documentary. All of the more arts sector to provide a tailored and artists and elders in the than 60 performers and participants program to address professional community. SERVICES in the program were Indigenous, development needs in the NSW with many of the artists who Aboriginal visual arts sector. DJAMU: JUNIOR featured in both the exhibition and The program was initiated by From 8–22 June, 18 Indigenous documentary coming to the Gallery the Australian Government’s students in years 5 and 6 from from all over Australia – including The Gallery organises many Department of the Prime Minister schools in the Sydney local the Tiwi Islands, the Western activities that are designed to and Cabinet, Office for the Arts and government area attended a three- Desert, and Warmun (Turkey Creek) introduce Aboriginal and Torres Arts NSW as part of the National week art education program at in the East Kimberleys. The Open Strait Islander visitors and others Arts and Craft Industry Support the Gallery. Students attended the Weekend was a rare opportunity to the history and culture of the Professional Development Fund. program for one full day each week for artists from distant communities Indigenous peoples of Australia. It provides opportunities for arts during this period, meeting a key to share stories with each other These offerings include temporary workers to develop professional Indigenous artist represented in the and the public. The Gallery’s exhibitions, public program events skills and experience, and career Gallery’s collection and participating Aboriginal and Torres Strait Islander and artworks from the collection, pathways in the Indigenous visual in an art making workshop led art department worked closely which are primarily displayed in arts sector. It also supports arts by the artist. The program was with different communities to the Gallery’s dedicated space for workers in job-transition positions very successful, with anecdotal develop programming which best Aboriginal and Torres Strait Islander to secure full-time employment. evidence from the participating represented them and reflected art, the Yiribana Gallery. schools indicating that there was and expressed their wishes. In May 2011 four emerging a corresponding improvement in This year the Gallery presented This resulted in a range of Indigenous arts practitioners student attendance, behaviour and a number of exhibitions, programs public programs, including talks, (EIAPs) participated in an intensive attitudes to school. and events that celebrated the demonstrations, performances, two-week fully funded residency work and influence of Aboriginal workshops and discussions. program in Sydney. Speakers DJAMU: SENIOR and Torres Strait Islander artists in from a range of institutions and In November 2010 and February Australia. In addition, the Aboriginal La Per: an Aboriginal disciplines presented information, 2011 six Indigenous senior Visual Collection Benefactors continued ideas and experiences that Arts students in Years 10 to 12 to raise funds specifically for the seaside story encompass the broad and diverse (16 Jul – 10 Oct 2010) participated in the six-day Djamu: acquisition of Indigenous art. landscape of visual arts practice Senior program. This intensive and This exhibition celebrated the in NSW. immersive program was designed The Dreamers Sydney Aboriginal community of The Gallery featured as a case to introduce students to the range (9 May 2009 – 15 Aug 2010) La Per (La Perouse) by combining study through which the EIAPs of vocational pathways in the arts, historical and contemporary works an area in which Indigenous people This exhibition celebrated the lives investigated the role of the museum unique to this seaside community. are currently underrepresented and work of eight distinguished and its different departments, Featuring the famous shell work in a professional capacity. The Aboriginal artists who have such as curatorial, conservation, made by generations of La Per program also provided professional contributed significantly to installation, design, marketing, women, including Esme Timbery, development opportunities for the Australia’s cultural landscape. and collection storage and alongside carved boomerangs Gallery’s Indigenous education staff Profiling major bodies of work public programs. Artists’ talks, and shields made by men and who were involved in its planning, by Kutuwulumi Purawarrumpatu studio visits, and visits to other photographs by Peter McKenzie, organisations were included. delivery and evaluation. (Kitty Kantilla), Ronnie Tjampitjinpa, this exhibition told the distinct Students became familiar with the Rusty Peters, Dr David Malangi, story of La Per. From mid to late 2011 each EIAP John Mawurndjul, Ginger Riley will be placed in a regional or Gallery’s collections, spaces and Munduwalawala, Judy Watson and metropolitan gallery or organisation history, and with the staff of the Munggurrawuy Yunupingu from the NAIDOC Week 2010 for an extended traineeship program Aboriginal and Torres Strait Islander Gallery’s collection, the exhibition (16 Jul – 10 Oct 2010) for a maximum of four weeks on art department. They developed drew comparisons with key works Family day and painting a full- or part-time basis. During their knowledge of Indigenous art by other artists with whom they demonstration this period they will develop and practices and a range of other art share a synergy, each creating deliver a major project on their movements, and participated in a new vision. They are the Artists-in-residence Alfred Lalara area of interest, such as curatorial, extensive and diverse educational dreamers for the future. and Alice Durilla gave a special art practice, public programs or sessions, including art workshops painting demonstration education. EIAPs may develop and visits to specialised areas of art + soul and in association with NAIDOC Week an exhibition, artwork, education the Gallery such as conservation program or event that will be funded and the Prints and Drawings Open Weekend and the Gallery’s collection of barks from Groote Eylandt in the Gulf by this program to contribute to the Study Room where they observed (28 Aug 2010 – 13 Jun 2011) of Carpentaria. The artists spoke cultural development of the local exhibition installation and met This exhibition highlighted the about their art practice and life community. EIAPs are supported artists, curators, conservators and artists and art featured in the on Groote Eylandt and shared some in this process by ongoing contact other staff. Offsite experiences groundbreaking three-part ABC of the techniques they use with their mentor, staff from the included visits to artists’ studios Television documentary series art in their work. Art Gallery of NSW and the host and to other museums, galleries + soul. The diversity of Indigenous organisation. and cultural sites. Students culture was explored through three NSW Aboriginal Visual developed confidence in negotiating the Gallery spaces, discussing main themes: ‘home and away’, Arts Industry Introduction Djamu: Indigenous art ‘dreams and nightmares’ and artworks and public speaking. ‘bitter and sweet’. Drawing on key Program education The Gallery’s Indigenous educators works from the Gallery’s collection, In 2010 the Aboriginal and Torres As a result of the successful led all sessions. the exhibition revealed the myriad Strait Islander art department completion of the initial Djamu contemporary artistic expressions secured $106,000 to create a Program for Indigenous Art that evidence the enduring heritage professional development program Education in 2009, two new annual of Indigenous Australia in all its for Indigenous arts workers. The Indigenous art education programs diversity and complexity. program, the NSW Aboriginal Visual were run at the Gallery in 2010 and

APPENDICES 10–11 99 Aboriginal Artist-in- Resources MULTICULTURAL the tomb of China’s first emperor, Qin Shihuang (259–210 BCE). Residence Research Online education kits for secondary POLICIES AND Program Qin Shihuang was a key figure in students were developed on SERVICES PLAN world history who unified China, The inaugural Aboriginal Artist-in- collection-based hangs and leaving a legacy that has lasted Residence Research Program was special exhibitions, including art over 2000 years. These Chinese successfully run in July 2010. Artists + soul and La Per. These kits are national treasures can normally only Alfred Lalara and Alice available as free downloads on be viewed at a distance in the vast Durilla from Groote Eylandt, the Gallery’s website. The Gallery’s The Gallery is committed to the earthen pits where they were first as well as elder Jabani Lalara major collection-based education principles of multiculturalism, discovered, so this exhibition was and art centre coordinator Vianetta kit, Country culture community, as outlined in section 3 of the a rare opportunity for visitors to see Chapman, participated in the featuring the work of 32 Aboriginal Community Relations Commission the legendary warriors up close, to residency program, which was and Torres Strait Islander artists and and Principles of Multiculturalism examine the details and intricacies run in partnership with Artspace artist groups, can be purchased Act 2000. The NSW government of individual pieces and glimpse in Woolloomooloo. online and at the Gallery Shop. has identified four key objectives into the world of Qin Shihuang. The artists were selected because A new childrens trail designed for respectful intercultural The exhibition included ten of the of their relationship to the Gallery’s to engage young children aged 6 community relations: leadership, world-famous life-sized warriors exhibition program and its collection to 12 years with selected objects community harmony, access and and horses. equity, and economic and cultural of bark paintings from Groote and images was produced in Homage to the ancestors: ritual opportunities. Eylandt. During the residency the conjunction with art + soul. art from the Chu kingdom artists participated in a range of Volunteer guides received ongoing In working to achieve these (4 Feb – 26 Apr 2011) This programs, including floor talks, training on the Aboriginal and objectives, the Gallery presents exhibition was organised to coincide childrens workshops, school talks, Torres Strait Islander collection. exhibitions, public and education with the City of Sydney’s 2011 demonstrations and lectures. They These important training sessions programs, and other initiatives Chinese New Year festival (held researched and engaged with the went beyond artworks to introduce developed during the year that are in conjunction with the Chinese Gallery’s collection and that of guides to the many social and listed in the outcomes below. government and Hubei province) other relevant Sydney institutions, political issues surrounding the and featured some 70 stunning met curators and artists and were production of Indigenous art in Priority outcomes ritual objects from the ancient Chu introduced to the local Sydney art Australia and to bring them up for 2010–11 kingdom in the Warring States industry. They received specialised, to date with the dynamic nature period (481–221 BCE). Most of the tailored professional development of Indigenous art and culture. EXHIBITIONS objects were from the treasure-filled training and had the opportunity Guided tours were conducted tombs of the Marquis Yi of Zeng to develop professional networks. throughout the year for Aboriginal The Gallery continued to grow its and an anonymous aristocrat at commitment to the promotion and It was proposed that the 2010 audiences and groups to assist Jiuliandun, and rank among the celebration of cultural diversity program be used as the model in strengthening their appreciation most astonishing discoveries ever in 2010–11 as reflected in these for an annual residency during of Aboriginal art and artists. made in Chinese archaeology. highlights from the exhibition NAIDOC Week. Each year the The character of Ngununy, the program. Eikoh Hosoe: theatre of memory Gallery will facilitate a two-week cheeky fruit bat, was created to (12 May – 7 Aug 2011) This residency for an emerging artist take visitors on a lively tour of The Indian empire: multiple exhibition brought together four (or artists) from a remote the Aboriginal art collection and realities (19 Aug 2010 – 3 Jan seminal series by Eikoh Hosoe, community. This program not only promote a greater understanding 2011) Through prints, photographs, a leading figure in modern celebrates NAIDOC Week through of some of the Gallery’s key works. paintings and embroideries, this Japanese photography. Taken current exhibitions and programs Ngununy performed as part of exhibition presented aspects of the over five decades, these series – but also benefits community- NAIDOC Week and in the school Indian empire when patrons were The butterfly dream 1960–2005, based artists by providing them holidays. as diverse as Indian maharajas, Kamaitachi 1965–68, Embrace East India Company employees, with an opportunity to share This year the Aboriginal and Torres 1969–70 and Ukiyo-e projections and the military and administrative their experience and knowledge, Strait Islander art department 2002–03 – are driven by Hosoe’s personnel of the British Raj. and will further strengthen the continued to add to its film archive longstanding fascination with the Gallery’s relationships with these of interviews with Indigenous artists, David to Cézanne: master revolutionary dance movement communities. as well as collecting documentary drawings from the Prat butoh and its charismatic founders Kamilaroi artist Elaine Russell from materials on Indigenous art. The Collection, Paris (22 Sept – 5 Tatsumi Hijikata and Kazuo Ohno. Sydney and Tasmanian artist Vicki department also produced an Dec 2010) This exhibition of 100 EDUCATION AND West were the two artists chosen eight-minute film documenting its drawings offered an in-depth PUBLIC PROGRAMS to participate in the 2011 Aboriginal residency program; the community exploration of the development Artist-in-Residence Research is now considering its public of French art over the course of The ongoing presentation of a Program. release. the 19th century. The defining dynamic and culturally varied series movements of neo-classicism, of public and education programs New Aboriginal art lecture Indigenous employees romanticism, realism and reflects the Gallery’s commitment impressionism were represented to making its collection and series Aboriginal and Torres Strait through works of outstanding temporary exhibitions readily A six-part lecture series developed Islanders represent 1.8% of the quality by the greatest French accessible to the public. Gallery’s workforce, which is below for the Art Gallery Society of draughtsmen: Jacques-Louis Programs included Wednesday the NSW government’s Making NSW providing an introduction David, Jean-Auguste Dominique night events with multicultural It Our Business public sector to Aboriginal art and culture Ingres, Théodore Géricault, Eugène artists, including musicians employment target of 2.2% began in June 2010. The series Delacroix, Jean-François Millet, performing in the ArtBar; the 2011 (2.6% by 2015). explored the vast array of Australian Edouard Manet, Edgar Degas, lunchtime lectures series, including

Indigenous art – from the familiar Gustave Moreau, Georges Seurat the Arts of Asia series Innovasian: bright acrylic paintings of Central and Paul Cézanne. Asian art 1960s until now; the Australia and the distinctive ochre The First Emperor: China’s Gallery’s educational tomb warrior on bark paintings of Arnhem Land entombed warriors (2 Dec 2010 character who took children on to the contemporary mediums – 13 Mar 2011) One of the greatest tours through the Asian collection; of photography, printmaking and archaeological discoveries of the and the film program which this installation used by artists living 20th century was the discovery of year included Romance and in urban areas. the terracotta army that protected revolution for the David to Cézanne

100 ART GALLERY OF NSW ANNUAL REPORT 10–11 exhibition and Adventures in ancient Language Allowance. As at 30 ELECTRONIC Archibald, Wynne and Sulman China in conjunction with The First June 2011 the Gallery had staff SERVICE DELIVERY were published online Emperor. officially designated as able to • A new in-gallery iPad app, offer assistance in , Polish, Contemporary, was launched to PROMOTION AND RESOURCES Italian, Mandarin, Spanish and correspond with the opening of Selected exhibitions and special Indonesian. An annual calendar of the new contemporary galleries significant religious and holy days events were advertised in various Website and new media in May 2011. The app features multicultural publications, and direct was circulated to all supervisors to 32 works and 24 artists from the marketing campaigns reached out enable scheduling of employees’ In the second half of 2010 contemporary collection, as well as to diverse communities. commitments to meet their religious a combined website and new video and audio content, and was obligations. media unit was established at the David to Cézanne was promoted again built in collaboration with The Gallery with three new positions: widely to the French community Nest. The app is due to be released web manager, new media manager through direct marketing, including Priority goals for 2011–12 in the iTunes store in late 2011 and and web producer. will undergo an intense usability brochures and posters sent to The Gallery’s 2011–12 program testing period before release. cultural centres and community of major exhibitions and associated Website upgrade project This will be the first in a series of groups. The exhibition was also educational programs will continue apps showcasing our collections promoted in French-language to reflect and promote cultural On 20 September 2010 the new newspapers and on SBS Radio’s diversity and harmony. Exhibitions Art Gallery of NSW website was • The new contemporary galleries French programs. include The mad square: modernity launched, with a new design, were one of the first galleries to The First Emperor was promoted to in German art 1910–37 (6 Aug – 6 information architecture and incorporate an area, called the Asian-Australian audiences through Nov 2011), which brings together underlying technology. Certain ArtZone, where visitors can interact advertisements in Chinese-language more than 200 works exploring the legacy content was preserved on with interactive content on iPads newspapers, and brochures fascinating and complex ways in a trimmed version of the previous • Inside ARTEXPRESS 2011 and posters were distributed to which artists sought to portray the website (archive.artgallery.nsw.gov. (insideartexpress.com.au/11) Chinese cultural organisations and modern world. Featuring leading au). The Gallery Kids website was was launched in February 2011. key community and arts groups. artists such as Max Beckmann, retired, its URL (gallerykids.com.au) This, and its predecessor, Inside A strategic partnership was Otto Dix, George Grosz, Hannah redirecting to the equivalent content ARTEXPRESS 10, were visited developed with Events NSW, which Höch and El Lissitzky, among on the Gallery’s new website. As 103,702 times over the 12 month enabled diverse communities to be others, this major exhibition is of 30 June 2011 the Gallery Shop, period, with 109,980 page views reached through their advertising drawn from renowned international Art After Hours, Asian art, Inside during 2010–11. This represents schedule, including , Greek, and Australian collections. ARTEXPRESS and Brett Whiteley increases of 72% and 41% Studio websites were still running Italian, Chinese and Vietnamese Picasso: masterpieces from the respectively on the previous year on the old system. These sites newspapers. A series of Musée National Picasso, Paris will all be migrated or rebuilt in • 64 videos were produced and advertisements was also broadcast (12 Nov 2011 – 25 Mar 2012) 2011–12. MyVirtualGallery was uploaded to the Gallery’s YouTube on Cantonese, Mandarin, Arabic will be a landmark exhibition of the spun off into its own website channel in the 2010–11 financial and Vietnamese radio. work of (1881–1973), (myvirtualgallery.artgallery.nsw. year. The two most popular were: Coinciding with the City of Sydney’s arguably the most radical and gov.au) running on the old system Ben Quilty, Archibald Prize 2011 Chinese New Year festival was influential artist of the 20th century. and will also be overhauled and winner (youtube.com/watch?v= Chinese New Year at the Gallery, The exhibition will present iconic incorporated into the Gallery’s new AP41QzGMY1A&feature=chann a special weekend of events that works from virtually every phase website. el_video_title) with 6306 views; and was advertised in the Sydney of Picasso’s legendary career, Living terracotta warrior out & about Morning Herald and Timeout, and documenting the full range of his in Sydney (youtube.com/watch? through Avant Card. The Art Gallery unceasing inventiveness New web and new-media v=M8Hn3lDg8so&feature=chann of NSW also participated in the and creativity. content el_video_title) with 4726 views City of Sydney’s Chinese New Year The Gallery will present public and • Audio guides continue to be festival parade. Apart from regular updates to the education programs and events to principal website (particularly in produced in-house and are available The Gallery’s guide maps are support these and other exhibitions the What’s on and Media office for download on the Gallery’s available in Japanese, Mandarin, in 2011–12, including symposia in sections), the following significant website and Apple iTunesU, and Korean, Arabic, Italian, French, conjunction with The mad square developments have occurred: to onsite visitors on Gallery-supplied Spanish and German. and Picasso, ongoing childrens • The First Emperor iPhone app iPods. and family programs, educational The Gallery’s comprehensive was released to correspond resources related to the exhibitions collection of online education with the opening of the The First Usability and accessibility that are consistent with the NSW kits has enabled wider access Emperor: China’s entombed educational syllabus, and a variety review to a culturally diverse range of warriors exhibition. The app of talks, performances, films, educational resources. There are includes visitor information as well In April and May 2011 the Gallery workshops and tours. Several of 60 education kits and 14 collection as in-depth information about the engaged Roger Hudson of these programs, including the Open notes available for download terracotta army. It was designed Web Usability to undertake an Gallery and Artside-In!, will continue from the Gallery’s website and produced jointly by the Art accessibility and usability review to focus on culturally diverse (artgallery.nsw.gov.au/education). Gallery of NSW and The Nest, a of our online presence. An in-depth groups. company specialising in apps for report was produced and presented GALLERY EMPLOYEES The Gallery will also continue to cultural institutions. As of 30 June to all relevant and interested staff This year 17.4% of the Gallery’s encourage staff to participate in the 2010 The First Emperor App had in a workshop on 25 May 2011. employees were identified as Community Language Allowance been downloaded 11,000 times and The web team is now working coming from a racial, ethnic scheme and to extend the range has a four-star rating on the Apple through the recommendations. or ethnic-religious minority of languages currently represented. App Store group, which is below the NSW • The 2011 Archibald, Wynne and Overall visitation government’s target of 20%. 16.5% Sulman Prize exhibitions were The total number of actual visits of Gallery employees have advised incorporated into the Gallery’s main (to all websites) for the year was that their first language spoken as a website, with functionality equivalent 1,924,395 (using Google analytics) child was not English. A number of to the stand-alone website, which or 5272 visits per day on average, employees who speak community has now been archived for every peaking at 21,150 on 15 April languages assist other staff and version since 2006. For the first 2011, which corresponds to the visitors, earning a Community time, images of finalists for the announcement of the winners for

APPENDICES 10–11 101 the Archibald, Wynne and Sulman Other online resources • Facebook facebook.com/ Prizes. Since the launch of the ArtGalleryofNSW: fans 15,000 new website, online visitation has A total of 10,034 education kits and room brochures, 3468 • YouTube (videos): youtube.com/ increased by between 20–50% user/ArtGalleryNSW: dedicated when compared to the previous childrens trails and 668 online catalogues were downloaded. Art Gallery of NSW channel, with corresponding month. There was a total of 277,389 views overall a 48% increase in online visitation. Social media • Twitter (instant, brief updates): twitter.com/ArtGalleryNSW: What’s on (including exhibitions, The Gallery has a presence in followers 9200 events, programs and prizes) was the following social-media sites: by far the most visited section of the website (49%), followed by Collection (17%), Visit us (10%), and About us (4%). The homepage Email newsletters received 8% of the traffic. Six email newsletters were published by the Gallery, as follows: Roughly 80% of all online visitation is from Australia, with Title Issues & List size approximately 60% of this from frequency Sydney metropolitan areas. Artmail 22 (monthly, 157,700 Messaging via the websites plus specials) The Contact us form on the Art After Hours 48 (weekly) 9,700 Gallery’s main website was used Asian Art e-news 4 (quarterly) 3,700 for 2159 messages by the general Brett Whiteley Studio Artmail 2 3,100 public, an increase of 184% Education Update (K–12) 3 (once per term) 880 on the previous year. General enquiries accounted for 45% of Tertiary Update 7 2,200 these, followed by 20% for all curatorial enquiries combined, In addition, 69 media releases were emailed as 7% concerning the Archibald necessary to various segments of the media. and other prizes, 7% for human resources, 5% for public programs or education and 4% for the Art Gallery Society of NSW. A separate Contact Us form on OVERSEAS TRAVEL Art Gallery of NSW; present a paper Oversee printing of Justin O’Brien the Gallery Shop website was used in Singapore on Francis Bacon catalogue for 255 messages, an increase of 184%. Margaret Sawicki, head of frame Emma Smith, senior collections conservation registrar The Research Library enquiry form New Zealand 19–23 Oct 2010 Europe 1–11 Nov 2010 was used for 118 messages (54 Liu Yang, senior curator Keynote speaker at the New Courier delivery of the Pissarro less than the previous year), with of Chinese art Zealand Conservators of Cultural painting Peasants’ houses, Eragny 51% for personal interest, 33% for China 10–19 July 2010 Materials (NZCCM) conference to the Museo Thyssen-Bornemisza professional research and the rest Accompany the NSW Premier in Madrid and attend the European Charlotte Cox, exhibitions registrar from students. on travel to China Registrar’s Conference Paris 19–24 Oct 2010 The frequently asked questions Edmund Capon, director Courier return of Rupert Bunny Donna Hinton, head, objects form was used for 143 messages Europe 2–17 Sept 2010 exhibition works conservation (a massive increase of 309% on Negotiate content for Picasso Germany 1–14 Nov 2010 Charlotte Davy, senior registrar, the previous year) and the website exhibition, Francis Bacon show and Courier delivery of works from the exhibitions feedback form for 52 messages an exhibition of Spanish drawings Art Gallery of NSW, Museum of China 23 Oct – 13 Nov 2010 (an increase of 41%). Contemporary Art, National Gallery Richard Beresford, senior curator, Oversee packing and freight of loan A new online form for booking of Australia and National Museum European art of The First Emperor exhibition and artwork appraisals, introduced on 9–25 Sept 2010 of Australia to Museum Ludwig, 1 July 2010, was used 364 times. assess display requirements for Germany Courier delivery of Bronzino’s objects in Homage to the ancestors portrait of Cosimo I de’Medici to exhibition Judy Annear, senior curator Online transactions Florence; study Italian Renaissance photographs art in various centres; and Jackie Menzies, head curator Tokyo, Seoul, Paris 10–23 Nov A total of 908 purchases undertake research on works of Asian art 2010 (representing a turnover of over currently held by the Art Gallery Korea and China 25 Oct – 13 Nov Attend photography fair Paris Photo $63,900, an increase of 26% on of NSW 2010 and meet with museum staff and art the previous year) were made using Attend workshop for Korean Amanda Green, acting collections dealers in Tokyo and Seoul the online Gallery Shop. art curators and attend ICOM registrar Liu Yang, senior curator Teachers used the education online conference in Shanghai Italy 30 Sept – 11 Oct 2010 of Chinese art booking form for 2035 booking Courier delivery of Vincent van Lily Yang, assistant conservator, China 9–17 Nov 2010 requests, and downloaded 460 Gogh’s Head of a peasant to the Asian art Invited speaker at an international copies of the printable booking Complesso del Vittoriano in Rome China 25 Oct – 6 Nov 2010 symposium at the Shanghai form (PDF). Assist with translation during the Anthony Bond, assistant director, Museum; examine works for Application forms for the Archibald, curatorial packing and condition checking inclusion in the Homage to the Wynne, Sulman and Dobell Prizes Singapore, UK, Switzerland, France, of loans for The First Emperor ancestors exhibition were downloaded 3059 times. exhibition USA 7 Oct – 2 Nov 2010 Barbara Dabrowa, frame Pursue negotiations for painting Karen Hancock, graphic designer conservator loans for the Francis Bacon Hong Kong and China 30 Oct – 6 19 Nov – 13 Dec 2010 exhibition scheduled for 2012 at the Nov 2010 Present paper at international

102 ART GALLERY OF NSW ANNUAL REPORT 10–11 conference at Nicolaus Copernicus in The First Emperor exhibition COLLECTION – with funds provided by the University in Torun, Poland on return to the Shaanxi Cultural PURCHASES Australian Prints, Drawings and Peter Raissis, curator of European Heritage Promotion Centre Watercolours Benefactors Fund prints, drawings and watercolours Victoria Bramwell-Davis, objects 2011 France 8–20 Dec 2010 conservator Vaclovas Ratas (Australia; Courier return of David to Cézanne China 19 Mar – 2 Apr 2011 Lithuania, 1910–73), The twelve exhibition Courier, unpack and sign off Australian art ravens: a Lithuanian fairy tale Frances Cumming, exhibitions and condition reports for objects in 1949, hardcover book containing Sydney Ball (Australia, b1933), loans conservator The First Emperor exhibition on nine woodcuts. Purchased with Infinex lumina #4 2010, synthetic China 8–16 Jan 2011 return to the Shaanxi Cultural funds provided by the Australian polymer paint on canvas. Oversee packing and freight for Heritage Promotion Centre Prints, Drawings and Watercolours Purchased 2011 loan of Homage to the ancestors Lauren Parker, assistant exhibitions Benefactors Fund 2011 exhibition registrar Charles Conder (; Vaclovas Ratas (Australia; Australia, 1868–1909), Sunset, Charlotte Cox, exhibitions registrar China 23 Mar – 2 Apr 2011 Lithuania, 1910–73), Paulius Sydney Harbour c1888, oil on China 8–16 Jan 2011 Courier, unpack and sign off Augustinavicius (United States cardboard. Purchased with Oversee packing and freight for condition reports for objects in of America; Germany; France; funds provided by the Australian loan of Homage to the ancestors The First Emperor exhibition on Lithuania, 1909–60), Telesforas Collection Benefactors 2010 exhibition return to the Shaanxi Cultural Valius (Canada; Germany; Austria; Heritage Promotion Centre Elisabeth Cummings (Australia, Lithuania; Latvia, 1914–77) and Anne Flanagan, deputy director b1934), Still life 2010, monotype Paulius Jurkus (United States USA 9–15 Jan 2011 Liu Yang, senior curator with overpainting, scraping out. of America; Germany; Lithuania, Attend Picasso exhibition opening of Chinese art Kathleen Buchanan May Bequest 1916–2004), Forty woodcuts 1946, and meet with key personnel at China and Hong Kong 3–20 Apr 2011 Fund 2011 hardcover book with English, French Seattle Art Museum to discuss and Lithuanian text in letterpress Present papers at symposia in Ian Fairweather (; future collaborations. Meetings to and 40 woodcuts by four artists. China and Hong Kong. Meet with Australia, 1891–74), Last Supper discuss the design and logistics of Purchased with funds provided by peers in museums in China 1958, synthetic polymer paint and the Picasso exhibition scheduled the Australian Prints, Drawings and gouache on three sheets of laid for 2011–12 Erica Drew, senior exhibitions Watercolours Benefactors Fund paper on hardboard. Purchased Caroline Geraghty, assistant manager 2011 with funds in memory of Patrick registrar UK and France 5–14 Apr 2011 White, Norman Schureck and Jan Riske (Australia; , UK, Italy, Hong Kong Attend Exhibition Managers’ Susan Chandler 2010 b1932), Perceptual blue 1996, 13–27 Jan 2011 Conference in Paris and meet pencil, gouache on white wove Courier Watteau’s Study of three with international contacts for Stephen Hall (Australia, b1962), paper. Purchased with funds male figures to Royal Academy future collaborations. Contract The limner and his steed rest 2010, provided by the Australian Prints, in and oversee return of negotiations and installation compressed charcoal, gouache, Drawings and Watercolours Cosimo I de’Medici in armour from preparation for upcoming shows pastel primer on white paper. Benefactors Fund 2010 an exhibition in Italy Analiese Cairis, senior graphic Purchased with funds provided by the Australian Prints, Drawings and William Rose (Australia, 1929–97), Brent Willison, collections registrar designer Watercolours Benefactors Fund 2 drawings and 2 prints: Infinity Seoul, Madrid, Amsterdam 10–18 China 10–19 Apr 2011 2010 10 1990s, pen and black and Feb 2011 Supervise printing of the John coloured inks, pastel, watercolour Courier return of Pissaro’s Peasants’ Kaldor Family Collection catalogue Rew Hanks (Australia, b1958), on ivory wove paper; Symphonic houses, Eragny from Museo Frances Cumming, exhibitions The hunter and collector 2010, variations 10 c1996, pen and black Thyssen-Bornemisza, Madrid and loans conservator linocut, printed from one block in and coloured inks on white wove China 5–14 May 2011 black ink on white BFK Rives paper. Simon Ives, paintings conservator paper; Space 10 1968, lithograph, Courier, unpack and sign off Purchased with funds provided by Italy 19–26 Feb 2011 printed in black ink on ivory wove condition reports for objects in the the Australian Prints, Drawings and Courier return of Vincent van paper; Space 20 1968, lithograph, Homage to the ancestors exhibition Watercolours Benefactors Fund Gogh’s Head of a peasant from the printed in black, blue and red ink on return to the Hubei Provincial 2011 Complesso del Vittoriano in Rome on ivory wove paper. Australian Museum and Hubei Provincial Graham Kuo (Australia, b1948), Peter Raissis, curator of European Prints, Drawings and Watercolours Archaeological Institute Delta mivia 1976, colour prints, drawings and watercolours Benefactors Fund 2011 screenprint, printed on Velin UK 5–14 Mar 2011 Charlotte Cox, exhibitions registrar Arches paper. Purchased with Meet and work with colleagues China 5–14 May 2011 SUBTOTAL 18 WORKS funds provided by the Australian at the on the Courier, unpack and sign off Prints, Drawings and Watercolours exhibition Prints and drawings in condition reports for objects in the Benefactors Fund 2010 Spain: Renaissance to Goya Homage to the ancestors exhibition Aboriginal and Torres Strait on return to the Hubei Provincial Kevin Lincoln (Australia, b1941), Donna Hinton, head, objects Museum and Hubei Provincial Rengetsu 2009, oil on linen. Islander art conservation Archaeological Institute Purchased with funds provided Vernon Ah Kee (Australia, b1967), Mexico, Canada, Germany by the Australian Collection Becauseitisbitter 2009, synthetic 11–31 Mar 2011 Anthony Bond, assistant director, curatorial Benefactors 2011 polymer paint on linen. Purchased Courier delivery of work by Ron 2011 Mueck Untitled (old woman in bed) UK and Europe 17 June – 16 July Sidney Nolan (Australia; United to Museo de Arte Contemporaneo 2011 Kingdom, 1917–92), Mt Erebus Richard Bell (Australia, b1953), de Monterrey, Mexico. Meet with Continue selection and 1964, oil on hardboard. Sidney Pay the rent 2009, synthetic conservators in Canada to discuss development for Francis Bacon Nolan De-accession Fund 2011 polymer paint on canvas. exhibition. Research collection conservation of Brett Whiteley’s John Passmore (Australia, Purchased 2010 options for Art Gallery of NSW sculpture Almost once and collect 1904–84), Jumping horse-mackerel Charlene Carrington (Australia, and investigate smaller-scale Gallery’s loan to Museum Ludwig no 4 1959, pen and blue ink, b1979), Darrarroo from the Gurirr exhibition opportunities for return to Sydney wash on paper. Purchased with gurirr dance boards series, natural Charlotte Davy, senior registrar, Karen Hancock, graphic designer funds provided by the Australian pigments on composite board. exhibitions China 19–27 June 2011 Prints, Drawings and Watercolours Purchased with funds provided Supervise printing of The mad China 19 Mar – 2 Apr 2011 Benefactors Fund 2011 by the Aboriginal Collection square exhibition catalogue Courier, unpack and sign off Jim Paterson (Australia, b1944), Benefactors 2010 condition reports for objects Chooks 2009, charcoal. Purchased Timothy Cook (Australia, b1958),

APPENDICES 10–11 103 Kulama 2009, natural ochres Phyllis Thomas (Australia, b1933), (Japan, b1952), Portable tea box 2011, synthetic polymer paint on linen. Purchased with funds Manjalji from the Gurirr gurirr dance with design of 100 flowers and 100 and permanent marker ink on provided by the Aboriginal boards series, natural pigments on insects 2010, wood, diverse lacquer canvas. Contemporary Collection Collection Benefactors 2010 composite board. Purchased with technique. Purchased with funds Benefactors 2011 Mirdidingkingathi Juwarnda funds provided by the Aboriginal provided by Mrs Pauline Gandel Chuck Close (United States of Sally Gabori (Australia, born Collection Benefactors 2010 2011 America, b1940), Alex/reduction c1924), Dibirdibi country 2010, Alison Walbungara (Australia, YAMAMOTO Tarô (Japan, b1974), block 1993, screenprint from synthetic polymer paint on canvas. b1950), 2 prints: Untitled 2010, Whose clothes? 2005, six-fold reduction carved linoleum. Purchased with funds provided sugarlift etching; The beautiful hills screen, Japanese mineral pigments Purchased 2010 by the Aboriginal Collection at Larapinta 2010, sugarlift etching. on paper with gold leaf. Asian Debra Dawes (Australia, Benefactors 2010 Purchased with funds provided Collection Benefactors 2011 b1955), Complete? 2010, oil on Mabel Juli (Australia, born c1931), by the Aboriginal Collection SUBTOTAL 4 WORKS linen. Contemporary Collection Woonggool from the Gurirr gurirr Benefactors 2011 Benefactors 2011 dance boards series, natural Gulumbu Yunupingu (Australia, Tracey Emin (England, b1963), pigments on composite board. born c1945), 2 bark paintings and Khadim Ali (Pakistan; Australia, 2 prints: The whole room moved Purchased with funds provided 2 sculptures: Ganyu 2009, natural b1978), 2 watercolours: Rustram 2010, monotype on paper; It was by the Aboriginal Collection piguments on wood; Garak, the series #1 2009–10, pencil, all outside 2010, monotype on Benefactors 2010 universe 2009, natural pigments gouache, watercolour, gold leaf paper. Purchased 2010 Tristam Malbunka (Australia, on bark; Garak, the universe on Vasli paper; Rustram series #2 Barry Flanagan (Wales; England, b1982), Untitled 2010, drypoint 2008, natural piguments on wood; 2010, pencil, gouache, watercolour, 1941–2009), Hole in the sea etching. Purchased with funds Garak, the universe 2007, natural gold leaf on Vasli paper. Asian (triptych) 1967–70, three photo provided by the Aboriginal piguments on wood. Purchased Collection Benefactors 2011 etchings. Mervyn Horton Bequest Collection Benefactors 2011 with funds provided by the Aboriginal Collection Benefactors SUBTOTAL 2 WORKS Fund 2011 Dickie Minyintiri (Australia, b1915), 2010 Shaun Gladwell (Australia, b1972), Wati wiilu-ku inma Tjukurpa 2011, TOTAL ASIAN ART DEPARTMENT Double balancing act 2009–10, synthetic polymer paint on canvas. 10 WORKS SUBTOTAL 23 WORKS dual channel HD, 16:9 ratio, silent, Purchased with funds provided TOTAL AUSTRALIAN ART colour channel I – 7:32 min, channel by the Aboriginal Collection DEPARTMENT 41 WORKS II – 5:04 min. Contemporary Benefactors 2011 European art pre-1900 Collection Benefactors 2011 Patrick Mung Mung (Australia, Jacques Bellange (France, Anselm Kiefer (Germany; France, born c1948), 2 paintings from the c1575–1616), The raising of Asian art b1945), für Jean Genet 1969, Gurirr gurirr dance boards series: Lazarus c1610–16, etching and bound artist’s book, 16 pages, Kelly’s Knob (Kununurra), natural CHINA engraving. Purchased 2010 14 gelatin silver photographs, pigments on composite board; Ducks and reeds Yuan dynasty Philibert-Louis Debucourt (France, 2 dried roses, gouache and and Bankalji, natural pigments on 1279–1368, hanging scroll, ink and 1755–1832), The public promenade graphite on bound cardboard. composite board. Purchased with colours on silk. Purchased with 1792, colour etching, engraving and Purchased with assistance from funds provided by the Aboriginal assistance from the David Jones aquatint. European Art Collection Geoff and Vicki Ainsworth 2010 Collection Benefactors 2010 Fund 2010 Benefactors 2011 Ross Mellick (Australia, b1934), Peter Newry (Australia, b1939), Pair of ink rubbings of Qin imperial Hendrick Goltzius (Netherlands, Raft III 1993–96, 5 type C Jinamoom 2010, triptych: natural inscription carved on a stele in 1558–1617) after Cornelis van photographs. Purchased 2011 pigments on canvas. Purchased Mount Yi Northern Song 960–1127, Haarlem (Netherlands, with funds provided by the Song dynasty 960–1279, ink on 1562–1638), The dragon devouring Tracey Moffatt (Australia; United Aboriginal Collection Benefactors paper. Purchased 2010 the companions of Cadmus 1588, States of America, b1960), Other 2011 TONG Yu (China, 1721–82), Plum engraving. European Art Collection 2009, DVD, colour, sound, 7 min (Australia), blossom, Qing dynasty 1644–1911, Benefactors 2010 continuous loop. Contemporary Wati wanampi kutjara 2010, hanging scroll, ink on paper. William Hogarth (England, Collection Benefactors 2011 synthetic polymer paint on canvas. Edward and Goldie Sternberg 1697–1764), Credulity, superstition Jenny Watson (Australia, b1951), Purchased with funds provided Chinese Art Purchase Fund 2011 and fanaticism 1762, etching and Classic black 1 2010, synthetic by the Aboriginal Collection engraving. European Art Collection polymer paint on Italian nursery Benefactors 2011 SUBTOTAL 3 WORKS Benefactors 2011 paper. Contemporary Collection Benefactors 2010 Ivy Pareroultja (Australia, b1952), INDIA Jan Muller (Netherlands, 2 paintings: South east of Mt 1571–1628), Lot and his daughters SUBTOTAL 12 WORKS Nathdwara, Rajasthan, Sharad Sonder 2010, watercolour on paper c1600, engraving. Purchased 2010 Purnima festival painting mid 1800s, on board; James Range 2010, picchvai, painting on cotton ground. William Strang (England; Scotland, watercolour on paper on board. Purchased 2011 1859–1921), Poverty 1885, etching. Photography Purchased with funds provided European Art Collection Benefactors Charles Bayliss (England; by the Aboriginal Collection SUBTOTAL 1 WORK 2011 Australia, 1850–97), 12 Benefactors 2011 JAPAN photographs: Oriental Bank, Rusty Peters (Australia, b1935), SUBTOTAL 6 WORKS Spring & Pitt streets, Sydney Hizen ware (Japan), Dish with Ngoomooliwarra from the Gurirr 1874–75, albumen photograph; design of garden plants c1650–60, gurirr dance boards series, natural Bank of NSW, cnr Wynyard Edo (Tokugawa) period 1615–1868, pigments on composite board. & George streets, Sydney porcelain with polychrome overglaze Modern and Purchased with funds provided 1874–75, albumen photograph; enamels. Purchased 2010 contemporary art by the Aboriginal Collection Royal Exchange offices, Bridge Benefactors 2010 Kamisaka SEKKA (Japan, 1866– Vernon Ah Kee (Australia, b1967), street, Sydney 1874–75, albumen Unwritten #9 2008, charcoal on Mary Thomas (Australia, b1944), 1942), Birds, flowers and figures photograph; Union Bank of canvas. Contemporary Collection Dawoorrgoorrima from the Gurirr on scattered fans 1920–40, Taishô Australia, Pitt & Hunter streets, Benefactors 2011 gurirr dance boards series, natural period 1912–26, Shôwa period Sydney 1874–75, albumen pigments on composite board. 1926–88, pair of six-fold screen, ink Tony Clark (Australia, b1954), photograph; Georges Head Battery Purchased with funds provided and colour on gold ground. Yasuko Two half-sections from Clarke’s 1874–75, albumen photograph; by the Aboriginal Collection Myer Bequest Fund 2011 Myriorama with Timon of Athens, View of New South Head road, Benefactors 2010 UNRYÛAN Kitamura Tatsuo Alcibiades, Timandra and Phrynia looking down towards Watsons Bay

104 ART GALLERY OF NSW ANNUAL REPORT 10–11 1874–75, albumen photograph; with funds provided by the pencil on yellow card; dancing ink on thin cream paper; still life Victoria Insurance Company Photography Collection Benefactors figures 1952, pencil on white paper; 1953, pen and black ink on thin building, 79 Pitt street, Sydney 2010 sailing ship c1950s, conté on cream paper; untitled c1952, pen 1874–75, albumen photograph; SUBTOTAL 23 WORKS cream paper; waving woman 1953, and black ink on thin cream paper; Law Courts, Elizabeth street, pencil on cream paper; sunbather seated figure 1952, pen and black Sydney 1874–75, albumen TOTAL WESTERN ART c1953, conté on cream paper; ink on thin cream paper; seated DEPARTMENT 41 WORKS photograph; Sydney Morning reclining schoolgirl 1953, conté on man, drawing – John Rigby c1954, Herald building 1874–75, albumen TOTAL ALL DEPARTMENTS cream paper; two figures c1953, pen and blue ink on thin cream photograph; Lower North Shore, PURCHASED 92 WORKS conté on cream paper; two figures paper; head study – John Rigby Sydney Harbour from Holtermann in street c1953, pencil on ivory 1954, pen and black ink on thin tower 1881, albumen photograph; paper; two figures by a fence 1952, cream paper; hand study, blue Holtermann’s Exposition NSW blue ballpoint pen on ivory paper; ballpoint pen on thin cream paper; Scenery no 2 1885, albumen schoolgirl in street with terraced hand study, blue ballpoint pen photograph; Watsons Bay 1874– COLLECTION – houses 1953, pencil on ivory paper; on thin cream paper; hand study, 75, albumen photograph. Acquired GIFTS figure with two heads and butterfly pencil on thin cream paper; sketch through the Alistair McAlpine 1953, pencil on ivory paper; recto: for Janet Mathews c1957, pencil Photography Fund 2011 smoking figure, verso: study of a on thin cream paper; sketch for Janet Mathews c1957, pencil on Simryn Gill (Singapore; ; head 1952, pencil on ivory paper; sketch for Janet Australia, b1959), A long time two figures on a path 1953, pencil thin cream paper; Mathews c1957, pencil on thin between drinks 2005 (printed Australian art on ivory paper; cow and three children in stall 1953, pencil on cream paper; seated female figure, 2009), portfolio of 13 offset prints. ANONYMOUS GIFT 2011. ivory paper; figure with bow in hair pencil on cream paper; woman Purchased with funds provided DONATED THROUGH THE 1955, conté on ivory paper; two in bridal gown, pencil on cream by the Photography Collection AUSTRALIAN GOVERNMENT’S heads 1952, monotype, printed in paper; abstracted head, facing Benefactors 2011 CULTURAL GIFTS PROGRAM black ink on thin cream paper left, blue ballpoint pen on cream Adele Gloria (Italy, 1910–84), Clement Meadmore (United States paper; abstracted head, facing Raymond McGrath (Australia; Composition 1932–33, photo of America; Australia, 1929–2005), left, blue ballpoint pen on cream Ireland, 1903–77), 10 prints: El collage on card. Purchased with 2 sculptures: Untitled c1960, welded paper; abstracted head, facing Miguelete, the bell tower of Valencia funds provided by the Photography steel; Study for ‘Upended’ 1969, left, blue ballpoint pen on cream 1927, wood engraving, printed in Collection Benefactors 2011 painted steel paper; abstracted head, facing left, black ink on Abbey Mills paper; The blue ballpoint pen on cream paper; Rosemary Laing (Australia, b1959), ANONYMOUS GIFT. DONATED towers of San Gimignano 1928, abstracted head, blue ballpoint pen Eddie from the series leak 2010 THROUGH THE AUSTRALIAN wood engraving, printed in black on cream paper; skeletal joints, blue (printed 2011), type C photograph. GOVERNMENT’S CULTURAL GIFTS ink on Abbey Mills paper; Flying ballpoint pen on cream paper; two Purchased with funds provided by PROGRAM the stroke of dawn 1928, wood abstract heads, blue ballpoint pen Andrew and Cathy Cameron 2011 John Brack (Australia, 1920–99), engraving, printed in black ink on on cream paper; reclining Christ Jae Hoon Lee (Korea; New The telephone box 1954, oil on Abbey Mills paper; La vie en Rouille figure, pencil on cream paper; Zealand, b1973), In Su Bong 2010 canvas Lacquée 1928, wood engraving, reclining Christ figure, pencil on (printed 2011), digitally collaged printed in black ink on Abbey Mills cream paper; crucifixion, pen and photograph, pigment print. GRAHAM BLONDEL IN MEMORY paper; Hark, all you ladies! 1928, blue ink on cream paper; crucifixion, Purchased with funds provided OF ZOLA BLONDEL AND wood engraving, printed in black pen and blue ink on cream paper; by the Photography Collection DOROTHY DAWES. DONATED ink on Abbey Mills paper; Soft crucifixion, pen and blue ink on Benefactors 2011 THROUGH THE AUSTRALIAN shadows like birds 1928, wood cream paper; dancing figures, GOVERNMENT’S CULTURAL GIFTS engraving, printed in black ink on Vanila Netto (Brazil; Australia, pencil on cream paper; nude – PROGRAM Abbey Mills paper; Paradise lost b1969), 2 photographs: Plan-air torso facing left, blue ballpoint 1928, wood engraving, printed in elevation 2010, pigment inkjet print; Elioth Gruner (Australia, pen on cream paper; nude – face black ink on Abbey Mills paper; The Watch-keeping 2010, pigment 1882–1939), South coast farm averted to right, blue ballpoint woods of Westermain 1928, wood inkjet print. Purchased with funds 1929, oil on canvas on cardboard pen on cream paper; nude – face engraving, printed in black ink on provided by the Photography averted to right, blue ballpoint pen ANTHONY AND ANNE BOND. Abbey Mills paper; Pericles 1928, Collection Benefactors 2010 on cream paper; hand study, blue DONATED THROUGH THE wood engraving, printed in black ink ballpoint pen on cream paper; nude Axel Poignant (England; Australia; AUSTRALIAN GOVERNMENT’S on Abbey Mills paper; The meeting – facing left, blue ballpoint pen on England, 1906–86), 2 photographs: CULTURAL GIFTS PROGRAM 1928, wood engraving, printed in Firebird 1936–38, gelatin silver cream paper; nude – clasping knee, John Davis (Australia, 1936–99), black ink on Abbey Mills paper photograph, hand coloured; Storm blue ballpoint pen on cream paper; sculptural assemblage c1984, twigs, over Kalgoorlie 1936 (printed Jon Molvig (Australia, 1923–70), nude – facing right, blue ballpoint cotton string, calico, paper tape, 1981), gelatin silver photograph. 131 drawings, 2 sketchbooks and pen on cream paper; nude – facing synthetic tar Purchased with funds provided 1 print: standing female figure, pen rear, holding knee, blue ballpoint and black ink on thin cream paper; pen on cream paper; three nudes by the Photography Collection TRUSTEES OF THE SIR WILLIAM large reclining figure, pen and black 1954, pencil on shiny cream paper; Benefactors 2011 DOBELL ART FOUNDATION ink on thin cream paper; wresting male and female nudes, pencil on MORIMURA Yasumasa (Japan, Suzanne Archer (Australia; England, figures, pen and black ink on thin cream paper; four nudes, pencil on b1951), A requiem: spinning b1945), Derangement 2010, ink, cream paper; two figures, pen and cream paper; female nude, pen and a thread between the light and the charcoal, pastel on paper black ink on thin cream paper; two blue ink on blue paper; standing earth/1946, India 2010, gelatin wrestling figures, pen and black female nude, pen and blue ink on silver photograph. Purchased with LYNNE FROLICH. DONATED ink on thin cream paper; seated cream paper; female nude, from funds provided by Geoff and Vicki THROUGH THE AUSTRALIAN female figure with crossed arms, rear, pencil on cream paper; seated Ainsworth and the Photography GOVERNMENT’S CULTURAL GIFTS pen and black ink on thin cream female nude, pencil on cream Collection Benefactors 2010 PROGRAM paper; seated couple, conté, wash, paper; three nudes, pencil on MORIMURA Yasumasa (Japan, Charles Blackman (Australia, opaque white on thin cream paper; cream paper; nude from rear, pencil b1951), 2 photographs: A little b1928), 18 drawings and 1 print: embracing figures, pen and blue on cream paper; seated female requiem: unexpected visitors/1945, woman in spotted dress 1953, ink on thin cream paper; embracing nude, pencil on cream paper; Japan 2010, Fujifilm Fotorama, conté on cream paper; head in figures, pen and blue ink on thin reclining female nude, pencil on collage; A little requiem: profile c1953, conté on cream cream paper; two figures – woman cream paper; reclining female nude, Oswald/1963.11.24–2006.4.1 paper; hand and water 1953, conté in veil, pen and blue ink on cream pencil on cream paper; reclining 2006, Fujifilm Fotorama. Purchased on cream paper; schoolgirl 1952, paper; still life 1953, pen and black female nude, pencil on cream

APPENDICES 10–11 105 paper; reclining female nude, pencil paper; still life with clock, pencil on paint and gouache on cardboard John Olsen (Australia, b1928), on cream paper; reclining female cream paper; caricature head with on hardboard Rain squall and desert 1978, nude, pencil on cream paper; two bow tie, pen and black ink on ivory John Firth-Smith (Australia, watercolour, pastel, gouache reclining nudes, pencil on cream paper; caricature head in profile b1943), 1 drawing and 1 painting: on card paper; squatting female nude, with hooked nose, pen and black untitled 1982, synthetic polymer Oliffe Richmond (Australia; United pencil on cream paper; seated ink on ivory paper; vessel with lid, paint on paper; abstract: grey, black Kingdom, 1919–77), 2 drawings: female nude, pencil on cream pen and black ink on cream paper; & white, oil on canvas Preliminary drawing for Caveat paper; female nude, blue ballpoint two goblets, pen and black ink on (Australia, 1915–89), 1958, pen and black ink on paper; pen on cream paper; female nude, cream paper; goat study, pen and Four male figures; drawings for blue ballpoint pen on cream paper; black ink on blue paper; vessel with The abduction of Sita, Bali c1969, pen and black ink, pastel, gouache sculptures 1964, black fibre-tipped female nude, blue ballpoint pen on arms and ladder, pen and black ink pen on paper cream paper; female nude, blue on cream paper; owl, orange fibre- on board ballpoint pen on cream paper; tipped pen on ivory paper; goose, Guy Grey-Smith (Australia, William Robinson (Australia, female nude, blue ballpoint pen on orange fibre-tipped pen on ivory 1916–81), Break-away country b1936), Farmyard scene c1982, cream paper; female nude, blue paper; swan, orange fibre-tipped 1974, oil on canvas on hardboard oil on canvas ballpoint pen on cream paper; pen on ivory paper; owl, orange Frank Hinder (Australia, 1906–92), Ellis Rowan (Australia, 1848–1922), female nude, blue ballpoint pen on fibre-tipped pen on ivory paper; 3 drawings and 1 watercolour: Apple blossom, gouache on paper cream paper; female nude, blue swan, orange fibre-tipped pen on Toast rack tram 1946, pen, brush Ken Searle (Australia, b1951), ballpoint pen on cream paper; ivory paper; rabbit, orange fibre- and black ink on ivory wove paper; Composition sketch for west female nude, blue ballpoint pen on tipped pen on ivory paper; snail, Mother and child 1955, conte on number 4 1991, pencil on white cream paper; female nude, blue orange fibre-tipped pen on ivory paper; Flight 1944, pencil on paper; wove paper ballpoint pen on cream paper; paper; rabbit, orange fibre-tipped Constellation 1976, watercolour, Martin Sharp (Australia, b1942), female nude, blue ballpoint pen on pen on ivory paper; elephant, sanguine on paper cream paper; female nude, blue orange fibre-tipped pen on ivory Blue chair no 87 c1970, colour Michael Johnson (Australia, ballpoint pen on cream paper; paper; butterfly, orange fibre-tipped screenprint on perspex b1938), Estavation 1992, gouache, female nude, blue ballpoint pen on pen on ivory paper; figure, orange Ann Thomson (Australia, b1933), pastel on paper cream paper; female nude, blue fibre-tipped pen on ivory paper; Tribal beat 1990, oil on linen canvas Roger Kemp (Australia, 1908–87), ballpoint pen on cream paper; flower and bees, orange fibre- Aida Tomescu (; Australia, Direction from centre 1985, female nude, blue ballpoint pen on tipped pen on ivory paper; platypus, b1955), Marea Neagrã 2002, synthetic polymer paint on canvas cream paper; reclining female nude, orange fibre-tipped pen on ivory oil on linen canvas red ballpoint pen on cream paper; paper; flower and bee, orange fibre- Robert Klippel (Australia, Vicki Varvaressos (Australia, reclining female nude, red ballpoint tipped pen on ivory paper; rabbit, 1920–2001), 1 drawing and 1 b1949), 2 prints: Spotted scarf pen on cream paper; reclining orange fibre-tipped pen on ivory watercolour: Collage 1993, collage, 1984, linocut, printed in black, female nude, red ballpoint pen on paper; rooster, orange fibre-tipped synthetic polymer paint on paper; purple and blue/green ink on thin cream paper; reclining female nude, pen on ivory paper; cat, orange Untitled 1986, pencil, watercolour white tissue; Mirror 1984, colour blue ballpoint pen on cream paper; fibre-tipped pen on ivory paper; on paper seated female nude, blue ballpoint cat, orange fibre-tipped pen on linocut, printed in black, brown and Richard Larter (England; Australia, pen on cream paper; standing ivory paper; abstract figure, black mustard inks on thin white tissue b1929), Bou Saada 1981, synthetic female nude – hand on hip, blue fibre-tipped pen on ivory paper; attrib Eugene von Guérard polymer paint on canvas ballpoint pen on cream paper; Jon Molvig album 1948–50, bound (Australia; Germany, 1811–1901), standing female nude – hands sketchbook: 54 leaves, 58 drawings David Larwill (Australia, Figures on a cliff, oil on cardboard 1956–2011), 2 watercolours: clasped at rear, blue ballpoint pen glued in, mixed media; Notepad, Fred Williams (Australia, Woman 1987, gouache on white on cream paper; seated female bound sketchbook: 37 leaves, 37 1927–82), 1 painting, 1 print and wove paper; Man 1987, gouache nude – chin resting on hand, blue drawings, blue ballpoint pen and 1 watercolour: Upwey Valley 1965, on white wove paper ballpoint pen on cream paper; sanguine on cream paper; reclining oil on canvas; Circle landscape, standing female nude – hands on female nude, pencil on cream paper Janet Laurence (Australia, b1949), Upwey 1965–66, etching, flat bite, thighs, blue ballpoint pen on cream Fool moon, gouache, wash on engraving, drypoint, mezzotint BEQUEST OF MOLLIE AND paper; seated female nude, blue paper rocker on zinc, printed in black ink ballpoint pen on cream paper; nude JIM GOWING Kevin Lincoln (Australia, b1941), on Arches paper; Hillside 1966, seated on chair, blue ballpoint pen Arthur Boyd (Australia, 1920–99), Still life with ginger pot 2009, gouache on paper on cream paper; seated female 1 painting and 1 print: River bank etching, printed in black ink with John Walter Wolseley (England; nude, blue ballpoint pen on cream and four rocks 1993, oil on canvas; plate tone on grey wove BFK paper Australia, b1938), 2 drawings: paper; standing female nude, blue Nude and beast (Europa) 1962–63, Sydney Long (Australia; England, Study no 1 for a honey increase ballpoint pen on cream paper; drypoint printed in black ink with 1871–1955), 2 watercolours: centre with specimen 1990, pen seated female nude, blue ballpoint plate tone on white wove paper pen on cream paper; seated Bruges 1913, pencil, watercolour and black, grey and purple inks, female nude – hand on knee, blue Cressida Campbell (Australia, on paper; Landscape with house watercolour, gouache, colour ballpoint pen on cream paper; b1960), 2 prints: Glebe 1985, 1919, watercolour on paper photograph, twig, adhesive tape colour woodblock print; Nasturtiums standing female nude from rear, Francis Lymburner (Australia, on paper; Sand storm 1992–93, blue ballpoint pen on cream paper; 1993, colour woodblock print 1916–72), 1 drawing and 1 watercolour, pastel and pencil on seated female nude, black conté on Gunter Christmann (Germany; painting: Striptease bending c1960, white Aquarelle Arches paper cream paper; seated female nude, Australia, b1936), With cola 1981, pencil and black ink, wash; Dark by STEPHEN HALL black conté on cream paper; deer, oil on canvas the harbour, oil on plywood pen and black ink on cream paper; Stephen Hall (Australia, b1962), (Australia, Euan MacLeod (New Zealand; horse study, blue ballpoint pen on The little book of tom 2010, hand- 1899–1970), 2 paintings: Koki Bay Australia, b1956), Red Blue cream paper; goanna, black conté made Indian sketchbook, 80 pages 1951, oil on hardboard; Study for Mountains 1988, oil on paper on cream paper; tiger, pencil on ‘Giluwe’ c1953, oil on board cream wove paper; man seated in Bea Maddock (Australia, b1934), FRANK HINDER room, pen and blue ink on cream Ian Fairweather (United Kingdom; Four finger exercise for two hands Frank Hinder (Australia, 1906–92), paper; man seated by mirror, pencil Australia, 1891–1974), 2 paintings: Darwin 1981, photo-relief etching 2 drawings: Untitled – geometric on canvas, squared; bull – head Composition II 1969, synthetic on lino, printed on sumi paper shapes 1944, pencil, watercolour study, pencil on cream paper; bull – polymer paint and gouache on Godfrey Miller (Australia, on cream wove paper; Ambivalent head study, pencil on cream paper; cardboard on hardboard; Three 1893–1964), Nude figure c1958, 1938, pencil, watercolour on thick bull – head study, pencil on cream heads c1971–74, synthetic polymer pencil on paper ivory watercolour paper

106 ART GALLERY OF NSW ANNUAL REPORT 10–11 REX IRWIN. DONATED cream paper; seated girl, shredding 2000, shell decorated tile, white 4 sculptures: Sydney Harbour THROUGH THE AUSTRALIAN beans 1930s, pencil on cream Bridge 2002, cardboard, shells, GOVERNMENT’S CULTURAL paper, squared; standing female BEQUEST OF MOLLIE AND fabric; Sydney Harbour Bridge GIFTS PROGRAM nude 1948, pen and brown ink, JIM GOWING 2002, cardboard, shells, fabric; Rah Fizelle (Australia, 1891–1964), wash on reddish/brown laid paper; Robert Ambrose Cole (Australia, Sydney Harbour Bridge 2002, Seated nude c1935, pencil on standing male nude c1948, pen 1959–94), untitled c1993, synthetic cardboard, shells, fabric; Heart paper and brown ink, wash, gouache on polymer paint on paper on canvas shaped box 2006, cardboard, reddish/brown laid paper; reclining George Milpurrurru (Australia, shells, fabric KEVIN LINCOLN male nude c1948, pen and brown 1934–98), untitled, natural pigments DR MILTON ROXANNAS. ink, chalk on reddish/brown laid Kevin Lincoln (Australia, b1941), on bark DONATED THROUGH THE paper; standing male nude, hand Untitled (Rengetsu’s tea bowl) 2007, AUSTRALIAN GOVERNMENT’S on hip c1948, pen and brown ink Eubena Nampitjin (Australia, born pencil, watercolour on sketchbook CULTURAL GIFTS PROGRAM wash, gouache on reddish/brown c1925), untitled 2000, synthetic page laid paper; reclining male nude, polymer paint on canvas Nyakul Dawson (Australia, c1935–2007), Irrana 2002, synthetic ROSS MELLICK leaning forward c1948, pen and Tatali Nangala (Australia, c1925– brown ink on reddish/brown laid 99), untitled 1999, synthetic polymer polymer paint on canvas Ross Mellick (Australia, b1934), paper; female nude, from rear 1949, paint on canvas 7 portfolios of drawings: Suite no 1 SUBTOTAL 38 WORKS pencil on cream paper; standing 1995–2006, mixed-media on paper; Lucy Yukenbarri Napanangka female nude c1940s, pen and blue TOTAL AUSTRALIAN ART Suite no 2 1995–2006, mixed- (Australia, 1934–2003), untitled early ink on cream paper; female head DEPARTMENT 301 WORKS media on paper; Suite no 3 1995– 1990s, synthetic polymer paint on study 1930s?, pencil on cream 2006, mixed-media on paper; Suite canvas paper; self portrait, seated, pencil Asian art no 4 1995–2006, mixed-media on cream paper; self portrait, (Australia, Suite no 5 CHINA on paper; 1995–2006, pencil on cream paper; male head born c1930–2011), untitled 1999, Suite no 6 mixed-media on paper; studies – self portrait, pen and blue/ synthetic polymer paint on canvas DR JAMES HAYES 1995–2006, mixed-media on paper; black ink, wash, gouache on cream Josephine Napurrula (Australia), 6 calligraphies: Couplet in running Suite no 7 1995–2006, mixed- paper; hand study and womans untitled 2001, synthetic polymer script early 1900s, pair of carved media on paper head 1940s?, pen and grey ink paint on linen canvas wooden panels; Decorative panels ALAN AND JANCIS REES on cream paper; seated woman Emily Kam Ngwarray (Australia, carved with flowers and calligraphy 1920s–30s?, pencil on thin cream 1916–96), 4 paintings: untitled, early 1900s, four carved wooden Lloyd Rees (Australia, 1895–1988), paper; seated boy, pencil on cream synthetic polymer paint on canvas; panels; Couplet in regular script 7 drawings: Self portrait c1914, paper, squared; cow studies 1948, untitled, synthetic polymer paint on early 1900s, pair of carved wooden pencil on pale grey paper; Mother pen and brown ink on cream paper; canvas; untitled, synthetic polymer panels; Couplet in regular script c1914, pencil on pale grey paper; tree study, pencil on cream wove paint on canvas; untitled, synthetic early 1900s, pair of carved wooden Mother reading, wearing spectacles paper polymer paint on canvas panels; Couplet in regular script c1914, pencil on pale grey paper; early 1900s, pair of carved wooden Gloria Tamerre Petyarre (Australia, Father reading c1914, pencil on SUBTOTAL 263 WORKS panels; Couplet in regular script b1938), untitled, synthetic polymer pale grey paper; Father, and a study early 1900s, pair of carved wooden paint on canvas of flowers in a vase c1914, pencil Aboriginal and Torres Strait panels on pale grey paper; Amy and Merlin Conrad Tipungwuti (Australia, Islander art QI Gong (China, 1912–2005), c1914, pencil on pale grey paper; b1966), untitled 1998, natural Poem in running script 1992, ink Two studies of mother reading, ANONYMOUS GIFT pigments on paper on paper hand to brow c1914, pencil on pale Unknown (Australia), Heart shaped Charlie Ward Tjakamarra ZHANG Yutang (China, 1794– grey paper box c1940s, assorted shells, fabric, (Australia, c1932–2005), untitled 1870), Calligraphy in cursive script, cardboard 2000, synthetic polymer paint on SERIOSO PTY LTD IN MEMORY carved wooden panels OF JAMES AGAPITOS. DONATED Esme Timbery (Australia, b1931), canvas ZHOU Yan (China, 1832–1905), THROUGH THE AUSTRALIAN Centrepoint Tower 2002, assorted Boxer Tjampitjin (Australia, born Elegant gathering 1902, fan, ink and GOVERNMENT’S CULTURAL shells, fabric, cardboard c1935), untitled 1998, synthetic colours on paper GIFTS PROGRAM polymer paint on canvas PETER FAY James Gleeson (Australia, Billy Stockman Tjapaltjarri LIU JIANHUA AND THE BEIJING 1915–2008), Sunset in a subduction Lola Ryan (Australia, 1925–2003), (Australia, born c1927), Ilpitirri 1985, COMMUNE WITH FINANCIAL zone 1986, oil on canvas 7 sculptures: Sydney Harbour synthetic polymer paint on canvas ASSISTANCE FROM THE PETER Bridge 2000, assorted shells, attrib John Mosquito Tjapangarti JOHN MCBURNEY FUND 2010 fabric, cardboard; Sydney Harbour ESTATE OF PATRICIA WAKELIN. (Australia, c1920–98), untitled 1995, LIU Jianhua (China, b1962), Bridge 2000, assorted shells, DONATED THROUGH THE synthetic polymer paint on canvas Container series 2009, porcelain fabric, cardboard; Kooka 2000, AUSTRALIAN GOVERNMENT’S and glaze, 37 pieces CULTURAL GIFTS PROGRAM assorted shells, fabric, cardboard; attrib Taracarijimo Freda Kooka 2000, assorted shells, fabric, Warlapinni (Australia, born Roland Wakelin (Australia, 1887– NANCY AND TERRY LEE cardboard; Kooka 2000, assorted c1928–2003), untitled 1998, natural 1971), 24 drawings: standing male shells, fabric, cardboard; Ship 2000, pigments on paper XU Beihong (China, 1895–1953), nude 1910, pencil on cream wove assorted shells, fabric, cardboard; A cat 1944, ink and colour on paper paper; seated female nude, leg Ship 2000, assorted shells, fabric, AMANDA LOVE. DONATED study 1913, pencil on cream paper; DR DAVID LING cardboard THROUGH THE AUSTRALIAN reclining male nude with sword – GOVERNMENT’S CULTURAL 8 textiles: Dragon roundel, imperial the model McMahon 1913, pencil Lola Ryan (Australia, 1925–2003), GIFTS PROGRAM consort of third ran, embroidered on cream paper; seated male nude 2 sculptures from the Bird series, Daniel Boyd (Australia, b1982), silk, extensive gold thread; Civil – McMahon again 1913, pencil on untitled bird (galah) 2000, assorted Niveus Tergum … 2005, pencil rank badge, seventh rank (mandarin cream wove paper; standing male shells, fabric, cardboard; untitled duck) c1750, embroidered silk; Judy Watson (Australia, b1959), nude 1913, pencil on cream wove bird (cockatoo) 2000, assorted Military rank badge, second rank deadly bloom 1997, pigment and paper; boatshed study c1918, shells, fabric, cardboard (lion), exceptionally fine gold thread pastel on canvas pencil, watercolour on thick cream Lola Ryan (Australia, 1925–2003), kesi silk weave; Civil rank badge, paper; seated male, reading 1933, 2 sculptures from the Feather first rank (crane), kesi silk weave; GENEVIEVE O’CALLAGHAN pencil on cream laid paper; seated series, untitled 2000, assorted Censor’s badge (xiezhi) c1790, gold female figures c1930s, pencil on shells, fabric, cardboard; untitled Esme Timbery (Australia, b1931), and silver wrapped silk couching;

APPENDICES 10–11 107 Boy’s black satin surcoat with Courtesan with an umbrella 1815– silk, hand painted; Kimono for first INDIA a blue ‘nei tao’ under robe mid 42, colour woodblock print presentation of baby at Shinto JIM MASSELOS 1800s, silk; Pair of children’s civil shrine (Miyamairi kimono) with Utagawa KUNISADA /TOYOKUNI 4 textiles: Hat 1900s, embroidered rank badges, fourth rank (goose) III (Japan, 1786–1865), 4 prints: design of fan-shaped cartouches c1860, embroidered silk on black containing pines, aoi leaves and cotton; Jain panel early 1900s, Actor Ichikawa Goemon from the embroidered cotton, Jain motifs satin background; Military rank series Thirty actors paired with Samurai battle scenes c1909, silk, badge, third rank (leopard) c1860, hand painted of central medallion and plants and flowers 1844–47, colour surrounding motifs; Jain manuscript kesi silk weave woodblock print; Boating excursion Arita ware/Daishoji-Ko-Imari style cover early 1900s, embroidered on the Sumidagawa 1856, colour (Japan), Dish in shape of 16-petal cotton, embroidered Jain motifs in 2 MAX AND CYNTHIA LOVEDAY woodblock print, 2 prints from chrysanthemum 1800s, porcelain, rows of 7 motifs each; Mirror work Fujian kilns (China), Guangdong a triptych or pentaptych; Actors overglaze enamels choli (blouse) 1960s, embroidery kilns (China), Shallow bowl with Segawa Rokõ, Nakamura Tõzõ and Arita ware/Ko-Imari (Japan), 2 sets on cotton and appliqué, deep red a stacking ring in the cavetto and Sawamura Tanosuke boarding a of ceramics: Set of two abalone ground with black and maroon block-printed flower baskets and boat amidst a lotus pond 1815–42, shaped dishes with décor of tie-dye backing on bottom colour woodblock print, 2 prints hand-painted flower scrolls 1800s, prawn and pine leaves late 1800s, Andhra Pradesh, Kalamkari from a triptych or pentaptych; stoneware with underglaze blue porcelain, overglaze enamels; Tea narrative cloth 1970s, cotton, dye, Miho in Suruga province from the decoration pot for ‘sencha’ with décor of cloth arranged in three horizontal series Comparison of beauties liken Guangdong kilns (China), Export playing Chinese children and pine registers or bands to famous places in Japan 1830, leaves 1800s, porcelain, overglaze ware (Southeast Asian market), Bansali, Gujarat, Jacket mid colour woodblock print enamels Covered box with carved, floral, 1900s–late 1900s, embroidered Utagawa KUNIYOSHI (Japan, biscuit decoration, stoneware with Arita ware/Nabeshima style cotton brown glaze and areas of biscuit 1797–1861), Actor Iwai Hanshirõ (Japan), 6 sets of ceramics: Bhirandiyara, Short embroidered as courtesan … noyame 1852, Set of five three-lobbed dishes Southern kilns (China), 7 ceramics: choli (blouse) mid 1900s–late colour woodblock print with décor of Japanese rhodea Covered box with legs, floral 1900s, embroidered cotton, long Utagawa TOYOKUNI (Japan, (rhodea japonica) 1800s, porcelain, decoration, and a bird in landscape sleeves motif c1600s, porcellanous ware 1769–1825), 2 prints: Onnagata underglaze cobalt blue and red; Gujarat, 3 textiles: Sari 1940s, with underglaze cobalt blue Baiga (Iwai Hanshirõ V) and Rokõ Set of two square ‘mukozuke’ tie-dye silk; Hindu devotional decoration; Bowl with celestial (Segawa Kikunojõ IV) on a boat in with décor of landscape 1800s, glove 1800s, embroidered fabric; beings 1600s?–1700s?, porcelain snow 1810s, colour woodblock porcelain, underglaze cobalt blue; Overhead shawl (odhni) late 1800s– with underglaze blue decoration; print; Actor Ichikawa Monnosuke III Set of two round dishes with décor early 1900s, embroidered cotton Bowl with imagery of Su Shi as the fox woman Kuzunoha c1820, of phoenix and clouds 1800s, visiting the Red Cliff region and colour woodblock print porcelain, underglaze cobalt blue Kutch, Gujarat, 20 textiles: a poem 1600s–1700s, porcelain Utagawa school (Japan), Pleasure and red; Set of five crab-shaped Embroidered cover (dharaniyas) with underglaze blue decoration of the contemporary three string dishes with peony design late 1900s, embroidered cotton; and a metal band along the rim; instruments 1850–1900, colour 1700s, porcelain, underglaze cobalt Embroidered cover (dharaniyas) Bowl with landscape painting and woodblock print, part of a double blue; Set of five round dishes with 1900s, embroidered cotton; poem 1700s–1800s, porcelain page from a book Paulownia design late 1700s, Embroidered cover (dharaniyas) with underglaze blue decoration porcelain, underglaze cobalt blue; 1900s, embroidered and a metal band around the rim; Set of two round dishes with décor cotton; Embroidered cover KIMI SEAGE IN HONOUR OF HER Plate with a landscape scene of of hibiscus and garden rock 1800s, (dharaniyas)1900s, embroidered MOTHER MRS IDE KIMIKO building, boats, and mountains porcelain, underglaze cobalt blue cotton; Pair of hangings for either 1700s?–1800s?, porcelain with Round dish with peony design and OKUGAWA Chûemon I (Japan, side of door 1900s, embroidery underglaze blue decoration and a geometric patterns late 1800s, 1901–75), Sake set with two bottles on cotton; Door hanging (toran) metal rim; Plate with a landscape porcelain, underglaze enamels and five cups with incised décor 1900s, embroidery on cotton; scene late 1600s–early 1800s, 3 items of lacquerware: Set of three of peonies 1960s–70s, porcelain Door hanging (toran) 1900s, embroidery on cotton; Mirror work porcelain with underglaze blue footed lacquer tray with décor of OKUGAWA Chûemon II (Japan, choli (blouse) 1900s, embroidery decoration; Plate with man and autumn grasses and flowers late b1931), Set of five round plates with on cotton and appliqué, dusty red attendant in a landscape setting 1800s–early 1900s, wood, lacquer, décor of auspicious flowers and ground with bright red and orange 1600s–1700s, porcelain with gold maki-e; Set of five footed fruits 1970s, porcelain, overglaze work; Mirror work choli (blouse) underglaze blue decoration lacquer trays with décor of birds enamels 1900s, embroidery on cotton and Southern kilns (China), Export and flowers late 1800s–early 1900s, appliqué, lemon yellow ground with ware (China), 3 ceramics: wood, black lacquer, maki-e in gold NORMA SPARNON ultramarine blue strip, thick purple Octagonal covered box with floral and red lacquer, nashiji-ground on YASUHARA Kimei (Japan, tie-dye backing on side; Mirror work motifs, porcellanous ware with underside of trays; Four-tiered food 1906–80), Large black slab pot for choli (blouse) 1900s, embroidery underglaze cobalt decoration; storage box in shape of five petalled ikebana 1900s, stoneware, black on cotton and appliqué, green Pair of narrow, stemmed vases plum blossom late 1800s–early glaze ground; Mirror work choli (blouse) with cloud and dragon patterning 1900s, wood, black lacquer, maki-e mid 1900s–late 1900s, embroidery c1600s–1700s, porcelain with in gold and red lacquer, nashiji- BARBARA VYDEN IN HONOUR on cotton and appliqué; Ganesha underglaze blue decoration; ground on the inside of each tier OF JOHN K VYDEN panel 1960s, embroidery on cotton; Covered jar with lotus petal and 4 items of personal clothing: YAMAGUCHI Susumu (Japan, Ganesha panel 1960s, embroidery floral designs late 1800s?–1900s?, Comb with décor of peonies late 1897–1983), Mt Hotaka at daybreak on cotton; Ganesha panel 1960s, porcelain with underglaze blue 1800s–early 1900s, tortoise shell, 1957, colour woodblock print embroidery on cotton; Ganesha decoration gold maki-e, mother-of-pearl inlays; panel 1960s, embroidery on cotton; Swatow ware (China), Covered Comb late 1800s–early 1900s, SUBTOTAL 32 WORKS Ganesha panel: flute player 1960s, box with floral patterning 1600s, tortoise shell; Comb late 1800s– TIBET embroidery on cotton; Rabari porcelain with underglaze blue early 1900s, tortoise shell; Hairpin style blouse 1980s, embroidered decoration late 1800s–early 1900s, tortoise ALEX AND VIVIENNE KONDOS cotton, orange ground; Hat 1900s, shell Mahakala 1800s, pigment on cloth embroidered cotton; Pair of SUBTOTAL 32 WORKS 2 textiles: Kimono for first with cloth cover (thang-khebs mirrorwork curtains late 1800s–early 1900s, embroidered satin silk, tan JAPAN presentation of baby at Shinto [picture cover] or zhal-khebs [cover shrine (Miyamairi kimono) with of respect]) and ribbons (thang-dzar) ground with pink and green work; DR JAMES HAYES design of cranes over waves and Shawl, cotton, black ground with Ikeda EISEN (Japan, 1790–1848), auspicious instruments c1909, SUBTOTAL 1 WORK bright pink, green, yellow motifs;

108 ART GALLERY OF NSW ANNUAL REPORT 10–11 Odhni (woman’s veil and head with magenta work and seven necklace, highly polished discs of Covered jar with floral decoration covering), cotton, tie-dye and embroidered pennants coconut shells with three brass 1300s–1500s, stoneware with embroidered sections; Embroidered Ravi Varma Press (India), 2 prints: rings and brass clasp; Kalabubu underglaze iron patterns with a and mirrorwork odhni (veil and head Lakshmi 1894, chromolithograph; or headhunter’s necklace, highly bluish glaze and a brown and cream cover) late 1800s–early 1900s, Durga killing the buffalo demon late polished discs of coconut shells glaze on the lid; Covered box with embroidered cotton, mirrorwork, 1800s, chromolithograph with three brass rings and brass high waisted foot and a bird-form deep red and green clasp; Balatu Sebua (sword with knob 1300s–1500s, stoneware Mirror work Bharu Sumar (India), sheath), wood, iron brass, rattan, with floral and lattice motifs with Punjab, 6 textiles: Phulkar with bag 1982, embroidered cotton, crocodile teeth and pigs’ tusks bluish glaze over the underglaze figurative design 1900s, woven bright blue ground with red edging cotton embroidered with surface Sumatra, 3 items of arms and iron decorations and brown glaze Vella Ugar (India), Mirror work choli satin stitch in silk threads; Phulkari armour: Musket ball holder 1800s, on the foot and lid; Covered jar (blouse) 1900s, embroidery on with figurative design 1900s, woven superbly carved male face with with floral and geometric decoration cotton and appliqué, mauve-purple cotton embroidered with surface elongated chin, stylised ears, rattan 1300s–1500s, stoneware with ground, purple and mauve tie-dye satin stitch in silk threads; Phulkari cap, highly polished, dark patina; incised patterning and brown and backing on side Covered jar with floral with abstract design 1900s, woven Musket ball holder 1800s?, buffalo cream glaze; and geometric patterning post cotton embroidered with surface horn; Piso Sanalenggam (sword) SUBTOTAL 56 WORKS 1500s?, stoneware with incising satin stitch in silk threads; Phulkari 1800s, buffalo horn, iron, brass and and brown and cream glazes; with abstract design 1900s, woven wood cotton embroidered with surface INDONESIA Footed jar with lid and carved Sumatra, 1 ceremonial object, satin stitch in silk threads; Phulkari decoration, as well as floral and CHRISTOPHER WORRALL 1 woodwork and 4 items of with abstract design 1900s, woven geometric patterning 1300s–1500s, WILSON jewellery: Amulet on chain for bag, cotton embroidered with surface stoneware with brown and cream Alor, Sword late 1800s, buffalo brass; Betel nut tools set, silver (?); satin stitch in silk threads; Phulkari glazes and carving on the lid horn, horsehair, iron, wood and Golang Tangan (bracelet), silver; with abstract design 1900s, woven and foot, as well as underglaze rattan, with traces of lime in the Golang Tangan (bracelet), bronze; cotton embroidered with surface iron decoration covered by a decoration Golang Tangan (bracelet), cast satin stitch in silk threads faintly green glaze; Covered brass; Finger ring, brass Borneo, 3 items of arms and box 1300s–1500s, stoneware Rajasthan, 2 textiles: Patkar armour, 1 woodwork and 1 Sumba, 1 woodwork, 1 ceremonial with brown glaze; Covered box man’s bands (shoulder?) 1900s, ceremonial object: Mandau (sword), object and 1 item of jewellery: Kris with lattice and floral patterns embroidered cotton; Patkar deer horn, iron, wood and rattan; handle, ivory; Man’s mantle hinggi 1200s–1500s, stoneware with man’s bands (shoulder?) 1900s, Mandau (sword), deer horn, iron, 1800s–1900s, evenly faded; Gold underglaze iron decoration covered embroidered cotton wood, rattan, leaf fibre, glass bead; Taka, pendant in double axe shape with a bluish glaze, the lid with an Saurashtra, Gujarat, Embroidered additional area of brown glaze; Mandau and piso raout handles, Timor, 1 sculpture and 1 arms cover (dharaniyas) 1900s, Footed covered box with painted deer horn and rattan, deer horn; and armour: Spoon, buffalo horn embroidered cotton, with pair floral and geometric decoration Charm, wood; Medicine container, with finely carved decoration on of lions above central medallion, and carved designs 1300s–1500s, bamboo with carved stopper in the handles, 1 with aso motif; elephants and riders below, women stoneware with underglaze iron shape of figure (on a stand) Gunpowder container, dugong churning butter below that, assorted patterns and a greenish glaze, Central Borneo, Rice cutter, deer tooth, wooden neck and stopper, scorpions as well as a brown glaze on the horn shell discs Hira Achu (India), Mirror work choli lid and foot Central Sulawesi, 1 metalwork and West Irian Jaya, Seated figure (blouse) 1900s, embroidery on 1 item of jewellery: Sanggori (head holding a shield (korvar) 1800s, cotton and appliqué, ultramarine SUBTOTAL 10 WORKS ornament), brass in form of eel; wood blue ground with bright pink strip Bracelet, dual strands of silver discs VIETNAM and floral printed sleeves West Kalimantan, Hudoc mask with cylindrical clasps with stand and hat, wood MAX AND CYNTHIA LOVEDAY The Calcutta Art Studio (India), Kalimantan, 2 items of woodwork, 2 prints: Durga slaying the buffalo West Timor, 1 woodwork and 5 ceramics: Covered box with floral 3 items of jewellery and 2 demon Mahishasura late 1800s, 1 ceremonial object: Comb in form patterns in panels 1300s–1500s, ceremonial objects: Lime container, chromolithograph; Jagadhatri late of bird with stand, wood; Pilu Salif stoneware with underglaze cobalt wood and metal; Poison dart 1800s, chromolithograph (headhunter’s apron), cotton and blue decoration; Covered box with container, bamboo, wood rattan; beads floral decoration and green spots Chitrashala Press (India), 2 Bracelet, ivory; Bracelet, solid silver c1800s, stoneware with underglaze prints: Rani of Jhansi Lakshmi SUBTOTAL 44 WORK alloy circle; Pair of earrings, brass cobalt blue and overglaze green Bhai late 1800s–early 1900s, with stylised human figures; Bowl, enamel decoration; Jarlet with chromolithograph; Siddhi Vinayak MALAYSIA monkey skull with finely carved a carved shape and floral motifs (a form of Ganesha) late 1800s– edge decoration; Dance mask, CHRISTOPHER WORRALL 1300s–1500s, stoneware with early 1900s, chromolithograph wood WILSON underglaze blue decoration; Covered Harijan (untouchable) community Lembata, Pair of earrings, silver, Sarawak, Weaving shuttle 1800s, box with a carved shape and (India), 2 textiles: Mirror work choli in crocodile form wood floral decoration 1600s?–1700s?, (blouse) mid 1900s–late 1900s, Nias, 1 woodwork and 1 arms and stoneware with underglaze blue embroidery on cotton and appliqué, SUBTOTAL 1 WORK armour; Bark cloth beater, wood; decoration; Covered box with black ground; Mirror work choli Baluse (shield), oval, leaf-shaped a landscape scene on the lid, (blouse) 1900s, embroidery on THAILAND wooden shield, made of single stoneware with underglaze blue cotton and appliqué, pink ground piece of wood, decorated with MAX AND CYNTHIA LOVEDAY decoration with bright green strip, tie-dye dark horizontal cords of rattan Sawankhalok ware (Thailand), Export ware (Vietnam) (China), blue and maroon backing on side North Nias, 2 ceremonial objects: 10 ceramics: Covered box with Covered box with floral decoration Kaya Kana (India), Mirror work Adu Horo, protective figure late incised and glazed floral decoration and striations, porcelain with carved choli (blouse) 1900s, embroidery 1800s, wood; Adu Zatua, ancestor and floral knob 1300s–1500s, decoration and a white glaze on cotton and appliqué, dusty red figure late 1800s, wood stoneware with brown and Hanoi, 2 ceramics: Bowl with fluting ground with overall pattern, purple cream glaze; Jar with lid and 1300s–1500s, stoneware with and maroon tie-dye backing on side North Sumatra, 2 items of jewellery: floral decoration 1300s–1500s, Mandaka (ear pendant), gold plated carved fluting and a green glaze; Mahajan (untouchable) stoneware with underglaze iron heirloom; Pair of earrings, silver Octagonal covered box decorated community (India), Door hanging designs and a bluish glaze, as well with a crab on the lid 1300s–1500s, (toran) 1900s, embroidery on cotton Southern Nias, 3 ceremonial as carved designs with a brown porcellanous ware with underglaze comprising wide horizontal panel objects: Kalabubu or headhunter’s glaze and a shaped knob on the lid;

APPENDICES 10–11 109 blue decoration and a thick white GOVERNMENT’S CULTURAL white video diptych on plasma thread, 1/5 metre delustred nylon glaze GIFTS PROGRAM displays mounted on wall, 21:27 carpet, artificial rock, hand-pulled Debra Dawes (Australia, b1955), min; Incrementation 1996, video/ rug; Snowballs (to soften the blow) SUBTOTAL 8 WORKS Clock wise August 2004, oil on sound installation, black-and-white 1997, hand crocheted cotton TOTAL ASIAN ART DEPARTMENT canvas video image on monitor mounted thread over granite (three pieces); 182 WORKS on a white wall in a darkened Crown 1999, inkjet print, cotton FRANCIS DOUGLAS. DONATED room, custom LED display sign thread on paper; Destiny 1999, European art pre-1900 THROUGH THE AUSTRALIAN mounted on wall to the upper right inkjet print, cotton thread on paper GOVERNMENT’S CULTURAL of monitor, one channel amplified BEQUEST OF MOLLIE GOWING SUBTOTAL 71 WORKS GIFTS PROGRAM sound, continuous running; Jean-Baptise-Camille Corot Michael Johnson (Australia, Memoria 2000, black-and-white (France, 1796–1875), Dante and b1938), Matthew’s cavern 1974, video projection on silk cloth Photography Virgil 1858, cliché verre synthetic polymer paint on canvas suspended from ceiling, continuous GEOFF AND VICKI AINSWORTH running; Observance 2002, colour JOHN SCHAEFFER RICHARD DUNN. DONATED Rosemary Laing (Australia, b1959), high-definition video on plasma THROUGH THE AUSTRALIAN Burning Ayer no 1 2003, type C Edward Onslow Ford (England, display mounted on wall, 10:14 min. 1852–1901), Peace 1887 this GOVERNMENT’S CULTURAL photograph reduced cast 1890, bronze GIFTS PROGRAM AMANDA LOVE. DONATED ANONYMOUS. DONATED Richard Dunn (Australia, b1944), THROUGH THE AUSTRALIAN SUBTOTAL 2 WORKS THROUGH THE AUSTRALIAN Wittgenstein’s colour 2002, GOVERNMENT’S CULTURAL GOVERNMENT’S CULTURAL synthetic polymer paint on canvas, GIFTS PROGRAM GIFTS PROGRAM Modern and 10 panels (England, b1963), contemporary art Tracey Emin Michael Riley (Australia, 1960– CHARLES GENOCCHIO Hard 2008, neon (red and blue) 2004), untitled from the series BRAM BOGART ON BEHALF OF THE CHIU Shaun Gladwell (Australia, flyblown 1998 (printed 2004), Bram Bogart (Netherlands, b1921), AND GENOCCHIO FAMILIES b1972), 2 multimedia: Hikaru: fast pigment print Daybreak 1997, pigment and oil IN MEMORY OF SAMUEL food sequence 2001, DV/DVD; on jute GENOCCHIO. DONATED BEQUEST OF MOLLIE Yokohama untitled 2005, DVD, AND JIM GOWING THROUGH THE AUSTRALIAN 19:23 min and print ANDREW CAMERON GOVERNMENT’S CULTURAL (Australia, 1911–92), Jonathan Jones (Australia, b1978), James Angus (Australia; United GIFTS PROGRAM Bodenweiser 1939 (printed 1979), Untitled (domestic heads or tails) States of America, b1970), Palazzo Susan Norrie (Australia, b1953), gelatin silver photograph [printed 2009, fluorescent tubes, powder- della Cività Italiana 2004, laser cut Ensemble 1990, three wall units: on Agfa Brovira paper] coated metal, electrical wiring aircraft plywood and MDF oil, wood and canvas AMANDA LOVE. DONATED John Beard (Wales; Australia, The Kingpins (Australia), MOLLIE AND JIM GOWING 2 multimedia: This is my remix baby THROUGH THE AUSTRALIAN b1943), Hilarie Mais 2005, oil and GOVERNMENT’S CULTURAL Rosalie Gascoigne (New Zealand; 2000, digital video transferred to wax on linen GIFTS PROGRAM Australia, 1917–99), Gazette 1994, DVD, 3:34 min; Versus 2002, digital Rosemary Laing (Australia, synthetic polymer paint on sawn video transferred to DVD, 5:15 min Pat Brassington (Australia, b1942), b1959), 5 photographs: brumby Drink me 1997 (printed 2002), inkjet wood on plywood TV Moore (Australia, b1974), mound #6 from the series one print dozen unnatural disasters in Escape carnival 2008, DVD and CD JOHN KALDOR FAMILY Aaron Seeto (Australia, b1978), the Australian landscape 2003, COLLECTION John Nixon (Australia, b1949), type C photograph; one dozen The one thousand other things Carl Andre (United States of Brown and blue cross 1985, 2001, unique gold-toned, silver unnatural disasters in the enamel on hessian Australian landscape #2 2003, America, b1935), Crucis 1981, salt photograph on salt-preserved type C photograph; flight research hot-rolled steel Susan Norrie (Australia, b1953) duck egg #2a 1998, type C photograph; Christo (Bulgaria; United States and David MacKenzie (Australia), Glenn Sloggett (Australia, b1964), bulletproofglass #1 2002, type C of America, b1935), 2 sculptures: Kasodo 2007, single-channel DVD, 4 photographs: Empty 1996, type photograph; weather #3 2006, type Wrapped Paintings 1968, stretched 13:55 min C photograph; Cheaper & deeper C photograph canvases, tarpaulin, rope; Two Julie Rrap (Australia, b1950), from the series Abandon 1996, type Tracey Moffatt (Australia; United Wrapped Trees 1969, two 3 photographs and 1 multimedia: C photograph; Mum killers 2001, States of America, b1960), 26 Eucalyptus trees, polyethylene, Persona and shadow: puberty type C photograph; Flats 1998, tarpaulin, rope photographs: Fourth #1; Fourth #2; 1984, Cibachrome photograph; type C photograph Fourth #3; Fourth #4; Fourth #5; Donald Judd (United States of Non-portraits (Julie Rrap) 1990–92, Glenn Sloggett (Australia, b1964), Fourth #6; Fourth #7; Fourth #8; America, 1928–94), Untitled 1975, photo-emulsion on glass, synthetic 2 photographs from the series Fourth #9; Fourth #10; Fourth #11; Douglas Fir plywood in six units polymer paint on canvas; Non- Cheaper & deeper 1998–2000: Fourth #12; Fourth #13; Fourth #14; Ugo Rondinone (Switzerland, portraits (Wim Delvoye) 1990–92, Hope Street 2000, type C Fourth #15; Fourth #16; Fourth #17; b1963), 1 painting and 2 sculptures: photo-emulsion on glass, synthetic photograph; Kong’s 1 hour dry Fourth #22; Fourth #23; Fourth #24; siebterjulizweitausendundnull 2000, polymer paint on canvas; Porous cleaning 1998, type C photograph Fourth #25; Fourth #26, all 2001, synthetic polymer paint on canvas, bodies 6 1999, VHS Justene Williams (Australia, all colour prints on canvas plexiglass plaque with caption; Peter Tyndall (Australia, b1951), b1970), 2 photographs from the Callum Morton (Canada; Australia, if there were anywhere but desert. Bunny boy Bunny boy detail A Person Looks At A Work Of series 1997: b1965), Door door too 2007, wood, wednesday 2000, fibreglass, paint, 5 1997, type C photograph; Bunny Art/someone looks at something … enamel paint clothing; what do you want? 2002, boy 13 1997, type C photograph wood, mirror, plaster, speakers, 1995, screenprint Anne Zahalka (Australia, b1957), COFFEY FAMILY sound Louise Weaver (Australia, b1966), 2 photographs from the series 2 sculptures and 2 photographs: Sean Scully (Ireland; England; Bill Viola (United States of America, Lexicon in the portfolio Gesture United States of America, b1945), b1951), 5 multimedia: Six heads Moonlight becomes you (otter) 1993: Allure 1993, dye sublimation Doric brown 2009, oil on alu-dibond 2000, colour video on plasma 2002–03, hand crocheted print; Rhetoric 1993, dye display mounted on wall, 20 min; polydamide thread over high sublimation print DEBRA DAWES. DONATED Bodies of light, from the series density foam, silver thread, sequins, THROUGH THE AUSTRALIAN The passions 2006, black-and- aluminium chain, cotton embroidery

110 ART GALLERY OF NSW ANNUAL REPORT 10–11 GAEL NEWTON, FOUNDATION COLLECTION – DROGA 8 COLLECTION VB.POL 1999, digital type C CURATOR OF PHOTOGRAPHS, LOANS HONG Hao, My things 2004, photograph IN MEMORY OF HER ART type C photograph Bernd Becher, Hilla Becher, GALLERY OF NEW SOUTH Coal mines and steel plants 1988 WALES COLLEAGUES, URSULA LI Songsong, Life 2010, oil on canvas (printed), four unique gelatin silver PRUNSTER AND LINDA SLUTZKIN photographs; Cooling towers, ZHANG Xiaogang, ‘In-Out’ Laure Albin-Guillot (France, * Renewed loans Germany 1964–93 (printed later), series no 12 2006, oil on canvas; 1879–1962), Algiers c1936, Fresson nine gelatin silver photographs; Description of a day of 16/12/2008 photograph Quenching towers: Zeche Hugo, Works lent to the Gallery 2008, silver ink and oil on colour Gelsenkirchen, D 2003 (printed), Charlotte Bertrand (France; *SATIS ARNOLD photograph gelatin silver photograph; Blast Belgium, active 1960s–70s), furnaces, Germany, France, 3 photographs: untitled 1968–70, ZHANG Daqian, Homeward *STEPHEN EARLE Luxembourg, United States 1978 gelatin silver photograph; untitled passing through the stone gate Figure of Doumu (Tou-mu) with (printed later), 12 gelatin silver 1968–70, gelatin silver photograph; at dusk 1974, colour lithograph; eighteen arms early 19th century, photographs; Quenching towers: untitled 1968–70, gelatin silver Mountain monastery by the blanc-de-chine porcelain Zeche Emscher-Lippe, Datteln, D waterfall 1974, colour lithograph; photograph 2004–05 (printed), gelatin silver Peonies 1974, colour lithograph; Philiberte de Flaugergues (France, *NORMAN GOODSIR photograph; Framework houses Shrike amidst the autumn leaves 1885–1977?), untitled c1930, Agnes Goodsir, Self portrait 1912, 2000 (printed), 15 gelatin silver 1974, colour lithograph; Hanging gelatin silver photograph oil on hardboard photographs gibbon over the autumn stream W Grancel Fitz (United States Christian Capurro, Compress 1974, colour lithograph; Cinnabar REVEREND AND MRS GROSS of America, 1894–1963), untitled (pit of doublivores) 2006–07, 14 lotus 1974, colour lithograph; COLLECTION 1939–45, gelatin silver photograph Lotus 1973, colour lithograph; works on paper drawn under the Persimmons 1973, colour Rex Battarbee, Ampitheatre near pressure of erasing other images, DAVID STEPHENSON lithograph; Village in the mountains Palm Valley 1936, watercolour then corrected, magazine pages David Stephenson (United States 1973, colour lithograph; Village , Haast’s Bluff, with erasure, correction fluid, ink of America; Australia, b1955), The in the mountains 1973, colour watercolour and pins zinc works and Mount Wellington lithograph; Temple in the mountains Oscar Namatjira, Untitled (Central Paul Chan, A free press (formerly from Store Point, from the 1973, colour lithograph; Lotus Australian landscape), watercolour Ursa Minor) 2005, archival inkjet series Marking time 2003–05 2004, 1973, colour lithograph print; A jury of peers (formerly type C photograph *JOHN KALDOR FAMILY Aquarius) 2005, archival inkjet print; *AUSTRALIAN MUSEUM Democracy to come (formerly Ursa ELINOR WROBEL TO Francis Alÿs, New York triptych Quiver 18th century, lacquer and Major) 2005, archival inkjet print; COMMEMORATE THE 1995–96, triptych: oil on canvas, mother-of-pearl inlay on wood Distributive justice (formerly Orion) PERMANENT PHOTOGRAPHY enamel on metal, series consisting of one painting by Alÿs and two sign 2005, archival inkjet print; Freedom GALLERY AT ART GALLERY OF HELMUT BRINKER of speech (formerly Centaurus) NEW SOUTH WALES, AND IN paintings by Enrique Huerta and ZHONG Bi, Four immortals drinking 2005, archival inkjet print; No cruel MEMORY OF FRED WROBEL Emilio Rivera; Three men in cravats in a cave 18th century, hanging triptych 1995, triptych: oil on board, and unusual punishment (formerly Kerry Dundas (Australia, 1931– scroll, ink and colour on paper enamel on metal, series consisting Perseus) 2005, archival inkjet print; 2010), 6 photographs: Sand of one painting by Alÿs and two sign No taxation without representation smothered trees 1952 (printed *GEORGINA CARNEGIE paintings by Juan Garcia and Emilio (formerly Andromeda) 2005, 1980s), gelatin silver photograph; Betel-nut container 19th century, Rivera; Untitled (man asleep with archival inkjet print; Right to keep Rock forms, South Head of Sydney carved silver hand on head) 2000, chalk; Untitled and bear arms (formerly Cancer) Harbour c1960s, gelatin silver (man curled asleep) 2000, chalk; 2005, archival inkjet print; Right photograph; Centerpoint Tower Jar with design of wave lines and Railings 2004, three single-channel to peaceably assemble (formerly in construction 1976–80 (printed horizontal line design, stoneware videos, stereo sound, colour, 6:30 Cassiopeia) 2005, archival inkjet 1980s), gelatin silver photograph; with natural ash glaze min; The last clown 2001, 60 min print; Separation of church and Strenella dolphins, Cape Guardafui, Jar with design of wave lines and video animation; Untitled (study state (formerly Gemini) 2005, Africa 1958 (printed 1980s), gelatin horizontal line design, stoneware Beginning of for The modern procession) 2002, archival inkjet print; silver photograph; Sand dunes and with natural ash glaze love, end of war III 2006, charcoal collage, oil and pencil on tracing lovers 1952 (printed 1980s), gelatin on paper; Beginning of love, end Jar with horizontal relief line design, paper; Untitled (study for The silver photograph; Cameleers near of war V 2006, charcoal on paper; stoneware with natural ash glaze modern procession, and Girl with the Great Pyramid, Egypt (printed Untitled (drawing for 5th light) skeleton), 2001, collage, oil and 1980s), gelatin silver photograph Tall jar 5th century, earthenware, 2006, charcoal and cut paper; pencil on tracing paper; Untitled covered in natural wood ash glaze Untitled (drawing for 5th light) 2006, (study for The modern procession SUBTOTAL 28 WORKS Kanô TANSHIN, Landscape 19th charcoal and cut paper; 1st light II) 2002, collage, oil and pencil on century, single six-fold screen, ink 2005, digital video projection, TOTAL WESTERN ART tracing paper; Untitled (study for on paper 14 min DEPARTMENT 101 WORKS The modern procession III) 2000, TOTAL ALL DEPARTMENTS Thai Ban Chiang pot with box, collage, oil and pencil on tracing Christo, The Gates, Project for 586 WORKS GIFTED earthenware paper; Untitled (study for The Central Park, NYC 1985, diptych: pencil charcoal, pastel, wax crayon, TOTAL WORKS PURCHASED The peacock king c1903, modern procession – Frida Kahlo) enamel paint, three photographs AND GIFTED IN 2010–11: 687 woodblock print, framed 2001, collage, oil and pencil on by Wolfgang Volz and map; Packed Torso of Buddha, limestone, carved tracing paper; Sleepers II 2001, 80-slide carousel projection; Coast, One Million Square Feet, in the round with a narrow waist Project for Australia 1969, scale and rounded hips Untitled 1999, mixed-media on tracing paper; Untitled 2005 mixed- model: fabric, rope, twine, staples, White vase, porcelain with white media on tracing paper cardboard, wood, plaster, paint, glaze pencil, ballpoint pen, perspex; , Steel-copper plain Carl Andre Surrounded Islands, Project for BENITA COURTENAY 1969, steel and copper; The way Biscayne Bay, Greater Miami, COLLECTION north, south and west (uncarved Florida 1982, diptych: pencil, pastel, blocks) 1975, Western red cedar Dame Elisabeth Frink, Running charcoal, wax crayon, enamel man 1985, bronze Vanessa Beecroft, VB40.070. paint, photographs; The Umbrellas,

APPENDICES 10–11 111 Project for Japan and Western (lifestyle) destruction of personal is divided vertically into two parts. (protest painting) 1994, synthetic USA 1986, collage: wax crayon, property 1998, pen and ink on Each part is divided horizontally polymer paint on canvas; Untitled pastel, fabric, pencil; Package paper; Michael Landy’s (lifestyle) and vertically into four equal parts. (hippie drawing) 2000–05, ink and 1967, polyethylene, fabric, rope, household contents 1998, pen and 1st part: lines in four directions, synthetic polymer paint on paper staples; Running Fence, Project for ink on paper; Drawing (2) 2007, one direction in each quarter. Robert Rauschenberg, Nugget Sonoma and Marin Counties, State charcoal on paper; Painting (1) 2nd part: lines in four directions, 1976, fabric, bamboo pole, string, of California 1974, collage: fabric, 2007, paint on metal; Sculpture superimposed progressively. 1971, tin cans; Air ration winter glut 1987, staples, cardboard, brown paper, 2007, paint on metal; Singing of pencil; Wall drawing #338: two riveted metal parts; Dylaby 1962, pencil, charcoal, crayon, ballpoint the fairies I 2004, crayon on paper; part drawing. The wall is divided rubber tyre, oil on packing case pen; Wrapped Island, Project for Print 2007, ink on paper; Shelf life vertically into two parts. Each part timber, iron nails South Pacific Ocean 1970, collage: 2004, 16mm film transferred to is divided horizontally and vertically Ugo Rondinone,siebenundzwan- pencil, fabric, twine, staples, DVD, 16:9, colour, sound, 49:37 into four equal parts. 1st part: lines zigsterjanuarzweitausendundnull photograph, crayon, charcoal, min; Four walls 2004, DVD, 4:3, in four directions, one direction 2000, ink on paper, wooden frame, pastel; Show Window 1966, colour, sound, 34:57 min; The in each quarter. 2nd part: lines plexiglass plaque with caption; fuen- galvanised metal, aluminium, wood, consuming paradox 1999, mixed- in four directions, superimposed fzehnterfebruarzweitausendundzwei fabric, perspex media collage progressively. 1971, coloured pencil 2002, ink on paper, wooden Daniel Crooks, Static no 6 2003, Sol LeWitt, Three-part variations Richard Long, A moved line in frame, plexiglass plaque with DV/DVD, 16:9, colour, stereo, 3:04 on three different kinds of cubes – Japan, 1983, text work in red caption; fuenfterdezemberzwe- min; Elevator no 3 2002, DV/DVD, elements for serial projects: 2 2 3 and black; Circle in Africa 1978, itausendundfuenf 2005, pencil, 4:3, colour, silent, 3:52 min (4 parts) 1975, baked enamel on gelatin silver photograph, coloured synthetic polymer paint on linen; Aleks Danko, Just one more light steel; Pyramid 2005, painted wood; pencil on board; Sydney Harbour sechsundzwanzigsterseptember- work 1974, chair, light sockets, Rectangle – open 1977, painted driftwood 1977, driftwood, 16 zweitausendundfuenf 2005, pencil, bulbs, electrical flex, wheels, wood; All two part combinations pieces; A straight hundred mile synthetic polymer paint on linen; Traffolyte panels; Log dog 1970, of arcs from four corners, arcs walk in Australia 1977, three gelatin sechsundzwanzigsterseptem- wood, metal, chain, leather, casters; from four sides, straight, not- silver photographs, pencil on board; berzweitausendundfuenf 2005, Art stuffing 1970, synthetic polymer straight and broken lines in four River Avon mud circle 1983, mud pencil, synthetic polymer paint paint on paper-stuffed hessian bag directions 1977, ink and pencil on paper; Southern gravity 2011, on linen; siebterdezemberzw- on paper; Form derived from a mud; Spring showers circle 1992, eitausendundfuenf 2005, pencil, Thomas Demand, Flare 2002, cube 1982, pencil on paper; Form delabole (Cornish) slate; Stone line synthetic polymer paint on linen; 28 type C photographs/Diasec; derived from a cube 1982, pencil 1977, blue metal stone sechsundwanzigsteraugust- Gangway 2001, type C photograph/ on paper; Irregular grid 2001, zweitausendundnull 2000, synthetic Diasec; Modell/Model 2000, type Barry McGee, Untitled (man with gouache on paper; Tangled bands polymer paint on polyester, C photograph/Diasec; Recorder baseball hat) 2000, housepaint on 2002, gouache on paper; Tangled plexiglass plaque with caption; all 2002, 35mm film/loop, 2:17 min; metal, 70 panels bands 2002, gouache on paper; MOMENTS stop here and together Rolltreppe/Escalator 2000, 35mm TV Moore, The dead zone 2003, Wall drawing #23: drawing series we become every memory that has film/animation, Dolby SR, 2 min two-channel DV/DVD, colour, A on aluminium box. One series on ever been. 2002, plexiglass; for sound, each 3:30 min Urs Fischer, Lamp 2000–05, cast each face 1969, painted aluminium oracles 2011, mirror, colour plastic aluminium, enamel paint, light bulb, box with pencil; Incomplete open Saskia Olde Wolbers, Placebo gel, wood, paint, mixed media cube 4/5 1974, baked enamel 2002, video for projection, colour, electric cable; Crisis 2000–05, cast Peter Rostovsky, Epiphany model: sound, 6-min loop; Trailer 2005, aluminium, enamel paint on aluminium; Incomplete open the painter 2004, oil on linen, video for projection, colour, sound, Gilbert & George, Dig 2005, mixed cube 5/6 1974, baked enamel super-sculpey, wood, plastic, paper, 10-min loop media on aluminium; Incomplete open flocking, synthetic polymer paint cube 5/8 1974, baked enamel Nam June Paik, TV cello 1976, Shaun Gladwell, Approach to Frank Stella, Untitled 1965, on aluminium; Incomplete open transparent synthetic polymer resin, Mundi Mundi 2007, HD/DVD, 16:9, cube 7/21 1974, baked enamel synthetic polymer paint on canvas colour, silent, 8:37 min television monitors, video tape and on aluminium; Wall structure player, wood, mixed media; Kaldor Thomas Struth, Chicago Board Andreas Gursky, Centre 123454321 1979, baked enamel on candle 1996, closed-circuit camera, of Trade I, Chicago 1990, type Georges Pompidou 1995, type brass with black line (nine pieces); tripod, three empty metal TV shells, C photograph; Chiesa dei Frari C photograph; Untitled XII (no 3) Non-geometric form (splotch) two 27-inch TV monitors, candles; 1995, type C photograph; Stanze 2000, type C photograph mounted #1 1999, painted fibreglass; TV birds 1976, coloured pencil di Raffaello II, Roma 1990, type C on Plexiglass in artist’s frame; Non-geometric form (splotch) on paper, 12 panels; TV faces photograph Meersbusch, Krefeld 1989, type C #2 1999, painted fibreglass; 1976, coloured pencil on paper, Ricky Swallow, Picture a photograph; Dusseldorf, Flughafen II Non-geometric form (splotch) 12 panels; Video design 1985, type screaming sculpture 2003, piezo 1994, type C photograph; Chicago #3 1999, painted fibreglass; C photograph; TV Buddha 1976, pigment print on hahnemuhle paper, Mercantile Exchange 1997, type C Non-geometric form (splotch) #4 television monitor, video camera, moulded frame, museum glass photograph 1999, painted fibreglass; Non- painted wooden Buddha, tripod, , Not just shelf geometric form (splotch) #5 1999, Meyer Vaisman Garry Hill, Liminal objects #5 1996, plinth 1986, process inks, polyester on painted fibreglass; Non-geometric single-channel video installation, , Corner piece 2004, canvas form (splotch) #6 1999, painted Paul Pfeiffer black and white, silent modified digital video loop, 2:10 min, metal fibreglass; Wall structure 54321 Bill Viola, Bodies of light 2006, 14-inch black and white monitor, armature, monitor, DVD player; 1979, baked enamel on brass black-and-white video diptych on metal stand, one laserdisc player Goethe’s message to the New with black line (five pieces); Wall plasma displays mounted on wall, and one laserdisc Negroes 2001, digital video loop, drawing #870: a black wall divided 21:27 min; Memoria 2000, black- 0:30 min, metal armature, LCD Jeff Koons, Art Ad Portfolio horizontally by a wavy line. Top: and-white video projection on monitor, DVD player; Goethe’s 1988–89, four lithographic prints flat; bottom: glossy 1998, synthetic silk cloth suspended from ceiling, message to the New Negroes on paper; Basketball 1985, bronze; polymer paint; Wall drawing continuous running; Six heads 2002, digital video loop, 0:39 min, Split-rocker (green/blue) 1999, #1091: arcs, circles and bands 2000, colour video on plasma metal armature, LCD monitor, DVD polychromed aluminium; White (room) 2003, synthetic polymer display mounted on wall, 20 min; player terrier 1991, polychromed wood; paint; Wall drawing #303: two part Incrementation 1996, video/sound Vase of flowers 1988, mirror drawing. 1st part: circle, square, Richard Prince, Untitled 1989–90, installation, black-and-white video Michael Landy, Common triangle, superimposed (outlines). synthetic polymer paint and image on monitor mounted on a dandelion 2002, etching; Feverfew 2nd part: rectangle, parallelogram, silkscreen on canvas; Untitled white wall in a darkened room, 2002, etching; H2NY Self- trapezoid, superimposed (outlines) (cowboy) 1980–89, Ektacolor custom LED display sign mounted destroying work of art 2006, oil 1977, black crayon; Wall drawing photograph; Untitled (sunset) 1981, on wall to the upper right of stick on paper; Michael Landy’s #337: two part drawing. The wall Ektacolor photograph; Untitled monitor, one channel amplified

112 ART GALLERY OF NSW ANNUAL REPORT 10–11 sound, continuous running bearing the arms of Booth impaling 1992, pencil on white paper; Study and performance photographs Daniel von Sturmer, The truth Irvine of Drum c1723, porcelain with III for ‘The morning paper’ 1993–94 *PRIVATE COLLECTION effect 2003, installation of five-single ‘rouge de fer’ enamel, gilt 1992, pencil on white paper; Nude channel videos, 4:3, colour, sound, Altar vase (‘zun’) 1796–1820, II c1993, charcoal, pastel on pink William Kentridge, Walking man five screens, plans for table and porcelain, monochrome blue paper turning into a tree 2000, linocut base, and installation; The truth enamel glaze *PRIVATE COLLECTION effect (sequence 1), colour, sound, *PRIVATE COLLECTION 1.34 min; The truth effect (sequence *PRIVATE COLLECTION Kannon Bosatsu and Seishi Tracey Moffatt, Something more 7 2), colour, silent, 4.17 min; The truth Buddha c18th century, bronze Bosatsu 15th century, pair of 1989, Cibachrome photograph effect (sequence 3), colour, silent, and polychrome gilt-lacquered wood figures with 2.06 min; The truth effect (sequence openwork mandorla and loose PRIVATE COLLECTION Shaivite Saint Chandesha c17th 4), colour, sound, 1.42 min; The metal jewellery century, bronze Serge Spitzer, Molecular (SYDNEY) truth effect (sequence 5), colour, Luminous Buddha 10th century, 2010, recycled steel silent, 1.58 min; Limits of the model *PRIVATE COLLECTION gilt copper (sequence 3) 2006, single-channel Green Tara 15th century, gilt bronze Marichi c16th century, gilt bronze *PRIVATE COLLECTION digital video, 16:9, colour, silent, 13:36 min Shiva & Parvati on the bull, Nandi Nakajima SHUNKÔ, Beauties of Tracey Emin, I do not expect 2002, (Vrishabhavahana) 11th century, modern day 1895, 12 woodblock mixed media, appliqué blanket COLIN MCDONALD pink sandstone prints bound in a concertina album Anish Kapoor, Untitled 2002, Chu-Mihara school, Tachi and Walking Buddha, metalwork stainless steel and lacquer PRIVATE COLLECTION koshirae late 14th century–early Anselm Kiefer, Wege Der Jeffrey Smart, Boats at St Ives, *PRIVATE COLLECTION 15th century, steel Weltweisheit: Die Hermannsschlacht Cornwall 1949, pen and grey Goto school, Menuki with design Sir Thomas Lawrence, Richard 1978, mixed media, woodblock ink, wash on ivory paper; Ros of playing chinese lions late 18th Meade, 3rd Earl of Clanwilliam, Wednack’s farm, Cornwall 1949, print, synthetic polymer paint, century oil on canvas pen and blue ink, wash on two varnish Ishigoro ICHIJU, Tsuba with design sheets of ivory paper; Study for *PRIVATE COLLECTION Tony Oursler, Mo 2003, fiberglass, of Nabeshima style crest 19th ‘Spiaggia pescatore’ 1949 1949, James Archer, The parting of DVD projection, sound century pen and brown ink, watercolour Burns and Highland Mary 1858, Neo Rauch, Marznacht 2000, oil on on cream paper; Porto d’Ischia Kawamura JAKUSHI, Tsuba with oil on canvas paper; Gebot 2002, oil on canvas design of Chinese landscape 17th 1950, pen and brown ink on cream , For sale c1857, century; Fuchi-gashira with design paper; Renmark 1951, pen and James Collinson Dieter Roth, Insel To let of dragons in clouds 17th century brown and black ink, watercolour oil on canvas; c1857, (Schokoladenpyramide) c1971, oil on canvas chocolate, iron and plaster on Hachizaemon JINPO, Kozuka with on white paper; Hackney Terrace, wooden board in plexiglass box, design of a samurai on a tiger 18th Adelaide 1951, pen and brown Evelyn De Morgan, An angel century ink, wash on cream paper; Dawn piping to the souls in Hell mounted to wooden board 1951, pen and brown ink on white c1910–15, oil on canvas Hamano school, Menuki with SUGITO Hiroshi, Elephant & buckle wove paper; Noel reading 1951, Sir Frank Dicksee PRA, Chivalry 1999, diptych: acrylic, pigment design of guardian deities (Nio) pen and brown ink, watercolour 1885, oil on canvas and graphite on paper on canvas 18th century on white paper; The Trades Hall, , Worn out 1868, Kaga style, Kozuka with design Sydney 1957, pen and black ink on Thomas Faed oil on canvas of flying cranes 19th century cream paper; Studies for ‘Clown *PRIVATE COLLECTION Kunitoshi, Tanto and koshirae in the ruins’ 1957 1957, pen and Lord Frederic Leighton, An athlete Abraham Bloemart, Cymon and 1830–76, steel blue ink on cream paper; Study for wrestling with a python, white Iphigenia late 1620s, oil on panel ‘Sunstrip baths, Coogee’ 1961–62 marble; The sluggard, bronze; Shodai MASAHIRO, Sword 1961, pen and brown ink, wash on Study for ‘Flaming June’ c1895, Hans Bollongier, Vase of flowers post-1628, steel cream paper; Guiseppina 1964, pen oil on canvas with a snail and a caterpillar 1634, oil on panel Ozaki Masataka, Ko-wakizashi and black ink on white paper; Study John Linnell Snr, The return of and koshirae 1830–76, steel for ‘In the art gallery’ 1965 1965, Ulysses 1847–48, oil on canvas Andrea Camassei, St Peter in pencil, watercolour on ivory paper; prison baptising Sts Processus and MURAKAMI Michimasa, Sword Daniel Maclise RA, The wrestling Filomena 1966, pen and brown ink, May 1941, steel scene in ‘As you like it’. Scene – Martinian c1630–31, oil on canvas wash on white paper; Study for Hamano NAOYUKI, Kozuka with lawn before the Duke’s palace: Francesco Fontebasso, Rachel ‘Civitavecchia’ 1968 1968, pencil, design of tiger and bamboo 1781– Orlando about to engage with hiding the idols from Laban watercolour on white paper; Detail 89; Tsuba with design of Kanzan, Charles, the Duke’s wrestler 1854, c1740–60, oil on canvas drawing 1968, pen and brown ink Jittoku and tiger 1781–89 oil on canvas on white paper; Fiumicino Port Giacinto Gimignani, Time revealing Yamato-Mino SENSHUIN, Sword 1968, pencil on white paper; Study Richard Redgrave RA, The truth 1668, oil on canvas and koshirae 1331–34, steel sempstress 1846, oil on canvas for ‘Motor dump, Pisa I’ 1971 John Hoppner, Mademoiselle Ozaki SUKETAKA, Ko-wakizashi 1971, pen and brown ink, wash on Solomon J Solomon, Eve c1908, Hilligsberg c1781, oil on canvas 1802, steel white paper; Study for ‘Ventilators, oil on canvas The Domain’ 1981 1980, pencil Antonio Joli, Venice: the Dogana Satsuma TADASHIGE, Sword John Waterhouse, Mariamne on white paper; Study for ‘The city and San Giorgio Maggiore 1688–1704, steel 1887, oil on canvas bus station’ 1985–86 1985, pencil c1744–49, oil on canvas Waki-Goto school, Menuki with , Christ and the on white paper; Study for ‘The Artus Wolffort Jacques de Lajoue, Landscape design of playing chinese lions pool of Bethesda c1620–30, reservoir, Centennial Park’ 1988 with pyramid c1740, oil on canvas 1830–44 1987, pen and red and brown ink oil on canvas on white paper; Study for ‘The Sir Peter Lely, Portrait of Dorothy WILLIAM NEWELL PRIVATE COLLECTION reservoir, Centennial Park’ 1988 Mason c1675–80, oil on canvas Gengai or Genge, Two warriors 1987, pencil, watercolour on white Larry Bell, Cube #9 (amber) 2005, Corneille de Lyon, Portrait of on horses early 20th century, paper; Truck and tractor 1989, coloured glass coated with inconel John Calvin c1540?, oil on panel hanging scroll, ink and colour pen and black ink, watercolour Alessandro Magnasco, Landscape on silk on white paper; Study I for ‘The PRIVATE COLLECTION c1710–49, oil on canvas morning paper’ 1993–94 1992, Sean Cordeiro, Claire Healy, * pencil on white paper; Study II Primary producers 2007, 30 Sir Joshua Reynolds, The Holy Jingdezhen ware, Armorial plate for ‘The morning paper’ 1993–94 picnic blankets, 3600 oysters family c1790, oil on canvas

APPENDICES 10–11 113

Hubert Robert, Landscape with Plate: Gaius Popilus Laenas before Works lent by the Gallery screenprint, colour photo lithograph; temple c1765, oil on canvas the King of Syria c1545, maiolica A funny thing happened on the way ARTSPACE MACKAY George Romney, Portrait of William to the airport 1972, colour photo Plate: Orpheus clubbed to death Paolozzi and Kitaj Hamilton 1779–80, oil on canvas lithograph; The dynamics of biology by the frenzied Maenads of Ciconia 16.07.10–12.09.10 1972, colour photo lithograph; Poor Giuseppe Salviati, The mid 16th century, maiolica Sir Eduardo Paolozzi, Evadne Eleanor knows them by heart 1972, entombment early 1540s, photo lithograph; Write Dept P-1 for Meissen, Teapot with guilded in green dimension 1972, colour oil on canvas beautiful full-colour catalog 1972, chinoiseries c1730, porcelain; photo screenprint, collage; Will man Sassoferrato, The Virgin in prayer colour photo screenprint; Folks Tureen, cover and stand decorated outgrow the earth 1972, colour post 1640, oil on canvas always invite me for the holidays with gelber Lowe pattern 1730– photo lithograph; Fun helped them 1972, colour photo screenprint; Andrea Schiavone, Mythological 40, porcelain; Tea caddy with fight 1972, colour photo lithograph; What a treat for a nickel! 1972; subject c1560?, oil on panel Japanese-inspired decoration The ultimate planet 1972, colour colour photo screenprint; Yours c1740, porcelain; The Spanish photo screenprint; See them? A Fransesco Solimena, Noli me till the boys come home 1972, lovers Snuff box baby’s life is not all sunshine 1972, tangere 1718–20, oil on canvas c1740, porcelain; colour photo screenprint; Headlines c1750–60, porcelain photo lithograph; Sack-o-sauce David Teniers II, Landscape with 1972, colour photo screenprint, from horrors ville 1972, colour a man feeding chickens 1634, oil Du Paquier, Ollio pot and cover colour photo lithograph, collage; photo lithograph; Trigger assembly on panel c1735–40, porcelain Take-off 1972, colour photo removal 1972, colour photo Abraham van Beyeren, Still life lithograph; a) Hazards include dust, screenprint, colour photo lithograph with fruit, a glass and a Chinese Vincennes, Quadrilobe cup and hailstones and bullets b) Survival R B Kitaj, Workers in the dawn Wanli porcelain bowl 1656, saucer c1745–50, porcelain; Pair 1972, diptych: photo lithograph; by George Gissing 1969, colour oil on panel of miniature vases 1754, porcelain; Was this metal monster master screenprint, collage; With Scott to Teapot and cover 1754, porcelain Quiringh van Brekelenkam, or slave 1972, colour photo the Pole 1969, colour screenprint; screenprint; Meet the people 1972, Edward Weston 1969, colour Man cleaning fish with two children Manufacture National de Sevres, c1660, oil on panel colour screenprint, colour photo screenprint; Industrial cammouflage Triangular tea service 1762, lithograph, collage; Improved beans manual 1969, colour screenprint; Jan van Goyen, Landscape with porcelain; Tea caddy and cover 1972, photo lithograph; Refreshing Articles and pamphlets 1969, colour a monastery 1642, oil on panel with pink ground and flowers 1759, and delicious 1972, colour screenprint; Towards a better life Cornelis van Haarlem, Christ porcelain; Cup and saucer with photo lithograph; You’ll soon be 1969, colour screenprint; Max and triumphant 1632, oil on panel ‘Point d’Hongrois’ decoration 1765, congratulating yourself! 1972, photo the white phagocytes 1969, colour porcelain; Cup and saucer with dark Maria van Oosterwyck, Flowers lithograph; Goering with wings screenprint; Bub and Sis (Rimes no blue ground 1775, porcelain; Pair of and grapes hanging from a ring, 1972, photo lithograph; Real gold 3) 1969, colour screenprint; Short figurines c1760?, porcelain; oil on panel 1972, colour photo screenprint; takes 1969, colour screenprint, Cup and saucer with black ground Fantastic weapons contrived 1972, collage; The pursuit of the house- Salomon van Ruysdael, River c1790–93, porcelain photo lithograph; Has Jazz a future? boat 1969, colour screenprint; scene with a fort, sailing ships 1972, colour photo screenprint, The Caliph’s design 1969, colour Capodimonte, A fisherman and and figures 1659, oil on panel colour photo lithograph; Vogue screenprint; How to read 1969, companion c1750, porcelain Globular jar, maiolica gorilla with Miss Harper 1972, colour screenprint; Albyn or Albarello, maiolica Chelsea porcelain, Goat and bee photo lithograph; Electric arms and Scotland and the future 1969, hands also shaving love is better colour screenprint; The people of Drug bottle, maiolica jug c1745–49, porcelain; Figure of a pheasant c1750–52, porcelain; than ever 1972, photo screenprint, the abyss 1969, colour screenprint; Plate: Europa and the Bull Cup and saucer decorated with photo lithograph; It’s daring it’s Coming of age in Samoa 1969, c1552–60, maiolica flowers c1755, porcelain; Cup and audacious 1972, colour photo colour screenprint; Partisan Review Broad-rimmed bowl c1490–1520, saucer decorated with scenes from lithograph; North Dakota’s lone 1969, colour screenprint; The maiolica Aesop’s fables 1752, porcelain; sky scraper 1972, colour photo wording of police charges 1969, lithograph; Will alien powers invade colour screenprint; City of Burbank, Dish, Hercules and Cretan bull Tureen decorated with birds and the earth? 1972, photo screenprint; California, Annual Budget 1968– c1550, maiolica flowers c1756–58, porcelain Windtunnel test 1972, colour photo 1969 1969, colour screenprint; Dish: woman with a basket of fruit Bow porcelain, Piping shepherd screenprint, colour photo lithograph; Zeppelin nights 1969, colour mid 16th century, maiolica and shepherdess (pair) c1755, New life for old radios 1972, colour screenprint; The prevention of Dish: figures on horseback c1550, porcelain photo lithograph; 2000 horses destitution 1969, colour screenprint; maiolica and turbo-powered 1972, colour XYZ – photo eye 1969, colour Worcester, Tureen in the shape of photo screenprint; I was a rich screenprint; The Congo and other Two-handled vase circa 1530–40, a partridge c1760–65, porcelain; man’s plaything 1972, colour photo poems 1969, colour screenprint; maiolica Pair of cups and saucer c1770, screenprint, collage; Never leave Battle songs of the International Fluted dish: the death of Socrates porcelain well enough alone 1972, colour Brigade 1969, colour screenprint; c1545, maiolica photo lithograph; No one’s sure The Jewish question 1969, colour Plate Sprouted drug-jar c1500–25, Longton Hall, c1755–60, how good it is 1972, colour photo screenprint; Die Donau 1969, maiolica porcelain screenprint, colour photo lithograph; colour screenprint; The Bronxville Man holds the key 1972, colour portfolio 1969, colour screenprint; Albarello c1570–90, maiolica PRIVATE COLLECTION photo screenprint; Merry Xmas Lou Gehrig – pride of the Yankees Albarello early 17th century, , Mosman’s Bay with T–1 space suits 1972, photo 1969, colour screenprint; Mark maiolica 1888, pencil, watercolour on paper lithograph; A new brand of brilliance Rothko 1969, colour screenprint; Globular jar, maiolica 1972, colour photo lithograph; China of today: the yellow peril MICHAEL RILEY FOUNDATION 1969, colour screenprint; Transition Plate: warrior c1560–80, maiolica Hi-ho 1972, colour screenprint, Michael Riley, cloud series, colour photo lithograph, collage; act 1927 1969, colour screenprint; One of a pair of Albarelli c1620–40, 10 inkjet prints on banner paper You can’t beat the real thing 1972, Der Russische Revolutions film maiolica colour photo screenprint; It’s a 1969, colour screenprint; London One of a pair of Albarelli c1620–40, *DEREK SICKLEN AND psychological fact pleasure helps by night 1969, colour screenprint, maiolica VICTORIA BRIEN your disposition 1972, colour photo collage; Vampyr 1969, colour screenprint, collage; Hollywood: Albarello c1600?, maiolica Confucius and his seventy-two lithograph; Mother goose goes disciples 15th century–17th century, Hollywood 1972, colour photo wie es Wirklich ist 1969, colour Albarello c1550, maiolica handscroll, ink and colour on silk screenprint; Shots from peep show screenprint; Fighting the traffic Dish: conversion with a heathen 1972, photo screenprint; Lessons in young girls: or the white slave c1655–65, maiolica of last time 1972, colour photo trade 1969, colour screenprint,

114 ART GALLERY OF NSW ANNUAL REPORT 10–11 collage; Four in America 1969, Museum of Contemporary Art John Philippides, Portrait study of design (Niwuda) c1960, natural colour screenprint; Intelligence 19.08.10–11.11.10 the artist’s mother 2008, pencil on pigments on bark Bulletin June 1944 1969, colour University of white Canson paper Queenie McKenzie, Ridge Country screenprint; The defence of Technology Art Museum on the way to Banana Springs NEW ENGLAND REGIONAL terrorism 1969, colour screenprint; 04.02.11–03.04.11 1998, natural pigments and binder O’Neill 1969, colour screenprint; ART MUSEUM Tasmanian Museum and Art Gallery on canvas We have not forgotten 1969, colour Elioth Gruner: light and landscape 07.10.11–20.11.11 Ronnie Tjampitjinpa, Untitled screenprint; Songs of a sour-dough 30.10.10–06.02.11 1969, colour screenprint, collage; Fremantle Arts Centre 1994, synthetic polymer paint Elioth Gruner, Spring frost 1919, Edward Hopper 1969, colour 30.07.11–24.09.11 on linen canvas; Untitled 2001, oil on canvas; Morning light 1916, screenprint; Plague: a manual for synthetic polymer paint on linen Julie Fragar, Looking for d-rection oil on canvas on cardboard; Milking medical and public health workers canvas 2009, oil on board; JUMP SHIP time (Araluen Valley) 1922, oil 1969, colour screenprint; Hanging Clifford Possum Tjapaltjarri, Tim JUMP 2009, oil on board; Filling in on canvas on paperboard; New in chains 1969, colour screenprint; Leura Tjapaltjarri, the blanks 2009, oil on board; Lie to England 1921, oil on canvas; Frosty Reklame: durch das Schaufensten 1976, synthetic polymer paint on me 2008, oil on board; The sculptor sunrise 1917, oil on canvas on 1969, colour screenprint; La lucha canvas made quite a good woman (get up) wood; Summer morning 1916, del pueblo español por su libertad 2008, oil on board oil on canvas; Snapdragons 1927, Binyinyuwuy, Djeritmingin Spirit 1969, colour screenprint; Benia Krik oil on wood; Daffodils 1927, – Woolen River 1960, (collected) 1969, colour screenprint; Permit me PALAZZO STROZZI, FLORENCE, oil on wood natural pigments on bark voyage 1969, colour screenprint ITALY Tom Djawa, Bark painting (Teredo TARRAWARRA MUSEUM OF ART HISTORIC HOUSES TRUST Bronzino worms in the mangroves) circa 23.09.10–23.01.11 Brett Whiteley – connections 1960, natural pigments on bark Painting The Rocks: 06.11.10–19.03.11 the loss of old Sydney Agnolo Bronzino, Cosimo I Gunguyuma, The thunder man. de’Medici in armour c1545, Brett Whiteley, Untitled painting Cliffs NW of Yirrkala c1960, natural Museum of Sydney oil on poplar 1961, oil, tempera and collage on pigments on bark 07.08.10–28.11.10 hardboard; Untitled painting II 1961, Samuel Lipundja, Bark painting Julian Ashton, Back of old house, AUSTRALIAN CENTRE FOR oil, pencil, collage on hardboard; (diamond pattern) c1959, natural Clyde St Miller’s Point c1895, pencil CONTEMPORARY ART Sigean drawing IV 1960, charcoal, pigments on bark and watercolour on paper; Clyde Mortality pencil, white chalk on white laid Nanyin Maymuru, Sacred dance St, Miller’s Point 1901, watercolour 07.10.10–28.11.10 paper on card; Sigean 1963, ground of the Mungalili (Manggalilji) and pencil on paper; Old houses, charcoal on white wove Giulio Paolini, L’altra figura 1984, group c1960, natural pigments on Cumberland Street c1901, pencil, J Annonay paper; Woman in bath plaster bark watercolour, opaque white on white 1963, pencil, charcoal on paper; watercolour paper; Cambridge St, COMPLESSO DEL VITTORIANO, Bathroom drawing 1963, charcoal Binyinyuwuy, Trees and flying fox looking towards the Argyle Cut ROME, ITALY on paper; Matches 1985, wood, camp c1950s, natural pigments 1901, watercolour and pencil on on bark : timeless country plaster, synthetic polymer paint on paper white rectangular base; Self portrait – modern city MUSEUM OF CONTEMPORARY Harold Cazneaux, Self portrait – in the studio 1976, oil, collage, 07.10.10–20.02.11 ART Harold Cazneaux 1904, platinotype; hair on canvas; Self portrait after Old cottages, The Rocks c1912, Vincent van Gogh, Head of a three bottles of wine 1971, oil and Wamud Namok bromoil photograph; Argyle Cut peasant 1884, oil on canvas ink on board; Self portrait drawing 08.12.10–20.03.11 (looking west) c1912, gelatin silver calligraphically 1975, black ink on ART GALLERY Wamud Namok AO, Bolung photograph brown paper; The balcony 2 1975, Kaberrekuwan kare Sydney 2003, Looking for faeries: George W Lambert, Julian Ashton oil on canvas; Lavender Bay in the natural pigments on mounted the Victorian tradition 1928, oil on canvas rain 1978, oil, synthetic polymer paper; Bulandjalarnlan 2004, natural 16.10.10–28.11.10 paint on canvas on hardboard; pigments on eucalyptus bark; Four STATE LIBRARY OF QUEENSLAND John Batten, Snowdrop and the Study for ‘Summer at Sigean’ catfish c1959, natural pigments The Lindsays seven little men 1897, tempera on 1962, charcoal, collage, graphite on bark; Kabirriyalyolme (the gesso on canvas on paper; Somewhere in summer discussion) 2003, natural pigments State Library of Queensland 1961, oil, tempera, collage, string on paper 14.08.10–28.11.10 Harold Cazneaux, Grecian dance 1924, gelatin silver photograph and canvas on board NATIONAL MUSEUM OF Toowoomba Regional Art Gallery Brett Whiteley, John Dellow, 18.02.11–01.04.11 Alfred Chambers, Child and roses AUSTRALIA c1920, gelatin silver photograph; Leaves 1984–85, ceramic vase with , Illustration for ‘Naughty Yalangbara Ruby Lind Untitled (children at window) 1921, blue and white glaze Sophia’, pen and black ink on gelatin silver photograph National Museum of Australia paper MUSEO THYSSEN-BORNEMISZA, 09.12.10–31.07.11 Thomas Gotch, My crown and Daryl Lindsay, Dancer combing her MADRID, SPAIN sceptre 1891, oil on canvas Museum and Art Gallery of the hair 1937, pen and black ink, pen Jardines impresionistas William Howells, The goblin’s and blue ink, wash on ivory wove 16.11.10–14.02.11 25.11.11–17.06.12 paper; Waiting their turn, charcoal, curtain c1929, bromoil photograph Camille Pissarro, Peasants’ Western Australian Museum wash, watercolour on cream wove John Kauffmann, Fantasy c1920, houses, Eragny 1887, oil on canvas 17.11.12–24.02.13 watercolour paper carbon photograph Mawalan Marika, Mathaman Norman Lindsay, The embarkation Sydney Long, Fantasy c1916–17, MUSEUM LUDWIG, COLOGNE, Marika, Wandjuk Marika, c1908, pen and ink; The Roman oil on canvas GERMANY , Djan’kawu creation story soldier 1908, pen and ink; Tom Woreimo Arthur Streeton, A bush idyll 1896, Remembering forward: An exhibition 1959, natural pigments on bark O’Bedlam 1918, etching, engraving, oil on wood of Major Australian Indigenous printed in brown ink on paper; The artists Mawalan Marika, Djan’kawu J W Tristram, A sea fantasy 1905, picnic god 1907, pen and black ink 20.11.10–20.03.11 creation story 1959, natural on white wove paper watercolour pigments on bark; Djan’kawu Rover Thomas, Ngarin Janu creation story 1959, natural MUSEUM OF CONTEMPORARY GRAFTON REGIONAL GALLERY Country c1988, earth pigments in pigments on bark; Djan’kawu ART John Philippides synthetic polymer resin on canvas creation story 1959, natural Primavera 2010 27.10.10–12.12.10 Binyinyuwuy, Yirritja honey bee pigments on bark; Djan’kawu

APPENDICES 10–11 115 creation story 1959, natural Roland Wakelin, The bridge 1958, Jean-Antoine Watteau, Study of Mabel Pye, The mountain 1930s, pigments on bark; Figure of oil on hardboard three male figures c1713, red chalk colour linocut on cream laid paper Djan’kawu, ancestral being of the Ethel Spowers, Wet afternoon CAMPBELLTOWN ARTS CENTRE MUSEO DE ARTE Dhuwa moiety 1960, (collected) 1929–30, linocut, printed from four CONTEMPORÁNEO DE wood, human hair, bark fibre, Lineage: David Fairbairn selected blocks on thin ivory laid tissue parakeet feathers, white feathers, portraits 1999–2010 MONTERREY (MARCO), MEXICO Ron Mueck natural pigments; Figure of Orange Regional Gallery QUEENSLAND UNIVERSITY 17.03.11–31.07.11 Djan’kawu, ancestral being of the 11.02.11–27.03.11 OF TECHNOLOGY CULTURAL Dhuwa moiety 1960, (collected) Ron Mueck, Untitled (old woman PRECINCT, QLD Goulburn Regional Art Gallery wood, human hair, bark fibre, in bed) 2000–02, mixed media William Robinson: the transfigured 12.04.11–07.05.11 parakeet feathers, white feathers, landscape natural pigments Maitland Regional Art Gallery CASTLEMAINE ART GALLERY Queensland University of 01.07.11–21.08.11 AND HISTORICAL MUSEUM Wandjuk Marika, Djan’kawu story Technology Art Museum (The sun rising) 1959, natural Mosman Art Gallery Scottish Painters in Australia 15.04.11–14.08.11 pigments on bark 03.09.11–09.10.11 02.04.11–08.05.11 William Robinson, Creation series Caloundra Regional Art Gallery Robert Campbell, Avenue du HAWKESBURY REGIONAL – man and the spheres 1991, 27.10.11–05.12.11 Maine, Paris c1930, oil on canvas GALLERY triptych: oil on linen; (Untitled) Coffs Harbour Regional Gallery John Mather, A woolshed, Victoria 1981, pencil : Hawkesbury 20.01.12–18.03.12 1889, oil on canvas 10.12.10–02.02.11 NATIONAL GALLERY OF VICTORIA Campbelltown Arts Centre Sydney Ure Smith, Ah Lum’s farm UNIVERSITY ART GALLERY, Eugene von Guerard: artist and 31.03.12–27.05.12 Windsor c1923, etching, printed in traveller David Fairbairn, Portrait of Tao black ink with plate tone on cream Japan in Sydney: Professor Sadler Ian Potter Centre: NGV Australia Triebels 1998, etching, charcoal, laid paper and modernism 1920–30s 15.04.11–14.08.11 black ink and white chalk 03.04.11–24.07.11 HISTORIC HOUSES TRUST , Music 1927, colour 17.12.11–25.03.12 An Edwardian summer: the linocut, printed in colour from five photography of Arthur Wigram Allen Erased: contemporary Australian blocks on thin cream laid tissue; National Gallery of Australia drawing 27.04.12–15.07.12 Museum of Sydney Nocturne, Wynyard Square 1932, 24.02.11–26.03.11 11.12.10–26.04.11 linocut, printed in black ink on thin Eugene von Guérard, Waterfall, Jonathan Jones, untitled (graphite ivory mulberry laid paper Strath Creek 1862, oil on canvas; Grace Cossington Smith, g) 2005, charcoal, graphite on Mount Abrupt, the Grampians, Reinforcements: troops marching Lovis Corinth, The kiss 1921, paper; untitled (graphite b) 2005, drypoint Victoria 1856, oil on paper on c1917, oil on paper on hardboard charcoal, graphite on paper; canvas; Milford Sound, New Adrian Feint, The goddess and the A Henry Fullwood, Wet evening, untitled (graphite d) 2005, charcoal, Zealand 1877–79, oil on canvas; aspidistra 1934, wood engraving, George Street, Sydney 1889, graphite on paper; untitled (graphite A fig tree on American Creek near printed in black ink on cream charcoal, white pastel and stump c) 2005, charcoal, graphite on Wollongong, NSW 1861, oil on Japanese (kozo) paper paper canvas QUEENSLAND ART GALLERY Erich Heckel, On the shore 1923, QUEENSLAND ART GALLERY 21st century: art in the first decade SH ERVIN GALLERY woodcut 18.12.10–26.04.11 Wendy Sharpe: the imagined life Ernst Ludwig Kirchner, Portrait Art, love and life: Ethel Carrick and E Phillips Fox Ricky Swallow, Killing time 2003– 26.02.11–10.04.11 of Ludwig Schames 1918, woodcut 16.04.11–14.08.11 04, laminated Jelutong, maple Wendy Sharpe, Red dress 2007, Max Klinger, Bookplate of Walter charcoal, pastel on paper Giesecke 1857–1920, etching Ethel Carrick, La marée haute STATE THEATRE CENTRE a Saint-Malô (High tide at St Malô) Käthe Kollwitz, The mothers 1919, OF c1911–12, oil on canvas; Flower INSTITUTE OF CONTEMPORARY lithograph; Maria and Elisabeth market, Nice, oil on canvas Opening of the Heath Ledger ARTS, SINGAPORE 1928, woodcut E Phillips Fox, Art students 1895, Theatre Collection display loan Edvard Munch, The sick girl 1896, oil on canvas State Theatre Centre 01.03.11–28.03.11 etching with drypoint of Western Australia William Kentridge, Tide table Sir William Nicholson, J for Jockey TWEED RIVER REGIONAL ART 20.01.11–30.01.11 2003, animated film, 35mm film, 1897, hand coloured woodcut GALLERY video and DVD transfer with sound, Western Australia Museum ONCHI Kôshirô, A face 1914, Collection display loan 8:53 min 01.03.11–31.05.11 colour woodcut; Lyric I 1914, 13.05.11–04.12.11 Vincent Fantauzzo, Heath 2008, NEWCASTLE REGION ART woodcut Elioth Gruner, Valley of the oil on canvas GALLERY Max Pechstein, Conversation Tweed 1921, oil on canvas Less is more: Giorgio Morandi and 1910, woodcut GOULBURN REGIONAL ART HAYWARD GALLERY, Gwyn Hanssen Pigott , The Bridge, GALLERY LONDON, UK 05.03.11–08.05.11 October 1929 1930, linocut, printed Australian modernists: their Tracey Emin: love is what you want , Still life 1933, in black ink on thin ivory laid paper responses to the building of the Giorgio Morandi 18.05.11–29.08.11 , Harbour Sydney Harbour Bridge etching in black and brown ink; Still foreshore 1925, woodcut, printed Tracey Emin, I do not expect 2002, 10.02.11–25.03.11 life with five objects 1956, etching; Still life 1949, oil on canvas; Still life in black ink, hand coloured with mixed media, appliqué blanket Grace Cossington Smith, Circular 1957, oil on canvas gouache on thin cream laid tissue; Quay from Milson’s Point 1929, Nude 2 c1925, woodcut, printed AUSTRALIAN GALLERIES, coloured pencil, crayon ROYAL ACADEMY OF ARTS, in black ink on thin ivory tissue MELBOURNE Margaret Preston, Sydney Bridge LONDON, UK , Summer 1930, Pam Hallandal: disaster series c1932, woodcut, printed in black Watteau’s drawings: virtuosity and woodcut, printed in black ink, 02.06.11–26.06.11 ink, hand coloured with gouache on delight hand-coloured on thin ivory Pam Hallandal, Tsunami 2007–09, cream Japanese laid paper 12.03.11–05.06.11 mulberry paper ink, charcoal, pastel on paper

116 ART GALLERY OF NSW ANNUAL REPORT 10–11 NATIONAL GALLERY OF VICTORIA Peter Rushforth, Jar 1960, glazed Tony Tuckson, Interior with figures : art and design. Klimt, stoneware; Bottle jar 1964, glazed 1954, oil on canvas Schiele, Hoffmann, Loos stoneware; Bowl 1962, glazed Fred Williams, Lal-Lal Falls 1976, stoneware NGV: International oil on canvas 18.06.11–09.10.11 Bernard Sahm, Bottle vase 1963, stoneware; Bowl 1963, glazed THE HON NICK GREINER Berthold Löffler, Arts Review, earthenware Kenneth Green, Fallen tree 1968, Vienna 1908, colour lithograph oil on hardboard poster Tom Sanders, Bowl 1968, stoneware Wallace Thornton, Landscape POWERHOUSE MUSEUM Derek Smith, Copper plaque Binnia Downs 1946, oil on canvas (renewed long term loan) (round centre with dragon design, Rhys Williams, Ripples in the bay Les Blakebrough, Covered storage flat octogonal rim) 1912, beaten 1948, oil on canvas on plywood jar 1962, stoneware, reduced iron copper INDUSTRIAL RELATIONS glaze; Bowl 1967, stoneware with Elizabeth Söderberg, On the wing COMMISSION grey celadon type glaze, also motifs 1981, stoneware Sir Arnesby Brown, August Anne Dangar, Tobacco jar with lid Hiroe Swen, ‘Ovaloid’ pot 1967, morning 1920, oil on canvas 1937, earthenware, painted, glazed stoneware Frederick McCubbin, Landscape Dish Harry Davis, 1970, stoneware Peter Travis, ‘Round flanged form’ 1914, oil on canvas jar 1964, stoneware May Davis, Bowl 1964, stoneware Michael Shannon, Autumn with wax resist and wood ash glaze Robin Welch, Ash-tray 1965, landscape, Heathcote no 1 1985, Anne Douglas, Covered jar with glazed stoneware oil on canvas cane handle 1964, stoneware Furnishing loans Roland Wakelin, Richmond Mollie Douglas, Decanter 1961, landscape, Tasmania 1944, stoneware, wax resist decoration, GOVERNMENT HOUSE – oil on paperboard glaze HISTORIC HOUSES TRUST Fred Williams, Landscape 1969, Ivan Englund, ‘The unlimited’ vase Robert Johnson, Macleay River oil on canvas 1966, stoneware; ‘Form’ vase 1965, 1958, oil on canvas; Out west, oil stoneware, glazed on canvas Patricia Englund, Bowl 1963, Tom Roberts, Harrow Hill c1910– carved mangrove wood 12, oil on canvas on plywood Toni Carver Farley, Plate 1963, NEW SOUTH WALES stoneware, pine ash and temmoko PARLIAMENT HOUSE glaze James R Jackson, Summer day, Wanda Garnsey, Float prop 1968, Mona Vale 1937, oil on canvas on earthenware, enamel paperboard Bill Gregory, Teapot 1962, Sydney Long, Reflections, stoneware, with cane handle, brown McDonald River c1931, oil on glaze canvas Gwyn Hanssen Pigott, Bottle Dora Meeson, Ville Franche- 1962, glazed stoneware Sur-Mer 1927, oil on linen H R Hughan, Covered jar with cut sides 1969, stoneware, tea SUPREME COURT OF dust glaze; Dish 1968, stoneware, NEW SOUTH WALES tenmoku glaze with wax resistant , Landscape c1955, decoration; Vase 1962, glazed oil on hardboard; Bush landscape stoneware with rocks 1952, oil on hardboard Eileen Keys, ‘Ancient symbols’ Will Ashton, Pont Philippe IV, Paris, covered jar 1963, stoneware oil on canvas Alex Leckie, Wine jar 1964, glazed Douglas Dundas, Chianti country stoneware 1929, oil on canvas Col Levy, Bowl 1977, stoneware, George Lawrence, Autumn bizen ware; Bowl 1964, stoneware, morning, Hyde Park 1948, iron glaze, magnesia glaze oil on paperboard Carl McConnell, Vase 1963, Sidney Nolan, Ned Kelly at the stoneware, white feldspathic glaze river bank 1964, oil on hardboard; Ivan McMeekin, Vase, stoneware; Policeman floating in the river Vase 1962, glazed stoneware with 1964, oil on hardboard; Kelly and brush decoration policeman 1964, oil on hardboard Milton Moon, Bottle 1962, glazed Desiderius Orban, Village church stoneware in c1925–26, oil on canvas Frederick Olsen, Wine bottle 1970, on paperboard on plywood stoneware, high iron glaze Lloyd Rees, Dusk at North Ryde Alan Peascod, Casserole with 1948, oil on canvas cover 1960, stoneware, feldspathic Jeffrey Smart, Alma Mahler feeding iron glaze the birds 1968, oil on canvas

APPENDICES 10–11 117 STAFF, Copyright and image assistant Collection systems manager Senior curator, Australian works VOLUNTEERS Tracey Keogh Jesmond Calleja BA on paper Print production manager/studio Coordinators, study room Hendrik Kolenberg AND INTERNS coordinator Deborah Jones BA, Grad Dip Curator, Australian prints Cara Hickman B Sc (Arch) (Museum Studies) Anne Ryan BA (Hons), M Art New media design manager Matt Cox BA (Indonesian Studies), Admin (on maternity leave) Jo Hein MA (Art History and Theory) Senior curator, Aboriginal and Torres Staff Senior graphic designers Senior curator, European art, Strait Islander art Analiese Cairis pre-1900 Hetti Perkins BA as at 30 June 2011 Michael Donohue Richard Beresford BA (Hons), Curators, Aboriginal and Torres MBA, PhD Graphic designers Strait Islander art Director, chief curator Karen Hancock Curator, European prints, drawings Cara Pinchbeck BA (Visual Arts), Edmund Capon AM, OBE, M Phil Matt Nix and watercolours MA (Visual Arts) Peter Raissis BA (Hons) Jonathan Jones BA (Fine Arts) Executive personal assistant to the Manager, AV services director Laurence Hall BA (Comm) Assistant registrar (curatorial), Coordinators, Aboriginal programs Lisa Franey BA (Hons) western art Amanda Peacock BA (Visual Arts), Coordinators, AV services Judy Peacock BA, Grad Dip App Dip Ed Curator, special exhibitions John Harman Sc, M Art Admin Ashlie Hunter BCA (Visual and Terence Maloon BA (Hons), Mark Taylor Performing Arts) (on maternity leave) Dip Art and Design Curator, contemporary art Film program coordinator Natasha Bullock BA (Hons), Grad Head, librarian services Benefaction manager Robert Herbert Dip (Art Curatorship and Museum Steven Miller BA (Hons), B Theol, Jane Wynter BA, LLB Project officer Management), MA (on maternity Grad Dip IM (Arch) Development coordinators Anne Tregeagle leave) Senior librarian/technical services Fiona Barbouttis BA, Dip Ed, Manager, building services Assistant curator, contemporary art Kay Truelove BA, Dip Lib M Art Admin Phil Johnstone Anneke Jaspers BArtTh, MA Clare Temple Librarians Manager engineering services (Museum Studies) Claire Eggleston Deputy director Ray Cunico Adv Dip Mech Senior curator, photographs Vivian Huang B App Sc, LIM Anne Flanagan Dip Int Design, Engineering Judy Annear BA Assoc Dip Arts Dip Ed, Dip Ed Vis Arts Maintenance officer Assistant curator Robyn Louey BL Arch, Grad Dip Curator, special exhibitions Rob Schumacher Vigen Galstyan MA IM (Lib) Jacqueline Strecker BA (Hons), Archivist PhD HVAC plant technicians Head curator, Asian art Julio Angulo Jackie Menzies OAM, BA (Hons), Eniko Hidas BA (Fine Arts), BVA, Senior exhibitions manager Guiseppe Geranio MA Dip Lib Tech, MA (Art History and Erica Drew BA (Hons) Theory) Trade assistant Curator, Japanese art Exhibitions assistant Lindsay Drummond Khanh Trinh Pompili BA, MA, PhD Head, public programs Diarne Wiercinski BA (Fine Arts) Sheona White BA, Post Grad Prof Senior lighting technician Curator, South and Southeast Exhibitions project officer, Art Studies and Visual Arts Simm Steel Asian art installation Senior coordinator, public and Senior installation technician Alexandra Green BA, MA, PhD, Stefanie Tarvey tertiary programs and Art After Nikolaus Rieth MBA Senior registrar, exhibitions Hours Senior coordinator, Asian programs Charlotte Davy BA (Art History), Installation officers Josephine Touma Ann MacArthur BA (East Asian Adv Dip (Fashion Design) Mary-Anne Cornford Public programs coordinator Brett Cuthbertson Studies), M Intl Mgmt Registrar, exhibitions Andrew Yip BA (Hons) (Art History), John Freckleton Assistant registrar (curatorial), Charlotte Cox BA, Grad Dip PhD Peter Tsangarides Asian art (Works of Art) Coordinator, contemporary art Stores officer Natalie Seiz BA (Hons), M Art Assistant registrar public programs Steve Peters JP Admin Lauren Parker BA (Comm), BA Alexandra Gregg Stores assistant Coordinator, Asian programs (Int Studies), M (Museum Studies) Coordinator, photography education Alyosha Pearce and coordinator Community Ticketing supervisors Ambassadors programs Senior display technician, carpentry Chris Aronsten Chye Lim PhD (Phil) Amanda Peacock BA (Visual Arts), Carmel Crisp Bill Viola Dip Ed Head curator, Australian art Senior display technician, painting Ticketing officer Wayne Tunnicliffe BA (Hons), Art After Hours coordinator Michael Brown Minette Brewin MA, M Art Admin Ashlie Hunter BCA (Visual and Display technicians, carpentry Performing Arts) (on maternity leave) Information desk supervisor Senior curator, Australian art Gary Bennett Jeanette Klease (on maternity (19th century and modern collection Senior coordinator, education Luke James leave) to 1960) programs Ram Mudaliar Receptionists Deborah Edwards BA (Hons), Victoria Collings MA, BA (Hons), Michelle Berriman BA (Hons), Display technicians, painting M Phil PGCE, Nat Dip Daniel Green Dip HE (on maternity leave) Assistant curators, Australian art Coordinator, 7–12 education Alan Hopkinson Candice Reid-Latimer Helen Campbell BA (Hons), Grad programs Theodore Tsanidis Managing editor Dip (Museum Studies) Leeanne Carr B Ed (Visual Arts) Julie Donaldson Assistant director, curatorial services Denise Mimmocchi BA (Hons), Senior coordinator, online public Head curator, Western art Manager, copyright MA (Art History and Theory) programs Curator, international modern and Donna Brett BA (Visual Arts), Natalie Wilson BA (Visual Arts), MA Jonathan Cooper Dip Art Ed contemporary art MA (Art History and Theory) (Art History and Theory) Access and K–6 programs Anthony Bond OAM B Ed (Hons) Copyright and image coordinator Assistant registrar (Curatorial), coordinator Curatorial assistant Michelle Andringa BA (Art History), Australian art Danielle Gullotta Macushla Robinson MA (Fine Arts) Emma Collerton BA (Visual Arts), M Mus Studies

118 ART GALLERY OF NSW ANNUAL REPORT 10–11 Coordinator, Open Gallery and Head, photographic studio Book buyer and stock control Samih Baket Artside-In Jenni Carter Denise Faulkner BA (Fine Arts) Ian Bolt Louise Halpin Photographers Product developer Arthur Boucas Clerical manager Felicity Jenkins Maryanne Marsh Alan Boyd Camilla Shanahan Diana Panuccio Kevin Callope Wholesale and childrens books Anthony Caracoglia Bookings officers Mim Stirling Cassandra Willis Carley Wright BA (Photography) Ana Crespi Amber Reid Wholesale stock and sales officer Romeo Domingo Karen-Anne Coleman Assistant director, finance Lynne Barwick BA (Visual Arts), Terry Forde Rachael Hallinan and resources MA (Writing) Kathryn Glasgow Image librarian researcher John Wicks FCPA, B Bus David Grech (Accounting) Stock and sales officer Eric Riddler Daniel McCready Brian Hope-Johnstone Project officer Sheraj Hundal Coordinator, Brett Whiteley Studio Stores officer Jackie Bullions Rita Ibrahim Alec George Dip Ed Bevynn Wilkerson Carlos Kacanas Administrative assistant, Brett Financial controller Venue manager Peter Karamanis Whiteley Studio Surangani Kulasinghe B Bus, Caroline Harvey John Kavallaris Emma Collerton BA (Visual Arts), FCMA, CPA, AIB, IMS Dip Rajesh Kodwani M Mus Studies Accounts payable supervisor Venue coordinator Juan Lira Graeme Callaghan Karen Shapiro-Lee Senior conservator, paintings Ramon Lozada Assistant director, marketing, Paula Dredge B App Sc (Cons), Accounts payable clerk Rashed Mahmud development and membership BA (Fine Arts) (on leave) Maria Montenegro Manish Malik Kirsten Downie Conservators, paintings Management accountant Stuart Matheson Simon Ives Bernadine Fong B Bus Media relations managers Jamil Mati Katherine Wilson (Banking and Finance) Susanne Briggs Assoc Dip B Emil Matrljan Studies, Dip Counselling Kevin Nguyen Andrea Nottage Accounting clerks Claire Martin BA (Hons), Dip Ray Nguyen Head, works on paper conservation Rita Briguglio Marketing Tom Pang Carolyn Murphy BA, Grad Dip Viva Chelvadurai Gregory Petterson (Museum Studies), B App Sc Marketing executive Manager, information and Dominque Pirrie (Cons), MA (Writing) Sangeeta Chandra technology Stephen Ransome Head of business development Conservator, works on paper Maurice Cirnigliaro M Bus Peter Rawlins Leith Brooke BA (Comm) Analiese Treacy BA (Hons), MA (Information Technology) Debasish Ray (Fine Art Conservation) Manager, network operations Business development executives Sharat Sharma Conservator Theo Papalimperis Penny Cooper BA (Art History) Martin Smyth Clare Temple Lisa Siale Sarah Bunn Front of house systems manager Joan Standfield Head, objects conservation Deepak Duhan B Mc (IT), MBA Business development assistant Russell Ward Donna Hinton MA App Sc (Cons), Susie Rugg Help desk officers Gisela Weber Dip Museum Tech Adam Dunn Information officers Conservator, objects Roseann Papalimperis Minette Brewin Lucinda Chambers Volunteers Kerry Head Manager, web Kate Dorrough AGS VOLUNTEER GUIDES Head, frames conservation Brooke Carson-Ewart Tracey Keogh Malgorzata (Margaret) Sawicki Manager, new media Lisbeth Star Shirley Lilienthal, volunteer guides BA (Cons), MA App Sc (Mat Cons), Francesca Ford coordinator 2011 PhD Head, security and Gallery services Online producer, content Anthony Morris Inez Abbott; Victoria Alexander; Conservators, frames Dale Amir; Carolyn Andrew; Jan and projects Security supervisor Barbara (Basia) Dabrowa Kirsten Tilgals BA (Comm) Angus; Margaret Anthony; Phillippa MA (Cons) Bryan Reynolds Baird; Adriana Bakovic; Pamela David Butler Managers, human resources Security officers Barr; Robyn Bathurst; Annabel Donna Grubb David Anderson Baxter; Sue Bearman; Janet Bell; Senior conservator, Asian art Jenny Albert (on maternity leave) Yang Yan Dong Matthew Bates Carolyn Bethwaite; Dale Bird; Human resources coordinators Emilio Cruz Jenny Birt; Rosalie Blackshaw; Lilo Conservator Kimberley Milicevic (on maternity Thomas Fielding Blyton; Jan Bressan; Vicki Brown; Lisa Charleston leave) Simon Gavaghan Cathy Cameron; Lisa Campbell; Assistant conservators Fane Kite Karandeep Gill Bella Church; Catherine Clelland; Thomas Langlands Daniel Shean B App Ec, B Mgt Telly Linakis Liz Crenigan; Sally Cullen; Margaret Paul Solly (Employment Relations) Milorad Linjakovic Cunningham; Lorraine Davids; Nick Strike MA (Visual Arts) Human resources officer Valita Manu Jackie De Diana; Mary de Mestre; Senior registrar, collections Yingying Mai M Art Admin, M Art Dane Mcintosh Allan Digby; Anna Duggan; Jill Emma Smith BA, Grad Dip and Design Education Peter Shepherdson Dunlop; Patricia Elliott; Lorraine Dec Arts Robert Partridge Ennis; Diane Everett; Louise Fennel; Manager, administration Hudson Qureshi BE Gwen Ferguson; Robyn Flick; Registrar, collections and strategy John Saleh Judy Friend; Pam Fuller; Caroline Amanda Green BA, Dip (Prehistoric Trish Kernahan James Utatao Furniss; Jennifer Gardiner; Mary Lou and Historical Archaeology), Administration services supervisor Lorraine Xuereb Gilbert; Kalina Glajz; Anne Gray; Grad Dip (Museum Studies) Louise Fischer BA, MA Team leaders, Gallery services Deirdre Greatorex; Alison Gross; Registrar Administrative support officer Kuldeep Duhan Callie Guinness; Alisa Halkyard; Brent Willison BA (Visual Arts) Deborah Spek Janak Kadian BA Estelle Harman; Eve Harrison; Annie Herron; Catherine Hickson; Assistant registrars Manager, retail and publishing Robert Milne Shirley Hillman; Helen Holmes; Caroline Geraghty BA (Art History Richard Harling BA (Hons) Sheila Weir Pia Hughes; Roslyn Hunyor; Marie and Criticism), MA (Administration) Gallery officers Graeme Robinson Retail operations manager Huxtable; Elizabeth Janssen; Rebecca Allport Arian Arghandewal Margot Johnston; Diane Kempson; Paul Solly Jerome Aurelio Nick Strike MA (Visual Arts) Jill Kloster; Kay Knight; Pat Kreuiter;

APPENDICES 10–11 119 Dorothea Labone; Meri Lane; Darby; Anne Dawson; Francine de Wilson; Jenni Wood; Lois Wollams; Ferris, University of Sydney, public Jenny Latham; Adele Lingard; Valence; Gail Dendle; Lyn Dening- Barbara Worrall; Jill Wunderlich programs (Alexandra Gregg); Sue Lowes; Fiona Loxton; Angela Franklin; Charlotte Denison; Diane Madhulika Ghosh, Australian Luessi; Susan Ma; Catherine Mairs; Devine; Ann Dodd; Margaret CONTEMPO National University, curatorial Susan Marjordam; Sandra Marsh; Doherty; June Donsworth; Ruth Andrea Brown, president; Valerie (Alexandra Green); Rachel Helmore, Joan Massey; Anne McLeod; Jann Dornan; Jutta Dubiel; Judy Duffy; Marteau, senior vice president; University of NSW, public programs McClintock; Judy McComas; Juliet Catherine Duggan; Anna Duschletta; Renee Siros, vice president; (Victoria Collings); Stephanie McConochie; Frances McNally; Caroline Eburn; Judy Embrey; Anita Prabhu, treasurer; Michelle Limoges, University of Melbourne, Cherry McWilliam; Susan Mitchell; Daile Falconer; Ingrid Farago; Eva Cottrell, secretary; Ooma Khurana, conservation (Margaret Sawicki); Gwyneth Morgan; Sian Morgan Feher; Yvonne Fell; Coralie Fergus; co-volunteers coordinator; Alexandra Lucas, University of Hall; Janet Morse; Less Moseley; Carol Forsythe; Christine Frewer; Prudence McKiernan, co-volunteers Sydney, public programs (Ann Christine Moult; Catherine Muir; Kitty Gassner; Yvette Geczy; Phillip coordinator; Lynn McColl; Alison MacArthur); Bridget Macleod, Maureen Murphy; Diana Northedge; Good; Patricia Governor; Leonie McDonald; Lynleigh McPherson; University of Sydney, curatorial Edwina O’Donnell; Dianne Ottley; Grattan; Sheba Greenberg; Maria Leona Ng; Gaston Nguyen; Lynn (Judy Annear); Stephanie Maxwell, Angeline Oyang; Mandy Palmer; Greene; Mary Grice; Beverley Oxford; Alicia Parlby; Olivia Pascoe; University of Sydney, marketing Wendy Payne; Philippa Penman; Griffiths; Kirsten Gross; Janette Gemma Ward (Sangeeta Chandra); Prudence Carolyn Penn; Penny Porter; Keith Habel; Aiko Hagiwara; Ben McKiernan, University of NSW, Potten; Caroline Presland; Judi Hall; Simone Hancock; Karen Lorena Alvarez; Leah Appleby; Shan public programs (Andrew Yip); Redelman; Jenny Reed; Kate Hannon; Carmella Harding; Averil Auellano; Anastassia Balachova; Rebecca Midgley, University Reede; Dilys Renham; Pamela Rex; Hargraves; Susan Hartigan; Fran Eva Ballai; Domenico Baudille; Olivia of Reading, public programs Peter Richardson; Pam Rogers; Hellier; Ann Henderson; Susan Bolton; David Brennan; Michelle (Victoria Collings); Natasha Ana Ross; Christine Rustamzadeh; Hill; Mary Hillier; Jenny Hough; Cao; Laura Chan; Cynthia Chia; Mikitas, University of NSW, public Kica Saar; Louise Samer; Pauline Margaret Hunt; Madeline Hunter; Rebecca Chippington; Kathy Coller; programs (Ashlie Hunter); Rosemary Sayle; Lilli Scott; Beverley Shea; Teresa Jakubowski; Patricia Myriam Corrie; Grace Chung; Nunes-Silva, University of Sydney, Anna Shelly; Jo-Ann Smith; Beatrice James; Heather Jelfs; Jennifer Laura Desouza; Janet Diep; Alissa Brett Whiteley Studio and public Socham; Denyse Spice; Libby Jenkins; Felicita Jennings; Krystyna Duke; Louise Farrar; Renee Flood; programs (Alec George and Stanton Cook; Fiona Still; Caroline John; Patricia Johnson; Karen Julie Flowers; Candice Gillmore; Alexandra Gregg); Joanna Osborn, Storch; Dorinda Sullivan; Jennifer Johnston; Marg J Johnston; Nita Kylie Goedee; Leandro Gomez; University of Sydney, curatorial Sutton; Susan Swan; Prue Todd; Jones; Sandra Jones; Rhonnie Ralph Green; Aaron Harpley-Carr; (Natalie Wilson); Desirae Peters, Sam Tonkin; Lee Tredinnick; Jan Joyce; Craig Karsten; Donna Tully Holleley; Rhian Humphreys; University of Texas at Austin, Tydd; Susan Urwin; Cilla Warre; Kelly; Sue Kemp; Vere Kenny; Michelle James; Bronwyn Kaspura; conservation (Margaret Sawicki); Patricia Wilson; Mary Woodburne; Sue Kerr; Jullette Khouri; Helen Nicole Kedorri; Victoria Kim; Grace Krystal Seigerman, University of Brenda Woods; Angelica Yererszi; Kidman; Ursula Knight; Triny Kingston; Lynne Lancaster; Pia NSW, curatorial (Judy Annear); Sally Young Lademann; Brenda Lee; Laura Larsen; Claire Lawley; Amy Lee; Dominic Shanahan, University Lyubomirsky; Kristine MacKenzie; Grace Lee; Zhe Li; May Lin; Sharon of , registration (Brent COMMUNITY AMBASSADORS Sue Mandelberg; Carolyn March; Luxford; Nicky McGann; Rosalind Willison); Guillermo Tayrako- Liwanna Chan; Peter Chan; Simon Margaret Marshall; Jan McClelland; McKelvey-Bunting; Simon-Pierre Gomez, Queensland University of Chan; Jean Yueh-chen Chen; Ray McDinald; Robin McIntyre; Malliate; Nikki Marinovic; Yvonne Technology, engineering services Hà Phong Lû; Aiko Hagiwara; Margaret McLellan; Marlene Maule; Jessica Murphy; Ann Nhan; (Raymond Cunico) Daisy Hsu; Hiromi Kamokasu; McPherson; Emma Mendelsohm; Yaeli O’Hara; Kate Papieruiack; Elizabeth Kao; Joanna King; Hisae John Menzies; Mary Meppem; Laurel Parker; Blanca Perera; Kobayashi; Sonia Kuo; Naoko Sheilah Milroy; Susan Mitchell; Marina Raymond; Catalina Santa; Matsumoto Lambert; Linna Le Barry Molloy; Peta Moore; Hilary Emily Sinclair; Monique Simmons; Boursicot; Jean Lee; Lin Su Jen; Moxon; Colleen Mulvey; Gael Sophie Smyth; Dianna Solek; Linda Jennifer Mok; Kaoru Morioka Murphy; Yvonne Newhouse; Violeta Starke; Alana Stepanovska; Jodi Murray; Franklin M.Y. Nieh; Kana Nikolovska; Kate Noble; Marilla Stiles; Karla Sumera; otello Teremzi; Nishimuta; Angeline Oyang; Keiko North; Brian Nugent; Sandy Nugent; Holly Vale; Suzie Watt; Tracey Parsonson; Helen Changken Wong; Lyn Oliver; Petra O’Neill; Ruth Wedderburn; Veronique White; Janet Wu; Xie Qianwen, Sharon; Osen; Sue Pajor; Glenda Paradine; Laura Williams; Lauren Wright; Janie Nahomi Yoshizawa; Irene Tseng Dian Pitson; Michael Poole; Judy Xiang; Samuel Xiang; Jihee Yoon Preshaw; Cynthia Pretty; Marie AGS TASK FORCE Puntigam; Margaret Radford; CURATORIAL SUPPORT Patricia Reed; Peter Richardson; Sue Dadswell, task force Elizabeth Callanan; Emma Collerton; Kate Richmond; Caroline Romeo; coordinator 2011 Ciara Heidenreich; Patricia James; Astrid Robinson; Carol Roth; Clementine Abby Walker Dianne Adams; Robin Amm; Charles Rushton; Kim Sandford; Jan Anderson; Julie Apps; Greta Maryanne Sansom; Libby Scanlan; Tertiary internships Archbold; Ruth Attwood; Meredith Luisa Scutts; Annette Searle; Aveling; Chris Baines; Julia Baldo; Cassie Sheehan; Judy Sherman; (AGNSW supervising staff member) Jennifer Barnes; Linda Barnes; Irene Shillington; Dana Skakavac; Amy Bambach, University of Kaye Barrett; Sandra Beesley; Anne Smith; Joyce Smith; Victoria NSW, public programs (Leeanne Phillipa Beeston; Diana Berlyn; Smyth; Lesley Sommerbille; Carr); Cait Burgoyne, University of Anne Blomfield; Georgina Blythe; Merrilyn Sowell; Joanne Spiteri; Melbourne, conservation (Carolyn Joyce Botta; Spencer Bough; Judith Stefanek; May Steilberg; Murphy); Celia Cramer, University Penny Bowen; Susan Boyd; Valda Jenny Strachan; Peter Strand; of Canberra, conservation (Simon Brook; John Buchanan; Geraldine Ann Sutherland; Marsha Swenson; Ives); Natalie Dean, University of Bull; Susan Bye; Wendy Canning; Anne Taylor; Liz Taylor; Irene Thom; NSW, public programs (Ashlie Jennifer Carey; Annette Carlisle; Susan Tompkins; Judy Tribe; Hunter); Paula Dredge, University of Mary Casey; Brenda Chad; Faith Judith Twist; Mary Unwin; Ursula Melbourne, conservation (Carolyn Charity; Susan Charlton; June Ure; Lynda Vaculik; Theodora Murphy); Katrina Dunn-Jones, Chatfield; Belinda Chiu; Jill Clapin; Vagenas; Valerie Vogt; Julie Wallace; University of NSW, curatorial and Annie Clarke; Lea Clarke; Rhonda June Wangmann; Fail Watt; Rita public programs (Anneke Jaspers Clasper; Jenny Coolican; Gabrielle Weberbauer; Maggie Weiley; Peter and Josephine Touma); Meghan Cousins; Patricia Curtis; Susan Whawell; Annie Wicks; Clarice Ellis, , Dadswell; Dianne Dalton; Beverley Wilkins; Beverley Wilson; Joanne curatorial (Judy Annear); Samantha

120 ART GALLERY OF NSW ANNUAL REPORT 10–11 STAFF MOMA & Schwartz City, Melbourne Paper: ‘The view from the edge: Art Nation, ABC TV, 18 Mar 2011 2010, pp 128–35 photographing history after the (ARTEXPRESS) PUBLICATIONS, fact’, AAANZ conference, Adelaide, PRESENTATIONS Cat essay: ‘Recent German Dec 2010 Media interview: Adam Spencer, photography’, John Kaldor Family 702 ABC, 15 Feb 2011 AND RELATED Collection: Art Gallery of New South Paper: ‘The event horizon’ (with (ARTEXPRESS) ACTIVITIES Wales, AGNSW, 2011, pp 217–54 Ann Shelton), Contained Memory conference, Museum of New Exh opening speech: St Ives High Media interviews: print and TV for Zealand Te Papa Tongarewa, School art exhibition, 1 Sept 2010 Alfred Stieglitz, 2010 Wellington, NZ, 9–11 Dec 2010 Exh opening speech: Loreto Kirribilli Abbreviations: Media interviews: print for Recipient: Deutscher Akademischer art exhibition, 2 Sept 2010 Photography & place, 2011 AAANZ: Art Association of Australia Austauschdienst (DAAD) travel scholarship Exh opening speech: Mosman and New Zealand Media interview: on street Youth Art Prize, 6 May 2011 AGNSW: Art Gallery of NSW photography for Art Nation, ABC Committee: International Art Critics TV, 2011 Judge: Mosman Youth Art Prize, 28 AGS: Art Gallery Society of NSW Association, Australia (AICA) Apr 2011 AGSA: Art Gallery of South Australia Lecture: ‘Alfred Stieglitz’, AGSA, Committee: AAANZ Oct 2010 AICCM: Australian Institute for the Lecture: ‘An introduction to the Committee: Museums Australia Gallery: education programs Conservation of Cultural Material Chair: ‘In conversation with Thomas – Art, Craft and Design National and resources’, Divergent DAAO: Design and Art Australia Demand’, AGNSW, Feb 2011 Network points, convergent forms and Online Lecture: ‘Bill Henson, Tracey Moffatt other possibilities, Association NAS: National Art School Committee: Peloton Gallery, Sydney and the new photography program’, of Independent Schools (AIS) NGV: National Gallery of Victoria Macquarie University, Sydney, May Committee: Regional and Public conference, 2011, May 2011 2011 Galleries Association, NSW NZCCM: New Zealand Lecture: ‘AGNSW education Conservators of Cultural Materials Lecture: ‘Photography & place and Committee: Visual Arts Reference programs for the visual arts UMelb: University of Melbourne the new photography program’, Committee, Museums & Galleries secondary education audiences and USyd: University of Sydney USyd, May 2011 NSW, DAAO reviewer an overview of Artexpress’, UTS Bachelor of Teaching Visual Arts Judy Annear (senior curator, Paper: ‘Introduction’, Subject and Sarah Bunn (conservator) postgraduate students and COFA photographs) object in 21st-century photography, Making curriculum course, ‘AGNSW AGNSW, Apr 2011 Lecture: ‘Paintings on paper from education programs for the visual Exh curator: Alfred Stieglitz: the the 1948 Arnhem Land Expedition: arts secondary education audience’ Lake George years, AGNSW, Member: Photography Collection a conservator’s perspective’, 17 June – 5 Sept 2010 Benefactors committee, AGNSW PARADISEC Sydney Research Lecture: ‘A curator’s insight: Forum, USyd, May 2011 Artexpress 2011’, USyd Master of Richard Beresford (senior curator, Exh curator: Yanagi Miwa: Art Curatorship windswept women 2, AGNSW, European art, pre-1900) Lecture: ‘A further investigation 16 Oct 2010 – 20 Feb 2011 of the paintings on paper from Member: Visual Arts Consortium: Lecture: British and Dutch paintings the 1948 American-Australian Australian Curriculum committee from the Reed collection, AGNSW, Exh curator: Photography & place: Scientific Expedition to Arnhem 17 Nov 2010 Australian landscape photography Land’, AICCM Book, Paper & Emma Collerton (assistant registrar, 1970s until now, AGNSW, Lecture: French and Italian paintings Photographic Materials Symposium, curatorial, Australian art) 16 Mar – 29 May 2011 from the Reed collection, AGNSW, NGV, 17–19 Nov 2010 Exh curator: Antonio Dattilo-Rubbo, 24 Nov 2010 Exh curator: Tracey Moffatt: Paper: ‘People, places and Australian Collection Focus Room, Up in the sky, AGNSW, Lecture: 18th-century porcelain stories: deciphering a collection of AGNSW, 28 May – 14 Aug 2011 21 May – 18 Sept 2011 from the Reed collection, AGNSW, paintings from the 1948 Arnhem Cat essay: ‘Antonio Dattilo-Rubbo’ 7 Dec 2011 Land Expedition’, AICCM national Author: Photography & place: conference, Fremantle, Western (online), Australian Collection Focus Australian landscape photography Lecture: Italian maiolica from the Australia, Sept 2009 (published Room, AGNSW, 2011 1970s until now, AGNSW, 2011 Reed collection, AGNSW, 14 Dec 2011) 2011 Victoria Collings (senior Article: ‘Clouds to rain – Stieglitz Jesmond Calleja (collection coordinator, education programs) and the equivalents’, American Art, Lecture and tutorial: USyd students, systems manager) vol 25, no 1, spring 2011, pp 16–19 ‘Questioning appearance’, 24 Mar Judge: Operation Art, Leura Public 2011 Paper: ‘Peeling back the data: new School, 16 Sept 2010 Article: ‘Thomas Demand: lift to the ways to explore and interact with scaffold’, Art-it Asia, www.art-it.asia, Lecture and tutorial: USyd students, collections’, Peeling back the layers, Judge: Northbridge Children’s Art Sept 2010, np ‘Questioning the frame’, 31 Mar Interpretation Australia national Prize, Gallery 307, Northbridge, 9 2011 conference, Launceston, Tasmania, Sept 2011 Article: ‘Things worth remembering Nov 2010 2010’, Art-it Asia, www.art-it.asia, Donna Brett (manager, copyright) Jonathan Cooper (senior Dec 2010, np Paper: ‘Data quality for an effective coordinator, online public programs) Exh curator: The stranger’s eye, web presence’, Data Quality 2011 Article: ‘Shannon Ebner: Peloton Gallery, Sydney, 1–24 July Asia Pacific Congress, Citigate Judge: MUSE Awards (audio tours photography as thinking’, Art-it 2010 Central, Sydney, Mar 2011 and podcasts division), Australian Asia, www.art-it.asia, May 2011, np Museum, 21 Apr 2011 Manager: Charles Darwin: the Leeanne Carr (coordinator, 7–12 Article: ‘New photography gallery’, art of evolution, AAANZ (NSW) education programs) Entry: ‘Robin Carl Norling: Look, June 2011, pp 14–15 conference, COFA and AGNSW, biography’, DAAO, daao.org.au/bio/ Sept 2010 Exh curator: ARTEXPRESS 2011, robin-carl-norling/ Cat essay: ‘Vale St’, Up close: AGNSW, 9 Feb – 10 Apr 2011 with Larry Clark, Nan Lecture: ‘Post-photography’, NAS, Lecture: ‘Online resources for Goldin and William Yang, Heide Apr 2011 Media interview: Fenella Kernebone, secondary teachers’, Dulwich High

APPENDICES 10–11 121 School staff development day, 27 Paris, AGSA, 23 July – 4 Oct 2010 Lecture: ‘History of photography State of the arts lunchtime lectures, Apr 2011 from 1960s to now’, Contempo AGNSW, 10 June 2011 Exh curator: Rosemary Madigan, lecture series, AGNSW, Apr 2011 Member: Art Advisory Committee, sculptor, AGNSW, 15 Jan – 22 May Presentation: ‘Old friends, new William Fletcher Foundation, Sydney 2011 Research: Masters of Arts in Art places. Relocation and conservation Curatorship, USyd (graduated Feb of two decorated doors by Barbara Dabrowa (senior Exh curator: Australian modern 2011) Australian artist, Donald Friend and conservator, frames) masterpieces from the AGNSW, Balinese carver, I Made Jojo’, talk and Newcastle Art Galleries, Alexandra Green (curator, South for AICCM, AGNSW, 22 June 2010 Paper: ‘Gilded frame for The Sept 2010 – Mar 2011 and Southeast Asian art) defence of Rorke’s Drift, 1879, by Lim Chye Hong (coordinator, Alphonse de Neuville, AGNSW, Exh cat: Rosemary Madigan: Article: ‘Earning merit: Burmese Asian programs and coordinator International conference, ‘Technical, sculptor, 2011 temple wall paintings’, TAASA Community Ambassadors) technological and conservation Review, vol 20, no 2, June 2011, aspects’ (in English), Nicolaus Article: ‘Australian modern pp 7–9 Exh curator: Memories of silk: Copernicus University, Torun masterpieces from the AGNSW’, selections from the Roger Grellman Poland, 25-26 Nov 2010 Artemis, 2011.II Lecture: ‘Tradition and innovation: Collection, Wollongong City Gallery, Burmese wall paintings from 10 Dec 2010 – 20 Feb 2011 Paper: ‘Gilded frame for The Research grant: Moya Dyring the 17th to 19th centuries’, defence of Rorke’s Drift, 1879, by Studio, Cité International, Paris, July Australian Centre for Asian Art and Exh curator: Alphonse de Neuville, AGNSW, – Sept 2010 Archaeology, USyd, Mar 2011 Structure+Pattern+Rhythm, Art presentation and discussion of Atrium, 19 Oct – 6 Nov 2010 practical usage of some techniques Research grant: Balnaves Lecture: ‘The renovation of the in conversation of gilded surfaces Foundation research grant (ongoing) upper Asian galleries,’ USyd, May Lecture: ‘New literati painting (in Polish), Conservation Laboratory, 2011 and the art of reFusing Chinese Research grant: AGNSW curatorial Royal Castle, Warsaw, Poland, 3 tradition’, Arts of Asia lecture series, support grant (ongoing) Dec 2010 Paper: ‘From gold leaf to AGNSW, 31 May 2011 apocryphal stories: influences Judge: Marten Bequest Travelling Committee member: AICCM, NSW from the east on central Burmese Lecture: ‘Decoding Chinese Scholarship, Mar–Apr 2011 Branch, Sydney murals’, International Burma Studies landscape painting’, UNSW, 11 Jan Conference, Marseille, July 2010 2011 Judge: Wesley Art Prize, 21 May Research: publications regarding 2011 conservation of gilded surfaces and Book review: Christophe Munier Talk: ‘Memories of silk: selections & Myint Aung, Burmese Buddhist from the Roger Grellman Collection’, finishes, Conservation Department Judge: Society of Sculptors annual murals: volume 1 – epigraphic Wollongong City Gallery, 22 Jan Library, Nicolaus Copernicus prize, 2011 University, Torun, Poland, 24 Nov corpus of the Powin Taung caves, 2011 2010 Exh launch: Marten Bequest White Lotus Press, Bangkok, 2007, Essay: ‘Structure+pattern+rhythm: Travelling Scholarship, 3 June 2011 reviewed in Bulletin École Française Paula Dredge (senior conservator, d’Extrême-Orient, vol 94, 2010, pp reviewing photography’, in paintings) Lecture: ‘Australians in Paris’, AGS, 351–56 Structure+Pattern+Rhythm, Art 20–21 Oct 2010 Atrium, 19 Oct – 6 Nov 2010 Paper: ‘Collections of paint colour Exh launch: Tai to Katu: Laotian and charts, paint tins and paintings Lecture: Master of Art Curatorship, Vietnamese textiles, Nomadic Rug Essay: ‘Revealing beauty’, as a source for developing an USyd, 10 Mar 2011 Traders, Sydney, Apr 2011 Memories of Silk: selections from understanding of paint making the Roger Grellman Collection, history’, Interesting times, new roles Lecture: ‘Colour in art – revisiting Member: American Council for Wollongong City Gallery, 10 Dec for collections, Museums Australia 1919’, AGS, 9–10 Feb 2011 Southern Asian Art 2010 – 20 Feb 2011 national conference, UMelb, 28 Sept – 2 Oct 2010 Lecture: masters class, UNSW, 5 Member: Association of Southeast Translation: ‘The discovery of the May 2011 Asian Studies UK terracotta warrior pits’, in The Paper: ‘Sidney Nolan and house First Emperor: China’s entombed paint (1941–53)’, Dialogues with Committee: National Art School, Member: Center for Burma Studies, warriors, AGNSW, pp 112–23 artists, 12th AICCM Paintings Sydney Acquisitions Committee Northern Illinois University Special Interest Group Symposium, Translation: ‘The tomb of the Committee: USyd, Fine Arts alumni International Secretary and Board Adelaide, 21–22 Oct 2010 Marquis Yi of Zeng and bronze Member: European Association of art’, in Homage to the ancestors: External examiner: PhD examiner, Paper: ‘Lifting the lid on a Southeast Asian Archaeologists ritual arts from the Chu Kingdom, University of Tasmania, 2010, 2011 AGNSW, pp 24–26 collection of Ripolin® paint from Alexandra Gregg (coordinator, Sidney Nolan’s studio’, From Vigen Galstyan (assistant curator, contemporary programs) can to canvas, early uses of Judge: Arts Speaks Japanese photographs – from Nov 2010) Comes Alive, Japan Foundation, house paints by Picasso and his Lecture: ‘Installation art: art that Sydney, Oct 2010 contemporaries in the first half of Assistant exh curator: Photography doesn’t fit in your living room’, Art the twentieth century, Interregional & place: Australian landscape since the 1960s lecture series, Simon Ives (paintings conservator) Centre for Heritage Preservation photography 1970s until now, AGNSW, June 2011 and Restoration, CICRP, Marseille; AGNSW, 16 Mar – 29 May 2011 Paper: ‘Breathing life back into Art Institute of Chicago (AIC); and Paper: ‘Tropes of travel: exploring forgotten art’, AICCM national Musée Picasso, Antibes, 25–27 Article: ‘Earth scans & bush globalism as the new universal conference, Fremantle, WA, Sept May 2011 relevances: Australian landscape through popular iconographies in 2009 (published 2011) photography from 1970s until now’, contemporary art’, Tradition and Paper: ‘Ripolin® and Sidney Nolan’, Look, Mar 2011, pp 26–29 transformation, AAANZ annual Paper: ‘The Sydney Moderns and Scoping the future of cultural conference, Adelaide, Dec 2010 Australian colour field paintings’, enrichment, Cultural Materials Artists’ texts: Photography & place: Dialogues with Artists, AICCM Conservation Symposium, UMelb, Australian landscape photography Donna Hinton (head, objects paintings symposium, Oct 2010 16 June 2011 1970s until now, AGNSW, 2011 conservation) Article: ‘High tide for the belle Deborah Edwards (senior curator, Lecture: ‘Photography & place’, Lecture: ‘Conserving contemporary epoque’, Look, Jul 2010, pp 15–17 Australian art) Task Force lecture, AGNSW, Mar art: processes, challenges and Exh curator: Rupert Bunny: artist in 2011 behind-the-scenes at the Gallery’, Article: ‘Learning to love Sol’, Look,

122 ART GALLERY OF NSW ANNUAL REPORT 10–11 Apr 2011, pp 13–15 winter 2011, p 21 Talk: ‘The photographs of Alfred Interview editor: art + soul, The Stieglitz: history, identification and Miegunyah Press, Melbourne, 2010 Media interview: Robby Buck, 702 Exh opening speech: Cecil Bostock, conservation’, floor talk for AICCM, ABC, Feb 2010 Manly Art Gallery, Sydney, 11 Feb AGNSW, 11 Aug 2010 Entry: ‘Mervyn Bishop’, Aboriginal 2011 and Torres Strait Islander collection Anneke Jaspers (assistant curator, Talk: ‘Display and storage of highlights, National Gallery of contemporary art) Lecture: ‘Australian art and photographs at the AGNSW’, Australia, Canberra, 2010 culture between the two world Regional Services Stakeholders Exh curator: Sam Smith: wars’, Blackheath History Forum, Day, Powerhouse Museum, Sydney, Peter Raissis (curator, European cameraman, AGNSW, 21 May – 14 Blackheath, Aug 2010 22 Nov 2010 prints, drawings and watercolours) Aug 2011 Lecture: ‘The founding years of the Barry Pearce (head curator, Exh curator: David to Cézanne: Ass curator: Unguided tours: Anne AGNSW’, NSW History Society, Australian art) master drawings from the Prat Landa Award for video and new Sydney, Sept 2010 Collection, Paris, AGNSW, 22 Sept media arts 2011, AGNSW, 5 May – Exh co-curator (with Natalie Wilson): – 5 Dec 2010 10 July 2011 Lecture: ‘Degenerates and Justin O’Brien: the sacred music of perverts: the legendary 1939 colour, AGNSW, 18 Dec 2010 – 27 Coordinating curator: The poetry of Chapter: ‘Bill Viola’, John Kaldor Herald exhibition’, Art and Australia Feb 2011 drawing: pre-Raphaelite designs, Family Collection: Art Gallery of diploma lecture series, AGNSW, studies and watercolours, AGNSW, New South Wales, AGNSW, 2011, Mar 2011 Co-author: Justin O’Brien: the 18 June – 4 Sept 2011 pp 254–65 sacred music of colour, AGNSW, Lecture: ‘The modernist myth’, 2010 Catalogue compilation: David to Article: ‘Brown Council: critical Sydney Grammar School, Sydney, Cézanne: master drawings from comedy’, runway, issue 18, autumn May 2011 Cat essay: ‘Jeffrey Smart: master of the Prat collection, Paris, AGNSW, 2011, pp 14–17 stillness’, Australian Galleries, Perth, 2010 Lecture: ‘The ’, Art and May 2011 Article: ‘Sam Smith: cameraman’, Australia diploma lecture series, Article: ‘19th-century French Look, May 2011, pp 28–29 AGNSW, May 2011 Cat essay: ‘Outside the square: drawing: examples of the best and some unknown artists’, Look, Aug Lecture: ‘1960s to now: time-based new paintings by Michael Johnson’, Lecture: ‘Holman Hunt’s Light of 2010, pp 28–31 art’, Art since the 1960s lecture Tim Olsen Gallery, Sydney, May the World and pre-Raphaelite art series, AGNSW, June 2011 2011 in Sydney at the turn of the 20th Article: ‘Pre-Raphaelites from century’, AGNSW, June 2011 Lectures: ‘Weird melancholy: Von Birmingham: intellectually ambitious, Member: runway magazine editorial visually rich’, Look, June 2011, pp board Guérard and Piguenit’ (1 July), ‘The Research (current): Master of big picture’ (18–19 Aug), ‘Whistler 24–27 Theology, Sydney College of and his influence’ (8–9 Sept) and Hendrik Kolenberg (senior curator, Lecture: ‘Making modern history: Divinity, USyd ‘Australians at war’ (3–4 Nov), Art Australian prints, drawings and Gros, Girodet and Géricault’, and Australia diploma lecture series, watercolours) AGNSW, 15 Oct 2011 Secretary: Arts Libraries Society/ AGNSW, Feb–Nov 2010 Australia and New Zealand Article: ‘Clan Rodda; unusual name, Lecture: ‘Looking at old master rare drawings’, Look, Sept 2010, Lectures: ‘Modernism, liberation Member: Australian Society of prints and drawings’, Masters of Art pp 34–35 and a new way of seeing’ (2–3 Feb), Curatorship, USyd, 12 May 2011 Archivists ‘The narrative impulse: Arthur Boyd Article: ‘A kookaburra in the studio and Sidney Nolan’ (1–2 June) and Denise Mimmocchi (curator, Media interview: ABC Radio … or Intensely Dutch revisited’, ‘Australians in London 1950–70’ Australian art) National, Sept 2010 (Prat Collection) Look, Feb 2011, pp 14–16 (29–30 June), Art and Australia Opening talk: ‘Rupert Bunny: diploma lecture series, AGNSW, Media interview: ‘Drawing the line’, Article: ‘The return of Daybreak; Feb–Nov 2011 Qantas Magazine, Sept 2010 gift from a renowned Dutch artist’, artist in Paris’, AGSA Foundation, Adelaide, 24 July 2010 Look, July 2011, pp 14–15 Lecture: ‘Justin O’Brien’, volunteer Media interview: ‘David to guides, AGNSW, 22 Nov 2010 Cézanne’, Time Out, Sept 2010 Cat essay: ‘John Philippides: Judge: Tattersall’s Landscape Art Prize, Tattersall’s Club, , 7 portrait studies 2008 to 2010’, Lecture: ‘9 shades of Whiteley’, Media interview: ‘The pre- Sept 2010 Grafton Regional Art Gallery, NSW, Brett Whiteley Studio touring Raphaelites are back!’, Daily 2010 Lecture: ‘The real and the imagined: exhibition, TarraWarra Museum of Telegraph, June 2011 Art, Victoria, 12 Feb 2011 Cat essay: ‘Paterson’s place the art of Rupert Bunny’, Rupert Media interview: ‘A post-mediaeval Bunny Symposium, AGSA, 24 July & his drawings’, Jim Paterson: Judge: Brett Whiteley Travelling brotherhood’, Australian Art Review, 2010 drawing imagination, Place Gallery, Scholarship, 17 Aug 2011 July–Aug 2011 Melbourne, 2010 Lecture: ‘Nature’s rhythms: Judge: Inaugural William Fletcher Eric Riddler (image librarian) symbolism and art nouveau’, Art Elizabeth Maloney (assistant Foundation Fellowship for young and Australia diploma lecture series, curator, photography – until Nov artists, National Art School, Sydney, Lecture: ‘Subject and status in the AGNSW, 15–16 Sept 2010 Archibald Prize’, AGNSW, Apr 2011 2010) 11 Sept 2010 Lecture: ‘The body as nation: Paper: ‘Aimed aggressively at Exh curator: David Moore – Judge: Gallipoli Art Prize, Sydney, Australian sculpture in the 1920s Sydney’s sober dullness: the collection hang, AGS, 5 Dec 2010 30 Mar 2011 – 28 Jan 2010 and 1930s’, Art and Australia trans-Tasman story of Sydney’s art diploma lecture series, AGNSW, Member: Acquisition Committee, world’, Tradition and transformation, Steven Miller (head, Research 16–17 Mar 2011 New England Regional Art Museum, AAANZ annual conference, Library and Archive) Armidale Adelaide, Dec 2010 Carolyn Murphy (head, paper Exh: Australian Bookbinders conservation) Cara Pinchbeck (curator, Aboriginal Dr Malgorzata Sawicki (head, Exhibition, AGNSW, 8 Nov – 17 and Torres Strait Islander art) frames conservation) Paper: ‘The photographic collages Dec 2010 Curatorial producer: art + soul of Bill Henson: materials, techniques Publication: Non-traditional gilding Article: ‘Art Gallery of New South and conservation’, AICCM Book, documentary, Hibiscus Films and techniques in gilded objects Wales Research Library and Paper & Photographic Materials ABC Productions, 2010 conservation: research into loss Archive’, Imprint, vol 46, no 2, Symposium, NGV, 17–19 Nov 2010 compensation in water-gilded

APPENDICES 10–11 123 surfaces using synthetic polymers, tradition and transformation Editor: John Kaldor Family Media interview: 2CCRFM, 12 Mar VDM Verlag Dr Müller, Germany, in Watteau’s Hôtel de Nointel Collection: Art Gallery of New South 2011 (The First Emperor) 2010 decorations’, AAANZ annual Wales, AGNSW, 2011 conference, Adelaide, Dec 2010 Media interview: Where magazine Co-author article: ‘Laser cleaning Chapters and artist texts: ‘John (UK), 14 Mar 2011 (Archibald, from a practical perspective: Analiese Treacy Kaldor in conversation with Wayne Wynne and Sulman Prizes) cleaning tests of varied gilded-wood (paper conservator) Tunnicliffe’; ‘Robert Rauschenberg’; surfaces using Nd: YAG Compact ‘Ideas and actions’; ‘Nam June Media interviews: 2HD FM Pheonix laser system’, AICCM Conference poster: ‘The methods Paik’; ‘Gilbert & George’; ‘Aleks Newcastle, TCN 9 TV News, ABC Bulletin, vol 32, 2011, pp 44–54 behind monotypes’, AICCM Book, Danko’; ‘Frances Alÿs’; ‘Michael TV News, 29 Mar 2011 (Archibald, Paper & Photographic Materials Landy’, in John Kaldor Family Wynne and Sulman Prizes) Media interview: SBS, Polish Radio Symposium, NGV, 17–19 Nov 2010 Collection: Art Gallery of New South and Radio 2000FM (Archibald Prize Wales, AGNSW, 2011 Media interviews: Channel 10 2011; Justin O’Brien; Kenneth Reed Conference poster: ‘Digital TV News, ABC QLD Radio, 11 Bequest; The First Emperor) handheld microscopes and Exh cat: ‘Brook Andrew in Apr 2011 (Archibald, Wynne and their applications in examining conversation’ and ‘Exploding Plastic Sulman Prizes) Lecture: ‘Loss compensation in artworks’, AICCM Book, Paper & Inevitable’, Brook Andrew: the cell, gilding conservation: past and Photographic Materials Symposium, Sherman Art Foundation, Sydney & Media interviews: Perth Radio, CNN present methods and practices’, NGV, 17–19 Nov 2010 Institute of , Brisbane, Radio, 12 Apr 2011 (Archibald, keynote lecture at Making miracles 2010 Wynne and Sulman Prizes) happen: the art of the conservator, Talk: ‘David to Cézanne: master NZCCM annual conference, drawings from the Prat Collection, Selection panel: Churchill Media interview: , 9 Christchurch, NZ, 20–22 Oct 2010 Paris – materials and techniques’, Fellowship, Mar 2011 May 2011 (Archibald, Wynne and floor talk for AICCM, AGNSW, 27 Sulman Prizes) Lecture: ‘Loss compensation in Oct 2010 Judge: Redlands Westpac Art Prize¸ gilding conservation: past and Nov 2010 Media interview: Channel 7 TV present methods and practices’, Talk: ‘David to Cézanne: News, Its Academic, 11 May 2011 lecture for AICCM, Apr 2011 master drawings from the Prat Judge: Anne Landa Award for Video (Australian collection) Collection, Paris – materials and and New Media Arts, AGNSW, May Coordinator: ICOM-CC Wood, techniques’, floor talk for Friends of 2011 Media interview: 2RRR Community Furniture & Lacquer Working Group Conservation, AGNSW, 6 Oct 2010 Radio, 14 May 2011 (Archibald, Exh opening speech: Erased, Wynne and Sulman Prizes) Natalie Seiz (assistant registrar, Khanh Trinh (curator, Japanese art) National Art School, Feb 2011 curatorial, Asian art) Media interview: 2CCR FM, 18 Exh curator: Homage to Rengetsu: Award speech: Redlands Westpac June 2011 (Archibald, Wynne and Paper: ‘Re-entry from abroad: four Kevin Lincoln and Asian ceramics, Art Prize¸ Nov 2010 Sulman Prizes) generations of contemporary Taiwan AGNSW, 27 Oct 2010 – 14 Feb women artists’, Taiwan Studies 2011 In conversation: Lindy Lee in Natalie Wilson (assistant curator, Postgraduate Symposium: Taiwan conversation, AGNSW, Dec 2010 Australian art) Studies in 2010 – the State of the Exh curator: Eikoh Hosoe: theatre Field, UMelb, 7–8 Dec 2010 of memory, AGNSW, 12 May – 5 Chair: Collectors Forum, AGNSW, Exh co-curator (with Barry Pearce): Aug 2011 May 2011 Justin O’Brien: the sacred music of Judge: S-An Cultural Foundation colour, AGNSW, 18 Dec 2010 – 27 Taiwan, Artistic Assistance Art Cat essay: ‘Meiro Koizumi – the Lecture: ‘Robert Rauschenberg’, Feb 2011 Award, Taipei, 8 Nov 2010 power of the moving images’, AGNSW, May 2011 in Last words, 4A Centre for Co-author: Justin O’Brien: the Media interview: Monster Children Conference referee: Impact 7: Contemporary Asian Art, Sydney, sacred music of colour, AGNSW, magazine, May 2011 (Kaldor Multidisciplinary Printmaking 2010, pp 62–67 2010 Conference 2011, Monash Collection) University, Melbourne, 2011 Book review: ‘Pleasure and play Lecture: ‘Elioth Gruner: Australia’s Media interview: FBI Radio, May in Edo Japan’ [Richard Bullen, “laureate of landscape”’, Tweed 2011 (contemporary galleries and Research: PhD candidate, with David Bell, Geraldine Lummis River Regional Art Gallery, Kaldor Collection) Contemporary women artists in and Rachel Payne, Pleasure and Murwillumbah, 11 May 2011 Taiwan, Art History & Film Studies, play in Edo Japan, Canterbury USyd Media interview: Scott Cara, ‘Take Award: AGS staff development Museum/College of Arts, University a magical mystery tour’, NZ Herald, scholarship 2010 Emma Smith (senior registrar, of Canterbury, Christchurch, NZ, 25 June 2011 collections) 2009], New Zealand Journal of Member: Art advisory committee, Asian Studies (NZJAS), vol 12, no Media interview: Daily Telegraph, SH Ervin Gallery, Sydney Talk: ‘The role and responsibility of 2, Dec 2010, pp 110–13 June 2011 a registration department’, TAFE Dr Andrew Yip (public programs Museum Practice students, June Media interview: Diana Plater, Sheona White (head, public coordinator) 2011 Canberra Times, 3 May 2011 (Eikoh programs) Hosoe) Cat essay: ‘Some settled sunlight: Josephine Touma (acting senior Lecture: ‘Environmental art/ the Foxes in the Orient’, in Art, love coordinator, public programs) Media interview: Fenella Kernebone, sculpture: out of the studio’, Art and life: Ethel Carrick and E Phillips Art Nation, ABC TV, 13 May 2011 since the 1960s lecture series, Fox, QAG, 2011, pp 111–22 Article: ‘From the playhouse to (Eikoh Hosoe) AGNSW, May 2011 the page: some visual sources Paper: ‘A familiar enemy: for Watteau’s theatrical universe’, Wayne Tunnicliffe Lecture: ‘Archibald Wynne and Studies in Eighteenth-Century (head, Australian art) Sulman Prizes’, corporate talk, appropriation and cultural contest AGNSW, May 2011 at the 1918 Vienna Exhibition of Culture, vol 40, 2011 Cat essay: Kathy Temin, Ottoman-Turkish Art’, College Art Unmonument, AGNSW, 2011 Lecture: ‘Archibald Wynne and Association Annual Conference, Lecture: ‘“She has a body on her Sulman Prizes’, corporate talk, New York, Feb 2011 dress”: Sonia Delaunay’s abstract Chapter: ‘Stephen Bush’, AGS, June 2011 foray into fashion’, USyd, 2010 Vitamin P2: contemporary painting, Phaidon, London 2012 Media interview: 2UE Radio, 28 Nov Paper: ‘Monkeys and Momus: (forthcoming) 2010 (The First Emperor)

124 ART GALLERY OF NSW ANNUAL REPORT 10–11 Panel chair: Subject and object in CUSTOMER Gallery’s forthcoming Picasso: plan. Existing concerns have been 21st-century photography, AGNSW, SERVICE DELIVERY masterpieces from the Musée referred to the Executive Apr 2011 National Picasso, Paris exhibition for consideration. through the trial of time ticket Lecture: ‘George Lambert’s Across sales through the external provider Food service the black soil plains’, AGNSW, June Ticketek. 2011 In accordance with our pledge of Major criticism was expressed During well-attended exhibitions, service, visitors to the Gallery are such as The First Emperor and the Lecture: ‘Orientalism: call and to Gallery officers regarding the invited to leave praise, criticisms Archibald Prize, increased pressure response’, USyd, May 2011 no-photography policy in The and suggestions at the information First Emperor exhibition. This is placed on the Gallery’s food desk via the Visitor Response Lecture: ‘The Foxes in the Orient’, policy is standard for all temporary and beverage service due to high Register. New Voices, QAG, May 2011 exhibitions containing works on customer numbers. The main areas of concern related to slow service in More than 1.28 million people loan and has been implemented the cafe and the related issue of hot Lecture: ‘Australian art: colony to visited the Art Gallery of NSW at its to protect contractual obligations dishes that were cold on delivery. nation’, USyd, May 2011 Domain and Brett Whiteley Studio and to prevent infringements of sites in 2010–11. In this period 292 The new queuing barrier system Lecture: ‘An introduction to lenders’ copyright. Additionally, as comments were received in writing at the cafe seemed to improve modernism and the avant-garde’, the light levels in the exhibition were and via email. Comments are the flow of people waiting to order Art since the 1960s lectures series, low, photographs were impossible responded to by Information officers food, however concerns were still AGNSW, Mar 2011 without the use of flash, which and, where appropriate, referred to would have interfered with the expressed over the length of the Lecture: ‘Relocating peripheral a relevant senior staff member or experience of other visitors wishing time taken to order. Complaints modernisms: the Ottoman-Turkish the Gallery’s Executive for further to view the exhibition unimpeded. regarding waiting times have been generation of 1914’, USyd, Oct action. forwarded to our contract caterers Labels featured as a complaint in to assist them in future planning. 2010 In the past year the majority of the Archibald, Wynne and Sulman positive remarks were directed Prize exhibitions in 2011, with The restaurant has received towards the volunteer guides suggestions that the numbering and favourable comments, and good who provide free daily tours of text on the wall labels was too faint. support for the exhibition viewing the permanent collections and Concern was raised regarding the and lunch special offers. A discount temporary exhibitions. As in graphic nature of two paintings in on food services is already available 2009–10, the breadth and quality of the Sulman, however signage was to members. the education and public programs installed warning patrons of their were also highly praised, as were content, thereby allowing visitors the Gallery’s film screenings. There to decide for themselves whether was significant positive comment to avoid the works in question. regarding the opening of the new contemporary galleries featuring the Guided tours COMPLIANCE John Kaldor Family Gallery. By far the largest number of positive REPORTING The majority of complaints remarks was directed to the free reflected the highly active nature tours of the collection, led by the of the Gallery’s business and the Gallery’s volunteer guides, which limitations of operating in a heritage visitors enjoyed and appreciated. building. While all complaints 2009–10 annual report are taken seriously and given production due consideration, the level of Mobility-impaired access complaints relative to overall visitor Access for mobility impaired people The total external costs incurred numbers remains low, reflecting a is via the rear of the building. There in the production of the Gallery’s 2010–11 annual report are high level of overall visitor enjoyment were a number of complaints approximately $30,000 (including and satisfaction. regarding the ability of people text editing, print management and with mobility issues, and with Areas of major concern to visitors print production). The report, printed wheelchairs and prams, to access in 2010–11 were: in hard copy on recycled paper, is the building via the front door. provided free to key stakeholders Comments and requests The NSW government has provided and other interested parties. It is regarding art on display $1.17 million for an accessible also available as free downloadable Many comments, both positive entrance ramp at the front of the PDF files, divided into three key and negative, were received about building, which is currently under segments (main text, appendices, major temporary exhibitions and the construction and scheduled for financial statements), in the About Gallery’s collection in general. completion in November 2011. Us section on the Gallery’s website Additionally, there were new (www.artgallery.nsw.gov.au/ A large number of positive and requests for motorised scooters aboutus). The annual report team negative comments were received to be provided free of charge inside this year was: report coordinator: in relation to The First Emperor: the Gallery. Trish Kernahan; editor: Claire China’s entombed warriors Armstrong; designer: Matt Nix; exhibition. With more than 305,600 Seating photographers: Jenni Carter, Felicity people visiting the exhibition, Jenkins; copyright clearance: Donna The lack of sufficient seating in however, the criticisms numbered Brett. less than 130. There was praise and the Gallery’s public spaces remains criticism of the installation design an issue. New bench seating has relating primarily to what visitors been provided in the Grand Courts, Credit card usage considered unnecessarily low however these were criticised The director certifies that credit card lighting levels, too small label type for being too low for elderly usage in the Art Gallery of NSW has and lack of crowd control leading to patrons. The refurbishment of the been conducted in accordance with overcrowding. The issue of crowd 20th-century Australian galleries relevant Premier’s Memorandums control is being address with the will incorporate a new seating and Treasury Directions.

APPENDICES 10–11 125 Consultants The Gallery’s designated privacy Sali Herman Gift Fund 1982. © Pyramid, John Kaldor Family officer, in accordance with the Estate of Margaret Olley Collection There were 18 consultancies provision of the Privacy and costing a total of $218,549. No pp 24–25 (featured artists/works): p 85: John Passmore, Jumping Personal Information Protection Richard Bell, Pigeonholes 1992, horse-mackerel no 4 1959, single contract was valued at Act 1998, can be contacted at: greater than $50,000. purchased 1993 and Devine purchased with funds provided by Manager, Human Resources inspiration 1993, Contemporary the Australian Prints, Drawings and Collection Benefactors 1993. Heritage management Art Gallery of NSW Watercolours Benefactors Fund Art Gallery Road © Richard Bell; Djirrirra 2011. © John Passmore Museum The Gallery’s museum building The Domain Sydney NSW 2000 Wunungmurra, Buyku 2008, Don of Art; James Gleeson, Sunset located in the Domain Parklands Telephone: (02) 9225 1795 Mitchell Bequest Fund 2008. © in a subduction zone 1986, gift of of Sydney’s CBD is listed on Fax: (02) 9225 1622 Djirrirra Wunungmurra, courtesy Serioso Pty Ltd in memory of James the NSW government’s heritage Email: [email protected] Buku-Larrnggay Mulka Art Centre; Agapitos 2010, donated through register. A conservation plan has Mulkun Wirrpanda, Dhudi Djapu the Australian Government’s Cultural been developed to assist in the Miny’tji 2007, purchased with Gifts Program. © Gleeson O’Keefe management and maintenance funds provided by the Aboriginal Foundation; Esme Timbery, of the building. The building is Collection Benefactors Group 2008. Sydney Harbour Bridge 2002 maintained to serviceable standards © Mulkun Wirrpanda, courtesy (three works), gift of Genevieve via an annual capital grant of $2.37 Buku-Larrnggay Mulka Art Centre; O’Callaghan 2010. © Esme Timbery IMAGE DETAILS Djambawa Marawili, Dhanbarr million from the NSW government. and Estate Lola Ryan; Lola Ryan, (Burrut’tji) 2005, purchased with The collection assets and works AND CREDITS Sydney Harbour Bridge 2000 (two funds provided by the Aboriginal of art on loan to the Gallery are works), gift of Peter Fay 2010. Collection Benefactors Group 2005. maintained to international museum © Lola Ryan; Debra Dawes, © Djambawa Marawili, courtesy standards. Complete? 2010, Contemporary Buku-Larrnggay Mulka Art Centre; Collection Benefactors 2011. Cover and p 15: Ian Fairweather, Ginger Riley Munduwalawala, Land holdings and Last Supper 1958, purchased with Limmen Bight River Country © Debra Dawes; John Brack, The disposals funds in memory of Patrick White, 1992, Mollie Gowing Acquisition telephone box 1954, anonymous gift 2010, donated through the The only land owned by the Gallery Norman Schureck and Susan Fund for Contemporary Aboriginal Chandler 2010. © Ian Fairweather/ Australian Government’s Cultural as at 30 June 2011 is located at: Art 1992. © Estate Ginger Riley DACS. Licensed by Viscopy, Munduwalawala, courtesy Alcaston Gifts Program. © Helen Brack Art Gallery Road Sydney Gallery, Melbourne; Malaluba p 86: Emily Kam Ngwarray, The Domain Sydney NSW 2000 pp 2–3: Howard Arkley, Superb Gumana, Garrimala 2007, untitled nd, bequest of Millie and The Gallery did not acquire or + solid 1998, Contemporary purchased with funds provided Jim Gowing 2011. © Emily Kam dispose of any land during the Collection Benefactors 1998. by the Aboriginal Collection Ngwarray. Licensed by Viscopy, reporting period. © The Estate of Howard Benefactors Group 2008. © Sydney; Unknown artist (China), Arkley. Licensed by Kalli Rolfe Malaluba Gumana, courtesy Ducks and reeds, Yuan dynasty Legal change Contemporary Art Buku-Larrnggay Mulka Art Centre; 1279–1368, purchased with Gulumbu Yunupingu, Garak, the No changes were made to the Art p 7 (left to right): John Mawurndjul, assistance from the David Jones Njalyod: the rainbow serpent universe 2008, purchased with Fund 2010 Gallery of New South Wales Act funds provided by the Aboriginal 1980 during the reporting period 1985, purchased 1985; Lorrkkon p 87: Unknown artist, Sharad 2003, purchased 2004; Yawkyawk Collection Benefactors Group 2010. and there were no significant judicial Purnima festival painting 1850s, 1985, purchased 1985; Lorrkkon © Gulumbu Yunupingu, courtesy decisions affecting the Gallery. purchased 2011; Bill Viola, c1986, purchased 1986; Lorrkkon Buku-Larrnggay Mulka Art Centre An order under the Public Sector Observance 2002, gift of the John 2003, purchased 2004. © John p 36: , Employment and Management Pierre Paul Prud’hon Kaldor Family Collection 2011. Mawurndjul. Licensed by Viscopy, Psyche carried off by the zephyrs Act 2002 established a new © Bill Viola Sydney c1804, Prat Collection, Paris principal Department of Trade and p 17: Sol LeWitt, Wall drawing p 88: Sean Scully, Doric Brown Investment, Regional Infrastructure pp 42–43: Sidney Nolan, First- #1091: arcs, circles and bands 2009, gift of the Coffey Family and Services (DTIRIS) on 1 April class marksman 1946, purchased (room) 2003, gift of the John Kaldor 2011. © Sean Scully 2011. Communities NSW was with funds provided by the Gleeson Family Collection 2011. © Estate p 89: , abolished on the same date and O’Keefe Foundation 2010. © The Robert Rauschenberg of Sol LeWitt/ARS. Licensed by Yellow visor glut 1989, gift of the the Art Gallery of NSW, along with Trustees of the Sidney Nolan Trust Viscopy, Sydney John Kaldor Family Collection 2011, four other NSW cultural institutions, p 52: H J Wedge, Stop and think p 18: , Incomplete open donated through the Australian was transferred as a division to the Sol LeWitt 1993, 5 panels, purchased 1994. cube 4/5 1974; Incomplete open Government’s Cultural Gifts newly created Ministry for Tourism, © H J Wedge cube 5/6 1974; Incomplete open Program. © Robert Rauschenberg/ Major Events, and Arts under cube 7/21 1974; Pyramid 2005, p 55: Grace Crossington VAGA. Licensed by Viscopy, Sydney DTIRIS. gifts of the John Kaldor Family Smith, The sock knitter 1915, p 90: Rosemary Laing, brumby Collection 2011, except Pyramid, purchased 1960. © Estate of Grace Major assets John Kaldor Family Collection. Cossington Smith mound #6 2003, gift of Andrew Cameron 2011, donated through © Estate of Sol LeWitt/ARS. pp 78–79 (featured artists/works): The Gallery’s two major assets the Australian Government’s Cultural Licensed by Viscopy, Sydney; Carl Andre, Crucis 1981; The way categories, as at 30 June 2011, Gifts Program. © Rosemary Laing; Carl Andre, Crucis 1981, gift of north, south and west (uncarved are its artwork collection valued at Morimura Yasumasa, A requiem: the John Kaldor Family Collection blocks) 1975; Steel-copper plain $840.9 million; and the perimeter spinning a thread between the light 2011. © Carl Andre. Licensed by 1969. © Carl Andre. Licensed by land and building in the Domain, and the earth/1946, India 2010, Viscopy, Sydney Viscopy, Sydney; Donald Judd, Sydney, and the building at Lilyfield purchased with funds provided by valued at $194.1 million. p 21: William Dobell, Margaret Untitled 1975. © Judd Foundation/ Olley 1948, purchased 1949. VAGA. Licensed by Viscopy, Geoff and Vicki Ainsworth and the Photography Collection Benefactors Privacy management © Courtesy Sir William Dobell Sydney; Sol LeWitt, Pyramid Art Foundation. Licensed by 2005. © Estate of Sol LeWitt/ Program 2010. © Yasumasa During 2010–11 there were no Viscopy, Sydney ARS. Licensed by Viscopy, Sydney; Morimura internal reviews conducted by or p 22: Margaret Olley, Portrait in Thomas Demand, Flare 2002. © p 91: Hendrick Goltzius after on behalf of the Art Gallery of NSW the mirror 1948, gift of the artist Thomas Demand/Bild-Kunst, Bonn. Cornelis van Haarlem, The dragon under Part 5 of the Privacy and 2001; Ranunculus and pears 2004, Licensed by Viscopy, Sydney. All devouring the companions of Personal Information Protection Edward Stinson Bequest Fund gifts of the John Kaldor Family Cadmus 1588, European Art Act 1998 (PPIP Act). 2005; Still life with leaves c1960, Collection 2011, except Sol LeWitt Collection Benefactors Fund 2010

126 ART GALLERY OF NSW ANNUAL REPORT 10–11 Summary of senior officer positions as at 30 June 2011

No of Positions held Position level senior positions by women 2009–10 Senior executive service 4 1 0 Senior executive service 3 1 1 Senior officer 3 2 0 Senior officer 1 2 1 2010–11 Senior executive service 4 1 0 Senior executive service 3 1 1 Senior officer 3 2 0 Senior officer 2 1 1 Senior officer 1 2 1

Major capital works

Costs 2010–11 Completion Overruns Capital works project $’000 date $ Artworks purchased 4619 ongoing nil Building works 12,033 ongoing nil Plant & equipment replacement 278 ongoing nil Total 16,930

Payment performance

Aged creditor analysis at the end of each quarter 2010–11 Current Less than Less than Less than More than (ie within 30 days 60 days 90 days 90 days Quarter due date) overdue overdue overdue overdue ended $ $ $ $ $ Sept 2010 592,796 4,906 1,220 -75 -11,658 Dec 2010 475,124 -458 -2,547 0 -10,408 Mar 2011 659,123 1,317 158 -658 -11,670 June 2011 947,094 71,417 303 625 140,724

Accounts paid on time each quarter 2010–11 Total accounts paid on time Total paid Target Actual Amount Amount Quarter % % $ $ Sept 2010 90.00 99.85 10,189,163 10,204,210 Dec 2010 90.00 99.97 13,095,673 13,098,970 Mar 2011 90.00 99.81 6,456,521 6,468,706 June 2011 90.00 99.92 5,802,762 5,807,274 Total 90.00 99.90 35,544,119 35,579,160

APPENDICES 10–11 127 EEO statistics

Parliamentary annual report tables A. Trends in the representation of EEO groups % of total staff EEO group Benchmark or target 2009 2010 2011 Women 50% 53% 53% 53% Aboriginal and Torres Strait Islander people 2.6% 2.1% 2.1% 1.6% People whose first language was not English 19.0% 16.4% 15.8% 17.1% People with a disability N/A 2.0% 2.1% 2.5% People with a disability requiring work-related adjustment 1.5% 0.4% 0.4% 0.4%

B. Trends in the distribution of EEO groups Distribution index EEO group Benchmark or target 2009 2010 2011 Women 100 116 108 124 Aboriginal and Torres Strait Islander people 100 na na na People whose first language was not English 100 89 88 86 People with a disability 100 115 na na People with a disability requiring work-related adjustment 100 na na na

Notes: 1. A Distribution Index of 100 indicates that the centre of the distribution of the EEC group across salary levels is equivalent to that of other staff. Values less than 100 mean that the EEO group tends to be more concentrated at lower salary levels than is the case for other staff. The more pronounced this tendency is, the lower the index will be. In some cases the index may be more than 100, indicating that the EEO group is less concentrated at lower salary levels. 2. The Distribution Index is not calculated where EEO group or non-EEO group numbers are less than 20. 3. Employee numbers as at 30 June 2010. 4. Excludes casual employees.

Government Information (Public Access) The Gallery received one access application which was Act 2009 provided with all information requested. No access applications were refused by the Gallery The Gallery has reviewed information available to the because the application was for disclosure of public under Section 7(3) of the Act. No new information information for which there is a conclusive presumption has been identified as appropriate for public access. of overriding public interest against disclosure.

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

Access Access Access Information Information Refuse to Refuse to Application granted granted refused not held already deal with confirm/ withdrawn in full in part in full available application deny 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 0 0 0 0 0 0 0 0 or community groups Members of the 0 0 0 0 0 0 0 0 (application by legal representative) Members of the public (other) 0 0 0 0 0 0 0 0

* More than one decision can be made in respect of a particular access application. If so, a recording must be made in relation to each such decision. This also applies to Table B

128 ART GALLERY OF NSW ANNUAL REPORT 10–11 Table B: Number of applications by type of application and outcome

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

* A personal information application is an access application for personal information (as defined in clause 4 of schedule 4 of the the Act) about the applicant (the applicant being an individual)

Table C: Invalid applications

No of Reason for invalidity applicants Application does not comply with formal requirements 0 (section 41 of the Act) Application is for excluded information of the agency 0 (section 43 of the Act) Application contravenes restraint order 0 (section 100 of the Act) Total number of invalid applications received 0 Invalid applications that subsequently became valid applications 0

Table D: Conclusive presumption of overriding public interest against disclosure: matters listed in schedule 1 of the Act

No of times Reason for invalidity consideration used* Overriding secrecy laws 0 Cabinet information 0 Executive Council information 0 Contempt 0 Legal professional privilege 0 Excluded information 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 to Table E.

APPENDICES 10–11 129 Table E: Other public interest considerations against disclosure: matters listed in section 14 of the Act

No of occasions when application Reason for invalidity 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

No of Reason for invalidity applicants 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 Decision varied upheld Total Internal review 0 0 0 Review by Information Commissioner* 0 0 0 Internal review following recommendation 0 0 0 under section 93 of the Act Internal review 0 0 0 TOTAL

* 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 to Table E.

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

No of applications Reason for invalidity 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

130 ART GALLERY OF NSW ANNUAL REPORT 10–11