DOCSLIB.ORG

Ngv Annual Report 2019 / 20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV INTERNATIONAL 180 St Kilda Road THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square National Gallery of Victoria PO Box 7259 Melbourne VIC 3004 Australia +61 3 8620 2222 www.ngv.vic.gov.au ISSN: 2206-4982 RESPONSIBLE BODY’S DECLARATION In accordance with the Financial Management Act 1994, I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year ending 30 June 2020. Janet Whiting AM President, Council of Trustees 27 August 2020 (cover) KAWS American 1974– GONE 2019 (installation view) patinated and painted bronze 700.0 x 710.5 x 294.0 cm Commissioned by the National Gallery of Victoria, 2020 (2020.177) © KAWS CONTENTS OVERVIEW SUPPORT About the National Gallery of Victoria 5 Affiliated groups 137 President’s foreword 6 2019/20 Donors 140 Director’s review 8 NGV Foundation Members 146 Strategic framework 10 Felton Society Members 154 Report against output targets 11 NGV Life Members 156 Emeritus Trustees and Foundation Board members 157 2019/20 PERFORMANCE REPORT The Felton Bequest 157 Bringing art and design to life 13 Partners 158 Connecting audiences 20 Realising our potential 24 GOVERNANCE Building for the future 26 Council of Trustees 167 Sharing our vision 28 Council Committees and working groups 169 Exhibitions Listing 32 Workforce data 170 Acquisition Listing 36 Organisational structure 173 Publications Listing 64 Other corporate reports 174 Disclosure index 184 2019/20 FINANCIAL REPORT Five-year financial summary 71 Independent audit report 74 Financial statements 76 Notes to the financial statements 82 OVERVIEW ABOUT THE NATIONAL GALLERY OF VICTORIA ORIGINS STATE COLLECTION Founded in 1861, the National Gallery of Victoria (NGV) is The State Collection comprises approximately 73,000 works Australia’s oldest public art gallery. illustrating the history and development of Australian, Indigenous and international art, design and architecture in all media. GOVERNANCE The National Gallery of Victoria Act 1966 established the NGV as a PRINCIPAL LOCATIONS statutory authority which currently sits within the Department of The NGV’s St Kilda Road Gallery, designed by Sir Roy Grounds, Jobs, Precincts and Regions. The Act provides for a Council of opened in 1968. Since December 2003 the NGV has operated Trustees with overall responsibility for the Gallery. The Council across two sites – NGV International on St Kilda Road, redesigned reports to the Minister for Creative Industries. by Mario Bellini; and The Ian Potter Centre: NGV Australia at Federation Square, designed by LAB Architecture Studio. COUNCIL OF TRUSTEES FUNCTIONS Section 13 (1) of the National Gallery of Victoria Act provides that ADMISSION the functions of the Council shall be to: Admission to the State Collection is free. Entry fees are charged for some exhibitions. • Control, manage, operate, promote, develop and maintain the National Gallery land. OPENING HOURS NGV International • Maintain, conserve, develop and promote the State 180 St Kilda Road Collection of works of art. Open daily 10am–5pm • Make material within the State Collection available to The Ian Potter Centre: NGV Australia persons, departments and institutions in such manner and Federation Square subject to such conditions as the Council determines, with a Open daily 10am–5pm view to the most advantageous use of the State Collection. • Conduct public programs and exhibitions of material within the State Collection. • Carry out and make available such other services, including computers and other technologies, and the printing, publication and sale of books, information and reproductions in relation to pictures, works of art and art exhibits as the Council thinks fit. • Assist the promotion, organisation and supervision of art galleries and any body or association established for the promotion of art within Victoria. • Advise the Minister and these organisations on matters of general policy relating to art galleries. • Provide leadership in the provision of art gallery services in Victoria. • Carry out other functions as the Minister from time to time approves. • Carry out any other functions conferred on the Council under this Act. (p. 4) An Auslan-interpreted program As She Appears: The Muse in Art – Subversion, presented in partnership with the Wheeler Centre, and inspired by the exhibitions Olympia: Photographs by Polixeni Papapetrou and Petrina Hicks: Bleached Gothic, The Ian Potter Centre: NGV Australia. Photo: Margund Sallowsky © Petrina Hicks. Courtesy of Michael Reid, Sydney; and This Is No Fantasy, Melbourne 5 PRESIDENT’S FOREWORD On behalf of the Council of Trustees of the National Gallery present major international exhibitions, including KAWS: of Victoria, I am pleased to present the Gallery’s 2019/20 Companionship in the Age of Loneliness and Keith Haring | Annual Report. Jean-Michel Basquiat: Crossing Lines alongside outstanding Australian programming, including Petrina Hicks: Bleached Gothic 2019/20 was a year in which the world felt the impact of and Marking Time: Indigenous Art from the NGV. Preparation also coronavirus (COVID-19). At the NGV this had a significant effect on continued this year on the NGV Triennial, a large-scale celebration our operations, particularly through the period of our closure to the of the best of contemporary international art and design, which is public from mid March through to late June. However, our scheduled to open in December 2020. organisation rose to the challenge of finding innovative ways of presenting a broad range of programming that engaged our An ongoing focus during the year has been the continuation of community in meaningful experiences and provided vital social planning for the delivery of NGV Contemporary – a new dedicated connections during this time. The period of public closure due to gallery for contemporary art and design that will be the cornerstone coronavirus allowed us to adjust and grow our digital offering and of the Melbourne Arts Precinct. Following from the Victorian presence, to which audiences responded with great enthusiasm. Government’s commitment in 2018, the NGV has been working This achievement has demonstrated the ability of the NGV to adapt with key stakeholders to advance this exciting project. We also to a challenging global situation and to excel during uncertainty extend thanks to the Victorian Government for their commitment to and change. facilitating major building improvements that will reduce the NGV’s greenhouse gas emissions. The Greener Government Buildings The year was guided by the NGV strategic direction 2019–2022. program aims to improve the energy efficiency of existing Throughout the year, the Gallery attracted more than two million government buildings. Through this program, the NGV has been visitors to diverse exhibitions and programs. Our programming able to undertake a number of initiatives that will have a significant enriched visitor experiences physically and virtually with our effect on our energy usage. audience engagement and learning initiatives that offered opportunities for people to interact, learn, create and be immersed The growth of the NGV Collection and our exhibition and in the world of art and design. The NGV continued to develop and programming schedule has been enabled by the generosity of the 6 philanthropic community. I thank all our supporters, donors and I would also like to express my sincere thanks to my fellow artists who, through the donation of funds or works of art, have Trustees, Professor Su Baker AM, Krystyna Campbell-Pretty AM, enriched the NGV’s holdings and supported specific projects. Leigh Clifford AO, Didier Elzinga, Lisa Gay, Corbett Lyon, Rachael There were many important donations made during this period, Neumann and Andrew Penn. I would also like to acknowledge and a full list of 2019/20 donors can be found on page 140. We Michael Ullmer AO, who retired from the Council in May 2020, for want to really thank the community for their continued support and his valued contribution and service. loyalty, even through this challenging and unusual period. We are very grateful. The Council Committees also contribute enormously to the NGV and I would like to thank the external members who volunteered Our success is greatly attributed to the significant support received their time and expertise: Caroline Coops, Sarah Lowe and Bronwyn from our many friends, volunteers, donors, Members and Ross on the Audit, Risk and Compliance Committee; on the Corporate Partners. I sincerely acknowledge the support of the Investment Committee, Chris Pidcock, Andrew Sisson AO and NGV Women’s Association chaired by Maria Smith, and the NGV Michael Ullmer AO; Chris Thomas AM on the Remuneration and Voluntary Guides chaired by Dorothy Bennett. I also acknowledge Nominations Committee; and Louise Tegart on the Victorian the support of the NGV Business Council and thank outgoing Chair Foundation for Living Australian Artists Committee. Gerard Dalbosco for his service. I acknowledge the NGV Foundation Board’s Chairman Leigh The legacy of the Felton Bequest continues to be felt through its Clifford AO and board members who served during the year: transformative influence on the development of the Collection. President Hugh Morgan AC, Norman Bloom, Paul Bonnici, Bill I would like to thank the Felton Bequests’ Committee, chaired by Bowness
Recommended publications
  • Appendices 2011–12

    Appendices 2011–12

    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
  • European Influences in the Fine Arts: Melbourne 1940-1960

    European Influences in the Fine Arts: Melbourne 1940-1960

    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
  • Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30

    Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30

    Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu.
  • Wintjiya Napaltjarri

    Wintjiya Napaltjarri

    WINTJIYA NAPALTJARRI - PINTUPI Represented by Utopia Art Sydney 72 Henderson Road, Alexandria NSW 2015 Tel: 61 2 9699 2900 utopiaartsydney.com.au [email protected] c. 1933 - 2014 Wintjiya Napalatjarri’s paintings have an emphasis on stark design elements and a restricted palette. She paints in the direct sunlight, as evidenced by the thickness of the paint and the sheen of its surface. Wintjiya Napaltjarri first began painting when she participated in the Kintore/Haasts Bluff joint project in the mid 1990s. Until 2004, Wintjiya painted with her sister Tjunkiya Napaltjarri at the Papunya Tula Artists shed in Kintore but since then she has painted from her home: the widow’s camp outside her ‘son’ Turkey Tolson’s former residence. Wintjiya has been in many group exhibitions and a number of solo exhibitions, as well as having work in major collections including the Art Gallery of New South Wales, the National Gallery of Victoria and the Aboriginal Art Museum in The Netherlands. Selected Solo Exhibitions 2010 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2008 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2006 ‘Wintjiya Napaltjarri’, Scott Livesey Galleries, Melbourne, VIC 2005 Woolloongabba Art Gallery, Brisbane, QLD Selected Group Exhibitions 2016-18 ‘Marking the Infinite’, Frost Art Museum, Miami; Nevada Museum of Art, Reno; Newcomb Art Museum, New Orleans; The Phillips Collection, Washington DC; and Museum of Anthropology ,Vancouver. 2017 ‘Who’s Afraid of Colour’, NGV, Melbourne 2013 ‘The Salon’,
  • Lists of Members 1996

    Lists of Members 1996

    Lists of Members Governing Bodies, Faculties, Boards, Academic and Administrative Staff 1996 Main Committees and Departmental Lists as at 1st February, 1996. Address All general correspondence directed to the University should be addressed to The Registrar, The University of Melbourne, Parkville, Victoria. Australia, 3052. Telephone: (03) 9344 4000 Fax: (03) 9344 5104 Contents UNIVERSITY OF MELBOURNE: SENIOR OFFICE BEARERS COUNCIL 1 *COMMI 11tES 2 4 COUNCILS OF HALLS OF RESIDENCE COMMITthE OF CONVOCATION 8 *ACADEMIC BOARD FACULTIES 10 BOARDS 13 PROFESSORS 21 22 PROFESSORIAL ASSOCIATES WITH 1-11LE OF PROFESSOR 28 READERS 30 PROFESSORS EMERITUS 35 HEADS OF AFFILIATED COLLEGES 40 HEADS OF HALLS OF RESIDENCE 40 TEACHING AND RESEARCH STAFF - Agriculture, Forestry and Horticulture 41 Architecture, Building and Planning 45 Arts 46 Economics and Commerce 53 Education 56 Engineering 60 Law 65 Medicine, Dentistry and Health Sciences 67 Melbourne Business School 99 Music 100 Science 101 Veterinary Science 107 Victorian College of the Arts 109 LIBRARY 112 FACULTY ADMINISTRATION 115 GRADUATE SCHOOL ADMINISTRATION 119 CENTRAL ADMINISTRATION 120 Office of the Vice-Chancellor and Principal 120 Academic Registrar's Division 122 Academic Services 122 Academic Administration 122 Academic Planning Support Unit 122 External Relations 122 The Graduate Centre 123 International Office 123 Student and Staff Services 123 Human Resources 125 Registrar's Division 126 Executive Services 126 Financial Operations 126 Information
  • THE HARVEST of a QUIET EYE.Pdf

    THE HARVEST of a QUIET EYE.Pdf

    li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and .
  • Final Hannah Online Credits

    Final Hannah Online Credits

    Hannah Gadsby’s Oz – Full Series Credits WRITTEN & PRESENTED BY HANNAH GADSBY ------ DIRECTED & CO-WRITTEN BY MATTHEW BATE ------------ PRODUCED BY REBECCA SUMMERTON ------ EDITOR DAVID SCARBOROUGH COMPOSER & MUSIC EDITOR BENJAMIN SPEED ------ ART HISTORY CONSULTANT LISA SLADE ------ 1 Hannah Gadsby’s Oz – Full Series Credits ARTISTS LIAM BENSON DANIEL BOYD JULIE GOUGH ROSEMARY LAING SUE KNEEBONE BEN QUILTY LESLIE RICE JOAN ROSS JASON WING HEIDI YARDLEY RAYMOND ZADA INTERVIEWEES PROFESSOR CATHERINE SPECK LINDSAY MCDOUGALL ------ PRODUCTION MANAGER MATT VESELY PRODUCTION ASSISTANTS FELICE BURNS CORINNA MCLAINE CATE ELLIOTT RESEARCHERS CHERYL CRILLY ANGELA DAWES RESEARCHER ABC CLARE CREMIN COPYRIGHT MANAGEMENT DEBRA LIANG MATT VESELY CATE ELLIOTT ------ DIRECTOR OF PHOTOGRAPHY NIMA NABILI RAD SHOOTING DIRECTOR DIMI POULIOTIS SOUND RECORDISTS DAREN CLARKE LEIGH KENYON TOBI ARMBRUSTER JOEL VALERIE DAVID SPRINGAN-O’ROURKE TEST SHOOT SOUND RECORDIST LACHLAN COLES GAFFER ROBERTTO KARAS GRIP HUGH FREYTAG ------ 2 Hannah Gadsby’s Oz – Full Series Credits TITLES, MOTION GRAPHICS & COLOURIST RAYNOR PETTGE DIALOGUE EDITOR/RE-RECORDING MIXER PETE BEST SOUND EDITORS EMMA BORTIGNON SCOTT ILLINGWORTH PUBLICITY STILLS JONATHAN VAN DER KNAPP ------ TOKEN ARTISTS MANAGING DIRECTOR KEVIN WHTYE ARTIST MANAGER ERIN ZAMAGNI TOKEN ARTISTS LEGAL & BUSINESS CAM ROGERS AFFAIRS MANAGER ------ ARTWORK SUPPLIED BY: Ann Mills Art Gallery New South Wales Art Gallery of Ballarat Art Gallery of New South Wales Art Gallery of South Australia Australian War Memorial, Canberra
  • Ad Astra September 1978

    Ad Astra September 1978

    News-Sheet of the Geelong College Community RD 5TRR No. 40 SEPTEMBER 1978 THE CHANGING SCENARIO In a stage production the set designer is able to change the mood of the play by subtle variations from scene to scene with­ out disturbing the main set. And so it appears the same principle • operates in the educational scene. The adaption of many sections of the College to a wide variety of uses is quite a remarkable story and the purpose of this article is to indicate another significant change for which plans and esti mates were approved by the College Council at its meeting on August 17, 1978. In 1921 a suite of buildings was erected on the Aphrasia Street frontage, to be known as the Preparatory School; since 1960 it has been the 'Old Prep' and the 'Maths Centre' and other titles may be remembered. Lately it has been used by home econ­ Cut·owoy perspective drawing of the House of omics, craft, sculpture and mu sic but the Guilds section of the new building , to be situoted plans provide for a substantial change, as on the western side of the existing courtyard. indicated in the plan below. Th e eXisting 'buildings will be modified place the present prem ises of that name engineering, etc. It will provide, also, for to al low for the relocation of the art, will be erected to the west of th e existing expanded facilities for the music depart­ graphic communications and woodwork de­ buildings, taking in the old change room ! ment, a small aUditorium, two ensemble partments in premises that will be more toi let area, the tennis court and the rear rooms and many practice rooms.
  • 2010-2011 Annual Report

    2010-2011 Annual Report

    Annual Report 2010-2011 Mastery of disease through discovery | www.wehi.edu.au Contents 1 About the institute 3 Director’s and Chairman’s report 5 Discovery 8 Cancer and Haematology 10 Stem Cells and Cancer 12 Molecular Genetics of Cancer 14 Chemical Biology 16 Molecular Medicine 18 Structural Biology 20 Bioinformatics 22 Infection and Immunity 24 Immunology The Walter and Eliza Hall Institute 26 Autoimmunity and Transplantation of Medical Research 28 Cell Signalling and Cell Death 1G Royal Parade 30 Inflammation Parkville Victoria 3052 Australia Telephone: (+61 3) 9345 2555 32 Molecular Immunology Facsimile: (+61 3) 9347 0852 34 Publications WEHI Biotechnology Centre 36 Awards 4 Research Avenue 37 Translation La Trobe R&D Park Bundoora Victoria 3086 Australia Translating our research 38 Telephone: (+61 3) 9345 2200 40 Developing our research Facsimile: (+61 3) 9345 2211 42 Patents www.wehi.edu.au www.facebook.com/WEHIresearch 43 Education www.twitter.com/WEHI_research 46 2010-11 graduates ABN 12 004 251 423 47 Seminars Acknowledgements 48 Institute awards Produced by the institute’s Community Relations department 49 Engagement Managing editor: Penny Fannin Editor: Liz Williams 51 Strategic partners Writers: Liz Williams, Vanessa Solomon and Julie Tester 52 Scientific and medical community Design and production: Simon Taplin Photography: Czesia Markiewicz and Cameron Wells 54 Public engagement 57 Engagement with schools Cover image 58 Donor and bequestor engagement Art in Science finalist 2010 Vessel webs 59 Sustainability Dr Leigh Coultas, Cancer and Haematology division 60 The Board This image shows the delicate intricacy in the developing eye of a transient population of web-like blood vessels.
  • Unique Botanical Work Discovered

    Unique Botanical Work Discovered

    - Unique botanical work discovered Mueller's mock-up for second 'Flora' A unique interleaved and bandworked version of tbe nallon's first botanical guide, Flora Australiensis, bas been discovered in tbe Monash Library. It is believed the 19-volume set, con­ The printed plates are from Mueller's taining hand-written notes and original other publications, including the Reglltered by Australia Poet - publication No. VBG0436 drawings, was being prepared by the 12-volume Fragmenta Phytographiae then Government Botanist of Austra/iae (in Latin), published by the NUMBER 6-88 AUGUST 6, 1986 Melbourne, Baron Ferdinand von Victorian Goverrtment between 1858 Mueller, as a mock-up for a second and 1882. edition. All the original drawings and pain­ Mueller. who was also the first direc­ tings have been identified in manuscript tor of the Melbourne Botanical and one hand in particular showed Gardens, had collaborated with British European style, Mrs Radvansky said. botanist, George Bentham (1800-1884) "We thought it might be Mueller's, r----------ii,<!I;:;::!!'2. in the writing of the seven-volume Flora and asked the herbarium for copies of Australiensis: A description 0/ the his handwriting and that of his plants of the Austra/ian territory. associates. But his IS years' involvement in the "We can now confirm that the writing collection, . identification, description was definitely his." and despatch of specimens was given Flora Australiensis is one of more scant recognition. than 700 items of early Australiana ac­ Rare Books librarian, Mrs Susan Rad­ quired during Monash's first 25 years. vansky, who discovered the unique set, The origins of many are obscure said it would not be surprising if Mueller because they arrived in boxloads and had been contemplating a second edition while the names of the donors were given George Bentham's prominence as noted.
  • Wintjiya Napaltjarri Dt Neu

    Wintjiya Napaltjarri Dt Neu

    WINTJIYA NAPALTJARRI Sprache: Pintupi Region: Kintore (Walungurru), Northern Territory Geboren: ca. 1930 † Juni 2014 © Papunya Tula Artists Wintjiya (auch Wentja) wurde ca. 1930 in Malparingya, nordwestlich der Gemeinde Kintore, geboren. Sie ist die zweite Ehefrau des Vaters von Turkey Tolson. Später zog sie mit ihrem Ehemann nach Haasts Bluff und dann nach Papunya, als die Gemeinde dort gegründet wurde. Wintjiyas Künstlerkarriere nahm mit dem gemeinsamen Malereiprojekt von Frauen aus Kintore und Haasts Bluff ihren Anfang. Später malte Wintjiya für Papunya Tula Artists. Im Jahre 1999 arbeitete sie am gemein- schaftlichen Gemälde der Frauen von Kintore mit, das im Rahmen des „Western Desert Dialysis Appeal“ (Dialyse-Aufruf der Western Desert Region) entstand. AUSZEICHNUNGEN 2011 Finalist 28 th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin, Northern Territory 2013 Finalist Western Australian Indigenous Art Awards, Art Gallery of Western Australia, Perth Cul- tural Centre, Perth, Western Australia SAMMLUNGEN National Gallery of Australia, Canberra, Australien National Gallery of Victoria, Melbourne, Australien Art Gallery of New South Wales, Sydney, Australien Museums & Art Galleries of the Northern Territory, Darwin, Australien Araluen Arts Centre, Alice Springs, Australien Campbelltown City Art Gallery, New South Wales, Australien Artbank, Australien Charles Darwin University Collection, Darwin, Australien Griffith University Art Collection, Queensland, Australien Debra and Dennis Scholl Collection, San Francisco, USA Harvard Art Museum, Cambridge, USA Toledo Musuem of Art, Toledo, USA Aboriginal Art Museum, Utrecht, Niederlande EINZELAUSSTELLUNGEN 2005 Woolloongabba Art Gallery, Brisbane, Queensland, Australien 2006 Wintjiya Napaltjarri, Scott Livesey Galleries, Melbourne, Victoria, Australien 2006 New Works by Wentja Napaltjarri and Ngoia Pollard Napaltjarri, Neil Murphy Indigenous Art in Zusammenarbeit mit Watiyawanu Artists, Mt.
  • 2020 Annual Report

    2020 Annual Report

    2020 Annual Report Make this cover come alive with augmented reality. Details on inside back cover. Contents The Walter and Eliza Hall Institute About WEHI 1 of Medical Research President’s report 2 Parkville campus 1G Royal Parade Director’s report 3 Parkville Victoria 3052 Australia Telephone: +61 3 9345 2555 WEHI’s new brand launched 4 Bundoora campus 4 Research Avenue Our supporters 10 La Trobe R&D Park Bundoora Victoria 3086 Australia Exceptional science and people 13 Telephone: +61 3 9345 2200 www.wehi.edu.au 2020 graduates 38 WEHIresearch Patents granted in 2020 40 WEHI_research WEHI_research WEHImovies A remarkable place 41 Walter and Eliza Hall Institute Operational overview 42 ABN 12 004 251 423 © The Walter and Eliza Hall Institute Expanding connections with our alumni 45 of Medical Research 2021 Diversity and inclusion 46 Produced by the WEHI’s Communications and Marketing department Working towards reconciliation 48 Director Organisation and governance 49 Douglas J Hilton AO BSc Mon BSc(Hons) PhD Melb FAA FTSE FAHMS WEHI Board 50 Deputy Director, Scientific Strategy WEHI organisation 52 Alan Cowman AC BSc(Hons) Griffith PhD Melb FAA FRS FASM FASP Members of WEHI 54 Chief Operating Officer WEHI supporters 56 Carolyn MacDonald BArts (Journalism) RMIT 2020 Board Subcommittees 58 Chief Financial Officer 2020 Financial Statements 59 Joel Chibert BCom Melb GradDipCA FAICD Financial statements contents 60 Company Secretary Mark Licciardo Statistical summary 94 BBus(Acc) GradDip CSP FGIA FCIS FAICD The year at a glance 98 Honorary