ART GALLERY ART GALLERY OF NSW Art Gallery Road The Domain NSW 2000 Telephone: (02) 9225 1700 Information Line: (02) 9925 1790 Email (general): [email protected] For information on current exhibitions and events, visit the Gallery’s website www.artgallery.nsw.gov.au ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2005 ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION

ACCESS RESEARCH LIBRARY AND GALLERY SHOP PUBLIC TRANSPORT The Gallery opens every day except ARCHIVE Open daily from 10am to 5pm and until Buses: the 441 bus route stops at the ‘I have been in many museums around the world. You have a Easter Friday and Christmas Day The Gallery’s Research Library and 8.45pm each Wednesday night, the Gallery en route to the Queen Victoria between the hours of 10am and 5pm. Archive is open Monday to Friday Gallery Shop offers the finest range of art Building. The service runs every 20 national treasure here. Very impressive.’ Gallery visitor, 27 Feb 05 The Gallery opens late each Wednesday between 10am and 4pm (excluding books in and also specialises in minutes on weekdays and every 30 night until 9pm. General admission is public holidays) and until 8.45pm each school and library supply. The shop minutes on weekends. Call the STA on free. Entry fees may apply to a limited Wednesday night. The Library is located stocks an extensive range of art posters, 131 500 or visit www.131500.info for number of major temporary exhibitions. on ground floor level and has the most cards, replicas and giftware. Inquiries more details. comprehensive collection of fine art phone (02) 9255 1718. A range of Free Art After Hours bus: a free ‘The Crossing country exhibition is staggeringly beautiful – at once GUIDED TOURS books in NSW. Inquiries phone merchandise is also available online courtesy minibus operates from 7pm The Volunteer Guides of the Art Gallery (02) 9225 1785. (www.artgallery.nsw.gov.au/shop). until 9.30pm every Wednesday night. spirited and monumental. Congratulations.’ Gallery visitor, 26 Oct 04 Society offer a range of free guided tours The Library provides a free ‘Opinion, It makes its final run from the Gallery at of the collection and major exhibitions. Conservation and Identification Service’ CAFE & RESTAURANT 9.15pm. The bus loops down past Mrs General tours: daily one-hour tours (excluding valuations) every Thursday The Cafe is situated on lower level 1 and Macquaries Chair then on to the Domain revealing highlights of the collection and 10am to 12 noon. is open daily from 10am to 4.30pm and Parking Station, Wilson Parking Station the Gallery. Monday 1pm and 2pm; until 8.45pm each Wednesday night. (Sydney Hospital) and Martin Place train ‘[CROSSING COUNTRY] IS ONE OF THE MOST INSPIRING Tuesday to Sunday 11am, 1pm & 2pm. STUDY ROOM FOR PRINTS, The restaurant is situated on the ground station. Yiribana tours: of the Aboriginal and DRAWINGS AND floor and is opened daily from 11am until Trains: closest train stations are EXHIBITIONS YOU COULD VISIT ANYWHERE IN THE WORLD, Torres Strait Islander gallery. Tuesday to PHOTOGRAPHY 4.30pm. For restaurant bookings phone St James and Martin Place. Sunday 11am. The Study Room for Prints, Drawings (02) 9225 1819. SO GO AND SEE IT.’ Sydney Morning Herald, Spectrum, 30-31 Oct 04 Asian galleries tours: daily 12 noon. and Photography, located on level 2, is The Gallery is also available for private PARKING Community Ambassador tours: Asian open to the public weekdays from 10am exhibition viewings and functions in the There is limited metered parking outside language tours of the permanent to 4pm, excluding public holidays. The evenings. For Venue Hire inquiries the Gallery and additional metered collection: Japanese – Friday 11am; study room assistant will attend to and telephone the Gallery’s venue manager parking in Mrs Macquaries Road. The Mandarin – Tuesdays & Thursdays supervise visitors. Appointments are on (02) 9225 1836. Domain Parking Station is open daily ‘Just had Ngununy, the cheeky fruit bat, take us through Yiribana … 10.30am; Vietnamese – First Saturday advisable but not essential. School with a special discount rate of $15 per of the month 11am. groups are welcome. Inquiries phone VISITORS WITH SPECIAL day (weekdays only) for visitors to major fantastic! Engaging, informative, deadly! Thank you for bringing the art Signing Art: Auslan-interpreted tours. (02) 9225 1758. NEEDS exhibitions with admission charges. Just Last Sunday of each month (excluding Wheelchairs are available at the Gallery’s have your parking ticket stamped at the of Aboriginal & Torres Strait Islander peoples to life in this way.’ December/January) 1.30pm. BRETT WHITELEY STUDIO rear entrance, where there is a ramp and entrance to the exhibition. In Touch at the Gallery: sensory Located at 2 Raper Street Surry Hills, an elevator giving access to most parts Gallery visitor, 18 July 04 exploration tours (for the blind and vision the Brett Whiteley Studio is open of the Gallery. The gallery carpark has CONTACT INFORMATION impaired). Available for booked groups Saturdays and Sundays 10am to 5pm two designated spaces for the disabled Physical and postal address: or individuals, at any time during Gallery except Christmas Day. On Thursday but it is advisable to confirm availability Art Gallery of New South Wales opening hours. Two weeks’ notice the studio is open by appointment for by telephoning (02) 9225 1775. Art Gallery Road required. education groups. Admission is $7 The Domain Theatre and Centenary The Domain NSW 2000 ‘The Henson exhibition at the Art Gallery of NSW achieves something Private groups: tours tailored to the and $4 concession. Inquiries phone Auditorium are fitted with audio Electronic communications: needs of groups. During the Gallery (02) 9225 1740. induction-loop systems and an FM- Administration switchboard that is therefore rather rare … it reveals [the individual works] as part of hours or with private evening functions. transmitter system is used for guided (02) 9225 1700 Inquiries phone (02) 9225 1800. PHOTOGRAPHY tours if requested. Signing Art tours Information Desk (02) 9225 1744 a coherent and compelling imaginative development. The effect is Photography of the permanent conducted for deaf people, using Recorded What’s On Information EXHIBITIONS / EVENTS collection, with the exception of works Auslan, are held on the last Sunday of (02) 9225 1790 heightened by the outstanding installation …’ The Australian Financial Review, 10 Feb 05 INFORMATION in the Yiribana gallery, is allowed by every month at 1.30pm (excluding TTY (02) 9225 1808 The free quarterly publications members of the public providing no flash December/January). The service is free General facsimile (02) 9221 6226 Exhibitions and Events are available or tripods are used. Quality photographs apart from exhibition entry fees, if Website: www.artgallery.nsw.gov.au from the Gallery. These booklets detail of the collection, including works from applicable. E-mail: [email protected] current exhibitions and public program the Yiribana gallery can be obtained from ‘THANK YOU SO MUCH FOR PLACING A SPOTLIGHT ON RAYNER events, including films, lectures and the Gallery’s image reproduction officer. MEMBERSHIP 2005 ANNUAL REPORT performances. An email newsletter Photography for publication or other You are invited to join the Art Gallery Report coordinator – Trish Kernahan HOFF’S MARBLE AUSTRALIAN VENUS – IT HAS BEEN TOO DARK covering exhibitions, courses, lectures, commercial purposes is allowed only Society of New South Wales and share Text editor – Jennifer Blunden special events, films and workshops after written application to the Gallery. in the many pleasures of membership. Design – Mark Boxshall FOR TOO LONG – YOU’VE DONE IT JUSTICE, WONDERFUL. is published monthly. Register for this Inquiries phone (02) 9225 1798. Stay informed about what’s on in the Photography – Jenni Carter, Diana information service on our website Gallery, choose from over 200 special Panuccio, Mim Stirling, Chilin Gieng Gallery visitor, 19 March 05 (www.artgallery.nsw.gov.au/aboutus/ events and enjoy membership privileges artmail) or email [email protected] and priorities all year long. Inquiries and let us know you want to subscribe. phone (02) 9225 1878.

‘We wanted to congratulate and thank the Gallery for making our stay in Sydney such fun. It is great to see our children (aged 5 & 9) become so engrossed in art and enjoy all that was on offer. They loved the free tours and laughed and laughed at the storytelling. A wonderful way to expose children to what can at times be presented as adult and “boring”. Thanks.’ Gallery visitor, 1 July 04

Visitor comments from the Gallery’s Visitor Comments books 2004–05.

5 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2005

ART GALLERY NSW CONTENTS

With over a million visitors each year, the Art Gallery of New VISION, PURPOSE, PLEDGE OF SERVICE 5 APPENDICES South Wales is one of Australia’s most popular art museums Sponsorship and philanthropy 54 and a vital part of Sydney’s cultural life. Since its inception in YEAR IN BRIEF Visitor numbers 56 1874, its objective has been to collect and present to the public the Highlights 6 Exhibitions listing 57 finest works of art available, with a special emphasis on the artistic Performance summary 8 AGNSW publications for sale 58 traditions of Australia. The Gallery has been located at its present Strategic plan and outcomes 9 Art prizes, grants and scholarships 58 site in the Domain since 1885. Its splendid old galleries, designed by Aged and disability access programs and services 59 government architect Walter Liberty Vernon and built between 1896 PRESIDENT’S FOREWORD 13 Production costs 2005 Annual Report 59 and 1909, display the distinguished 19th-century Australian and DIRECTOR’S STATEMENT 14 Ethnic affairs priorities statement 60 early European collections. The building extensions made to the Aboriginal & Torres Strait Islander programs and services 61 Gallery in the 1970s and 80s responded to the changing needs YEAR IN REVIEW Women’s action plan 61 of both the collection and our audience, doubling the available Collections 17 Waste reduction and purchasing strategies 62 exhibition space and celebrating the art of our time with Exhibitions 28 2004-05 overseas travel 62 extensive displays of modern and contemporary Australian, Publications 34 Collection purchases 63 Audiences 36 Aboriginal and Torres Strait Islander, and European art. The Collection gifts 65 Outer metropolitan and regional NSW activities 40 beautiful and contemplative Asian galleries, expanded in 2003, Loans 69 Support 41 affirm the Gallery’s commitment to presenting the art and Staff list 73 Commercial 43 culture of our region. This year the Gallery presented 36 exhibitions, Staff publications, presentations accompanied by a diverse and stimulating array of public and and related activities 75 CORPORATE GOVERNANCE educational programs. Board of Trustees 44 FINANCIAL STATEMENTS THE ART GALLERY OF NEW SOUTH WALES IS A STATUTORY BODY OF THE Trustee meetings 46 NSW STATE GOVERNMENT. Financial commentary 80 Other Gallery entities 47 Financial summary 81 Senior management profiles 48 Independent audit opinion 82 Organisation structure 49 Financial statements 84 Staff numbers summary 49 Internships 50 Index 104 EEO statistics 50 General access information inside back cover Risk management 50

front cover: Bill Henson Paris Opera project 1990–91, type C photograph, 123.5 x 124.5 cm (irreg). Purchased with funds provided by the Rudy Komon Memorial Fund 1993 © Bill Henson. Courtesy Roslyn Oxley9 Gallery

back cover: Robert Owen Tears of history 2000–04, Austral black granite, 22 components, 350 x 400 cm installed (approx). Gift of the artist 2004 © Robert Owen. Licensed by Viscopy, Australia

title page/ opposite/ p 5: evening views of the Art Gallery of New South Wales

2 3 VISION, PURPOSE, PLEDGE OF SERVICE

VISION The Gallery has developed and successfully implemented a ‘To maintain our reputation as an energetic, outgoing and variety of strategies to achieve these goals. In doing so, the accessible institution, and at the same time Gallery works closely with our key stakeholders such as strive to be a major international gallery of the world, the Art Gallery Society of New South Wales and its 22 000 continuing to inspire, interest and provide enjoyment to our members, the Art Gallery Foundation of New South Wales, increasingly diverse audiences.’ the Museums & Galleries Foundation of NSW, the NSW Ministry for the Arts and other arts institutions. PURPOSE For more information see Strategic plan and outcomes (p 9). The Hon Bob Debus MP The Gallery’s core purpose is to maintain and develop a NSW Attorney General, Minister for the ART collection of works of art, and to promote understanding and PLEDGE OF SERVICE Environment and Minister for the Arts GALLERY appreciation of art. Its governing legislation is the Art Gallery of The Art Gallery of New South Wales aims to provide resources Parliament House NSW New South Wales Act 1980. and experiences of the highest quality to all visitors to the Macquarie Street Gallery (both physical and virtual) for the enjoyment and study SYDNEY NSW 2000 The Gallery’s 2003–08 Strategic Plan sets out three mission goals: of fine art. • To acquire, conserve and present to the public the finest We recognise that the public has a right to expect that works of art available, with special emphasis on the artistic services will be provided without discrimination. The Gallery traditions of Australia seeks continuously to improve our service and welcomes feedback, both directly to staff and through regular surveys. • To explore and inspire through our collection and exhibitions, the emotional and intellectual resources of our audiences For further information about services and access see the Dear Minister, inside back cover of this report. • To create a sense of belonging and provide our visitors with an enjoyable and enduring experience. It is our pleasure to forward to you for presentation to the New South Wales Parliament the Annual Report for the Art Gallery of New South Wales for the year ended 30 June 2005. This report has been prepared in accordance with the provisions of the Annual Reports (Statutory Bodies) Act 2005 and the Annual Reports (Statutory Bodies) Regulations 2005.

Yours sincerely

David Gonski Edmund Capon President Director

25 October 2005

4 5 YEAR IN BRIEF highlights

During 2004–05 we acquired for the collection, through purchase and gift, DECEMBER 2004 480 works of art valued at $11.2m. We presented 36 superb art exhibitions; • The Nelson Meers Foundation Nolan Room: opened on 20 December, this offered a host of public programs and special events including talks, special gallery includes the display of the five major Sidney Nolan gifted performances, courses, symposia and lectures by curators, artists, writers, to the Gallery by the Foundation over the past five years. musicians, photographers and academics; and attracted over 1.35m visitors. We operated a $43.1m business including a funding allocation of • Anne Landa Award: Australia’s first award exhibition for the moving image and $20.7m provided by the NSW government; sold and published specialist new media, established in honour of Anne Landa, a past trustee of the Art Gallery art books; contributed artworks and staff expertise to regional galleries of New South Wales, and held biennially. (2 December 2004 – 13 February 2005) around the state and internationally; supported the arts community through JANUARY 2005 scholarships and awards; and strengthened our relationship with our many supporters in both the public and private sectors. • Bill Henson: the first major survey of the photography of Australian artist Bill Henson brought together many of his important series and explored major themes from the past 30 years. (8 January – 3 April 2004, then travelling on to the National Gallery of Victoria) JULY 2004 • Celestial silks: Chinese religious and court textiles: this exhibition featured FEBRUARY 2005 over 70 exquisite textiles made for the imperial court or as temple offerings. • Acquired: Kalachakra, gilt bronze with gems, for the Asian collection; Sea Highlights included sumptuous dragon robes worn by emperors and high piece, St Jean de Luz 1925 by for the Australian art collection; court officials. (31 July – 24 October 2004) Idris Khan’s ‘every … Bernd & Hilla Becher Globe Slide House’ 2004 for the Contemporary International collection from funds provided by Geoff and AUGUST 2004 Vicki Ainsworth. • Acquired: The creek 1925 by Arthur Streeton from funds provided by and the Edward Stinson Bequest for the Australian collection; Meteor II MARCH 2005 1988 by Sigmar Polke, purchase supported by funds from the Mervyn Horton • Art museums: sites of communication 2: a two-day symposium that explored Bequest for the Contemporary International collection; Androgynous form of issues of communication, language, art and audiences within the art museum – Shiva and Parvati (Ardhanarishvara) India, Tamil Nadu c1100 for the Asian keynote speakers included artists and experts from the USA, UK, NZ and around collection; Untitled (Kutunga Napanangka) 2003 by George Ward Tjungurrayi for Australia. (18 & 19 March 2005) the Aboriginal and Torres Strait Islander collection. APRIL 2005 SEPTEMBER 2004 • Archibald Prize: one Australia’s oldest and most prestigious art awards, valued • Crossing country: the alchemy of western Arnhem Land art: this landmark at $35 000, was awarded to John Olsen for his work Self portrait Janus faced. exhibition was the first major survey to chronicle the development of Arnhem The Wynne Prize for landscape , valued at $15 000, was awarded to Land’s unique artistic and cultural traditions. Comprising some 300 works, Jenny Sages for her work The road to Utopia. The Sir John Sulman Prize for best including some of the oldest bark paintings in existence as well as sculpture, subject or genre painting, valued at $10 000, was awarded to Sandro Nocentini weaving and works on paper, the exhibition was accompanied by a 240-page, for his work My son has two mothers. And the Citigroup Private Bank Australian full-colour book by Hetti Perkins, curator of Aboriginal art. (24 September – Photographic Portrait Prize valued at $15 000 was awarded to Cassandra Mathie 12 December 2004) for her work Ali and Rahmi.

OCTOBER 2004 MAY 2005 • Acquired: Three studies from the Temeraire 1998–99 by Cy Twombly from • myVirtualGallery: launched on 26 May, this innovative website allows users to funds provided by the Art Gallery of New South Wales Foundation, the Art Gallery create their own online ‘exhibition’ using works from the Gallery’s collection. Society of New South Wales and a number of private and public donors for the (www.artgallery.nsw.gov.au/ed/myvirtualgallery). Contemporary International collection; Chinese sancai dish, Tang dynasty, from

From the exhibition Celestial silks: dragon robe c1450, silk funds provided by the Sternberg Chinese Art Purchase Fund for the Asian JUNE 2005 embroidery on gauze, 131 x 168 cm. Chris Hall Collection Trust collection. • Rajput: sons of kings: this colourful exhibition of over 70 paintings and Arthur Streeton The creek (1925) oil on canvas, 51 x 77 cm drawings from the princely courts of Rajasthan in north-west India offered a rare NOVEMBER 2004 Edward Stinson Bequest Fund 2004 opportunity to see these exquisite works and glimpse the vitality and sensuality John Mawurndjul, Maningrida 2004. Represented in the exhibition • The art of Japanese screen painting: the folding screen is one of the most of court life during the 17th to 19th centuries. (9 June – 4 September 2005) Crossing country, Mawurndjul also came to Sydney to participate distinctive forms of Japanese art. This exhibition showed highlights from the in the public programs held in conjunction with the exhibition. Gallery’s outstanding collection of Japanese screens, dating from the 17th to For more information see Year in Review – Audiences (p 36); Year in review – Collections (p 17) opposite: 19th centuries. (6 November 2004 – 6 February 2005) and appendices (p 65); Year in Review – Exhibitions (p 28) and appendices (p 57); Year in Review – Publications (p 34) and appendices (p 58). Cy Twombly Three studies from the Temeraire 1998–99 (detail, see pp 22–23) © Cy Twombly

Bill Henson from Untitled sequence 1979 1979, 6 gelatin silver photographs. Purchased 1981 © Bill Henson. Courtesy Roslyn Oxley9 Gallery ‘I’ve spent a lifetime working in photography, film, television and video,

Archibald Prize winner John Olsen responds to press interest and I’ve never seen anything like Henson’s work. Absolutely incredible.’ Gallery visitor, 26 Feb 05

6 7 YEAR IN BRIEF performance summary YEAR IN BRIEF strategic plan and outcomes

UNIT NOTE 2000–01 2001–02 2002–03 2003–04 2004–05 CORPORATE GOALS AND OBJECTIVES encourages an increasing level of public visitation. EFFICIENCY In line with the Gallery’s vision, we seek to continue to be better • Ensure the effective funding sources for the Gallery to support its acquisition program and expansion of services. Number of employees (EFT) 1 193 193 200 204 203 at what we do and in doing so build on our existing services Opening days lost to industrial dispute 2 0 0 0 0 0 and maintain our success. In May 2003 the Board of Trustees To achieve these objectives the Gallery has developed key Hours lost to industrial disputes per employee 0 0 0 0 0 endorsed a Strategic Plan for the five-year period 2003–08. strategies. The performance outcome(s) of each are outlined Days lost for workers compensation per employee 0.00 0.25 0.25 1.25 1.50 The Strategic Plan 2003–08 contains six major objectives: in the following table. Average days sick leave per employee 5.00 4.50 4.75 4.00 5.00 • Enhance and conserve the state’s art collection and heritage Staff turnover rate 7% 9% 6% 10% 12% MEASURING OUR PERFORMANCE building. • Operate a varied, exciting and active exhibition program to Each strategy includes a number of annual performance SERVICES encourage visitors and expand appreciation of art. measurement targets. Each year the Gallery develops a Total number of visitors (thousands) 1,261 1,181 1,127 1,513 1,351 • Provide education and research programs and services to an Performance Agreement for the director which is endorsed by General admission 996 1,001 1,000 1,228 1,072 ever-broadening audience. the president of the Board of Trustees and the Ministry for the Whiteley Studio 3 8 9 9 7 9 • Inspire and explore artistic attitude and aspiration. Arts. Listed here is a selection of these key target and Touring exhibition 4 257 160 118 266 270 • Operate the Gallery in an efficient and effective manner that performance outcomes. Art After Hours 5 - - 27 73 61 Number of exhibitions 45 37 32 28 35 Value of exhibition program ($M) 6 245 272 455 890 232 Number of collection objects acquired during year 671 572 771 488 480 Value of collection objects acquired during year ($M) 7.8 4.3 7.8 8.0 11.2

PROGRAM OBJECTIVES AND OUTCOMES FINANCIAL Core business expenses $’M -15.2 -16.0 -18.3 -19.2 -18.7 Strategies Key targets Performance outcomes Government funding – recurrent $’M 15.2 16.0 18.1 18.8 17.9 Net core business income (deficit) $’M 0.0 0.0 -0.2 -0.5 -0.8 Increase acquisitions of Acquire suitable works for Major acquisitions include – Cy Twombly’s Three studies from Commercial services net income $’M 7 1.6 1.2 1.5 1.4 1.6 artworks specifically ‘icons’ the Gallery. the Temeraire 1998–99, Still life 1949 by Giorgio Morandi, Bequest & special funds net income $’M 8 8.9 7.0 5.9 7.0 11.7 and maintain high standards Meteor II 1988 by Sigmar Polke, The Creek 1925 by Arthur Government funding – capital $’M 3.0 6.4 14.2 2.8 2.8 of curatorial work and Streeton and a rare Indian sculpture c1100. Depreciation / revaluation adjustment $’M -1.2 -1.7 -2.1 -1.6 -2.5 conservation. VisAsia net income $’M 9 0.0 0.1 0.2 0.3 0.1 [Objective 1] Many other important works were acquired. In total 480 Surplus as per financial statements $’M 12.3 13.0 19.5 9.5 12.9 works valued at $11.2m were added to the collection during 2004–05. Net cost of service $’M 5.7 9.4 12.9 12.1 7.8 Net cost of service per visitor – general admission $ per head 5.70 9.30 12.80 9.90 6.40 For more information see Year in Review – Collections (p 17).

Collection $’M 587.6 588.1 596.0 603.8 614.8 Land & building $’M 10 173.2 107.6 120.4 126.0 133.5 Other $’M 23.0 25.1 23.3 23.2 25.0 Maintain and refurbish the On-going building The $2.4m program of works, including fire compliance work, Total assets $’M 783.9 720.8 739.7 753.0 773.3 building in keeping with its maintenance as per plan has been completed on time and on budget. Total liabilities $’M 3.1 4.0 3.4 4.1 5.1 heritage value and as a including fire compliance. Net assets as per financial statements $’M 780.8 716.8 736.3 748.9 768.2 public venue (including the Whiteley Studio). Resolve current storage A business case was put forward for off-site storage but Data in this table has not been subject to audit [Objective 1] issues with consolidation of funding was not provided. An interim arrangement for storage off-site rental space. has been organised with a lease to alleviate the shortage of space. 2004–05 REVENUE 2004–05 EXPENDITURE NET ASSETS AS AT 30 JUNE 2005 $43.1 million $30.2 million $768.2 million

Bequests & Plant & equip Exhibit and feature the Present major Gallery- Crossing country was the first significant survey of the art special funds Bequests & & other Employee Land & 2% permanent collection in as curated exhibitions. of western Arnhem Land and received critical acclaim. special funds Other 1% related building 29% operating Collection attractive a manner as Government 33% 55% 17% 80% funding 48% possible and develop Success measured by critical Bill Henson received both critical acclaim and visitor Merchandise Insurance significant temporary and visitor response, popularity, exceeding all expectations and attracting over sales 4% Other Admissions 8% Depreciation exhibitions. catalogues and financial 65 000 visitors. The accompanying book, Mnemonsyne, revenue 4% 8% 11% [Objective 2] viability. was completely sold out.

Notes: 6 Value reflects major Picasso (2002–03) and Caravaggio (2003–04) exhibitions As usual, the Gallery maintained a high level of exhibition 1 Equivalent full-time (EFT) staff numbers 7 Includes Exhibitions, Gallery Shop and Venue Hire activities activity with 36 exhibitions. Overall the year’s program was 2 The Gallery is open to the public 363 days per year (Closed Good Friday & Christmas Day) 8 Includes restricted funds mostly for acquisition of works of art 3 Whiteley Studio closed during May–June, 2004 for roof replacement 9 Controlled entity consolidated into AGNSW accounts successful and exceeded the financial target for the year. 4 Includes regional NSW, interstate & international exhibition touring; 2001 – Dead sea 10 The building was revalued in 2001–02 at replacement cost – assumes existing sandstone scrolls & 2004 – Caravaggio, both to NGV walls would be replaced with sandstone façade 5 Late opening each Wednesday until 9pm commenced 8 January 2003 For more information see Year In Review – Exhibitions (p 28)

8 9 Strategies Key targets Performance outcomes Strategies Key targets Performance outcomes

Encourage loyalty and Develop and improve A growing number of people with disabilities participated in Inspire and explore artistic Focus on quality of research, The Aboriginal art handbook Tradition today: Indigenous longer-term commitment accessible programs. the Gallery’s accessible programs during the year – in total attitude and aspiration. interpretation, publication, art in Australia has become one of the Gallery Shop’s top among our visitors; 1234 visitors. The three most popular accessible programs [Objective 4] exhibition and events. [At selling titles. broaden visitor base. were Da Vinci, Signing Art and In Touch tours. least 2 major collection- [Objectives 2,3 and 4] based publications – A further two titles are in development: a handbook for the Work with Art Gallery Society Art Gallery Society membership base continued to grow with Aboriginal and contemporary collection (due for release June 06) and for and Foundation to grow over 22 000 memberships. AGNSW Foundation has over 789 Contemporary] the photography collection (release 07) membership/donor base donors to date, 668 of which are current contributors. In the course of the year the Gallery published 7 exhibition For more information see Year in Review – Audiences (p 34) catalogues. and Year in Review – Support (p 41). A total of $161 300 in prizes, scholarships and awards were presented during 2004–05. Expand the Gallery profile Further develop Asian Asian art programs this year have included the exhibitions by establishing a ‘centre programs of exhibitions, Celestial silks, The art of Japanese screen painting, and Eight overseas tenancies in two Paris studios were also of excellence’ in Asian art lectures, acquisitions etc Dadang Christanto. Public programs have included the Arts granted. without detracting from of Asia and Arts of India lunchtime lecture series. the Gallery’s objectives of For more information see Year in Review – Publications (p 34) covering all categories of art. The Community Ambassadors program continued providing and Art Prizes, Grants and Scholarships appendix (p 58) [Objective 1] free tours of the permanent collection in community languages – Mandarin, Cantonese, Japanese and Vietnamese – with 636 people enjoying these tours during 2004–05. Manage the Gallery Ensure visitor access and The Gallery was fully operational 363 days of the year with no VisAsia contributed $300 000 towards the Asian program operations effectively. enjoyment; no disruptions to disruption to services. during 2004–05 and is well placed to provide on-going funding [Objective 5] service. of at least $150 000 per annum. Total visitor numbers for 2004–05 were 1.35m which was slightly down on last year’s figure due to there being no major For more information see Year in Review – Audiences (p 34) international exhibition. and Year in Review – Support (p 41).

Lend / borrow works of art; Regional program to be Regional activities have included over 150 loans of artworks Meet customer needs by Art After Hours to be Art After Hours continued on a regular basis with partial support regional galleries in continued. to regional galleries. improving service levels. continued. support from private sponsorship. In 2004–05 over 60 000 their endeavours. [Objectives 3 and 5] visitors attended, reflecting a regular Wednesday night [Objectives 2 and 4] The Gallery’s staff have participated in regional exhibition audience even without a blockbuster exhibition as we had openings and prize judgings and the Gallery has provided in the prior year. a full-time staff member to the Museums and Galleries Foundation of NSW to support regional programs and Develop electronic myVirtualGallery was launched in May which allows users development for a period of at least a year. educational programs to create their own online ‘exhibition’ using works from the Gallery’s collection. The development of an online education The Gallery is also assisting Inverell with its 2006 Tom Roberts kit for the Archibald Prize continued as part of an innovative Festival. collaboration with the Museums and Galleries Foundation of NSW. For more information see Year in Review – Outer Metropolitan and Regional NSW Activities (p 40). Inside Artexpress (www.artexpress.net.au) a mini-website linked artists/works in the exhibition with related artists/works in the Gallery’s collection and attracted 4009 visits. Conduct public programs; Enhance public/education The Public Programmes department commenced the Da Vinci disseminate information programs for community Program for Years K–6 children with an intellectual disability For more information see Year in Review – Audiences (p 34). on art and contribute to and for gifted and talented children, providing rich and scholarship to further challenging learning experiences. Public Programmes enjoyment and appreciation continued developing Kids Arts Trails, which encourage of art, particularly with children to engage more interactively with art in the Gallery, Implement state-of-the-art Digitisation of collection Over 15 000 images of collection works are now available for young people. focusing on the Aboriginal, Asian and Modern collections. technology and corporate watermarking and viewing access via the Gallery website. systems. [Objective 3] The overall participation rate in 2004–05 for education [Objective 4 ] Ensure a secure IT network Firewall protection fully effective. Disaster Recovery and audiences – kindergarten to tertiary (K–T) students, and and up-to-date systems for Business Continuity Plan (IT) completed. AS/NZS 7799 teachers and lecturers – was 82 066. the Gallery. accreditation in progress. New programs were developed in the curriculum areas of language, history, English and science, as well as continuing Usage of the Gallery website continues to grow. The to emphasise the Gallery’s important collection and exhibition average number of visits per day was 3423, an increase resources for the study of cross-curricula subjects, especially of approximately 38% from 2003-04. for K–6 audiences. For more information see Year in Review – Audiences (p 34). For more information see Year in Review – Audiences (p 34).

10 11 Strategies Key targets Performance outcomes PRESIDENT’S FOREWORD

Manage staff resources High morale and Industrial issues were handled in a timely manner with effectively to ensure high professionalism with minimal generally favourable outcomes. Staff grievances were dealt employee morale, high skill industrial issues and staff with in line with policy and with minimal implications. Overall, levels and support for grievances staff morale continued to be high. continued expansion. PERFORMANCE IN 2004–05 Governance section (p 44). There were no changes to the [Objective 1] Staff training and Staff professional standards were maintained but development I am pleased to report that this year saw another solid year of composition of the Board this year. Terms were extended to development was limited due to fiscal controls. achievement for the Art Gallery of New South Wales. The the end of 2007 for Anne Fulwood, Irene Lee and Sandra exhibition program continued to be world-class. McPhee. The Gallery introduced annualisation of penalty rates for Gallery officers and an agreement covering flexible working The Crossing country exhibition comprised over 300 Aboriginal During the year the Board honoured one of its former hours for Gallery staff. art objects from western Arnhem Land and Bill Henson was an members, Anne Landa, who died in 2002, through the extensive retrospective of this renowned Australian establishment of the Anne Landa Award, which was made photographer. The latter show attracted record numbers of possible by the generous support of her daughter Sophie visitors to the Gallery and also to the National Gallery of Landa. This award is part of a new biennial exhibition for Effective use of government Secure sustainable funding Service Agreement developed and endorsed by the Ministry Victoria, where it toured. As is the Gallery’s practice with all moving image and new media in Australia, celebrating funding and improve for core business operations for the Arts. Once executed, this service agreement will lead to major exhibitions, enjoyable and educational public program Australian artists. government relations. via a three-year funding plan sustainable funding for core operating activities. events were also developed to coincide with these shows. [Objective 6] with agreed deliverables. THE YEAR AHEAD The Gallery’s success extended to include a good financial The Gallery plans to continue to hold several major exhibitions Manage within budget. The Gallery’s core business continued to be a ‘deficit’ budget outcome, particularly with bequests and donations, which in the coming year, including the superb : due to award salary increases and global budget cuts. continue to exceed our expectations and provide much art and life which has already proved successful and due to However, the shortfall has been underpinned by improved welcome support. Contributions were received from the end on 23rd October. Later in the calendar year the beautiful commercial earnings providing a net surplus overall. Foundation, Society and individuals for the acquisition of Pissarro: the first Impressionist exhibition will also be Cy Twombly’s Studies from the Temeraire 1998–99. Several presented. This is an event that should not be missed and For more information see Financial Commentary (p 80) other generous benefactors including the Lowy family, my own will reflect the diversity of the work of this painter who took family, the Nelson Meers Foundation, the Lady Maisie Drysdale a leading role in developing the impressionist movement. Bequest and the Dorothea Bennett Estate contributed funds primarily for the acquisition of artworks. Our exhibition At the time of writing this report, the Gallery had received a Increase funding from Develop and grow Improved commercial earnings underpinned core business program, Gallery Shop and Venue Hire services also continued substantial bequest from the Patrick White Estate and a major commercial activities, commercial and benefaction operations as noted above as well as contributed towards art to perform well with the success of the above mentioned contribution from the Foundation using funds from the Walter bequests, donations and income. acquisitions. exhibitions and our annual Archibald Prize. Hartwig Estate. The former will be preserved as a capital fund sponsorships. for acquisitions of Australian artworks and the latter is being [Objective 6] Strengthen funding base for Another successful year of fundraising with donations and The President’s Council this year celebrated its tenth used to acquire a major artwork by Procaccini titled The acquisitions bequests of over $11.2m including the major contribution to anniversary and has grown in that time to become the major lowering of the cross with Saints Mary Magdalene, Augustine, the Cy Twombly. financial supporter of the Gallery’s exhibition program. The Jerome and angel. Council provides a forum for business leaders to share insights AGNSW Foundation capital base has reached $22m as at end and engage in the Gallery’s future plans, offering advice and a On a less favorable note, I need to advise that litigation on the June 2005 in addition to substantial contribution of $2.8m fresh perspective. We are most grateful for the valuable 2004 Archibald Prize is still in progress and is not expected to towards the Gallery’s acquisition program. assistance this group provides in helping us to bring art to the be concluded till next calendar year. I would like to specifically people of NSW and beyond. Today we can reflect that the thank Mr Bruce Cutler and his team at Freehills for their full For more information see Financial Commentary (p 80) Gallery’s involvement with the corporate world is both relevant support in dealing with this matter. and active. We have a full complement of 35 members. THANKS Similarly the VisAsia Council, which commenced five years ago, is growing steadily and supports the Asian program. I take this opportunity to thank also the Director, Edmund Manage membership / Maintain and increase The President’s Council celebrated its 10th anniversary in Overall I am pleased to say that the Gallery continues to Capon and all his staff at the Gallery for their commitment and structures of all entities membership of fundraising 2005. Comprising 35 business leaders, it is a most successful generate funds from non-government sources to sustain many professional skills, which are integral to the continued success (Trust, Foundation, Art programs. model of the partnership possible between business and the of its wonderful programs, acquire works of art and underpin and vibrancy of this Gallery today and into the future. My Gallery Society, Brett Whitely arts. It has grown to become the major sponsor of the its core business. sincere thanks are also extended to the director-general of the Foundation, VisAsia and Gallery’s exhibition program. Ministry for the Arts, Roger Wilkins, and his deputy, Jennifer other fundraising programs). During the year the Gallery worked with the Ministry for the Fundraising entities namely AGNSW Foundation, VisAsia and Lindsay. Finally my thanks to the former Premier and Arts Arts and NSW Treasury to develop a three-year Service Minister Bob Carr, who was a great advocate of the arts in [Objective 6] Brett Whiteley Foundation generated earnings and enhanced Agreement. This will commit the Gallery to delivering some key their capital base. NSW and was instrumental during his term in achieving a performance outcomes such as growth in art acquisitions, number of important developments in the history of the For more information see Year in Review – Support (p 41). bequests and donations, sponsorships and commercial Gallery. The Board and the Gallery look forward to working earnings, plus continuing world-class exhibition programs, with the newly appointed Minister for the Arts, Bob Debus. Asian art programs, and art prizes and scholarships. This agreement which has now been executed will lead to sustainable funding, thus ensuring the Gallery has a sound David Gonski, President base for its operational activities in the future. Art Gallery of New South Wales Board of Trustees 8 September 2005 BOARD OF TRUSTEES I would like to thank my fellow trustees, who give generously of their time, expertise and on occasion gifts of artworks and cash to the Gallery. More details on the Board and sub- committee matters can be found in this report in the Corporate

12 13 DIRECTOR’S STATEMENT

In a year of many highlights it is always a challenge to course copious messages of thanks, particularly for our Task unique, varied, subtle, often mischievous and witty but protean administer the ultimate accolade. The acquisition of Cy Force and volunteer guides, who are much appreciated. career as the artist who redefined Australian art in the second Twombly’s Three studies from the Temeraire; the Bill Henson half of the 20th century. The latest acquisition, the magnificent With regard to the services enjoyed and used by our visitors, retrospective; the hugely evocative Crossing country Central Australia 1950, bought for the Gallery by the Meers and now indeed by others around the world who have access exhibition; seeing the eminent John Olsen make a symbolic Foundation, was the perfect note on which to launch our new to the Gallery via the internet, the most crucial and central leap for the sun when it was announced that he had, finally, Nolan displays, which we did in December 2004. I cannot say of our responsibilities are, as ever, acquisitions, exhibitions, won the Archibald Prize; listening to Bill Henson speak so that the campaign is yet quite complete, as the prolific Nolan publications, displaying our permanent collections and public eloquently about Cy Twombly at one of our Wednesday continues to impose his options upon us, but it is certainly programs. evening celebrity talks; enjoying the colourful and expansive much closer to fulfilment. excitement of the second Balnaves Foundation sculpture CY TWOMBLY exhibition, which featured Robert Owen; being bewildered by MAJOR COLLECTION ACQUISITIONS The outstanding acquisition of the year must be Cy Twombly’s James Angus’ successful endeavour to fit a Mack truck into It is right and proper here that I acknowledge once again Three studies from the Temeraire 1998–99, which has been the smallest of our level 2 contemporary galleries; opening the that, since the Gallery receives no direct funding from the the subject of a number of articles in Gallery and other Nelson Meers Foundation Nolan Room and the achievement of government for its acquisitions,we give thanks for the publications. Never have the resources of the Gallery been so successfully addressing our hitherto inadequate representation extraordinary contributions from the private sector that permit galvanised in pursuit of a single purchase with the Foundation, of the work of Sidney Nolan; unpacking another stunning us to grow the collections. In a year that added such works the Society and over 35 individual benefactors contributing addition to the Asian collections in the form of a 14th-century as the Twomblys, a second painting by Giorgio Morandi, to this the most substantial purchase in the history of the gilt bronze Tibetan figure of Kalachakra, the very embodiment paintings by such diverse and significant artists as Sigmar Gallery – thus far. Here I would like to pay tribute not only to of complex Tantric cosmology and iconography; or any Polke, Arthur Streeton, Roy de Maistre, Godfrey Miller, George all those who made this acquisition possible but also to the number of other moments in the life of the Galley over the past Ward Tjungurrayi and Robert Owen, photographic works by chairman of our Foundation, Rowena Danziger, and in the year. Indeed it could be one of those chance encounters with Bernd and Hilla Becher, Rosemary Laing, Tracey Moffat and Gallery Jane Wynter, for their tireless and dedicated work a visitor who comes up to express the pleasure that a visit to Bill Henson, an outstanding and rare print of one of Gericault’s on behalf of the Foundation and our acquisition fundraising the Galley continues to offer. Selecting a single highlight is akin most famous lithographs The boxers 1818, and a number of activities. Having written extensively on these paintings there to being asked which is your favourite painting; the answer is Asian works including a spectacular Chinese Tang dynasty is no need to do so again but I was intrigued to notice that a simple: I have a gallery full of favourites. (618–906) three-colour glazed offering dish and an outstanding BBC poll in the United Kingdom in August 2005 revealed that Tamil Nadu sculpture of c1100, are testimony to the wealth of Installation view of James Angus’ Truck corridor 2004 the painting which Twombly had declared to be his favourite VISITOR EXPECTATIONS continuing support and generosity of our benefactors. and the ultimate source of inspiration for the Gallery’s triptych, Most important of all is the overall achievement of the Gallery Turner’s majestic The Fighting Temeraire tugged to her last home there. However, with its wooden floor, I am firmly of the in continuing to maintain all its activities and programs to the EXHIBITION HIGHLIGHTS berth to be broken up 1838, was considered, by popular view that works on paper shows will be seen to particular highest standards and to the fulfilment of the vast majority of The exhibition program was as lively, rewarding and varied acclaim, to be the greatest painting in a British art gallery, advantage in the space, as we saw with the fine exhibition our visitors’ expectations. There are two aspects to that as ever. Whilst I lost count, I am reliably informed that we easily outpolling such icons as Constable’s The hay wain, Boucher, Watteau and the origin of the rococo from the Ecole fulfilment: firstly to provide the services expected of us and, did 36 exhibitions during the year which is, of course, far too Manet’s A bar at the Folies Bergere and van Eyck’s The Nationale Supérieure des Beaux-Arts, Paris, displayed in that secondly, to create an atmosphere and conditions in which our many but we shall probably do just as many next year. As ever Arnolfini portrait. gallery in March to May 2005. visitors may enjoy the experience of the Gallery to the fullest. the Biennale of Sydney, the 14th, directed by the Portuguese I remain stubbornly attached to the idea that the art museum NELSON MEERS FOUNDATION NOLAN ROOM curator Isobal Carlos, which opened in June 2004 but fell SERVICE AGREEMENT WITH GOVERNMENT should be a pleasure to visit, that the experience should take principally in the year under review, deployed the Gallery’s In the year 2000, the year of the Olympics in Sydney, our head In the report of our president of the Board of Trustees, David precedence over education, notwithstanding our educational resources to the full. Of the major Gallery-initiated shows, the curator of Australian art, Barry Pearce, took a new approach to Gonski made mention of the Service Agreement with the role. In pursuit of those ideals I constantly seek to maintain the hugely engaging Crossing country: the alchemy of Western the display of the Australian collections under the appealing NSW government. Much time, effort and thought have been harmonious atmosphere within the building for both staff and Arnhem Land art and the relentlessly powerful Bill Henson and succinct title of Australian icons. This was an edited expended on this plan, which has its origins in the informal visitors. One means of gauging public opinion and expectation retrospective were unforgettable experiences. I believe the history of Australian art seen through the works of 20 key arrangement with government that it funds the basic about the Gallery is from our Comments Books, which now visitors’ engagement with the beguiling and mysteriously artists selected from the Gallery’s collections. It was an maintenance and operations of the Gallery and the Trust funds seem to fill up at an alarming rate. These interesting and, at revealing images of Henson marked something of a quantum exercise that demonstrated both strengths and weaknesses, the activities, which include the all-important acquisition and times, eccentric barometers of public interest can be revealing leap for both public and artist. Whilst Henson’s work was and the most evident of the latter turned out to be Sidney exhibition programs. The Service Agreement will formalise our and varied offerings, from the effusive to occasional rudeness known and admired, it was selectively so rather than generally; Nolan. Arguably, but certainly in my view, Australia’s greatest present working relationship with the government. It will also with generous condiments of wit, silliness, bad spelling, helpful thus it was a revelation for the public to experience his work painter of the 20th century, Nolan simply had to be clarify the Trust’s roles and responsibilities in quite specific and suggestions and genuine concern. They do however reveal in such a compelling and comprehensive manner just as it was represented in our collections in a way which demonstrated quantifiable terms and ensure the continued growth of the one thing for certain: that whilst we are an art gallery, visitors for Bill himself to be thrust into the public arena with such a that contention. A campaign was undertaken to address the Gallery without prejudice to quality. Similarly the government’s do expect levels of service and facility that were unthinkable major show. situation and it reached a highpoint with the creation of the commitment, enshrined in the initial three-year agreement, will just two or three decades ago. Well over half the comments Nelson Meers Foundation Nolan Room. Celestial silks: Chinese religious and court textiles was one of permit the Gallery to plan ahead more effectively and address not matters of art but matters such as the the surprise exhibitions of the year. There was no doubting economically. As a prelude to concluding the terms of this imperfections of the mothers room, cloakroom facilities and In just five years, with the support of the Meers Foundation the colour and splendour of Chinese court and imperial robes agreement, a number of reviews of and investigations into the disabled access, why we don’t have an ATM, witty complaints and the Art Gallery Society, no less than eight major Nolan and textiles but we did not foresee the level of public interest. Gallery’s activities, resources and operations were carried out. about the new LCD information screen which has superseded paintings have been acquired, each one representing one of The equally splendid catalogue had to be reprinted owing to These revealed the Gallery to be the most efficient and the somewhat more rudimentary blackboard on which the the artist’s principal preoccupations and each one of great demand, particularly from overseas. Another exhibition of economic such institution in the state art museum sector. The day’s activities were inscribed, please could we have fewer significance for our collections. Together with our existing special significance was 19th-century Australian watercolours, clear, simple and well-defined terms of the Service Agreement schoolchildren (to which the answer is incidentally ‘no’), holdings, which of course include such signal paintings as drawings and pastels as it was the opportunity for us to also will ensure that we can continue to perform with economy and parking, parking, parking – or the lack of it – to rather arcane Pretty Polly mine, the 1943 Self-portrait bought by the Art publish this part of the Gallery’s Australian collections. The efficiency. I would like to record here my special thanks to observations such as ‘nothing new under the sun, nothing in Gallery Society and the gifts of Lord McAlpine, these works new Rudy Komon Gallery on the upper level was in big Rosemary Senn for her commitment and indeed patience in the sun is new’ (the meaning of which eludes me) and of mean that the Gallery can now at last demonstrate Nolan’s demand as both, the curators and the art seem very much at seeing these negotiations through to a conclusion.

14 15 ‘… I have always maintained that a great building and a great collection do not necessarily combine to make a great art museum; people are YEAR IN REVIEW the third and defining component.’

COLLECTION STORAGE cafe, curator talks, lectures and a miscellany of more ad hoc There are, of course, major issues for us to confront. The most entertainments have made Wednesday evenings at the Gallery compelling and immediate of these is the matter of storage, absolutely memorable and firmly established in the public’s both for works of art and other material. Institutions such as mind. Two unique and independent people, Jan and Liz ours have a history of evolution and growth and nothing other demonstrated a loyalty to the Gallery that was matched only than radical policy change or extinction is likely to alter that by their contributions. pattern of gradual but relentless development. We are acutely THANKS aware of the plans being implemented by our colleague state art galleries in the country to ensure their future. In that There has been little other movement in staff over the past scheme of things, and particularly for any institution such as year, which is a further demonstration of loyalty and dedication ours involved in charting and collecting the art of its time, our to the Gallery. I have always maintained that a great building art collections too will inevitably grow. The idea that a and a great collection do not necessarily combine to make a substantial area of our Gallery, located in the heart of the city, great art museum; people are the third and defining should be given over to storage, as it currently is, may be very component. I am delighted to have this opportunity to express convenient but could also be regarded as unsustainable. Plans my thanks and appreciation to all the staff, volunteers, have been developed to relocate collection and non-collection members, benefactors, supporters and all those who have material storage off-site to less costly but more efficient contributed to yet another fruitful and fulfilling year in the life of accommodation thus releasing nearly 1000 square metres of the Gallery and make special mention of our senior managers space in the Gallery for conversion to areas for public display. Tony Bond, Anne Flanagan, Rosemary Senn and Belinda This as yet unresolved matter will remain a preoccupation for Hanrahan, and head curators Barry Pearce and Jackie us in the coming year. Menzies. As the year ends, we are working on the conversion of the old Gallery boardroom to additional space for the 20th- FAREWELL century Australian galleries which, when completed, will bear During the course of the year we, reluctantly, said goodbye to the names of Frank Lowy and David Gonski, the former and two exceptional people who had made extraordinary present presidents of the Board of Trustees. This will be contributions to the Gallery. Jan Batten formally joined the recognition of the enormous amounts of time, energy, Gallery in 1997 having worked for us on a consulting basis as resources and concern that the presidents and members of our media relations manager since the early 1990s. Known for our Board of Trustees devote to the success and growth of the her stamina, smoking and general physical prowess, Jan Gallery. On behalf of the staff, and indeed the public who enjoy became the consummate media manager and the constant this place, I express my thanks to our supportive and ever- and invariably supportive comment on the Gallery across all willing trustees. Finally to our minister, the former premier Bob media was in large part due to her sublime management of Carr, director-general of the Ministry for the Arts Roger Wilkins, that often sensitive relationship. Her decision to leave for his deputy Jennifer Lindsay and the staff at the ministry, we family reasons was greeted with disbelief but understanding. express our thanks for their constant support, guidance and I must say the same about Liz Gibson, who joined the Gallery advocacy. as an education officer in 1988 but left us as impresario extraordinaire in early 2005. When we finally managed to establish our late openings every Wednesday, we all knew we Edmund Capon AM OBE had to do more than just keep the doors open. The Art After Director Art Gallery of New South Wales Roy de Maistre Sea piece, St Jean de Luz 1925, oil on canvas, 54.2 x 65 cm. Ruth Komon Bequest in memory of Rudy Komon 2005 © Caroline de Mestre Walker Hours programs Liz devised to attract, retain and expand our 22 September 2005 evening audiences, from celebrity talks to concerts, jazz in the

COLLECTIONS French coastal town of St Jean de Luz, where he took a studio in 1924, count among his masterpieces and represent a AUSTRALIAN ART watershed in the artist’s development. The acquisition of this Outstanding among the Australian paintings acquired this year work strengthens a period previously weakly represented in was an exceptional late landscape by Arthur Streeton, The the collection. Without doubt one of his finest paintings of the creek 1925. Rich in impasto and unusually daring for the artist, period, Sea piece, St Jean de Luz echoes de Maistre’s earlier it is a dramatic comment about land degradation. The colour-music paintings, while displaying a robust brushwork collection previously reflected a certain decline in Streeton’s and design influenced by his experience of European post- paintings from the early 1920s, following his return to Australia impressionism. from Europe, however this acquisition allows us to reveal a Other particularly welcome acquisitions include two rare early rare combination of intense poetic vision and social works by Godfrey Miller, Dusk, Warrandyte and Street scene, conscience during the artist’s last two decades of painting. London 1929; a 1943 genre painting by Margaret Preston, Yet perhaps our most important acquisition was Sea piece, St Manly harbour beach significant for its stylistic fusion of Jean de Luz 1925 by Roy de Maistre, purchased from a private elements from both Japanese and Aboriginal art; a strong, recent painting by Margaret Olley, Ranunculus and pears 2004; Jan Batten and Liz Gibson collector after it had been brought to the Gallery for a Thursday morning appraisal. De Maistre’s paintings at the and David Aspden’s Black music 1995, purchased just a few

16 17 Godfrey Miller Street scene, London (1929), oil on canvas board, 24 x 24 cm. D G Wilson Bequest Fund 2004 © Estate Godfrey Miller/John Henshaw

Margaret Olley Ranunculus and pears 2004, oil on hardboard, 76 x 101 cm. Edward Stinson Bequest Fund 2005 © Margaret Olley

months before the artist’s death in June. Responding to ABORIGINAL AND TORRES STRAIT ISLANDER ART Aboriginal dance and music, the latter was one of Aspden’s The most significant work acquired during the past financial most evocative and beautiful works of recent years and is an year would undoubtedly be Tommy McRae’s pen and ink ideal updating to his representation in the collection. sketch Spearing the kangaroo c1890. This rare and finely Highlights among this year’s acquisitions of works on paper detailed 19th-century work on paper is the oldest Aboriginal include a previously unknown woodcut by Ailsa Lee Brown artwork in the collection and it is significant that the artist’s (purchased at auction in New York) and an exquisite George country was the Upper Murray region near Albury-Wodonga Lambert drawing from the estate of artist Nora Heysen, for in southern NSW. whom it was a treasured possession. While the former is a Two large paintings by Papunya Tula artists strengthened poignant reminder of Sydney’s past, when trams were such a a key area of the collection: George Ward Tjungurrayi’s feature of the city, the exquisite George Lambert study is of magnificent canvas Untitled (Kutungka Napanangka) 2003, particular interest and relevance to the Gallery as it depicts the which won the Wynne Prize for landscape painting in 2004 flower seller in his major painting Important people 1914, a and has been on display since it was acquired for the work that has been in the collection since 1930. collection; and Eileen Napaltjarri’s impressive painting Also important was the purchase of a second watercolour by Untitled (Tjiturrulpa) 2004, which has also delighted Gallery Robert Atkinson, Bringing in the dinner 1889, which provides a audiences since its acquisition. rare glimpse of life in the artists’ camps of Sydney Harbour in Paintings from other regions were also acquired, including the 1880s and 90s; a group of ’s earliest two remarkable paintings by the highly regarded Pitjatjantjara collographs with working proofs and plates; four of Jorg artist Tommy Watson. Wipu Rockhole 2004 and Walpu 2004 Schmeisser’s recent Antarctic etchings and new prints by Joe boldly depict sites in Watson’s country and display the artist’s Furlonger and Bea Maddock; gouaches and prints by Carl facility with the medium. East Kimberley artist Freddie Timms’ Plate, Arthur Boyd and Jörg Schmeisser; and powerful figure dramatic diptych (pair) in black and pink, Jack Yard 2004, was drawings by Joy Hester and Frank Hinder. The Australian purchased for the collection by the Art Gallery of New South Prints, Drawings & Watercolours Benefactors Fund was crucial Wales Society Contempo group. The painting is essentially to several purchases, as was the support of other individuals, a map of Bow River station, where he lived as a boy. Master private collectors, artists and their families in providing works weaver Regina Wilson’s intricately meditative Syaw (fish net) by many other artists. 2004, an acrylic painting on canvas, references the weaving The Brett Whiteley Studio Foundation granted $10 000 to fund traditions found in the Peppimenarti community in the Daly a project to catalogue all Brett Whiteley Estate works currently River region in the Norther n Territory. held at the studio under the Gallery’s management – Following the major exhibition Crossing country: the alchemy necessary for audit and indemnity procedures. This major of western Arnhem Land art, several key works from the show undertaking, managed by Australian department staff with were acquired. These were two bark paintings and a hollow additional assistance, commenced during the maintenance log memorial pole: Bilwoyinj site 2004 by Samuel Namunjdja, Freddie Timms Jack Yard 2004, diptych: earth pigments and synthetic polymer paint on linen canvas, 150 x 180 cm (each panel) Purchased with funds provided by closing of the studio in July 2004 and has continued steadily, which depicts a location subject to mini-cyclones; a superb the Art Gallery Society of New South Wales Contempo Group 2005 © Freddie Timms, courtesy Jirrawun Arts achieving complete recording of 1165 works to 30 June 2005. bark painting, Untitled c1960s by January Nangunyari- Eileen Napaltjarri Untitled (Tjiturrulpa) 2004, synthetic polymer paint on linen canvas, 244 x 183 cm. Purchased with funds provided by the Aboriginal Collection It is estimated a further 1000–1200 remain to be catalogued. Benefactors 2005 © Eileen Napaltjarri, courtesy Aboriginal Artists Agency Ltd

18 19 Namiridali, on loan to the exhibition from a collector in Macedonia; and the elaborately decorated hollow log Lorrkkon Wubarr/Morak Ceremony 2004 by Ivan Namirrkki, which features an unusual ring of feathers around the upper section. A bark painting by the esteemed artist Lofty Bardayal Nadjamerrek AO, Bulandjalarnlan 2004, depicts a spirit figure associated with a particular site in Bardayal’s clan estate. Several of Bardayal’s paintings were featured in the Crossing country exhibition. In a combined gift/purchase, three carved and painted Balangjangalan spirit figures pre 1990 by Paddy Fordham Wainburranga were acquired from a collection in the USA. Works on paper constitute a significant collecting area and a number of prints from Maningrida were purchased: 13 etchings by John Mawurndjul and his wife Kay Lindjuwanga, completed towards the end of 2004, which depict sites associated with the Mardayin ceremony; and prints by Maningrida artists Susan Marawarr, Lena Kuriniya, Mary Marabamba and Kate Miwulku that depict weavings and plants. Ceremonial body painting is the basis of Tiwi artist Pedro Wonaeamirri’s two works on paper, Pwoja – Pukumani body paint design 2004, which were also acquired. The Gallery is most grateful to Colin and Liz Laverty for their extremely generous gift of 16 paintings by a number of well- known Aboriginal artists. The majority of the works are from the central and western deserts, including a superb early Papunya board Men’s journey 1971 by founding Papunya Tula artist ‘Old’ Walter Tjampitjinpa; four paintings by Willy Tjungurrayi; two by Walangkura Napanangka; and single paintings by Ronnie Tjampitjinpa, Tony Tjakamarra, Nyurapayia Nampitjinpa, Michael Mutji Tjangala, Alan Windaroo

Tjakamarra, Butcher Cherel Janangoo, Queenie McKenzie, Théodore Géricault The boxers 1818, lithograph, 35.5 x 41.5 cm. Parramore Purchase Fund 2004 Kitty Kantilla (Kutuwalumi Purawarrumpatu) and Prince Of Wales (Prince Mudpul/Mitbul). Christopher Hodges and Helen Eager gave the third Balangjangalan spirit figure by Paddy Fordham Wainburranga. EUROPEAN PRINTS, DRAWINGS AND WATERCOLOURS Dr Milton Roxanas gave a bark painting by Jimmy Njiminjuma, With funds provided by the endowment of the late Mr Tom Wakwak (Crow Dreaming site) 2000. Margaret Tuckson gave Parramore, the Gallery was able to acquire a superb a rare woven fibre Southern Highlands spirit figure c1960s impression of Théodore Géricault’s lithographic masterpiece, to the Melanesian collection that was originally purchased The boxers 1818. This rare work is the first Géricault to enter by Tony Tuckson at the Mount Hagen Show in 1971. The the collection, where it joins an important group of early artist Judy Watson has gifted a seminal work, charcoal on French lithographs. plywood, Untitled 1990, which appropriately prefigures her Thanks once again to generous funds provided by Margaret subsequent work. Olley, the Gallery was able to acquire two lithographs, Profile EUROPEAN PAINTINGS PRE 1900 of girl 1924 by Henri Matisse and The red cloth 1944–46 by Pierre Bonnard. We were also the fortunate recipient of a gift The major event of the year for European old masters was by Mrs Joan Leslie McAuslan of five colour woodcuts by the a gift by Mr Charles Davies-Scourfield of a large baroque English vorticist artist Edward Wadsworth. Joining a fine Flemish hunting subject, The boar hunt c1650, from the representation of his work already in the collection, a colour workshop of Frans Snyders. The picture is in need of screenprint by Erich Buchholz was given by the artist’s cleaning and restoration and this will be a project for the daughter Mrs Mo Wedd-Buchholz. Gallery’s Conservation department in the coming year. Negotiations were also commenced for the acquisition in early 2005–06 of a major Italian baroque altarpiece by Giulio Cesare. Ivan Namirrkki Lorrkkon Wubarr/Morak ceremony 2004, natural pigments and feathers on wood (Eucalyptus tetradonta), 209 x 33 cm. Purchased with funds Frans Snyders The boar hunt c1650 (detail), oil on canvas, 172 x 239 cm provided by the Aboriginal Collection Benefactors 2004 © Ivan Namirrkki, Gift of Charles Davies-Scourfield 2005 239.2005 licensed by Viscopy, Australia

20 21 Cy Twombly Three studies from the Temeraire 1998–99, oil on canvas (triptych), 253.5 x 202.5 cm, 261.3 x 202.5 cm, 260.3 x 202.5 cm Joint acquisition (see below) © Cy Twombly

MODERN AND CONTEMPORARY though we have not been able to collect a major work of his to This has been an exceptional year for International date, nonetheless artists such as Kiefer, Richter, Horn and now Contemporary art acquisitions. The Cy Twombly triptych Polke were all influenced greatly by Beuys. Dieter Roth, who (three-panel) Three studies from the Temeraire 1998–99 has died in 1998, was a highly influential artist in Europe in the been an outstanding addition, not only because of its great trajectory of Duchamp and Beuys, and the acquisition of his aesthetic and poetic quality but also because of the great Spice window 1971 makes an important bridge between the generosity shown by many people in making such a valuable antecedents of contemporary art and the many artists purchase possible. It was a joint acquisition with funds represented in our collection who use everyday objects and provided by the Art Gallery Society of New South Wales and materials to communicate poetic responses to life and to art. the Art Gallery of New South Wales Foundation, with the We are very pleased to have been able to secure a new film assistance of the following major donors: Kerry Packer AC & by William Kentridge, Tide table 2003, exploring the subjective Roslyn Packer, Jillian Broadbent AO, Peter Weiss AM, Ginny load carried by a Jewish South African who lived through the & Leslie Green, Geoff & Vicki Ainsworth, Catriona & Simon Dieter Roth Spice window 1971, spices, wood, glass, metal, 78 x 157.5 x 7 cm apartheid era. It surpasses his previous works in its technical Purchased 2004 © Dieter Roth Estate Mordant, Susan Rothwell, Ann Corlett, Rowena Danziger AM sensitivity to his medium of filmed charcoal drawing. This & Ken Coles AM, Energy Australia, Brian France AM & Philippa film represents a turning point to his stories with a new cast France, Chris & Yvonne Gorman, John & Inge Grant, Penelope of characters emerging. Also purchased were a set of The collection was also considerably enhanced through a & Harry Seidler AC OBE, John Symond AM, Isaac & Susan drawings by the African artist Frédéric Bruly Bouabré and number of significant gifts. Dr Colin and Elizabeth Laverty gave Wakil, and a number of other private individuals. a photogravure installation by the classic American photo works by Steig Persson, Louise Hearman, Philip Wolfhagen, Anthony Galbraith and Dick Watkins. Another very significant Giorgio Morandi’s Still life 1949 was acquired with funds from conceptualist John Baldessari. Both of these acquisitions gift was of three series of photographs by Simryn Gill, giving the Lady Maisie Drysdale Bequest, the Ruth Komon Bequest complement our rich collections of conceptual art and its considerable substance to the Gallery’s holdings of her work. in memory of Rudy Komon and the Margaret Hannah Olley relation to language. A group of four photographs by the Matthys Gerber’s large abstract painting Slavedriver 2003 Giorgio Morandi Still life 1949, oil on canvas, 32.5 x 42 cm. Purchased with Art Trust. It beautifully complements the Morandi already held Scottish artist Christine Borland will hang well with her funds provided by the Lady Maisie Drysdale Bequest, the Ruth Komon Bequest was selected by Edmund Capon and given by the artist. in the collection. sculptural installation acquired last year and add to the theme in memory of Rudy Komon and the Margaret Hannah Olley Art Trust 2004 of strange bodies that forms one of the core strands to the David Rosetzky’s video installation Untouchable 2003, one of © Giorgio Morandi/SIAE. Licensed by Viscopy, Australia his most ambitious works, was the winner of the inaugural Other outstanding purchases included Sigmar Polke’s Meteor II collection of contemporary international art. Christine Borland The velocity of drops: surgical ward 2003, 1988 with assistance from the Mervyn Horton Bequest Fund, Anne Landa Award and became part of the Gallery’s 4 type C photographs, 69 x 69 cm each. Don Mitchell Bequest Fund 2004 a long overdue representation of one of Europe’s leading The Contemporary Collection Benefactors continued to be permanent collection. Robert Owen’s magnificent five-panel © Christine Borland the major source of funds for acquisitions for the contemporary postwar artists. This is an uncompromising work from the abstract painting Cadence 2003 was purchased from his Louise Hearman Untitled #836 2001, oil on masonite, 68.5 x 91 cm 1980s, a critical moment in the artist’s development. The figure Australian collection, and in the last year purchases were made exhibition at the Gallery and the artist generously gifted the Gift of Dr Colin and Mrs Elizabeth Laverty 2005 © Louise Hearman of Joseph Beuys looms over the international collection even of works by John Barbour, Shaun Gladwell and Jan Nelson. poignant sculptural work Tears of history 2000–04.

22 23 PHOTOGRAPHY Important acquisitions were funded largely through benefaction. These include the acquisition of a series by influential German photographers Bernd and Hilla Becher, modernists Annelise Kretschmer and Ilse Bing, Japanese photographer Daido Moriyama, and the American artist Francesca Woodman. In all cases this is the first time these important artists have been represented in the collection. The series by the Bechers is important in itself as well as providing a bridge in the collection between pre-war and postwar German photography. The Bing is particularly important as it is her signature image and a very fine early print. Works by younger Australian artists Aaron Seeto and Cherine Fahd entered the collection for the first time, and some very important gifts were received. These include: Rosemary Laing’s greenwork series; a number of photographs by Harold Cazneaux; early photographs and ‘cut screens’ from the 1990s by Bill Henson, which round out our collection of this artist’s work; and important photographs by Americans Minor White and Barbara Morgan. These last have substantially increased Bernd and Hilla Becher from Blast furnaces 1970–95, 5 gelatin silver photographs, our ability to represent the development of American overall 105.1 x 144.1 cm. Alistair McAlpine Photography Fund 2004 photography. Ilse Bing Self portrait with Leica 1931 (printed 1941), gelatin silver photograph, 26.7 x 31.2 cm. Alistair McAlpine Photography Fund 2005 © Estate of Ilse Bing ASIAN ART opposite: This year saw the acquisition of some fine works for the Asian Androgynous form of Shiva and Parvati (Ardhanarishvara) c1100, granulite, collections, strengthening some of our more established 112 x 46 x 29 cm. Purchased 2004 collecting areas while simultaneously furthering our objective to have one of the finest and most comprehensive pan-Asian

24 25 TOSA Mitsuoki Scene from ‘Asagao’ (The Morning Glory), chapter 20 of the ‘Tale of Genji’ 17th century, hanging scroll; ink and colour on silk, 39.6 x 86.2 cm. Purchased 2004

China Tang dynasty (c618–906), Ceramic offering tray, earthenware with sancai (three colour) glaze; amber, green and cream, 33.7cm diam. Edward and Goldie Sternberg Chinese Art Purchase Fund & Asian Collection Benefactors 2004

which upheld classical Japanese painting traditions over many the epic the Ramayana, painted on cloth for the 18th-century centuries. The painting depicts a scene from the famous Indonesian market. The substantial number of textiles from collections in Australia. With the increased exhibition space of courtly romance, the Tale of Genji, an enduringly popular the Philippines, the first to enter the collection, demonstrates the new Asian galleries, there has been a greater opportunity choice among Japanese artists. The painting typifies the jewel- a distinct tradition and aesthetic, while enabling the Gallery to showcase new acquisitions as well as to rotate displays, like Tosa style, exquisitely capturing the Japanese sensitivity to further realise its goal of representing the art and culture often along thematic lines. to nature and the seasonal changes while also depicting of our Southeast Asian neighbours. One of the year’s major acquisitions was a large, standing the court life and costume of the classical Heian period Indian stone sculpture of the androgynous form of the Hindu (794–1185). Another Japanese acquisition was an Edo period RESEARCH LIBRARY AND ARCHIVE god Shiva. This particular manifestation of Shiva, which is suzuribako (writing case) from the 18th–19th centuries. The The Archive has recently been greatly enriched by the the incorporation of Parvati into Shiva, is known as box, primarily used to hold items necessary for calligraphy, is donation of a number of archives from commercial galleries, Ardhanarishvara, Sanskrit for ‘the lord who is half a woman’. an elegant example of the best of Japanese lacquer. Probably including Coventry Gallery, Watters Gallery, Macquarie Made of granulite and dating to the Chola period (c1100) the owned by someone of the higher classes during the Edo Galleries and the Bloomfield Galleries. Providing a rich sculpture originally may have been part of a temple wall. Its period (1616–1868), the box is decorated with a scene of source for the study of Australian art from the 1920s to the detailed, sensitive sculpting of body, jewellery and clothing is windswept pine tress along a rocky shore, an allusion to the 80s, these collections include correspondence, catalogues, testament to the craftsmanship of the era, esteemed as one of famous scenic spot of Matsushima, a popular subject in press reviews, slides and other images. Personal papers were the great classical periods of Indian sculpture. The Gallery was classical literature and art. donated from Rubery Bennett, Maximilian Feuerring, Jocelyn seeking to acquire a fine example of Chola excellence, as well Rickards, Graeme Inson, Alan Oldfield and Sam Fullbrook. The Gallery has been the recipient of some significant gifts as a significant sculpture of the major Hindu god Shiva, and Deepening our archival holdings of art societies, the Sydney from very generous donors, including rare Vietnamese, the acquisition of this piece fulfilled both aims. A much- Printmakers Society also donated its records in this year. Korean and Chinese rank badges donated by Judith and needed addition to our small Tibetan holdings was a 14th- LU Yanshao (China, 1909–1993) Thatched hut on Mount Lu, 20th century, hanging Ken Rutherford. Vietnamese and Korean badges are much century gilt bronze figure of the major Tantric Buddhist deity scroll; ink and colour on paper, 67 x 136 cm. Gift of Mr Teck-Chiow Lee 2005 rarer than Chinese ones, so the Gallery is particularly Kalachakra, also known as the ‘Wheel of time,’ in father- fortunate. Moreover, the Rutherford gift was complemented mother union with his consort, the Universal Mother by a donation by Dr Young Yang Chung of two more rare Vishvamata, who is the embodiment of wisdom. Acquired Korean badges – welcome additions to our developing largely through donations made to the Asian Collection to better understand the aesthetic of the Tang period, an Korean collection, as well as our Asian textile holdings. Benefactors Fund, this sculpture of extraordinary presence apogee of Chinese art and connoisseurship. It was through and spiritual power is another fine addition to the Gallery’s the Edward and Goldie Sternberg Southeast Asian Art Fund A very generous gift of some exceptional Chinese paintings important ‘Faiths of Asia’ display. that the Gallery was able to purchase a Thai manuscript, has entered the collection from Mr Teck-Chiow Lee. This gift Phra Malai (Poem about the venerable monk Malai), a classic includes works by artists such as Lu Yanshao, a major 20th- Through the auspices of the Edward and Goldie Sternberg Thai Buddhist text about the deeds done in this life and the century landscape painter who often drew on ancient sources Chinese Art Purchase Fund and the Asian Collection consequences these will have in the next. Such manuscripts, for inspiration; Guan Shanyue, an important painter and part Benefactors Fund, the Gallery acquired a Chinese Tang important examples of the Thai pictorial tradition, are of the second generation Lingnan painters; and Wang Geyi dynasty (618–906) ceramic offering tray. This beautifully becoming increasingly hard to find. The manuscript enhances a renowned painter, calligrapher, seal engraver and writer. decorated and rare dish, of exceptional size with sancai (three- both our Southeast Asian and Buddhist holdings. The remarkable paintings are very suited to our expanding colour) glazing is a superlative addition to our Tang collection, Chinese painting collection. especially as a classic ceramic of this kind was until now not For the Japanese collection the Gallery purchased a 17th- represented. Floral designs with lotus leaf decoration similar century hanging scroll Scene from ‘Asagao’ (The Morning Our Southeast Asian textile collection continued to grow to the one on this dish appear on other objects of the Tang Glory), chapter 20 of the ‘Tale of Genji’ by Tosa Mitsuoki thanks to the generosity of Dr John Yu and Dr George Soutter, period, including metalwork, ceramics, silks and even the (1617–91). Another significant work, this delicate painting was who donated a large number of Indonesian and Filipino textiles famous murals at Dunhuang, thus giving us an opportunity done by an important artist of the established Tosa school, and objects, as well as a large and lively Indian depiction of

26 27 EXHIBITIONS Australian galleries has been dedicated to the work of this great Australian painter, and has been named in recognition of AUSTRALIAN ART the great generosity of the Nelson Meers Foundation towards The major exhibition for the Australian department during the improvement of the Gallery’s Sidney Nolan holdings 2004–05 was 19th-century Australian watercolours, drawings through the donation of five iconic works. With the spectacular and pastels in the Gallery’s collection, with the publication of a Central Australia 1950 as the centrepiece, these five major comprehensive catalogue. This exhibition revealed a previously acquisitions are displayed in the newly dedicated space, little appreciated part of the collection, providing an opportunity together with important works funded by the Art Gallery for the public to view its remarkable highlights and offering Society of New South Wales and other gifts and purchases, insights into the evolution of art in colonial Australia. 17 works in all. The displays in this room will regularly change to highlight a variety of aspects of the Gallery’s Nolan holdings. The Australian department installed the Dobell Prize for Drawing, now established in its new schedule in the early part Meanwhile, re-hangings of the Australian collection were of the year. Thirty-four drawings were exhibited, including the extensive. Ongoing restoration and frame refurbishment have winning drawing by Garry Shead, Colloquy with John Keats seen progressive improvement in the displays of 19th-century 2004, acquired for the collection as part of the conditions of paintings, and periodic changes in the Australian Collection the prize. Focus Room have continued to elicit a popular public response. The latter featured the works of Ian Fairweather, Fiona Hall, While preparations were finalised for the opening of Margaret Mark Johnson, Fred Williams and John Olsen this year. The Preston: art and life at the end of July 2005, Australian intent of the Focus Room displays has been to bring attention to department staff also continued preparatory research for an aspects of the Gallery’s Australian art collections not frequently exhibition of Kevin Connor’s sketchbook drawings in 2006, included in permanent collection installations. However in and beyond for Bertram Mackennal and Sidney Nolan the case of Olsen an exception was made by borrowing his retrospectives in 2007–08. Donde voy? Self-portrait in moments of doubt from a private The most spectacular new collection display this year collection. This was the artist’s entry for the 1989 Archibald however, was the launching of the Nelson Meers Foundation Prize (which many say should have won). Coincidentally, Olsen Nolan Room in December 2004. This room within the modern did win the Archibald Prize this year, for the first time.

Artist John Olsen poses before his 2005 Archibald Prize winning work Self portrait Janus faced

The Brett Whiteley Studio exhibition program continued in August 2004 after a period of closure for building maintenance with Key works from the Whiteley Studio. This was followed by the annual Brett Whiteley Travelling Art Scholarship Finalists exhibition. The generosity and foresight of Mrs Beryl Whiteley in establishing this scholarship was recognised in the annual New Year honours, by award of an OAM. Including some of the most adventurous, interesting and beautiful works of the artist’s long and prestigious career, Sydney genesis and beyond was the final show of the year to be shown at the studio.

ABORIGINAL AND TORRES STRAIT ISLANDER ART During 2004–05 this department’s major exhibition focused on the work of a group of Kuninjku artists from western Arnhem Land over several generations. Crossing country: the alchemy of western Arnhem Land art displayed over 300 works, beginning with some of the first bark paintings collected in The former premier and arts minister Bob Carr with Beryl Whiteley and winning artist the region by anthropologist Sir Walter Baldwin Spencer. Alan Jones at the opening of the Brett Whiteley Travelling Art Scholarship finalists The exhibition continued with bark paintings from the 1940s exhibition in September 2004 to very recent works painted by the present generation of artists. Bark paintings and objects were lent by all Australian state and territory public institutions, the Museum der Garry Shead, winner of the 2004 Dobell Prize for Drawing, with his work Colloquy with John Keats Kulturen, Basel, and many private collections from within

28 29 Mimih performances by stilt-walking Indigenous actor Russell Smith were presented daily in the exhibition Crossing Country: the alchemy of western Arnhem Land art David Rosetzky Untouchable 2003, 3-channel synchronised digital projection, colour, sound, duration 18.38 min (looping). Anne Landa Award winner 2005 © David Rosetzky

Australia and one from overseas. A group of recent etchings, Bauhaus and expressionism: German prints and drawings, The inaugural Anne Landa Award exhibition for video and carved and painted wooden figures, and lorrkkon (hollow log developed from the Gallery’s collection, presented highlights of new media work reflected the current strength within Australia memorial poles) along with a group of kunmadj (woven our holdings of 20th-century German graphics. The exhibition in these areas and presented work by Guy Benfield, Shaun collecting bags) and a spectacular mandjabu (fish trap) made included 35 works and subsequently toured to the New Gladwell, Peter Hennessey, David Rosetzky, Van Sowerwine from milil vine, were also included in the exhibition. England Regional Art Museum, Armidale. and Craig Walsh. The exhibition Unscripted was largely curated from the Gallery’s collection and considered the EUROPEAN PAINTINGS PRE 1900 MODERN AND CONTEMPORARY centrality of language in the work of 16 contemporary artists. The Gallery hosted the exhibition Plein-air painting in Europe The major international event for 2004–05 was the Biennale The level 2 Contemporary Projects program focused on artistic 1780–1850, organised by the Shizuoka Prefectural Museum in of Sydney, On reason and emotion, curated by Isabel Carlos. collaborations and showed new works by Mutlu Cerkez and Japan, which then travelled to the National Gallery of Victoria. At the Art Gallery of New South Wales, the Biennale began Marco Fusinato, Rose Farrell and George Parkin, Lyndell A group of Australian plein-air sketches from our collection with an installation in the entry foyer by Carolyn Eskdale and Brown and Charles Green, Janet Burchill and Jennifer was also included in the Sydney showing, which generated a expanded down through all of level 1, including the area McCamley. Within the Australian Focus Room series an good deal of interest. An English-language catalogue was adjacent to the cafe, finishing with two suspended aeroplanes exhibition of sculptural and photographic work by Fiona Hall produced for the Australian venues by the Shizuoka Museum constructed from used fabrics by the Chinese artist Yin was presented. in collaboration with the Matthiesen Gallery, London. Xiuzhen, whose work the Gallery also recently acquired for Planning was also underway for some exciting projects in the collection. EUROPEAN PRINTS, DRAWINGS AND WATERCOLOURS 2005–06, including re-hanging the contemporary collection to best display important recent acquisitions. The major exhibition of European drawings for the year was Over the year there has been an active program of contemporary Australian exhibitions. The third in a series Boucher, Watteau and the origin of the rococo. Organised by PHOTOGRAPHY the École des Beaux-Arts in Paris, where it premiered before of installation projects supported by Clayton Utz presented Man Ray continued its successful tour of Australia (Queensland being shown in Sydney, it featured over 80 drawings by a James Angus’ sculptural conundrum Truck corridor in which Art Gallery and National Gallery of Victoria) before closing number of different artists and located Boucher among his a Mack truck was inserted into the level 2 Project Space. in October 2004, having been seen by more than 156 000 immediate predecessors and contemporaries. The exhibition This confounding exhibition proved very popular with our people in Sydney, Brisbane and over the previous demonstrated Boucher’s central role in defining a new style audiences. The second (of a series of five) Balnaves 10 months. Including works from a number of international that was taken up by the French aristocracy and royal court, Foundation Sculpture Projects was a solo exhibition by artist collections, the exhibition exceeded expectations as people and which spread through all the courts of 18th-century Robert Owen which concentrated on his return to abstract Biennale of Sydney performance and installation: Emiko Kasahara La Charme #3, from all walks of life took the opportunity to appreciate the Europe. An English-language catalogue was produced by the sculpture in the last decade and the connections between his 2004, synthetic fibre, plywood, velcro, DVD on monitors, dimensions variable; work of this mythic artist. plywood circles: 2794, 1715, 1118, 1194, 1575 mm diameter. © Courtesy of the École des Beaux-Arts. painting and sculptural practices. artist and Yoshiko Isshiki Office, Tokyo. Image courtesy of Biennale of Sydney

30 31 View of the Bill Henson exhibition Chinese silk robes displayed to dazzling effect in Celestial silks

Bill Henson opened in Sydney in January 2005 and this Asia that such collections are gradually being established and their courts from the 17th to 19th centuries. It included important exhibition exceeded all attendance records for in Australia, and that we can present world-class exhibitions fine portraits of various Rajput maharanas, as well as scenes a major survey of a mid-career Australian contemporary of Asian art drawing on local collections. of the daily lives of the different courts of Rajasthan, from the photographic artist. Accompanied by the large-scale festivals and processions to the hunting parties and religious One of the highlight exhibitions this year was Celestial silks: publication Mnemosyne, a co-production between the Gallery ceremonies. The exhibition included architectural pieces Chinese religious and court textiles. For the first time the and Scalo, Zurich, the exhibition and book proved to be bought with funds generously provided by Margaret Olley. Gallery exhibited over 70 superb and rare pieces of Chinese milestones for their scale and quality. Bill Henson was a These included shallow carved stone jali screens, a three- costume and textiles, dating from the 5th to 19th centuries remarkable participant in all aspects of the project and this arched balcony panel, and a panel with a tree-of-life motif. and used for various religious and court purposes in China and enabled audiences to appreciate the exceptional span of his Together with other architectural features designed courtesy Tibet. The majority of pieces were on loan from the collection work in a way that had not previously been possible. This was of the architect, Richard Johnson, these pieces evoked a of Chris Hall in Hong Kong, with additional loans from various the first survey of Henson’s 30-year career and the first time sense of the atmosphere and colour of the Rajput courts, private collections in Australia and overseas. A number of a major publication had put together image and text on while floor talks, dance performances, films and an informative pieces were from the Gallery’s collection, on show for the first Henson in such a useful and educational way. The exhibition symposium also contributed to making this exhibition a time. The lavish use of luxurious textiles throughout Chinese subsequently toured to the National Gallery of Victoria, rewarding experience for a public who had not previously had history was seen to overwhelming effect: from some of the Melbourne, where it exceeded attendance records there as the opportunity to see this fine tradition of Indian painting. earliest surviving robes which date from the 5th and 6th well. Total attendances were above 115 000. Lee Lin Chin, shown here with director Edmund Capon, Chris Hall and Judith centuries to 18th-century thangkas with their iconic Buddha Rutherford, officially opened the Celestial silks exhibition RESEARCH LIBRARY AND ARCHIVE Collection displays of photography have become an important images and related symbols and to imperial court and festival The exhibition program of the Research Library and Archive part of the exhibition program at the Gallery and are greatly robes of the Ming and Qing dynasties. The display of these continued to showcase some of the lesser known works appreciated by our audience. In the 2004–05 year these superb hangings and robes was supplemented with sumptuous tastes of the samurai to those which catered to the in the Gallery’s collection, including Australian and European included an international modernist hang showcasing recent accessories such as rank badges and hat knobs (which tastes of the artisan and merchant classes. miniatures. The Undercover exhibition, devoted to artists’ acquisitions; Mark Johnson Sydney buildings series; Simryn distinguished the rank of the person wearing them) and books made by art students and teachers from the Gill Standing still series; and international pictorialism (which beautiful uncut silk cloths, woven to be made into court robes Previously exhibited as part of the opening displays for the universities of Wollongong and Adelaide, was a particular is an important yet rarely seen part of the collection). and opulently couched in gold. The exhibition was new Asian galleries in 2003, Indonesian-Australian artist highlight of the year. From this exhibition the Gallery accompanied by a fully illustrated colour catalogue by Judith Dadang Christanto’s installation They give evidence was purchased books by Leonie Wills, Kathy Sarles, Jeanette ASIAN ART Rutherford and Jackie Menzies with other contributors, and a shown again in response to popular demand. The work struck Tierney and Robyn Douglass. This year the Asian department organised a variety of successful one-day symposium which brought together a a nerve with an audience not familiar with the atrocities that exhibitions, some of which provided the opportunity to focus number of local and overseas scholars and collectors. occurred in Indonesia during the mid 1960s, evoking a on aspects of our own Asian collections. The lively program of universal response of compassion and silent empathy for The art of Japanese screen painting, the inaugural exhibition changing exhibitions of Asian art in the temporary exhibition those innocent victims whose lives are lost or destroyed curated by the Gallery’s new curator of Japanese art, Dr Clare space within the Asian galleries was made possible by funding through political and social unrest. Pollard, for the first time displayed together our extensive provided by the VisAsia Council. collection of Japanese screens. The exhibition highlighted the Rajput: sons of kings was the final exhibition to be held in the This year’s exhibitions also highlighted Asian works from other variety of styles produced during the ‘Golden Age’ of Asian galleries this year. This highly successful exhibition Australian collections, alongside works from overseas Japanese screen painting from the 16th to 18th centuries, presented over 70 paintings and drawings from the National collections. It is testament to Australians’ growing interest in including those made for the large residential palaces and Gallery of Victoria depicting the lifestyle of the Rajput kings

32 33 PUBLICATIONS Australian Publishers Association 53rd Annual Book Design Awards, with Crossing country winning the award for Best Designed Exhibition Book or Catalogue. The Gallery also Of the eight book titles published this year, five were on achieved another Silver award from the Australasian Reporting contemporary Australian art. The largest publication, Awards for the 2004 Annual Report. Mnemosyne, supported the retrospective exhibition on Bill Henson. This major co-publication with Swiss publisher Scalo has been distributed nationally as well as in Europe and the BOOKS & DVDS PUBLISHED 2004–05 USA. Robert Owen: different lights cast different shadows, Mnemosyne is part of the series supported by the Balnaves Foundation. Judy Annear (ed) The third, Anne Landa Award, was published in association 2004, 404 pp, hb, 250 colour illustrations with the inaugural exhibition of a new award for video and This major monograph provides a detailed look at Henson’s The wealth of rock art that proliferates in western Arnhem known as the Ngarrankarni. In this documentary, Gija artists new media arts, supported by the Anne Landa Foundation. career of over 30 years. It contains over 250 images and a Land is of immense significance as evidence of the world’s reveal the ‘true stories’ behind a distinctive Australian art This year also saw the successful redesign and relaunch of series of texts written contemporaneously with his exhibitions oldest continuous culture. It features some of the most movement. Artists include Goody Barrett, Paddy Bedford, the Contemporary Projects Series booklets, which now have over this period. a dedicated collector’s folder available. enduringly beautiful artworks known to humankind. Crossing Mabel Juli, Peggy Patrick, Rusty Peters and Freddie Timms. Anne Landa Award country, published in conjunction with the exhibition of the Crossing country: the alchemy of western Arnhem Land art The Gallery continued its program of publishing strongly in Wayne Tunnicliffe same name, is the first major survey of the works of western James Marshall & Jonathan Jones (dir) the area of Aboriginal art producing one major catalogue and 2004, 48 pp, pb, 31colour illustrations Arnhem Land artists and includes images of the oldest bark DVD, 26 minutes two DVDs. Crossing country: the alchemy of western Arnhem The Anne Landa Award is about new ventures, new horizons, paintings in existence as well as contemporary sculpture, The Kuninjku artists of western Arnhem Land are alchemists Land art, was reprinted during the life of the exhibition and new opportunities and new technologies in contemporary art. weaving and works on paper. of tradition and innovation. This DVD features artist interviews generated strong demand among national and international Artists engaging with new technologies have brought fresh Nineteenth century Australian watercolours drawings & pastels and striking images of country. It reveals a potent chemistry – distributors. A DVD of the same name was also published, as dimensions and disciplines into the visual arts of our time. Hendrik Kolenberg with Anne Ryan & Patricia James an inspired fusion of country, culture and community, of the was a second DVD, True stories: artists of the East Kimberley. This innovative award has inspired an extraordinary range of 2005, 144 pp, hb, 93 colour illustrations human and the supernatural. artistic possibilities. This year saw a new initiative from the Gallery, the production This is the fourth in our series of publications on the Gallery’s of Archibald 05, a catalogue to support the popular Archibald Celestial silks: Chinese religious and court textiles extensive and exceptional collection of Australian works on Prize exhibition. The catalogue was well received by artists Judith Rutherford & Jackie Menzies (eds) paper. Works from the 19th century are characterised by the EDUCATION KITS & RESOURCES and visitors, and has been reprinted. It continues to sell well in 2004, 120 pp, pb, 86 colour illustrations pioneering enthusiasm of both amateur and professional Education kits in hardcopy format were produced to touring venues taking the Archibald Prize exhibition. No single product better evokes the image, history and culture artists who lived and worked here. Their interests were broad, accompany the temporary exhibitions Clifford Possum of China than silk. The works in this catalogue, varying from embracing topography and science as well as the aesthetic. Celestial silks exceeded sales expectations, was reprinted and Tjapaltjarri, 2004 Biennale of Sydney, Crossing country and extraordinarily rich imperial dragon and Daoist priest robes to These images by 19th-century artists certainly reveal the has been distributed in Europe, Asia and the USA. The Gallery Bill Henson. These kits remain a core, hands-on resource for temple hangings and badges of rank, illustrate with glorious development of a distinctly Australian consciousness. also published What colour is that? the first in a new children’s education audiences and are now a key component of Gallery splendour one of China’s defining artistic traditions. series called My Big Art Adventure. A significant highlight of Robert Owen: different lights cast different shadows exhibitions touring to other state galleries, including the this year were re-orders from our international distributors in Crossing country: the alchemy of western Arnhem Land art Wayne Tunnicliffe National Gallery of Victoria, which is presenting Bill Henson. Britain, Europe and Asia for previously published catalogues Hetti Perkins (ed) 2004, 56 pp, pb, 34 colour illustrations Extended online education kits have proved to be an efficient, including Caravaggio, Man Ray and Fantastic mountains. 2004, 240 pp, pb, 140 colour illustrations This richly illustrated catalogue includes an interview with the economical and highly valued resource for metropolitan Three of the Gallery’s titles – Crossing country, Celestial silks This award-winning catalogue chronicles the development artist as well as essays which examine Owen’s practice over students and teachers, as well as regional audiences unable and Man Ray (published in 2003–04) – were shortlisted in the of Arnhem Land’s unique artistic and cultural traditions. 40 years but particularly in the last decade, including his to visit the Gallery. public sculptures and new works created for the exhibition, Permanent collection education kits continue to be developed such as his large-scale, luminously coloured wall painting for education audiences. Focus on photography: an education Sunrise #2 and the sculptural floor piece The tears of history. kit for the photography collection, established a new standard Archibald 05 when it was completed in January 2005. Launched to coincide 2005, 48 pp, pb, 36 colour illustrations with the new Secondary Photography Syllabus and the Bill A complete record of all the finalists in the 2005 Archibald Henson exhibition, the kit has been very successful, with 407 Prize. This is the first of a projected annual series. purchased to date. The popular Aspects of Australia: an education kit for the Australian collection was updated for a What colour is that? second edition at the end of 2004. Jennifer Keeler-Milne 2004, 36pp, pb, 15 colour illustrations The first in a new series of children’s books My Big Art Adventure, this book by artist and children’s educator Jennifer Keeler-Milne introduces children to art and colour through the Gallery’s Australian and Aboriginal collections. True stories: artists of the East Kimberley James Marshall & Hetti Perkins from left: DVD, 24 minutes Mnemosyne; Anne Landa Award; Crossing country; 19th century Australian watercolours, drawings Contemporary Indigenous art from the East Kimberley is & pastels; Archibald 05 inspired by the spectacular landscape rich in ancestral history,

34 35 ‘Think in Thongs wonderfully devised and performed. Enjoyed immensely by 1-year-old, 4-year-old and 36 years old alike.’ Gallery visitor, 13 Feb 05

AUDIENCES For children and families, a specially scripted Mimih Indigenous arts figures, including Wesley Enoch, playwright performance tour was presented daily in the exhibition. and director of Aboriginal and Torres Strait Islander Theatre The popular tours were led by stilt-walking Indigenous actor Cooperative, Melbourne; popular author Dr Anita Heiss; actor, Highlights for Gallery audiences in 2004–05 included programs Russell Smith in a Mimih costume. A documentary film, singer, director and activist Leah Purcell; and David Page, associated with the major exhibitions, Bill Henson, Crossing produced by the Gallery to introduce audiences to the artists acclaimed actor, composer and senior collaborator with country and Celestial silks, as well as Art After Hours and Film and country of western Arnhem Land, was screened daily Bangarra Dance Theatre. For Celestial silks AAH featured at the Gallery, which go from strength to strength. The total at the Gallery during the exhibition, and once nationally on traditional flute and zither music in the exhibition and celebrity number of people participating in or attending public and SBS television. speakers Kylie Kwong on ‘Textures, layers and harmony in the education programs during 2004–05 was a substantial 265 763. Chinese kitchen’ and Linda Jaivin on ‘China dolls: every CELESTIAL SILKS chick’s guide to fashion and make-up from the Tang dynasty BILL HENSON This moderately scaled exhibition also found a large and and beyond’. Other highlights of this year’s AAH program Showcasing the work of one of Australia’s leading appreciative audience, many of whom represented the new included the award-winning film, television and theatre actor contemporary photographers, this major exhibition exceeded audience that is being attracted by the Asian galleries. Aaron Pederson, who appeared in association with the Clifford all audience expectations and was the focus of a large and Celestial silks: Chinese religious and court textiles inspired Possum Tjapaltjarri exhibition, and for the 2004 Biennale of varied program of public events over the busy summer a range of successful collaborations. A full-day symposium Sydney the celebrity scientist Dr Karl Kruszelnicki, Julius period. The program featured talks and lectures by curators, organised in conjunction with The Asian Arts Society of Sumner Miller Fellow of Sydney University, who delivered a artists, writers, musicians, photographers and academics: Australia featured a keynote address by Prof Zhao Feng, highly entertaining discussion called ‘Mind/body split’. Isabel Crombie, photography curator, NGV; novelist Delia deputy director of the National Silk Museum in Hangzhou, FILM AT THE GALLERY Fundays at the Gallery – ‘Think in thongs’ mime performance by Etcetera Duo Falconer; poet and jazz singer Michelle Morgan; video China, and included talks by collectors Chris Hall and artist and lecturer John Conomos; Ross Gibson, research Humphrey KF Hui, textile experts Diana Collins and Susan A total of 30 391 viewers attended 156 regular film screenings professor of new media and digital culture at the University Scollay. Prof Zhao Feng also delivered the inaugural VisAsia at the Gallery during 2004–05. The increased scope of Character tours: the four popular children’s character tours of Technology, Sydney; art writers Pam Hansford and Andrew Hing Yiu Mok Mandarin Language Lecture on recent textile available titles in 35mm and integrity of 35mm projection have continued to surprise, entertain and educate children and Frost; exhibition curator Judy Annear; and Bill Henson excavations in China. A one-day festival of Chinese dance allowed the film program’s curator Robert Herbert to present families about highlights from the Gallery’s permanent himself, who spoke at no less than 11 events. All program performances, Chinese fashion history parade and crafts of a high-quality program of weekly events unique to the Gallery. collections. The tours attracted large audiences over the events were well attended. embroidery, knotting, paper cutting and dough modelling A highlight was a major nine-week program of cinema classics celebrated the Double Seven Festival, which in folklore nominated by Bill Henson as inspirational cinema. Held over year – approximately 8500, including many repeat visitors. CROSSING COUNTRY commemorates the meeting of the Weaving Princess and the summer, the program was a huge success, attracting record CHILDREN’S ART TRAILS An ambitious festival-style program was devised for the Herd Boy. The activities were organised with the assistance of audiences to the three weekly screenings. Films were also The suite of children’s art trails which explore the permanent significant exhibition Crossing country: the alchemy of western the Australian Taiwanese Women’s Association and Evergreen presented in conjunction with the 2004 Biennale of Sydney, collections was expanded with the addition of two new trails: Arnhem Land art. The program succeeded in attracting many Foundation Centre. The WEA added a Celestial Silks study and the exhibitions Celestial silks, Plein-air painting in Europe ‘Art at home’ and ‘Animals in Asia’. Fifty thousand copies of new visitors to scheduled events, even if it did not translate day to its program. 1780–1850, Crossing country, The art of Japanese screen each were made available to young children visiting the Gallery into a similar increase in exhibition attendances, and included painting, the 2005 Archibald Prize and Boucher, Watteau and ART MUSEUMS: SITES OF COMMUNICATION 2 with families or as part of a school group. This integrated hosting three separate groups of Maningrida artists in the origin of the rococo. A new collaboration between the Gallery approach has generated extremely positive feedback from Sydney to participate in the Meet the Artists program of talks Hosted by the Gallery on 18–19 March 2005, this symposium and the Sydney Film Festival over 10–25 June 2005 saw 14 teachers and students. Trails were also designed for the throughout the exhibition. Among the leading artists were was a significant international museum forum. Presentations additional film festival screenings presented at the Gallery, with exhibitions Crossing country and Clifford Possum Tjapaltjarri. John Mawurndjul, Kay Lindjuwanga, Samuel Namunjdja and from 29 speakers provided a stimulating mix of ideas, this event likely to become an annual film festival feature. The trails follow the successful format utilised in the Fundays Melba Gunjarrwanga. A popular fortnightly series of exhibition expertise, passion and personal experience, ensuring a CHILDREN, ADULT & FAMILY PROGRAMS at the Gallery program. talks by curators and Indigenous art specialists, including successful outcome. Visionary keynote presentations by Marc Pachter, director of the National Portrait Gallery, Washington Philippe Peltier, deputy director for museology, Musée du FUNDAYS AT THE GALLERY BRETT WHITELEY STUDIO DC, Ross Gibson, professor of new media and digital culture Quai Branly, Paris, and a highly successful symposium which Exploring art through drama, storytelling, music, making and at the University of Technology, Sydney, and AGNSW director The drawing workshops Life Drawing (held every Saturday examined the shift from ethnographic to contemporary art mime, this innovative range of programs held on Sundays and Edmund Capon were particularly well received. The Gallery is morning) and Follow the Curve (Sunday mornings) continued contexts were also held in conjunction with the exhibition. in the school holidays has proved enormously popular with seen as a leader in this field, both in Australia and abroad. to attract audiences to the Brett Whiteley Studio. Overall children and family audiences. Again proudly sponsored by the attendances for adult art workshops and classes were 972. ART AFTER HOURS Sunday Telegraph, the programs attracted 20 747 participants The Whiteley Studio functions and special events program in 2004–05. The introduction of a special mini-website Art After Hours (AAH) is now a well-established event on the included exhibition talks by Wendy Whiteley and Gallery (www.fundays.com.au), which includes photographs and Gallery’s public programs schedule. Over the past year AAH curator Barry Pearce. The Poets Union continued to present images of performers and characters and will be up-dated brought 60 574 extra visitors to the Gallery. A highlight was the a featured reader at the studio on the fourth Sunday of regularly, has further enhanced Fundays at the Gallery. nine-week Bill Henson program, which drew on wide-ranging every month. social, emotional and artistic themes to create topical interest Performers: the regular 2.30pm Sunday performers and SUNDAY CONCERTS in the exhibition. Speakers included filmmaker Samantha Lang; 1.30pm school holiday performers attracted an audience of theatre and film director Jim Sharman; psychologist and social 12 247, with over 1200 visitors to the Chinese acrobatic Presented by students from the Australian Institute of Music, commentator Hugh Mackay; satirist and arts commentator performances associated with Chinese New Year on 6 and these were held over four series from August 2004 to June Jonathan Biggins (interviewing SMH photography critic Robert 13 February 2005 alone. A new mime performance by the 2005. The concerts were inspired by the Gallery’s temporary McFarlane); violinist, composer and director of the Australian Etcetera Duo – ‘Think in thongs’ – was commissioned, based exhibition program and by aspects of the permanent Chamber Orchestra Richard Tognetti; and Edmund Capon in on the Gallery’s Australian collection and was successfully collection. Held on Sundays, each concert attracted an conversation with Bill Henson, which alone attracted over received by large audiences in January 2005. During this average of 300 people to the Old Courts – a total of 2500 people. A four-week program related to Crossing country period, new performers were trialled and new acts are approximately 7000 over the year, including some devoted Celebrity guest speaker Emma Tom’s presentation ‘Bluffers guide to art appreciation’ followers who attended every week. for Art After Hours, January 2005 highlighted Aboriginal artistic achievement with leading regularly sourced to ensure the program is kept fresh.

36 37 TERTIARY PROGRAMS ability to service an ever-increasing K–6 audience through the delivery of the popular Art Adventure interpretative tours. In conjunction with the Biennale of Sydney, a symposium for tertiary students was presented on 13 August 2004 to An ongoing program of specialised professional development investigate the key ideas and themes of the Biennale. The full- for all guides continued with regular lectures and workshops day program, which included curator, art historian and artist designed to further develop guiding skills, promote a collegiate presentations, drew 152 university students. The Tertiary Student working environment and to familiarise the guides with Rush continued to be an effective marketing strategy for this temporary exhibitions, new Gallery ‘hangs’ and new strategies audience, with key exhibitions such as Bill Henson attracting in working with diverse audiences. 809 students to the exhibition between 1–5pm on Fridays. Once more, it was the Archibald Prize which was a highlight School holiday children’s workshop, as part of the Fundays at the Gallery program Artexpress 2005 ART COURSES for the guides, who played an important role in gathering relevant information about artists in the Archibald, Wynne, In 2004–05 an innovative partnership between the Gallery Sulman and Photographic Portrait prizes, many of whom are and Warawara, the Department of Indigenous Studies at new or emerging artists, for use in tours, as well as in room , has seen a two-semester course on ACCESSIBLE PROGRAMS & COMMUNITY AMBASSADORS This year we introduced measures to help consolidate existing text panels and extended labels displayed in the exhibitions. Aboriginal art being taught at the Gallery, with presentations education audiences and build new audiences for the future. A growing number of people with disabilities participated in by in-house specialists and focusing on the Gallery’s The curatorial departments are also greatly assisted by A strategy to supplement the existing reliance on visual art Gallery’s Accessible Programs during the year – in total 1234 – permanent collection. The Art Appreciation Diploma Course, volunteers and the Gallery gratefully acknowledges in was implemented to diversify student audiences. As a result while another 636 people enjoyed the Community Ambassador organised in cooperation with the Art Gallery Society, particular the long-term dedication of Elizabeth Callanan and new programs were developed in the curriculum areas of Asian language tours. continued a successful two-year survey of 18th to early Patricia James, Australian Art department; Anna Ridley, language, history, English and science, as well continuing to 20th century art, in the Making. This year’s Photography department; Anthony Bradley, Arnaldo Buch, Among the Gallery’s Accessible Programs, the three most emphasise the Gallery’s important collection and exhibition contemporary art course Art of the XX Century, now in its Nalini Kumar and Marilyn Keys in the Library; and of the popular were the Da Vinci Program, and the Signing Art and resources for the study of cross-curricula subjects, especially second year, was devised to complement Modern Art in the numerous shorter term volunteers who assist staff in various In Touch tours. The Da Vinci Program, a new K–6 audience for K–6 audiences. Due to frequent requests, a thorough Making, also in its second year. In the Arts of Asia lecture aspects of Gallery work. initiative for students with special learning needs, was launched OH&S and Risk Assessment report for all Gallery education series, the second half of the Arts of India course, completed in March. Jointly sponsored by the Art Gallery Society of programs and activities is now available online. This will in 2004, covered a wide range of topics including film, WEBSITE New South Wales and PricewaterhouseCoopers, this free assist teachers planning excursions to the Gallery. program presents innovative workshops utilising the Gallery’s decorative arts, photography, folk and tribal arts, textiles and Usage of the Gallery website continued to grow. The average collections to students with an intellectual disability and ARTEXPRESS contemporary art. The 2005 series has seen large enrolments number of visits per day in 2004–05 was 3423, an increase of those identified as intellectually ‘gifted and talented’. To date for Focus on Faith. Launched by radio broadcaster Rachael approximately 38% from 2003–04. Now in its 22nd year at the Gallery, Artexpress continued to Kohn in March, the course has focused on India and there has been an enthusiastic response, with 406 students A new interface and design for searching and browsing the present excellence in NSW visual arts education. Overall the Southeast Asia. so far participating. Signing Art, a program of tours interpreted exhibition attracted approximately 110 000 visitors, including Gallery’s collection online went live on 15 June 2005. Features into Auslan for deaf people, attracted 404 visitors at 1.30pm 17 633 booked students. In 2005 the Gallery secured PRINTS, DRAWINGS & PHOTOGRAPHY STUDY ROOM include a more straightforward and powerful search (both on the last Sunday of every month. An innovation for this simple and advanced), a general introduction to the collection significant sponsorship from the Motor Accidents Authority Throughout the year the Study Room was utilised by program was the successful integration of Auslan into areas and illustrated highlights of each collection area and of NSW under the Arrive Alive initiative. This major two-year approximately 1500 visitors, accessing the Gallery’s selected Art After Hours celebrity talks. In Touch sculpture sub-area. sponsorship (2005–06) will contribute to the cost of the permanent collection of over 17 000 works on paper in tours, for people who are blind or visually impaired, attracted exhibition’s installation and the development of education 68 visitors. storage. Recognised as an important education and research Permanent websites for Artexpress (www.artexpress.net.au), program and resources, including the expansion of the facility for artists, students, museum and gallery professionals the Archibald Prize (www.thearchibaldprize.com.au) and Established in 2003–04, the Community Ambassadors website Inside Artexpress (www.artexpress.net.au), which and interested members of the public, the Study Room has Fundays at the Gallery (www.fundays.com.au) were launched continued their regular weekly tours in Mandarin and Japanese, was launched successfully with the 2005 exhibition. become a key feature of the Gallery experience. It also in March, April and June 2005 respectively. Temporary in addition to a special Mandarin and Cantonese language tour continues to serve diverse groups from universities, TAFE and websites were created and launched for the exhibitions K–12 ASIAN EDUCATION PROGRAMS on auspicious symbols in Chinese art during the City of Sydney other colleges, community art centres, and primary and Crossing country (www.crossingcountry.com.au) and Bill Henson Chinese New Year celebrations. Mandarin language tours The Celestial silks exhibition provided the impetus to link secondary schools. There has been a significant increase in (www.billhenson.com.au) and the conferences Art museums: were attended by 430 people and Japanese by 145 visitors. with the Chinese Language Teachers Association to produce interdepartmental gallery staff collaborations resulting in the sites of communication 2 (www.artgallery.nsw.gov.au/sites2) Specially booked tours including Cantonese language tours Chinese language worksheets for students visiting the greater use of the Study Room as a resource for promoting and Transforming aesthetics (www.artgallery.nsw.gov.au/aaanz). accounted for another 161 people. Community Ambassadors exhibition. The major education focus during the period was awareness and access to the Gallery’s collection. also contributed to audience development through assisting the delivery of a short course for secondary visual arts myVirtualGallery, a new, interactive, educational tool that with organising and publicising events and exhibitions. teachers, Case Studies: Asia and the Contemporary World. VOLUNTEERS allows anyone to create virtual exhibitions using works from the Gallery’s collection was launched on 26 May 2005. Over four Wednesday evenings, a combination of lectures The Gallery’s Volunteer Guides continued to play a vital role EDUCATION PROGRAMS and gallery talks by curators, educators and artists exposed in providing stimulating tours of the collection and major Education at the Gallery continues to develop innovative teachers to traditional influences in contemporary Asian art and temporary exhibitions. A high annual participation rate of programs and resources in response to many challenging new the development of the Gallery’s Asian art collections. VisAsia 52 807 visitors (36 522 adults and 16 285 K-6 students) reflects exhibitions, courses and curricula. The Public Programmes funding through Stanley Tan and Jim Williams, specifically for the value and popularity of tours, which extended across the department is seen as a leader in the field of visual arts teacher professional development, supported this initiative. The week and to Art After Hours and special evening functions for education, and hosted a number of museum educators from funding also supported two enrichment days for primary members and corporate clients. other state galleries and from overseas – including educators teachers: one in conjunction with Celestial silks and the other, from the Kyoto Museum and Art Gallery, Japan, the Dunedin ‘Focus on India’ with Rajput: sons of kings. The Japan In 2004, 47 new volunteer children’s guides participated in Public Art Gallery, New Zealand, and the San Francisco Foundation funded a Japanese language education kit based a comprehensive one-year training program, overseen and Museum of Modern Art, USA – all of whom came to study the on images from the Gallery’s collection, which will be delivered by the coordinator of K–6 and family programs. This Gallery’s education programs and resources. developed and written collaboratively over the next few years. boost in the number of children’s guides enhanced the Gallery’s

38 39 ‘… The Orange leg of the Archibald Prize attracted a record number of patrons … one of the biggest for ‘I’d like to say how much I enjoyed the selection of works in the main entry space a one-month exhibition we’ve had … when you hang [each portrait] and light them they come to life …’ now the Cy Twombly hangs there. It is wonderful to see it opposite the marvellous Central Western Daily, 10 Aug 2004 Fred Williams and John Olsen paintings – all worthy companions …’ Gallery visitor, 8 Feb 05

OUTER METROPOLITAN & REGIONAL Gallery & Cultural Centre and 32 works to the Newcastle SUPPORT New sponsors secured for membership programs included NSW ACTIVITIES Regional Art Gallery for the Dobell Drawing exhibition. The Perpetual Trustees Australia, Bonhams & Goodman and Gallery also sent the exhibition of 46 works Bauhaus and Universal Air Cargo, while continued support was enjoyed from expressionism: German prints and drawings to New England Taylors Wines, , Lindsay Yates (Printers), CPI paper, SPONSORSHIP Regional Art Museum to coincide with the German Festival Getronics and 10 group. ARCHIBALD PRIZE AND ONLINE EDUCATION KIT organised by the University of New England, Armidale. The Gallery highly values its relationships with the corporate Look magazine, the key means of communicating with the The Gallery’s extended online education kits have become community in bringing art to the public. Sponsorship ensures In November 2004 the Gallery lent Newcastle Regional Art Gallery’s core audience, developed to an average size of 50 efficient, economical and highly valued resources for not only financial support but also provides the Gallery with Gallery Just like drops of rain, nothing 2002 by Ernesto Neto, pages and continued to extend its coverage of the Gallery’s metropolitan students and teachers, as well as regional great opportunities to extend its audience and marketing the first of a series of contemporary installation exhibitions work. Online communication with members continued to audiences who are unable to visit the Gallery. The 2005 reach, and to engage with the corporate community in a planned for Newcastle from the collection. The 2004 Archibald develop, with more than 9000 receiving regular email newsletters Archibald Prize education kit was once again presented solely meaningful and mutually beneficial way. Prize touring exhibition continued from Orange Regional and with a new website for the younger Contempo group. online, updated and further developed to incorporate specific Gallery to Grafton Regional Gallery and finally to Gosford In return, sponsorship of the Gallery enables the corporate Years K–6 material and more diverse material for Years 7–12. The four volunteer bodies, the Volunteer Guides, Volunteer Regional Gallery & Arts Centre in October 2004. Gallery sector to connect with this vibrant and exciting organisation, Refreshed and enhanced each year, the project results from Task Force, Community Ambassadors and Contempo, together curator Anne Ryan travelled to Armidale in May to install the to add value to their business and to inspire creative and a successful collaboration between the Gallery and the contributed some 40 000 hours of labour to the Gallery and exhibition Drawings from Lloyd Rees’s European sketchbooks meaningful interaction among clients and employees. Museums and Galleries Foundation of NSW, which organises continued to play a major part in the life of the Society. at its final venue, New England Regional Art Museum. This the exhibition’s regional tour. The kit is used as a key Principal sponsors of the Gallery include: Clayton Utz, Fairfax, exhibition has been touring since June 2003. education and information resource at each regional venue. JCDecaux, JPMorgan, News Ltd, Macquarie Bank, the ART GALLERY OF NEW SOUTH WALES FOUNDATION Motor Accidents Authority of NSW, Qantas and The Sofitel REGIONAL NSW SUPPORT PROVIDED BY GALLERY STAFF The Foundation continues to raise funds to support the REGIONAL NSW ART MUSEUM EDUCATION TRAINING Wentworth Hotel. Gallery’s acquisition program. Its policy is to invest its capital Edmund Capon opened the exhibition Peter Kingston at Manly Five new teacher-lecturers were trained in 2005 bringing the (donations and bequests) and use the income to purchase Art Gallery in December 2004 and was guest speaker at the The Gallery continues to build on and strengthen its total who service more than 800 booked secondary groups works of art for the permanent collection. The Foundation Maitland City Gallery Fundraiser launch of its benefaction relationships with the corporate community in 2004–05 with annually to 15. This specialised training program was once joined with the Art Gallery Society this year to purchase program in February 2005. $626 000 of income secured as cash and in-kind sponsorship. again made available to regional gallery education officers, Cy Twombly’s Three studies from the Temeraire. with two participating from Newcastle and Port Macquarie Tony Bond travelled to Newcastle to judge the Emerging ART GALLERY SOCIETY OF NEW SOUTH WALES Since its inception, the Foundation has contributed over regional galleries. Artist’s Prize at Newcastle Art Space in September 2004 and Members continue to play a major role in building the $20m to the Gallery’s collection (which has increased in value judged the Hunter Art Prize at Maitland City Art Gallery in As part of a new initiative, the training program was collection, and the Society was pleased to make a major to over $38m and has accumulated over $22m in funds under February 2005. He travelled to Mudgee in March 2005 to open incorporated into Regional Gallery Mentorship, a joint program commitment, in collaboration with the the Art Gallery of investment. This is an astounding $60m of value brought to the exhibition Waste 2 Art, the Simsmetal Waste to Art & between the Gallery’s Public Programmes department, the New South Wales Foundation, to the historic purchase of the Gallery as a result of the tireless efforts of Foundation Design Community Art Exhibition and Competition 2004–05 Art Gallery Society and the Museums and Galleries Foundation Cy Twombly’s Three studies from the Temeraire 1998–99. donors and benefactors, in particular the Foundation trustees, regional exhibition at The Stables. He also visited Bathurst of NSW. As part of the program, the education officers from A contribution of $800 000 was made to acquisitions in past and present. Regional Art Gallery and launched the new gallery space at Dubbo and Albury regional galleries who were awarded the 2004–05. The Society’s $7000 scholarship was awarded to Cudgegong Gallery, Gulgong, in April 2005. The Foundation publishes its own annual report, where further mentorship spent two weeks at the Gallery. Dr Liu Yang to study early Daoist artefacts in China. details of its activities can be found. A copy of this report is Michael Wardell travelled to Ballina in September 2004 to Society membership for the first time exceeded 20 000, with also available on the Gallery’s website in the ‘About Us’ OUTREACH ACTIVITIES – ARTSIDE IN judge the 31st Annual Southern Cross Arts & Craft Festival. the retention rate higher than ever at more than 85%. The section (www.artgallery.nsw.gov.au/aboutus/annual_reports) Artside In, an outreach program for disadvantaged public He also visited Lismore Regional Gallery, the Tweed River number of donors increased to 640 and younger membership secondary schools, is now into the second of a three-year Art Gallery, Murwillumbah, and attended the opening of the also grew, with more than 1000 individuals joining the Contempo THE CENTENARY FUND sponsorship by the Caledonia Foundation. In 2004–05, 370 7th Annual Thursday Plantation East Coast Sculpture Show. category, student membership rising to 1085 and a new The Centenary Fund, which was established in 2000, comprises students and 24 teachers from four specially selected NSW In October 2004 he travelled to to speak at the membership division for students with a special interest in patrons who have pledged over $100 000 each to enhance high schools – Illawarra Sports, Kogarah, Airds and Granville Museums & Galleries Foundation Seminar for Regional Gallery Asian art. Corporate membership began rebuilding with 160 the Gallery’s buildings. The amount pledged is payable in South – took part in this successful and valuable three-stage Directors held at the recently opened Broken Hill Regional companies enjoying well-attended evening viewings of the cash over a nominated period of time with the balance, if any, program, both at their school and within the Gallery. To date Art Gallery. exhibition program. In its first full year of operation, the newly payable from the patron’s estate. The Centenary Fund’s first a total of 628 students and 45 teachers have participated in Barry Pearce advised the 2006 Tom Roberts Festival Steering renovated Members Lounge attracted large numbers of visitors. project, the Centenary Auditorium was opened in November the program. Committee (Inverell Cultural & Arts Council) on images for their In 2004–05 the Society’s function program continued to be 2001. Future projects include an extension to the Research WESTERN AND SOUTH-WESTERN SYDNEY website and is writing a text on Tom Roberts’ paintings and the fastest-growing income stream with some 350 events Library and Archive, and considerable enhancement to the their connection to Inverell. He has also offered the Inverell Art Prints, Drawings & Watercolours Study Room. Other successful secondary education initiatives include including lectures, concerts, Private Eye viewings, Gallery Gallery a long-term loan of the painting Golden soil, wealth for HSC Study Days, two intensive one-day programs for Year 11 Express and interstate tours. The long-running art appreciation toil 2004 by Ben Quilty. This painting is a contemporary work THE PRESIDENT’S COUNCIL students in western and south-western Sydney to help diploma series, now available on Wednesday evenings as well based on the famous Tom Roberts painting Bailed up that was The President’s Council celebrated its tenth anniversary in develop their critical analysis and writing skills in preparation as Thursday lunchtimes, took as its theme ‘Modern art in the largely painted ‘en plein air’ near Inverell. 2005. Comprising 35 business leaders, it is a most successful for the HSC Visual Art written examination. Over 20 high making’. For the second year, a weekend series on philosophy model of the partnership possible between business and the schools and 380 students participated. Anne Ryan travelled to Wollongong City Art Gallery in July attracted an audience of 600, and new lecture series were arts. The council has grown to become the major sponsor of 2004 to open the exhibition Southern Highlands printmakers launched on such diverse topics as world religions, French the Gallery’s extensive and stimulating exhibition programs. REGIONAL NSW COLLECTION LOANS AND TOURING and wrote a review of the exhibition for Imprint. Ken Watson culture and ancient civilisations. Resonate and Flights of Jazz EXHIBITIONS travelled to Wollongong City Gallery in May 2005 to advise on concerts in the Old Courts, preceded by exhibition viewings, Chaired by David Gonski, membership is by invitation only During 2004–05 the Gallery approved loans of 133 works to 20 aspects of its collection of Aboriginal art. continued to attract good audiences. A variety of weekend and members contribute directly to the Gallery’s program different NSW regional galleries, including making a substantial and Wednesday evening workshops catered for all ages through participating in forums and strategic discussions, by contribution of 22 works to the exhibition From Nutcote to and interests, with the very popular K-6 Kids Club running sharing their knowledge and networks, and through providing Elwatan: art & architecture of B J Waterhouse at Mosman Art to three sessions. the Gallery with a corporate perspective.

40 41 ‘Thank you for such a sensational event last night. We are ecstatic and many of the guests have asked to come back next year. The gallery is such an amazing venue, and we are delighted with the support from your very excellent staff.’ venue hire client, Nov 05

VISASIA Over the last year the CCB has organised exclusive curator- COMMERCIAL With its charter of celebrating Asian art and culture, the led previews, during which benefactors could meet and hear Australian Institute of Asian Culture and Visual Arts (VisAsia) first-hand from artists about their works. Previews were arranged for exhibitions such as Robert Owens’ Different lights underwrites the Gallery’s Asian exhibition program. The GALLERY SHOP Gallery has the largest specialist Asian art department of any cast different shadows, made possible through the generous The Gallery Shop specialises in providing fine art books and art museum in Australia and is committed to promoting and sponsorship of the Balnaves Foundation, James Angus’ art-related merchandise to support the Gallery’s permanent cultivating a better understanding and enjoyment of Asian Truck corridor, made possible through the valued support collections and special exhibitions. Due to the depth and art and culture within Australia. of Clayton Utz, Bill Henson’s major photographic exhibition and the collection-based exhibition Unscripted: language breadth of its product range, it continues to be regarded as The VisAsia Council has 20 members. Membership is by in contemporary art. one of the leading fine art book stores in the country. The invitation only and is restricted to chief executives, chairmen Gallery Shop also acts as a successful wholesaler, distributing or women and individual business leaders. The VisAsia Council Once again, the CCB’s annual dinner and art auction (its 12th) Gallery merchandise and publications nationally and is chaired by Dr John Yu AC, who is also the vice-president was a great success. Since 1993 over $1m has been raised and internationally. of the Gallery’s Board of Trustees. in the last year major new acquisitions for the contemporary Australian collection include works by Mike Parr, Mutlu Çerkez, During 2004–05 revenue from merchandise, books and VisAsia also has over 100 individual supporters. Rosslynd Piggott, Louise Weaver and Ricky Swallow. publications exceeded $3.5m (excluding GST). This was above budget expectations in both gross and net profitability. The ABORIGINAL COLLECTION BENEFACTORS CONSERVATION BENEFACTORS result is especially pleasing given the limited opportunities to The Aboriginal Collection Benefactors (ACB) program was This year has seen the launch of Adopt an Artwork, a new run extra shops supporting special exhibitions and also the established in 2004 to help develop the Gallery’s permanent fundraising project. Built on the success of the major generally poor retail trading environment. collection of Aboriginal and Torres Strait Islander art. restoration of Vive l’empereur’ by Edouard Detaille, this project Much of the success of the Gallery Shop depends on its ACB plans activities so that benefactors become more will initially restore Rorke’s drift by Alphonse de Neuville. ability to produce its own product, of a high quality but closely involved in the Indigenous art scene, both locally Painted in 1880, a year after the event, this large historic work affordable to the full range of customers who visit the Gallery. and nationally. is the perfect follow on from Vive l’empereur’ as Detaille and Initiatives this year included two popular new publications: Supporting this group presents a wonderful opportunity for de Neuville were great friends who painted together and Archibald 05, the first catalogue to be produced for this like-minded enthusiasts to meet regularly, gather knowledge occasionally painted on each other’s work. Monies raised will annual exhibition, and What colour is that?, the first in a series and share information and ideas. ACB programs and events allow extra staff to be employed to carry out this work, which of children’s books that focus on the Gallery’s permanent occurred throughout the year, including curator-led tours is due to start November 2005. Throughout the year work collection. The Gallery Shop also collaborated with the Art of the Gallery’s Aboriginal and Torres Strait Islander art continued on replication of the Parker frames project and the Gallery Society in organising special author events which exhibitions. restoration of An island festival 1907 by Charles Sims. have been well supported. We are thrilled to announce a number of works which have PHOTOGRAPHY COLLECTION BENEFACTORS The Gallery Shop’s e-commerce capabilities have been Table setting for a formal dinner held as part of the Gallery’s venue hire services been acquired with funds provided by the Aboriginal Over the past 12 years the Photography Collection extended, with a dedicated E-Newsletter being sent to Collection Benefactors since its inception. They comprise Benefactors (PCB) has raised half a million dollars for the e-commerce subscribers. This service has been particularly a large painting by the renowned Tommy Watson, Wipu purchase of photography, acquiring more than 130 works by welcomed by interstate and overseas customers who are Corporate venue hire has been particularly successful this rockhole 2004, a senior artist of Irrunytju Community, and 60 artists for the permanent collection. The annual dinner held unable to visit the store regularly. year. This was assisted by exhibitions such as the Archibald a major work on canvas Untitled (Tjiturrulpa) 2004 by Eileen at beautiful Carthona in November raised funds for the Prize, which ran over nine weeks and therefore offered greater VENUE HIRE Napaltjarri, one of the leading female artists working for purchase of two works by Tracey Moffatt. Other important opportunities for private after-hours viewings of our most Papunya Tula Artists today. The group continues to expand. acquisitions funded by PCB include artists not previously The Gallery is becoming increasingly popular as a function popular exhibition. There was also an increase in a range of represented such as Francesca Woodman (USA), Aaron Seeto venue for the corporate market. Events are normally held other events, including day conferences, fashion parades and AUSTRALIAN PRINTS, DRAWINGS AND WATERCOLOURS (Australia), Moriyama Daido (Japan), and Annelise Kretschmer outside Gallery hours and range from breakfast seminars for corporate family days. This year, the Gallery hosted over 300 BENEFACTORS (Germany). 50 and product launches through to major dinners for up to events of which 169 were commercial corporate functions. The Australian Prints, Drawings and Watercolours Benefactors 350 guests. group grew from strength to strength, with $32 500 raised A full list of members of the Centenary Fund, President’s Events are predominantly held in conjunction with a private towards the acquisition of works of art. Works acquired in Council, VisAsia and supporters of the Collection Benefactor viewing of an exhibition. this financial year were Ailsa Lee Brown Sydney trams 1927, groups as at 30 June 2005 can be found in the Sponsors and linocut on thin Japanese tissue; Joy Hester Female nude Philanthropy appendix (p 54). All food and beverage services within the Gallery are ‘... dominated by views of Potts Point, Woolloomooloo and c1945, brush and ink on paper; Carl Plate Study for managed by contract caterers Trippas White Catering Ltd. the dazzle of water … the transformation and use of space ‘Stockyard’ 2 c1957, Untitled 1961 and Reduction US 15 These services include the cafe, restaurant, Art Gallery is inspired ... And the food fits like a glove.’ 1960, each gouache on paper. Society kiosk and all corporate and internal functions. Sydney Morning Herald, 20 Nov 04

CONTEMPORARY COLLECTION BENEFACTORS In 2004–05 venue hire and catering performed well in all areas, particularly the restaurant and functions. With its This program was established in 1993 to help develop the spectacular outlook and fine cuisine, the restaurant attracts Gallery’s permanent collection of contemporary Australian art. both Gallery visitors and general patrons. Open daily for CCB plans activities so that benefactors become more closely lunch, the restaurant has recently opened for weekend involved in the contemporary art scene locally, nationally and brunch which we hope will grow in popularity. internationally.

42 43 CORPORATE GOVERNANCE

BOARD OF TRUSTEES of their time and expertise in their role as trustees but have Ms Irene Lee: Bachelor of Arts (cum laude Mr John Schaeffer: founder and executive also provided specialist services for Gallery projects, and high distinction) in history of art, chairman of Tempo Services Limited; The Art Gallery of New South Wales Trust Board is constituted encouraged donors and made donations themselves to the Smith College, Northampton, USA; Order of Australia (2003); member of the under Part 2 (Section 5-10) of the Art Gallery of New South Gallery’s fundraising activities, and occasionally gifted or lent barrister-at-law, Gray’s Inn, London; non- National Gallery of Australia Foundation Wales Act 1980. Section 6 stipulates that: ‘the Trust shall works of art to the Gallery. A Code of Conduct is in place and executive director of Mariner Financial Board and the Board of the National consist of 11 Trustees who shall be appointed by the NSW all trustees are required to acknowledge their acceptance by Limited, Beyond International Limited, Portrait Gallery; former president of the Governor on the recommendation of the Minister for the signing the document. BioTech Capital Limited, TEN Network Australian Building Services Association Arts and at least two of whom shall be knowledgeable and Holdings Limited, Record Investments and the World Federation of Building Corporate secretariat support is provided for the Trust Board experienced in the visual arts’. Trustees are appointed for Limited, QBE Insurance Group, Record Service Contractors. and its sub-committees, each of which meets approximately a term not exceeding three years and may serve four Realty; member of the Takeover Panel. Initial date of appointment 13 August 2001; six times a year. Each of the five sub-committees (detailed consecutive terms. Initial date of appointment 1 January 2002; expiry of current term 31 December 2006. p 46) provides specialist expertise in monitoring the activities expiry of current term 31 December 2007. Trustees do not receive any remuneration for their board of the Gallery. The minutes of Trust sub-committee meetings activities. During the year they have not only given generously and recommendations are tabled at the main board meeting. Mr Imants Tillers: visual artist, writer and Ms Sandra McPhee: non-executive curator; since 1973 has had solo director Coles Myer Ltd, Australia Post, exhibitions in Australia, Germany, Finland, Perpetual Trustees, St Vincent’s and Mater Italy, Latvia, Mexico, New Zealand, Spain, Health. She has over 25 years experience Switzerland, the UK and USA, and a major PRESIDENT MEMBERS in the management of consumer facing survey of his work is scheduled for July Mr David Gonski: graduated in Commerce Mr Pierce Cody: executive chairman, organisations at a senior level, including 2006 at the National Gallery of Australia; and Law from the University of New South Macro Life Pty Ltd; director of APN News executive roles in the international public commissions include the dome of Wales in 1975 and 1976 respectively; is a & Media; board member of Adcorp; aviation and tourism industries, where the Federation Pavilion in Centennial Park, solicitor and was a partner at Freehills; is founder and former chairman and she was most recently 10 years with Sydney, the Founding Donors commission chairman of Investec Wentworth Pty managing director of Cody Outdoor Limited, a corporate advisory firm that Advertising; governor and director Qantas Airways. at the Museum of Contemporary Art, became part of Investec Bank (Australia) Australian Ireland Fund. Initial date of appointment 1 January 2004; Sydney, and The attractor and Eight in March 2001; chairman of Coco-Cola Initial date of appointment 1 January 2000; expiry of current term 31 December 2007. women sculptures at Overflow Park, Amatil Limited and the Investec group in expiry of current term 31 December 2005. Sydney Olympic Park; awards and Australia; a director of ANZ Banking international prizes include the Gold Prize Group Limited and the Westfield Group; Prof Janice Reid AM: vice-chancellor, at the Osaka Painting Triennale in 1993; chancellor of the University of New South Ms Anne Fulwood: television journalist University of Western Sydney; member awarded a Doctor of Letters (honoris Wales; chairman of the Australia Council and presenter; member of the Council of Integral Energy Board, Federal Council causa) for ‘his long and distinguished and Sydney Grammar School; member of for the Australian Honours, the Film for Australia-Latin American Relations contribution to the field of arts’ by the the Prime Minister’s Community Business and Literature Board of Review, (COALAR), Salvation Army Greater University of New South Wales in 2005. Partnership; member of the Takeover Interim Board of the National Film Western Sydney Advisory Board; Initial date of appointment 1 January 2001; Panel and the Chairmen’s Panel of the and Sound Archive and Luna Park expiry of current term 31 December 2006. Business Council of Australia; formerly Reserve Trust. Australian representative, Governing member of the Committee of Inquiry into Initial date of appointment 1 January 2002; Board of the Organisation for Economic Charitable and Related Organisations and expiry of current term 31 December 2007. Cooperation and Development (OEDC)’s member of the Nugent Committee, which program on Institutional Management in Mr Peter Francis Young: chairman, examined the major arts organisations in Higher Education (IMHE); patron, Investment Banking, ABN AMRO Group Australia; author of the Gonski Report into Ms Janet Laurence: mixed-media Kedumba Drawing Award; former member, (Australia and New Zealand), Delta the Australian film industry. installation artist; RAIA Lloyd Rees award Federal Government Higher Education Electricity, Export Finance & Insurance Initial date of appointment 1 January 1997; for urban design 1995; Rockefeller Review Group (2002); former chair, Corporation; director of Australian expiry of current term 31 December 2006. Fellowship 1996; currently completing Australian Institute of Health and Welfare; Business Arts Foundation, Sydney PhD; work extends from exhibiting within former trustee, Queensland Museum; Theatre Company and Greet Barrier Reef the gallery and museum into architecture former deputy chair, Queensland Institute Research Foundation; former chairman, and landscape; commissions include VICE-PRESIDENT of Medical Research; chair 1994–95 National Rail Corporation; director of The edge of the trees at the Museum of Dr John Yu AC, Hon MD (Sid), Hon Dlitt Sydney, Veil of trees in the Domain, National Review of Nursing Education; the NSW State Transit Authority, NSW (UWS), MB BS DCH (RCP&S), FRACP, Sydney, an environmental art work In the member of the Order of Australia (AM); Maritime Services Board; member of the FRACMA: chancellor, University of New shadow at Homebush Bay Olympic Site, Wellcome Medal; Centenary Medal; fellow Takeover Panel. South Wales; chair, Australia China Elixir house in Nigata Japan and Australian of Australian Academy of Social Sciences. Initial date of appointment 13 August 2001; Council of DFAT; chair, Specialist Advisory War Memorial London; represented by Initial date of appointment 1 January 2004; expiry of current term 31 December 2006. Committee of NSW Commission for Sherman Galleries Sydney. Children and Young People; chair, VisAsia; expiry of current term 31 December 2006. Initial date of appointment 1 January 1997; member of Board of National Australia expiry of current term 31 December 2005. Day Council, Walter and Eliza Hall Trust, Honorary Solicitors to the Trust: Freehills NSW Public Education Council; formerly chief executive, Royal Alexandra Hospital for Children. Initial date of appointment 1 January 1997; expiry of current term 31 December 2005.

44 45 TRUSTEE MEETINGS FINANCE AND AUDIT SUB-COMMITTEE OTHER GALLERY ENTITIES The Finance and Audit Sub-Committee oversees all financial aspects of the Gallery, including budgeting, monitoring ATTENDANCES AT BOARD OF TRUSTEE MEETINGS performance and ensuring stewardship of the assets. All audit matters are also tabled with the sub-committee. During There were six board meetings of the Trust during the period the year officers from the NSW Audit Office, external auditors, July 2004 to June 2005. Trustee attendances were as attended a sub-committee meeting to provide a direct link follows: David Gonski (6/6), John Yu (3/6), Pierce Cody (5/6), with Trust members for discussion of relevant accounting Anne Fulwood (5/6), Janet Laurence (6/6), Irene Lee (3/6), Art Gallery of New South Wales Trust policy matters. Sandra McPhee (5/6), Janice Reid (6/6), John Schaeffer (4/6), Director: Mr Edmund Capon Staff: 204 (FTE) Art Gallery Society of Imants Tillers (6/6), Peter Young (4/6). Apologies were Members: Peter Young (chair), David Gonski (ex-officio), Net Assets: $768 million New South Wales submitted for all trustee absences and authorised leave Jillian Broadbent, Bruce Cutler. Staff: Edmund Capon, Trust President: Mr David Gonski was granted. director; Rosemary Senn, general manager, finance and President: Mrs Inge Grant management services. Executive Officer: Mrs Judith White The Centenary Fund TRUST SUB-COMMITTEES Value: $0.8 million There were six meetings of the Finance and Audit Sub- The President’s Council The sub-committees generally comprise a subset of board Established in 1953 Committee during the period July 2004 to June 2005. Collection Benefactor Groups members based on their respective areas of interest and Bequests and Special Funds Trustee attendances were as follows: Peter Young (6/6), expertise. Also included are relevant senior staff members David Gonski (6/6). and other experts as appropriate. The sub-committees are responsible for monitoring their respective areas and REGIONAL SUB-COMMITTEE making recommendations to the full board for approval The Regional Sub-Committee is responsible for the Gallery’s VisAsia or otherwise. They meet usually within the week prior to the Art Gallery of New South Wales Brett Whiteley numerous activities in supporting NSW regional galleries. Controlled Entity main board meeting, at which the minutes of their meetings Foundation Foundation These include loans of artworks, touring exhibitions and VisAsia Council are tabled. provision of expertise. Chairman: Mrs Rowena Danzinger Chairman: Mr David Kent Chairman: Dr John Yu ACQUISITION AND LOANS SUB-COMMITTEE Value: $22 million Value: $0.1 million Members: John Yu (chair), Imants Tillers, Mary Turner. Staff: Value: $0.7 million Established in 1983 Established in 1994 The Acquisition and Loans Sub-Committee plays an important Edmund Capon, director; Anthony Bond, general manager, Established in 1999 role in overseeing the Collections Policy. It considers curatorial curatorial services; Michael Wardell, curatorial services proposals on acquisitions, gifts, inward and outward loans coordinator. and if applicable deaccessions. Based on these considerations There were three board meetings of the Regional Sub- recommendations are made to the board for approval. Committee during the period July 2004 to June 2005. Trustee The Gallery is responsible for providing administrative support BRETT WHITELEY FOUNDATION Members: John Yu (chair), Anne Fulwood, Janet Laurence, attendances were as follows: John Yu (3/3), Imants Tillers (3/3). for other entities, namely the Art Gallery of New South Wales Non controlled entity. Irene Lee, Janice Reid, Imants Tiller. Staff: Edmund Capon, Foundation, the Brett Whiteley Foundation and the VisAsia Enabling legislation: Brett Whiteley Agreements 1994; director; Anthony Bond, general manager, curatorial services; Foundation. Each of these entities has separate legal Incorporated entity. Michael Wardell, curatorial services coordinator. structures established by a Trust Deed or incorporated with a Memorandum and Articles of Association. Each has a board ABN/Gift Deductible status. There were six meetings of the Acquisition and Loans Sub- of trustees/directors as determined by its enabling legislation. Purpose: to promote and encourage knowledge and Committee during the period July 2004 to June 2005. Trustee The board meetings are generally held on a quarterly basis. appreciation of the work of the late Brett Whiteley. attendances were as follows: John Yu (6/6), Anne Fulwood The AGNSW Foundation also has a finance sub-committee, Board: the board comprises 1 independent representative, (4/6); Janet Laurence (6/6); Irene Lee (4/6); Janice Reid (5/6), which monitors the funds invested. The support provided by Imants Tillers (5/6). 2 Gallery representatives, 2 members of the Brett Whiteley the Gallery includes management, finance, corporate Estate. secretariat and general administrative services. SPONSORSHIP SUB-COMMITTEE Trustees: David Kent (chair), Brian Ladd, Barry Pearce, Wendy Whiteley, Anna Schwartz. The Sponsorship Sub-Committee is responsible for supporting ART GALLERY OF NEW SOUTH WALES FOUNDATION the Gallery’s efforts in raising funds for its various activities. Non controlled entity. Members: David Gonski (chair), Pierce Cody, Deeta Colvin, Enabling legislation: Art Gallery of New South Wales VISASIA Anne Fulwood, Daniel Gauchat, Sandra McPhee, John Foundation Deed 1983 with subsequent amendments. Schaeffer, Scott Walters, Peter Young. Staff: Edmund Capon, Controlled entity. director; Belinda Hanrahan, general manager, marketing & ABN/Gift Deductible status. Enabling legislation: VisAsia Constitution 1999; business development; Maree Whybourne, corporate Purpose: to raise funds through donations and bequests, Incorporated entity. development manager; Leith Douglas, sponsorship manager. invest funds and use the income to acquire major artworks for ABN/Gift Deductible status. the Gallery. Since inception, the Foundation has contributed Purpose: to promote Asian arts and culture. There were three meetings of the Sponsorship Sub-Committee over $20 million to the Gallery’s collection, (which has during the period July 2004 to June 2005. Trustee attendances increased in value to over $38 million) and has accumulated Board: the Gallery appointed 4 of the members of the were as follows: David Gonski (3/3), Pierce Cody (0/3), Anne over $22 million in funds under investment. VisaAsia Board. Donors appointed 5 members. Fulwood (2/3), John Schaeffer (2/3), Peter Young (0/3). Board: the board comprises 8 donor representatives, Directors: John Yu (chair), Stephen Menzies, Edmund Capon, 6 Gallery representatives and 2 NSW government Jackie Menzies, Sabrina Snow, Philip Cox, Steve Burdon, representatives. Judith Rutherford and Vicki Liberman. Trustees: Rowena Danziger (chair), Geoff Ainsworth, Prue Allen, Jillian Boardbent, Brian France, Catriona Mordant, ART GALLERY SOCIETY OF NEW SOUTH WALES Mark Nelson, Reg Richardson, Susan Rothwell, Denyse Spice, Isaac Wakil, Peter Weiss, Ray Wilson, Inge Grant and Fraser Separate legal entity controlled and operated by the Society’s Hopkins. council and members. Finance Committee: Jillian Boardbent (chair), Geoff Ainsworth, Brian France, Mark Nelson.

46 47 SENIOR MANAGEMENT PROFILES ORGANISATION STRUCTURE

EDMUND CAPON AM, OBE, M Phil The Gallery has four major functional divisions: Each of these divisions is managed by a general manager Director Curatorial Services who is a member of the Gallery’s senior management team. Finance and Management Services Within these divisions activities are divided into departments, Edmund Capon has been director of the Art Gallery of New Exhibitions and Building Services which are the responsibility of the relevant department head. South Wales since 1978. For five years before leaving London Marketing and Business Development The general managers all report to the director of the Gallery. he held the position of assistant keeper, Far Eastern Section at Also reporting to the director are staff employed within the the Victoria & Albert Museum, having started there in 1966 in Directorate, Benefaction Services and Gallery Services. the Textile Department (specialising in Chinese textiles and costume, and European tapestries). He has also managed a commercial gallery in London primarily concerned with modern GENERAL MANAGER CURATORIAL SERVICES British paintings and sculpture. He obtained his Master of from left: Edmund Capon, Belinda Hanrahan, Anthony Bond, Rosemary Senn, Anne Philosophy degree in Chinese art and archaeology (including Flanagan ASIAN ART AUSTRALIAN ART WESTERN ART Japan language) from the London University School of Oriental and Paintings & Sculpture pre-1900 China Prints, Drawings & Watercolours Contemporary African Studies, and also studied 20th-century painting at the Southeast Asia Aboriginal & Torres Strait Islander Photography Courtauld Institute of Art, London University. ROSEMARY SENN B Comm, FCPA, MAICD Dip India General Manager, Finance & Management Services Mr Capon is recognised as a world expert in his particular field and has published several books and catalogues including Rosemary Senn is a fellow of the Australian Society of Brett Whiteley Registration Princes of jade (1974); Art and archaeology in China (1977); Certified Practising Accountants and holds a Bachelor of Commerce from the . She also holds Conservation Public Programmes Qin Shihuang: terracotta warriors and horses (1982); and Tang DIRECTOR China: vision and splendour of a golden age (1989), as well as qualifications in company directorship and taxation matters. many articles for Australian and international newspapers and She has been with the Gallery for six years and prior to that Library Photography Studio/Digitisation professional art journals. In 1994 Mr Capon was made a spent several years in the commercial sector. Ms Senn is the Curatorial Services member of the Order of Australia, and in 2000 was awarded chief financial officer and company secretary for the Trust, a Doctor of Letters honoris casua from the University of New the Foundation, VisAsia and the Brett Whiteley Foundation. Directorate South Wales and a Chevalier of Arts and Letters from the She is also responsible for human resources management, GENERAL MANAGER FINANCE & MANAGEMENT SERVICES Benefaction Manager French government. He is also a member of the Advisory corporate services, strategic planning, administration, information technology and commercial services, which Council of the Asia Society AustralAsia Centre and a member Human Resources Finance & Corporate Secretariat of the Council of Australian Art Museum Directors (CAAMD). includes the Gallery Shop, Venue Hire and the management Foundation Private Benefaction of the catering contract. Information Technology Administration/Records Management Gallery Services & Communications ANTHONY BOND B Ed (Hons) General Manager, Curatorial Services BELINDA HANRAHAN B Comm Venue Management Gallery Shop Anthony Bond joined the Gallery in 1984 as curator of General Manager, Marketing & Business Development contemporary art. In January 1995 he was appointed to the Belinda Hanrahan joined the Gallery in November 1992 as GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES position of general manager, curatorial services to oversee marketing manager. Prior to this she worked in marketing the Gallery’s curatorial staff and overall management of the management for Unilever and Johnson and Johnson for ten Security Building Management curatorial services departments: Conservation, Registration, years, later forming her own marketing training consultancy. Public Programmes, Library and the Photography Studio. She holds a Bachelor of Commerce from the University of Exhibitions Graphics This is coupled with his role as head curator, western art New South Wales. with special responsibility for 20th-century and contemporary Installation international collections. He was formerly director of Ms Hanrahan is responsible for the Gallery’s marketing and corporate development and relations, which encompasses Wollongong City Gallery and assistant director of the Art GENERAL MANAGER MARKETING & BUSINESS DEVELOPMENT Gallery of Western Australia. advertising and promotions, publicity, tourism, visitor services and sponsorship, including the President’s Council. Mr Bond’s curatorial specialisation is in 20th-century and Publicity Office Marketing contemporary international art. His recent major projects include curating Trace, the inaugural Liverpool Biennial in SUMMARY SENIOR OFFICER POSITIONS Information Desk Business Development England (1999) and Body, an exhibition tracing aspects of realism in art from the mid 19th century. Year Position No of senior Positions held level positions by women STAFF NUMBERS SUMMARY ANNE FLANAGAN Dip Int Design, Dip Ed, Dip Vis Arts 2003–04 SES 4 1 0 Average over 12 months FTEs FTEs FTEs FTEs General Manager, Exhibitions & Building Services Snr off 2 1 0 30.06.05 30.06.04 30.06.03 30.6.02 Snr off 1 3 3 Anne Flanagan joined the Gallery in March 1992. Her academic Building and Security Services 59 60 57 59 background includes visual arts, interior design and education. 2004–05 SES 4 1 0 Curatorial Services 50 54 51 51 For the last 20 years she has worked within arts organisations Snr off 2 1 0 Curatorial 24 22 24 20 initially at the Crafts Council of NSW, Powerhouse Museum, Snr off 1 3 3 Exhibition/Display 23 23 21 16 Biennale of Sydney, Australian Bicentennial Authority and then Finance and Management Services 18 18 21 20 at the Historic Houses Trust of New South Wales. Ms Flanagan Commercial Services 15 14 15 16 is responsible for the exhibition program including design, Marketing and Business Development 14 13 11 11 development and financial management, building services including capital and maintenance programs, publications and TOTAL 203 204 200 193 all security services within the Gallery. Numbers used reflect equivalent full-time (FTE) staff numbers

48 49 INTERNSHIPS CREDIT CARD USAGE capacity and yet maintain museum-quality environmental The Gallery’s director certifies annually that credit card usage conditions. There have been upgrades to the Building Control has been conducted in accordance with relevant Premier’s System that enable the plant to utilise outside conditions and modulate chill capacity to suit the gallery environments. Tertiary placements have been packaged to maximise to relevant institutions. During 2004–05 there were a total of 22 Memorandums and NSW Treasury Directions. access for students and benefits to the Gallery across many internship placements for undergraduate and postgraduate Also undertaken was a regular maintenance program to clean all CUSTOMER COMPLAINTS departments including Public Programmes, Curatorial, students from the University of New South Wales, University of the plant equipment including de-scaling of the boilers to ensure Exhibitions, Registration, Conservation, Marketing and the Sydney and College of Fine Arts, University of Western In accordance with the Gallery’s Pledge of Service visitors are more efficient operation plus cleaning of the filters, fans, coils Whiteley Studio. Internship placements are coordinated by the Sydney, University of Technology Sydney, Macquarie invited to leave both praise and complaints in the official Visitors and ducts. Regular maintenance ensures energy efficiency while Comments book. This book is regularly reviewed by the Gallery’s maintaining quality conditions. coordinator of tertiary programs, who also promotes these University, University of Applied Sciences, Cologne, Germany. senior management for appropriate response and further action, The Gallery has this year improved airflow rates throughout opportunities on the Gallery website and in online newsletters if required. During 2004–05 there were 104 comments recorded – the building. This is a complex task given the variable levels 76 complaints and 38 comments of praise. of occupancy and the condition and type of building fabric. The majority of complaints related to no wheelchair/pram access Occupancy rates vary in response to time of day, day of the week at the front entrance to the Gallery (25); the lack of an ATM within (the Gallery is open to the public seven days a week) opening EEO STATISTICS the Gallery (10); spelling mistakes or text print not being large hours, school excursion hours and of course the attraction of the enough in exhibition wall plates (13); and limited signage, current exhibitions. By modulating rates to suit internal needs, we PARLIAMENTARY ANNUAL REPORT TABLES especially in relation to the location of the toilets (5). Disabled have ensured efficient energy usage. access at the front of the building is a long-standing problem A. TRENDS IN THE REPRESENTATION OF EEO GROUPS A new outside air mechanical system has been installed in the but with heritage building considerations it will require significant workshop providing improved conditions for the staff with a more % of Total staff capital investment to address successfully. This issue is likely to efficient plant operation. EEO group Benchmark or target 2002 2003 2004 2005 continue to be problematic as a growing number of people with disabilities take part in the Gallery’s Accessible Programs. The Low-energy fittings are being installed over two years in the non- Women 50% 48% 48% 50% 53% Gallery has reviewed recently the possibility of housing an ATM public areas of the Gallery. Aboriginal people and Torres Strait Islanders 2% 2.0% 2.0% 2.0% 2.5% but the number of visitors was not sufficient to justify it at this People whose first language was not English 20% 29% 20% 18% 19% stage. Comments on the signage are being taken into account WATER in the regular reviews of the design of texts and labels in each People with a disability 12% 2% 3% 3% 3% The Gallery has focused on the efficient use of water throughout exhibition staged throughout the year. the building – including plant and all hydraulic systems. Zip People with a disability requiring work-related adjustment 7% n/a n/a 1.1% 1.1% Comments of praise related overwhelming to various public flushing systems are being installed over two years and flow rates programs activities (28). have been reduced where possible without reducing the service. B. TRENDS IN THE DISTRIBUTION OF EEO GROUPS The Gallery, together with the Royal Botanic Gardens, has The Gallery’s Public Programmes department is a leader in the field Distribution Index introduced water-tolerant species for the cafe terrace and the of visual art museum education, both in Australia and abroad. Yiribana courtyard. EEO group Benchmark or target 2002 2003 2004 2005 Women 100 122 116 112 113 ELECTRONIC SERVICE DELIVERY FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS Aboriginal people and Torres Strait Islanders 100 n/a n/a n/a n/a The Gallery’s website has e.commerce capability with online The following Statement of Affairs is presented in accordance with services including exhibition admission ticketing and Gallery Shop the Freedom of Information Act 1989, section 14 (1) (b) and (3). The People whose first language was not English 100 94 91 95 93 merchandise trading. Venue hire applications can also be lodged Gallery’s (FOI Agency No 376) statement is correct as at 30 June People with a disability 100 n/a n/a n/a n/a electronically via this system. The website also has an extensive 2005. The Gallery received two formal requests for information People with a disability requiring work-related adjustment 100 n/a n/a n/a n/a Collection Search database which incorporates images of over under the Act during 2004–05. No requests were carried over from 10 000 works from the permanent collection. The Gallery’s the previous financial year. All requests were completed. Both Notes: Research Library has created a historical database with online requests were classified as ‘other’. 1 Staff numbers are as at 30 June 2005 search function for the entrants and winners of the Archibald Prize, 2 Excludes casual staff Wynne Prize, Sir John Sulman Prize, Dobell Prize for Drawing, Statistical information as required by clause 10(2) of the FOI Act 3 A Distribution Index of 100 indicates that the centre of the distribution of the EEO group across salary levels is equivalent to that of other staff. Values less than Citigroup Private Bank Australian Photographic Portrait Prize. has been completed in accordance with Appendix B of the FOI 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 Manual and can be found in the appendices of this report (p 78). 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. The Distribution This database contains references to every exhibited work for each Index is automatically calculated by the software provided by ODEOPE of these competitions. Further information about recent website The Gallery regularly receives representations from the public 4 The Distribution Index is not calculated where EEO group or non-EEO group numbers are less than 20 developments can be found in the Year in Review – Audiences concerning its operations. The Gallery endeavours to make the section of this report (p 36). collection and associated information as accessible to the public as is possible and welcomes public interest and participation in ENGAGEMENT AND USE OF CONSULTANTS its activities. There were 6 consultancies in 2004–05 costing a total of $81 859. RISK MANAGEMENT The following one cost more than $30 000: Documents held by the Art Gallery: Art Gallery of New South Wales Trust Act, 1980; Accounts Manual; Agendas and Minutes of Consultant Project Cost ($) Meetings; Collections Management Policy; Administrative Policy and Procedures; Education Policy; Annual Reports; Exhibitions Policy; AUDITS The Gallery was not involved in such audits in 2004–05 but in the L E K Consulting Management services 37,874 EEO Annual Report; Filming and Photography Policy; Strategic Plan prior year one on Fraud Control was undertaken but it raised no Internal audit reviews were conducted during the year on The remaining 5 consultancies were each paid less than $30 000 2003–08; Financial Reports and Human Resource Policies. specific issues for the Gallery. Collections Management, Risk Analysis, GST Compliance, and were engaged in the following categories: Corruption Prevention, IT Security and Catering. Favourable Documents available for purchase: the Gallery publishes a range reports were received on all audits with no significant matters BUSINESS RISK ASSESSMENT Category Number of consultancies of catalogues and art books. The publication prices are regularly arising. All recommendations were carefully considered and During 2004–05 the Gallery retained the Internal Audit Bureau (IAB) Information Technology 1 reviewed and prices are available from the Gallery Shop. implemented as appropriate. The audit reviews were conducted by to undertake a comprehensive Business Risk Assessment with the Management/HR Services 4 Some selected items are available from the Gallery website the NSW government’s Internal Audit Review (IAB) teams and the resulting report being tabled in August 2005. The findings of this (www.artgallery.nsw.gov.au/shop). The Gallery also regularly cost of these audits is borne by the Ministry for Arts from a central report will be carefully considered and recommendations ENERGY MANAGEMENT publishes free exhibitions and events bulletins. allocation of funds for the Arts Portfolio. The Internal Audit Bureau implemented over the forthcoming year. ENERGY FOI Procedures: applications for access to Gallery documents under was also engaged to review the implications of the International the Freedom of Information Act should be made in writing and Financial Reporting Standards (AEIFRS). CODE OF CONDUCT With no new capital building project this year, the Gallery focused on regular maintenance of the plant to ensure its efficient directed to: Human Resource Manager, Art Gallery of New South The Gallery’s Code of Conduct has remained unchanged during The NSW Audit Office’s external auditors certified the financial operation. With the opening of the Asian galleries in October 2003 Wales, Art Gallery Road, The Domain, NSW 2000. this reporting period. A full copy of the code was published in the statements without qualification. From time to time, the NSW Audit we have been able to deliver a lower than anticipated energy 2001 Annual Report, a copy of which is available on the Gallery’s Arrangements can be made to obtain copies of documents, or to Office also undertakes compliance reviews of a selection of usage, meeting a key target for 2004–05. This was achieved by website (www.artgallery.nsw.gov.au/aboutus) inspect them by contacting the human resources manager on various public sector agencies for a general report to parliament. operating the chillers efficiently and as a result they are under telephone (02) 9225 1795.

50 51 INDUSTRIAL RELATIONS PAYMENT PERFORMANCE No major industrial disputes occurred in 2004–05 and no time was Aged Creditor Analysis at the end of each Quarter 2004–05 lost due to industrial disputation. The Gallery’s Joint Consultative Quarter ended Current Less than Less than Less than More than Committee, comprising management and staff representatives, (ie within 30 days 60 days 90 days 90 days met on a two-monthly basis and negotiated a number of issues due date) overdue overdue overdue overdue including annualisation of penalty rates for gallery officers and an $$$$$ agreement covering flexible working hours for Gallery staff. Sept 2004 266,402 10,482 - 243 - Dec 2004 353,315 215,734 1,591 568 2,558 INSURANCE March 2005 104,756 162,848 2,959 4,400 331 June 2005 645,243 7,626 - - - The Gallery, as a NSW government agency, continues to be covered by the Treasury Managed Fund, a government self- Accounts paid on time each quarter insurance scheme. There were no significant claims by the Gallery on this scheme during the financial year. Over the last ten years, Total accounts paid on time Total paid Quarter Target Actual Amount Amount the Gallery has had less than 30 (mostly minor) public liability %% $ $ claims from an average visitation population of over one million Sept 2004 90.00 88.82 6,131,036 6,902,679 visitors each year. The workers compensation and other claims Dec 2004 90.00 89.17 7,069,040 7,927,768 have enjoyed a good record in the past but have recently March 2005 90.00 80.50 4,404,702 5,471,848 increased somewhat and may increase further with the ageing June 2005 90.00 83.09 3,448,849 4,150,902 workforce. The Gallery is constantly reviewing work practices Total 90.00 86.10 21,053,627 24,453,197 to eliminate or reduce hazards. The annual insurance premium amounted to $1.1m (excl GST) reflecting the value of the asset holdings of the Gallery’s permanent art collection, the POLICY DEVELOPMENT heritage building plus art works on temporary loans for major During the year the Gallery drafted a Corruption Prevention Policy exhibitions. The Fine Arts premium was the major contributor and Procedures document. This new policy document integrates in insurance costs, reflecting the significant works on loan for and extends three previously separate policies – Code of Conduct, the exhibition program. The cost of this coverage is directly Fraud Control and Protected Disclosures. The document was funded by NSW Treasury. reviewed satisfactorily for compliance by the Internal Audit Bureau. Due to frequent requests from schools a comprehensive Excursion LAND Risk Management Assessment Report has been prepared for all The Gallery did not acquire or dispose of any land in 2004–05. Gallery education programs. The OH&S Act requires principals and teachers organising school excursions to use risk management LEGAL ISSUES to ensure the health and safety of students, staff and excursion At the date of compiling this report, litigation is in progress relating volunteers. To assist teachers in preparing their own risk to the award of the 2004 Archibald Prize. The Gallery is defending assessments, the Gallery has prepared venue and safety the proceedings, and the proceedings are at too early a stage to information documents which are available for download from our form a view as to whether it is necessary to create a provision. website (www.artgallery.nsw.gov.au/aboutus/education). These There are no other outstanding legal issues or judicial decisions documents answer all risk assessment questions required by the affecting the Gallery at the date of this report. Department of Education and Training for school excursions to the Gallery and the Brett Whiteley Studio. MAJOR ASSETS The Gallery’s major assets are its artworks and its land and PRIVACY MANAGEMENT building in the Domain. The Gallery has appointed a designated privacy officer in accordance with the provisions of the Privacy and Personal MAJOR CAPITAL WORKS Information Protection Act 1998. Capital works Cost 2004–05 Completion Overrun The privacy officer can be contacted at: Human Resource projects ($’000) date ($) Services, Art Gallery New South Wales, Art Gallery Road, The Artworks purchased 7,829 ongoing nil Domain NSW 2000. Telephone: (02) 9225 1795 or Fax: (02) 9225 Building works 2,497 ongoing nil 1622. During 2004–05 there were no internal reviews conducted Plant and equipment by or on behalf of the Gallery under Part 5 of the Privacy and replacement 339 ongoing nil Personal Information Protection Act. Total capital expenditure 10,665

OCCUPATIONAL HEALTH AND SAFETY Number of work related injuries: 13 Number of work related illnesses: 1 Prosecutions under the OH&S Act: 0 The Gallery’s OH&S Committee met on a regular basis during 2004–05. Consistent with the Gallery’s three-year plan, a number of work place inspections were undertaken. The Gallery is constantly reviewing procedures and practices and where appropriate, implements changes to minimise risk. Manual Handling Training was provided to gallery officers. One- on-one sessions were provided to a number of staff regarding ergonomic setup of the office environment. In the next year the Gallery intends to provide training for specific staff to meet their occupational fitness requirements and to continue implementation of the Gallery’s three-year plan.

52

ART GALLERY OF NEW SOUTH WALES FINANCIAL STATEMENTS

Financial commentary 80 Financial summary 81 Independent audit opinion 82

Statutory financial statements for the year ending 30 June 2005: Trustees statement 84 Statement of financial performance 85 Statement of financial position 86 Statement of cash flows 87 Summary of compliance with financial directives 88 Notes to and forming part of the financial statements: Note 1: Summary of significant accounting policies 89 Note 2: Expenses 94 Note 3: Revenues 94 Note 4: Gain/(loss) disposal of assets 95 Note 5: Government contributions 95 Note 6: Current assets – cash 96 Note 7: Current assets – receivables/other 96 Note 8: Current assets – inventories 96 Note 9: Other financial assets 96 Note 10: Restricted assets 96 Note 11: Non-current assets – property, plant, equipment 97 Note 12: Current liabilities – payables 97 Note 13: Current/non-current liabilities – provisions 98 Note 14: Changes in equity 98 Note 15: Controlled entities 99 Note 16: Reconciliation of cash flows 100 Note 17: Non-cash financing 100 Note 18: Financial instruments 100 Note 19: Expenditure commitments 101 Note 20: Contingent assets & liabilities 102 Note 21: Results of fundraising appeals 102 Note 22: Budget review 102

79 FINANCIAL COMMENTARY FINANCIAL SUMMARY

ART GALLERY OF NEW SOUTH WALES Financial Summary

Five Year 2000–01 2001–02 2002–03 2003–04 2004–05 Total Average p.a. FINANCIAL STEWARDSHIP INVESTMENTS Total Attendances – Incl Touring/Studio million 1.26 1.17 1.13 1.51 1.35 6.42 1.28

The Gallery continues to maintain its financial soundness through The Gallery invests its bequests and special funds ($14.7m) in a Attendances – Paid exhibitions million 0.28 0.31 0.29 0.35 0.35 1.58 0.32 rigorous budgetary and expenditure control, stewardship of portfolio comprising term deposits and T.Corp’s Hour Glass Attendances – Free access – Main million 0.72 0.70 0.71 0.88 0.88 3.88 0.78 Total Attendances – Main Building million 1.00 1.01 1.00 1.23 1.23 5.46 1.09 assets, cash flow management and revenue enhancement. Our facilities – in particular the medium and long-term growth facilities. accounting and management reporting system enables us to These investments are in accordance with NSW Treasury Artworks Purchased $’m $1.6 $1.4 $4.6 $5.2 $9.0 $21.9 $4.4 Donations of Artworks $’m $6.2 $2.8 $3.2 $2.8 $2.2 $17.2 $3.4 produce reports in a timely manner on a cost centre and business requirements under the Public Authorities (Financial Arrangements) Total Works of Art Acquired $’m $7.8$4.3 $7.8$8.1 $11.2 $39.1 $7.8 activity level to enable management, the Board of Trustees and the Act 1987, which confines investments to term deposits with NSW government, to monitor the Gallery’s financial aspects and approved banks and financial institutions and T.Corp, the Exhibition Admission revenue $’m $2.5 $2.6 $2.6 $2.9 $1.6 $12.2 $2.4 Merchandise, Books and Publications Sales $4.2 $4.0 $3.6 $4.0 $3.6 $19.4 $3.9 direct the resources in a timely and effective way. government investment facility. Other Commercial Activities/other misc $’m $1.8 $1.6 $1.6 $3.3 $1.6 $9.9 $2.0 Bequests & Special Funds $9.1 $7.7 $6.8 $7.6 $12.4 $43.6 $8.7 FINANCIAL PERFORMANCE The investment returns during 2004–05 were 5.9% pa on bank Other Grants & Contributions $’m $3.8 $2.4 $3.1 $3.4 $3.2 $15.9 $3.2 deposits (compared with benchmark of 5.6%), 9.2% on T.Corp’s The surplus for the year was $12.9m (up 35%), reflecting: Total Revenue from commercial and private sources $’m $21.4 $18.3 $17.7$21.2 $22.4 $101.0 $20.2 Medium Term facility (compared with benchmark of 8.9%) and • Improved revenues (up 5.7% to $22.4m) on exhibition 12.1% on T.Corp’s Long Term facility (compared with benchmark Employee Related Expenses $12.9 $13.3 $15.0 $16.0 $16.8 $74.1 $14.8 Depreciation $1.2 $1.6 $2.1 $2.3 $2.3 $9.5 $1.9 admissions, merchandise, books and publication sales, other of 12.9%). The benchmarks quoted are sourced from T.Corp Hour Insurance $0.5 $0.8 $2.1 $2.3 $1.1 $6.8 $1.4 commercial services, and bequests and special funds. The Glass Facility Performance Summary for June 2005. Other Operating Expenses $12.6 $11.9 $11.4 $12.7 $10.1 $58.7 $11.7 earnings from these activities are used for the purchase of Total Operating Expenses $’m $27.1 $27.7$30.5 $33.3 $30.2 $148.8$29.8 The Gallery also manages investments on behalf of its related artworks and underpin core activities. entities, primarily the Art Gallery of NSW Foundation ($22.4m) with Net Cost of Services (Total) $’m $5.7$9.4 $12.8$12.1 $7.8$47.8$9.6 • Lower government funding for core business operations due to smaller amounts for the Brett Whiteley Foundation ($140 000) and global cuts in government funding and lower insurance premiums. VisAsia entity ($703 000). With the upturn in equity markets, the Recurrent appropriation $’m $13.8 $14.5 $16.3 $16.9 $15.8 $77.3 $15.5 Liabilities assumed by government $’m $1.4 $1.5 $1.9 $1.9 $2.1 $8.7 $1.7 The cumulative effect of award salary increases and government returns on Foundation funds improved considerably this year. Capital appropriation/Other $’m $3.0 $6.4 $14.2 $2.8 $2.8 $29.2 $5.8 budgetary cuts over recent years has eroded our base operations, The Australian dollar improved against the US dollar over the last with increasing reliance on other revenues sources for support. Total Govt Grants $’m $18.2 $22.4 $32.3 $21.6 $20.7$115.2 $23.0 12 months and will have a positive impact on art acquisitions, Over 50% of our revenue was derived from non-government making them more affordable. Total Revenue $’m $39.6 $40.7$50.0 $42.8$43.1 $216.2 43.2 Govt Contribution as % of total Revenue 46% 55% 65% 50% 48% 53% 53% sources in 2004–05.

LOOKING FORWARD Net Surplus $’m $12.5 $13.0 $19.5 $9.5 $12.8$67.3 13.5 DONATIONS & BEQUESTS/TAXATION INCENTIVES The forthcoming year is expected to see steady growth in our Employees – Effective Full time (EFTs) Number 193 193 200200200 A substantial contribution each year comes from donors and exhibitions and commercial services revenues which underpin core benefactors ($12.4m revenue in 2004-05 compared to $7.6m in business activities. The Gallery has received an additional $1m in Average Salary per head (EFT) $’000 $67 $69 $75 $80 $84 2003-04). Much of this is in the form of gifts of artworks or cash government funding to support its base responsibilities (security, Net cash flows $’m $1.2 -$0.7 $0.2 $1.3 -$0.9 to purchase artworks. The substantial increase this year (63%) operations etc) however this comes in the midst of more global Net Assets $’m $780.8 $716.8 $736.3 $748.9 $768.2 is attributed to the contributions from Art Gallery of NSW budget cuts. We anticipate another good year for bequests and Net Cost of Services per visitor $ $5.70 $9.30 $12.80 $9.90 $6.40 Foundation, Art Gallery Society and individuals for purchase of the special funds, which are ‘restricted funds’ primarily for acquisition Data in this table has not been subject to audit 4 0 Cy Twombly Three studies from the Temeraire 1998–99 (triptych). of artworks. - 3 Other donations were also received to support various initiatives 0 0 The Gallery continues to be committed to maintaining its high level 2 such as scholarships, prizes or research. 3 0 of performance and will work with staff and the NSW government - 5 2 0 A substantial component of the donations is preserved as a -0 in improving our service to the community. 4 0 OVER $114m WORTH OF ARTWORKS 0 NET ASSETS ARE NOW WOR2 TH OVER $768 MILLION Capital Base for future income generation. At the end of June 0 2 WERE ACQUIRED IN THE PAST 13 YEARS3 2 0 0 - BUDGET SUMMARY FOR 2005–06 - 1 2005, the total amount of ‘bequests and special funds’ amounted 2 $800 0 0 $m 0 0 Other assets 2 2 to $14.7m of which $6.1m is preserved. These comprise over 90 $150 n 1 $700 0 Land & bequests and special funds. REVENUE o - Buildings i n 0 Building revaluation $100 9 l 0 Government funding 21.1 l $600 o 9 0 Building revaluation

- i i 8 2 The Taxation Incentives for the Arts (TIAS) has provided a major Commercial and bequests & special funds 13.2 l 9 0 Collection l $50 9 $500 0 m i 7 1 of artworks incentive for artists and donors to provide gifts of artworks to the 9 0 34.3 - 2 6 - $ m $0 9 $400 Gallery. These contributions have provided a significant resource 9 9 EXPENDITURE 5 1 1 9 9 4 $ 9 0 9 9 0 for acquisitions of artworks and special projects, which would not - - - - Staff related 17.4 4 0 1 9 0 8 3 otherwise have been feasible. 9 0 9 0 Insurance 1.6 1 2 9 0 Depreciation 2.0 1 2 FINANCIAL STATUS Other operating 11.7 GOVERNMENT FUNDING OTHER FUNDING SOURCES

4 The Gallery has over $768m worth of net assets, comprising 0 32.7 - 3 $25 2004-05 was a record year for Government boosted funding in thes0e years $614m of artworks and library collection, $133m in land and $35 for the Building programme 0 Bequests & Special funds SURPLUS 1.6 3 2 0 building, $14.7m of cash and investments representing bequests $30 - $20 3 2 9 0 and special funds (‘restricted assets’) and $6.3m other minor net $25 - 0 Bequests & 2 2 2 n 0 9 - $15 Special funds This budget is in accordance with NSW government 2005–06 9 n assets. During the year the land was valued by a registered valuer o $20 1 1 Capital funding

i 0

l 0 Liabilities assumed o 1 Budget Papers, including any supplementary adjustments. This l $15 2 i $10

from the NSW Department of Commerce. It resulted in an increase i 0

- l Exhibition differs slightly from the internal budgets which have more stringent $10 0 l admissions

0 i of $6.3m, which was recorded in the asset revaluation reserve. m Recurrent funding 0 $5 $5 0 2 targets. 0 Other m $ 0 commercial 2 $0 - $0 9 9 5 $ 0 1 2 3 4 Note: The figures quoted in this report have not been subject to audit 9 9 0 9 5 - 9 - 9 0 0 0 0 0 0 - - - - - 8 1 4 - 0 0 1 2 3 9 0 8 2 4 9 0 9 - 0 0 0 0 0 1 2 9 9 0 0 0 0 0 1 9 2 2 2 2 2 9 80 1 81 82 83 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

STATUTORY FINANCIAL STATEMENTS STATEMENT OF FINANCIAL PERFORMANCE For the year ended 30 June 2005 For the year ended 30 June 2005

Notes Actual Budget Actual 2005 2005 2004 $'000 $'000 $'000 Group Group Group Expenses Operating expenses Employee related 2(a) 16,833 15,775 16,014 Other operating expenses 2(b) 10,415 11,331 14,322 Maintenance 2(c) 652 910 666 Depreciation and amortisation 2(d) 2,337 2,200 2,303

Total Expenses 30,237 30,216 33,305

Retained Revenue Sale of goods and services 3(a) 6,873 6,481 9,600 Investment income 3(b) 1,256 800 1,075 Grants and contributions 3(c) 14,238 5,605 9,608 Other revenue 3(d) 44 - 903

Total Retained Revenue 22,411 12,886 21,186

Gain/(loss) on disposal of non-current assets 4 (38) - (15)

Net Cost of Services 16 7,864 17,330 12,134

Government Contributions Recurrent appropriation 5(a) 15,774 15,187 16,937 Capital appropriation 5(b) 2,836 2,836 2,844 Acceptance by the Crown Entity of employee benefits and other liabilities 5(c) 2,137 1,733 1,839

Total Government Contributions 20,747 19,756 21,620

SURPLUS FOR THE YEAR FROM ORDINARY ACTIVITIES 12,883 2,426 9,486

NON-OWNER TRANSACTION CHANGES IN EQUITY

Net increase in asset revaluation reserve 14 6,346 - 3,158

TOTAL REVENUES, EXPENSES AND VALUATION ADJUSTMENTS RECOGNISED DIRECTLY IN EQUITY 6,346 - 3,158

TOTAL CHANGES IN EQUITY OTHER THAN THOSE RESULTING FROM TRANSACTIONS WITH OWNERS AS OWNERS 14 19,229 2,426 12,644

The accompanying notes form part of these statements

84 85 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

STATEMENT OF FINANCIAL POSITION STATEMENT OF CASH FLOWS For the year ended 30 June 2005 For the year ended 30 June 2005

Notes Actual Budget Actual Notes Actual Budget Actual 2005 2005 2004 2005 2005 2004 $'000 $'000 $'000 $'000 $'000 $'000 Group Group Group Group Group Group ASSETS CASH FLOWS FROM OPERATING ACTIVITIES Current Assets Payments Cash 6 613 686 686 Employee related (14,079) (13,360) (13,710) Receivables 7(a) 2,755 1,181 941 Other (12,630) (13,463) (16,623) Inventories 8 1,319 1,134 1,133 Other Financial Assets 9 10,905 12,539 11,712 (26,823) (30,333) Other 7(b) 653 489 489 Total Payments (26,709) 16,029 14,961 Total Current Assets 16,245 Receipts Sale of goods and services 6,837 6,239 9,433 Interest received 998 800 1,058 Non-Current Assets Other 10,014 5,634 7,070 Other financial assets 9 6,858 5,691 5,691 Property Plant and Equipment 11 12,673 17,561 - Land and Buildings 133,535 126,679 126,035 Total Receipts 17,849 - Plant and Equipment 1,832 5,576 2,545 - Collection Assets 614,807 601,742 603,781 Cash Flows from Government Total Property, Plant and Equipment 750,174 733,997 732,361 Recurrent appropriation 15,774 15,187 16,937 Total Non-Current Assets 757,032 739,688 738,052 Capital appropriation 2,836 2,836 3,025 Total Assets 773,277 755,717 753,013 Cash reimbursements from the Crown Entity 885 790 771 Cash transfers to the Consolidated Fund (181) -- LIABILITIES Net Cash Flows from Government 19,314 18,813 20,733 Current Liabilities Payables 12 3,632 2,958 2,697 NET CASH FLOWS FROM OPERATING ACTIVITIES 16 10,454 4,663 7,961 Provisions 13(a) 1,230 1,170 1,170 Total Current Liabilities 4,862 4,128 3,867 CASH FLOWS FROM INVESTING ACTIVITIES Non-Current Liabilities Proceeds from sale of Property, Plant and Equipment 204 - 273 Provisions 13(b) 261 221 221 Proceeds from sale of investments - - 5,574 Purchases of Property, Plant and Equipment (10,665) (3,836) (8,086) Total Non-Current Liabilities 261 221 221 Purchases of investments (873) - (4,443) Total Liabilities 5,123 4,349 4,088 NET CASH FLOWS FROM INVESTING ACTIVITIES (11,334) (3,836) (6,682) Net Assets 768,154 751,368 748,925

EQUITY NET INCREASE/(DECREASE) IN CASH (880) 827 1,279 Opening cash and cash equivalents 12,398 12,398 11,119 Reserves 14 149,393 143,047 143,047 Accumulated funds 14 618,761 608,321 605,878 CLOSING CASH AND CASH EQUIVALENTS 6 11,518 13,225 12,398 11,518 Total Equity 768,154 751,368 748,925

The accompanying notes form part of these statements TheThe accompanying accompanying notes notes form form part ofpart these of thesestatements statements

86 87 S S A T T O A A A E L C T O h h u R ART GALLERY OF NEW SOUTH WALES TRUST i o x P p m o R T U a e e T S T p t p p n s s s A A T P H b I a p t d s o r r L s e G . . . h e p a e d p r s 2 2 e 2 R i u a e M i l E c u a e o l n a d p n 6 4 r 1 o G m y p I t i l A v b O R i n N s s i r t e m A p o A a d t l o i P P m i y f u i c i p l t o n r A e p r A P m M i p i e d r F t F P e t A t a n i r m p e y p r d t n 2 a R u s s & & L a F L i r a o r r P a t 2 r e y t e r ' o t s A A & l r t t o

s NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS I t o L a A o n i B e P i p A e a C n o - A A A o o A C t w p r p d E f / / s e R n U A i T t n o N d - a - o p c R r f x a n r R A I O v t D i n F o n C t r - p o e i O r a

o For the year ended 30 June 2005 a o r m s c a e s s u o m d G P t Y p Y y n t n o t n p n N m i o p n r o c C l R o s e d E i a i A l a e / d m l f i d f w c i O E a n n l i e c t I i t T a i u a d n i A O n o o a t r o t n s X ( r s e i F c n t a l n i a e T h m / n P e d w a o s t a e n I f F e p c f e o O E i F N r g s p o d f c a r l u a u N a r N u b l n c E n g o i t n i F a C a h e d D d / e p n c 1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES W E s r u l t n r e s I t r s e i i a T o p a e c X n s O s d t i n y e t p n U P d i t o s S o c r t - a e w R r i n E n M f b s s a O i t o c e e E N t e (a) Reporting Entity e n h r c t n p k w U D e s t m P s t u i s o e f I a r The Art Gallery of NSW Trust, as a reporting entity, (the Group), comprises all the activities under its control including T a T e n e p t s e n h L n o r U s H 2 d e n s u 7 p

R the Gallery's commercial activities of exhibitions, merchandising, venue hire, and catering as well as its controlled I e m d t A a o s W i E p f f y f t e entity, the Australian Institute of Asian Culture and Visual Arts (VisAsia). i N m o r A e n e n L s C c n t E e h t a s b S E

t Other entities associated with the Gallery but not controlled by the Gallery and hence not consolidated include the Art e ) C t w T o W e Gallery of NSW Foundation and the Brett Whiteley Foundation. n R e s n o A U l I t i p d h T S R a e p e t T H e " 1 1 1

r In the process of preparing the consolidated financial statements for the economic entity consisting of the controlling $ A c o d 5 5 5 1 4 5 ' m u , , , 0 p F 6 1 8 1 1 7 r 0

o and controlled entities, all inter-entity transactions and balances have been eliminated. The financial statements of the 8 9 7 8 8 7 r u F r u i 0 7 7 4 n e a n d I n t t parent entity are not included as a separate column adjacent to the Group because the financial statements of VisAsia N i m d t o r o n a n A are comparatively small so as to make the parent entity materially the same as the Group. The financial statements of w i e n s N

d VisAsia are disclosed separately under Note 15. a C o r w C o e n n s N E p a I s x e e A g 1 1 1 1 o p n The Group is consolidated as part of the NSW Total State Sector. t a 5 5 5 5 1 5 4 l t i , , , , $ e C i n L 6 8 1 1 1 7 7 d f - ' i n s 8 7 9 8 8 7 7 r l 0 a t s a 7 7 4 4 d 0 t A t i D i e m 0 ( p t e

d (b) u Basis of Accounting p x I r r o c o F R e e n p The agency's financial statements are a general purpose financial report, which has been prepared on an accruals u p / r t i n E a w 2 t d

i basis and in accordance with: h o C 0 e n 0 r " e 5 x

T applicable Australian Accounting Standards; a A o n t d I p h V x other authoritative pronouncements of the Australian Accounting Standards Board (AASB); e t p h C r 2 2 2 r e w $ E o a , , , i 8 8 8 ' x "

s Urgent Issues Group (UIG) Consensus Views; 0 p p T 3 3 3 S e 0 o i 6 6 6 r t i i t 0 d a a a x the requirements for the Public Finance and Audit Act and Regulations; and e l l t n E i o t x i x f the Financial Reporting Directions published in the Financial Reporting Code for Budget Dependent General n p i e e d n

d Government Sector Agencies or issued by the Treasurer under section 9(2)(n) of the Act. o i r C t u p o r r e e n N E / s N s c x e

e Where there are inconsistencies between the above requirements, the legislative provisions have prevailed. 2 2 2 2 r o p i t t , , , , b l 8 8 8 - 8 C $ e C i e 3 3 3 3 d d l ' n a 6 6 6 6 l 0 a ) a d i . 0 m t i i e m 0 In the absence of a specific Accounting Standard, other authoritative pronouncements of the AASB or UIG Consensus t o d u n r o F e C View, the hierarchy of other pronouncements as outlined in AAS 6 "Accounting Policies" is considered. n u / o n n s d o l i d Except for certain investments, Land and Buildings and the majority of Collection assets, which are recorded at fair a t A e d

p value, the financial statements are prepared in accordance with historical cost convention. R F p e u 1 1 1 r $ c n o 6 6 6 ' d u , , , 0 p 7 7 9 " 1 1 r 0 9 9 3 . r 3 3 All amounts are rounded to the nearest one thousand dollars and are expressed in Australian currency. r i 9 9 7 0 e 8 8 a n t i t o n (c) Changes to Accounting Policy

C There were no changes to Accounting policies during the financial year. Refer to Note 1(z) for details of the transition o n N E to International Financial Reporting Standards. s x e 1 1 1 1 o p t 6 6 6 6 l $ e , , , , C i 7 7 9 9 d 1 1 - ' n 9 9 3 3 l 0 3 3 a a 9 9 7 d 7 (d) Revenue Recognition 0 8 8 t i i e m 0 t d u Revenue is recognised when the agency has control of the good or right to receive, it is probable that the economic r o F e n u / benefits will flow to the agency and the amount of revenue can be measured reliably. Additional comments regarding n 2 d

0 the accounting policies for the recognition of revenue are discussed below. 0 4 A p

p (i) Parliamentary Appropriations and Contributions from Other Bodies C 2 2 3 1 1 r $ o a , , , , , 0 0 3 2 2 ' 0 p

p Parliamentary appropriations and contributions from other bodies (including grants and donations) are 2 2 2 9 9 0 i 7 7 5 8 8 r t i 0 a a generally recognised as revenues, when the agency obtains control over the assets comprising the l t i o appropriations/contributions. Control over appropriations and contributions are normally obtained upon the n receipt of cash. C o n N E s x e An exception to the above is when appropriations are unspent at year-end. In this case, the authority to spend 2 2 2 3 ( o p 1 t , , , , l 0 0 8 8 8 0 8 $ e C i 2 2 4 1 1 2 1 d

' the money lapses and generally the unspent amount must be repaid to the Consolidated Fund in the following n 7 7 4 7 7 5 l 0 ) a a d 0 t i i e m 0 financial year. As a result, unspent appropriations are accounted for as liabilities rather than revenue. The t d u r o F

e liability is disclosed in Note 12 as part of current liabilities. The amount will be repaid and liability extinguished n u /

n next financial year. d

88 89 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005 For the year ended 30 June 2005

(ii) Sale of Goods and Services (i) Plant and Equipment Revenue from the sale of goods and services comprises revenue from the provision of products or services Plant and Equipment costing $5,000 and above individually are capitalised. i.e. user charges. User charges are recognised as revenue when the agency obtains control of the assets that result from them. (j) Revaluation of Physical Non-Current Assets Physical non-current assets are valued in accordance with the “Guidelines for the Valuation of Physical Non-Current (iii) Investment income Assets at Fair Value” (TPP03-02). This policy adopts fair value in accordance with AASB 1041 from financial years Interest revenue is recognised as it accrues. Dividend revenue is recognised when the Gallery’s right to beginning on or after 1 July 2002. There is no substantive difference between the fair value valuation methodology receive payment is established. and the previous valuation methodology adopted in the NSW public sector.

(e) Employee Benefits and Other Provisions Where available, fair value is determined having regard to the highest and best use of the asset on the basis of current (i) Salaries and Wages, Annual Leave, Sick Leave and On-costs market selling prices for the same or similar assets. Where market-selling price is not available, the asset’s fair value Liabilities for salaries and wages (including non-monetary benefits) annual leave and vesting sick leave are is measured as its market buying price i.e. the replacement cost of the asset’s remaining future economic benefits. recognised and measured in respect of employees’ services up to the reporting date at nominal amounts The Art Gallery of New South Wales is a not for profit entity. based on the amounts expected to be paid when the liabilities are settled. Unused non-vesting sick leave does not give rise to a liability, as it is not considered probable that sick leave Each class of physical non-current assets is revalued every five years and with sufficient regularity to ensure that the taken in the future will be greater than the benefits accrued in the future. carrying amount of each asset in the class does not differ materially from its fair value at reporting date. The last revaluation for each class of asset was based on an independent assessment as detailed in Note 11. The outstanding amounts of payroll tax, workers' compensation insurance premiums and fringe benefits tax, which are consequential to employment, are recognised as liabilities and expenses where the employee Non-specialised assets with short useful lives are measured at depreciated historical cost, as a surrogate for fair value. benefits to which they relate have been recognised. When revaluing non-current assets by reference to current prices for assets newer than those being revalued (adjusted (ii) Long Service Leave and Superannuation to reflect the present condition of the assets), the gross amount and the related accumulated depreciation are The Gallery’s liabilities for long service leave and superannuation are assumed by the Crown Entity. The separately restated. Gallery accounts for the liability as having been extinguished resulting in the amount assumed being shown as part of the non-monetary revenue item described as "Acceptance by the Crown Entity of Employee Benefits Otherwise any balances of accumulated depreciation existing at the revaluation date in respect of those assets are and other Liabilities". credited to the asset accounts to which they relate. The net asset accounts are then increased or decreased by the revaluation increments or decrements. Long service leave is measured on the present value method. The present value method requires that long service liabilities that are expected to be settled more than 12 months after reporting date must be measured Revaluation increments are credited directly to the asset revaluation reserve, except that, to the extent that an at the present value of the estimated future cash out flows. This method also takes into account future increment reverses a revaluation decrement in respect of that class of asset previously recognised as an expense in increases in remuneration rates. the surplus/deficit, the increment is recognised immediately as revenue in the surplus/deficit.

Certain ‘on costs’ on long service leave are not assumed by the Crown Entity and are shown as the Gallery’s Revaluation decrements are recognised immediately as expenses in the surplus/deficit, except that, to the extent that a liability under Provisions. credit balance exists in the asset revaluation reserve in respect of the same class of assets, they are debited directly to the asset revaluation reserve. Revaluation increments and decrements are offset against one another within a class of The superannuation expense for the financial year is determined by using the formulae specified in the non-current assets, but not otherwise. Treasurer's Directions. The expense for certain superannuation schemes (i.e. Basic Benefit and First State Super) is calculated as a percentage of the employees salary. For other superannuation schemes (i.e. State Where an asset that has previously been revalued is disposed of, any balance remaining in the asset revaluation Superannuation Scheme and State Authorities Superannuation Scheme), the expense is calculated as a reserve in respect of that asset is transferred to accumulated funds. multiple of the employees' superannuation contributions. (k) Assets Not Able to be Reliably Measured (f) Insurance The Art Gallery does not hold any assets other than those recognised in the Statement of Financial Position. The Gallery’s insurance activities are conducted through the NSW Treasury Managed Fund Scheme of self-insurance for Government agencies. The expense (premium) is determined by the Fund Manager based on past claim (l) Depreciation of Non-Current Physical Assets experience. Except for a limited number of heritage assets depreciation is provided for on a straight-line basis for all depreciable assets so as to write off the depreciable amount of each asset as it is consumed over its useful life to the entity. (g) Accounting for the Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except where: All material separately identifiable component assets are recognised and depreciated over their shorter useful lives, x the amount of GST incurred by the agency as a purchaser that is not recoverable from the Australian Taxation including those components that in effect represent major periodic maintenance. Office is recognised as part of the cost of acquisition of an asset or as part of an item of expense. x receivables and payables are stated with the amount of GST included. Land is not a depreciable asset. Certain heritage assets have an extremely long useful life, including original art works and collections and heritage buildings. Depreciation for those items cannot be reliably measured because the useful (h) Acquisitions of Assets life and the net amount to be recovered at the end of the useful life cannot be reliably measured. In these cases, The cost method of accounting is used for the initial recording of all acquisitions of assets controlled by the Gallery. depreciation is not recognised. The decision not to recognise depreciation for these assets is reviewed annually. Cost is determined as the fair value of the assets given as consideration plus the costs incidental to the acquisition. Those items comprising the integral internal structure of the building i.e. escalators, lifts and air conditioning etc are depreciated based on the remaining useful life as determined by the valuer. Gifts of artworks or works acquired at nominal consideration are attributed a fair value at the date of acquisition and brought to account as assets and revenues for the period.

Fair value means the amount for which an asset could be exchanged between a knowledgeable, willing buyer and a knowledgeable, willing seller in an arm's length transaction.

Where settlement of any part of cash consideration is deferred, the amounts payable in the future are discounted to their present value at the acquisition date. The discount rate used is the incremental borrowing rate, being the rate at which a similar borrowing could be obtained.

90 91 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005 For the year ended 30 June 2005

Depreciation Rates for each class of depreciable assets are as follows: (x) Budgeted Amounts The budgeted amounts are drawn from the budgets as formulated at the beginning of the financial year and with any Rate adjustments for the effects of any additional appropriations, s21A, s 24 and/or s 26 of the Public Finance and Audit Act Plant and Equipment 7-20% 1983. Motor Vehicles 20% Furniture and Fittings 20% The budgeted amounts in the Statement of Financial Performance and the Statement of Cash Flows are generally Office Equipment 33% based on the amounts disclosed in the NSW Budget Papers (as adjusted above). However, in the Statement of Computer Equipment 33% Financial Position, the amounts vary from the Budget Papers, as the opening balances of the budgeted amounts are Catering Equipment 20% based on carried forward actual amounts i.e. per the audited financial statements (rather than carried forward Other Equipment 20% estimates). Building Infrastructure 3-7% (y) Programme Statement (m) Maintenance and repairs The Gallery operates one programme – Art Gallery of New South Wales. The objective of the programme is to The costs of maintenance are charged as expenses as incurred, except where they relate to the replacement of a develop and maintain collections of art works for the benefit of the community and to increase knowledge and component of an asset, in which case the costs are capitalised and depreciated. appreciation of art.

(n) Leased Assets (z) Impact of adopting Australian equivalents to International Financial Reporting Standards The Gallery does not have any assets subject to finance leases. Operating lease payments are charged to the The current status of the Gallery’s review of the effect of the adoption of International Reporting Standards on its Statement of Financial Performance in the periods in which they are incurred. statements of financial performance and position is discussed below.

(o) Receivables The Art Gallery of NSW is constituted under the Art Gallery of NSW Act, 1980 which states that the Gallery's purpose Receivables are recognised and carried at cost, based on the original invoice amount less a provision for any is to develop and maintain a collection of works of art, and to propagate and increase knowledge and appreciation of uncollectible debts. An estimate for doubtful debts is made when collection of the full amount is no longer probable. art. Consequently, the Gallery qualifies as a not-for-profit entity under the Australian equivalents to International Bad debts are written off as incurred. Financial Reporting Standards (AEIFRS). The Gallery will apply the AEIFRS from 2005-06.

(p) Inventories The Gallery has and will continue to manage the transition to the new standards by allocating internal resources to Inventories are stated at the lower of cost and net realisable value. The cost is calculated using the “weighted analyse the pending standards and Urgent Issues Group Abstracts to identify key areas regarding policies, average” cost method. procedures, systems and financial impacts affected by the transition.

(q) Other Financial Assets As a result of this exercise, the Gallery has taken the following steps to manage the transition to the new standards: “Other financial assets” are generally recognised at cost, with the exception of TCorp Hour-Glass Facilities, which are measured at market value. The Gallery’s Finance and Audit Committee, (a sub-committee of the main Board of Trustees), is oversighting the transition. The General Manager, Finance & Management Services is responsible for the project and reports regularly For non-current “other financial assets” revaluation increments and decrements are recognised in the same manner as to the Committee on progress against the plan. physical non-current assets, (see note 1(j)). The following phases have been undertaken: For current “other financial assets” revaluation increments and decrements are recognised in the Statement of Financial Performance. Submit strategy for AEIFRS adoption to Treasury - 30 June 2004 Note Disclosure - key impacts Issues identified/Likely impacts - 30 June 2004 (r) Bequests and Special Funds Internal Audit Bureau review of Gallery's financial statements - 15 December 2004 The agency receives monies and gifts of works of art. The aggregate of these contributions received for the year has New policies confirmed/approved by F&A committee - 15 December 2004 – No new policies been stated as revenue in the ‘Bequest and Special Funds’ Revenue and Expenditure Statement in Note 14(b). required These revenues provide for expenditure in the current year and in future years. Any revenues unspent in the current Re-stated Balance Sheet as at 1/7/2004 – preliminary - 17 December 2004 – No changes required year have been carried forward for appropriate expenditure in future years. Re-stated Balance Sheet as at 1/7/2004 – final - 1 April 2005 – No changes required Disclosure of financial impact of AEIFRS in 2005 Statements - 30 June 2005 (s) Trustee benefits Initial Financial Statements for 2005/06 No Trustee of the Gallery has received or become entitled to receive a benefit because of a contract made by the Gallery or a related body with the Trustee or with a firm of which the Trustee is a member, or with a company in which The Gallery has reviewed key differences between AEIFRS requirements and existing AASB requirements (AGAAP) the Trustee has a substantial interest. and other impacts likely to arise from options in AEIFRS and from options likely to be mandated by NSW Treasury for the NSW Public Sector. Based on management’s best estimates as at the date of preparing the 30 June 2005 financial (t) Taxation status report, the Gallery does not anticipate any material changes to the Gallery’s equity, profit/loss and cash flows. The The activities of the Gallery are exempt of income tax. The Gallery is registered for GST purposes and has gift actual impact, however will not be known until pending changes to the AEIFRS, including the UIG interpretations deductible recipient status. and/or emerging accepted practice in their interpretation and application are finalised.

(u) Services provided at no cost Where material contributions are made to the Gallery at no charge an expense is recorded in the accounts to reflect activities at the Gallery and is offset by an equivalent revenue entry. Refer to note 17.

(v) Other Assets Other assets including prepayments are recognised on a cost basis.

(w) Payables These amounts represent liabilities for goods and services provided to the Gallery and other amounts, including interest. Interest is accrued over the period it becomes due.

92 93 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005 For the year ended 30 June 2005

2005 2004 2005 2004 $'000 $'000 $'000 $'000 Group Group Group Group 2 EXPENSES (b) Investment Income Dividends & Distributions 710 377 (a) Employee related expenses Interest 546 698 Salaries and wages (including Recreation Leave) 12,479 11,855 1,256 1,075 Superannuation 1,300 1,272 Long Service Leave - Crown Entity 679 491 Workers' Compensation Insurance 194 184 (c) Grants and contributions Payroll tax and fringe benefit tax 861 846 Sponsorship - cash 434 1,133 Value of volunteer services (refer also Note 3c) 1,320 1,366 Sponsorship - in kind 192 244 16,833 16,014 Donations Works of Art 2,174 2,838 Donations - cash 9,324 3,653 (b) Other operating expenses Donations - in kind 161 - Auditor's remuneration Grants - Other 633 366 -audit or review of the financial reports 45 42 Value of Voluntary Services-Note 2(a) 1,320 1,366 Cost of sales 1,781 2,073 Maintenance services provided at no charge-Note 2(c) - 8 Travel and Accommodation 565 1,030 14,238 9,608 Operating lease rental expense - minimum lease payments 166 177 Insurance 1,066 2,348 (d) Other revenue Consumables 575 697 Reversal of net revaluation decrement previously - Exhibition fees and related costs 648 1,022 recognised as an expense 843 Fees- General professional 771 688 Workers compensation recovery 44 60 Freight, packing and storage 304 1,481 44 903 Marketing and promotion 854 982 Printing/Graphics 682 1,377 4 GAIN/(LOSS) ON DISPOSAL OF NON-CURRENT ASSETS Property Expenses 1,495 1,422 Other 1,171 1,275 Property, Plant and Equipment: 10,415 14,322 Proceeds from Disposal 204 273 Written down value of assets disposed (242) (288) (c) Maintenance (38) (15) Routine maintenance 652 658 5 GOVERNMENT CONTRIBUTIONS Maintenance undertaken free of charge (Refer Note 3c) - 8 652 666 (a) Recurrent appropriations Total recurrent drawdowns from Treasury 15,774 16,937 (d) Depreciation and Amortisation expense (per summary of compliance) Buildings 1,322 1,125 Plant and Equipment 1,015 1,178 Comprising: 2,337 2,303 Recurrent appropriations 15,774 16,937 (per Statement of Financial Performance) 3 REVENUES (b) Capital appropriations Total capital drawdowns from Treasury (per summary of compliance) (a) Sales of goods and services 2,836 3,025 Sale of goods Less: Liability to Consolidated Fund ( see note 12) - (181) Merchandise, Book and Publication Sales 3,575 4,004 Capital appropriations (per Statement of Financial Performance) 2,836 2,844

Rendering of Services Admission fees 1,621 2,956 (c) Acceptance by the Crown Entity of Employee Venue hire and catering 828 813 Benefits and other Liabilities Other 849 1,827 The following expenses have been assumed by the Crown Entity: 3,298 5,596 Superannuation 1,375 1,272 6,873 9,600 Long service leave 679 491 Payroll Tax (on Superannuation) 83 76 2,137 1,839

94 95 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005 For the year ended 30 June 2005

2005 2004 2005 2004 $'000 $'000 $'000 $'000 Group Group Group Group 6 CURRENT ASSETS - CASH 11 NON CURRENT ASSETS - PROPERTY, PLANT AND EQUIPMENT

Land and Buildings Cash at bank and on hand 613 686 At Fair Value 153,279 144,456 Less Accumulated Depreciation 19,744 18,421 For the purpose of the Statement of Cash Flows, cash includes cash on hand, cash at bank and term deposits. 133,535 126,035 Cash assets recognised in the Statement of Financial Position are reconciled to the cash at end of the financial Plant and Equipment year as shown in the Statement of Cash Flows as follows: At Fair Value 11,121 11,010 Less Accumulated Depreciation 9,289 8,465 Cash 613 686 1,832 2,545 Current - Other Financial Assets 10,905 11,712 Cash and Cash Equivalents 11,518 12,398 Collection Assets At Fair Value 614,807 603,781 603,781 7(a) CURRENT ASSETS - RECEIVABLES 614,807 Total Property, Plant and Equipment Sale of goods and services 413 389 At Net Book Value 750,174 732,361 Accrued Income 2,259 375 Reconciliations Other debtors 94 188 Reconciliations of the carrying amounts of each class of property, plant and equipment at the beginning and Total 2,766 952 the end of the current financial year are set out below:

Less: Provision for doubtful debts 11 11 Land and Plant and Collection Total Receivables 2,755 941 2004-05 Buildings Equipment Assets Total $'000 $'000 $'000 $'000 Carrying amount at start of year 126,035 2,545 603,781 732,361 7(b) CURRENT ASSETS - OTHER Additions 2,497 339 11,231 14,067 Disposals - (37) (205) (242) Prepayments 653 489 Depreciation Expense (1,322) (1,015) - (2,337) Revaluation Increment 6,325 --6,325 8 CURRENT ASSETS- INVENTORIES Carrying amount at end of year 133,535 1,832 614,807 750,174 Stock on hand-at cost 1,319 1,133 1,319 1,133 Land was revalued in 2005 at fair value by a registered valuer from the NSW Department of Commerce. The increase in value is recorded in the asset revaluation reserve. 9 CURRENT/NON-CURRENT ASSETS- OTHER FINANCIAL ASSETS The building was revalued in 2004 at fair value by a senior quantity surveyor from the NSW Department of Current Commerce. Term Deposits 10,905 11,712 Non-Current Collection of art works were valued in 2002 by Mr Simon Storey MAVA, at fair value. TCorp-Hour-Glass medium and long term facilities 6,858 5,691 Library collection was valued in 2001 by Mr Simon Taaffe, accredited valuer for the Taxation Incentives for the 17,763 17,403 Arts Scheme (TIAS) for Australian Books, including artists' books, manuscripts etc after 1900 at fair value.

10 RESTRICTED ASSETS 12 CURRENT LIABILITIES - PAYABLES Included in other financial assets are restricted use assets (refer also note 14a): Current Assets 7,573 7,925 Accrued salaries, wages and on-costs 52 - Non-current Assets 5,691 6,858 Liability to Consolidated Fund - 181 14,783 13,264 Trade Creditors 3,580 2,516 3,632 2,697 These funds represent donations and bequests held by the Gallery to be used in accordance with the deed of trust or other documents governing these funds. Trade creditors include capital creditors of $1,887,000 in respect of the final instalment for the Cy Twombly acquisition.

96 97 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005 For the year ended 30 June 2005

y 2005 2004 2005 2004 $'000 $'000 $'000 $'000 Group Group Asset Revaluation Reserve 13(a) CURRENT LIABILITIES - PROVISIONS The asset revaluation reserve is used to record increments and decrements on the revaluation of non-current assets. This accords with the Gallery's policy on the "Revaluation of Physical Non-Current Assets" and "Investments" as Employee Benefits and related on-costs discussed in Note 1. Recreation leave 1,202 1,146 Long Service Leave On-costs 28 24 (b) Bequests and Special Purpose Funds AGNSW Trust AGNSW Trust 1,230 1,170 Revenue Sale of goods and services 184 207 13(b) NON CURRENT LIABILITIES - PROVISIONS Investment income 1,054 955 Grants and contributions 11,042 6,218 Employee Benefits and related on-costs Proceeds of sale of art work 157 241 Long Service Leave On-costs 261 221 12,437 7,621 261 221 Expenditure Aggregate Employee Benefits and related on costs Employee Related 269 235 Provisions 1,491 1,391 Other 455 402 Accrued salaries, wages and on-costs 52 - 724 637 Surplus for the year 11,713 6,984 1,543 1,391 The Gallery's liabilities for long service leave are assumed by the Crown Entity. The Gallery accounts for the 15 CONTROLLED ENTITIES liability as having been extinguished resulting in the amount assumed being shown as part of the non- The Australian Institute of Asian Culture and Visual Arts Ltd (VisAsia) monetary revenue item described as "Acceptance by the Crown Entity of Employee Benefits and other Liabilities". The value of long service leave liabilities assumed by the Crown Entity for Gallery employees was The principal activities of VisAsia is the promotion of an understanding and appreciation of Asian Culture $3.1 million at 30 June 2005 ($2.6 million at 30 June 2004). through the arts. As a controlled entity of the Art Gallery of New South Wales Trust, the operating result, assets and liabilities have been incorporated into the Trust's financial report. 14 CHANGES IN EQUITY The Directors of VisAsia resolved to discontinue certain operations from 1 July 2004, namely the VisAsia Asset Council and servicing of its members. These operations were transferred to the parent entity, the Art Gallery Bequests & Accumulated Revaluation of NSW Trust. General Fund Special Funds Funds Total Reserve Total Equity $'000 $'000 $'000 $'000 $'000 VisAsia VisAsia (a) Statement of Financial Performance Balance as at 30 June 2003 582,386 13,956 596,342 139,939 736,281 Revenue Sale of Goods and Services - 71 Changes in Equity - Other than Investment Income 28 23 transactions with owners as owners Grants and Contributions 348 430 Surplus for the year 2,502 6,984 9,486 - 9,486 376 524 Building revaluation -- -3,158 3,158 Total 2,502 6,984 9,486 3,158 12,644 Expenditure Transfers within Equity Employee Related - 19 Asset revaluation reserve transferred to Other 303 214 accumulated funds on disposal of 233 investments 50 - 50 (50) - 303 Reimbursement 739 (739) --- SURPLUS FOR THE YEAR 291 Art Acquisitions 6,337 (6,337) --- 73 Other Capital Expenditure 600 (600) --- Statement of Financial Position Total 7,726 (7,676) 50 (50) - Cash 86 205 Balance as at 30 June 2004 592,614 13,264 605,878 143,047 748,925 Other Financial Assets 620 406 Receivables 5 26 Changes in Equity - Other than transactions with owners as owners Payables (3) (2) Surplus for the year 1,170 11,713 12,883 - 12,883 Net Assets 708 635 Increment on Other Financial Assets -- -21 21 Land revaluation -- -6,325 6,325 Accumulated Funds 708 635 Total 1,170 11,713 12,883 6,346 19,229 Total Equity 708 635 Transfers within Equity These amounts have been included within the financial report of the Trust under appropriate classifications. Reimbursement 444 (444) - - - Art Acquisitions 9,750 (9,750) --- Total 10,194 (10,194) --- Balance as at 30 June 2005 603,978 14,783 618,761 149,393 768,154

98 99 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005 For the year ended 30 June 2005

2005 2004 2005 2004 $'000 $'000 $'000 $'000 Group Group Group Group 16 RECONCILIATION OF CASH FLOWS FROM OPERATING (c) Term Deposits ACTIVITIES TO NET COST OF SERVICES The Gallery has placed funds in bank deposits placed "at call" or for a fixed term. The interest rate is fixed for the term of the security and the securities are held to maturity. Net Cash from Operating activities (10,454) (7,961) Carrying Carrying Amount Amount Net (Gain)/Loss on sale of non-current assets 38 15 Less than one year 10,905 11,712 Depreciation 2,337 2,303 10,905 11,712 (Increment)/decrement - other financial assets (273) - Revaluation of non-current Assets - (843) The securities at balance date were earning an average interest rate of 5.9% (2004 5.7%) and over the year the weighted Gifts of Works of art (2,174) (2,838) average interest rate was 5.8% (2004 5.3%) on a weighted average balance of $8,937,000 (2004 $12,242,488) Recurrent appropriation 15,774 16,937 Capital appropriation 2,836 2,844 (d) Managed Funds Acceptance by Crown Entity of Employees Benefits The Gallery has investments in TCorp's Hour-Glass Investment facilities. The Gallery's investments are represented by a and other Liabilities 2,137 1,839 number of units in the managed investments. Each fund has different investment horizons and comprises a mix of asset Increase/(decrease) in creditors (293) (256) classes appropriate to the investment horizon. Fund managers monitor the application of a appropriate investment guidelines. (Increase)/decrease in receivables (1,814) (184) Net Fair Net Fair (Increase)/decrease in inventories (186) 194 Value Value Increase/(decrease) in provisions 100 287 TCorp-Medium Term Growth Facility Trust 2,805 2,787 (Increase)/decrease in Other Assets (164) (203) TCorp-Long Term Growth Facility Trust 4,053 2,904 6,858 5,691 Net cost of services 7,864 12,134 7,864 These investments are generally able to be redeemed with 24 hours notice. The value of the investments held can decrease 17 NON-CASH FINANCING AND INVESTING ACTIVITIES as well as increase depending upon market conditions. The value that best represents the maximum credit risk exposure is the net fair value. The value of the investments represents the Gallery's share of the value of the underlying assets of The following non-cash transactions are included in the financial accounts for the year. fund and is stated at net fair value. The returns for the period ranged from +9.2% to +12.1% (2004 +8.8% to +16.7%), as compared with Tcorp's bench mark return of between 8.9% and 13.0%. Donations of works of art - brought to account by creating an asset and crediting non cash donations 2,174 2,838 (e) Bank Overdraft The Gallery does not have any bank overdraft facility.

The following items are brought to account as expenses in (f) Trade Creditors and Accruals the Statement of Financial Performance and are credited The liabilities are recognised for amounts due to be paid in the future for goods or services received, whether or not invoiced. as income in the form of non-cash sponsorships, non-cash donations Amounts owing to suppliers (which are unsecured) are settled in accordance with the policy set out in Treasurer's Direction 219.01. If trade terms are not specified, payment is made no later than the end of the month following the month in which or services provided free of charge the invoice or statement is received. Treasurer's Direction 219.01 allows the Minister to award interest for late payment. Voluntary services provided 1,320 1,366 No Ministerial direction was given, nor did the Gallery incur any interest expense in relation to the late payment of invoices Advertising, freight, accommodation, travel for the financial years 2004 and 2005. and similar expenses 192 244 Legal fees 161 - 19 COMMITMENTS FOR EXPENDITURE Maintenance (Dept of Public Works) - 8 (a) Capital Commitments There were no outstanding capital commitments as at 30 June 2005. 18 FINANCIAL INSTRUMENTS (a) Cash (b) Other Expenditure Commitments There are no material other expenditure commitments outstanding as at 30 June 2005. Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and paid monthly at the normal commercial rate. (c) Operating Lease Commitments Future non-cancellable operating lease rentals not provided for and payable: (b) Receivables All trade debtors are recognised as amounts receivable at balance date. Collectability of trade debtors is reviewed on Not Later than one year 115 143 an ongoing basis. Debts which are known to be uncollectible are written off. A provision for doubtful debts is raised when Later than one year and not later than 5 years 15 73 some doubt as to collection exists. The credit risk is the carrying amount (net of any provision for doubtful debts). Total (including GST) 130 216 No interest is earned on trade debtors. The carrying amount approximates net fair value. Sales are made on 30 day terms. The total "Operating Lease Commitments" above include input tax credits of $11,800 (2004 $19,600) that are expected to be recovered from the Australian Taxation Office. There were no other contingents assets as at 30 June 2005.

Lease rentals relating to off site storage (including GST) are payable to the lessor monthly in advance. The Gallery possesses an option to renew the lease for a further year. A bank guarantee has been taken out re the operating lease.

100 101 ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2005

2005 2004 $'000 $'000 Group Group 20 CONTINGENT ASSETS & LIABILITIES

The Treasury Managed Fund normally calculates hindsight premiums each year. However in regard to workers compensation the final adjustment calculations are in arrears.

At the date of compiling this report, litigation is in progress relating to the award of the 2004 Archibald Prize. The Gallery is defending the proceedings, and the proceedings are at too early a stage to form a view as to whether it is necessary to create a provision.

21 RESULTS OF FUNDRAISING APPEALS

The Gallery conducted a number of fundraising activities during the year and the results are as follows: Donations - Works of Art 2,174 2,838 Donations - Cash 9,324 3,653 Other fundraising 233 - Investment income 1,082 956 12,813 7,447

Cost of fundraising 727 637 Net surplus from fundraising 12,086 6,810

Purchase of Works of art/Other 9,750 6,937 Transferred to/(from) Accum. Funds 2,336 (127) 12,086 6,810

In accordance with the Charitable fundraising Act 1991, the following details are provided: Cost of fundraising as percentage of funds raised 6% 9% Net surplus as percentage of funds raised 94% 91% Cost of services as percentage of total expenditure 93% 92% Cost of services as percentage of income received 76% 93%

22 BUDGET REVIEW

Net Cost of Services The actual net cost of services is lower than budget by $9.5m, primarily due to an increase in donations.

Assets and Liabilities Net Assets is $16.8m higher than budget due largely to the higher than budgeted acquisition of collections and the increase on revaluation of land.

Cash Flows (a) Operating Operating cash flows were higher than budget by $5.8m as a result of better than anticipated receipts from donations.

(b) Investing Investing cash outflows were higher than budget by $7.5m reflecting an increase in budgeted purchases of collections.

END OF AUDITED FINANCIAL STATEMENTS

102 103 INDEX

aboriginal & torres strait islander collection index 79 the centenary fund 41 programs and services 61 aboriginal & torres strait summary 81 the president’s council 41 islander art 18 statements and notes 85 visasia 41 access inside back cover asian art 24 australian art 17 outer metropolitan & regional NSW year in brief acquisitions (collection purchases european painting pre-1900 20 activities highlights 6 and gifts) of works of art european prints, drawings and archibald prize and online performance summary 8 aboriginal & torres strait watercolours 21 education kits 40 pledge of service 5 islander art 63, 66 modern and contemporary 22 outreach activities – artside in purpose 5 asian art – burma 67 photography 24 40 strategic plan and outcomes 9 asian art - cambodia 67 research library & archive 27 regional nsw art museum vision 5 asian art – china 64, 67 education training 40 asian art - india 64 collection loans regional nsw collection loans year in review furnishing loans 71 and touring activities 40 asian art – indonesia 67 audiences 36 works of art lend to the regional nsw support provided asian art – japan 64, 67 collection 17 gallery 69 by gallery staff 40 asian art - korea 64, 67 commercial activities 43 works of art lent by the western and south-western asian art – philippines 67 exhibitions 28 gallery 69 sydney 40 asian art – thailand 64, 68 publications 34 asian art – tibet 64 commercial activities overseas travel 62 outer metropolitan & regional asian art – vietnam 68 nsw activities 40 australian art 63, 65 gallery shop 43 support 41 european art pre-1900 64, 68 venue hire 43 publications modern and contemporary books and dvds published in visitor numbers 56 64, 68 corporate governance 2004–05 34 photography 68 board of trustees 44 education kits & resources 35 eeo statistics 50 waste reduction and purchasing strategies 62 aged and disability access program organisation chart 49 president’s foreword 13 and services 59 organisation structure 49 other gallery entities 47 production costs 2005 annual women’s action plan 61 agnsw publications for sale 58 internships 50 report 59 risk management appendices index 53 audits 50 sponsorship and philanthropy business risk centenary fund 54 assessment 50 art prizes, grants and scholarships collection benefactors code of conduct 50 anne landa award 58 aboriginal collection credit card usage 51 benefactors 54 brett whiteley travelling art customer complaints 51 australian prints, drawings scholarship 58 electronic service and watercolours dyason bequest 58 delivery 51 benefactors 54 the archibald prize 58 engagements and use of conservation benefactors the wynne prize 58 consultants 51 54 the sir john Sulman prize 58 energy management 51 contemporary collection the citigroup private bank freedom of benefactors 55 australian photographic portrait information 51, 78 library collection prize 58 industrial relations 52 benefactors 55 the basil and Muriel hooper insurance 52 photography collection scholarship 58 land 52 benefactors 55 the elioth gruner prize 58 legal changes 52 grants / partnerships 55 the robert le gay brereton major assets 52 life governors 54 memorial prize 58 major capital works 52 new bequests 55 studios in paris 58 occupational health and sponsorship – principal safety 52 sponsors 54 audiences payment performance 52 the president’s council 54 accessible programs and policy development 52 visasia 54 community ambassadors 38 privacy management 52 art after hours 36 senior management profile 48 staff list 73 art museums: sites of staff numbers summary 49 communications 2 36 trustee meetings 46 staff publications, presentations and bill henson 36 related activities 75 celestial silks 36 director’s statement 14 children, adult & family support programs ethnic affairs priorities statement 60 art gallery of new south wales brett whiteley studio 37 foundation 41 children’s art trails 37 exhibitions art gallery society of new south fundays at the gallery 38 aboriginal & torres strait wales 41 sunday concerts 38 islander art 29 collection benefactors crossing country 36 asian art 32 aboriginal collection education programs australian art 28 benefactors 42 art courses 39 european art pre-1900 30 australian prints, drawings artexpress 38 modern and contemporary 30 and watercolours k–12 asian education 38 photography 31 benefactors 42 prints, drawings & research library & archive 33 contemporary collection photography study benefactors 42 room 39 exhibitions listing 57 conservation benefactors tertiary programs 39 42 film at the gallery financial statements photography collection volunteers 39 commentary 80 benefactors 42 website 39 independent audit report 82 sponsorship 41

104 ART GALLERY OF NEW SOUTH WALES APPENDICES

Sponsorship and philanthropy 54 Principal sponsors Life governors Centenary Fund The President’s Council VisAsia Collection benefactors New bequests Grants / partnerships Visitor numbers 56 Exhibitions listing 57 AGNSW publications for sale 58 Art prizes, grants and scholarships 58 Aged and disability access programs and services 59 Production costs 2005 annual report 59 Ethnic affairs priorities statement 60 Aboriginal & Torres Strait Islander programs and services 61 Women’s action plan 61 Waste reduction and purchasing strategies 62 Overseas travel 62 Collection purchases 63 Collection gifts 65 Loans 69 Staff list 73 Staff publications, presentations and related activities 75 Freedom of Information procedures 78

53 Ken Reed, Brian Regan, Mrs Isabel Peter & Penny Curry, Len Dockrill & Sinclair King, Vassily & Robert Egil Paulsen, Philip & Elizabeth SPONSORSHIP AND PHILANTHROPY Reynolds, Mr Andrew & Mrs Andrea Jane McAloon, James Draper, Skinner, Zoë Smith & Darren Ramsden, Penelope & Harry Seidler, Roberts, Mr Terry & Mrs Judith Carmel Dwyer, Pamela Edwards, Gersbach, Julia Star, Mr & Mrs Gary Dr Philip Sharp, Greg & Kathy Salmon, Mrs Kelly Salteri, Mr & Mrs Elizabeth Elliott, Warwick Evans, Stead, James Steele, Anna & Shand, Vassily & Robert Skinner, Victor & Margaret Sammut, Mr Greg Sandra & Paul Ferman, Thibault Hagen Stehr, Miriam & Les Stein, Michael & Eleonora Triguboff, The SPONSORSHIP CENTENARY FUND VISASIA Bain, Mrs Eva Breuer, Mrs Ruth & Mrs Elizabeth Sanderson, Mr & Fregoni, Richard & Jan Frolich, Anne Bruce & Jennifer Stuckey-Clark, Freedman Foundation, Gail Watt Burgess, Mrs Alison & Mr Robert Mrs Peter & Christa Satouris, Fulwood, Dan Galazowski, Alison Chad Swanson, Liz Talbert & W Sustaining Members: Robert Dein Avantcard: Support sponsor: Patrons of the Centenary Fund as at Members of the Visasia Business Carr, Mrs Judy Cassab AO CBE, Mr Robert & Mitzi Saunders, Mr & Mrs Gerry & Alistair Nicholson, Duncan Pike, George Tate, Lynne Tietzel, Sponsors: Tiffany & Co, Hungerford general 30 June 2005: Council as at 30 June 2005: & Mrs John Coburn, Mr Ronald Andrew Shapiro, Mrs Helen Glasgow, Brad Gorman & Ant Michael Valmorbida, Francesca Hill Bristol Paints: Official paint supplier Claire Armstrong, Alex & Vera Dr John Yu AC, Chairman; Mr Mark Coles, Mr Andrew Crawford & Mrs Shoniniruk, Michael & Lia Silvers, Einart, Robert Gould, Andrew Valmorbida, Eugenie Vrisakis, The Citigroup Private Bank: Boyarsky, Jillian Broadbent AO & Warren, Australia Post; Mr Richard Kate Crawford, Mrs Jenny Patrick & Gabriella Simpson, Ms Gowers, Stephen Grant & Bridget Roslyn Weiley, Gitte Weise & Principal sponsor: The Citigroup Olev Rahn, Joanna Capon OAM, Fisher, Blake Dawson Waldron; Mr NEW BEQUESTS Dickerson, Ms Dinah Dysart, Ms Terri Sissian, Dr & Mrs John Sydney Pirrie, Ginny & Leslie Green, Bradley Christopher Snee, Ivan & Karel Private Bank Australian Judy Cassab AO, CBE, David & Bill Ferris AO, CHAMP Private New bequests received were: Ruth Faerber, Mr Lucio Galletto, Mr Smith, Mr Peter & Mrs Cathy Trevor Greive, Rachel Grisewood, Wheen, Michael Whitworth & Photographic Portrait Prize Michelle Coe, Kenneth Coles AM & Equity; Mr Stephen Roberts, Estate of Late David Griffith Owen Damian Hackett & Ms Michelle Snowball, Mr David & Mrs Nikki Giovanna Gromo, Julian & Candice Bruce, Ian Wilcox, Julie & City of Sydney: Support sponsor: Rowena Danziger AM, Jenny Citigroup; Prof Philip Cox AO, Cox Jones, Estate of Diana Dorothea Holmes-Hackett, Ms Sue Hewitt, Stein, Yosi & Derryn Tal, Victoria Stephanie Grose, Damian Hackett & Venn Williams, Renee & John Crossing country and Bill Henson Ferguson, David Gonski & Orli Richardson; Mr Robert Anderson, Bennett and Estate of Allen John Mrs Kate Hodgkinson, Ms Poppy Taylor, Jeanette C Thomas, Isolde & Michelle Holmes-Hackett, E Jill Williamson-Noble, Ray Wilson & exhibitions Wargon, In memory of Aida Gordon, Deacons; Mr Geoffrey Applebee, Torning Oldfield. Kallinikos & Ms Iphy Kallinikos, Mr C Andrew Tornya, Mr Kevin & Mrs Harrison & Sijbren Rademaker, Hal James Agapitos, Robyn & Ross Clayton Utz: Principal sponsor: Yvonne & Christopher Gorman, Alex Ernst & Young; Mr Andrew Forrest, John Keightley, Mr Josef Lebovic & Dawn Troy, Mr Leo & Mrs Vicki Herron, Ian Hill & Morna Seres, Wilson, Merrill Witt, Virginia Zanarini. James Angus: truck corridor Holland, Peter & Sharon Ivany, Fortescue Metals Group; Mr Peter Mrs Jeanne Lebovic, Dr Frank Vardis, Mrs Carolyn Ward, Mrs Chris Hodges & Helen Eager, The Colonial Foundation Nettie & Peter Joseph OAM, Anne Hall, Genworth Financial; Dr John Martin & Mrs Moya Martin, Mr & Suzanne Waterhouse, Richard & Bronwyn Hogan, Andrew Home, LIBRARY COLLECTION Charitable Trust: Principal financial Landa, John & Michelle Landerer, Saunders, The Linden Group; The Mrs Mitchel Martin-Weber, Mr Rex Shirley Watkins, Dr Eva & Dr Heinz David & Susan Humphreys, Grant & BENEFACTORS supporter: Archibald, Wynne and Geoffrey & Deborah Levy, Elizabeth Hon Warwick Smith, Macquarie Porter & Mrs Genevieve Porter, Mr Wicki, Mr Cameron Williams, Mrs Julie Jackson, Ross Jones, Joanna Members of the Library Collection Sulman prizes Longes, David Lowy, John & Jane Bank; Mr Stephen Knight, NSW Julien Playoust, Mr Alan & Mrs Lesley Wilson, Mr Ray Wilson & Mr Jouin, John Kaldor, Vasili Kaliman, Benefactors as at 30 June 2005: JCDecaux: Media sponsor: Bill Morschel, Mrs Kerry Packer, Bridget TCorp; Mr Quang Luu AO, SBS Jancis Rees, Mr John Ryan & Mrs James Agapitos OAM, Mrs Donna Peter Keel & Angela Arnold, Barry June & Jim Armitage, Licia Cattani Henson Pirrie & Stephen Grant, Steven & Radio; Mr Nick Curtis, Sino Gold; Margaret Ryan, Ms Pamela Woodhill. Keldoulis, Angela & David Kent, & Kingsley Mundey, Michael & Mary JPMorgan: Principal sponsor: Art Lisa Pongrass, John L Sharpe, Mr Tim Casey, St Hilliers; Prof Schuttler, Mr Brett Stone & Mr Mark Lesley Kernaghan & John Curtis, Whelan Trust. After Hours Brian Sherman, Gene Sherman, David Goodman, University of Cowley, Mrs Akky & Mr John van CONTEMPORARY Darren Knight, Roxane Lancaster, Macquarie Bank: Principal Geoffrey Susskind, Malcolm & Lucy Technology Sydney; Mr Michael Ogtrop, Mrs Joy West, Mr Robert COLLECTION BENEFACTORS Sophie Landa, Annette Larkin, Paula PHOTOGRAPHY COLLECTION sponsor: general Turnbull, Michael & Eleanora Sternberg, Valiant Hire; Mr William Williams & Ms Nicole Evans Members of the Contemporary Latos-Valier & Biron Valier, Colin & BENEFACTORS Moonlight Projects: Support Triguboff, Phillip Wolanski. Clark, Wellington International Williams, Ms Margaret Woodward. Collection Benefactors as at 30 Liz Laverty, Geoffrey Legge, Marita Members of the Photography sponsor: Bill Henson Management Company; Mr June 2005: Leuver & Sylvia Weimer, Ann Lewis Collection Benefactors as at 30 The Motor Accidents Authority: Michael Hawker; Mr Lee Seng THE PRESIDENT’S CONSERVATION George & Ronald Adams, Janna AM, Robert Linnegar, Randi June 2005: Venue sponsor: Artexpress Huang. COUNCIL BENEFACTORS Adams Tess, Geoff & Vicki Linnegar, Irene & Bruce Liu, Andrew Benefactors: Geoff & Vicki Northern Territory Tourist Members of the Conservation Ainsworth, Mathew Alderson, & Amanda Love, Susan Manford, Ainsworth, the late David Moore Commission: Support sponsor: Members of the President’s Council COLLECTION BENECTORS Benefactors as at 30 June 2005: Michele Asprey & Lindsay Powers, Scott Marinchek, Brenda & Robert Governors: Cazneaux family, Pat Crossing country as at 30 June 2005: ABORIGINAL COLLECTION Mr & Mrs Geoff & Vicki Ainsworth, Lachlan Astle & Neil Matthews, May, John McBride & John Corrigan, Nick Peters Optimal Fund Management: Mr David Gonski, AO, President; BENEFACTORS Mr & Mrs Charles & Deidre Aronson, David Austin, Richard & Christine Schirano, Roger McIlroy, Fiona Fellows: Kate Armati, Getty Images, Support sponsor: Rajput: sons of Mr Peter Young, ABN AMRO; Mr Members of the Aboriginal Mr Henry & Mrs Peta Badgery, Mr Banks, Tony & Tor Bannon, Luca & McIntosh & Peter English, Fran & Phillip Keir, Reg & Sally Richardson, kings David Baffsky AO, Accor Asia Collection Benefactors as at 30 Sam & Mrs Susan Ballas, Mrs Anita Belgiorno-Nettis, Roger & Tony Meagher, Margaret Merten, Tiffany & Co PricewaterhouseCoopers: Pacific; Mr Roger Allen, Allen & June 2005: Pamela Bell, Ms Nicole Berger, Mr Kate Benjamin, Liz & Tony Jan Minchin, Stephen Mori, William Founding Members: Sandra & Paul Principal sponsor: Da Vinci Program Buckeridge; Mr Scott Reid, ANZ Mr Geoff Ainsworth, Mrs Antoinette Bill & Mrs Annette Blinco, Mr & Mrs Blackman, Mark Bloch, Bambi Nuttall & Annette Reeves, Jon Ferman, David Greatorex Qantas Airways: Principal sponsor: Banking Group; Mr John Symond Albert, Mrs Gillian Appleton, Mr Sam Joseph Brender AO, Ms Eva Breuer, Blumberg, Natalia Bradshaw & Ian Osbeiston, Roslyn & Tony Oxley, Members: Doug & Pam Bartlett, Yiribana Aboriginal and Torres Strait AM, Aussie Home Loans Limited; Ballas, Mr Ace Bourke, Mr Greg Dr Candice Bruce & Mr Michael Hawthorn, Martin Browne, Warwick Tom & Mary Parry, Mark Patrick, Graham & Mary Beirman, Martin Islander Gallery, Airline sponsor: Mr Bruce McComish, BBY; Mr Bundy, Dr Gil Burton, Mrs Margot Whitworth, Ms Liz Callanan, Mr Bryan & Linda Sheldon, Stephen Lisa & Egil Paulsen, John Pearson & Browne, Ken Coles, Roderick & Crossing country Scott Walters, Creatable Media Buttrose, Mr Paul Buzby, Dr Michael Carr, Hon John & Rosemary Buzacott & Kemsley Brennan, Mark Clark, Julia Pucci, Dick Quan, Gillian Deane, Erin Flaherty, John SBS Radio: Media sponsor of the Limited; Mr Giam Swiegers, Giovanni Cocco, Ms Melissa Collins, Clarke, Dr Gianni Cocco, Peter & Andrew & Cathy Cameron Susan Ray, Crispin Rice, Reg & Frey, Stephen Grant & Bridget Pirrie, Gallery Deloitte Touche Tohmatsu; Mr Mr David Cowling, Rear Admiral Ian Gail Comino, Susan Conde & Peter Geoffrey Cassidy, Joseph Sally Richardson, Antonia Richmond Ginny & Leslie Green, Amanda The Sofitel Wentworth Hotel: Chris Gorman, Dentat Pty Limited; Crawford AM (Mil), Mrs Rowena Tomlinson, Dr Noel Dan & Mrs Catanzariti, Mark Cavanagh & & Con Haralambis, Diana & David Harkness, James Harker-Mortlock, Support sponsor: Archibald, Wynne Mr Chum Darvall, Deutsche Bank Danziger AM, Mr Roderick Deane, Adrienne Dan, Mr & Mrs Peter & Warren Fahey, Leo Christie & Marion Ritchie, Amanda Rowell, Mark & Michael Hawker, John & Catherine and Sulman AG; Mr Bruce K Cutler, Freehills; Mr Michael Duigan, Mr Bill Evans, Deborah Debnam, Stella Downer, Borgelt, David Clark, Malcolm & Pam Rudder, Gary Sands, Alyson Higgins, Lachie Hill, Naomi Kaldor, Stora Enso: Support sponsor: Mr Peter Ivany, Ivany Investment Mr Allan Fife, Ms Barbara Flynn, Ms Sister Jennifer Fahey RSC, Mr & Christine Colless, Sarah Cottier & Schoer, Anna Schwartz, Penelope & Charles Latimer, Josef & Jeanne Crossing country and Bill Henson Group; Mr Alastair Walton, Roslyn Forrest, Mrs Judith Friend, Mrs Ross Gibson, Messrs Eric Ashley Barber, Anne Crawford & Harry Seidler, Vivienne Sharpe, Lebovic, Amanda Love, Russell Street Vision: Support sponsor: Goldman Sachs JBWere Limited; Mrs Mollie Gowing, Mr Stephen Hawley & Glen Weston, Mr Barry & Simon Buckingham, Kerry Crowley, Gene & Brian Sherman, Fiona Mills, Roslyn & Tony Oxley, Lisa & Celestial silks and Crossing country Mr Steven O’Connor, JCDecaux Grant, Ms Linda Gregoriou, Mr Bill Mrs Katherine Goldman, Mr Robert exhibitions Australia; Mr Frederick G Hilmer Gregory, Ms Sophie Guest, Mr Con Gould, Mr & Mrs Bill Gregory, Mrs The Sunday Telegraph: Principal AO, John Fairfax Holdings Haralambis, Mr Christopher Margo Gruzman, Mr Michael & Mrs sponsor: Fundays at the Gallery Limited; Mr Peter Wade, Hodges, Mr Fraser Hopkins, Dr Gail Hale, Justice Ken & Di Handley, The Sydney Morning Herald: JPMorgan; Mr Rob Wannan, Kemp Susan Hurley, Mr Dale Jones-Evans, Mr Sean & Mrs Sally Hardy, Mrs Sue GRANTS/ PARTNERSHIPS Media sponsor: Art After Hours Strang Lawyers; Mr Chris Jordan AO, KPMG; Mr Daniel Gauchat, Mr Vasili Kaliman, Mr Trevor Hewitt, Mrs W Hinds, Mrs Kimberley During the year the following grants were received: Kennedy, Ms Lesley Kernaghan, Mr Holden, Mr Alex Holland, Fraser LIFE GOVERNORS Korn/Ferry International; Mr John A Conde AO, Medical Benefits Tim Klingender, Dr Colin Laverty, Mr Hopkins, Andrew & Dell-Maree From Project Amount The Gallery has acknowledged the Fund of Australia Limited; Mr Phillip Lawrence, Dr Edith Lees, Mrs Horsley, Mr Alex Popov & Ms Alison significant support of the following Geoff Plummer, OneSteel Limited; Ann Lewis AM, Ms Sue Lowes, Mr Hulett, Pamela Jennings, Ms Poppy Australia China Council Poetic mandarin: Chinese calligraphy $5,000 individuals by awarding Life Dr Alan Bell, Parnell; Ms Deeta Pierre Marecaux, Mr Nelson Meers, & Iphy Kallinikos, Mrs Suzanne Kelly, Australia Council Level 2 Contemporary Projects display $25,000 Governors membership: Colvin, PBL Media; Mr Tony Ms Sam Meers, Ms Samantha Pizzi, Ms Chloris Latham, Colin & Australia Council Aboriginal Art exhibition $20,000 Franco Belgiorno-Nettis AC CBE, Harrington, Mr Ian Plater, Mrs Julia Pucci, Ms Elizabeth Laverty, Mrs Diana CO AS IT Italian art & resource project $7,500 Joseph Brender AO, Ken Cowley PricewaterhouseCoopers; Mr Liane Rossler, Dr Milton Roxanas, Macarthur-Stanham, Mr Greg AO, James Fairfax AO, Michael Geoff Dixon, Qantas Airways Ms Gabriella Roy, Ms Lilli Scott, Dr J MacInnes, Mrs Jenny Manton, Department of Communications, Gleeson-White AO, Mollie Gowing, Limited; Mr Eric Dhoste, SG Scougall, Mr Andrew Shapiro, Dr Eugene & Joanne Marchese, Mr Information, Technology and the Arts Touring of the Margaret Preston exhibition $60,000 Shosuke Idemitsu, James Leslie Australia Limited; Mr Justin Miller, Gene Sherman, Mr Neville Spry, Mr Mitchell & Mrs Robyn Martin-Weber, Japan Foundation (Sydney) Japanese language kit $22,727 AC, MC, Frank Lowy AC, Rupert Sotheby’s; Mr Greg Daniel AM, Daniel Tobin, Mr John Webster SC, Mr Peter English & Ms Fiona Nelson Meers Foundation Towards Sidney Nolan’s Central Australia $443,750 Murdoch AC, Kenneth Myer AC, Mrs Patricia Wyner. McIntosh, Mr Brian & Mrs Lorna Third Person Communications; Mr Nelson Meers Foundation Towards establishment of Aboriginal Collection Benefactors $5,000 DSC, J Hepburn Myrtle CBE, Guido Belgiorno-Nettis & Mr Luca Mellor, Mr Justin Miller, Mr Paul Margaret Olley AO, Max Sandow Belgiorno-Nettis, Transfield Pty AUSTRALIAN PRINTS, Milliss, Mr Tim Goodman & Ms Total $588,977 AM, John Schaeffer AO, Goldie & Ltd; Mr Philip Coleman, UBS AG DRAWINGS & WATERCOLOURS Rachel Robinson, Mr Michael Edward Sternberg AM, Fred Street, Australia; Mr Pascal Brochier, BENEFACTORS Musgrave, Mr & Mrs Bruce Newey, Diana Walder OAM, Neville Wran Vivendi Universal Games; Mr Leon Members of the Australian Prints, Mrs Janette O’Neil, Mr Tim Olsen, AC, QC. Davis, Westpac Banking Group; Drawings and Watercolours Mr & Mrs Michael Pascalis, Dr Theo Prof Steve Burdon. Benefactors as at 30 June 2005: & Mrs Marianne Penklis, Mrs Effie Mr James Agapitos OAM & Mr Ray Prevedoros, Mr Stuart Purves, Mr & Wilson, Ms Susan Ayres, Dr R G Mrs Phil & Elizabeth Ramsden, Mr

54 55 VISITOR NUMBERS EXHIBITIONS LISTING

Visitor numbers as at 30 June 2005 DATE DEPARTMENT EXHIBITION TITLE Ticketed AGNSW AGNSW Tours Catalogue Total Visitors Total Visitors Total Visitors Total Visitors Total Visitors Domain W Studio Reg Touring 22.04.04 – 13.06.04 Western: Contemporary Brent Harris: the face. • 2000-01 2001-02 2002-03 2003-04 2004-05 2004-05 2004-05 2004-05 14.05.04 – 11.07.04 Australian: Aboriginal Clifford Possum Tjapaltjarri • July 104,106 169,193 115,250 85,229 115,194 82,100 833 32,261 29.05.04 – 04.07.04 Asian Indian folk paintings and textiles August 92,450 64,025 75,305 87,094 102,579 82,863 886 18,830 04.06.04 – 15.08.04 Western: Contemporary Biennale of Sydney 2004 September 100,541 55,962 64,005 93,306 100,238 72,329 951 26,958 12.06.04 – 08.08.04 Western: Photography Australian postwar photodocumentary • October 74,843 57,290 61,473 97,974 111,954 78,725 966 32,263 08.08.04 – 04.10.04 Western: Contemporary James Angus: truck corridor • November 67,265 69,718 87,442 88,898 93,854 69,886 587 23,381 31.07.04 – 24.10.05 Asian Celestial silks: Chinese religious and court textiles • • December 101,554 96,159 111,304 129,554 144,923 65,975 249 78,699 21.08.04 – 17.04.04 Australian Dobell Prize for Drawing 2004 • January 129,619 146,525 140,771 177,706 123,277 100,591 654 22,032 04.09.03 – 31.09.03 Western: European Plein-air painting in Europe 1780–1850 • • • February 130,340 117,255 114,713 145,421 96,651 95,910 741 0 11.09.04 – 28.11.04 Australian Key works from the Whiteley Studio March 120,651 95,158 96,622 131,793 101,521 100,536 985 0 11.09.04 – 28.11.04 Australian Brett Whiteley Travelling Art Scholarship Finalists April 118,141 91,834 104,269 183,494 88,190 82,980 671 4,539 25.09.04 – 12.12.04 Australian: Aboriginal Crossing country: Alchemy of Western Arnhem Land art • • May 83,538 76,494 81,593 181,284 151,085 132,327 579 18,179 30.09.04 – 20.11.04 Western Bauhaus and Expressionism: German prints and drawings • June 137,875 141,129 73,914 111,066 121,988 107,943 733 13,312 01.10.04 – 31.10.04 Public Programs Shoot the chef • YTD TOTAL 1,260,923 1,180,742 1,126,661 1,512,819 1,351,454 1,072,165 8,835 270,454 07.10.04 – 10.12.04 Library Undercover (the artist book) 16.10.04 – 28.11.04 Western: Contemporary Robert Owen: different lights cast different shadows • • 30.10.04 – 16.01.05 Australian Allan Mitelman: works on paper 1968–2004 Paid exhibition 12.11.04 – 06.02.05 Asian The art of Japanese screen painting program for 2004–05 Month Total 02.12.04 – 13.02.05 Western: Contemporary Anne Landa Award for Video and New Media Art • CLIFFORD POSSUM July 3,002 08.12.04 – 16.01.05 Public Programs Operation art CELESTIAL SILKS July–Oct 22,167 11.12.04 – 06.03.05 Western: Contemporary Fiona Hall CROSSING COUNTRY Sept–Dec 17,126 08.01.05 – 03.04.05 Western: Photography Bill Henson • • • BILL HENSON Jan–April 65,007 29.01.05 – 28.03.05 Public Programs Art Express • BOUCHER Mar–May 10,444 31.01.05 – 01.07.05 Library Miniatures, plaster medallions and porcelain ARCHIBALD, WYNNE, SULMAN April–June 108,812 05.02.05 – 20.03.05 Western: Contemporary Mutlu Çerkez & Marco Fusinato • RAJPUT June 3,277 25.02.05 – 15.05.05 Asian Dadang Christanto: they give evidence Total 229,835 09.03.05 – 01.05.05 Australian Fred Williams gouaches 04.03.05 – 01.05.05 Exhibitions Boucher, Watteau and the origin of the rococo • • 26.03.05 – 01.05.05 Western: Photography Simryn Gill: standing still 06.04.05 – 19.06.05 Australian 19th-century Australian watercolours, drawings and pastels AVERAGE DAILY VISITORS 2004–05 in the Gallery’s collection • 30.04.05 – 03.07.05 Australian Archibald,Wynne, Sulman Prize & Citygroup Private Bank Australian Photographic Prize 2004 • • • 5,000 28.05.05 – 04.12.05 Australian Whiteley Studio: Sydney genesis and beyond 1955–1965 4,000 04.05.05 – 07.08.05 Australian Towards the shadow zone: John Olsen’s Don de voy 08.05.05 – 19.06.05 Western: Contemporary Tranquillity: Rose Farrell & George Parkin, 3,000 Lyndell Brown & Charles Green: • 17.05.05 – 24.07.05 Western: Contemporary Unscripted: language in contemporary Australian art

Visitors 2,000 09.06.05 – 04.09.05 Asian Rajput: sons of kings • 1,000 26.06.05 – 14.08.05 Western: Contemporary Neon: Janet Burchill & Jennifer McCamley • 0 July August September October November December January February March April May June TOURING EXHIBITIONS

ANNUAL VISITOR NUMBERS 1992–93 TO 2004–05 DATE EXHIBITION VENUE CITY/STATE/COUNTRY EXHIBITION TITLE ATTENDANCE Annual visitor numbers 1992–93 to 2004–05 01.07.04 – 18.07.04 * Queensland Art Gallery Brisbane, QAG Man Ray 24,746 01.07.04 – 18.07.04 * Asian Civilisations Museum Singapore Fantastic mountains 2,850 09.07.04 – 08.08.04 # Orange Regional Gallery Orange, NSW Archibald Prize 04 4 ,665 1.6m 04.08.04 – 03.10.04 Honolulu Academy of Arts Honolulu, Hawaii, USA Fantastic mountains 15,049 1.5m 07.08.04 – 17.10.04 National Gallery of Victoria Melbourne, Vic Man Ray 22,041 1.4m 13.08-04 – 19.09.04 # Grafton Regional Gallery Grafton, NSW Archibald Prize 04 7,616 1.3m 24.09.04 – 31.10.04 # Gosford Regional Gallery & 1.2m Arts Centre Gosford, NSW Archibald Prize 04 33,345 21.11.04 – 16.01.05 National Gallery of Victoria Melbourne, Vic Plein-air painting in Europe 1.1m

Visitors 1780–1850 11,573 1m 06.11.03 – 09.01.04 Victorian Arts Centre Melbourne, Vic Archibald Prize 05 112,539 0.9m 04.03.05 – 15.05.05 New England Regional Art Museum Armidale, NSW Bauhaus and expressionism: 0.8m German prints and drawings 4,619 0.7m 23.04.05 – 30.06.05 * National Gallery of Victoria Melbourne, Vic Bill Henson 36,030 0.6m * Man Ray tour to Queensland commenced on 8 May 2004; Fantastic mountains tour to Singapore commenced 20 May 2004; Bill Henson tour to National Gallery 92–93 93–94 94–95 95–96 96–97 97–98 98–99 99–00 00–01 01–02 02–03 03–04 04–05 of Victoria continued until 10 July 2005 # Tour organised in association with the Museums and Galleries Foundation of NSW

56 57 AGNSW PUBLICATIONS FOR SALE AGED AND DISABILITY ACCESS PROGRAMS AND SERVICES

• AGNSW collections, Capon, • Belle Ile: Monet, Russell and • drawings for • Robert Klippel, Edwards, The Gallery is committed to guided tours and in association with students with the opportunity to EMPLOYMENT PRACTICES hardbound $88 Matisse in Brittany, Prunster, paintings, Kolenberg, softbound softbound $50 providing people with disabilities Deaf Awareness Week. experience art through stimulating The Gallery ensures equal • AGNSW handbook, James, hardbound $25 $20 • Robert Owen: different lights cast excellent access to services, Groups of deaf people making and fun-filled workshops which opportunity principles are used softbound $22, cased edition $25 • Caravaggio & his world: darkness • , Capon & Pearce, different shadows, softbound $30 the building, information and bookings are provided with sign- include discussion, roleplay and the for recruitment and general opportunities. Highlighted below are • Albertina drawings, Raissis & and light, softbound $40 softbound $45.00, hardbound $66 • Still life, Tunnicliffe, softbound $25 language interpreters free of charge. use of sensory materials. employment practice. initiatives undertaken in 2004–05. Hayes, softbound $40 • Celestial silks: Chinese religious • Man Ray, Annear, softbound $30 • Tradition today: Indigenous art in The TTY number (02) 9225 1711 is The Gallery employs 3% of staff • Anne Landa Award 04, softbound and court textiles, Rutherford & • Margaret Olley, Pearce, Australia, Perkins, softbound $40 listed in the Telstra TTY directory. GENERAL with a disability, of which 1.1% $25 Menzies, softbound $35 hardbound $59.95 INITIATIVES FOR IMPROVED of staff require some form of • True stories: artists of the East In addition to the long-standing free COMMUNICATIONS • Archibald 05, softbound $16 • Charles Conder, Galbally, SERVICES • Nineteenth century Australian Kimberley, DVD $30 monthly Auslan guided tours, the adjustment to the workplace. softbound $45 watercolours drawings & pastels, IMPROVED DISABLED SIGNAGE The Gallery’s Internet website • Arthur Boyd retrospective, Pearce, • What colour is that, Keeler-Milne, Gallery conducts Signing Art, softbound $40 • Crossing country: the alchemy of hardbound $45 FOR PARKING AND DROP OFF (www.artgallery.nsw.gov.au) has a softbound $18.95 Auslan-interpreted free capacity for large-print screen • Asian collections, Menzies, western Arnhem Land art • Olive Cotton, Ennis & Donohue, The Gallery’s disabled access is performances which incorporate versions of all information. softbound $45 softbound, $50, DVD $30 softbound $30 located at the rear of the building mime, puppetry and improvisation • Australian drawings, Kolenberg, • Dancing to the flute, Menzies, • Orientalism: Delacroix to Klee, via a service road. This access is to create vibrant and diverse STAFF TRAINING softbound $40 softbound $44 Benjamin (ed), softbound $45 often difficult to find so the Gallery educational entertainment. Information and awareness sessions has installed clear signage at the are held for staff and volunteer • Australian prints, Kolenberg & • Fragrant space, Liu, softbound • Pre-Raphaelites and olympians, HEARING IMPAIRED $33 beginning of the service road. guides, with particular reference to Ryan, softbound $38 Beresford, softbound $20 The Domain Theatre is equipped servicing visitors with special needs. • Australian watercolours, • James Fairfax collection, Beresford • Rayner Hoff: this vital flesh, with audio-induction loop facilities Some volunteer guides and staff Kolenberg, softbound $33 & Raissis, hardbound $99 Edwards, softbound $30.80 PHYSICALLY DISABLED for all lectures and films. VISITORS have undertaken introductory An FM-microphone system for courses in sign-language. There are four dedicated Disabled hearing-aid users is available on A designated education officer Parking spaces available at the front request for guided tours. of the Gallery and two at the rear. manages the Gallery’s accessible ART PRIZES, GRANTS AND SCHOLARSHIPS Special arrangements are also arts programs and facilities for made for bus parking. Access to VISUALLY IMPAIRED VISITORS people with disabilities. the spaces at the rear of the Gallery The In Touch at the Gallery program HELPERS ART PRIZES THE SIR JOHN SULMAN PRIZE GRANTS AND BRETT WHITELEY is via the service road on the provides visually impaired people General entry to the Gallery is free The prize, judged by artist Mike TRAVELLING ART southern side of the Gallery. From the opportunity to explore works The 2005 Archibald, Wynne and SCHOLARSHIPS to all visitors. However, where entry Parr, of $10 000 was awarded SCHOLARSHIP the rear of the Gallery access to all through touch. Specially trained Sulman Prize competitions, THE BASIL AND MURIEL fees are charged for major to Sandro Nocentini for his work This scholarship was established exhibitions, displays, public and volunteer guides help visitors supported by the Colonial HOOPER SCHOLARSHIP temporary exhibitions, helpers My son has two mothers. to provide young artists with an administrative areas is by way of experience the tactile qualities of Foundation, were held in April 2005. accompanying visitors with These scholarships, valued at opportunity to travel to Europe and ramps and lifts and is suitably A total of 2229 entries were received, marble, bronze and stone and disabilities are admitted free of THE CITIGROUP PRIVATE $4000 each, are available each further their artistic interests. The signposted. 91 of which were selected for discover the stories and ideas charge. BANK AUSTRALIAN year to fine art students attending scholarship includes a financial display. The Australian Photographic A wheelchair accessible bus (Route surrounding these unique objects. PHOTOGRAPHIC PORTRAIT recognised schools in NSW to award and access to the Art INFORMATION AND PUBLICITY Portrait Prize, sponsored by The 441) runs from the Queen Victoria The main visitor elevator servicing PRIZE assist with the costs of fees, Gallery’s Paris studio for a period The quarterly publications Citigroup Private Bank, was held in Building to the Gallery. Telephone level 1, ground floor and upper level The $15 000 prize was awarded materials and general living of three months. It is a memorial to Exhibitions and Events are available conjunction with the Archibald, 13 15 00 for timetable details. has voice notification of floor and to Cassandra Mathie for her work expenses. One scholarship was the late Brett Whiteley, who in his free at the ground floor information Wynne and Sulman competitions. The Domain Theatre has access access information. Ali and Rahma. awarded to Lara O’Reilly. youth was encouraged in his artistic desk. This booklet contains Of the 644 entries received, 49 were space designed for wheelchair users. endeavours by winning a similar information for visitors with special selected for display. The Dobell THE DOBELL PRIZE FOR THE ELIOTH GRUNER PRIZE scholarship. Special thanks are Prize for Drawing, sponsored by the INTELLECTUALLY DISABLED needs. Currently Exhibitions and DRAWING The prize of $1000 for the best given to Beryl Whiteley, Brett’s Sir Art Foundation, DEAF AND HEARING CHILDREN Events are posted to over 4000 The $20 000 prize, judged by John landscape in oil by an art student mother, for providing the generous was held in August 2004. Of the IMPAIRED VISITORS The Da Vinci Program is a Gallery interested individuals and Olsen, was awarded to Garry Shead was awarded for 2004 to Anthony donation to fund the scholarship. 599 entries received, 34 were SEVERELY AND PROFOUNDLY initiative involving a specially organisation. for his work entitled Colloquy with O’Carroll. The 2004 scholarship of $25 000 selected for display. DEAF VISITORS designed program for students with Free brochures on the accessible John Keats. was awarded to Alan Jones. THE ROBERT LE GAY The Gallery engages sign-language mild to moderate intellectual arts programs are also available at THE ARCHIBALD PRIZE ANNE LANDA AWARD BRERETON MEMORIAL PRIZE STUDIOS IN PARIS interpreters for the regular advertised disabilities. This program provides the information desk. The prize of $35 000 for portraiture This award has been established in This prize, which aims to promote The Art Gallery allocates tenancy was awarded to John Olsen for his honour of Anne Landa, a trustee of and encourage the art of to two art studios, the Moya Dyring work titled Self portrait Janus faced. the Art Gallery of New South Wales draughtsmanship, is available Studio and the Dr Denise Hickey The Archibald People’s Choice who died in 2002. This is the first in each year to art students. The Memorial Studio, it leases at the competition, which asks the viewing a biennial series of exhibitions for 2004 prize of $800 was awarded Cite Internationale des Art in Paris. public to vote for their favourite moving image and new media work, to Ballan Bolton. The studios were occupied during PRODUCTION COSTS 2005 ANNUAL REPORT entry, was won by Nicholas Harding each with an acquisitive award of the year by Mel O’Callaghan, Gina for his work Bob’s daily swim. $25 000. The exhibition is by DYASON BEQUEST Bruce, Eugenia Raskopoulos, Harding received $2500, as did the invitation only and is not open to Administered under the terms of the Marisa Purcell, Judith Duquemin, Art Gallery patron whose vote for applications. Both the exhibition and will of the late Miss Anthea Dyason, Lynda Edridge, Andrew Donaldson The Gallery’s Annual Report seeks stakeholders and other interested 2005 and Annual Reports (Statutory the winning entry was drawn from award are selected by a committee the bequest provides grants of and Alan Jones. to present critical performance parties. It is also available through Authorities) Regulations 2005. It is a barrel containing all votes cast and in this first year it comprised $5000 to Australian art students information in an honest, transparent the Gallery’s website in the About Us also prepared against the criteria set for the winning artist. Juliana Engberg, director of the who have already won travelling and reader-friendly manner. The section (www.artgallery.nsw.gov.au/ out by the Australasian Reporting Australian Centre for Contemporary scholarships so as to enable them total external costs incurred in the aboutus). This report is the major Award (ARA) and is benchmarked THE WYNNE PRIZE Art, Edmund Capon and Wayne to better study architecture, production of the 2005 Annual corporate publication produced by against other organisations each The prize of $15 000 for an Tunnicliffe from the Gallery. The sculpture or painting in countries Report are $30 000 (this includes the Gallery each year and feedback year. The Gallery received ARA Silver Australian landscape or figure 2005 recipient was David Rosetzky other than Australia and New text editor, design, typesetting, print is welcomed. It constitutes the Reporting Awards for our 2003 and sculpture was awarded to Jenny for his video installation titled Zealand. An award of $5000 was management and print production). Gallery’s compliance with the Annual 2004 Annual Reports. Sages for her work The road to Untouchable, which has now made to Jan Golembiewski. The report is provided free to key Reports (Statutory Authorities) Act Utopia. become part of the Gallery’s collection.

58 59 ETHNIC AFFAIRS PRIORITIES STATEMENT ABORIGINAL & TORRES STRAIT ISLANDER PROGRAMS AND SERVICES

The Gallery is committed to the Boucher, Watteau and the origin of As a part of the Gallery’s commit- The Gallery will present a dynamic There are many Gallery activities paper and sculpture, this landmark with temporary exhibitions. This year • There was a continuing principles of multiculturalism the rococo (4 March – 1 May ment to the study, appreciation and and culturally diverse series of developed to introduce Aboriginal exhibition traced the figurative and art trails were developed for the consolidation of links with as outlined in Section 3 of the 2005) – this exhibition showed the promotion of Asian art, the Gallery public and education programs. and Torres Strait Islanders and abstract representation of the Clifford Possum Tjapaltjarri and Indigenous education institutions, Community Relations Commission central role which Boucher and his continues to provide management The 2005–06 program will include: others to the history and culture of pervasive integration of human, Crossing country exhibitions. courses in Aboriginal Studies and and Principles of Multiculturalism predecessor Watteau played in the services support to VisAsia, which Arts in Asia and the European Art: Indigenous peoples of Australia, natural and supernatural worlds. • Special one-hour educational Aboriginal units and art courses at Act 2000. development of the rococo style. promotes and cultivates a better Modern Art in the Making lunchtime including temporary exhibitions, • The Gallery also continued to tours of the Yiribana Gallery have tertiary level. The government identifies four key Rajput: sons of kings (8 June – 4 understanding and enjoyment of lecture series will continue. public program events and the make available an education kit for been devised for kids including K-6 • In order to strengthen the Gallery’s Asian arts and culture. permanent collection on display in objectives in the Cultural Harmony: September 2005) – created in the A symposium will be held in the Yiribana Gallery called Diversity: and 7-12, for tertiary students and archival base of Indigenous art, the the Next Decade 2002-12 policy Rajput courts of Rajasthan, north- Gallery publications included the Yiribana Gallery, the largest a celebration of art and culture. The special needs groups Aboriginal and Torres Strait Islander conjunction with the exhibition display focused on Aboriginal art in document: leadership, community west India, the paintings in this education kits which highlight the Rajput: sons of kings. Gallery also created online education • As a part of Fundays at the Art department continued to film harmony, access and equity, and exhibition revealed the vitality and diversity in the Gallery’s permanent the southern hemisphere. During kits for the Crossing country and interviews with Indigenous artists. Art Adventure Tours will be run in this year activities included: Gallery, the character of Ngunny the economic and cultural ppportunities. sensuality of life at court from the collection. These kits include Rover Thomas exhibitions and a Cheeky Fruit Bat was created to • The Gallery is committed to the 17th to the 19th centuries. Adventures in Asia and Encounters conjunction with the Rajput and • Crossing country: the alchemy of printed edition for the Clifford To this meet this end the Gallery has Pissarro exhibitions. take visitors on a lively tour of continued acquisition, exhibition and developed an Ethnic Affairs Priorities The ongoing presentation of a with contemporary art. Online western Arnhem Land art (25 Possum Tjapaltjarri exhibition. Aboriginal art creating a greater conservation of Aboriginal art and to Statement (EAPS) which includes dynamic and culturally diverse series education kits produced in The Gallery will continue to present September – 12 December 2004) • The Public Programs department understanding of key art works from making the collection accessible to two main objectives: of public and education programs conjunction with current and past a culturally diverse range of films. was the first major survey of has developed Kids Art Trails, which the Gallery’s permanent collection. the widest possible audience. The exhibitions included Biennale of Kuninjku and related key artists from Integrate EAPS principles into the reflects the Gallery’s commitment to Fundays at the Gallery and Holiday encourage children to engage more Other Fundays events included Aboriginal Collection Benefactors making the collection and temporary Sydney 2004; Darkness and light: Workshops will be continued. Aboriginal communities to the west interactively with Indigenous art. holiday performances of Didge, group continue to raise funds Gallery’s policies, plans and Caravaggio and his world; Seasons of Maningrida in Arnhem Land. procedures exhibitions widely accessible to the Highlights will include Indian Dance, One focuses on the general Dance and Black Fella Yarns specifically for the acquisition of public. This year the program and Picasso: last decade. It’s a small world, Zhenmu Shou Featuring early and contemporary permanent collection while other performed by Jikamu aka Sean Indigenous art. Build the Gallery’s collection and included: The Gallery’s guide map is available the Guide from the Grave and bark paintings, fibre art, works on trails were developed in conjunction Choolburra. services to reflect and promote in Japanese, Mandarin and Korean, Celebrating Rajput. cultural diversity and harmony Celestial Silks Symposium – this one-day symposium, held in Italian, French, Spanish and German The Gallery will continue to The Gallery’s statement is conjunction with The Asian Arts languages. encourage its staff to participate in incorporated by the Ministry for the Society of Australia (TAASA), 19% of Gallery staff are from non- the Community Language Arts into an Ethnic Affairs focused on the history and English speaking backgrounds. Allowance Scheme and to extend WOMEN’S ACTION PLAN Agreement on behalf of the entire appreciation of Chinese textiles This compares favourably with the range of languages currently arts portfolio. and featured talks by collectors, national population figure of 15.5% represented. conservators and cultural experts. (Australian Bureau of Statistics 1996 Census). ETHNIC AFFAIRS PRIORITY The Arts of India – lunchtime The Annual Reports (Statutory Bodies) of women artists’ contribution to • Margaret Preston: art and life professional development of OUTCOMES 2004–05 lecture series examined the The Gallery increased by 25% the Amendment (Women’s Action Plan) the history of art, reflecting the (29 July – 23 October 2005) – Australian artists which are open to The exhibitions program reflected development in textiles, folk and number of community languages Regulation 1997 requires NSW achievements of women in society: Preston is one of Australia’s most all artists, including women. tribal art, film and photography from available to assist Gallery staff and and promoted cultural diversity and public sector agencies to provide • Simryn Gill standing still celebrated modernists and her 2. CONTINUE THE COMMITMENT the colonial period until today. visitors via the Community Language harmony. This year exhibitions information about their implemen- (25 March – 1 May 2005) – a series exuberant decorative compositions TO THE PRINCIPLES OF ACCESS, Allowance Scheme. As at 30 June included:- Arts of Asia – lunchtime lecture tation of the NSW government’s of 116 photographs revealed Simryn have remained among the most EQUITY, RIGHTS AND 2005 the Gallery had staff officially Celestial silks: Chinese religious series focused on religious Action Plan for Women. Gill’s interest in the passage of time popular of all Australian art works. PARTICIPATION expressions in art and architecture recognised as able to offer assist in Modern, cosmopolitan and intensely and court textiles (31 July – 24 The Gallery supports the whole-of- and the evocation of place. The Gallery recognises the including the impact of Hinduism Hindi, Cantonese, Polish, German, coloured, Preston’s woodblock October 2004) – this exhibition government approach to addressing • Tranquillity (8 May – 19 June traditional gender imbalances on and Buddhism as these faiths Italian, Mandarin, Spanish and prints and paintings of still-life featured over 70 exquisite textiles women’s issues and concerns and 2005) – this project brought decision-making bodies and the spread across Asia. Indonesian. subjects and the Sydney metropolis made in China for use in the acknowledges that all areas of the together two of Australia’s most implications of representation on The Gallery circulated the annual particularised a moment of imperial court or as temple offerings European Art: Modern Art in the NSW public sector must commit to established collaborative strategic outcomes. There are five calendar of significant religious and extraordinary innovation in the in China or Tibet. Making 2 – this lecture series the principles of access, equity, partnerships, Rose Farrell/George women on the 11-member Board of holy days to all supervisors to enable history of Australian art. Biennale of Sydney 2004 (4 June – explored the secrets behind the rights and participation of women Parkin and Lyndell Brown/Charles Trustees (46%). creation of a series of modern scheduling of staff commitments to • 15 August 2004) – presenting the by integrating the needs and Green, to create a dialogue The Gallery is committed to masterpieces in painting, sculpture meet religious obligations. best of contemporary international concerns of women as part of between their respective practices. (3 November 2004 – 15 January employment of all staff based on and architecture. and Australian art and featuring the normal business. • Biennale of Sydney 2004 2006) – this exhibition acknowledges selection by merit and the Gallery’s work of 51 artists from 32 countries, Film – the Gallery presented a ETHNIC AFFAIRS PRIORITY The Gallery is committed to the (4 June – 15 August 2004) – the Cossington Smith’s significance to workforce is currently made up of this exhibition explored the borders culturally diverse range of films in GOALS FOR 2005–06 advancement of women in all forms Biennale presented the best of Australian art and pays homage to 53% women. Under the principle of her distinctive approach and of perception and invited to discover conjunction with various exhibitions. Continue the reflection and of cultural, artistic and work life and contemporary international and employment by merit, employees uncompromising vision. a new reality of ‘I feel therefore I am’. The program is free and this year promotion of cultural diversity and is aware of the need to identify and Australian art. The work of women benefit by having their capabilities Plein-air painting in Europe included films from China, India, harmony in the Gallery’s exhibitions redress discrimination against artists featured prominently in this The Gallery has maintained a fully utilised and their skills 1780–1850 (4 September – Italy, France and Germany. South and associated educational women by making services more pre-eminent contemporary art general free admission policy to expanded. Of the five executive 31 October 2004) – an exhibition of was a special series of films from programs. The 2005–06 program accessible and responsive. From event, including Pat Brassington ensure the broadest range of the management positions, three landscape sketches painted out-of- South America which was curated will include the following major an organisational perspective, the with Feeding time, Carolyn community, including the financial general managers are women and doors (‘en plein air’) by European in conjunction with the Biennale exhibitions:- Gallery acknowledges the needs Eskdale’s installation pro AGNSW disadvantaged often being women, 7.1% of management positions are exhibition. artists in the decades before Wolfgang Laib – the German artist and interests of women as a Entrance, 6.04, Asta Gröting’s have access to the state’s fine art occupied by women, reflecting the impressionism. Fundays at the Gallery and Holiday is best known for his contemplative direct occupational group and performance piece The inner collection and associated education Gallery’s commitment to the The art of Japanese screen Workshops – the Gallery provided work with pollen, bees wax and its responsibility to promote a voice/You’re good – Dead programs. advancement of women based on air/Remix, Emiko Kasahara’s merit. painting (6 November 2004 – a dynamic and diverse program other natural materials. This workplace which is equitable, safe The Gallery administers two provocative Pink (edition #2) and a 6 February 2005) – the folding for children. Highlights included exhibition of his work will be and responsive to women’s needs. bequests, both of which are only Approximately 32% of women took suitcase series call Portable city by screen is one of the most distinctive Zhenmu Shou, the Guide from the presented with the assistance of the open to women. These are the John advantage of the Gallery’s flexible forms of Japanese art and this Grave, Meet the Queen of Sheba, Goethe Institute and ifa Stuttgart. Yin Xiuzhen. work practices such of part-time ACHIEVEMENTS UNDER KEY and Elizabeth Newnham Pring exhibition presented highlights from Commedia dell’Arte, Asian Dance • Neon: Janet Burchill and Jennifer work, job sharing, working from The poetic mandarin: Chinese OBJECTIVES IN THE ACTION Memorial Prize for ‘the best the Gallery’s outstanding collection Mix and Celestial Silks Workshops McCamley (26 June – 14 August home, part-time leave without pay Calligraphy from the James Hayes PLAN FOR WOMEN landscape executed in watercolours of Japanese screens from the 17th Selected exhibitions and special Collection – focusing on the cultural 2005) – Burchill and McCamley’s by a women artist’ and a fund in the and the career-break scheme in 1. MAKING SERVICES MORE to 19th centuries. events were advertised in various life of the imperial Chinese conceptual art practice interlaces name of Viktoria Marinov with the order to effectively balance ACCESSIBLE AND RESPONSIVE Dadang Christanto: they give multicultural publications and the Mandarins, this exhibition will reveal feminist, psychoanalytic, filmic, income of interest earned on the workplace priorities with family and evidence (25 February – 15 May Gallery regularly advertises on SBS the important role of calligraphy in While the many of exhibitions semiotic and spatial concerns. investment used to purchase works personal commitments. The Gallery 2005) – a reprise of the confronting in various languages including official life, and as a leisure activity. staged by the Gallery include works In 2005–06 the Gallery is proud to of art for the permanent collection as a whole benefits in the long term Mandarin, French, Spanish, Arabic by being adaptable and responsive and moving, larger-than-life Jeppe Hein: Neonwall – a new of art created by women artists, the present important exhibitions which ‘by female artists under of sculptures of human suffering, this and Vietnamese. following exhibitions exclusively or celebrate the work of two of 35 years.’ The Gallery also to changing community needs and contemporary project by Denmark’s expectations. installation represented the victims Geographically and culturally the art most daring installation artist. significantly featured the work of Australia’s most influential female administers other awards and of oppression and social injustice. of Asia is the art of half the world. female artists or were representative artists: scholarships to assist in the

60 61 WASTE REDUCTION AND PURCHASING STRATEGIES COLLECTION PURCHASES

REDUCTION IN THE to a saving of 7800 reams (up from computers to not-for-profit possible construction and display AUSTRALIAN ART fountain’ (1993), collagraph printed pencil. Marshall Bequest Fund 2005 hardboard. Purchased 2005 GENERATION OF WASTE 2400 reams last year) of previously organisations and disadvantages materials are reused. in black ink from one plate on white Kevin Lincoln (Australia, b1941), 2 Carl Plate (Australia, 1909–77), 3 Gallery staff are encouraged to use, printed paper. individuals. BFK Rives paper; Lovers (1993), prints: Euan McLeod 2003, etching; drawings: Study for ‘Stockyard 2’ Abbey Altson (Australia; USA, where possible, electronic mail for RECYCLED CONTENT colour collagraph printed from two Michael Kelly 2003, etching. D G c1957, gouache on cream wove Used toner cartridges are sent for 1866–1948), Bertram Mackennal The Gallery continues to purchase plates on white BFK Rives paper; Wilson Bequest Fund 2004 paper; Untitled 1961, gouache on internal and external RESOURCE RECOVERY recycling with approximately 150 1894, carbon pencil. Accessioned plain A4 paper with 50% recycled Working proof for ‘Lovers’ (1993), Bea Maddock (Australia, b1934), cream wove paper; Reduction US communication. INITIATIVES cartridges (up from 100 cartridges 2004 content and all envelopes purchased collagraph printed in black and 21 prints from the portfolio 15 1960, gouache on cream wove Use of intranet has been steadily The Gallery negotiated a contract last year) being recycled in the David Aspden (Australia, are recycled stock. This equates to yellow ink on white BFK Rives Melbourne I, II and III, (1967–68), paper. Purchased with funds growing and staff are now able to with Visy and initiated a new paper 2004–05 period. 1935–2005), Black music 1995, oil over 5500 reams of paper. paper; Working proof for ‘Lovers’ (2002) (printed): Street reflection provided by Australian Prints, apply for leave, reserve resources recycling system. A designated on canvas. D G Wilson Bequest The Conservation department sends (1993), collagraph printed in black (1967–68), (printed 2002), drypoint, Drawings and Watercolours and access a range of information recycling mini-skip is now located 132 toner cartridges were purchased Fund 2004 offcuts of wood and materials to ink from one plate on white BFK black ink on white Hahnemühle Benefactors 2004 including Gallery policies and on the loading dock for recycling all for printers and all had recycled Robert Atkinson (Australia; Long Bay Gaol for use by prisoners Rives paper; Collagraph plate for 350gsm paper; Beach figure Margaret Preston (Australia, procedures and the staff directory. paper products, including flattened components. England; New Zealand, 1863–96), in recreational activity. ‘Lovers with blue bird’ (1993), glue, (1967–68), (printed 2002), drypoint, 1875–1963), Manly Harbour Beach cardboard boxes. Every office and Soft drinks and juices are purchased Bringing in the dinner 1889, pencil, All these activities were previously carborundum powder, traces of black ink on white Hahnemühle 1943, oil on canvas. Purchased with workstation was issued with a The Research Library and Gallery in recyclable glass containers watercolour, white gouache. D G paper based. coloured ink on aluminium plate; 350gsm paper; Boy with a bicycle I funds provided by the Walter and recycling bin which is collected on Shop reuse cardboard boxes for (approximately 10 tonnes) and a Wilson Bequest Fund 2004 An eNewsletter, Artmail, replaces Colour plate for ‘Lovers with blue (1967–68), (printed 2002), drypoint, Gillian Bunning Bequest Fund 2004 a regular basis by the cleaners. packaging interlibrary loans and number of suppliers are already Arthur Boyd (Australia, 1920–99), 3 previous hardcopy notification to bird’ (1993), glue, carborundum black ink on white Hahnemühle Jörg Schmeisser (Australia; West filling visitor and e-commerce delivering other products in refillable prints and 4 printing blocks & plates: media outlets and is used as a The Gallery sends all excess steel, powder, traces of coloured ink on 350gsm paper; Boy with a bicycle II Germany, b1942), 4 prints: Iceberg merchandise orders. containers. Bather’s head (1990), colour cost-effective general public news workshop materials and wire to an aluminium plate; Collagraph plate (1967–68), (printed 2002), drypoint, alley 2002, etching, aquatint from collagraph on white BFK Rives source, replacing hardcopy external recycler. Venue hire functions are handled by The Gallery continues to use other for ‘Lovers in an orchard’ (1993), black ink on white Hahnemühle two plates, blue ink on white wove paper; Flower-headed figure holding advertising materials. Artmail has The IT department participates in the on-site caterers with all glass recycled paper products including glue, carborundum powder, traces 350gsm paper; Flying bird paper; Berg I 2002, soft-ground fish (1993), colour collagraph currently over 65 000 recipients the ReConnect.NSW program, a bottles being recycled. 10 000 toilet rolls and 4000 rolls of of coloured ink on aluminium plate; (1967–68), (printed 2002), drypoint, etching, aquatint, blue ink on ivory printed from two plates on white (up from 25 000 last year). It is sent whole-of-government initiative which Around 35 temporary exhibitions are paper towels. Colour plate for ‘Lovers in an black ink on white Hahnemühle wove Hahnemühle paper; Berg II wove paper; Flower-headed figure on a monthly basis, which equates enables the donation of redundant mounted every year and wherever orchard’ (1993), glue, carborundum 350gsm paper; Turning head 2002, soft-ground etching, aquatint, pointing (1993), colour collagraph powder, traces of coloured ink on (1967–68), (printed 2002), drypoint, blue ink on ivory wove Hahnemühle printed from two plates on white aluminium plate; Collagraph plate black ink on white Hahnemühle paper; Berg III 2002, soft-ground BFK Rives paper; Collagraph plate for ‘Bride drinking from a fountain’ 350gsm paper; Man pointing etching, aquatint, blue ink on ivory for ‘Flower-headed figure holding (1993), glue, carborundum powder, (1967–68), (printed 2002), drypoint, wove Hahnemühle paper. fish’ (1993), glue, carborundum OVERSEAS TRAVEL traces of coloured ink on aluminium black ink on white Hahnemühle Purchased with funds provided by powder, traces of coloured ink on plate; Colour plate for ‘Bride 350gsm paper; Cripple I (1967–68), the Arthur Boyd Acquisition Fund aluminium plate; Colour plate for drinking from a fountain’ (1993), (printed 2002), drypoint, black ink 2004 ‘Flower-headed figure holding fish’ glue, carborundum powder, traces on white Hahnemühle 350gsm Arthur Streeton (Australia, (1993), glue, carborundum powder, of coloured ink on aluminium plate; paper; Street idiot (1967–68), 1867–1943), The creek (1925), oil Peter Raissis, curator of European Brian Ladd, head of public Jackie Menzies, senior curator Gillian Williamson, assistant traces of coloured ink on aluminium Collagraph plate for ‘Lovers’ (1993), (printed 2002), drypoint, black ink on canvas. Edward Stinson Bequest prints, drawings and watercolours programmes of Asian art manager, Gallery Shop plate; Collagraph plate for ‘Flower- glue, carborundum powder, traces on white Hahnemühle 350gsm Fund 2004 UK, 29 June – 29 July 2004 Japan, 30 September – 15 October Singapore, Europe, UK & Thailand, USA, 27 April – 4 May 2005 headed figure pointing’ (1993), glue, Research and make selections of 2004 31 October – 19 November 2004 Attend Museums Stores Conference of coloured ink on aluminium plate; paper; Running (1967–68), (printed Dorothy Thornhill (Australia, carborundum powder, traces of loans for exhibition on Camille Participate in the Japan-Australia Undertake research for Goddess and meet with managers and Colour plate for ‘Lovers’ (1993), 2002), drypoint, black ink on white 1910–87), Ari reading 1973, pencil. coloured ink on aluminium plate; Pissarro Cultural Exchange Program exhibition buyers in gallery shops in New York glue, carborundum powder, traces Hahnemühle 350gsm paper; Flower Purchased with funds provided by Colour plate for ‘Flower-headed of coloured ink on aluminium plate. woman (1967–68), (printed 2002), the Docking Drawing Fund 2004 figure pointing’ (1993), glue, Alan Lloyd, head of conservation Charlotte Davy, senior exhibitions Judy Annear, senior curator Edmund Capon, director Purchased with funds provided by drypoint, black ink on white Roland Wakelin (Australia, carborundum powder, traces of Singapore, 15–24 July 2004 registrar of photography China, 13–20 May 2005 the Walter and Gillian Bunning Hahnemühle 350gsm paper; Lane 1887–1971), Arm study 1912, coloured ink on aluminium plate. Examine and prepare condition USA and China, 3–19 October 2004 USA, 7–25 November 2004 Finalise negotiations for exhibition Bequest Fund 2004 figure (1967–68), (printed 2002), pencil. Purchased with funds Purchased with funds provided by reports on works from exhibition Condition check and courier the Attend Oracle Conference for with Palace Museum in Beijing Ailsa Lee Brown (Australia, drypoint, black ink on white provided by the Docking Drawing return of works from Fantastic Photography Curators and meet the Walter and Gillian Bunning 1898–1943), Sydney trams 1927, Hahnemühle 350gsm paper; Sun Yu, Asian art conservator Dr Liu Yang, curator of Chinese art Fund 2004 mountains exhibition with dealers and curators Bequest Fund 2004 linocut, black ink on thin Japanese (1967–68), (printed 2002), drypoint, Singapore and Honolulu, China, 13–29 May 2005 Arthur Boyd (Australia, 1920–99), tissue. Purchased with funds black ink on white Hahnemühle 15 July – 7 August 2004 Sun Yu, Asian art conservator Malgorzata Sawicki, senior frame Finalise negotiations for exhibition SUB TOTAL 73 WORKS 12 prints and 8 printing blocks & provided by Australian Prints, 350gsm paper; Head II (1967–68), Examine and prepare condition USA and China, 3–19 October 2004 conservator with Palace Museum in Beijing plates from the series Lovers (1993): Drawings and Watercolours (printed 2002), drypoint, black ink reports on Chinese paintings from Condition check and courier the France, 22–27 November 2004 Lovers with blue bird (1993), colour Benefactors 2004 on white Hahnemühle 350gsm the Shanghai Museum return of works from Fantastic Present a paper at the ICOM-CC Richard Harling, manager, Gallery ABORIGINAL AND TORRES collagraph printed from two plates Roy de Maistre (Australia; United paper; Head III (1967–68), (printed mountains exhibition Working Group Shop STRAIT ISLANDER ART Dr Liu Yang, curator of Chinese art Hong Kong, UK and USA, on white BFK Rives paper; Working Kingdom, 1894–1968), Sea piece, 2002), drypoint, black ink on white Singapore and China, 2–22 August Ursula Prunster, coordinator, Donna Brett, project officer, 22 May – 11 June 2005 proof for ‘Lovers with blue bird’ St Jean de Luz 1925, oil on canvas. Hahnemühle 350gsm paper; Lena Kuriniya (Australia, 2004 Australian art programs curatorial services Discuss sales to international (1993), collagraph printed in black Ruth Komon Bequest in memory of Head IV (1967–68), (printed 2002), c1939–2003), 2 prints: Marebu Deliver lecture on Chinese Europe and UK, 4–18 October 2004 New Zealand, 1–5 December 2004 distributors, attend and buy at and yellow inks on white BFK Rives Rudy Komon 2005 drypoint, black ink on white mantulubi (pandanus mats and landscape painting at the China Attend meeting on Self portraits Present a paper at the Art London Gift Fair and Book Expo, paper; Working proof for ‘Lovers A H Fullwood (Australia, Hahnemühle 350gsm paper; bush potato) 2001, etching, black Society of Singapore exhibition and research proposed Association of Australia and New USA with blue bird’ (1993), collagraph 1863–1930), Gathering grapes Remembering (1967–68), (printed ink on white wove paper; Djendek exhibition on Van Gogh & Russell Zealand Conference printed in black ink from one plate 1894, black, white and grey 2002), drypoint, black ink on white (sand palm) 1999, etching, black ink Anne Flanagan, general manager, Wayne Tunnicliffe, curator of on white BFK Rives paper; Lovers in gouache on brown paper. Hahnemühle 350gsm paper; Street on white wove paper. Mollie Gowing building services Jackie Menzies, senior curator of Barry Pearce, head curator, contemporary Australian art an orchard (1993), colour collagraph Accessioned 2004 figure (1967–68), (printed 2002), Acquisition Fund for Contemporary New Zealand, 18–20 August 2004 Asian art Australian art Italy, 22 May – 18 June 2005 printed from two plates on white Joe Furlonger (Australia, b1952), drypoint, black ink on white Aboriginal Art 2004 Participate in a ‘new gallery building’ Japan, 9–16 October 2004 UK, Europe, Egypt, 26 February – Courier work by Ricky Swallow to BFK Rives paper; Working proof for South East Queensland – red soils Hahnemühle 350gsm paper; Cripple Kay Lindjuwanga (Australia, discussion at the Auckland City Invited by the College Women’s 24 March 2005 Venice Biennale ‘Lovers in an orchard’ (1993), 2004, colour woodcut on cream II (1967–68), (printed 2002), drypoint, b1957), 6 prints: Mardayin at Art Gallery Association of Japan to speak at the Accompany Margaret Olley to open collagraph printed in black and wove paper. Memorial black ink on white Hahnemühle Dilebang 2004, etching, Maningrida Cara Pinchbeck, assistant, annual 49th Print Show Luncheon her exhibition in London and to yellow inks on white BFK Rives Fund 2004 350gsm paper; Cripple III (1967–68), Brown ink on white BFK Rives Dr Liu Yang, curator of Chinese art Aboriginal programs research exhibitions paper; Working proof for ‘Lovers in Joy Hester (Australia, 1920–60), (printed 2002), drypoint, black ink Moulin du Gué wove paper; Honolulu, 9–15 September 2004 Anthony Bond, general manager, Italy, 5–11 June 2005 an orchard’ (1993), collagraph Female nude (c1945), brush and on white Hahnemühle 350gsm Mardayin at Mukkamukka 2004, Deliver lecture at International curatorial services Hetti Perkins, curator, Aboriginal Attend and participate in Venice printed in black ink from one plate etching, Maningrida Brown ink on Symposium organised in UK, Europe and USA, 11 October – and Torres Strait Islander art Biennale black ink on paper. Purchased with paper; Cripple IV (1967–68), (printed on white BFK Rives paper; Bride white BFK Rives Moulin du Gué conjunction with exhibition Fantastic 14 November 2004 France, 25 March – 2 April 2005 funds provided by Australian Prints, 2002), drypoint, black ink on white drinking from a fountain (1993), wove paper; Waterlily from mountains Finalise contracts etc for exhibition Attend project meetings regarding Charlotte Cox, exhibitions registrar Drawings and Watercolours Hahnemühle 350gsm paper. Thea colour collagraph printed from two Milmilngkan 2004, etching, Self portraits Indigenous Art Commission from New Zealand, 24–27 June 2005 Benefactors 2005 Proctor Memorial Fund 2004 plates on white BFK Rives paper; Maningrida Brown ink on white BFK Natalie Wilson, project officer, Australia Courier to Sydney works by Frank Hinder (Australia, 1906–92), Godfrey Miller (Australia, Australian art Margaret Preston Working proof for ‘Bride drinking Seated nude 1937, carbon pencil 1893–1964), Street scene, London Rives Moulin du Gué wove paper; UK, 12–24 September 2004 from a fountain’ (1993), collagraph on paper. Marshall Bequest Fund (1929), oil on canvas board. D G Waterlily at Milmilngkan 2004, Further research the works of printed in black and yellow inks on 2005 Wilson Bequest Fund 2004 etching, Maningrida Brown ink on Sidney Nolan white BFK Rives paper; Working George W Lambert (Australia, Margaret Olley (Australia, b1923), white BFK Rives Moulin du Gué proof for ‘Bride drinking from a 1873–1930), Woman’s head 1914, Ranunculus and pears 2004, oil on wove paper; Mardayin at Dilebang

62 63 2004, etching, Maningrida Brown Eileen Napaltjarri (Australia, JAPAN boxes. Medium density fibreboard, 1889–1946), From an office window Packer, Jillian Broadbent AO, Peter gelatin silver photograph. Purchased photograph; A journey to Nakaji 1 ink on white BFK Rives Moulin du b1956), Untitled (Tjiturrulpa) 2004, Tosa Mitsuoki (Japan, 1617–91), photographic transparencies, light 1918, mezzotint. Purchased 2005 Weiss AM, Ginny & Leslie Green, with funds provided by the 1984, gelatin silver photograph; Gué wove paper; Milmilngkan synthetic polymer paint on linen Scene from ‘Asagao’ (The morning fittings, electrical cord. Purchased Robert Owen (Australia, b1937), Geoff & Vicki Ainsworth, Catriona & Photography Collection Benefactors New Japan’s scenic trio 2: Ueno billabong (2004), etching, canvas. Purchased with funds glory), chapter 20 of the ‘Tale of with funds provided by the Cadence #1 (a short span of time) Simon Mordant, Susan Rothwell, 2004 Terminal station 1982, gelatin silver Maningrida Brown ink on white BFK provided by the Aboriginal Genji’ 17th century, hanging scroll; Contemporary Collection 2003, synthetic polymer paint on Ann Corlett, Rowena Danziger AM & Cassandra Mathie (Australia, photograph. Purchased with funds Rives Moulin du Gué wove paper. Collection Benefactors 2005 ink and colour on silk. Purchased Benefactors 2004 canvas, 5 panels. Purchased 2004 Ken Coles AM, Energy Australia, b1977), Ali and Rahma 2005, digital provided by the Photography Mollie Gowing Acquisition Fund for Freddie Timms (Australia, born 2004 Max Beckmann (Germany, Sigmar Polke (Germany, b1941), Brian France AM & Philippa France, print. The Citigroup Private Bank Collection Benefactors 2005 Contemporary Aboriginal Art 2005 c1946), Jack Yard 2004, diptych: Utagawa Toyoharu (Japan, 1884–1950), Children at the window Meteor II 1988, silver-bronze and Chris & Yvonne Gorman, John & Australian Photographic Portrait Aaron Seeto (Australia), Missing Mary Marabamba (Australia, earth pigments and synthetic 1735–1814), A beauty [Bijin] 1922, drypoint. Purchased 2004 artificial resin on polyester fabric. Inge Grant, Penelope & Harry Prize winner 2005 2004–05, triptych: 3 watercolour b1938), Cheeky yam 1999, etching, polymer paint on linen canvas. 18th–19th century, Edo (Tokugawa) Christine Borland (Scotland, Purchased with assistance from the Seidler AC OBE, John Symond AM, Rod McNicol (Australia, b1946), albumen prints on glass. Purchased black ink on white wove paper. Purchased with funds provided by period 1615–1868, hanging scroll: b1965), The velocity of drops: Mervyn Horton Bequest Fund 2004 Isaac & Susan Wakil, and a number Robert Hunter 1984 & 2004, 1984, with funds provided by the Mollie Gowing Acquisition Fund for the Art Gallery Society of New South ink and colours on paper. surgical ward from the series The Dieter Roth (Germany; Switzerland, of other private individuals 2004, 2004, (printed) digital print. Photography Collection Benefactors Contemporary Aboriginal Art 2004 Wales Contempo Group 2005 Purchased 1994 velocity of drops 2003, 4 type C 1930–98), Spice window 1971, The Citigroup Private Bank 2005 Susan Marawarr (Australia, b1967), George Ward Tjungurrayi [Shunga] 18th century, album of photographs. Don Mitchell Bequest spices, wood, glass, metal. SUB TOTAL 22 WORKS Australian Photographic Portrait Francesca Woodman (USA, Pandanus mat II 2001, etching, (Australia, born c1955), Untitled woodblock prints with Fund 2004 Purchased 2004 Prize winner 2004 1958–81), from the Eel series, black ink on white wove paper. (Kutungka Napanangka) 2003, handcolouring. Purchased 2004 Frédéric Bruly Bouabré (Ivory David Rosetzky (Australia, b1970), Tracey Moffatt (Australia, b1960), Rome 1977–78, gelatin silver Untouchable 2003, 3 channel Adventure series #5 2003–04, photograph, vintage. Alistair Mollie Gowing Acquisition Fund for synthetic polymer paint on linen ‘Suzuribako’ (writing case) Coast, b1923), There are tears in all PHOTOGRAPHY Contemporary Aboriginal Art 2004 canvas. Purchased 2004 18th–19th century, Edo (Tokugawa) the human races 2003, coloured synchronised digital video digital colour print on Fujiflex paper. McAlpine Photography Fund 2005 John Mawurndjul (Australia, Paddy Fordham Wainburranga period 1615–1868, lacquer. pencil on paper, 14 panels. projection, colour, sound, duration Bernd and Hilla Becher (Germany, Purchased with funds provided by b1952), 7 prints: Mardayin at (Australia, born c1932), 2 Purchased 2004 Purchased with funds provided by 18.38min (looping). Anne Landa born 1931 and 1934), Blast Stephen Ainsworth, John Frey, The SUB TOTAL 14 WORKS Dilebang 2004, etching, Maningrida sculptures: Balangjangalan spirit late the Don Mitchell Bequest Fund and Award winner 2005 furnaces 1970–95, 5 gelatin silver Freedman Foundation, Malcolm & Brown ink on white BFK Rives 1980s, natural earth pigments and SUB TOTAL 4 WORKS the Mervyn Horton Bequest Fund Walter Sickert (England, 1860– photographs. Alistair McAlpine Rhonda Rose and the Photography TOTAL WESTERN ART Moulin du Gué wove paper; acrylic binder on wood; 2005 1942), 2 prints: The Old Bedford Photography Fund 2004 Collection Benefactors 2005 DEPARTMENT 37 WORKS Billabong at Milmilngkan (2004), Balangjangalan spirit late 1980s, KOREA Ian Burn (Australia;USA, 1939–93), (small plate) 1910, etching; Sally Ilse Bing (Germany, 1899–1998), Tracey Moffatt (Australia, b1960), etching, Maningrida Brown ink on natural earth pigments and acrylic Unknown, Eight panel ‘Munjado- Systematically altered photographs c1911, etching. Purchased 2004 Self portrait with Leica 1931, printed Adventure series #7 2003–04, TOTAL ALL DEPARTMENTS: white BFK Rives Moulin du Gué binder on wood. Mollie Gowing chaekkori’ screen 19th century, 1968, 3 black and white Cy Twombly (USA; Italy, b1928), 1941, gelatin silver photograph. digital colour print on Fujiflex paper. 156 WORKS PURCHASED wove paper; Mardayin design 2004, Acquisition Fund for Contemporary Choson dynasty 1392–1910, ink and photographs (reproduction from Three studies from the Temeraire Alistair McAlpine Photography Fund Purchased with funds provided by etching, Maningrida Brown ink on Aboriginal Art 2005 colour on paper. Purchased 2004 ‘Australian Panorama’, Australian 1998–99, oil on canvas (triptych). 2005 Kate Armati, Penelope Seidler and white BFK Rives Moulin du Gué Tommy Watson (Australia, born News and Information Bureau, Joint acquisition with funds provided Cherine Fahd (Australia, b1974), the Photography Collection wove paper; Mardayin design 2004, c1935), Wipu rockhole 2004, SUB TOTAL 1 WORK c1967) and photocopy on paper, by the Art Gallery Society of New The Chosen, Africa 2003–04, type Benefactors 2005 etching, Maningrida Brown ink on synthetic polymer paint on canvas. 1 black and white photograph. South Wales and the Art Gallery of C photograph. Viktoria Marinov Moriyama Daido (Japan, b1938), white BFK Rives Moulin du Gué Purchased with funds provided by THAILAND Purchased with funds provided by New South Wales Foundation, with Bequest Fund 2004 4 gelatin silver photographs: Tokyo wove paper; Mardayin at the Aboriginal Collection ‘Phra Malai’ (The poem about the the Rudy Komon Memorial Fund the assistance of the following major Annelise Kretschmer (Germany, 1977, gelatin silver photograph; Mukkamukka 2004, etching, Benefactors 2004 venerable monk Malai) 19th century, 2005 donors: Kerry Packer AC & Roslyn 1903–78), Untitled 1924–28, vintage Tokyo 1973, gelatin silver Maningrida Brown ink on white BFK Tommy Watson (Australia, born concertina manuscript, double- Otto Dix (Germany, 1891–1969), Rives Moulin du Gué wove paper; c1935), Walpu 2004, sythetic sided 97 foldout leaves; colours on The suicide from the portfolio Tod Kun-madj 2004, etching, Maningrida polymer paint on canvas. Mollie paper; written in old Cambodian und Auferstehung (Death and Brown ink on white BFK Rives Gowing Acquisition Fund for script in black ink. Edward & Goldie resurrection) 1922, drypoint. Moulin du Gué wove paper; Wayuk Contemporary Aboriginal Art 2005 Sternberg Southeast Asian Art Fund Purchased 2004 at Kakodbabuldi 2004, etching, Regina Wilson (Australia, b1948), 2005 Shaun Gladwell (Australia, b1972), COLLECTION GIFTS Maningrida Brown ink on white BFK Syaw (Fish net) 2004, synthetic SUB TOTAL 1 WORK Woolloomooloo (night) 2005, Rives Moulin du Gué wove paper. polymer paint on canvas. digital video. Purchased with funds Mollie Gowing Acquisition Fund for Purchased 2004 TIBET provided by the Contemporary Contemporary Aboriginal Art 2005 Pedro Wonaeamirri (Australia, Kalachakra 14th century, gilt bronze Collection Benefactors 2005 AUSTRALIAN ART Jonah’s prayer (1997), colour collagraph printed from two plates New South Wales (c1932), pencil, Tommy McRae (Australia, b1974), 2 paintings: Pwoja – with inset gems. Purchased 2005 Anthony Gross (England, collagraph printed from two plates on white BFK Rives paper; watercolour on white wove paper; Manuscript cover 13th century, ANONYMOUS GIFT c1830s–1901), Spearing the Pukumani body paint design 2004, 1905–84), Scene in a park 1936, on white BFK Rives paper; Working Collagraph plate for ‘Jonah’s prayer’ South Coast New South Wales natural pigments on paper; Pwoja – carved and gilded wood. David Petr Herel (Australia, b1943), 2 prints kangaroo (c1880s–c1890s), pen etching. Patricia Lucille Bernard proof for ‘Jonah’s prayer’ (1997), (1997), glue, carborundum powder, Aboriginal (c1932), pencil, Pukumani body paint design 2004, George Wilson Bequest Fund 2004 and 1 drawing: Etre devenant dans le and brown ink on buff paper. Bequest Fund 2005 collagraph printed in black ink from traces of coloured ink on aluminium watercolour on white wove paper Purchased 2004 natural pigments on paper. Tibetan manuscript cover of wrathful William Kentridge (South Africa, devenir de chute 1974, etching and one plate on white BFK Rives plate; Colour plate for ‘Jonah’s Kate Miwulku (Australia, born Purchased with funds provided by Mahakala 15th century, carved b1955), Tide table 2003, animated aquatint, brown/black ink on ivory paper; Working proof for ‘Jonah’s prayer’ (1997), glue, carborundum CLAUDE JONES AND IAN RAMSAY c1950), 2 prints: Dilly bay the Aboriginal Collection wood with gilt painting on lacquered film, 35mm film, video and DVD wove paper; Last crosser 1985, prayer’ (1997), colour collagraph powder, traces of coloured ink on 23 prints from the portfolio Circa (Barlangunngun), etching, brown ink Benefactors 2004 inside. Purchased 2004 transfer with sound, 8:53min etching, black ink on ivory laid paper; printed from two plates on white aluminium plate; Collagraph plate 2002 2002: on white wove paper; Untitled, duration. Purchased 2005 Untitled 1975, brush and blue wash BFK Rives paper; Working proof for for ‘Jonah’s dream’ (1997), glue, Christopher Armijo (USA), Tip etching. Mollie Gowing Acquisition SUB TOTAL 34 WORKS SUB TOTAL 3 WORKS Idris Khan (England, b1978), on grey wove handmade paper ‘Jonah’s prayer’ (1997), colour carborundum powder, traces of 2002, colour lithograph on white Fund for Contemporary Aboriginal every… Bernd & Hilla Becher Prison Allan Mitelman (Australia, b1946), collagraph printed from two plates coloured ink on aluminium plate; wove paper Art 2004 TOTAL AUSTRALIAN ART TOTAL ASIAN ART DEPARTMENT Type Gasholder every… Bernd & Untitled 1993, diptych: tempera on on white BFK Rives paper; Working Colour plate for ‘Jonah’s dream’ Todd Arsenault (USA), Water for Lofty Bardayal Nadjamerrek AO DEPARTMENT 107 WORKS 12 WORKS Hilla Becher Spherical Type two sheets of wove paper proof for ‘Jonah’s prayer’ (1997), (1997), glue, carborundum powder, pleasure 2002, colour screenprinted (Australia, born c1926), Gasholder every… Bernd & Hilla Bulandjalarnlan 2004, natural Becher Gable Sided House 2004, ELISABETH CUMMINGS colour collagraph printed from two traces of coloured ink on aluminium CD-cover on grey card with music pigments on eucalyptus bark. ASIAN ART EUROPEAN ART PRE 1900 triptych: 3 Lamda digital C prints Elisabeth Cummings (Australia, plates on white BFK Rives paper; plate CD Purchased with funds provided by mounted on aluminium. Gift of b1934), 7 prints: The piano room Cancelled working proof for Shannon Badiee (USA), Untitled CHINA Théodore Géricault (France, ‘Jonah’s prayer’ (1997), colour THE TRUSTEES OF THE SIR (2002), colour screenprint on grey the Aboriginal Collection Offering tray, Tang dynasty Geoff and Vicki Ainsworth 2005 2001, colour etching, aquatint, 1791–1824), The boxers 1818, collagraph printed from two plates WILLIAM DOBELL ART paper with resin Benefactors 2004 618–907, earthenware with sancai Lindy Lee (Australia, b1954), purple, mustard and black inks on lithograph. Parramore Purchase on white BFK Rives paper; Jonah’s FOUNDATION Rebecca Beadmore (Canada; Ivan Namirrkki (Australia, b1961), (three-colour) glaze; amber, green Virtues of the receptive 2003, Inkjet ivory Arches paper; Teapot 2001, Fund 2004 dream (1997), colour collagraph Garry Shead (Australia, b1942), Australia, b1974), The margin 2002, Lorrkkon Wubarr/Morak ceremony and cream. Edward and Goldie print, synthetic polymer paint on etching, purple/black ink on ivory printed from two plates on white Colloquy with John Keats 2004, colour screenprint on white wove 2004, natural pigments and feathers Sternberg Chinese Art Purchase board, 20 panels. Henry Salkauskas Arches paper; Teapot or Teapot 2 SUB TOTAL 1 WORK BFK Rives paper; Working proof for diptych: pen and brown ink, wash, paper on wood (Eucalyptus tetradonta). Fund & Asian Collection Art (Purchase) Award 2004 2001, etching, aquatint, black ink ‘Jonah’s dream’ (1997), collagraph collage on two sheets of ivory Elise Benamane (Australia, b1945), Purchased with funds provided by Benefactors 2004 Giorgio Morandi (Italy, 1890–1964), on ivory Arches paper; Studio table 2001, etching, aquatint, blue/black printed in black ink from one plate wove paper Play this one for me 2002, photo the Aboriginal Collection Yue ware, Water pot in form of a MODERN AND Still life 1949, oil on canvas. Benefactors 2004 Purchased with funds provided by ink on ivory Arches paper; Saucepan on white BFK Rives paper; Working etching on white wove paper frog Western Jin dynasty CONTEMPORARY ART Samuel Namunjdja (Australia, 265–316CE, celedon stoneware. the Lady Maisie Drysdale Bequest, 2001, etching, aquatint, purple/black proof for ‘Jonah’s dream’ (1997), BEQUEST OF INGA DULIEU Graham Connell (USA), Hot night b1965), Bilwoyinj site 2004, natural Purchased 2005 John Baldessari (USA, b1931), the Ruth Komon Bequest in ink on ivory Arches paper; Night colour collagraph printed from two J Llewelyn Jones (Australia, 2002, colour woodcut on cream pigments on eucalyptus bark. Mollie Some narrow views: (either tall or memory of Rudy Komon and the bird 2001, etching, aquatint, plates on white BFK Rives paper; 1866–1927), South Head and Gap wove paper Gowing Acquisition Fund for SUB TOTAL 2 WORKS wide) 2004, boxed portfolio of 10 Margaret Hannah Olley Art Trust blue/black ink on ivory Arches Working proof for ‘Jonah’s dream’ 1924, oil on canvas on cardboard Leigh Craven (USA, b1979), Contemporary Aboriginal Art 2004 photogravures plus title page and 2004 paper; The red table 2001, colour (1997), colour collagraph printed Untitled 2002, colour woodcut on January Nangunyari-Namiridali INDIA colophon printed on Magnani Jan Nelson (Australia, b1955), etching, aquatint, red, purple and from two plates on white BFK Rives SALLY HUMPHREY cream laid paper (Australia, c1901–1972), Untitled Tamil Nadu, Androgynous form of Pescia paper. Mervyn Horton Walking in tall grass, Emily 2001, yellow inks on ivory Arches paper paper; Working proof for ‘Jonah’s B E Minns (Australia, 1864–1937), Mekhala Daulet-Singh (India, 1960s, natural pigments on bark. Shiva and Parvati (Ardhanarishvara) Bequest Fund 2005 oil on linen. Purchased with funds dream’ (1997), colour collagraph 3 watercolours: Australian b1980), There’s pink under this Purchased with funds provided by c1100, granulite. Purchased 2004 John Barbour (Netherlands; provided by the Contemporary INDRA AND ANTHONY DEIGAN printed from two plates on white Aborigine, North Coast, New South 2002, aquatint, foul bite, rocker, the Aboriginal Collection Australia, b1954), Sisters of Charity Collection Benefactors 2004 Arthur Boyd (Australia, 1920–99), BFK Rives paper; Cancelled proof Wales (c1932), pencil, watercolour drypoint, chine collé on cream Benefactors 2005 SUB TOTAL 1 WORK (untitled objects) 1993–97, 12 light C R W Nevinson (England, 12 prints, 4 printing blocks & plates: for ‘Jonah’s dream’ (1997), colour on white wove paper; Aboriginal, wove paper

64 65 Emiko Davies (Australia), Requiem KEVIN LINCOLN Sydney 1978: Northwood Point, ABORIGINAL AND TORRES JUDY WATSON JUDITH AND KEN RUTHERFORD circular dance 1920s – early 1950s, Ceremonial hanging 20th century, (2002), lithograph on white wove Kevin Lincoln (Australia, b1941), Lane Cove River 1978, soft-ground STRAIT ISLANDER Judy Watson (Australia, b1959), 2 textiles: Yuan Shikai nine symbol embroidery on cotton cotton warp ikat paper Hendrik Kolenberg 2003, etching etching printed in blue ink from zinc Untitled 1990, pigment and roundel c1900, embroidered silk; West Timor, 4 textiles: Blanket Henry Ferreira (USA, b1947), plate on white 250gsm Velin Arches CHRISTOPHER HODGES AND charcoal on plywood Yuan Shikai seven symbol roundel TONI MCDOWELL 20th century, warp ikat; Batik with American dream/ recycled 2002, FRANK LOWY paper; Iron Cove, Sydney Harbour HELEN EAGER c1900, embroidered silk Rajasthan, Bhilwara district, Pabuji wayang design c1900, old fragile collage: screenprint on cheesecloth Bryan Westwood (Australia, 1978, soft-ground etching printed in Paddy Fordham Wainburranga SUB TOTAL 20 WORKS Phad (wall hanging) c1970s, colour silk; [Textile] 20th century, cotton and plaster, on white wove paper 1930–2000), Portrait of Frank Lowy blue ink from zinc plate on white (Australia, born c1932), ELIZABETH STEAD on canvas warp ikat, 2 pieces stitched Mirabel Fitzgerald (Australia, 1997, oil on canvas 250gsm Velin Arches paper; The Balangjangalan spirit late 1980s, TOTAL AUSTRALIAN ART Garment hook Qing dynasty together; [Textile] 20th century, b1945), Words – lost and found summit, Ball’s Head 1978, soft- natural earth pigments and acrylic DEPARTMENT 116 WORKS 1644–1911, jade DR JOHN YU AND DR GEORGE cotton warp ikat, 2 pieces stitched 2002, colour screenprint, etching JOHN McBRIDE ground etching printed in blue ink binder on wood SOUTTER together on ivory wove paper Brent Harris (New Zealand; from zinc plate on white 250gsm DR JOHN YU AND DR GEORGE Coromandel Coast, Sacred Claude Jones (New Zealand; Australia, b1956), 7 prints from the Velin Arches paper; The Lane Cove DR COLIN AND MRS ELIZABETH ASIAN ART SOUTTER heirloom textile cloth ma’a painted SUB TOTAL 27 WORKS Australia, b1967), Untitled 2002, series ‘Grotesquerie’ 2002: River 1978, soft-ground etching LAVERTY 12 woodwork carvings: Brush pot with a scene from the Ramayana, Butcher Cherel Janangoo BURMA lithograph, chine collé on cream Grotesquerie No 1 2002, colour printed in blue ink from zinc plate on WALTER McKENZIE 1848 or 1888, wood, with Chinese painted cotton KOREA wove paper woodcut printed in black, brown, white 250gsm Velin Arches paper; (Australia, born c1920), Wirndooroo inscriptions; Brush pot c18th century, DR YOUNG YANG CHUNG (Bush Stone Curlew) (2001), Long temple hanging (‘kalaga’) Delia Kovac (USA), Conversation: yellow and white ink on cream The Balmain buoy 1978, soft- c1980, heavily embroidered using wood; Brush pot c19th century, SUB TOTAL 3 WORKS 2 textiles: Single crane badge for the lost art of subtlety 2002, Japanese paper; Grotesquerie No 2 ground etching printed in blue ink synthetic polymer paint on Velin burlwood; Brush pot c19th century, 1st rank civil official c1850, Arches paper raised designs, inlaid glass & metal screenprint with carborundum on 2002, colour woodcut printed in from zinc plate on white 250 gsm beads on cotton burlwood; Paint brush Qing dynasty INDONESIA embroidered silk; Double crane sky blue wove paper black, yellow and white ink on Velin Arches paper Queenie McKenzie (Australia, 1644–1911, bamboo, horn, hair; J A & H D STERLING badge for a 1st to 3rd rank civil Keith Lopez (USA, b1973), cream Japanese paper; Lloyd Rees (Australia, 1895–1988), c1915–98), Balinji (1997), natural SUB TOTAL 1 WORK Paint brush mid 20th century, wood, Bali, Hills above Ubud, Pair of official c1850, embroidered silk Wrought 2002, screenprint, black Grotesquerie No 3 2002, colour 7 drawings: Drawing for pigments on canvas horn, hair, inscription; Paint brush Wayang puppets c1970, buffalo and grey ink on cream wove paper woodcut printed in black, yellow ‘Northwood Point, Lane Cove River Nyurapayia Nampitjinpa (Australia, CAMBODIA bamboo, horn, hair; Paint brush Qing hide, paint JUDITH AND KEN RUTHERFORD Patrick Masterton (USA, b1966), and white ink on cream Japanese 1978, black felt pen on white born c1935), Untitled (1997), JAMES DE SIUN IN HONOUR OF dynasty 1644–1911, bone, horn, Rank insignia with single crane worn Thirtysixth mutation (2002), colour paper; Grotesquerie No 7 2002, wove paper, rubbed with black synthetic polymer paint on linen HIS MOTHER, PATRICIA LAFFAN hair; figural engraving on handle; MRS THEA WADDELL by 4th to 9th rank 19th century, gravure, spitbite on ivory wove colour woodcut printed in black, crayon on verso; Study for ‘Iron canvas DE SIUN Paint brush Qing dynasty 1644–1911, Wayang puppet – Siwa, God of embroidered silk paper yellow and white ink on cream Cove, Sydney Harbour’ or ‘The Walangkura Napanangka Khmer, Bayon style, 2 sculptures: bamboo, horn, hair, inscription; Paint destroyer, from Mahabarata story Michael Neff (Australia), Red sky Japanese paper; Grotesquerie No 9 Island, Iron Cove’ 1978, black felt (Australia, born c1946), 2 paintings: Head of Avalokiteshvara 13th brush Qing dynasty 1644–1911, late 20th century, buffallo hide, paint SUB TOTAL 3 WORKS by morning 2002, colour screenprint 2002, colour woodcut printed in pen on white wove paper, rubbed Untitled 2002, synthetic polymer century, sandstone; Male torso bamboo, horn, hair; Paint brush Qing on cream wove paper black, brown and white ink on with soft pencil on verso; Study for paint on linen canvas; Untitled 10th century, sandstone dynasty 1644–1911, tortoiseshell, JOHN YU AND DR GEORGE PHILIPPINES Dennis Peterson (USA), Untitled cream Japanese paper; ‘The summit, Ball’s Head’ or ‘Dusk (1997), synthetic polymer paint on hair; Paint brush mid 20th century, SOUTTER JOHN YU AND DR GEORGE 2002, colour etching, aquatint, Grotesquerie No 10 2002, colour on the Harbour’ 1978, pencil on linen canvas SUB TOTAL 2 WORKS bamboo, hair; inscriptions Acheh, Sumatra, Selandang scarf SOUTTER drypoint on cream wove paper woodcut printed in black, brown cream wove paper rubbed with Prince of Wales (Australia, with songket 20th century, silk with Bontoc Igorot, 2 wood carvings: Andrew Raftery (USA, b1962), and white ink on cream Japanese soft pencil on verso; Drawing for c1935–2002), Body marks CHINA SUB TOTAL 27 WORKS gold wrap threads Shield 20th century, dark wood; Open house: craftsman’s bungalow paper; Grotesquerie No 14 2002, ‘Iron Cove, Sydney Harbour’ 1978, (2002), synthetic polymer paint BEQUEST OF MRS E C Central Kalimantan, 2 textiles: Shield 20th century, dark wood 2002, colour chiaroscuro relief print colour woodcut printed in black, pencil on ivory laid paper, with on canvas AINSWORTH JAPAN ‘Pua’ 20th century, cotton, warp Ifugao, 5 textiles: Man’s bag 20th from three polymer plates on cream yellow and white ink on cream wax impressions on verso; Drawing Kutuwulumi Purawarrumpatu Peach-bloom vase Kangxi MADELINE BOULKEN IN MEMORY ikat; ‘Pua’ 20th century, cotton, century, cotton, beads; Man’s bag wove paper Japanese paper for ‘The Lane Cove River’ 1978, (Australia, c1928–2003), Untitled 1662–1722, Qing dynasty OF HER MOTHER ESPERANCE warp ikat 20th century, cotton, beads, shells, Ian Ramsay (USA, b1980), Traces pencil on ivory laid paper, with (1996), synthetic polymer paint on 1644–1911, glazed porcelain BOULKEN AND HER FATHER Central Kalimantan, Dyak, 3 wood brass bells; Man’s bag 20th century, 2002, colour screenprint, lithograph CHARLES NODRUM wax impressions on verso; linen canvas BENJEMAN BOULKEN carvings: Pig trap stick (‘tun tun’) cotton; Loin cloth 20th century, on cream wove paper Godfrey Miller (Australia, Drawing for ‘The Balmain buoy’ Alan Winderoo Tjakamarra ANONYMOUS GIFT Monkey wearing a waistcoat and 20th century, wood; Pig trap stick cotton twill, beading; Skirt 20th Brian Shure (USA, b1952), Untitled 1893–1964), Dusk, Warrandyte 1978, pencil on ivory laid paper, (Australia, born c1920), Windiki, Embroidered jacket early 20th using an eyeglass to examine a (‘tun tun’) 20th century, wood; Pig century, cotton with brocade 2002, soft-ground and spitbite (c1924), pencil, oil on canvas on with wax impressions on verso; Mongrel Downs in the Tanami century, embroidered silk peach c1900, Meiji period trap stick (‘tun tun’) 20th century, decoration, shell and bead aquatint, false-bite, printed with board Drawing for ‘Dusk on the harbour’ Desert (1996), synthetic polymer 1868–1912, cast patinated bronze wood adornment bronze and aluminium powder on 1978, pencil, blue ballpoint pen paint on linen canvas DOREEN CHEONG Flores, Ende region, Ceremonial Ifugao, Hill tribes, 2 sculptures: indigo-gampit chine collé on cream FRANK O’KEEFE on ivory laid paper, with wax Tony Tjakamarra (Australia), Hat knob for 7th rank official late BEQUEST OF PATRICIA ENGLUND tube sarong 20th century, cotton Standing ‘bulul’ rice god figure 20th wove Somerset paper James Gleeson (Australia, b1915), impressions on verso Untitled 2000 synthetic polymer 19th century, gilt silver; copper Hamada Sho- ji (Japan, 1894–1978), warp ikat century, dark wood; Seated ‘bulul’ Justin Trendall (Australia), Study for ‘The Ubu diptych: Ubu Lloyd Rees (Australia, 1895–1988) paint on linen canvas Rectangular bottle-vase with iron Flores, Lio Regency, Scarf 20th rice god figure 20th century, dark Self – Information 2 from 2002, regnant and the senior mandarin’ and David Rankin (Australia, Old Walter Tjampitjinpa (Australia, MRS H DRESDNER glaze, signed box pre 1954, century, cotton warp ikat wood screenprint, printed in white ink 2002–04, diptych: charcoal, collage b1946), Dusk on the harbour from c1912–81), Men’s journey (1971), 2 textiles: Pair of rank badges for a stoneware, press moulded and cut Flores, Manggarai Regency, 2 Kalinga, [Textile] 20th century, on beige felt on two sheets of white wove paper the series Tribute to Sydney 1978, synthetic polymer paint on 4th rank official c1880, couched Kawai Kanjiro (Japan, 1890–1966), textiles: Sarong skirt 20th century, cotton with floating weft decoration, Mark Walker (Australia, b1968), soft-ground etching printed in blue hardboard embroidery on silk; Section of Square bottle-vase c1960s, slab- cotton, supplementary decoration, shell ornaments, beads Lettera 35 from 2002, colour MARGARET OLLEY ink from zinc plate on white 250gsm Ronnie Tjampitjinpa (Australia, official brocade dragon robe 18th mould stoneware with underglaze tube; Sarong skirt 20th century, Mindanao, 4 textiles: ‘Langkit’ screenprint, etching on ivory wove Ben Quilty (Australia, b1973), Velin Arches paper, hand-coloured born c1942), Untitled 1995, century, Qing dynasty 1644–1911, iron and copper red glaze cotton, supplementary decoration, 20th century, silk woven decorative paper with three holes punched on Golden soil, wealth for toil 2004, in watercolour by David Rankin synthetic polymer paint on linen embroidered silk Seto ware, ‘Ishizara’ food plate tube stripes, slit tapestry; ‘Langkit’ 20th left side of sheet with pencil oil on canvas canvas 1800–50, stoneware with ‘horse Flores, Sikka Regency, 2 textiles: century, silk woven decorative inscriptions BEQUEST OF JOHN ROBERTSON Michael Mutji Tjangala (Australia, MR TECK-CHIOW LEE eye’ (umanome) design in iron Ceremonial tube sarong 20th stripes; slit tapestry; ‘Langkit’ Cyndi Wish (USA, b1976), X (y) MARGARET HANNAH OLLEY ART Arthur Streeton (Australia, born c1940), Pundujarpa (2000), Guan Shanyue (China, century, cotton warp ikat; 20th century, silk woven decorative 2002, colour linocut on grey wove TRUST 1867–1943), Cupid (c1890s), oil on synthetic polymer paint on linen 1912–2000), Sea of clouds on REV MUNEHARU KUROZUMI Ceremonial skirt 20th century, stripes; slit tapestry; Tube skirt paper Judy Cassab (Australia, b1920), wood panel canvas Mount Huang 20th century, hanging Inuyama Takuya (Japan, b1953), cotton warp ikat 20th century, malong silk, complex Hillside, Rainbow Valley 2003, Willy Tjungurrayi (Australia, scroll; ink on paper Large jar with ‘chindeisai’ glaze Minankabau, Sumatra, Body techniques, central tapestry weave PETER KINGSTON charcoal, watercolour, gouache on PAMELA SCHUTTLER born c1936), 4 paintings: Lou Shibai (China, b1918), Lotus Heisei period 1989–, stoneware with wrapper 20th century, songket on langkit, brocade and ikat Peter Kingston (Australia, b1943), white Arches paper John Coburn (Australia, b1925), Untitled 2000, synthetic polymer and mandarin ducks 20th century, chindeisai glaze silk Mindanao, Bagobo people, 2 Friday night at Kookaburra’s 2003, Abstract (Christmas card) 1960, paint on linen canvas; Untitled hanging scroll; ink and colour on Isezaki Jun (Japan, b1936), Bizen Savu, Tube skirt 20th century, cotton textiles: Tube skirt 20th century, colour linocut printed in blue and JOCELYN PLATE gouache on ivory wove paper on 2000, synthetic polymer paint paper ware, ‘Kabura Tokkuri’ Heisei period warp ikat with Dutch lion motif abaca fibres with ikat decoration; black inks, hand-coloured in yellow Carl Plate (Australia, 1909–77), 3 hardboard on linen canvas; Untitled 2000 Lu Yanshao (China, b1918), 1989–, stoneware Singaraja, Bali, Skirt c1900, Shirt with silk embroidery on sleeve and white gouache on cream laid prints: Green becomes black 1968, synthetic polymer paint on Thatched hut on Mount Lu 20th Kimura Yoshiro (Japan, b1946), songket silk/supplementary metal 20th century, abaca fibres, silk tissue colour lithograph printed in green AIDA TOMESCU linen canvas; Untitled 2001, century, hanging scroll; ink and Vessel with rippling decoration threads and couching, gold thread embroidery and brown inks on cream wove Aida Tomescu (Romania; Australia, synthetic polymer paint on linen colour on paper (‘hekiyu renmonki’), Heisei period throughout; tube Mindanao, Maranao people, 2 DR COLIN AND MRS ELIZABETH Arches paper; Red and black 1968, b1955), 5 prints: Seria neagra I canvas Wang Geyi (China, b1918), Peach 1989–, porcelain with aquamarine Sumatra, Sadum cloth 20th textiles: Tube skirt (‘Malong landap’) LAVERTY colour lithograph printed in red and 1999, lift-ground aquatint, drypoint, of longevity 20th century, hanging glaze century, cotton, beads incorporated 20th century, silk with tapestry Keith Looby (Australia, b1940), black inks on cream wove Arches black ink on paper; Seria neagra II DR MILTON ROXANAS scroll; ink and colour on paper Konishi Tozo (Japan, b1948), Bizen in weaving process weave, decorative strip or langkit; Unknown from the National Gallery paper; Black and red 1968, colour 1999, lift-ground aquatint, drypoint, Jimmy Njiminjuma (Australia, Wang Ziwu (China, b1918), 2 ware (Japan), ‘Koku’ Heisei period Sumba, Ceremonial sarong, ‘Lau Tube skirt (‘Malong landap’) 20th series 1979, oil on canvas screenprint (serigraph) printed in black ink on paper; Seria neagra III 1945–2004), Wakwak (Crow paintings: A cock and two hens 1989– , stoneware Hada’ 20th century, cotton, tufted century, silk with tapestry weave, Carl Plate (Australia, 1909–77), Up, red, grey and black inks, with white 1999, lift-ground aquatint, drypoint, Dreaming Site) (2000), natural 20th century, hanging scroll; ink and yarn, stitched figures decorative strip or langkit outwards 1962, synthetic polymer gouache, on white wove paper black ink on paper; Seria neagra IV pigments on eucalyptus bark colour on paper; Two eagles 20th SUB TOTAL 8 WORKS Sumbawa, Selimat or scarf 20th Mindanao, T’boli tribe, 2 textiles: paint on hardboard 1999, lift-ground aquatint, drypoint, century, hanging scroll; ink and century, cotton Blanket 20th century, abaca fibre, Tony Tuckson (Australia, 1921–73), ALAN AND JANCIS REES, THE black ink on paper; Neagru I 1991, MARGARET TUCKSON colour on paper INDIA Tanimbar, Tube skirt c1900, cotton warp ikat; Blanket 20th century, 2 drawings: Untitled c1952–c56, ARTIST’S SON AND DAUGHTER- lift-ground aquatint, black ink on Unknown (Papua New Guinea), Zhang Zhiwan (China, b1918), Red JIM MASSELOS warp ikat abaca fibre, warp ikat oil, wash and charcoal on paper; IN-LAW paper Southern Highlands spirit figure leaves in an autumnal grove 20th Gujarat, probably Saurashtra Toraja, Sulawesi, Rongkong Sulu Archipelago, Waist cloth Untitled c1952–c56, oil, wash and Lloyd Rees (Australia, 1895–1988), c1960s, 1971 (collected) cane century, hanging scroll; ink and region, Embroidered wedding district, 2 textiles: Shroud 20th (‘kandit’) 20th century, silk, tapestry charcoal on paper 5 prints from the series Tribute to SUB TOTAL 96 WORKS and vegetable fibre colour on paper canopy (or ‘chakla’) with design of century, cotton, warp ikat; weave

66 67 Sulu Archipelago, Tausug people, 1995, 4 gelatin silver photographs, PHOTOGRAPHY on card; Windowsill daydreaming, RAINBOW JOHNSON, ROBERT (old boat house), gelatin silver Waverley 1904, gelatin silver SUB TOTAL 79 WORKS Waist cloth (‘kandit’) 20th century, 1 type C photograph; Rampant Rochester, New York, July 1958 JOHNSON AND SALLY GARRETT photograph; Berry’s Bay, gelatin photograph; Yehudi Menuhin 1935, GEOFF AND VICKI AINSWORTH silk, tapestry weave 1999, 7 gelatin silver photographs 1958, gelatin silver photograph Harold Cazneaux (New Zealand; silver photograph; Berry’s Bay, gelatin silver photograph; Farm on TOTAL WESTERN ART Tracey Moffatt (Australia, b1960), Tinguian, 2 textiles: [Textile] 20th mounted on card; Empty head, Australia, 1878–1953), 19 gelatin gelatin silver photograph; the hill, (aka Road up the hill), DEPARTMENT 104 WORKS 10 digital colour prints: Adventure century, cotton, warp ikat; red and PAMELA HANSFORD Rochester, New York, February silver photographs: Untitled Beachcombers c1910 (printed gelatin silver photograph; series #1 2003–04, digital colour blue checkers; On the loom textile Matthys Gerber (Netherlands; 1962 1962, gelatin silver (Theseus and the Minotaur, later), gelatin silver photograph; Darlinghurst Road 1933, gelatin TOTAL ALL DEPARTMENTS: print on Fujiflex paper; Adventure 20th century, cotton warp ikat Australia, b1956), Slavedriver 2003, photograph mounted on card; Archibald Fountain, Hyde Park) Evening falls, Circular Quay 1909, silver photograph; A by-way to Pitt 324 WORKS GIFTED series #2 2003–04, digital colour Bag 20th century, cotton with bead oil and synthetic polymer paint on Galaxy, Rochester, New York, 1933, gelatin silver photograph; gelatin silver photograph; Untitled Street, pre 1929 (printed later), print on Fujiflex paper; Adventure decoration canvas January 12, 1959 1959, gelatin Untitled (opening night of Sydney (opening night of Sydney Harbour gelatin silver photograph; Old series #3 2003–04, digital colour silver photograph mounted on card; Harbour Bridge) 1932, gelatin silver Bridge) 1932, gelatin silver timber yard pre 1929, gelatin silver TOTAL WORKS PURCHASED AND print on Fujiflex paper; Adventure SUB TOTAL 25 WORKS HENDRIK KOLENBERG Burned mirror, Rochester, New York, photograph; Rain clouds, Seven photograph; Untitled (HMS photograph; Memorial c1933, GIFTED IN 2004–05: 480 series #4 2003–04, digital colour Walter Sickert (England, June 1959 1959, gelatin silver Hills, NSW, gelatin silver Renown taken from Kurraba Point, gelatin silver photograph print on Fujiflex paper; Adventure THAILAND 1860–1942), Dieppe, The Old Hotel photograph mounted on card; photograph; Sunshine and gossip, Sydney Harbour at the time of the William Fell (Australia, 1892–1918), series #5 2003–04, digital colour DR JOHN YU AND DR GEORGE Royal 1910, hand photogravure Dumb face, frost on window, pre 1920, gelatin silver photograph; visit of the Duke and Duchess of Troopships leaving Albany, WA 1915 print on Fujiflex paper; Adventure SOUTTER etching January 12, 1959 1959, gelatin Wynyard railway buildings c1935, York) 1927, gelatin silver (printed later), gelatin silver series #6 2003–04, digital colour Northern Thailand, Paan ware dish gelatin silver photograph; Untitled photograph; Fishing off the rocks, photograph print on Fujiflex paper; Adventure silver photograph mounted on card; c1500, celadon DR COLIN AND MRS ELIZABETH series #7 2003–04, digital colour Icicle in light, Rochester, New York, LAVERTY print on Fujiflex paper; Adventure January 17, 1959 1959, gelatin SUB TOTAL 1 WORK Anthony Galbraith (Australia, series #8 2003–004, digital colour silver photograph mounted on card; 1951–96), Untitled No 46 1988, print on Fujiflex paper; Adventure Ritual branch, frost on window, LOANS VIETNAM painted wood, glass and limed box series #9 2003–04, digital colour December 8, 1958 1958, gelatin JUDITH AND KEN RUTHERFORD Louise Hearman (Australia, print on Fujiflex paper; Adventure silver photograph mounted on card; Annamese, 7 textiles: b1963), Untitled #836 2001, oil on series #10 2003–04, digital colour Christmas ornament, Batavia, New Vietnamese child’s surcoat c1825, masonite print on Fujiflex paper York, January 1958 1958, gelatin embroidered silks; Badge for Young-Ha Park (Korea; Australia, Anne Zahalka (Australia, b1957), silver photograph mounted on card; WORKS LENT TO THE PRIVATE COLLECTION, SYDNEY gums II, Melrose 1935, gelatin S H ERVIN GALLERY first or second rank official 19th b1954), 2 paintings: Thou to be Crowning ceremony, Jacaranda Frost wave, Rochester, New York, GALLERY Brent Harris, Grotesquerie (no 1) silver photograph; Not interested Sydney Studios 14/8/04 – 26/9/04 century, embroidered silk; Badge seen tomorrow 1997, mixed Festival, Grafton from the series January 17, 1959 1959, gelatin 2001, oil on linen pre 1924, gelatin silver photograph. John Baird, The sketch club, with Mandarin duck eighth rank media on paper; Thou to be seen Leisureland regional 2000, type C silver photograph mounted on card watercolour over pencil on drawing PRIVATE COLLECTION LOAN 1850–75, embroidered silk; Badge tomorrow 1997, mixed media photograph PRIVATE COLLECTION, SYDNEY paper Emily Kame Kngwarreye, 2 works: with crane insignia first or second on paper SIMONE DOUGLAS IN MEMORY Bill Henson, 3 works: Untitled , 2 works: Portrait of Kame – Summer Awelye I, WORKS OF ART LENT BY rank [crane facing right] c1800, Stieg Persson (Australia, b1959), ANONYMOUS GIFT OF DR PHILLIP KENT 1992/93 1992–93, collage: type C 1939, oil on canvas unknown, synthetic polymer paint THE GALLERY embroidered silk; Badge with Our faith Part 1; No 4 – The case Rosemary Laing (Australia, b1959), Simone Douglas (Australia, b1966), photographs, synthetic polymer on cardboard; The sisters (family on canvas; Meme Artherrke, crane insignia first or second for and against colour 1985–86, 8 type C photographs and 5 digital An uncertain exchange I & II from paint, pins and tape on glassine and group) 1939, oil on canvas unknown, synthetic polymer paint rank [crane facing left] c1800, oil and blackboard paint on canvas images, computer painted vinyl: the series An uncertain exchange cardboard; Untitled 1992/9 POWERHOUSE MUSEUM/ BENAKI Dorrit Black, Block for ‘Nocturne, on canvas embroidered silk; Badge with on board brownwork #2 1996, digital image, 1996, diptych: 2 RA4 colour 1992–93, collage: type C CONTEMPORARY MUSEUM, Wynyard Square’ (1932), linoblock crane insignia first or second rank Dick Watkins (Australia, b1937), computer painted vinyl; photographs on aluminium photographs, pins and tape on ATHENS Grace Crowley, The artist and his c1820, embroidered silk; Rank PRIVATE COLLECTION, SYDNEY Birdland 1981, synthetic polymer greenwork TL #1 1995, type C glassine and cardboard; Untitled Our place: Indigenous Australia model 1938, oil on hardboard badge with crane insignia 18th Francesco Guardi, The Villa paint on canvas photograph mounted on perspex; BILL HENSON 1992/93 1992–993, collage: type C 1/7/04 – 31/8/04 Douglas Dundas, 2 works: A century, embroidered silk Loredan at Paese, with elegant Philip Wolfhagen (Australia, greenwork TL #2 1995, type C Bill Henson (Australia, b1955), 5 photographs, pins and tape on David Malangi, Gunmirringu funeral Macquarie Street interior 1937, oil b1963), Third illusory field 1991, type C photographs from the series couples out walking, oil on canvas photograph mounted on perspex; glassine and cardboard scene 1983, natural pigments on on canvas; Study for ‘Portrait of SUB TOTAL 7 WORKS oil on canvas Untitled 1974 1974: Untitled 1974 greenwork TL #3 1995, type C bark Roland Wakelin’ c1942, pen and ink 1974, printed 2004, type C PRIVATE COLLECTION photograph mounted on perspex; PRIVATE COLLECTION Rah Fizelle, Emily (1939), oil on TOTAL ASIAN ART DEPARTMENT MRS JOAN LESLIE McAUSLAN photograph; Untitled 1974 1974, Aert van der Neer, Landscape with greenwork TL #4 1995, printed KUSAMA Yayoi, Stars Infinity (ABC) NATIONAL GALLERY OF canvas 104 WORKS Edward Wadsworth (England, printed 2004, type C photograph; figures 1641, oil on panel 2004, type C photograph mounted 2003, synthetic polymer paint on AUSTRALIA Frank Hinder, Subway, Wynyard 1889–1949), 5 prints: Tugs and Untitled 1974 1974, printed 2004, on perspex; greenwork TL #5 1995, canvas, 4 panels David Malangi Daymirringu 1948, tempera on hardboard bridge – Liverpool 1918, woodcut; type C photograph; Untitled 1974 PRIVATE COLLECTION printed 2004, type C photograph retrospective George W Lambert, 2 works: EUROPEAN ART PRE 1900 Bradford, view of a town 1918, 1974, printed 2004, type C Unknown, after Andrea del Sarto, mounted on perspex; greenwork ON LOAN 2005 National Gallery of Australia Arthur Streeton 1906, pencil on colour woodcut, printed in two photograph; Untitled 1974 1974, The Holy family, oil on poplar panel Vietnam, Funerary sculpture of a CHARLES DAVIES-SCOURFIELD TL #6 1995, type C photograph 31/7/04 – 7/11/04 paper; 1896, pencil colours; grey and brown; printed 2004, type C photograph garrison 1st–4th century, moulded Frans Snyders (Flanders, mounted on perspex; greenwork Queensland Art Gallery 23/4/05 – Loma Latour, The egoist, glazed Composition 1918, colour Bill Henson (Australia, b1955), 5 ON LOAN FROM COLIN earthenware with applied and 1579–1657), The boar hunt c1650, TL #7 1995, type C photograph 17/7/05 earthenware woodcut, printed in three colours: type C photographs from the series MCDONALD 2004 moulded decoration oil on canvas mounted on perspex; greenwork Flinders University Art Museum Sydney Long, 4 works: Sydney light brown, dark brown and black; TL #8 1995, type C photograph Untitled 1975 1975: Untitled 1975 Akasaka Senjuin, Katana 12/8/04 – 2/10/05 Town Hall floodlighted post 1928 Greek village with windmills – mounted on perspex; greenwork, 1975, printed, type C photograph; Eisho Yukikane, Katana PRIVATE COLLECTION 2005 HENDRIK KOLENBERG Northern Territory Art Gallery & {undated}, sandgrain etching, Lemnos 1917, colour woodcut, top stretch 1995, digital image, Untitled 1975 1975, printed 2004, Senshuin, Chiza-katana Koshirae Harold Cazneaux, 14 works: Theodore Roussel (France, Museum 12/11/05 – 19/2/06 aquatint, blue ink on paper; Station printed in two colours: grey and computer painted vinyl; greenwork, type C photograph; Untitled 1975 for 3: with snake skin scabbard Untitled (Phillida Cooper, daughter 1847–1926), Chelsea Palaces Lawrence Wilson Gallery 7/4/06 – square post 1928 {undated}, black; Composition 1918, colour aerial wall 1995, digital image, 1975, printed 2004, type C Kongo Hoei, Katana of journalist Nora Cooper in ballet 1889, etching 4/6/06 etching; Circular Quay, Sydney woodcut, printed in three colours: computer painted vinyl; greenwork, photograph; Untitled 1975 1975, Hoenojo Masatsugu, Katana dress) c1932, gelatin silver David Malangi, 6 works: Dhabila, 1926, line etching, drypoint, black orange, blue, black blue gradient 1995, digital image, printed 2004, type C photograph; Tashiro Kanemoto, Wakizashi photograph; Music in the alley SUB TOTAL 2 WORKS fresh waterhole, Banyan tree 1983, ink on paper; Christ Church, Old computer painted vinyl; greenwork, Untitled 1975 1975, printed 2004, Ozaki Masataka, Ko-Wakizashi 1924, gelatin silver photograph; natural pigments on bark; Dhamala Sydney 1926, line etching, drypoint MARGARET OLLEY treewallstretch 1995, digital image, type C photograph Koshirae for 8: with design of Untitled (Captain F de Groot) 1932, story (catfish and snake) 1983, Pierre Bonnard (France, computer painted vinyl Bill Henson (Australia, b1955), 11 vegetables gelatin silver photograph; Untitled Francis Lymburner, The studio MODERN AND natural pigments on bark; River 1867–1947), The red cloth type C photographs: Untitled Tomoyasu, Tanto (HRH Edward, Prince of Wales, corner (c1964), oil on hardboard CONTEMPORARY ART Mouth Map 1983, natural pigments 1944–46, colour lithograph PATSY ASCH 1976–2005 (printed later), type C Koshirae for 10: scabbard in black standing in open motor car during John Passmore, Miller’s Point, on bark; Two water goannas and ANONYMOUS GIFT Henri Matisse (France, Barbara Morgan (USA, 1900–92), photograph; Untitled 1976–2005 with straight ribs his visit to Sydney) 1920, gelatin morning (1952), oil on hardboard fresh waterhole 1983, natural Rut Blees Luxemburg (Germany; 1869–1954), Profile of a girl with Children dancing by the lake 1940, (printed later), type C photograph; Hamano Noriyuki, Menuki in the silver photograph; His structure still , 2 works: Portrait of England, b1967), Tyson/ her head resting on her arm 1924, gelatin silver photograph Untitled 1976–2005 (printed later), shape of sea shells defies the blast 1906, gelatin silver pigments on bark; Gunmirringu – John Passmore c1933, pencil; St Bombardier from the series lithograph Minor White (USA, 1908–76), 2 type C photograph; Untitled Ishiguro Teruaki, Tsuba with gold photograph; The spirit of endurance the great hunter 1983, natural Stephens Philip St c1928, woodcut Phantom 2003, type C photograph gelatin silver photographs: Two 1976–2005 (printed later), type C rim and vines 1937, gelatin silver photograph; pigments on carved wood; Dhamala Margaret Preston, Sydney bridge on aluminium ROBERT OWEN barns and shadow, in the vicinity of photograph; Untitled 1976–2005 Akasaka Senjuin, Tsuba with birds Landscape (approaching the story (sea eagle, catfish and king 1957, colour screenprint on buff Robert Owen (Australia, b1937), Naples and Dansville, New York (printed later), type C photograph; and clouds mountains) gelatin silver brown snake) 1983, natural wove paper JOHN BEARD Tears of history from the series 1955, gelatin silver photograph Untitled 1976–2005 (printed later), Masakuni, Fuchi & kashira with photograph; Black swans, c1934, pigments on bark Thea Proctor, 3 works: Portrait of John Beard (Wales; Australia, Sorry Stones 2000-2004, Austral mounted on card; Untitled 1964, type C photograph; Untitled design of hawk and monkey gelatin silver photograph; Veteran Roland Wakelin 1964, red chalk, b1943), Head self portrait 1 2003, black granite, 22 components gelatin silver photograph mounted 1976–2005 (printed later), type C Ishiguro Ichiju, Tsuba, fuchi & gum, Castlemaine Victoria 1935, COWRA ART GALLERY conté crayon; The mask c1935, watercolour on Arches paper on card photograph; Untitled 1976–2005 kashira with crest design gelatin silver photograph; Untitled From this place 1/8/04 – 12/9/04 pencil, watercolour on silk; Two MO WEDD-BUCHHOLZ Minor White (USA, 1908–76), 10 (printed later), type C photograph; Masatsune III, Fuchi & kashira with (Hume highway, near Gunning) Hamada Chimei, A corner 1956, women c1926, pencil, watercolour SIMRYN GILL Erich Buchholz (Germany, gelatin silver photographs from the Untitled 1976–2005 (printed later), design of the moon and tree gelatin silver photograph; Lakeside etching and aquatint on white wove paper; Self portrait Simryn Gill (Singapore; Malaysia; 1891–1972), Untitled 1920, printed portfolio Sound of one hand 1960- type C photograph; Untitled Mito Kuni, Pair of menuki in the (Narrabeen), gelatin silver Ishizaki Shigetoshi, Miyajima 1921, transfer lithograph in brown Australia, b1959), 3 photographic 1984, colour woodcut 1965: Metal ornament, Pultneyville, 1976–2005 (printed later), type C shape of temple guardians photograph; Clearing storm 1938–39, colour woodcut Tom Roberts, 2 works: (Circular series: Vegetation 1999, 5 gelatin New York, October 1957 1957, photograph; Untitled 1976–2005 Takase Hidetoshi, Fuchi & kashira c1906–c07, gelatin silver Hasegawa Yu- ichi, Metamorphosis Quay) 1900, oil on wood; (Circular silver photographs; Out of my hair SUB TOTAL 23 WORKS gelatin silver photograph mounted (printed later), type C photograph with design of cocks & ducks photograph, vintage; Majestic 1991, woodcut Quay) 1899, oil on wood

68 69 Grace Cossington Smith, 2 works: THE MANLY ART GALLERY & MUSEUM MUSEUM OF CONTEMPORARY on paperboard; The lacquer room Karl Hubbuch, 3 works: Fedya NATIONAL PORTRAIT GALLERY Grace (Grace Crowley, abstract) The lacquer room 1935–36, oil Fire Dreaming 21/9/04 – 9/12/04 Peter Kingston Survey ART 1935–36, oil on paperboard on (from Tolstoy’s Living corpse) 1920, The world of Thea Proctor 8/4/05 – 1941, black and brown pencils on paperboard on plywood; Centre Hossein Valamanesh, Longing Manly Art Gallery 3/12/04 – 23/1/05 Bridget Riley plywood; Bonfire in the bush c1937, etching and drypoint; The 19/6/05 , Revolving of a city (c1925), oil on canvas on belonging 1997, direct colour Maitland Regional Gallery 25/3/05 – Museum of Contemporary Art oil on paperboard; Wildflowers clairvoyant of Pristina 1921, etching May and Mina Moore, Portrait of construction, wire, plastic hardboard positive photograph, carpet, velvet 8/5/05 15/12/04 – 6/3/05 1940, oil on paperboard; Signing and drypoint; The hungry ones Thea Proctor 1912, gelatin silver Arthur Streeton, 2 works: Peter Kingston, 11 works: Carmel City Gallery Wellington, New 1945, oil on paperboard; Bush at c1950, pen and ink photograph, brown tone ART EXHIBITIONS AUSTRALIA The railway station, Redfern 1 BROKEN HILL REGIONAL ART 1964, pen and black ink and wash; Zealand 2/4/05 – 26/6/05 evening 1947, oil on hardboard; George Grosz, 2 works: Battle field George W Lambert, 2 works: Miss The golden age: highlights of the 893, oil on canvas; Fireman’s GALLERY Ilford House 1978, pen and black Bridget Riley, Aurum 1976, Drapery and wattle 1952, oil on 1915, lithograph; Murder in Thea Proctor 1903, oil on canvas; Rijksmuseum funeral, George Street 1894, Opening of the Broken Hill Regional ink, coloured pencil, opaque white; synthetic polymer paint on linen hardboard; Interior with wardrobe Ackerstrasse 1916/17, lithograph Portrait of a lady (Thea Proctor) National Gallery of Victoria oil on canvas Gallery 14/10/04 – 14/12/04 Robertson’s Point, Cremorne 1993, mirror 1955, oil on canvas on 1916, oil on canvas 24/6/05 – 2/10/05 Dorothy Thornhill, Figure on Jeffrey Smart, Bus terminus 1973, charcoal, black ink wash; Shag AUCKLAND ART GALLERY-TOI O paperboard; Wonga Wonga Street, BENDIGO ART GALLERY Margaret Preston, Thea Proctor’s Adam Pynacker, Landscape with a chaise longue 1941, pencil synthetic polymer paint and oil on shed resumption, Walsh Bay TAMAKI Turramurra c1930, pencil, Town and country: portraits of tea party 1924, oil on canvas on enraged ox 1665–70, oil on canvas Sydney Ure Smith, 5 works: canvas 1998–99, charcoal on two sheets of Inventing Childhood 19/2/05 – watercolour on paper on paperboard colonial homes and gardens paperboard Argyle Cut from the west 1916, white wove paper; Big Saturday 21/5/05 Bendigo Art Gallery 12/3/05 – Thea Proctor, 12 works: Portrait of etching; Doorway Freeman’s NEWCASTLE REGION ART 1995, oil on canvas; Poolin’ 1994, Mikala Dwyer, Hanging Eyes 1999, NEW ENGLAND REGIONAL ART 17/4/05 a dancer (Miss Peggy Dawes), FURNISHING LOANS GALLERY etching, hand-coloured with vinyl, canvas, synthetic polymer GALLERY pencil on ivory wove paper on card; Journal Lang St 1916, etching; Newcastle Region Gallery 30/4/05 – GOVERNMENT HOUSE Macquarie St (Parliament House) 20/11//04 – 16/1/05 watercolour; Brett etches Arthur paint Bauhaus and expressionism: 19/6/05 Girl with gloves c1928, pencil; The Ernesto Neto, Just like drops in 1972, etching; Morning star 2002, German prints and drawings from picnic c1925, pencil, watercolour, Will Ashton, Building the bridge 1936, watercolour, pencil; S H Ervin Gallery 25/6/05 – 7/8/05 1932 oil on canvas Observatory Hill 1930s, pencil and time, nothing 2002, textile, spices hand-coloured sugarlift aquatint; ARTSPACE MACKAY the Art Gallery of New South Wales Latrobe Regional Gallery 10/9/05 – gouache on buff paper; Lady with Luna Park 2000 1984, etching, Fireworks 4/3/05 – 15/5/05 fan 1913, pencil, watercolour; Rupert Bunny, Flowers c1927–30 watercolour; Old mint, Macquarie 23/10/05 oil on canvas St 1936, watercolour, pencil NATIONAL GALLERY OF VICTORIA hand-coloured; Taronga Park – Artspace Mackay 18/3/05 – 1/5/05 Ludwig Hirschfeld Mack, 11 Geelong Art Gallery 26/11/05 – Reclining nude, Dora c1961, pen James Gleeson: a retrospective Sydney’s Wonder Zoo 1984, Rockhampton Art Gallery 6/5/05 – works: Desolation, Internment and brown ink and grey wash; Two Douglas Dundas, The towers of Roland Wakelin, The bridge 29/1/06 San Gimignano, oil on canvas 1958, oil on hardboard National Gallery of Victoria etching, hand-coloured; Luna Park 19/6/05 Camp, Orange, NSW 1941, Queen Victoria Museum & Art women (design for magazine cover) 29/10/04 – 27/2/05 façade 1995, cast resin, Percy Tucker Regional Gallery woodcut; Camp, Orange, NSW 1920s, watercolour; The bathers Adrian Feint, (Flowers) 1949 oil on Gallery 17/2/06 – 16/4/06 canvas THE IAN POTTER CENTRE, National Gallery of Australia handpainted with enamel paint 24/6/05 – 21/8/05 1941, woodcut; Internment Camp, Nicholas Chevalier, A Victorian c1925, pencil, watercolour; The 18/3/05 – 13/6/05 Gladstone Regional Art Gallery and Tatura 1941/42, woodcut; Geelong mask (design for The Home’ Feb Elioth Gruner, New England (1921) NATIONAL GALLERY OF VICTORIA homestead c1860, oil on cardboard oil on canvas Allan Mitelman: works on paper James Gleeson, 10 works: Flight HEIDE MUSEUM OF MODERN ART Museum 2/9/05 – 29/10/05 Grammar School from across Corio on hardboard 1935), watercolour on silk; The bay 1950, oil on canvas on cardboard; Heavenly creatures 4/12/04 – Hazelhurst Regional Gallery 5/12/05 Bay 1943, woodcut; Cloisters, 1942, pencil, watercolour; Woman Hans Heysen, A bowl of roses 1968 – 2004 1924 oil on canvas National Gallery of Victoria Italy 1951, oil on canvas; The sower 30/1/05 – 5/2/06 Geelong Grammar School 1943, POWERHOUSE MUSEUM in a shawl, watercolour; The yellow 1944, oil on canvas; Synaptic Arthur Boyd, The expulsion Wagga Wagga Regional Art Gallery woodcut; Abstract composition jug, watercolour on silk; Interior with Robert Johnson, 2 works: Macleay 13/8/04 – 10/10/04 Paradise, purgatory and hellhole: River (1958) oil on canvas; Out Art Gallery of New South Wales displacement 1958, oil on 1947–48, oil on hardboard 10/2/06 – 9/4/06 1921, colour woodcut; Reaching the changing faces of Pyrmont and flowers 1958, watercolour hardboard; The arrival of the Jenny Watson, 2 works: Wings of Bathurst Regional Art Gallery the stars 1922, colour lithograph, west, oil on canvas 30/10/04 – 16/1/05 Ultimo , 2 works: Acacia and Allan Mitelman, 6 works: ST 1971, implacable gifts 1985, oil on canvas; Desire 1 1989, oil, Indian pigments, 11/5/06 – 25/6/06 Musician 1922, monotype; The 18/3/05 – late October 2005 TANDANYA, NATIONAL Lapsed shadows recycled to a haberdashery on Belgian linen; Ballarat Fine Art Gallery 7/7/06 – world to come 1940, watercolour, ABORIGINAL CULTURAL bush 1957 oil on hardboard; The screenprint; Naguine 1976, etching, Rayner Hoff, Sun faun 1935, capable coast 1988, oil on canvas; Wings of Desire 2 1989, oil, Indian 3/9/06 varnish; Composition 1946, INSTITUTE INC eagle and the baobab trees 1957 oil hand coloured; Untitled 1988, Pyrmont sandstone Study for ‘Guarding against pigments, haberdashery on Belgian Mornington Peninsula Regional watercolour; Flying 1951, Dr Pantjiti Mary McLean on hardboard watercolour, gouache on paper; euphoria’ 1999, charcoal, paper Gallery 3/10/06 – 19/11/06 monotype, watercolour Retrospective 7/5/05 – 7/8/05 Tom Roberts, Harrow Hill, Untitled 1992, lithograph from MUSEUM OF CONTEMPORARY collage, wash on white wove paper; HAZELHURST REGIONAL University Art Museum, Brisbane Lyonel Feininger, 4 works: Six Dr Pantjiti Mary McLean, Hunting c1910–12 oil on canvas on plywood stone, black and cream ink on white ART (Artist’s book) 1983, artist’s bound GALLERY AND ARTS CENTRE 24/11/06 – 20/2/07 page letter with woodblock printed grounds 1993, synthetic polymer Albert Sherman, Gordonias (1945) Arches paper; Untitled 1992, Rosemary Laing 18/3/05 – 5/6/05 book: 15 leaves, 28 drawings on 30 The Apotheosis of Ern Malley Audrey Kngwarreye, Lucky letterhead written in 1919; Self- paint, charcoal, ochres on paper oil on canvas lithograph, grey and cream ink on Rosemary Laing, 5 works: pages, pen and black ink, wash, 4/12/04 – 6/2/05 Kngwarreye, Untitled (old time portrait and standing figure c1890, Gloria Tamerre Petyarre, Awelye ivory wove paper; Untitled 1992, groundspeed (Red Piazza) #4 2001, collage, frontage on off-white wove Garry Shead, Colloquy with John landscape) 1992, synthetic polymer pen and ink; A three-masted ship TWEED RIVER ART GALLERY (for the mountain devil lizard 1994 lithograph type C photograph; greenwork TL paper; The image of the king riven Keats 2004, diptych; pen and paint on poly/cotton and a yacht 1933, pen and ink, David Rankin synthetic polymer paint on canvas Petr Herel, Allan Mitelman, #2 1995, type C photograph by a bolt of lightning, is revealed as brown ink, wash, collage on two Lorna Nimmo, The bush fire’s watercolour; A square rigger with Tweed River Art Gallery 26/5/05 – Dick Pantimus Tjupurrula, Water Traversare I 1993, artists’ book mounted on perspex; greenwork a silo of spaghetti 1978, pen, ink, sheets of ivory wove paper passage 1952, oil on aluminium American flag 1934, pen and ink, 17/7/05 and wallaby dreaming 1981 TL #3 1995, type C photograph collage on paper; Two hippocritters Wesley Stacey, 2 works: Fleshy watercolour Hazelhurst Regional Gallery and Art synthetic polymer paint on linen MOSMAN ART GALLERY mounted on perspex; greenwork in tumultuous circumstances 1978, S H ERVIN GALLERY, NATIONAL tree in smouldering forest 1981, Erich Buchholz, 9 works: Open Centre 26/8/05 – 26/9/05 From Nutcote to Elwatan: the art TL #5 1995 (printed later), 2004 ink, paper collage TRUST type C photograph; Smouldering circle with two verticals 1920, QUT Art Museum 10/11/05 – OFFICE OF THE GOVERNOR and architecture of B J Waterhouse Retrospective swamp 1981, type C photograph woodcut; Red square in white circle (printed), type C photograph 31/1/06 Arthur Boyd, Midday, the Wimmera 4/9/04 – 17/10/04 POST MASTER GALLERY, Bathurst Regional Gallery Arthur Streeton, Fireman’s funeral, 1920, woodcut; Sun horses 1917, mounted on perspex; greenwork Broken Hill Regional Art Gallery 1948–49 oil on canvas on plywood Sir William Dargie, Bertrand J NATIONAL COLLECTION, 10/12/04 – 15/2/05 George Street 1894, oil on canvas woodcut; Sun horses 1917, TL #8, 1995, type C photograph 17/2/06 – 31/3/06 Elioth Gruner, Bondi Beach c1912 Waterhouse OBE, FRIBA, LFRAIA, AUSTRALIA POST S H Ervin Gallery 12/3/05 – woodcut, charcoal, brush and wash; mounted on perspex Bendigo Art Gallery 15/4/06 – oil on cardboard; Milking time oil on canvas ‘PO Eureka’ Delivering gold: the art 24/04/05 NATIONAL GALLERY OF Nuzzling horses 1917, woodcut, 21/5/ 06 (Araluen Valley), 1922 oil on canvas B J Waterhouse, 21 works: ‘The of letters on Victoria’s goldfields University of Queensland Art AUSTRALIA brush and wash; Bull 1919, QUEENSLAND ART GALLERY Drill Hall Gallery 8/6/06 – 23/7/06 on paperboard Rangers’, Mosman, 1 of 5 pencil 1851 – 60 Museum 6/05/05 – 12/06/05 Grace Cossington Smith woodcut; Mask 1918/19, woodcut; Fiona Hall: a retrospective David Rankin, Willow eyebrows II James R Jackson, 3 works: Little drawings; ‘The Rangers’, Mosman, 20 November 2004 – 6 March 2005 Mornington Peninsula Gallery National Gallery of Australia 4/3/05 Broken cross 1918, woodcut; Queensland Art Gallery 19/3/05 – 1973–74, synthetic polymer paint boats, Middle Harbour 1946 oil on N E corner, 1 of 5 pencil drawings; attrib William Strutt, Gold diggers 12/07/05 – 28/08/05 – 13/6/05 Mother and child 1920, watercolour 5/6/05 on canvas canvas on paperboard; Pathway, University, N L Vernon Govt Arch, receiving a letter from home c1860, Drill Hall Gallery 3/11/05 – 18/12/05 Art Gallery of South Australia E A Schmidt and H Schütz, Art Gallery of South Australia Athol Gardens, oil on canvas on pencil; Cambridge St, 1 of 6 pencil oil on canvas on hardboard Jean Bellette, 11 works: Resting 29/10/05 – 15/1/06 Weimar Exhibition 1910, colour 15/7/05 – 18/9/05 TARRAWARRA MUSEUM OF ART paperboard; Sand dunes, Botany drawings; Cambridge St, 1 of 6 girl c1946, pencil; Child’s head Queensland Art Gallery 11/2/06 – poster Fiona Hall, Cash crop 1998–99, 80 John Olsen paintings – teeming with 1952 oil on canvas on plywood. pencil drawings; Clifford’s Inn 1926 SWAN HILL REGIONAL ART 1946, crayon; Head, brown conté; 30/4/06 Johannesitten, Composition 1919, carved soap units, painted life 29/5/05 – 23/10/05 George Lawrence, 2 works: 1926, pencil; University, in course GALLERY Two drawings of a man’s head Grace Cossington Smith, 21 lithograph banknotes in a vitrine John Olsen, Golden summer, Foveaux Street, Surry Hills 1945 oil of construction 1907 1907, pencil; Raw & Compelling: Australian naïve c1944, pencil on cream wove works: The refugees c1918, pencil; Gerhard Marcks, Trees in winter, Clarendon 1983, oil on hardboard on canvas on paperboard; Darling (Harbour 1906?), pencil; art paper; Still life with wooden bowl, oil Margaret Smith, the artist’s sister woodcut CASTLEMAINE ART GALLERY AND Landscape 1950 oil on paperboard Fisher Library, University, N W Monash Gallery of Art 3/12/04 – on hardboard; Coastal still life 1955, c1917, pencil; Circular Quay from Heinrich Campendonk, Interior HISTORICAL MUSEUM THE UNIVERSITY OF SYDNEY Lorna Nimmo, Burnt timber 1947 angle, 6 May 1911, pencil; 23/1/05 oil on hardboard; The dancers Milson’s Point 1929, coloured with two nudes, woodcut Venezia Australis Australian Artists in Sydney Modernists oil on plywood Gloucester St, 1 of 6 pencil Coffs Harbour City Gallery 7/2/05 – 1970–71, oil on canvas; Oracle pencil, crayon; The curve of the Rolf Nesch, Black chorus line Venice 1900–2000 University Art Gallery 15/6/05 – Sidney Nolan, Wounded Kelly 1969 drawings; Gloucester St (... lers 27/3/05 c1970s, oil on hardboard; Greek bridge 1928–29, oil on cardboard; 1930, etching and aquatint with Castlemaine Art Gallery and 11/8/05 synthetic polymer paint on Arms), 1 of 6 pencil drawings; Swan Hill Regional Art Gallery girl, oil on canvas; 1944, oil Centre of a city c 1925, oil on monotype colouring Historical Museum 2/4/05 – 1/5/05 Ralph Balson, Abstraction 1950, hardboard; Magpie 1950 synthetic Grotesque on turret, Fisher Library, 9/4/05 – 8/5/05 on paper on hardboard; Myths and canvas on hardboard; The sock Max Beckmann, 2 works: The Mornington Peninsula Regional oil on hardboard polymer paint on hardboard Sydney, 9 Nov 1907, pencil; The Castlemaine Art Gallery and legends 1946–47, screenprint on knitter 1915, oil on canvas; The snake woman 1921, drypoint; Gallery 17/5/05 – 3/7/05 Rah Fizelle, Standing female figure Bryan Westwood, South of Alice joiner’s shop 1927, pencil; Jones Historical Museum 15/5/05 – 3/7/05 cotton reader 1916, oil on canvas; Women’s bath-house 1922, drypoint Carrick Hill 3/8/05 – 18/9/05 1938, pencil on tracing paper Springs after good rains 1992 oil on St, Pyrmont, pencil; Mill St, Wangaratta Exhibitions Gallery Reinforcements: troops marching Karl Schmidt-Rottluff, Head of a Geelong Art Gallery 1/10/05 – Frank Hinder, 8 works: Subway, canvas Pyrmont, pencil; Moores Rd, 1 of 6 24/7/05 – 14/8/05 MORNINGTON PENINSULA c1917, oil on paper on hardboard; woman 1916, woodcut 20/11/05 Wynyard 1948, tempera on pencil drawings; Off Jones St, Orange Regional Gallery 29/8/05 – REGIONAL GALLERY The prince 1920, oil on canvas on Ernst Ludwig Kirchner, Portrait of Will Ashton, Canal Labia, Venice, hardboard; Chez Grace, pen and PARLIAMENT HOUSE Pyrmont, pencil; Ponte Marechale, 2/10/05 Arthur Streeton: coastal landscape hardboard; Extravaganza 1921, oil Ludwig Schames 1918, woodcut oil on canvas ink on buff paper; Fizz (Rah Fizelle) George Bell, Lady in black, oil on Bruges 1934, pencil; Pottinger St, Tamworth City Gallery 19/11/05 – 11/12/04 – 6/3/05 on canvas on paperboard; Rushing Erich Heckel, 2 works: On the Arthur Streeton, 3 works: c1937, pencil; Grace & Fizz 1937, canvas 1 of 6 pencil drawings; Quay du 5/2/06 Arthur Streeton, 2 works: Sirius c1922, oil on canvas on shore 1923, woodcut; Circus clown Moonlight, Venice 1908, oil on pencil; Studio Fizelle-Crowley 1937, François Bossuet, La Place de la Rosaire, Bruges 1934, pencil; James Fardoulys, The cattle Cove 1896, oil on plywood; Beach paperboard; Things on an iron tray 1951, woodcut canvas; Fishing boats, Venice 1908, red pencil; Crowley-Fizelle Studio Constitution 1880 oil on paper over Tower, University, Sydney, from rustlers, Carnarvon Ranges 1966, Scene 1890, oil on canvas on on the floor c1928, oil on plywood; Lovis Corinth, The kiss 1921, oil on canvas; Grand Canal, Venice 1937, pencil; Taos landscape 1934, masonite west, pencil oil on canvas on plywood paperboard Landscape at Pentecost c1932, oil drypoint 1927, oil on canvas watercolour, ink, pencil, collage; John Brack, Out 1979 oil on canvas

70 71 J Browne, Landscape with view of Jeffrey Smart, Central Station II Rupert Bunny, Fishermen’s H Enslin Du Plessis, Snow in Salisbury Cathedral 18th century oil 1974–75 synthetic polymer paint on houses, Port Vendres c1926 oil on Highgate, oil on canvas STAFF LIST on canvas canvas canvas Rupert Bunny, Waterfront Bandol Fred Williams, Landscape 1969 oil Clifford Hall, Maida Vale in snow OFFICE OF THE SPEAKER, c1929 oil on canvas on canvas c1947 oil on hardboard PARLIAMENT HOUSE H A Hanke, Low tide, Balmoral Sali Herman, Sleeping ca, 1983 oil Arthur Boyd, Landscape at (as at 30 June 2005) CURATOR, CHINESE ART SENIOR COORDINATOR, PUBLIC SENIOR CONSERVATOR, WORKS 1947 oil on canvas OFFICE OF THE PREMIER, on canvas Murrumbeena c1968 oil on canvas Yang Liu, BA, MA, PhD PROGRAMMES ON PAPER Nora Heysen, 2 works: Petunias GOVERNOR MACQUARIE TOWER Thelma Hulbert, Mecklenburgh Sir William Dargie, La Perouse Sheona White BA, Post Grad Profl Art Rosemary Peel BA (Fine Arts) DIRECTOR SENIOR COORDINATOR, ASIAN Studies & 1930 oil on canvas; Spring flowers Henri Bastin, My camp, 1966 oil, Square 1947 oil on canvas 1947 oil on canvas Edmund Capon AM, OBE, M Phil PROGRAMMES SENIOR CONSERVATOR, OBJECTS 1938 oil on canvas on hardboard synthetic polymer paint on hardboard Sydney Long, Spring, St Albans, Ann MacArthur BA (East Asian VISUAL ARTS SENIOR Donna Hinton MA Applied Science EXECUTIVE PERSONAL ASSISTANT Kenneth Jack, Drifting dust, white Naata Nungurrayi, Untitled 1999 SUPREME COURT McDonald River c1926 oil on Studies), M Intl Mgmt COORDINATOR EDUCATION (Cons), Dip Museum Tech TO THE DIRECTOR cliffs, NSW 1970 synthetic polymer synthetic polymer paint on linen Jean Appleton, 2 works: canvas PROGRAMS Lisa Franey BA (Hons) ASSISTANT REGISTRAR, SENIOR CONSERVATOR, FRAMES paint on hardboard canvas Landscape (c1955) oil on Max Ragless, Back of the mill 1941 (CURATORIAL) ASIAN ART Tristan Sharp BA, MA (Arts Admin), Malgorzata Sawicki MA Applied CURATOR, EXHIBITIONS James R Jackson, 2 works: Paul Partos, Untitled (black-grey) hardboard; Bush landscape with oil on canvas Natalie Seiz BA (Hons), M Art Admin Dip Ed (Secondary) Science (Mat Cons), BA (Cons) Terence Maloon BA (Hons), Dip Art & The timber schooner, oil on canvas; 1990 oil on canvas rocks 1952 oil on hardboard MANAGER, INFORMATION Design CONSERVATOR The old road, South Coast, oil on Will Ashton, Pont Philippe IV, Paris, LOWY INSTITUTE Jonathan Cooper Dip Art Ed Andrea Nottage canvas OFFICE OF THE DEPUTY oil on canvas Will Ashton, 2 works: Kosciusko oil PRESIDENT’S COUNCIL & VISASIA HEAD CURATOR, AUSTRALIAN ART Barry Pearce Dip Art Ed MUSEUM EDUCATOR/CURATOR – CONSERVATOR James Kerr-Lawson, Refugees PREMIER, PARLIAMENT HOUSE Robert Campbell, Avenue du on canvas; The Cornish coast oil on MANAGER SPECIAL PROJECTS Carolyn Murphy returning to Cambrai under Peggy Rockman, Lajamanu Area, Maine, Paris, c1930 oil on canvas canvas Maree Whybourne, BA, Dip Ed, MA SENIOR CURATOR, AUSTRALIAN Communication Mgmt Ursula Prunster BA (Hons), MA protection of an Australian Trooper synthetic polymer paint on canvas Ray Crooke, Normanton, North Howard Ashton, Jamieson Valley ART CONSERVATOR, FRAMES Deborah Edwards BA (Hons), M Phil MUSEUM EDUCATOR, Barbara (Basia) Dabrowa MA (Cons) 1920? oil on canvas Gideon Tjupurrula, Two men Queensland 1962 oil on canvas 1931 oil on canvas CONTEMPORARY ART George W Lambert, The three dreaming, synthetic polymer paint Douglas Dundas, Chianti country John Brack, In the corner 1973 oil GENERAL MANAGER, CURATORIAL ASSISTANT CURATOR, George Alexander BA (Hons) CONSERVATOR, FRAMES kimonos, oil on canvas on canvas (1929) oil on canvas on canvas SERVICES AUSTRALIAN ART David Butler COORDINATOR, K-6 SCHOOLS John Longstaff, Sir George Reid, Pro Hart, At the trots 1977 oil on George Lawrence, Autumn Charles Bryant, 2 works: Quayside, Head Curator, Western Art Helen Campbell BA (Hons), Grad Dip SENIOR CONSERVATOR, ASIAN ART (Museum Studies) AND FAMILY PROGRAMS oil on canvas hardboard morning, Hyde Park 1948 oil on St Ives, Cornwall oil on canvas on CURATOR, TWENTIETH CENTURY Victoria Collings MA, BA (Hons), Sun Yu BA (Art History) William Marlow, 2 works: San Dora Meeson, Ville Franche-Sur- paperboard paperboard; Low tide, St Ives, oil on INTERNATIONAL ART SENIOR CURATOR, AUSTRALIAN PGCE, Nat Dip ASSISTANT CONSERVATOR, Giorgio Maggiore, oil on canvas; Mer 1927 oil on linen Seymour Lucas, The Gordon Riots, canvas Anthony Bond B Ed (Hons) PRINTS, DRAWINGS AND ASIAN ART WATERCOLOURS COORDINATOR, TERTIARY The Rialto Bridge, Venice, oil 1780 1879 oil on canvas Charles Bush, Landscape near REGISTRAR, COLLECTIONS Yang Yan Dong Hendrik Kolenberg PROGRAMS on canvas OFFICE OF THE DEPUTY Sidney Nolan, 3 works: Ned Kelly Tarquinia, Italy, oil on hardboard SYSTEM INTEGRATION Bronwyn Clark-Coolee Dip Teaching, John Masquerier, Warren Hastings PREMIER, GOVERNOR at the river bank 1964 synthetic Criss Canning, Waratah 1999 oil ASSISTANT CURATOR, Jesmond Calleja BA Grad Dip Vis Arts, M Visual Arts SENIOR REGISTRAR, (1732–1818) 1810 oil on canvas MACQUARIE TOWER polymer paint on hardboard; on canvas AUSTRALIAN PRINTS, DRAWINGS COORDINATOR, STUDY ROOM COORDINATOR, GIFTED AND COLLECTIONS Gion Pentelei Molnar, Pears, Milton Budge, Camping on Policeman floating in the river 1964 Eugene Claux, Street scene oil on AND WATERCOLOURS Deborah Jones BA, Grad Dip TALENTED PROGRAMS Emma Smith BA, Grad Dip 1878–1924 oil on canvas walkabout, synthetic polymer paint synthetic polymer paint on canvas Anne Ryan BA (Hons), M Art Admin (Museum Studies) Sherryl Ryan M Ed (Gifted & Decorative Arts Margaret Olley, Still life with leaves on canvas hardboard; Kelly and policeman Kevin Connor, Man on stairs 1963 ASSISTANT CURATOR, PROJECT OFFICER, CURATORIAL Talented), PGD, FA, B Ed ASSISTANT REGISTRAR, c1960 oil on hardboard Nowee Nangala, Manakarra (bush 1964 synthetic polymer paint on oil on hardboard AUSTRALIAN ART, SERVICES COLLECTIONS Tom Roberts, Sir Henry Parkes tucker) Dreaming at Ngila, synthetic hardboard William Delafield Cook, A waterfall Denise Mimmocchi BA (Hons) COORDINATOR, ACCESSIBLE Donna Brett BA (Visual Arts) PROGRAMS Peter Duggan BA (Fine Arts), MA c1894 oil on canvas polymer paint on linen canvas Justin O’Brien, 2 works: Supper at (Strath Creek) 1980 synthetic PROJECT MANAGER, MUSEUMS & ASSISTANT REGISTRAR, Amanda Peacock BA, Dip Ed John Salvana, The road to Miriam Napanangka, Winpupula Emmaus, oil on hardboard; Little polymer paint on canvas REGISTRATION ASSISTANT GALLERIES NSW/ART GALLERY (CURATORIAL) AUSTRALIAN ART Wollombi 1936 oil on canvas Rockhole, synthetic polymer paint boy in costume (1957) oil on Lawrence Daws, Poinciana tree I COORDINATOR, SECONDARY AND Brent Willison NSW Natalie Wilson BA (Visual Arts), MA ASIAN EDUCATION PROGRAMS REGISTRATION ASSISTANT Jeffrey Smart, The stilt race 1960 on linen canvas hardboard 1991 oil on hardboard Michael Wardell BA (Art History & Theory) oil on plywood Dini Tjampitjinpa, Tingari story at Desiderius Orban, Village church in , Rocky landscape Leeanne Carr B Ed V Arts Paul Solly SENIOR CURATOR, EUROPEAN SENIOR CURATOR, ABORIGINAL & Arthur Streeton, Beneath the Tjintarra, synthetic polymer paint on Hungary (c1925–26) oil on canvas (early 1960s) oil on canvas CLERICAL MANAGER ART, PRE 1900 TORRES STRAIT ISLANDER ART peaks, Grampians 1921 oil on canvas on paperboard on plywood Elaine Haxton, Sweet and sour Joan Radkevitch Richard Beresford BA (Hons), MBA Hetti Perkins BA SENIOR PHOTOGRAPHER canvas Jeffrey Smart, Alma Mahler feeding 1958 oil on hardboard BOOKINGS OFFICER PhD ASSISTANT CURATOR, ABORIGINAL Jenni Carter Dorothy Thornhill, Morning at DIRECTOR-GENERAL, PREMIER’S the birds (1968) oil on canvas Sali Herman, Lane at the Cross Dot Kolentsis Dip Visual Arts, Grad CURATOR, EUROPEAN PRINTS, AND TORRES STRAIT ISLANDER PHOTOGRAPHER Cremorne 1939 oil on canvas DEPARTMENT, GOVERNOR Lloyd Rees, Dusk at North Ryde 1946 oil on canvas on plywood Dip Visual Arts. DRAWINGS & WATERCOLOURS ART Diana Panuccio Dora Toovey, How does your MACQUARIE TOWER 1948 oil on canvas Alun Leach-Jones, Monsoon, IMAGE LIBRARIAN Peter Raissis BA (Hons) Ken Watson BA (Hons) Fine Arts PHOTOGRAPHER – DIGITISATION garden grow (1939) oil on canvas Gerald Lewers, Introspection 1956 Tony Tuckson, Interior with figures synthetic polymer paint on canvas Meredith Robinson BA EDUCATION OFFICER, ABORIGINAL Miriam Stirling on paperboard volcanic breccia, soapstone 1954 oil on canvas Charles Lloyd Jones, Afternoon CURATOR, CONTEMPORARY AUSTRALIAN ART AND TORRES STRAIT ISLANDER Charles Wheeler, The Upper light 1941 oil on canvas on PHOTOGRAPHER – DIGITISATION Wayne Tunnicliffe BA (Hons), MA, ART COORDINATOR, BRETT WHITELEY Murray, oil on plywood OFFICE OF THE DEPUTY LEADER LAW COURTS LTD (SUPREME paperboard Chilin Gieng M Art Admin Cara Pinchbeck BA (Visual Arts), MA STUDIO OF THE OPPOSITION, COURT BUILDING) Sidney Nolan, Ant hills, Australia ASSISTANT REGISTRAR, (Visual Arts) Alec George Dip Ed OFFICE OF THE PREMIER, PARLIAMENT HOUSE William Delafield Cook, Water-lilies 1950 synthetic polymer paint on GENERAL MANAGER, EXHIBITIONS (CURATORIAL), WESTERN ART COORDINATOR, ABORIGINAL EDUCATION OFFICER, BRETT PARLIAMENT HOUSE Seymour Lucas, The King’s rival (1972–73) synthetic polymer paint hardboard & BUILDING MANAGEMENT Judy Peacock BA, Grad Dip App Sc, PROGRAMS WHITELEY STUDIO Frank Andrew, All night joint 1946 1901 oil on canvas on canvas Douglas Pratt, The old toll house, Anne Flanagan Dip Int Design, Dip M Art Admin Jonathon Bottrell BA (Fine Arts) Jenny Hall Dip Art (Ed) oil on hardboard Tom Roberts, Trawool landscape Fred Williams, Lal-Lal Falls (1976) Rushcutters Bay 1959 oil on canvas Ed, Dip Ed Vis Arts Arthur Boyd, Cattle on hillside, 1928 oil on canvas on hardboard oil on canvas Max Ragless, Second valley 1954 ASSISTANT CURATOR, WESTERN ART SENIOR REGISTRAR, EXHIBITIONS Shoalhaven c1975 oil on canvas oil on canvas HEAD, LIBRARIAN COORDINATOR, AUDIOVISUAL Natasha Bullock BA (Hons), Postgrad Anna Hayes BA, MA John Brack, Battle of the Etruscans OFFICE OF THE ATTORNEY ROYAL ALEXANDRA HOSPITAL Albert Rydge, Morning in Neutral Susan Schmocker BA, Dip Lib Laurence Hall BA (Com) Dip (Art Curatorship & Museum REGISTRAR, EXHIBITIONS 1975 oil on canvas GENERAL, GOVERNOR FOR CHILDREN Bay 1955 oil on hardboard Management), MA SENIOR LIBRARIAN/ TECHNICAL COORDINATOR, AUDIOVISUAL Charlotte Davy BA, Dip Fashion Milton Budge, Three and a half MACQUARIE TOWER Sam Byrne, Mt Robe, highest Paquita Sabrafen, Australian SERVICES Brian Blackwell IMAGE REPRODUCTION OFFICER Design & Technology, Adv Dip 1994 synthetic polymer paint on John Eldershaw, Tilba Tilba (NSW), peak, Barrier Range, oil on wildflowers, oil on canvas Kay Truelove BA, Dip Lib Alice Livingstone B Ed, MA COORDINATOR, AUDIOVISUAL, Fashion Design & Technology canvas oil on canvas hardboard , Structure with black LIBRARIAN VENUE ASSISTANT REGISTRAR, John Coburn, Tree of life 1964–65 Adrian Feint, Summer, Lawrence Daws, Summer peaks, oil, screenprint on canvas COORDINATOR, CONTEMPORARY Robyn Louey BL Arch, Grad Dip Michael Hanlon EXHIBITIONS oil on hardboard Bowenmount 1940 oil on canvas landscape 1994 oil on canvas Jeffrey Smart, Parkland 1950 oil on COLLECTION BENEFACTORS AND IM(Lib) ABORIGINAL COLLECTION AUDIO – VISUAL TECHNICIAN Charlotte Cox BA, Grad Dip (Works Russell Drysdale, Picture of Donald Malcolm Dickson, 3 works: A. Sam Fullbrook, Ford on the canvas BENEFACTORS LIBRARIAN Robert Herbert of Art) Friend (1948) oil on hardboard Speed of darkness 1964 synthetic Condamine with Jacaranda (c1985) Arthur Streeton, Melon (c1926) Bambi Blumberg B Econ, Dip Ed, Christine Kenworthy BA, Grad Dip SENIOR EXHIBITIONS MANAGER Weaver Hawkins, Dance of the enamel on hardboard; B. Excavations oil on canvas oil on canvas Cert Teach English LIBRARIAN HEAD, CONSERVATION Erica Drew BA (Hons) football field 1947 oil on canvas on in the abyss 1965 synthetic enamel Guy Grey-Smith, Gascoyne River Valerie Tring cardboard on hardboard; D. Aftermath 1965 country 1958 oil on hardboard Alan Lloyd PRINT PRODUCTION MANAGER/ Rita Kunintji, Special law and synthetic enamel on hardboard Sidney Nolan, 2 works: Broome Note: dates of works given in SENIOR CURATOR, PHOTOGRAPHY LIBRARY TECHNICIAN ASSISTANT CONSERVATOR STUDIO COORDINATOR Vivian Huang Assoc Dip Arts ceremony ground, synthetic Roy de Maistre, 2 works: sunset WA 1985 synthetic polymer brackets are estimates Judy Annear BA Matthew Cox BA (Indonesian Studies) Cara Hickman B Sc (Arch) polymer paint on canvas Magnolias in red vase, oil on paint on hardboard; Elephant 1963 COORDINATOR, PHOTOGRAPHY ARCHIVIST ASSISTANT CONSERVATOR, EXHIBITIONS PROJECT OFFICER, Sidney Nolan, 2 works, Carron hardboard; Still life, (1959) oil on synthetic polymer paint on COLLECTION BENEFACTORS Steven Miller BA (Hons), B Theol, MOUNT CUTTING INSTALLATION Plains 1948 synthetic polymer paint paperboard/hardboard hardboard; Nadine Saaks Grad Dip IM (Arch) Bill Lamont Stefanie Tarvey on hardboard; Broome – SENIOR CONSERVATOR, TICKETING SUPERVISOR Continental Hotel 1949 synthetic OFFICE OF THE MINISTER FOR THE HON NICK GREINER AC HEAD CURATOR, ASIAN ART HEAD, PUBLIC PROGRAMMES PAINTINGS Chris Aronsten polymer paint and red ochre oil PRIMARY INDUSTRIES, Kenneth Green, Fallen tree 1968 oil Jackie Menzies BA (Hons), MA Brian Ladd Dip Fine Art, Dip Ed Stewart Laidler Dip Cons TICKETING SUPERVISOR paint on hardboard GOVERNOR MACQUARIE TOWER on hardboard CURATOR, JAPANESE ART SENIOR COORDINATOR, PUBLIC CONSERVATOR, PAINTINGS Carmel Crisp Max Ragless, Dust, Birdsville 1959 John Baird, Farm at North Ryde George Lawrence, River suburb Clare Pollard, BA, MA (Cantab), D PROGRAMMES Paula Dredge B App Sc (Cons), BA TICKETING OFFICER oil on hardboard (1954) oil on canvas on paperboard 1948 oil on cardboard Phil Liz Gibson BA, Ed, MA (Arts Admin) (Fine Arts) Prue Watson

72 73 MANAGER, BUILDING SERVICES MANAGER, NETWORK PUBLICITY OFFICER GALLERY OFFICER Phil Johnstone OPERATIONS Claire Martin BA (Hons), Dip Tony Fletcher STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES MANAGER ENGINEERING Theo Papalimperis Marketing GALLERY OFFICER SERVICES HELP DESK OFFICER BUSINESS DEVELOPMENT Terry Forde Ray Cunico, Adv Dip Mech Adam Dunn MANAGER GALLERY OFFICER Engineering HELP DESK OFFICER Leith Douglas, BA (Communications) David Grech George Alexander (coordinator, ‘Questioning appearance’ lecture for ‘You say Aesthetics I say collection’, LOOK, June 2005 contemporary programs) The Study of Works of Art as “Aisthanomai” lets call the whole ‘Through the looking glass: MAINTENANCE OFFICER Roseann Phillips TOURISM COORDINATOR GALLERY OFFICER Rob Schumacher Janelle Prescott Phillip Hill-Travis ‘Paper scissors rocks: fugitive Physical Objects course, School of thing off!’ article on Museums and museums in the digital age’, forces in the art world’, Art & Art History and Theory, University of Galleries NSW Museums Passions Museums Australian Conference, PLANT FITTER/OPERATOR MANAGER, HUMAN RESOURCES MARKETING COORDINATOR GALLERY OFFICER Australia, vol 42, no 4 Sydney lecture series, LOOK, Oct 2004 Politics and positioning, Julio Angulo Donna Grubb Kylie Wingrave BA (Vis Arts), B Ashton Johnston Comm. ‘Killing Time’ essay on Ricky ‘Problems of picture frames’ lecture ‘Implicating the audience in exile’ Powerhouse Museum, Sydney HUMAN RESOURCES GALLERY OFFICER Swallow at the Venice Biennale, Art for The Study of Works of Art as article on Mona Hatoum, Realtime + May 2005 MARKETING ASSISTANT LIGHTING SUPERVISOR COORDINATOR Janak Kadian BA AsiaPacific, no 45 Physical Objects course, School of Onscreen issue 66, May 2005 ‘The digital age @ the Art Gallery Margaux Simms B Comm Simm Steel Shirley Dunshea B Bus (HRM) GALLERY OFFICER ‘Remembering forwards’ essay on Art History and Theory, University of Writing about earth: contemplation of New South Wales’ one-day (Marketing), BA (Art History) HUMAN RESOURCES Peter Karamanis Fiona Hall and Rosemary Laing, Art Sydney and devotion (cat essay), Juliana symposium, A snapshot on RECEPTIONIST SENIOR INSTALLATION COORDINATOR GALLERY OFFICER AsiaPacific, no 46 ‘Painting is a science: Constable’s Bartulin, Boutwell Draper Gallery, managing digital or media asset Michelle Berriman BA (Hons), Dip HE TECHNICIAN Sean Foyel B Bus (Personnel Mgt & John Kavallaris ‘Reading painting: Christopher approach to landscape painting’ Art June 2005 collections, or … What is everyone Industrial Relations) WEEKEND COORDINATOR Nikolaus Rieth GALLERY OFFICER Snee’ (exhib cat), Gitte Weiss, Berlin in the Making II lecture series, AGS ‘Eva Hesse: the irrational flow of else doing? National Museum of Sally Bates INSTALLATION OFFICER Rayson Light ‘Domenico de Clario’ (exhib cat), something and nothing’ Art of the Australia, Sept 2004 INFORMATION OFFICER Artspace publication Anthony Bond (head curator, XX Century lecture series, Oct 2004 Radio interview: Preview, Arts Brett Cuthbertson MANAGER, ADMINISTRATION & GALLERY OFFICER INSTALLATION OFFICER STRATEGY Sarah McGregor Juan Lira ‘On collaboration: the dead travel international art) ‘An embodiment of Magazine with Sylvia Rosenblum, Alan Jobson Trish Kernahan INFORMATION OFFICER slow’, Artspace publication ‘Interview with Jim Samios’, The post/colonisation: Yinka Shonibare 89.7FM Eastside Radio, 8 June GALLERY OFFICER Dead travel slow script for Middle East Times, no 186-87, Apr and Jo Torr in the margins’ AAANZ 2005 INSTALLATION OFFICER ADMINISTRATION SERVICES Kate Dorrough Ramon Lozada SUPERVISOR multimedia performance with Julie 2005 conference paper, Present pasts – Coordinator in ARC research John Freckleton INFORMATION OFFICER GALLERY OFFICER Louise Fischer BA, MA Tracey Keogh Rrap, Jackie Redgate, Maria Cruz, ‘Imagining the void’, Linq, vol 31, present futures, Auckland University, partnership with the University of INSTALLATION OFFICER Jamil Mati Cathy Vogan, Zina Kaye, Artspace, no 2, James Cook University, Dec 2004 Melbourne, copyright and Peter Tsangarides ADMINISTRATIVE SUPPORT INFORMATION OFFICER GALLERY OFFICER Sydney Queensland ‘An embodiment of the margin: digitisation in cultural institutions OFFICER Jeanette Klease Deborah Spek Patrick McBride BA (Hons), MA Contributing Australian editor for Art ‘Montien Boonma’ (exhib review), Yinka Shonibare and Mona Hatoum’ STORES OFFICER INFORMATION OFFICER GALLERY OFFICER AsiaPacific and regular column in Asia Society NY, Art and Australia, lecture, College of Fine Arts, UNSW, Jonathan Cooper (manager, Steve Peters, JP Olivia Prunster Nigel Milsom BFA (Hons), MFA Art &Australia vol 42, no 2 Apr 2005 information – website) MANAGER, GALLERY SHOP (Research) ‘Art for laughs: should humour be ‘Ken Unsworth’ (exhib review), Organised the Ian Burn Memorial ‘myVirtualGallery project’ staff Richard Harling BA (Hons) SENIOR DISPLAY TECHNICIAN, MANAGER, SECURITY SERVICES GALLERY OFFICER banned in the art museum?’ panel Boutwell Draper, Art & Australia, vol Lecture, ‘The ruins of : presentation, National Gallery of ASSISTANT MANAGER, GALLERY George Alamanos Chris Muir and steering committee member for 42, no 2 Japan and the visual arts in the Australia, Mar 2005 CARPENTRY SHOP Bill Viola SECURITY OFFICER GALLERY OFFICER Art Museums: Sites of ‘Tracking shot’, Igor and Svetlana sixties’ by Charles Merewether, Dec Gillian Williamson, BSc Communications 2, March 2005 Kopystiansky, cont author, Arte 2004 Barbara (Basia) Dabrowa (frame SENIOR DISPLAY TECHNICIAN, Glenn Gavin Kevin Nguyen STOCK & SALES OFFICER Keynote address TAFE Distrito 4, SA Madrid Participated in ARC research conservator) PAINTING SECURITY OFFICER GALLERY OFFICER Rebecca Allport. Meadowbank Diploma Award night ‘Terror of the void’, RLA conference partnership with the University of ‘The conservation of three gilded Michael Brown Emilio Cruz Ray Nguyen STOCK & SALES OFFICER Launch of Lynne Roberts-Goodwin proceedings, The dark side, RLA Melbourne, copyright and frames for the new paintings DISPLAY TECHNICIAN, CARPENTRY Julie Crawford, Dip Book Edit & Pub SECURITY OFFICER GALLERY OFFICER exhibition at Sherman Galleries, Press 2004 digitisation in cultural institutions galleries at the Victoria and Albert Ram Mudaliar Peter Humphreys Vanessa Orrego STOCK & SALES OFFICER Sydney ‘The body-the nude’, The nude: ideal Chair, Sydney Arts Management Museum’, V&A Conservation DISPLAY TECHNICIAN, CARPENTRY Cassandra Willis SECURITY OFFICER GALLERY OFFICER Interview with David Malouf on and reality, cont author (exhib cat) Advisory Group Journal, Victoria & Albert Museum, Gary Bennett Telly Linakis Dominque Pirrie STOCK & SALES OFFICER Rosemary Laing at Museum of Artificio Skira, Florence Italy, 2004 Committee member, Museums and London, no 46, spring 2004 DISPLAY TECHNICIAN, CARPENTRY Denise Faulkner BA (Fine Arts) SECURITY OFFICER GALLERY OFFICER Contemporary Art Presentation on Wolfgang Laib at Galleries NSW, Visual Arts Gilding and decorative surfaces Ismael Costa David Paine JP Peter Rawlins ACCA Melbourne, June 2005 Reference Committee section of the United Kingdom STOCK & SALES OFFICER Judy Annear (senior curator, ‘Self portrait renaissance to Board member/treasurer, TDQ Institute for conservation of historic DISPLAY TECHNICIAN, PAINTING Loretta Doolan SECURITY OFFICER GALLERY OFFICER Alan Hopkinson Bob Partridge Frank Saunders photography) contemporary’ lecture, Wollongong Dance Company and artistic works, techniques STOCK & SALES OFFICER Lectures on Man Ray at Queensland City Gallery, May 2005 and presentation, London July 2003 DISPLAY TECHNICIAN, PAINTING Amanda Hooker BA SECURITY OFFICER GALLERY OFFICER Daniel Green Bryan Reynolds Sharat Sharma Art Gallery, Jul 2004 and National Newcastle University, July 2005 Natasha Bullock (assistant National Conservators’ Annual STOCK & SALES OFFICER Gallery of Victoria, Aug 2004 ‘Contemporary museum design’ curator, photography and Conference, National Museum, GALLERY OFFICER Carlotta Arias Presentation on importance of art lecture, Launceston University, Tas, contemporary art) techniques presentation, Warsaw, Peta Sirec, BA (Vis Arts) GENERAL MANAGER, FINANCE & STOCK & SALES OFFICER DEPUTY MANAGER, GALLERY libraries to curatorial activities, Apr 2005 ‘Rodney Graham at MOCA in LA’ Poland May 2004 MANAGEMENT SERVICES Danielle Hopkin, BA (Hons) SERVICES GALLERY OFFICER Arlis/ANZ conference, Sydney, Sept Presentation on Stieg Persson, (exhib review), Un Magazine, Dec Proposals and realisation of Rosemary Senn, B Comm, FCPA, Jeff Browne Suzanne Slavec MAICD Dip STOCK & SALES OFFICER 2004 Depot Gallery Sydney, May 2005 2004 conservation treatments of the Angharad Dalton SENIOR GALLERY OFFICER GALLERY OFFICER Lectures on Bill Henson, Parsons Presentation on John Davis, ‘Eye of the storm: looking around frames for new paintings galleries, PROJECT OFFICER Michael Bennett Joan Standfield School of art & design/New School, Sherman Galleries, May 2005 the London art scene’, LOOK, Feb conservation project, Victoria and Jackie Bullions STOCK & SALES OFFICER Fiona Lardner SENIOR GALLERY OFFICER GALLERY OFFICER New York, Nov 2004 and National ‘1961 and all that’ AAANZ 2005 Albert Museum, London 2003 Patricia Teece Gallery of Victoria, June 2005 Conference paper, Present Pasts – ‘Klütterkammer: an exhibition by STOCK & SALES OFFICER Peter Howlett FINANCIAL CONTROLLER Maryanne Marsh SENIOR GALLERY OFFICER GALLERY OFFICER Jury member, Australian Museum Present Futures, Auckland John Bock’ (exhib review), Photofile, Paula Dredge (painting France Du Buisson Perrine B Fin Peter Rozario Mary Thom Eureka Prize for Photographic University, Dec 2004 summer 2005 conservator) Admin, CPA, Grad Dip (Fin Planning), STORES OFFICER Journalism in Science, Technology ‘Changing role of the curator’ ‘Working together: abstract ‘The artists’ colourman’ lecture Bevan Wilkerson GALLERY OFFICER GALLERY OFFICER Assoc Sec Institute of Aust and the Environment 2005 presentation, University of Sydney excursions about time and reality’ for The Study of Works of Art as Freddi Alam Steve Triantos ACCOUNTS PAYABLE SUPERVISOR Committee member, Hasselblad for Museums Australia, Sept 2004 work by Multu Çerkez and Marco Physical Objects course, School GALLERY OFFICER Graeme Callaghan VENUE MANAGER GALLERY OFFICER International Award in Photography, ‘Conservation and interpretation’ Fusinato, LOOK, Mar 2005 of Art History and Theory, University Ian Bolt Mark Turner BA, AA ACCOUNTS PAYABLE CLERK Caroline Harvey Sweden 2005-06 lecture, University of Sydney, Sept ‘Darren Sylvester: we can love of Sydney, Oct 2004 GALLERY OFFICER Maria Montenegro VENUE ASSISTANT GALLERY OFFICER 2004 because we know we can lose love’ Talk for Year 12 visual arts students Arthur Boucas Russell Ward ACCOUNTS PAYABLE CLERK Joanne Oldfield Richard Beresford (senior curator, ‘Performing bodies’ lecture, College (cat essay), Sullivan and Strumpf on artists’ materials, Brigidine GALLERY OFFICER Alicia Spinks GALLERY OFFICER European art pre 1900) of Fine Arts, UNSW, Aug 2004 Fine Art, Sydney May 2005 College Randwick, Oct 2004 Alan Boyd Paul Woolcock ‘Pre-impressionist impressions: Board membership: Biennale of ‘Mark Galea: turning things around’ Shared supervision of Postgraduate BENEFACTION MANAGER GALLERY OFFICER GALLERY OFFICER open-air painting in Europe, 1780- Sydney, Power Institute Foundation (cat essay), Charles Nodrum Gallery, Certificate of Art Authentication MANAGEMENT ACCOUNTANT Jane Wynter BA, LLB Kevin Callope Lorraine Xuereb 1850’ LOOK, Aug 2004 member, treasurer AICA Australia, Melbourne June 2005 intern, University of Melbourne, Bernadine Fong, B Bus (Banking & DEVELOPMENT COORDINATOR ‘French painting in the golden age executive officer AAANZ Internship at Camden Arts Centre, Oct–Nov 2004 GALLERY OFFICER Finance) Fiona Barbouttis BA, Dip Ed by Christopher Allen’ short book External examiner for USYD, London and Victoria and Albert Talk for Year 12 chemistry students Anthony Caracoglia ACCOUNTING CLERK DEVELOPMENT COORDINATOR review in The Burlington Magazine, Newcastle University, UWS, Museum, London, June-Sept 2004 on Australian ochres & binders, Viva Chelvadurai Barbara Cressall GALLERY OFFICER vol CXLVII, no 1225, Apr 2005 Monash, University of Tasmania Supervision of University of Sydney Baulkham Hills High School June ACCOUNTING CLERK Ana Crespi ‘Adam Pynacker’s Landscape with and UNSW Masters and Honours 2005 Rita Briguglio GENERAL MANAGER, MARKETING GALLERY OFFICER enraged ox’ (cat entry), Dutch Donna Brett (project officer, students Collaborative research with AND BUSINESS DEVELOPMENT Stephen Davies masters from the Rijksmuseum curatorial services) Wollongong City Gallery regarding a MANAGER, INFORMATION & Belinda Hanrahan B Comm. GALLERY OFFICER Amsterdam, National Gallery of ‘Sol y sombre: optical poetry’ Jesmond Calleja (senior registrar, collection of paintings from Central TECHNOLOGY PUBLICITY OFFICER Romeo Domingo Victoria, June–Oct 2005 (cat essay), Marion Borgelt: Sol y collections systems integration) Australia, 2004–05 Maurice Cirnigliaro M.Bus.(Information Susanne Briggs Assoc Dip B Studies GALLERY OFFICER ‘Techniques of the plein-air painters’ sombre, Sherman Galleries, Aug ‘The virtual visitor: new ways to see Technology) Dip Counselling Kuldeep Duhan AGS lecture 2004 and appreciate our gallery’s

74 75 Jonathan Jones (Aboriginal Supervision of conservation intern ‘France in the time of Philippe- Director, VisAsia (The Australian Clare Pollard (curator of exhibition, June 2005 Gallery: emerging artist exhibition or participant on collecting Aboriginal programs coordinator) from University of Applied Sciences, Auguste’, La France Profonde: in Institute of Asian Culture and Visual Japanese art) Natural selection; three graduates glorified school display?’ art for institutions and the Member of the National Exhibitions Cologne, Germany Deepest France, A Cultural Tour, Arts) 2000– ‘The Chester Beatty Library: from the , presentation, Gosford Regional Art relationship to art market forces, Touring Support (NETS) Museums French lecture series, AGS June Member, Morrissey Bequest Yoshitsune’s invasion of hell’, joint Sydney Australian Galleries Works Gallery, senior student study day, July 2004 and Gallery, New South Wales Yang Liu (curator, Chinese art) 2005 Committee, University of Sydney, translation with Yoshiko Ushioda on Paper, Sydney, Mar 2005 May 2005 ‘Views from the client side: user Board and Visual Arts Reference ‘Three eremitic pictures and a song Curated Virginia Coventry survey Advisory Board for Acquisition of Scrolls and picture books come Graduating Printmaking Exhibition Member National Committee, panel’ panel member at ARLIS/NZ Committee of despair’, Orientations 9, 2004 exhibition, Drill Hall Gallery, Canberra Asian Works of Art and Books for alive, vol 1, Bensey Publishing Inc UNSW COFA, Sydney, Oct 2004 Museums Australia education Conference 2004, AGNSW Sept Recipient of the NSW Ministry & An iconographic study of the Judged the Portia Geach Prize the University Collections 1997– Tokyo, 2005 Southern Highlands Printmakers special interest group and NSW 2004 Australia Council for the Arts Vimalakirti scene in early Chinese Member, Société Paul Cézanne and Member, Vice-Chancellor’s Advisory ‘The Folding Screen’, LOOK, Nov Wollongong City Art Gallery, July representative, July 2005 ‘Writing Aboriginal artist’s emerging curators program to Buddhist art’ paper, International Alliance Française de Sydney (vice Committee for the Nicholson 2004 2004 biographies’ presentation, The Venice Biennale Conference on Chinese Buddhist president) Museum, University of Sydney ‘A remarkable marriage: technical Board member of Sydney Wayne Tunnicliffe (curator, Cross Arts Projects Gallery during Grotto Sculpture, Longmen Grotto Organised AGS course La France 1996– mastery and aesthetic International Art on Paper Fair contemporary Australian art) the England Banggala exhibition, Hendrik Kolenberg (senior Research Institute, Luoyang, China Profonde sophistication’, LOOK, June 2005 Committee member of Dictionary of ‘Anne Landa Award’, LOOK, Nov June 2005 curator, Australian prints, Aug 2004 Steven Miller (archivist) Australian Artists online project, 2004 Binocular: looking closely at country, drawings and watercolours) ‘Patterns of eremitic imagery in Jackie Menzies (head curator, Degenerates and perverts: the 1939 Ursula Prunster (museum UNSW ‘Exciting new purchase: Ricky co-curator (with Beverley Fielder) ‘Tribute: Nora Heysen’, artonview, Ming and Qing landscape painting’ Asian art) Herald exhibition of French and educator/curator – special Swallow’, LOOK, Dec 2004 Ivan Dougherty Gallery, COFA, National Gallery of Australia, no 38, conference paper for Sacred ‘Japanese export porcelain: British contemporary art, Miegunyah projects) Malgorzata Sawicki (senior Rosemary Laing: a collaboration UNSW winter 2004 mountains as areas of retreat and catalogue of the collection of the Press, Melbourne 2005 ‘Whistler’s arrangements, conservator/ head, frame with Stephen Birch, catalogue, Member, Clifford Possum Project, ‘Celebrating Fred Williams’, LOOK, reclusion, Honolulu Academy of Ashmolean Museum, Oxford’ book Lecture on Indigenous archiving to symphonies and nocturnes’, conservation) GrantPirrie, 2005 examining works attributed to the Nov 2004 Arts, Honolulu Sept 2004 review, Japanese Studies, vol 24, the bi-annual art libraries Modern Art in the Making lecture ‘Practical implications of research ‘Write Now’, LOOK, May 2005 artist to assist the compilation of a Preface in Gavin Wilson ‘Stereoscopic picture: poetry in no 2, Sept 2004 conference, Sept 2004 series, AGS July 2004 into non-traditional in-gilding ‘Speed trap: the quiet movement of database which will ultimately be Harbourlights, the art and times of Chinese landscape painting’ lecture, ‘Dancing to the flute’ in Harsha V Appraise and advised on the ‘Monet and Renoir: large-scale techniques: the future of losses Francis Alys’ Biennale of Sydney used as a basis for a catalogue Peter Kingston, Craftsman House, Department of Chinese Studies, Dehejia (ed), Celebration of love: the arrangement and cataloguing of the impressions’, Modern Art in the compensation in conservation of lecture, published Biennale website raisonné Sydney 2004 University of Sydney, Oct 2004 romantic heroine in the Indian arts, Robert Noye photographic archive, Making lecture series, AGS Aug gilded objects’ lecture, ICOM-CC ‘Curatorial practice and Interview by Jill Sykes, Apr 2005 ‘George Davis’ and ‘Anton Holzner’ Roli and Janssen BV, New Delhi Art Gallery of South Australia, 2004 Interim meeting working group on contemporary art at the AGNSW’ Yiribana changeover (with Hetti entries in The companion to Robyn Louey (librarian) 2004 Adelaide, Nov 2004 ‘Picasso-Ingres: from drawing into polychrome sculpture and painted lecture to University of Sydney Perkins), LOOK, July 2005 Tasmanian history (ed Alison ‘The Archibald, Wynne, Sulman, ‘The Nanhai trade’, TAASA Review, Talk on radio national about the painting’, Modern Art in the Making decorations in historic interiors, Master of Museum Studies Alexander) Centre for Tasmanian Dobell and Australian Photographic vol 13, no 1, 2004 1939 Herald exhibition, Apr 2005 II lecture series, AGS Feb 2005 Louvre/ Institute de Netherlands, students, Oct 2004 Sheona White (curator, Brett Historical Society, University of Portrait Prizes database’, paper, ‘New dimensions, south and Launch of publication Degenerates ‘Seurat: exploring the new science Paris, Nov 2004 Australia Museum collection Whiteley Studio/acting senior Tasmania, Hobart 2005 ARLIS/ANZ conference, Sept 2004 southeast Asian religious art in the and perverts in Melbourne, Apr of colour and ‘optical painting’, Interviews for the SBS Polish Radio exhibitions forum, Feb 2005 coordinator, public programmes ) ‘Arthur Boyd in print 1960s to 1980s’ collection of the Art Gallery of New 2005 Modern Art in the Making II lecture on the following exhibitions: Minter Ellison exhibition tour of Bill ‘Sensational Farrago’, LOOK, Nov (exhib cat), Limited editions – Arthur Ann MacArthur (coordinator, South Wales’, Arts of Asia, vol 33, series, AGS Mar 2005 Crossing country, Henson, Mar 2005 2004 Boyd in print, Bundanon 2005 Asian programs) no 6, Nov 2003 Denise Mimmochi (assistant ‘The pastel techniques of Degas: Boucher, Watteau and the origin of Contemporary Collection ‘Imants Tillers Pataphysical man ‘Australian images from the past’, ‘Including language: the community TAASA review: the journal of the curator, Australian art) at once conventional and utterly the rococo, Archibald Prize 2005 Benefactors Unscripted tour, 1984’ Art of the XX Century lecture LOOK, Apr 2005 ambassadors program at the Art Asian Arts Society of Australia, ‘The art of Joy Hester: “In defence radical’, Modern Art in the Making II 29 June 2005 series, June 2005 Gallery of New South Wales’ guest editor Collections issue, vol of unwritten history”’, Woman’s Art lecture series, AGS May 2005 Natalie Seiz (assistant registrar, Helen Lempriere travelling art ‘Cindy Sherman’ Art of the XX Brian Ladd (head, public conference paper, Sites of 12, no 3, Sept 2003 Journal, Laverock, PA, USA, vol 25, curatorial Asian) scholarship, judge and launch Century lecture series, July 2005 programmes) Communications2: Art Museums ‘A lantern on the Domain’ TAASA no 2, fall/winter 2005 Peter Raissis (curator, European ‘Voyeurism limited. Days in a life: the speech, Aug 2004 Judged the Golden Paws Award for ‘A case study in programming for Symposium, Mar 2005 Review, vol 12, no 3, Sept 2003 prints, drawings and art of Tetsuya Noda’, TAASA Woollahra Small Sculpture Prize the National Parks and Wildlife diverse audiences: the Art Gallery of ‘Japan in the Spring’ tour leader, ‘Conferring of awards’ ceremony, Barry Pearce (head curator, watercolours) Review, vol14, no 1, Mar 2005 judge, Aug-Sept 2004 Foundation, Sept 2004 New South Wales’ paper, Japan- AGS Apr 2005 occasional address to COFA Australian art) ‘Touring English country houses’, ‘They give evidence’ by Dadang Sponsors tour, Venice Biennale, Australia curatorial exchange TAASA Review: The Journal of The students, UNSW, May 2005 ‘Margaret Olley’ essay in exhibition LOOK, Dec/Jan 2004 Christanto’, Talks with Art Gallery June 2005 program, Oct 2004 Asian Arts Society of Australia, Talk on private collection for VisAsia, catalogue Margaret Olley, Pierre ‘Art of the rococo’, LOOK, Mar Professionals, Mar 2005 Member, Royal Botanic Gardens Sites of Communication2: Art member-publications committee May 2005 Bonnard, Edouard Vuillard, Nevill 2005 Management Committee member, Advisory Committee Museums Symposium, conference ‘Sites of empowerment’ paper, Sites Keating Tollemache, London Mar ‘More than a boxing match? Gallery The Asian Arts Society of Australia convenor and steering committee Terence Maloon (curator, special of Communications2: Art Museum 2005 gets its first Géricault, a rare Michael Wardell (program member, Mar 2005 exhibitions) Symposium, Mar 2005 Judged Brett Whiteley Travelling Art lithograph’, LOOK, Apr 2005 Susan Schmocker (head librarian) manager, museums and galleries) Member of Editorial Advisory Panel ‘An epidermis agreeable to look Opening Fan Dongwan’s exhibition, Scholarship, Sept 2004 ‘Anglomanie: French artists and Lecture to information management ‘Out of the dark: Kurt Schwitters, for Art and Australia upon’ essay in Allan Mitelma: works Macquarie University, Mar 2005 Judged Paddington Art Prize, Nov England c1815-1830’ lecture, AGS students, University on the one-man art movement’, LOOK, Foundation board member, Brett on paper 1967-2004, National ‘Exhibiting south Asian art’ paper, 2004 diploma course, Feb 2005 role and function of the Gallery’s Aug 2004 Whiteley Studio, Sydney Gallery of Victoria, 2004 Asia-Pacific Futures Network External advisor, selection ‘Old master drawings: technique, Research Library and Archive, Aug ‘Foundation building: celebrating 21 Member of the National Heads of ‘The light of open spaces: Virginia symposium, South Asia Node, committee, National Art School Cite function and connoisseurship’, 2004 years of raising money to buy art for Education and Public Programs Coventry survey exhibition’ (cat Research Futures: South Asia- Studio applications, Feb 2005 lecture and tutorial, University of Hosted ARLIS/ANZ (Art Libraries the Gallery’, LOOK, Sept 2004 Forum, Australia essay), Drill Hall Gallery, Canberra Australia, UNSW, Feb 2005 Member, S.H.Ervin Gallery advisory Sydney Society of Australia and New ‘Kurt Schwitters: Out of the dark Member of Engage, UK ‘An ordinary cabbage: Pissarro and ‘Major donors to the Japanese committee, National Trust Wrote extended wall labels for New Zealand) conference, AGNSW, Sept 1943’, World of Antiques & Art, Judge, the William Fletcher Trust, Pontoise’, LOOK, Oct 2004 collections at the Art Gallery of New Interviewed by ABCTV for Australian England Regional Art Museum, 2004 Feb-Aug 2005 NIDA, July 2004 ‘Art of the rococo’ (with Peter South Wales’ lecture, College Story featuring Wendy Whiteley, Armidale, on ‘Research Library and Archive’, ‘Jackson Pollock: Blue Poles 1952’, Operation Art, selector, Penrith Raissis), LOOK, Mar 2005 Women’s Association of Japan, July 2004 20th-century German expressionist Foundation Newsletter #6 Art of the XX Century lecture series, Regional Art Gallery, July 2004 ‘Pissarro, Corot Cézanne and the Japan Oct 2004 Obituary for David Aspden, died and Bauhaus prints and drawings Treasurer for ARLIS/ANZ executive 2004 Judge, RAS art exhibition, Mar 2005 art of accords’, Art and Australia 49th Annual CWAJ Print Show, 26 June since 2003 ‘Art Gallery of New South Wales Presented radio interviews on Radio (forthcoming) opened exhibition, Japan Oct 2004 Anne Ryan (curator, Australian loans to regional galleries’ Regional 2SM, 2NSR, 2ESR and SBS Radio ‘Spanish medieval architecture in its ‘Art of Buddhism’ two lectures for Cara Pinchbeck (assistant, prints) Tristan Sharp (senior coordinator, Galleries seminar NSW, Broken Hill about selected Art Gallery religious and political context’ & the Kagyu E-Vam Buddhist Aboriginal and Torres Strait ‘Muse: old and new, an exhibition of education programs) Regional Art Gallery, 2004 exhibitions; including the Biennale of ‘The Prado: the Spanish monarchs Institute’s Buddhist Summer School Islander art) new drawings by Jennifer Keeler- ‘Creative careers in the arts’ Coordinated the Barbara Blackman Sydney, Celestial silks, Crossing as collectors’, The Delights of at the Buddhist Library and Attended the Venice Biennale and Milne’ catalogue essay, Tim Olsen presentation, Community Cultural Temenos Foundation lecture, 2004 country, Bill Henson; Artexpress; Espana travel tour, AGS Oct 2004 Meditation Centre, Sydney Jan took part in a program of activities Gallery, Sydney May 2005 Development New South Wales, Judged the Basel and Muriel Archibald and Photo Portrait Prizes; ‘Camille Pissarro and the revolution 2005 organised by the Australia Council ‘Last stop, Sydney!’, LOOK, Feb South Western Sydney Youth Arts Hooper Scholarship & the Elioth as well as Art After Hours, film and of liberty and light’, Modern Art in Lecture on curatorial practice to as part its 2005 Young and 2005 Forum, July 2004 Gruner Prize, 2004 family programs at the Gallery the Making lecture series, AGS Sept COFA UNSW museum studies Emerging Curators Initiative, June ‘Traces, Southern Highlands Judged and opened: Killara High ‘Seeing the sublime: Richard 2004 students 2005 Printmakers’, Imprint vol, 39 no 3, School Annual Visual Art and Clements (1951–99)’ opened Stewart Laidler (senior painting ‘Cézanne and the art of “practising Lecture in the ‘Work of art as a spring 2004 Design Exhibition, Oct 2004 exhibition, Monash Gallery of Art conservator) one’s intuition”’, Modern Art in the physical object’ course, University of Hetti Perkins (curator, Aboriginal ‘The value of things, the art of Noel ‘Education programs and strategies 2004 ‘Technical Analysis’ presentation for Making II lecture series, AGS June Sydney and Torres Strait Islander art) McKenna’, Art and Australia, vol 42, at the AGNSW’ presentation, NSW Judged the 31st Annual Southern The Study of Works of Art as 2005 Opening of Lesley Kehoe’s Catalogue essay for Destiny no 1, spring 2004 Department of Education and Cross Arts & Craft Festival Ballina, Physical Objects course, School of ‘Like two mountaineers bound Japanese Art exhibition, Sydney, Deacon: Walk and don’t look blak, ‘Formalism and abstraction’, Art of Training, education regional art 2004 Art History and Theory, University of together: Picasso and Braque July 2004 Museum of Contemporary Arts, the XXth Century lecture series, Aug coordinators state meeting, June Sydney, Oct 2004 inventing ’, Modern Art in the ‘The goddess in south and Sydney 2004 2004 2005 Ken Watson (assistant curator, Presentation of the materials and Making II lecture series, AGS June southeast Asian art’, presentation Member, NSW Ministry for the Arts: Co-judge, the Hutchins Art Prize, Judged and opened: Mosman Art Aboriginal and Torres Strait techniques of Italian tempera 2005 panel of ASAA (Asian Studies of Arts Advisory Council Hobart, Oct 2004 Gallery 2005 Mosman Youth Art Islander art) panels, Baulkam Hills High School, ‘Abbé Suger and the origin of gothic Australia Association) Biennial Member, Ivan Dougherty Gallery Co-judge, Fresh Sydney Art on Prize, Apr 2005 Blak Insights Conference at HSC chemistry students, June 2005 architecture’ lecture, AGS Conference, Canberra Arts Advisory Committee Paper Fair emerging artists’ ‘The role of Artexpress and the Queensland Art Gallery, panel

76 77 FREEDOM OF INFORMATION PROCEDURES

FREEDOM OF INFORMATION REQUESTS 2004-05

NUMBER OF REQUESTS RECEIVED REQUESTS PROCESSED WITH DISCOUNTS ALLOWED FOI requests Personal Other Total Type of discount allowed Personal Other New (including transferred) 0 2 2 Public interest 0 0 Brought forward 0 0 0 Financial hardship – pensioner, child 0 0 Total to be processed 0 0 0 Financial hardship – non-profit organisation 0 0 Completed 0 2 2 Total 0 0 Transferred out 0 0 0 Withdrawn 0 0 0 Significant correction of personal records 0 0 Total processed 0 2 2 Unfinished (carried forward) 0 0 0 DAYS ELAPSED BEFORE COMPLETION Days elapsed Personal Other RESULTS OF COMPLETED REQUESTS 0–21 0 2 FOI requests Personal Other 22-35 0 0 Granted in full 0 1 Over 35 0 0 Granted in part 0 1 Total 0 2 Refused 0 0 Deferred 0 0 HOURS REQUIRED TO PROCESS REQUESTS Completed 0 0 Hours for processing Personal Other MINISTERIAL CERTIFICATES ISSUED 0-10 0 2 11-20 0 0 Ministerial certificates issued 0 21-40 0 0 Over 40 0 0 REQUESTS REQUIRING FORMAL CONSULTATIONS Total 0 2 Number of requests requiring formal consultation 0 REVIEWS AND APPEALS FINALISED REQUESTS FOR AMENDMENT OF PERSONAL RECORDS Number of internal reviews finalised 0 Amendment Request Total Number of Ombudsman reviews finalised 0 Number of requests for amendment 0 Number of District Court appeals finalised 0 Result of amendment – agreed 0 Result of amendment – refused 0 INTERNAL REVIEW RESULTS Total 0 Bases of internal review Personal Other Upheld Varied* Upheld Varied* REQUESTS FOR NOTATION OF PERSONAL RECORDS Access refused 0 0 0 0 Number of requests for notation 0 Deferred 0 0 0 0 Exempt matter 0 0 0 0 BASIS FOR DISALLOWING ACCESS Unreasonable charges 0 0 0 0 Basis for disallowing or restricting access Personal Other Charge unreasonably incurred 0 0 0 0 Amendment 0 0 0 0 Application incomplete or wrongly directed 0 0 Total 0 0 0 0 Deposit not paid 0 0 Diversion of resources 0 0 * Relates to whether or not the original agency decision was upheld or varied Exempt 0 1 subsequent to the internal review Otherwise available 0 0 Documents not held 0 0 Deemed refused 0 0 Released to medical practitioner 0 0 Total 0 1

COSTS AND FEES COLLECTED FOR PROCESSED REQUESTS Assessed costs FOI fees Received All completed requests 0 $60

Applications for access to the Human Resources Manager Arrangements can be made to Gallery’s documents under the (FOI coordinator) obtain copies of documents or to Freedom for Information Act should Art Gallery of New South Wales inspect them by contracting the FOI be accompanied by a $30 Art Gallery Road coordinator. application fee and directed in The Domain NSW 2000 writing to: Telephone: (02) 9225 1795 Fax: (02) 9221 6226

78