Annual Report 2018–19 Snapshot of the National Gallery of Australia

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 2018–19 Snapshot of the National Gallery of Australia Annual Report 2018–19 Snapshot of the National Gallery of Australia Who we are What we do The National Gallery of Australia The Gallery provides opened to the public in October 1982 exceptional experiences of and is the Commonwealth of Australia’s rich visual arts Australia’s national cultural institution for the culture. Through the national collection, visual arts. Since it was established in 1967, it exhibitions, educational and public programs, has played a leadership role in shaping visual outreach initiatives, research and publications, arts culture across Australia and its region and infrastructure and corporate services, the continues to develop exciting and innovative Gallery is a model of excellence in furthering ways to engage people with the national knowledge of the visual arts. The Gallery art collection. makes art accessible, meaningful and vital to diverse audiences, locally, nationally and internationally. Our purpose and outcome Our staff As Australia’s pre-eminent visual staff at 30 June 2019. The Gallery arts institution, the Gallery provides 326 has an inclusive workforce, social and cultural benefits for the employing people with a disability and people community and enhances Australia’s with culturally diverse backgrounds, including international reputation. The Gallery’s one Indigenous Australians. Women represent outcome, as outlined in the Portfolio Budget 67% of the Gallery’s workforce and 50% Statements 2018–19, is ‘Increased of its Senior Management Group. Detailed understanding, knowledge and enjoyment staffing information is on pages 72–7. of the visual arts by providing access to, and information about, works of art locally, nationally and internationally’. Our collection Our supporters Over nearly half a century of The Gallery nurtures strong collecting, the Gallery has achieved relationships with external extraordinary outcomes in acquiring stakeholders, such as artists and and displaying Australian and international art. their representatives, other galleries, schools, The national art collection is valued at $6 billion universities, the business sector, the media, and has reached millions of people around the Australian Government and the wider Australia and the world through our displays community. These relationships help us to and exhibitions at the Gallery in Canberra, our present the finest exhibitions and public travelling exhibitions and loans programs, and education programs and add significant publications and website. See the collection value to the national collection through gifts reach map on pages 18–19. and donations. Find our supporters at Appendix E, from page 134. Cover: Tony Albert (Girramay, Yidinji & Kuku-Yalanji peoples) I AM VISIBLE 2019 (production still), architectural digital projection. Commissioned by National Gallery of Australia 2018–19. Courtesy the artist and Sullivan + Strumpf, Sydney Performance highlights of 2018–19 Below are some of the National Gallery’s performance highlights of 2018–19. Details of our performance are provided from page 24, and how we measure our performance is explained in the reporting framework on pages 22–3. Building the national collection 1351 works of art 155,700 individual 1370 works of art $8.1 million in cash acquired during the works of art in the from the national donations assisted year, highlights of national collection at collection on loan, with purchases. Gifts which are given on 30 June 2019. nationally and of works of art valued pages 26–9. internationally. See at $5.3 million. the collection reach map on pages 18–19. Exhibiting the art of Australia and the world 22 exhibitions held 200,770 people 137,173 visitors 10,794 people at the National came to Cartier: The experienced American visited the travelling Gallery in Canberra Exhibition and 103,431 Masters 1940–1980, exhibition Indigenous and 10 National visited Love and drawn from the Australia at the Gallery exhibitions Desire: Pre-Raphaelite national collection. National Gallery of toured nationally and Masterpieces from the Modern Art in New internationally. Tate. Delhi, India. Connecting audiences with the visual arts 858,074 people 3,697,158 people 143,526 96,772 followers experienced the visited exhibitions that participated in the on Instagram, 77,935 national collection included works from Gallery’s diverse range followers on Facebook and exhibitions at the the national collection. of public programs. and 39,076 followers Gallery in Canberra. on Twitter. Education, access, health and wellbeing 112,369 students and 94 Indigenous 352 students have 1056 people teachers participated art workers from participated in the participated in access in school programs across Australia Gallery’s Summer programs, including onsite and offsite. are now alumni of Art Scholarship since 48 offsite as part of the Indigenous Arts it began in 1997, 3 of the Art and Dementia Leadership program. which are now Gallery training workshop. employees. National Gallery of Australia Annual Report 2018–19 1 Auditors, contacts and locations Internal auditors Locations and opening hours PricewaterhouseCoopers National Gallery of Australia 28 Sydney Avenue Parkes Place East, Parkes, ACT Forrest ACT 2603 10.00 am – 5.00 pm (Closed Christmas Day) Bellchambers Barrett Free admission 44 Sydney Avenue E [email protected] Forrest ACT 2603 #nationalgalleryaus instagram.com/nationalgallery External auditor facebook.com/NationalGalleryofAustralia Australian National Audit Office Centenary House twitter.com/NatGalleryAus/ 19 National Circuit Barton ACT 2600 Annual report production Co-ordinator: Kirsti Partridge Contact us Editor: Eric Meredith National Gallery of Australia Designer: Carla Da Silva GPO Box 1150 Proofreader: Justine: Molony Canberra ACT 2601 Indexer: Sherrey Quinn W nga.gov.au Printed: New Millennium Print Enquiries about this report are welcome: Attn: Governance and Reporting Manager T (02) 6240 6591 E [email protected] General correspondence: Attn: The Director T (02) 6240 6411 E [email protected] Freedom of information: Attn: Freedom of Information Coordinator T (02) 6240 6591 E [email protected] Compliments and complaints: Attn: Visitor Experience Manager T (02) 6240 6615 or (02) 6240 6411 E [email protected] W nga.gov.au/contactus/feedback © National Gallery of Australia This work is copyright. With the exception of photographs protected by copyright, it may be reproduced in whole or part subject to the inclusion of acknowledgment of the source and no commercial usage or sale. Reproduction for purposes other than those indicated above requires the written permission of the National Gallery of Australia, GPO Box 1150, Canberra ACT 2601. ISSN 1323 5192 (print) ISSN 1833 9859 (online) This report is available at nga.gov.au/aboutus/reports. 2 Letter of transmittal 27 September 2018 The Hon Paul Fletcher MP Minister for Communications, Cyber Safety and the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s annual report covering the period 1 July 2018 to 30 June 2019. This report is submitted to you as required by section 46 of the Public Governance, Performance and Accountability Act 2013 (PGPA Act). It is consistent with the requirements set out in the PGPA Rule 2014, Division 3A, Subdivision B (17BB–17BF), and due consideration has been given to the resources issued by the Department of Finance: Resource Management Guide 134: Annual performance statements for Commonwealth entities and Resource Management Guide 136: Annual reports for corporate Commonwealth entities. I also present the 2018–19 annual performance statements for the National Gallery of Australia, as required under paragraph 39(1)(a) of the PGPA Act. In my opinion, these annual performance statements are based on properly maintained records, accurately reflect the performance of the entity and comply with subsection 39(2) of the PGPA Act. The financial statements were prepared in accordance with the Finance Minister’s Orders made under the PGPA Act. Yours sincerely Ryan Stokes Chair of Council National Gallery of Australia Annual Report 2018–19 3 4 CONTENTS Snapshot of the National Gallery Part 5 of Australia inside cover Financial statements 81 Performance highlights of 2018–19 1 Independent auditor’s report 82 Auditors, contacts and locations 2 Overview 86 Letter of transmittal 3 Financial statements 88 Notes 92 Part 1 Part 6 Executive summary 7 Appendices 105 Chair’s review 8 A Exhibitions 106 Director’s review 10 B Publishing and papers 110 C Acquisitions 116 Part 2 D Inward loans 130 Agency overview 15 E Supporters 134 About the National Gallery of Australia 16 F Executive remuneration 147 Collection reach 18 G Work health and safety 150 Organisational structure 20 H Advertising and market research 152 Part 3 I List of requirements 153 Report on performance 21 Reporting framework 22 List of figures, tables and images 155 Annual performance statements 24 Abbreviations and acronyms 157 Strategy 1 Collections and exhibitions 25 Index 158 Strategy 2 Audiences and engagement 38 Strategy 3 Partnerships and sustainability 55 Part 4 Management and accountability 63 Corporate governance 64 Workforce management and support 72 Financial management and business assurance 78 National Gallery of Australia Annual Report 2018–19 5 Index of case studies Strategy 1 Collections and exhibitions Case study 1 26 Venice Biennale
Recommended publications
  • Loudon Sainthill
    MS 11 Papers of Loudon Sainthill Summary Administrative Information Biographical Note Associated Content Series List and Description Box/Folder Description Summary Creator: Loudon Sainthill and Harry Tatlock Miller Title: Papers of Loudon Sainthill Date range: 1938-1969 Reference number: MS11 Extent: 3 boxes + 4 large polypropylene boxes + 1 oversized box and 1 buckram- covered large binder Overview The collection comprises programmes, photographs, ephemera, correspondence and papers that had been retained by Loudon Sainthill and Harry Tatlock Miller. They are arranged according to Sainthill’s original order of source and/or date. Keywords Ballets Russes, Monte Carlo Russian Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet Key Names - 1 - Loudon Sainthill, Harry Tatlock Miller, Rex de Charembac Nan Kivell, Colonel W. de Basil Administrative Information Access Contact the National Gallery of Australia Research Library reference desk librarians. Phone +61 2 6240 6530 Email [email protected] Provenance During 1988 and 1989 James Mollison, then Director of the Australian National Gallery, corresponded and met with Harry Tatlock Miller, a close associate of Loudon Sainthill, regarding the Sainthill papers in his possession. These were donated to the then named Australian National Gallery by Harry Tatlock Miller on 6 February 1989. Preferred Citation Note MS 11 Papers of Loudon Sainthill [Box number: folder number], National Gallery of Australia Research Library Archives, National Gallery of Australia, Canberra. Biographical Note Loudon Sainthill was born in 1919, Hobart, Tasmania, and spent his early school years in Melbourne. Sainthill was greatly influenced by the theatre after seeing performances of Colonel W. de Basil’s Monte Carlo Russian Ballet in the late 1930s.
    [Show full text]
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • Interprofessional Learning in Rural South‐East New South Wales: an Opportunity to Collaborate Across Educational Institutions, Health Disciplines and Health Services
    Interprofessional learning in rural south‐east New South Wales: an opportunity to collaborate across educational institutions, health disciplines and health services Pippa Craig1, Ian Goater2, Daniel Heard3, John Sullivan3, Eva Taylor4, Amanda Barnard5 1Inter‐Professional Learning, ANU Medical School, 2ANU Rural Clinical School, Bega, 3ANU Medical School, 4Tulgeen Disability Services, Bega, 5Rural Clinical School, ANU Medical School Dr Ian Goater has a MBBS Melbourne University 1976, MPH Monash University 1989, Fellowship Australasian College of Occupational Medicine 1989. Clinically Dr Goater initially worked in general practice and later as an occupational physician before becoming a rural general practitioner in 1999. He has been the Academic Coordinator, Bega Node, Rural Clinical School, ANU College of Medicine, Biology and Environment since 2004. Daniel Heard is a final year medical student at the Australian National University Medical School. Born in rural north Queensland and moving to Canberra as a teenager, as an undergraduate he completed a Bachelor of Science/Bachelor of Laws majoring in immunology and genetics at the ANU. He then worked for several years as an IT consultant to government, creating legal decision support systems to assist organisations to comply with complex areas of law. One of the systems he designed is the Australian Department of Immigration’s international award winning ‘Visa Wizard’, which is used by 2 million people a month to determine the Australian visa they should apply for. He has also worked as a freelance science journalist, writing pieces for the Australian Academy of Science’s ‘Nova—science in the news’ series and ‘Velocity’, the Australian Nuclear Science and Technology Organisation’s online science magazine.
    [Show full text]
  • Art Almanac April 2018 $6
    Art Almanac April 2018 $6 Julie Dowling Waqt al-tagheer: Time of change Steve Carr Art Almanac April 2018 Subscribe We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Established in 1974, we are Australia’s longest running monthly art guide and the single print Guringai people of the Eora Nation where Art Almanac destination for artists, galleries and audiences. has been produced. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. This issue spotlights the individual encounters and communal experience that To subscribe go to artalmanac.com.au contribute to Australia’s cultural identity. or mymagazines.com.au Julie Dowling paints the histories of her Badimaya ancestors to convey the personal impact of injustice, while a group show by art FROOHFWLYHHOHYHQíOWHUVWKHFRPSOH[LWLHVRI the Muslim Australian experience through diverse practices and perspectives. Links Deadline for May 2018 issue: between suburbia and nationhood are Tuesday 3 April, 2018. presented at Cement Fondu, and artist Celeste Chandler constructs self-portraits merging past and present lives, ultimately revealing the connectedness of human existence. Contact Editor – Chloe Mandryk [email protected] Assistant Editor – Elli Walsh [email protected] Deputy Editor – Kirsty Mulholland [email protected] Cover Art Director – Paul Saint National Advertising – Laraine Deer Julie Dowling, Black Madonna: Omega,
    [Show full text]
  • Australia's National Heritage
    High Court–National Gallery Precinct AUSTRALI A N C A PI TA L T E R R ITORY The High Court–National Gallery Precinct is significant as a group of public buildings and landscape conceived as a single entity. The complex is stylistically integrated in terms of architectural forms and finishes, and as an ensemble of freestanding buildings in a cohesive landscape setting. The Precinct occupies a 16-hectare site in the north-east corner of the Parliamentary Zone. It includes the High Court, National Gallery of Australia and the Gallery’s Sculpture Garden. The landscape brief from the National Capital National Gallery of Australia Development Commission required that the High Court, National Gallery and surrounding landscape become a chambers. A waterfall designed by Robert Woodward and single precinct in visual terms, with the High Court as constructed from South Australian speckled granite runs the dominant element to be open to views from Lake the full length of the entry ramp. Burley Griffin. The National Gallery is a complex building of varied The Precinct is a synthesis of design, aesthetic, social and levels and spaces arranged on four floors of approximately environment values with a clear Australia identity. This 23 000 square metres. Like the High Court, much of the is represented in the pattern of functional columns and building is made of reinforced bush-hammered concrete, towers in the architectural elements, the sculptures of the an example of the architect’s philosophy that concrete has national collection in a landscaped setting, and the high as much integrity as stone.
    [Show full text]
  • Medicine at Anu
    MEDICINE AT ANU ANU College of Medicine, Biology & Environment We are the best uni in Australia* CONTENTS Welcome 2 Why study at ANU? 4 Why Canberra? 6 Your ANU experience 8 We are the Your future 10 Your opportunities 12 Your medical degree 14 Your application 16 Admissions information 18 best uni in Scholarships 20 Your research 22 * Our research areas 24 Australia * QS 2017 World University Rankings Medicine at ANU 1 WELCOME We have stood in your shoes All of the doctors teaching at The Australian National University (ANU) Medical School, myself included, know that choosing a medical school is a big deal. Having been through the process ourselves, and being still tied to our respective schools through alumni networks and the indelible memories of our impressionable years as a medical student, we are very aware of the critical importance of this decision. So it is not lightly that I recommend the ANU Medical School. It is in the full knowledge that this is a big deal for you. You are, after all, entrusting your indelible memories to us. But I can say, with confidence and great pride, that we are the right choice. You will find at the ANU Medical School the support you need to get through what will be a tough four years, and graduate as the kind of doctor you want to be. You will not be lost in the crowd here. Your teachers will be your mentors, your classmates will be your best friends, and your new city will be your home. The best of luck to you as you begin your journey to becoming a doctor.
    [Show full text]
  • Endangered Songs and Endangered Languages
    Endangered Songs and Endangered Languages Allan Marett and Linda Barwick Music department, University of Sydney NSW 2006 Australia [[email protected], [email protected]] Abstract Without immediate action many Indigenous music and dance traditions are in danger of extinction with It is widely reported in Australia and elsewhere that songs are potentially destructive consequences for the fabric of considered by culture bearers to be the “crown jewels” of Indigenous society and culture. endangered cultural heritages whose knowledge systems have hitherto been maintained without the aid of writing. It is precisely these specialised repertoires of our intangible The recording and documenting of the remaining cultural heritage that are most endangered, even in a traditions is a matter of the highest priority both for comparatively healthy language. Only the older members of Indigenous and non-Indigenous Australians. Many of the community tend to have full command of the poetics of our foremost composers and singers have already song, even in cases where the language continues to be spoken passed away leaving little or no record. (Garma by younger people. Taking a number of case studies from Statement on Indigenous Music and Performance Australian repertories of public song (wangga, yawulyu, 2002) lirrga, and junba), we explore some of the characteristics of song language and the need to extend language documentation To close the Garma Symposium, Mandawuy Yunupingu to include musical and other dimensions of song and Witiyana Marika performed, without further performances. Productive engagements between researchers, comment, two djatpangarri songs—"Gapu" (a song performers and communities in documenting songs can lead to about the tide) and "Cora" (a song about an eponymous revitalisation of interest and their renewed circulation in contemporary media and contexts.
    [Show full text]
  • Jump on Board High-Performing Not-For-Profit Boards in Fundraising
    JUMP ON BOARD HIGH-PERFORMING NOT-FOR-PROFIT BOARDS IN FUNDRAISING November 2019 PREPARED BY Melissa Smith Director & Founder, Noble Ambition in partnership with Perpetual ABOUT THE AUTHOR Melissa is former Global Fundraiser of the Year (IFC, 2011) and Australian Fundraiser of the Year (FIA, 2011). She has facilitated philanthropic giving across education, the arts and health, and worked with hundreds of donors in Australia, Asia and the United States. Melissa has led four fundraising programs from start-up to established, from Powerhouse Museum and Sydney Opera House in the arts, to University of Technology, Sydney and RMIT University, in education. Melissa has a BA Hons (First Class, USyd), Masters of Management (UTS); is a Churchill Fellow (2007) and a graduate of University of Melbourne’s Asialink Leaders Program and Benevolent Society’s Sydney Leadership Program. She has presented her research internationally in areas including the impact of culture on philanthropy, international best practice in arts philanthropy, and the role of leadership in philanthropy. Melissa’s lifelong interest and experience enables her to understand both philanthropy and fundraising. As a thought leader in the philanthropic and fundraising sector, she is in the privileged position of possessing the practical and strategic skills to support both pillars equally. Jump on Board: High-performing not-for-profit boards in fundraising 2 Philanthropic fundraising in Australia is in a state of rapid change. While mass giving is in decline, major gifts are on the rise, and in coming years we will see the largest intergenerational transfer of wealth in our nation’s history. This undoubtedly presents an exciting opportunity for the non-for-profit (NFP) sector to attract significant support, but also raises questions about how prepared NFPs are to maximise this opportunity.
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • The Garden of Australian Dreams: the Moral Rights of Landscape Architects
    EDWARD ELGAR THE GARDEN OF AUSTRALIAN DREAMS: THE MORAL RIGHTS OF LANDSCAPE ARCHITECTS DR MATTHEW RIMMER SENIOR LECTURER ACIPA, FACULTY OF LAW, THE AUSTRALIAN NATIONAL UNIVERSITY ACIPA, Faculty Of Law, The Australian National University, Canberra, ACT, 0200 Work Telephone Number: (02) 61254164 E-Mail Address: [email protected] THE GARDEN OF AUSTRALIAN DREAMS: THE MORAL RIGHTS OF LANDSCAPE ARCHITECTS DR MATTHEW RIMMER* * Matthew Rimmer, BA (Hons)/ LLB (Hons) (ANU), PhD (UNSW), is a Senior Lecturer at ACIPA, the Faculty of Law, the Australian National University. The author is grateful for the comments of Associate Professor Richard Weller, Tatum Hands, Dr Kathy Bowrey, Dr Fiona Macmillan and Kimberlee Weatherall. He is also thankful for the research assistance of Katrina Gunn. 1 Prominent projects such as National Museums are expected to be popular spectacles, educational narratives, tourist attractions, academic texts and crystallisations of contemporary design discourse. Something for everyone, they are also self-consciously set down for posterity and must at some level engage with the aesthetic and ideological risks of national edification. Richard Weller, designer of the Garden of Australian Dreams1 Introduction This article considers the moral rights controversy over plans to redesign the landscape architecture of the National Museum of Australia. The Garden of Australian Dreams is a landscaped concrete courtyard.2 The surface offers a map of Australia with interwoven layers of information. It alludes to such concepts as the Mercator Grid, parts of Horton’s Map of the linguistic boundaries of Indigenous Australia, the Dingo Fence, the 'Pope’s Line', explorers’ tracks, a fibreglass pool representing a suburban swimming pool, a map of Gallipoli, graphics common to roads, and signatures or imprinted names of historical identities.3 There are encoded references to the artistic works of iconic Australian painters such as Jeffrey Smart, Sidney Nolan, Arthur Boyd, and Gordon Bennett.
    [Show full text]
  • Moca Board of Trustees New Members Final
    FOR IMMEDIATE RELEASE November 12, 2018 THE BOARD OF TRUSTEES OF THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES (MOCA) ANNOUNCES FIVE NEW MEMBERS DR. ADRIAN CHENG, MARINA KELLEN FRENCH, SIMON MORDANT, SEAN PARKER, AND JULIA STOSCHEK BRING THEIR WIDE-RANGING INTERNATIONAL EXPERIENCES AND DEPTH OF PHILANTHROPIC COMMITMENTS TO AN EXPANDED BOARD LOS ANGELES—The Board of Trustees of The Museum of Contemporary Art, Los Angeles (MOCA), today announced the addition of five new members: Dr. Adrian Cheng, Marina Kellen French, Simon Mordant, Sean Parker, and Julia Stoschek. The members bring an international outlook, various industry backgrounds, and deep commitment to the arts. They each add strength to an expanded and invigorated MOCA Board. “I am thrilled and proud to welcome such an esteemed group of new trustees,” said MOCA Board Chair Maria Seferian. “Each of our new trustees is a leader in his or her industry and a deeply dedicated philanthropist who has contributed to many important causes around the world. MOCA is embarking on a new chapter, and we are all very excited about what’s to come.” “I am humbled and grateful to welcome five extraordinary philanthropists, leading art specialists, and pioneering supporters of the arts and social causes to the board of MOCA,” said Klaus Biesenbach, the Director of The Museum of Contemporary Art. “Each, in their own way, brings a unique knowledge and experience to the Board that will broaden and strengthen the growth of the museum going forward.” Dr. Adrian Cheng joins the MOCA Board from Hong Kong. Mr. Cheng is an internationally-renowned businessman.
    [Show full text]
  • News from the Collections
    News from the collections Grainger Museum reopening Melbourne Conservatorium of The Grainger Museum officially Music; Dr Peter Tregear of Monash re-opened on Friday 15 October, University; and Brian Allison and following a seven-year closure. Astrid Krautschneider, Curators of Over the past few years substantial the Grainger Museum. conservation works were carried out The Grainger Museum is located on the heritage-registered building on Royal Parade, near Gate 13, under the supervision of conservation Parkville Campus. The opening architects Lovell Chen, along with hours are Tuesday to Friday 1pm to improvements to the facilities for 4.30pm and Sunday 1pm to 4.30pm. visitors, collections and staff. The new Closed Monday and Saturday, public suite of exhibitions, curated by the holidays and Christmas through Grainger Museum staff and designed January. Percy’s Café is open 8am to by Lucy Bannyan of Bannyan Wood 5pm, Monday to Friday. For further Design, explore Grainger’s life, times information or to join the mailing list and work. Funding was provided see www.grainger.unimelb.edu.au. by the University, the University Library, the University Annual MacPherson, Ormond Professor of G.W.L. Marshall-Hall: Appeal, bequests and donors. The Music and Director of the Melbourne A symposium guest speaker at the launch was Conservatorium of Music. Professor The collections of the Grainger Professor Malcolm Gillies, Vice- Gillies’ keynote paper ‘Grainger Museum provide an invaluable Chancellor of London Metropolitan 50 years on’ explored Percy Grainger’s research resource that extend far University and a leading Grainger current place in both the world of beyond the life and music of Percy scholar.
    [Show full text]