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Heide Museum of Modern Art 2014 Annual Report Heide Museum of Modern Art 2014 Annual Report

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Heide Museum of Modern Art 2014 Annual Report Heide Museum of Modern Art 2014 Annual Report HEIDE MUSEUM OF MODERN ART 2014 ANNUAL REPORT Heide Museum of Modern Art 2014 Annual Report CONTENTS 1.S TATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 18 5.1 Store 18 5.2 Visitor Services 21 5.3 Membership 22 5.4 Café Vue at Heide 22 6. COLLECTION 23 6.1 Acquisitions 25 7. FACILITIES 39 7.1 Maintenance 39 7.2 Gardens 40 8. MARKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Grants 48 9.3 Development Committee 49 9.4 Heide Fellow 49 9.5 Fundraising Campaigns 49 9.6 Corporate Partnerships 50 9.7 Local Government Support 50 9.8 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 DIRECTORS’ DECLARATION 97 INDEPENDENT AUDIT REPORT 98 Cover image Installation view, Emily Floyd: Far Rainbow Heide III, 2014 All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2014 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history. VALUES Creativity in cultural programming, audience development and profiling of the Museum Sustainability of cultural, financial and environmental operations Integrity in governance, leadership and museum management 1 2. Honorary Appointments Heide Museum of Modern Art 2014 Annual Report 2. HONORARY Patrons APPOINTMENTS Terry Bracks Barbara Tucker Fellows H. Norman B Wettenhall AM (1915–2000) 1988 Georges Mora (1913–1992) 1989 Maria Prendergast OAM 1990 Baillieu Myer AC 1992 Loti Smorgon AO (1919–2013) 1993 Victor Smorgon AC (1913–2009) 1993 Barrett Reid AM (1926–1995) 1994 Tom Quirk 1995 Maudie Palmer AO 1997 Stephen Charles 1998 Christine Collingwood 1999 Albert Tucker AO (1914–1999) 2000 Barbara Tucker 2000 Tom Lowenstein 2002 William J. Forrest AM 2005 John Gollings 2006 Inge King AM 2006 Neil Everist 2007 Mirka Mora 2008 David Walsh 2009 Craig & Connie Kimberley 2010 Lady Mary Nolan 2011 Mark & Hyeon-Joo Newman 2012 Joan Clemenger AO 2013 Richard Haese 2014 2 3. Chairman & Director's Report Heide Museum of Modern Art 2014 Annual Report 1 3. CHAIRMAN & DIRECTOR’s In 2014 Heide Museum of Modern Art 2014 was also the first year in which Heide continued its presentation of a dynamic series received funding as one of the ten Lead REPORT of exhibitions of modern and contemporary Organisations within the State Government’s art, alongside outstanding publications and Organisations Investment Program (OIP). exceptional education and public programs. Acknowledging Heide’s significant contribution The year exemplified the diversity and ambition to Victoria’s rich cultural life, the OIP provides of Heide’s program, combining new research three terms of triennial funding and a into the artists of the early and mid-twentieth commitment has been made for funding century, including those associated with of $1,370,400 per annum for 2014–2016. There John and Sunday Reed at Heide, with a focus is a strong alignment between Heide’s 2014–16 on significant contemporary practitioners. Strategic Plan and the three public benefit Attendance figures for the year and sales of areas identified in the State Government’s exhibition-related merchandise attest to the OIP, which highlight benefits to the artistic broad relevance of the program, as well as and arts sector, as well as social and economic the interest that exists among the museum- benefits. As such Heide is well placed to going public in Heide’s unique offering of art, contribute to Government’s goals through architecture, social history and gardens. the continuation and development of its role as a leading organisation within the Victorian 2014 was the first year of Heide’s 2014–2016 museum sector. Strategic Plan which identifies four areas of focus – Artistic Leadership, Optimisation of In response to the 2014–2016 Strategic Place, Securing the Future and People Love Plan and its ‘Optimisation of Place’ agenda, Heide. Together these define the key elements Creative Victoria commissioned Lovell Chen of Heide’s operations, as well as providing Architects and Heritage Consultants to a strong framework for the assessment and prepare a Conservation Management Plan development of future initiatives. Each of these (CMP) for Heide with the aim of providing focus areas was highlighted during 2014, with a heritage framework to guide and inform Heide’s acknowledged excellence in the field of future conservation and management of its exhibition programming, publishing, education unique built and landscape elements. The and public programs working alongside CMP highlights the historical, aesthetic, initiatives that aim to optimise the museum’s architectural, scientific, social and spiritual unique characteristics, develop opportunities significance of Heide within the broader for ongoing financial support and sponsorship, context of Victoria, acknowledging its primary and build on the esteem in which Heide is so significance as a key site in the genesis widely held. of modern art and modernism in Australia. The CMP makes a series of recommendations against which future developments, including those that will boost the museum’s capacity to generate revenue, can be considered. 1 Kirsty Grant, Heide Director and CEO and Jennifer Darbyshire, chairman of the Board, 2015 Photograph: Jeremy Weihrauch 3 3. Chairman & Director's Report Heide Museum of Modern Art 2014 Annual Report Heide presented thirteen exhibitions in 2014, concerns like feminism, community and social In 2014 both Albert Tucker exhibitions including one artist performance, and these radicalism and their contribution to modernist highlighted aspects of Tucker’s oeuvre and are detailed further in this report. Continuing art and its envisioning of the future. This broader interests in ways that continued to Heide’s focus on the research and presentation exhibition also coincided with the installation expand our knowledge and understanding of modern and contemporary art, the year’s in the Tony & Cathie Hancy Sculpture Plaza of of his significance in the context of Heide programming saw a series of exhibitions Abstract Labour, 2014, a major new permanent and the development of modernism in that elaborated on aspects of early and mid- sculptural commission by Emily Floyd that was Australia. We are the Dead Men: Albert twentieth century art history, including the supported by Creative Victoria through Tucker’s War brought together works of art work of artists who were associated with or the Victorian Public Sculpture Fund. that Tucker and his peers made in response part of the Heide circle. Diverse aspects of to life in Melbourne during the Second World Gunter Christmann: Now and Then was contemporary practice were also highlighted War. Signalling a new era in Australian the next exhibition mounted in the Central in exhibitions throughout the year, including the art, these works displayed a move away Galleries of Heide III, and surveyed fifty years ongoing exhibitions of new and experimental from the landscape tradition in painting to of his diverse practice. Including paintings, work in the Kerry Gardner & Andrew Myer psychologically charged images of the urban drawings, photography, as well as sound and Project Gallery. Four new printed catalogues environment. In contrast, Albert Tucker and video works, the exhibition traced the evolution and three online publications were produced the Mystery of H.D. displayed the work of the of Christmann’s major themes and series, from in association with the exhibition program little-known amateur artist, Henry Dearing, the geometric and constructivist abstracts, and extensive research was undertaken by whose naïve style intrigued Tucker from his splatter and shaker box paintings, through curators Lesley Harding and Kendrah Morgan first encounter with it in 1944. This exhibition to his sensitive figure studies, silhouette in preparation for Modern Love, a double displayed four watercolours acquired by paintings and landscapes. biography of John and Sunday Reed that Tucker in the 1940s, alongside 26 previously will be published by Melbourne University The final exhibition in the Heide III Central unexhibited works recently acquired by Heide Publishing in partnership with Heide and the Galleries for the year, Arthur Boyd: Brides, with the generous assistance of Barbara State Library of Victoria in the second half brought together many of the major paintings Tucker. of 2015. Throughout the year Heide Deputy and related contextual material from Boyd’s Consistent with recent years, Heide’s 2014 Director/Senior Curator Linda Michael also acclaimed series, Love, Marriage and Death Business Plan sought to continue the delivery worked with Fiona Hall on the development of a Half-caste. Made between 1953-60, this of outstanding programming within a limited of her exhibition Wrong Way Time for the series of allegorical works that critiqued budget and tightly controlled operational 2015 Venice Biennale. Australia’s cultural divide in the guise of an expenditure, which this year also included invented love story focused on an Indigenous Future Primitive, an exhibition of work by reductions in some departmental areas. man and his mixed race bride, represented a contemporary
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