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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 2006 ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION

ACCESS RESEARCH LIBRARY GALLERY SHOP PUBLIC TRANSPORT ‘One of the loveliest and most insightful exhibitions devoted to a single The Gallery opens every day except AND ARCHIVE Open daily from 10am to 5pm and until Buses: the 441 bus route stops at the Easter Friday and Christmas Day The Gallery’s Research Library and 8.45pm each Wednesday night, the Gallery en route to the Queen Victoria artist.’ Pissarro exhibition, Sebastian Smee, Weekend Australian, 26 Nov 06 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 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 has the stocks an extensive range of art posters, 131 500 or visit www.131500.info for number of major temporary exhibitions. most comprehensive collection of fine cards, replicas and giftware. Inquiries more details. ‘WHAT IS FASCINATING AND WHAT IS SO WELL BROUGHT art books in NSW. Inquiries phone phone (02) 9255 1718. A range of Free Art After Hours bus: a free GUIDED TOURS (02) 9225 1785. merchandise is also available online courtesy minibus operates from 7pm OUT IS THE POPULARITY OF FEMALE SELF PORTRAITURE. I HAVE The Volunteer Guides of the Art Gallery The Library provides a free ‘Opinion, (www.artgallery.nsw.gov.au/shop). until 9.30pm every Wednesday night. Society offer a range of free guided tours Conservation and Identification Service’ It makes its final run from the Gallery NEVER BEFORE SEEN SO MANY SELF PORTRAITS BROUGHT of the collection and major exhibitions. (excluding valuations) every Thursday CAFE & RESTAURANT at 9.15pm. The bus loops down past Collection highlights: daily one-hour 10am to 12 noon. The Cafe is situated on lower level 1 and Mrs Macquaries Chair then on to the TOGETHER IN A SINGLE SHOW.’ Sasha Grishin, Times, 22 Feb 06 tours revealing highlights of the collection is open daily from 10am to 4.30pm and Domain Parking Station, Wilson Parking and the Gallery. Tuesday to Sunday STUDY ROOM FOR PRINTS, until 8.45pm each Wednesday night. Station (Sydney Hospital) and Martin 11am, 1pm & 2pm. DRAWINGS AND The restaurant is situated on the ground Place train station. Yiribana tours: of the Aboriginal and PHOTOGRAPHY floor and is open daily from 11am to Trains: closest train stations are Torres Strait Islander gallery. Tuesday to The Study Room for Prints, Drawings 4.30pm. For restaurant bookings phone St James and Martin Place. ‘I am writing to tell you that these two staff members were efficient, Sunday 11am. and Photography, located on level 2, is (02) 9225 1819. Asian galleries tours: daily 12 noon. open to the public weekdays from 10am The Gallery is also available for private PARKING charming and a great asset to the Gallery. They helped make our trip Community Ambassador tours: Asian to 4pm, excluding public holidays. The exhibition viewings and functions in the There is limited metered parking outside language tours of the permanent study room assistant will attend to and evenings. For venue hire inquiries the Gallery and additional metered to the lovely day to remember.’ Gallery visitor collection: Japanese – Friday 11am; supervise visitors. Appointments are telephone the Gallery’s venue manager parking in Mrs Macquaries Road. The Mandarin – Thursdays 11am; advisable but not essential. School on (02) 9225 1836. Domain Parking Station is open daily Cantonese – Tuesdays 11am; groups are welcome. Inquiries phone with a special discount rate of $15 per Vietnamese – First Sunday of the (02) 9225 1758. VISITORS WITH SPECIAL day (weekdays only) for visitors to major month 2pm. NEEDS exhibitions with admission charges. Just ‘Thank you for organising the wonderful Prints and Drawings Signing Art: Auslan-interpreted tours. STUDIO Wheelchairs are available at the Gallery’s have your parking ticket stamped at the Last Sunday of each month (excluding Located at 2 Raper Street Surry Hills, rear entrance, where there is a ramp and entrance to the exhibition. from “our collection” in the Old Europe exhibition. How good is December/January) 1.30pm. the Brett Whiteley Studio is open an elevator giving access to most parts In Touch at the Gallery: sensory Saturdays and Sundays 10am to 5pm of the Gallery. The gallery carpark has CONTACT INFORMATION it that it belongs here! It was truly an inspiring and enlightening exploration tours (for the blind and vision except Christmas Day. On Thursday two designated spaces for the disabled Physical and postal address: impaired). Available for booked groups the studio is open by appointment for but it is advisable to confirm availability Art Gallery of New South Wales exhibition.’ Gallery visitor or individuals, at any time during Gallery education groups. Admission is $7 by telephoning (02) 9225 1775. Art Gallery Road opening hours. Two weeks’ notice and $4 concession. Inquiries phone The Domain Theatre and Centenary The Domain NSW 2000 required. (02) 9225 1740. Auditorium are fitted with audio Electronic communications: Private groups: tours tailored to the induction-loop systems and an FM- Administration switchboard needs of groups. During the Gallery PHOTOGRAPHY transmitter system is used for guided (02) 9225 1700 ‘WE LOVED THE “FACE TO FACE” PERFORMANCE AND ALSO THE hours or with private evening functions. Photography of the permanent tours if requested. Signing Art tours Information Desk (02) 9225 1744 Inquiries phone (02) 9225 1703. collection, with the exception of works conducted for deaf people, using Recorded What’s On Information CHINESE WARRIOR CHILDREN’S GUIDED TOUR.’ Gallery visitor in the Yiribana gallery, is allowed by Auslan, are held on the last Sunday of (02) 9225 1790 or 1800-NSW-ART EXHIBITIONS / EVENTS members of the public providing no flash every month at 1.30pm (excluding TTY (02) 9225 1808 INFORMATION or tripods are used. Quality photographs December/January). The service is free General facsimile (02) 9221 6226 The free quarterly publication Exhibitions of the collection, including works from apart from exhibition entry fees, if Website: www.artgallery.nsw.gov.au Events is available from the Gallery. This the Yiribana gallery can be obtained from applicable. E-mail: [email protected] ‘These presentations have struck exactly the right note, using available booklet details current exhibitions and the Gallery’s image reproduction officer. public program events, including films, Photography for publication or other MEMBERSHIP 2006 ANNUAL REPORT loans to give a surprisingly complete view of the artist. Not only is lectures and performances. An email commercial purposes is allowed only You are invited to join the Art Gallery Report coordinator – Trish Kernahan newsletter covering exhibitions, courses, after written application to the Gallery. Society of New South Wales and share Text editors – Julie Crawford, the composition of the show beautifully thought out, it contains a high lectures, special events, films and Inquiries phone (02) 9225 1798. in the many pleasures of membership. Jennifer Blunden workshops is published monthly. Register Stay informed about what’s on in the Design – Mark Boxshall percentage of first-rate and works on paper.’ for this information service on our website Gallery, choose from over 200 special Photography – Jenni Carter, Chilin (www.artgallery.nsw.gov.au/aboutus/ events and enjoy membership privileges Gieng, Diana Panuccio, Nadine Saacks, Pissarro exhibition, John McDonald, Sydney Morning Herald, 26 Nov 05 artmail) or email [email protected] and priorities all year long. Inquiries Mim Stirling and let us know you want to subscribe. phone (02) 9225 1878. © Art Gallery of New South Wales, 2006

‘An astonishing exhibition of self portraits. It’s not just that there has rarely ever been an exhibition anywhere, devoted soley to artists’ self-portraits that makes this such a must-see event – it’s the sheer quality and breadth of the work on display.’

Self portrait exhibition, Peter Hill, , 4 March 06

Visitor comments from the Gallery’s Visitor Comments books 2005–06. ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006

ART GALLERY NSW CONTENTS

With over 1.69 million visitors this 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 62 and a vital part of Sydney’s cultural life. Since the Gallery’s YEAR IN BRIEF Art prizes, grants and scholarships 64 genesis in the 1870s, our objective has been to collect and present Highlights 6 Visitor numbers 65 to the public the finest works of art available, with a special Performance summary 8 Exhibitions listing 66 emphasis on the artistic traditions of Australia. The Gallery has been Strategic plan and outcomes 9 AGNSW publications for sale 67 located at our present site in the Domain since 1885. The splendid Aged and disability access programs and services 68 old galleries, designed by government architect Walter Liberty PRESIDENT’S FOREWORD 12 Aboriginal and Torres Strait Islander programs and services 68 Vernon, display the distinguished 19th-century Australian and early DIRECTOR’S STATEMENT 14 Ethnic affairs priorities statement 69 European collections. The building extensions made to the EXHIBITION CASE STUDY 16 Women’s action plan 70 Gallery in the 1970s and 80s responded to the changing needs Overseas travel 71 of both the collection and our audience, doubling the available YEAR IN REVIEW Collection purchases 72 exhibition space and celebrating the art of our time with Collections 20 Collection gifts 75 extensive displays of modern and contemporary Australian, Exhibitions 31 Loans 80 Publications 38 Aboriginal and Torres Strait Islander, and European art. Staff list 84 Audiences 40 The beautiful and contemplative Asian galleries, expanded Staff publications, presentations Community activity and support 47 in 2003, affirm the Gallery’s commitment to presenting the art and related activities 86 Corporate support 50 and culture of our region. This year the Gallery presented a program Miscellaneous administration appendix 90 Visitor services 52 of 52 exhibitions, accompanied by a diverse and stimulating array Environmental management 53 of public and educational programs. FINANCIAL STATEMENTS Financial commentary 94 The Art Gallery of New South Wales is a statutory body established under the Art Gallery of CORPORATE GOVERNANCE Financial summary 95 New South Wales Act 1980 and operates as one of the state’s cultural institutions within the Board of Trustees 54 arts portfolio. Independent audit opinion 96 Trustee meetings 56 An order under the Public Sector Employment and Management Act 2002 established the Financial statements 98 Department of the Arts, Sport and Recreation on 3 March 2006. The Ministry for the Arts was Other Gallery entities 57 abolished on the same date and all arts portfolio agencies (including staff attached to the Art Senior management profiles 58 Gallery of New South Wales) were added to the Department of the Arts, Sport and Recreation. Index 120 Organisation structure 59 General access information inside back cover Risk management 60

front cover: Still life with teapot and daisies 1915, oil on cardboard, 44.3 x 51.2 cm. Art Gallery of New South Wales, bequest of W G Preston 1977 © Margaret Preston Estate. Licensed by Viscopy, Sydney

back cover: Lowy Gonski Gallery

title page/ opposite: external views of the Art Gallery of New South Wales

2 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 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 strive to Gallery works closely with our key stakeholders such as the Art be a major international gallery of the world, continuing to inspire, Gallery Society of New South Wales and its 33 187 cardholders, interest and provide enjoyment to our increasingly diverse the Art Gallery Foundation of New South Wales, the Museums & audiences.’ Galleries Foundation of New South Wales, the NSW Government and other arts institutions. PURPOSE For more information see Performance – Strategic plan and The Hon Bob Debus MP The Gallery’s core purpose is to maintain and develop a outcomes (p 9). NSW Attorney General, ART collection of works of art, and to promote understanding and GALLERY Minister for the Environment and appreciation of art. Our governing legislation is the Art Gallery PLEDGE OF SERVICE Minister for the Arts NSW of New South Wales Act 1980. The Art Gallery of New South Wales aims to provide resources Parliament House and experiences of the highest quality to all visitors to the Gallery Macquarie Street The Gallery’s 2003–08 Strategic Plan sets out three mission goals: (both physical and virtual) for the enjoyment and study of fine art. SYDNEY NSW 2000 • To acquire, conserve and present to the public the finest works of art available, with special emphasis on the artistic traditions of The Gallery recognises that the public has a right to expect that Australia services will be provided without discrimination. The Gallery seeks continuously to improve our service and welcomes • To explore and inspire through our collection and exhibitions, feedback, both directly to staff and through regular surveys. the emotional and intellectual resources of our audiences For further information about services and access see the inside • To create a sense of belonging and provide our visitors with an back cover of this report. Dear Minister, 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 2006. This report has been prepared in accordance with the provisions of the Annual Reports (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2005.

Yours sincerely

David Gonski Edmund Capon President Director

20 October 2006

2006 Archibald Prize winner: Marcus Wills, The Paul Juraszek monolith (after Marcus Gheeraerts) detail

4 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 5 YEAR IN BRIEF highlights

During 2005–06 the Gallery presented 52 superb art exhibitions and • The Gallery coordinated the Charlie Perkins Children’s Trust Pool Party art acquired for the collection, through purchase and gifts, 585 works of art auction, raising over $920 000 towards the building of swimming pools in remote valued at $9.9 million. We offered a host of public programs and special Aboriginal communities to provide exercise, entertainment, sporting and social events including talks, performances, courses, symposia and lectures by opportunities for the communities. curators, artists, writers, musicians, photographers and academics, and attracted over 1.69 million visitors. The Gallery operated a $34.3 million DECEMBER 05 business which included a funding allocation of $20.8 million from the • donated Edouard Vuillard’s Breton House, Saint-Jacut 1909. NSW Government; published a range of art books and catalogues; contributed artworks and staff expertise to regional galleries around the FEBRUARY 06 nation and internationally; supported the arts community through • Self portrait: Renaissance to contemporary (17 February – 14 May 2006) scholarships and awards; and strengthened relationships with our many co-curated by the Gallery’s Anthony Bond, brought together paintings by some sponsors, donors and members from both the public and private sectors. of the world’s greatest artists from the mid 16th century to the beginning of the 21st century, including Velásquez, van Gogh, Frida Kahlo and Australian artist . Attracting an audience of over 65 000, this exhibition was first JULY 05 presented to critical acclaim at the National Portrait Gallery in London. • Margaret Preston: art and life (29 July – 23 October 2005): Modern, APRIL 06 cosmopolitan and intensely coloured, Preston’s woodblock prints and paintings of • Kevin Connor: sketchbooks, drawings & studies for paintings and sculptures still-life subjects and the Sydney metropolis particularised a moment of (28 April – 25 June 2006) displayed this Australian artist’s uncompromising extraordinary innovation in the history of Australian art. The exhibition attracted works on the subject of life on the street, in cafes, railway stations, parks and over 65 000 visitors to the Gallery and toured to the state galleries in South foodhalls, principally in Sydney, and London. From his many sketchbooks, Australia, Victoria and . The many elements involved in creating such 80 drawings were selected and reproduced (actual size), together with an a comprehensive retrospective exhibition are featured in a case study highlighted interview with the artist, in the accompanying book, which sold out before the on pages 16–19 of this annual report. exhibition ended. • A 17th-century altarpiece The lowering of the cross with Saints Mary Magdalene, Augustine, Jerome and angels by Giulio Cesare Procaccini was JUNE 06 purchased with funds provided from the Walter Hartwig Estate and the Art Gallery • Two new life governors of the Art Gallery of New South Wales Trust were of New South Wales Foundation. appointed: Jillian Broadbent for her role as former trustee and vice president of the Gallery’s Board and currently as member of the Finance and Audit AUGUST 05 Committee and the Art Gallery of New South Wales Foundation Board, and • ’s The Ubu diptych (comprising Ubu regnant and The senior Dr John Yu for his role as former trustee and vice president of the Gallery’s mandarin) 2004, was purchased with funds given by the Art Gallery Society. Board and currently as member of the Acquisition and Loans Committee and chairman of the VisAsia Board. SEPTEMBER 05 • The 2004 Archibald Prize litigation was successfully resolved. A plaintiff had • Wayde Owen was awarded the 2005 Brett Whiteley Travelling Art Scholarship made a claim on the basis that the winning entry was a drawing rather than a for his work Californian quail, winning $25 000 and a three-month residency at . Following a hearing in May 2006 with expert testimony, his Honour the Cité Internationale des Arts in Paris. Mr Justice Hamilton found in favour of the Gallery. • The Gallery purchased three sculptures from Anselm Kiefer’s ‘Women of • A painting and sculpture by Anselm Kiefer, both titled Von den Verlorenen antiquity’ series 2002, Myritis, Hypatia and Candidia, and a 14th-century gerührt, die der Glaube nicht trug, erwachen die Trommeln im Fluss (the drums in Japanese hanging scroll, The ?10th ‘rakan’ (from a set of 16). the river came alive, beaten by the lost ones, who were not supported by faith) • On 26 September a former boardroom in the original western facade reopened 2004 and 2005, were acquired from funds provided by Geoff and Vicki Ainsworth as a new display space for paintings, sculptures and works on paper from the assisted by Catriona and Simon Mordant. Lowy Gonski Gallery collection by Australian artists. The refurbishment was generously funded by Edouard Vuillard Breton House, Saint-Jacut 1909, distemper and the families of former Trust president Frank Lowy and current Trust president For more information see Year in Review – Audiences (p 40); Year in review – Collections (p 20) pastel on paper, laid on canvas, 50.2 x 64.8 cm. Purchased with and appendices (p 72); Year in Review – Exhibitions (p 31) and appendices (p 66); Year in Review – funds provided by the Margaret Hannah Olley Art Trust 2005 David Gonski. Publications (p 38) and appendices (p 67). Trust vice president Dr John Yu presents a talk in the Symbols and Ceremonies: Indonesian textiles exhibition NOVEMBER 05 • On his 90th birthday, James Gleeson, one of Australia’s most celebrated living artists, announced the establishment of the Gleeson O’Keefe Foundation and an immediate contribution of $6 million. This amount is anticipated to grow to $15 million, with the foundation’s income from investments being used to acquire Margaret Preston, Western Australian gum blossom 1928, oil on canvas, 54.6 x 44.5 cm © Margaret Preston Estate. works for the Gallery’s collection. Licensed by Viscopy, Sydney • Pissarro: the first impressionist (19 November 2005 – 19 February 2006) ‘Thank you so much for the Pissarro exhibition – James Gleeson, The Ubu diptych: Ubu regnant and The senior mandarin 2004 (detail), diptych: oil on canvas 174 x 202 cm each. curated by the Gallery’s Terence Maloon was the largest exhibition of work by it was an absolute pleasure.’ Gallery visitor Purchased 2005 © the artist a major impressionist artist ever to be held in Australia. Comprising more than Artist Wayde Owen and Beryl Whiteley 100 works lent by many of the foremost museums of the world, the exhibition attracted over 133 000 visitors and toured to Victoria’s state gallery.

6 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 7 YEAR IN BRIEF performance summary YEAR IN BRIEF strategic plan and outcomes

UNIT NOTE 2001–02 2002–03 2003–04 2004–05 2005–06 CORPORATE GOALS AND OBJECTIVES To achieve these objectives the Gallery has developed key EFFICIENCY In line with the Gallery’s vision, we seek to continue to be strategies. The performance outcome(s) of each are outlined in the following table. Number of employees (EFT) 1 193 200 204 203 210 better at what we do and in doing so build on our existing services and maintain our success. In May 2003 the Board Opening days lost to industrial dispute 2 0 0 0 0 0 As we are approaching the end of the current five-year period, the of Trustees endorsed a Strategic Plan for the five-year period Hours lost to industrial disputes per employee 0 0 0 0 0 Gallery will review and renew the Strategic Plan during 2006–07. 2003–08. Days lost for workers compensation per employee 0.25 0.25 1.25 1.50 0.38 Average days sick leave per employee 4.50 4.75 4.00 5.00 2.70 The Strategic Plan 2003–08 contains six major objectives: MEASURING OUR PERFORMANCE Staff turnover rate 9% 6% 10% 12% 8% Each strategy includes a number of annual performance • Enhance and conserve the state’s art collection and heritage measurement targets. In 2005–06 the Gallery developed a building. director’s performance agreement which was endorsed by the SERVICES • Operate a varied, exciting and active exhibition program president of the Board of Trustees and the head of Arts NSW Total number of visitors (thousands) 1,181 1,127 1,513 1,351 1,690 to encourage visitors and expand appreciation of art. (the then director-general, Ministry for the Arts). General admission 1,001 1,000 1,228 1,072 1,257 • Provide education and research programs and services to From 2006–07 this annual agreement will be endorsed by the Whiteley Studio 3 9 9 7 9 8 an ever-broadening audience. director-general of the newly created Department of the Arts, Touring exhibition 4 160 118 266 270 425 • Inspire and explore artistic attitude and aspiration. • Operate the Gallery in an efficient and effective manner that Sport and Recreation. Art After Hours 5 - 27 73 61 63 encourages an increasing level of public visitation. Number of exhibitions 37 32 28 35 52 Listed here is a selection of these key target and performance • Ensure effective funding sources for the Gallery to support Value of exhibition program ($M) 6 272 455 890 232 890 outcomes as at 30 June 2006. our acquisition program and expansion of services. Number of collection objects acquired during year 572 771 448 480 585 Value of collection objects acquired during year ($M) 4.3 7.8 8.0 11.2 9.9

FINANCIAL PROGRAM OBJECTIVES AND OUTCOMES Core business expenses $’M -16.0 -18.3 -19.2 -18.7 -20.0 Strategies Key targets Performance outcomes Government funding – recurrent & liabilities assumed $’M 16.0 18.1 18.8 17.9 19.1 Net core business income (deficit) $’M 0.0 -0.2 -0.5 -0.8 -0.9 Increase acquisitions of Acquire suitable works for the Major acquisitions include: 17th-century altarpiece The lowering Exhibition, visitor services, donations and benefaction net income $’M 7 8.3 7.6 8.8 13.4 15.4 artworks specifically ‘icons’ Gallery. of the cross with Saints Mary Magdalene, Augustine, Jerome and Government funding – capital $’M 6.4 14.2 2.8 2.8 1.8 and maintain high standards of angels by Procaccini; James Gleeson’s The Ubu diptych 2004; Depreciation / revaluation adjustment $’M -1.7 -2.1 -1.6 -2.5 -2.2 curatorial work and five works by Anselm Kiefer including three sculptures from the Surplus as per financial statements $’M 13.0 19.5 9.5 12.9 14.1 conservation. Women of antiquity series 2002; and Edouard Vuillard’s Breton [Objective 1] House, Saint-Jacut 1909. Net cost of service $’M 9.4 12.8 12.0 7.8 6.8 Net cost of service per visitor $ per head 7.90 11.40 7.90 5.80 4.00 Many other important works were acquired. In total 585 works valued at $9.9 million were added to the collection. Collection $’M 588.1 596.0 603.8 614.8 628.7 For more information see Year in Review – Collections (p 20). Land & building $’M 8 107.6 120.4 126.0 133.5 133.5 Other $’M 25.1 23.3 23.2 25.0 28.5 Total assets $’M 720.8 739.7 753.0 773.3 790.7 Maintain and refurbish the On-going building maintenance The $1.37 million program of works was successfully completed. Total liabilities $’M 4.0 3.4 4.1 5.1 4.3 building in keeping with its as per the annual program. Net assets as per financial statements $’M 716.8 736.3 748.9 768.2 786.4 heritage value and as a public venue (including the Brett Resolve current storage issues Work continues with Arts NSW to develop an acceptable Data in this table has not been subject to audit Whiteley Studio). with consolidation of off-site resolution to the storage issues facing the Gallery. The proposed [Objective 1] rental space. solution under development is to construct a new storage facility on land owned by Arts NSW.

2005–06 REVENUE 2005–06 EXPENDITURE NET ASSETS AS AT 30 JUNE 2006 $48.4 million $34.3 million $786.4 million Exhibit and feature the Present major Gallery-curated Margaret Preston: art and life received both critical acclaim and permanent collection in as exhibitions. visitor popularity, attracting over 65 000 visitors to the Gallery. The

Bequests Plant & equipment attractive a manner as possible accompanying book has become the Gallery’s best-selling title. & special funds & other Bequests and develop significant Land & building 2% 1% & special funds Other temporary exhibitions. Success measured by critical Pissarro: the first impressionist was the largest exhibition of work 24% 17% Collection Government operating 80% funding 33% Employee [Objective 2] and visitor response, catalogues by a major impressionist artist ever to be held in Australia and 43% related and financial viability. attracted over 133 000 visitors. Merchandise 55% sales Insurance 11% 5% For more information see Year In Review – Exhibitions (p 31) Other revenue Admissions Depreciation 14% 8% 7%

Encourage loyalty and longer- Develop and improve Artside-In is an innovative outreach program for disadvantaged Notes: 5 Late opening each Wednesday until 9pm commenced 8 January 2003 term commitment among our accessible programs. secondary schools in NSW. The aims of this special project are to 1 Equivalent full-time (EFT) staff numbers. Increases in 2005–06 mainly reflects temporary 6 Value reflects major Picasso (2002–03) and Caravaggio (2003–04); Pissarro (2005–06) visitors; increase access to our collection, programs and resources, to exhibition related casuals. Target for 2006–07 is 205 EFTs. exhibitions 2 The Gallery is open to the public 363 days per year (closed Good Friday & Christmas Day) 7 Includes exhibitions, gallery shop, venue hire activities, donations and benefaction broaden visitor base. support and develop young people’s engagement in the , 3 Whiteley Studio closed during May–June, 2004 for roof replacement 8 The building was revalued in 2001–02 at replacement cost – assumes existing sandstone [Objectives 2,3 and 4] and to extend the Gallery’s programs to the wider metropolitan 4 Includes regional NSW, interstate & international exhibition touring walls would be replaced with sandstone facade community. Due to the success of this program, Arts NSW has provided a substantial grant to pilot a regional extension of Artside-In in Moree in early 2007.

8 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 9 Strategies Key targets Performance outcomes Strategies Key targets Performance outcomes

(continued from previous page) Work with Art Gallery Society The Art Gallery Society’s membership base has continued to grow, Meet customer needs by Art After Hours to be continued. Art After Hours continued on a regular basis with partial support and Foundation to grow now totalling over 20 000. A rise in the renewal rate, from 84% to improving service levels. from private sponsorship. In 2005–06 over 62 226 visitors membership/donor base. 88%, indicated high satisfaction levels among existing members. [Objectives 3 and 5] attended, creating a vibrant, regular Wednesday night audience. The Art Gallery Foundation has over 700 current contributors. Develop electronic educational myVirtualGallery, an interactive education tool that allows viewers Expand the Gallery profile Further develop Asian Art Adventure Tours and Discussion Tours of the Asian galleries, programs. to create their own virtual exhibitions using works from the by establishing a ‘centre programs of exhibitions and along with Asian artist workshops for schools, a tea ceremony, Gallery’s collection, continued to grow in popularity and usage. of excellence’ in Asian art lectures. calligraphy, Indian dance and ink painting activities, drew In 2006 it was also used as an assessment tool by the University without detracting from audiences of 1270 primary and 1150 secondary students. A new of NSW’s College of Fine Arts for its Australian course the Gallery’s objectives of initiative was an illustrated introduction to the Asian galleries for (www.artgallery.nsw.gov.au/ed/myvirtualgallery) covering all categories of art. use with large groups in the lecture theatre. [Objective 1] The Inside Artexpress website (www.insideartexpress.com.au) This year has seen the development of extensive online resources was redesigned. New features include an interactive ‘walk through’ for teachers. The case study Collecting and exhibiting contemporary exhibition, e-cards and downloadable process diaries. The Asian art was produced as an extension of the 2004 short course for redesigned site attracted 16 213 visits. secondary visual arts teachers. This 34-page document incorporates five lecture transcripts with syllabus links, issues and questions for Implement state-of-the-art Digitisation of collection. Over 9000 images of collection works are now available for discussion and research and suggested case study topics. technology and corporate viewing via the Gallery website. systems. Lend/borrow works of art; Regional program to be Regional activities have included over 185 loans of artworks to [Objective 4 ] Ensure a secure IT network Firewall protection fully effective. AS/NZS 7799 security support regional galleries in continued. 23 different NSW regional galleries, an increase from last year’s and up-to-date systems for accreditation in progress. their endeavours. 133 works to 20 galleries. the Gallery. [Objectives 2 and 4] Upgrading of the computerised records management system to The Gallery has provided a full-time staff position to the Museums capture electronic records was commenced and will be rolled out & Galleries Foundation of NSW to support regional program to staff desktops during 2006–07. development. A new membership database was developed and implemented Conduct public programs; Enhance public/education The overall participation rate in 2005–06 for education audiences – which consolidated several disparate databases into one centrally disseminate information on art programs for community. kindergarten to tertiary students, and teachers and lecturers – managed system, improving information management. and contribute to scholarship was 91 412, 11% growth on the previous year. to further enjoyment and Manage staff resources High morale and Industrial issues were handled in a timely manner with generally appreciation of art, particularly Tertiary Gallery Orientation sessions, an initiative trialled in 2006, effectively to ensure high professionalism with minimal favourable outcomes. Staff grievances were dealt with in line with with young people. presented tertiary students with a relevant and comprehensive employee morale, high skill industrial issues and staff policy and with minimal implications. Overall, staff morale [Objective 3] introduction to the Gallery’s history, collections, exhibition levels and support for grievances. continued to be high. program, research and learning resources and facilities. It continued expansion. emphasised the Gallery as a key educational resource in the [Objective 1] Staff training and development. Staff professional standards were maintained but development study of the various university courses. The response has been was limited due to fiscal controls. Additional funding is being positive with the participation of over 225 undergraduate and allocated to staff training in 2006–07. post-graduate students from a diverse range of faculties and institutions, including the College of Fine Arts, Sydney College of the Arts, , University of Western Sydney, Effective use of government Secure sustainable funding for A three-year service agreement between the Gallery and NSW University of New South Wales and the National Art School. funding. Improve government core business operations via a Government has seen an additional $1 million of funding allocation relations. three-year funding plan with per year over three years (2005–06, 06-07 and 07–08) to ensure Inspire and explore artistic Focus on quality of research, Major Australian art titles were published this year including the [Objective 6] agreed deliverables. core business operation funding reaches a sustainable level for attitude and aspiration. interpretation, publication, hugely popular Margaret Preston: art and life and Kevin Connor the immediate future. [Objective 4] exhibition and events (including sketchbook: drawings by Kevin Connor in Sydney, Paris and producing at least two major London. Margaret Preston, published with a companion CD-ROM, Manage within budget. The Gallery’s core business continued to be a ‘deficit’ budget collection-based publications: was reprinted and is now one of the Gallery’s best selling Australian due to award salary increases. However, the shortfall was Contemporary and titles ever. Kevin Connor sketchbook, which sold out during the life underpinned in 2005–06 by improved commercial earnings Photography). of the exhibition, was published in an innovative facsimile format providing a net surplus overall. The remaining reduced deficit that strongly paralleled the artist’s own small sketchbooks. will be fully addressed with the final year of additional NSW Government funding from the service agreement in 2007–08. A total of $135 800 in prizes, scholarships and awards were Sponsorship funding was significantly increased in 2005–06 presented during 2005–06. to $1.4 million (up from $626 000).

Eight overseas tenancies in the Gallery’s two Paris studios were Increase funding from Develop and grow commercial Improved commercial earnings underpinned core business also granted. commercial activities, and benefaction income. operations and contributed towards art acquisitions. bequests, donations and For more information see Year in Review – Publications (p 38) sponsorships. Strengthen funding base for Another successful year of fundraising with donations and [Objective 6] acquisitions bequests of over $11.3 million and commercial revenue totalling Manage the Gallery operations Ensure visitor access and The Gallery was fully operational 363 days of the year with no $11.7 million. effectively. enjoyment; no disruptions to disruption to services. [Objective 5] service. The AGNSW Foundation capital base has reached $24 million as Total visitor numbers for 2005–06 were 1.69 million, which was at end June 2006 in addition to a substantial contribution of over higher than last year’s figure due to the touring of major shows to $2 million towards the Gallery’s acquisition program in 2005–06. other state galleries around Australia and to London.

The latest visitor survey study conducted for the Gallery by Manage membership/ Maintain and increase Fundraising entities – AGNSW Foundation, VisAsia and Brett StollzNow during the Self portrait and Archibald 2006 exhibitions structures of all entities membership of fundraising Whiteley Foundation – all generated earnings and enhanced their confirmed high ratings from our visitors. Respondents recorded an (Trust, Foundation, Art Gallery programs. capital base in 2005–06. average rating of 8.34 (on a scale of 0-10, with 0 being the lowest) Society, Brett Whiteley for overall visitor experience and 8.37 for friendliness and Foundation, VisAsia and other helpfulness of our employees. fundraising programs). [Objective 6] Over 36% indicated that their decision to come to the Gallery was based on positive word-of-mouth recommendations from friends and family.

10 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 11 PRESIDENT’S FOREWORD

I am pleased to report that this was a remarkable year of On another favourable note, I am pleased to advise that achievement for the Art Gallery of New South Wales. the litigation on the 2004 Archibald Prize was heard in the Supreme Court in May with the judgment handed down in Our world-class exhibition program continued to produce June 2006. The plaintiff had made a claim on the basis that successful results, especially our two major exhibitions of the winning entry was a ‘drawing’ rather than a ‘painting’. 2005–06, Margaret Preston: art & life and Pissarro: the first After hearing the testimony of two experts, the artist and impressionist. The former presented the modern, cosmopolitan myself on behalf of the Board of Trustees, his Honour and intensely coloured woodblock prints and paintings of Mr Justice Hamilton found in favour of the Gallery. this extraordinary Australian artist. Pissarro was the largest exhibition by a major impressionist artist ever to be held in I would like to specifically thank Mr Bret Walker SC and Australia, comprising more than 100 works lent by many of Ms Sophie Goddard SC and the Freehills team headed by the world’s foremost museums and attracting over 133 000 Mr Bruce Cutler and Ms Kathryn Everett for their support and visitors. Record numbers of visitors saw the exhibition at the wisdom in dealing with this matter. We are immensely grateful Gallery and at the National Gallery of Victoria, where it toured. for these services which were provided as a very generous As is the Gallery’s practice with all major exhibitions, enjoyable donation to the Gallery. and educational public program events were developed to During the year, the NSW Government made some structural coincide with these shows. changes which will have implications for the Gallery going The Gallery’s success extended to include a good financial forward. These included changes to the Art Gallery of New outcome, particularly with bequests and donations, which South Wales Act 1980 which: continue to exceed our expectations and provide much • specifically preclude the power to employ staff. Staff located welcome support. at the Gallery are classified as employees of the recently created Contributions were received from the Art Gallery Foundation Department of the Arts, Sport and Recreation. Arrangements for for a major acquisition by Procaccini titled The lowering of managing these staff are not expected to change. the cross with Saints Mary Magdalene, Augustine, Jerome • place the Gallery under the direction of the Minister for the and angels. The Art Gallery Society and other generous Arts, with the effective date still to be set. benefactors, including the Belgiorno-Nettis family, the Patrick White Bequest, Beryl Whiteley and the Ainsworth family, also Other structural changes with an indirect impact on the contributed funds. Gallery included the abolition of the Ministry for the Arts and the creation of a new Department of the Arts, Sport and The Gallery Shop and Venue Hire department also performed Recreation. All arts portfolio agencies (including staff attached very well with the success of the above mentioned exhibitions to the Gallery) were added to the Department of the Arts, and our annual Archibald Prize. Sport and Recreation. In its 11th year, the President’s Council has grown to its full I would like to thank my fellow trustees, who give their time complement of 35 members. In that time is has become the and expertise generously. major financial supporter of the Gallery’s exhibition program. The council provides a forum for business leaders to share More details on board and sub-committee matters can insights and engage with the Gallery’s future plans, offering be found in this report in the corporate governance section advice and a fresh perspective. We are most grateful for the (p 54). During the year we said goodbye to three of our valuable assistance this group provides in helping us to bring trustees whose terms had matured, namely Dr John Yu, art to the people of New South Wales and beyond – the Ms Janet Laurence and Mr Pierce Cody. Gallery’s involvement with the corporate world today is both relevant and active. Similarly the VisAsia Council, which Dr John Yu has been a major supporter of the Gallery commenced six years ago to support the Asian program, giving a large body of works over the years and a lot of is growing steadily. The past year has been an exciting period his time to fundraising. The Gallery has honoured him with of growth in sponsorship, with income in kind and in cash ‘life benefactor’ status, granted to only a handful of people expanding significantly. over the history of the Gallery. Dr Yu will continue his Giulio Cesare Procaccini The lowering of the cross with Saints Mary Magdalene, Augustine, Jerome and angels, c1618, oil on relationship with the Gallery through his role as chairman canvas 238 x 171.7 cm. Purchased with funds from the estate of Mr Walter Hartwig through the Art Gallery of New South Wales Overall I am pleased to say that the Gallery continues to of VisAsia. Esteemed artist Ms Janet Laurence provided Foundation 2005 generate funds from non-government sources to sustain artistic expertise on the board, in particular to our many of its wonderful programs, acquire works of art and acquisitions program. Mr Pierce Cody was an active underpin its core business. member of the board, assisting particularly in the marketing of the Gallery and its services. Last year the Gallery entered into a three-year Service century. An extensive events program of film, performance, Finally and sadly, this will be my last report as president of the talks, meditation and music will accompany the exhibition. Art Gallery of New South Wales. Having reached the maximum Agreement with the NSW Government which committed the To all of them I express thanks on behalf of the board. period allowed under the legislation, I will be retiring at the end Gallery to delivering some key performance outcomes. These I take this opportunity to commend the director, Edmund The Gallery plans several major exhibitions for 2006–07, of December 2006. I have had the honour of being president included achieving growth in art acquisitions, bequests and Capon and all his staff at the Gallery for their commitment including the superb Giacometti from August 2006 and the of the Trust for 10 glorious years and have loved every minute. donations, sponsorships and commercial earnings, as well as and professional skills, which are integral to the continued beautiful Goddess: divine energy (14 October 2006 – 28 The new president will be appointed by the NSW Government continuing to present world-class exhibition programs, Asian success and vibrancy of this Gallery today and in the future. January 2007). The latter will be the first major exhibition in shortly and I wish him or her all the best in taking the Gallery art programs and art prizes and scholarships. I am pleased to My thanks are also extended to the director-general of the Australia to explore manifestations of the divine female through its next era. say that we have achieved or exceeded the first year’s targets Department of the Arts, Sport and Recreation, Mr Robert Adby in Hindu and Buddhist art. The exhibition will gather from (see pp 9–11), and I thank the NSW Government for its and the head of Arts NSW, Ms Jennifer Lindsay. Thanks also collections around the world over 150 exquisitely carved confidence in providing sustainable funding to ensure the go to the Premier, Mr Morris Iemma, and Minister for the Arts, David Gonski, President sculptures and delicately composed paintings from India, Tibet Gallery has a sound base for its operational activities in the Mr Bob Debus, for their ongoing support of the Gallery and Art Gallery of New South Wales Board of Trustees and Nepal, dating from about 2000 BCE through to the 20th future. its endeavours. 30 August 2006

12 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 13 DIRECTOR’S STATEMENT

It is often said that the most important responsibility of a or two were conceived, curated and managed within the Breton House, Saint-Jacut 1909, a truly wonderful colour regard and affection in the community. Which brings me board of directors or in our case trustees is the appointment Gallery – as Margaret Preston: art and life and Camille lithograph by Cézanne, and Picasso’s dark and persuasive to thank all the staff at the Gallery for their wonderful work of the director, or as we are now apparently designated chief Pissarro: the first impressionist. Personally I found portrait lithograph of Francoise Gilot. On the occasion of and dedication over the year and especially to the senior executive officers or CEOs, an acronym to which I do not Kevin Connor: sketchbooks, drawings and studies totally his 90th birthday our distinguished, steadfastly independent managers, Tony Bond, Anne Flanagan, Rosemary Senn, readily respond. The, sadly, soon-to-retire president of the absorbing and certainly very different; never have so many and much admired surrealist artist James Gleeson Belinda Hanrahan and Jane Wynter without whom I would Board of Trustees of the Gallery, David Gonski, never had generally dark but energetic sketches and drawings been announced the establishment of the Gleeson-O’Keefe simply collapse. To our minister the Hon Bob Debus a say in my appointment as I was already here, so he was so densely plastered over the walls of our Australian Foundation with an initial capital of a mighty $6 million, I express my special thanks for his continuing support as they say lumbered with me. On the other hand I was section’s temporary exhibition gallery. It was a new with the Gallery as the sole beneficiary. The income is to and belief in the Gallery and its future. To the trustees, our the fortunate recipient of a president of absolutely unique approach to exhibition presentation and so too was the be applied to the acquisition of Australian works for the colleagues at Arts NSW, to all our friends, volunteers and perceptions, instincts, values and capacities with an accompanying book. This is no catalogue but an object permanent collection. What a magnificent gesture of support supporters in so many capacities, thank you. unsurpassed commitment to the Gallery. I know that I speak in itself, which rapidly became an object of desire for our of and belief in the Gallery and its future! Of the many for every member of staff, every Gallery friend and supporter visitors as the first production run sold out well before the contemporary Australian acquisitions, for which we are as in expressing our gratitude to David Gonski for his service end of the show. ever grateful to the Contemporary Collections Benefactors Edmund Capon AM OBE as president of the Trust. He must retire after fulfilling the group as we are indeed to all our specialist benefactor Director, Art Gallery of New South Wales full quota of three three-year terms. Under his guidance, as I must make mention of acquisitions: 585 works of art were groups, I have a particular liking for Daniel Crooks’ Train 25 October 2006 indeed under the guidance of previous Trust presidents, this acquired during the year. Ranging from Cesare Procaccini’s no 1 2002–05, which somewhat disturbs our usual instincts Gallery has flourished and my task has been all the easier imposing and powerful altarpiece of circa 1618, The for reliable perspective. and certainly more enjoyable. lowering of the cross with Saints Mary Magdalene, Augustine, Jerome and angels to Anselm Kiefer’s three I know that most people would regard a boardroom as I am delighted to report that the Gallery has once again had absolutely intriguing sculptures from his Women of Antiquity an essential facility in a public art museum such as this. a year of refreshing and inspirational activity. Some might series of 2002, to Sidney Nolan’s most distinctive African I’m not so sure and thus it is that our original boardroom say that we probably staged too many exhibitions; that we landscape, in which every colour seems perverse but they has now been transformed into the Lowy Gonski Gallery. probably had far too many events (looking through the nonetheless combine in an extraordinarily exciting harmony, It is a very beautiful addition to our 20th-century Australian diary it would appear that the Gallery closed its doors at and then to a rich and superb pair of Japanese 17th-century collection galleries, and is open and available to the public every day ... quite unlike a boardroom. the official closing time of 5pm on less that 40 days during screens illustrating the Uji Bridge, the year’s acquisitions the year, such was the level of out-of-normal-hours activity); again reflect the Gallery’s customary standards of curatorial Whenever I have my regular meetings with our gallery or that we perhaps acquired too many works of art – is imagination and critical rigour. Of course a critical officers, they who patrol the building during opening hours, such a thing possible? I doubt it. Or that perhaps, as one consideration for our acquisitions program is resources I remind them that they are the public face of the Gallery misanthrope put it to me, we had too many visitors for their and here, as ever, we acknowledge the great generosity and that the atmosphere and ambience of places such as liking, to which I’d say, ‘never too many visitors for our liking of so many benefactors, supporters, donors and the Art ours are conditioned, above all, by the people who work in though, thank you’. Gallery Society. One name that always crops up in such them. As far as our visitors are concerned, they are our All aspects of the Gallery’s activities flourished with our acknowledgments is the indefatigable Margaret Olley. representatives and as such to a large extent create our customary energy and quality, and none more so than the Never does a year go by without our receiving more image in the public mind. I therefore express my thanks to Japan, Uji Bridge under the willows 1600s, pair of 6-fold screens: ink, colour, gold temporary exhibition program. This year it included such extraordinary gifts from Margaret and this year, among all our gallery officers and security staff for their contribution leaf on paper, lacquer frames with metal fittings, 151.3 x 327 cm each screen. outstanding events – and here I emphasise that all but one others, she has donated a painting by Edouard Vuillard, in making the Gallery a place that is held with such high Purchased 2005

14 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 15 EXHIBITION CASE STUDY

In late July 2005 the Margaret Preston: art and life 3 YEARS FROM EXHIBITION OPENING: exhibition officially opened. A landmark retrospective Curatorial: The curators commence locating, documenting and of one of Australia’s most significant modernist photographing paintings, prints, ceramics and archival materials held in private collections both across Australia and internationally: artists, the exhibition was over three years in the letters are sent to all state and regional galleries in Australia to making. This case study attempts to briefly outline gather information on Preston works in public galleries; a large the array of work required to produce such an mail-out is sent to other colleagues as well as other Australian and British commercial gallery owners and auction houses to advise important historical show and publish a scholarly on the project and seek feedback on the whereabouts of works. book including a catalogue raisonné CD-ROM of The curators write articles on the forthcoming exhibition and Preston’s entire body of work. This exhibition was search for works published in the art gallery society newsletters one of five major Gallery-curated shows on display of all state galleries and the National Gallery of Australia; a series at the Gallery during 2005–06. of newspaper articles across the country alert the public to the search for Preston works.

Research also commences on the works for the catalogue During 2001 exhibition curators Deborah Edwards and Rose Peel raisonné – a list of paintings, monotypes and ceramics with developed an exhibition proposal (including a draft budget) and illustrations where possible, of all known Preston works with presented this to the director and exhibition committee. The detailed provenance, exhibition and reproduction histories on each exhibition was conceived as a major showing of Preston’s life’s work. Curators continue their research, consulting various archives work, along with a comprehensive biographical element through in , Canberra, , Sydney and New Zealand and display of archival material, photographs and the artist’s writings. attempt to locate further information and material. A researcher is Once the exhibition had been approved, the curators began the employed for a day a week to assist with this project. extensive research required to produce the show, book and catalogue raisonné. Exhibition & tour: Working with the exhibition’s manager, the curators further develop the draft budget into a working budget dealing with the entire process of generating and presenting the exhibition, and publishing the monograph and catalogue raisonné ‘Bearing the “conspicuous mark of talent” from an early age, (budgeted expenses $1 077 000 / actual expenses $714 549; Margaret Preston’s Adelaide studio 1901, photographer unknown. Private collection the fiercely independent and opinionated Margaret Preston budgeted income $1 045 600 / actual income $967 848; budgeted can be claimed as Australia’s most innovative early daily visitors AGNSW venue 500 / actual daily visitors 752). modernist.’ – Deborah Edwards, exhibition curator in Margaret Preliminary briefings are held with all staff involved in the project: Preston, AGNSW Sydney 2005 the exhibition’s manager, the graphic design team, registrars, Publications: The curators hold comprehensive discussion with conservators, the workshop, public and education programs staff, the Graphics Department concerning the scope, scale and design marketing, the press office and the Gallery Shop. of the Preston monograph. The curators finalise the size and scope of the Margaret Preston monograph, and commission writers to complete short entries on ten major Preston paintings (sending them all relevant materials and photographs of the 2 YEARS FROM EXHIBITION OPENING: works). Meetings are held with the graphic designer to organise Curatorial: An assistant curator, Denise Mimmocchi, is appointed the design of the catalogue raisonné CD-ROM. to the project part-time (this would become full-time in the next year); the curators intensify their research: a flyer entitled ‘seeking Marketing: The curators and the marketing manager develop a Margaret Preston paintings’ is produced and mailed to various sponsorship proposal and present this to targeted corporations interstate commercial dealers for dispersal to their clients; schools in the ensuing months. Women’s Weekly becomes are contacted after initial works were located in these collections; the national media sponsor of the exhibition. mail-outs are sent to all museums and galleries in England, Ireland Conservation: Conservators use the opportunity granted by and Canada to inquire about any Preston works in their collections. a major retrospective to examine works and compare them to Curators follow up responses, viewing and documenting works others, building a comprehensive knowledge of the materials and which have resulted from their search. techniques Preston used. Pigment analysis of some early paintings was undertaken by conservators at the National Gallery of Exhibition & tour: Works are evaluated for potential inclusion in Australia and this Gallery where a direct correlation was found the exhibition (the condition and quality of work are assessed). with an unusual green pigment in Preston’s colour sketchbook The curators and the exhibition manager liaise with colleagues of chromatic schemes, which confirmed it was constructed prior in state galleries concerning touring the Preston exhibition, and to 1917. Preston’s use and promotion of Japanese papers for develop an exhibition touring proposal which offers the exhibition were examined and identified by paper conservators to the National Gallery in Victoria, Queensland Art Gallery and the and her technical experimentation with masonite to achieve certain Art Gallery of South Australia; all accept. effects was also investigated. Infra-red analysis revealed Preston’s underdrawing in later paintings to be a few basic structural The curators hold discussions with the exhibition registrars lines before the paint was rapidly applied. Preston’s choice of concerning the freight, packing and insurance of the Preston supports – whether painted directly onto cardboard or canvas, exhibition (valued at $15 million) and its national tour, and with her occasional use of glass, or her experimental work with the workshop to discuss ideas for the design, layout and signage varnishes and pigments – gave a greater understanding of the for the show. The exhibition’s manager successfully applies for painting and printmaking processes. two Visions of Australia development grants from the federal Margaret Preston ’s tea party 1924 oil on canvas, 55.9 x 45.7 cm. government to assist with research ($30 000) and in the touring Gallery Shop: The curators hold comprehensive discussion with Art Gallery of New South Wales © Margaret Preston Estate. Licensed by Viscopy, Sydney Margaret Preston aged 19, 1894, photographer unknown. National Gallery of of the exhibition ($60 000). the Gallery Shop concerning the range of merchandise to be Australia, courtesy of the artist’s family produced in conjunction with the exhibition.

16 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 17 Installation views of the Preston exhibition at the Art Gallery of New South Wales

curators organise speakers for the symposium, exhibition floor Publications: The monograph and catalogue raisonné CD-ROM talks and other related events at the Gallery during the 12-week design are completed and in production. The book is published in period of the exhibition. Curators also liaise with the Art Gallery both hardback and softback with the CD-ROM provided with both Society concerning events and lectures associated with the versions. Writers, designers and editors are working on the text for Preston exhibition. the exhibition itself and a host of related publications and online materials, from brochures to education kits and the Preston mini- Gallery Shop: Exhibition merchandise is finalised and product website. acquired. Conservation: Conservation work such as cleaning and reframing 6 WEEKS FROM EXHIBITION OPENING: of works is undertaken following consultation with owners.

Curatorial: The director and curators discuss a speaker for Audience: Promotion of the supporting public events commences the opening and invite Emeritus Professor Virginia Spate to and the public begin to engage with the exhibition and book events. take up this role; she accepts. Banners designed by Gallery graphic designers promote the exhibition at the Gallery and around Sydney Gallery Shop: The temporary exhibition shop located at the exit Exhibition & tour: Installation and workshop departments of the show is designed, built and stocked ready for business. commence construction and carpentry for the exhibition: production of all plinths and cabinets; demounting previous 1 WEEK FROM EXHIBITION OPENING: exhibition in the display space; rebuilding space according Curatorial / Exhibitions / Conservation / Marketing: to the curators’ design – walls, rooms, architectural features In the final and paintings. week, exhibition works arrive at the Gallery; the curators, registrars 1 YEAR FROM EXHIBITION OPENING: 6 MONTHS FROM EXHIBITION OPENING: and conservators unpack, examine and condition-check all Marketing: Official opening guest list is finalised by curators artworks (condition of works will continue to be monitored Curatorial: Curators spend time discussing and compiling a Curatorial /exhibition & tour: Curators devise the design of the and marketing, invitations are designed, printed and sent out; throughout their display and travel); works and display cabinets preliminary list of works for the exhibition and ideas for layout exhibition space and finalise all plinth, display case and carpentry marketing staff and the Gallery’s venue manager organise the are installed in the exhibition space. Previews and media viewings of the show; formal letters from the Gallery’s director are sent to requirements in consultation with the Gallery’s workshop; curators opening function. Media, TV and print, coverage of the exhibition are held and the publicity campaign swings into top gear. all relevant private and public collections requesting the loan of and paint shop staff begin discussion on colour themes for the is coordinated, including the official press preview. specified works for the exhibition and tour; finalising the works exhibition. Materials are selected and organised for display Meanwhile many other staff working at the Gallery – including to be included in the exhibition commences. cabinets. gallery service officers, volunteer guides, education officers, information desk staff, finance and task force volunteers – have Exhibition & tour: Once lenders respond to the initial request, Marketing: Press releases on the exhibition are distributed to the been involved in supporting and contributing to the successful formal loan contracts are sent out by registration staff, media. A media and marketing program for the exhibition is staging of this exhibition. Many continue behind-the-scenes and beginning their extensive work for specific packing and freight finalised; graphic designers work on posters, banners and other front-of-house involvement during the 13 weeks the exhibition requirements of all works on loan for the exhibition and to related promotional materials; meetings are held with the Gallery’s runs at the Art Gallery of New South Wales and during its nine- travel on a national tour. installation crew manager to discuss the physical practicalities of month national tour. Reflecting the success of the exhibition, exhibition installation. The marketing department liaises with the Marketing: Curators and marketing department initiate discussions Margaret Preston: art and life attracted over 130 000 visitors City of Sydney for street banners; and organises sponsorship for nationally and the publication of the same name is now the with staff from the Royal Botanic Gardens (RBG) for a joint series other city advertisements. of public programs, exhibitions and ‘Margaret Preston Botanic Gallery’s best-selling title. Gardens Tours’ in conjunction with the Gallery’s exhibition. RBG Publications: Final drafts for essays and catalogue raisonné are staff visit the Gallery on a weekly basis to continue identifying the submitted to the Gallery’s editor; graphic designers commence plants in Preston’s paintings. work on the monograph and CD-ROM catalogue raisonné with on-going discussion with the curators. Publications: Curators commence writing essays for the Preston monograph and consolidate text for the catalogue rasionné list. Audience: Following meetings with curators, public programs Photographs and illustrations are ordered from all relevant staff create a range of programs and events for the general public institutions, galleries and libraries for the catalogue; in-house including an education kit; curators and education officers begin photography is organised for all works in private collections where to write wall texts and labels for the exhibition; public programs images are unavailable; copyright is cleared for all works by the work on a biographical film on Preston to appear at the entrance Gallery’s rights and reproductions officer. to the exhibition. The senior coordinator for public programs and A fully illustrated CD-ROM of Margaret Preston’s paintings, monotypes and ceramics was included in the book

18 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 19 YEAR IN REVIEW

COLLECTIONS Room’ in the museum he created at the estate. On the inside, or verso, Friend painted a mocking portrait of himself as a Balinese prince, while decoration on the lower part was based on traditional Indonesian motifs. Reflecting his great AUSTRALIAN ART love and appreciation of Bali, Friend commissioned young The three major acquisitions of the year were James Indonesian sculptor I Made Jojol to carve the exterior, or Gleeson’s spectacular painting The Ubu diptych, comprising recto, which was inspired by the Tantri tales, a story cycle Ubu regnant and The senior mandarin 2004; a painted that features animals derived from old Buddhist tales about and carved wooden door entitled Self-portrait on Balinese the Buddha in previous animal incarnations. door/Jungle motif with devotional figure c1974, a Other important painting acquisitions included Sidney collaboration between Australian artist Donald Friend and Nolan’s hallucinatory African landscape 1963; Elisabeth Indonesian sculptor I Made Jojol, and the inaugural Gleeson Cummings’ Arkaroola landscape 2004, representing the O’Keefe Foundation purchase of ’s major current period of the artist’s career and funded by the sculpture of 1973–74, Number 300. Australian Collection Benefactors Fund; and Colin Lanceley’s Acquisition of Gleeson’s Ubu diptych was made possible outstanding circus-theme assemblage Burning bright (big by the generosity of the Art Gallery Society. The title of this top) 2005 which brings this substantial Australian artist up work refers to the Ubu trilogy of plays written by French to date in the collection. playwright Alfred Jarry in 1896, whose lunatic but exhilarating The third major purchase of the year was Robert Klippel’s grotesquerie combines the erudite with the lavatorial in a masterwork from the early 1970s, Number 300, a precursor to the surrealist movement three decades later. particularly exciting acquisition since works of this calibre Acquisition of this masterpiece – a consummate summary and from this period in Klippel’s oeuvre rarely come onto of over 20 years of masterful painting and testament to the market. Considered by Klippel to be one of his greatest the great staying power of his vision – ideally rounds out works, it displays a resolute verticality that is rare for the Gleeson’s representation in the collection. artist. In this piece he forged an intricate relationship of The remarkable painting and objet d’art that constitute void and solid within a more enclosed form, which Donald Friend and I Made Jojol’s Balinese door offer a rare combine to bring this modernist, machine-inspired opportunity to bridge the Australian and Asian collections sculpture as close as Klippel came to making explicit the through an artist who dedicated himself for more than a links he felt existed between his work and the great decade to an immersion in, and preservation of, the culture traditions of Western sculpture. Given Klippel’s stature in of Bali. The purchase of this piece was made possible by sculptural production in this country and the quality of this the generosity of Carole Muller and contributors to the work, as well as his long relationship with James Gleeson, Pissarro Dinner Fund. Friend first visited Bali in 1966, later it is a wonderful and entirely fitting inaugural acquisition for settling there at Sanur Beach, where he built his Batu Jimbar the Gleeson O’Keefe Foundation, the establishment of Estate. Created from an antique door and frame, this work which was announced on the occasion of Gleeson’s 90th was installed to provide access to Friend’s ‘Collection birthday (on 21 November).

Robert Klippel Number 300 1972–74, brazed and welded steel, found objects, 123 cm. Purchased with funds provided by the Gleeson O’Keefe Foundation 2006 © Robert Klippel Estate

Donald Friend, I Made Jojol, recto: Jungle motif with devotional figure (I Made Jojol) verso: Self portrait on Balinese door (Donald Friend) c1974, oil, gold leaf, carved jackfruit tree (Artocarpus heterophyllus) door and frame 203 x 93.8 x 24.5 cm overall. Purchased with funds provided by Carole Muller and the Pissarro Dinner Fund 2005 © Reproduced with permission of the Estate of Donald Friend

James Gleeson, The Ubu diptych: Ubu regnant and The senior mandarin 2004, diptych: oil on canvas 174 x 202 cm each. Purchased 2005 © the artist

20 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 21 Fred Williams Young elephant 1955–56, in Volume two 1954–63, bound album: 50 leaves, 50 etchings tipped onto album pages, 28 x 42.5 x 3.2 cm. Gift of Gwen Frolich 2004 © Fred Williams Estate

Sidney Nolan African landscape 1963, oil on hardboard, 120.5 x 152.4 cm. Purchased with grateful acknowledgment to Cynthia Nolan 2005 © Sidney Nolan Estate

Brent Harris He takes the cross from the portfolio The stations 1989, aquatint, roulette, black and grey ink on ivory wove paper, 31 x 14.3 cm. Purchased with funds provided by the Australian George W Lambert Portrait of Thea Proctor 1905, charcoal on paper, 36 x 25.7 cm. Gift of Thea Waddell 2005 In the area of works on paper, a particular highlight was the female artists of her generation, contrasts with the Gallery’s Prints, Drawings and Watercolours Benefactors purchase by the Australian Prints, Drawings and Watercolours remarkable public portrait of Proctor by Lambert (in oils), Fund 2005 © the artist (PDW) Benefactors Fund of Joshua Smith’s early, Stanley painted in 1903. We are fortunate to now have both works. Spencer-like drawing of his mother, standing full length, with Another highlight was a gift from the estate of Gwen Frolich, her handbag at her side – an acquisition that has considerably of three remarkable and rare volumes of etchings by Fred strengthened the representation of this artist’s work. Also Williams, created by the artist to record 150 key prints for important was the purchase of a large etching Gymea lily II his own collection. Alan and Jancis Rees also gave Brett 2004 by Tony Ameneiro, a highly accomplished reworking Whiteley’s drawing in homage to Lloyd Rees, after Rees’ iconic on a grand scale of the iconic giant lily that has long been painting On the road to Berry 1947; Kevin Connor gave the associated with John Lewin’s 1810 rendition in watercolour 100 drawings that comprise his Sketchbook 68, featured in ABORIGINAL AND TORRES STRAIT ISLANDER ART Harry Tjutjana, who only started painting in the last few (already in the collection). A further significant addition to the the exhibition of his work held between April and June; and This year saw the acquisition of a number of exceptional months of 2005 at Ernabella Arts Inc. Like many Indigenous Gallery’s collection of contemporary Australian prints – and Allan Mitelman gave two beautiful untitled gouaches, greatly works for the Aboriginal and Torres Strait Islander art artists, he has come to painting late in life and his another acquisition through the Australian PDW Benefactors – enhancing representation of the work of each artist in the collection, strengthening some of our key collecting areas, spontaneous, energetic works capture the innovative potential was the purchase of a portfolio of prints by Brent Harris, Gallery’s collection. while also expanding the collection to cover new areas as of desert art. The same may be said of Patrick Hayes, an The stations 1989. Complementing Harris’s later, and quite BRETT WHITELEY STUDIO: In the area of collection more Indigenous communities develop their arts practice. Arrernte artist from Whitegate Camp in Mparntwe (Alice different, series of woodcuts (Grotesquerie 2004) acquired by documentation, work continued on the project to catalogue Key works were collected by the Ngaanyatjarra artists Jackie Springs). Working through Tangentyere Artists, an important the Gallery last year, these fine etchings have a particularly all Brett Whiteley estate works currently held at the Brett Giles, Fred Forbes and Reggie Jackson, who are working initiative of the local council, Hayes’ works reveal classic strong graphic quality and form a cohesive and powerful series Whiteley Studio under the Gallery’s management. Funded through the recently established art centres of Kaylil Artists Tingari imagery and are reminiscent of early Papunya Tula on a classic theme of Christian iconography. by the Brett Whiteley Studio Foundation, this major and Papulankutja Artists, both in Western Australia. works of the 1970s. Among numerous gifts, Thea Waddell donated George undertaking which began in July 2004 progressed steadily Their paintings reflect the emerging nature of the local Three exceptional paintings by Papunya Tula artists strengthened Lambert’s much admired early portrait drawing of Thea and as of 10 June 2006, 1700 records have been created art movements while exposing the cultural ties that exist a key area of the collection: two untitled 1994 paintings by Proctor, dated 1905, arguably one of the most prized Lambert on the Gallery’s collection management system. Only a throughout the central, western and southern desert regions. Mick Namarari Tjapaltjarri and an untitled 2004 painting by drawings remaining in private hands. This tender and further 25–50 works require cataloguing for the project to One painting on canvas and two paintings on paper were Naata Nungurrayi which featured in the Papunya Tula annual sympathetic portrait of his friend, one of the most admired be completed. acquired from the first solo exhibition of Pitjanjatjara artist exhibition in Mparntwe in December 2005.

22 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 23 Paul Cézanne Large bathers 1896–97, colour lithograph, 41 x 50 cm. Gift of Margaret Olley 2006

Hendrick Goltzius Apollo 1588, engraving, 34.7 x 26 cm. Purchased 2006

Edouard Vuillard Breton House, Saint-Jacut 1909, distemper and pastel on paper, laid on canvas, 50.2 x 64.8 cm. Purchased with funds provided by the Margaret Hannah Olley Art Trust 2005 Stewart Hoosan Dulkurrina 2005, synthetic polymer paint on canvas, 200 x 250 cm. Purchased with funds provided by the Aboriginal Collection Benefactors 2005 © the artist

(printed 2005) by Michael Riley was purchased through general EUROPEAN PAINTINGS PRE-1900 Stewart Hoosan is one of the most important artists from the was acquired after being included in the National funds. Michael Riley was one of the country’s most celebrated The year saw two acquisitions of Italian paintings. The Borroloola region. His painting Dulkurrina 2005 depicts his vast Aboriginal and Torres Strait Islander Art Award, Darwin. artists and of all Riley’s series of photographs Fly blown most bequest of Mr Walter Hartwig to the Art Gallery of New , with its rocky outcrops and shaded waterholes, closely addresses the environmental destruction of his country South Wales Foundation permitted the purchase of a major From north-eastern Arnhem Land the Gallery has acquired revealing Hoosan’s extensive and intimate knowledge of his as a metaphor for the encroachment on Aboriginal culture – baroque altarpiece by Giulio Cesare Procaccini from the both a bark painting and a larrkidj (memorial pole) by the traditional lands. the cross directly implicating Christianity as having a Matthiesen Gallery in London. The lowering of the cross acclaimed artist Djambawa Marawili, as well as a spectacular deleterious impact on Aboriginal culture. with Saints Mary Magdalene, Augustine, Jerome and angels Roy Kennedy is perhaps the most influential Aboriginal bark painting Djowuy 2005 by Manman Wirrpanda, which appears to be a canvas known to have been painted for the Dr Colin and Elizabeth Laverty have been extremely generous printmaker working today and the detailed etching Mission represents a movement away from the previous protocol of artist’s Genoese patron Gian Carlo Doria, and can be dated in gifting an untitled 1998 work by Paddy Bedford. Produced boy dreams 2006 asks whether the ‘Great Australian painting for the outside world where the miny’tji (sacred clan c1618. Although born in Bologna, Procaccini spent his in the first months of Bedford’s career, the work predates other Dream’ of home ownership and financial independence will design) was ‘disguised’ by figurative imagery. A painting such active career in northern Italy, principally in Milan and Genoa. works by Bedford already in the collection and is an important ever apply to Aboriginal people. A collection of 24 etchings as this would not have been revealed in a public context as He can be regarded as the leading painter of the Lombard addition to our East Kimberley holdings. by a number of artists from the Maningrida community recently as 2000. baroque. The new acquisition, highly personal in conception including John Mawurndjul, Kay Lindjuwanga, Samuel An important addition to our Torres Strait Island collection and evidently deeply felt, powerfully represents the intense Namunjdja, Terry Ngamandara Wilson, Kate Miwulku, EUROPEAN PRINTS, DRAWINGS AND WATERCOLOURS are two etchings by Dennis Nona which document important spirituality of that movement. Belinda Kurinya, Elizabeth Kandabuma and Debra Wurrkidj, Margaret Olley presented three outstanding gifts which aspects of island life which Nona wishes to record for future has also been acquired. This suite of predominantly abstract considerably enhance the Gallery’s holdings of modern A more modest purchase, though almost as important in its generations. Sazi – special root 2004 explains the use of this works evidences the expertise of the artists in adapting graphic art: a pastel and distemper drawing, Breton House, impact on the collection, is a panel by Bartolomeo di Giovanni root to intoxicate fish and make them easier to catch, while their visual repertoire to alternate mediums. Saint-Jacut 1909 by Edouard Vuillard, a colour lithograph by of Saint John the Baptist, which was acquired with funds Gapu Dhangal 2004 explains the use of the sucker fish to lead Cézanne, Large bathers 1896/97, and a portrait lithograph raised by the deaccessioning of items of furniture which have The bark painting Billabong at Milmilngkan 2005 by the hunters to dugong and tire them out before the hunters of Françoise Gilot by Picasso, Head of a woman 1948. no place in the Gallery’s collection. Bartolomeo di Giovanni is Kuninjku artist Kay Lindjuwanga has become the first work harpoon them. a minor Florentine painter of the 15th century who is known by a female artist from western Arnhem Land to enter the The Gallery purchased a complete set of Hogarth’s Benefaction provided the funds for all of the works above nevertheless to have worked alongside such painters as collection. Lindjuwanga is the wife of renowned artist John engravings, A rake’s progress 1735, an engraving of Apollo to be acquired, through both the Aboriginal Collection Ghirlandaio and Botticelli. This acquisition is clearly a fragment Mawurndjul and a leader in the field of Kuninjku painting. Also 1588 by Hendrick Goltzius and a colour engraving of Marie- Benefactors Fund and the Mollie Gowing Acquisition Fund. from an altarpiece and introduces to the collection for the first from the Maningrida community is Terry Ngamandara Wilson, Antoinette by of colour printmaking in 18th-century In addition the work Untitled, from the series Fly blown 1998 time a representation of the Florentine Renaissance. whose intricate bark painting Waterhole at Barlparnarra 2005 France, Jean-François Janinet.

24 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 25 INTERNATIONAL MODERN AND CONTEMPORARY ART More recently with the generous support of Geoff and Vicki The Gallery’s international contemporary collection began Ainsworth assisted by Catriona and Simon Mordant we have with the Mervyn Horton Bequest in 1984. The benchmark acquired a spectacular 7-metre, 4-tonne relief painting by purchase in the first years was Anselm Kiefer’s Glaube Kiefer which follows a theme in the collection relating to Hoffnung Liebe created between 1984 and 1986. This year Glaube Hoffnung Liebe where the artist plays with imagery we have radically expanded on that initial commitment to that suggests transcending the material world only to collapse the work of one of the greatest artists of our time. Three back to earth. The propeller made of lead and the broken sculptures based on a series of women from antiquity stairway to heaven in Von den Verlorenen gerührt, die der typify an important continuing theme in Kiefer’s art that Glaube nicht trug, erwachen die Trommeln im Fluss 2004, both reconsiders the treatment of strong women in history and have potential to pass the limits of the horizon but are both in mythology. Candida, Myrtis and Hypatia all represent doomed to fail. Anselm Kiefer has further acknowledged the historical women who came to a bad end through no fault continuing commitment of this Gallery to his art by personally of their own except perhaps competing with men. donating a sculpture with the same name as the painting.

Anselm Kiefer Women of antiquity 2002, (from left) Myrtis, Hypatia, Candida, mixed media, dimensions variable. Purchased 2005 © Anselm Kiefer

This work consists of a shower of glass slides each inscribed already in the collection and a watercolour by the late Bob with the number of an astronomical body. This idea Law that relates to our 1975 painting Blue black indigo black complements the dream of transcendence with a heavenly donated by Danny Goldberg. intervention or emanation as Kiefer calls it. AUSTRALIAN CONTEMPORARY The Gallery also acquired works by two senior avant-garde The contemporary Australian art collection was enhanced artists: Richard Hamilton and Michael Craig-Martin. Hamilton’s through acquisitions and gifts which built significantly on life-size replica of Duchamp’s ‘Large glass’ Typo/topography the holdings of artists already represented and introduced of Marcel Duchamp’s large glass 2001–02 makes a much artists new to the collection. Hany Armanious’ engaging needed connection between late 20th-century avant-garde art sculpture Turns in Arabba 2005, acquired through money represented by this collection and the founder of conceptual raised by the Contemporary Collection Benefactors, was art. Craig-Martin’s computerised rendition of Piero della inspired by both Arabic objects and Swedish design. Francesca’s 15th-century painting The flagellation breaks new Armanious is an influential and widely exhibited member of ground in the use of technology in art. A beautiful film by the the group of artists that marked a generational shift in the British artist Alia Syed was also collected and has been on early 1990s and who have created a richly inventive sculptural loan to the Biennale of Sydney. language from modest materials and everyday references. Other important gifts to the collection include a suite of Another substantial sculptural work, Richard Goodwin’s photographs by the British artist Andy Goldsworthy donated Prosthetic re-thought 2003, which considers relationships by Bret Walker; a painting by Albert Irving donated by Maurice between body and machine, was added to the collection William Hogarth A rake’s progress: the orgy 1735, engraving, 36 x 41 cm. Purchased 2006 J Cashmere that perfectly complements a work of this artist through a gift of the artist.

26 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 27 Karl Blossfeldt, Euphorbia helioscopia, sun spurge, 5 x enl, 1915–25, gelatin silver photograph, 29.7 x 23.8 cm. Alistair McAlpine Photography Fund 2006 Daniel Crooks Train no 1, 2002–05, 3-channel DVD digital video projection with sound, 4 minutes. Contemporary Collection Benefactors 2005 © the artist Olive Cotton Only to taste the warmth, the light, the wind c1939, gelatin silver photograph, 33.2 x 30 cm. Purchased with funds provided by John Armati 2006

The Gallery has continued to acquire video art with three- included Robert MacPherson’s painting Mayfair: smoko for PHOTOGRAPHY screen video projections by Patricia Piccinini, Swell 2000, Tommy Lamare 1992–2002, an untitled abstract painting from The photography collection was able to acquire some excellent and by Daniel Crooks, Train no 1 2002–05. Swell, in which 1998 by Susan Norrie that was donated by Guy de Compiegne works in this financial year including a vintage print by Karl the viewer is surrounded by images of a digitally created and the sculptural installation by Jacky Redgate Untitled (work Blossfeldt. This rare image will greatly enhance the European rolling sea that eclipses the horizon, is from a sequence of in 5 parts) Vase shapes #1–#5 1989, which featured in her modernist collection. A landscape image by important German works that considers our contemporary experience of nature retrospective at the Museum of Contemporary Art, Sydney. photographer August Sander was also acquired and joins an mediated by digital and technological developments. Daniel architectural photograph by this most influential modernist. Crooks’ video is from his Time slice project which he has been developing since the late 1990s. Not content with just Gifts of photographs by New Zealanders Marie Shannon and manipulating the inherent qualities of the video medium, Peter Peryer were received from Peter Fay adding to our small Crooks has developed new motion control systems to create but growing collection of New Zealand material. An important videos and photographic prints in which the monocular work was also acquired from Fiona Pardington. For Pardington perspective of the camera is sliced into and stretched across and Shannon these are the first works in the collection. frames to create simultaneous polyocular perspectives. Work by a younger Australian artist, Sarah Ryan, was acquired August Sander Field with marguerites 1930s, gelatin silver photograph, Both these works were acquired through the Contemporary and an important work by Lyndell Brown and Charles Green 17.1 x 22.9 cm. Purchased with funds provided by the Photography Collection Benefactors Fund. was purchased, now representing them all in the collection for Collection Benefactors 2006 Brent Harris’ Grotesquerie (no 1) 2001, the first painting the first time. by Harris to enter the collection and from one of his most Three photographs from Bill Henson’s new body of work interesting series to date, was generously gifted anonymously were acquired at the Photography Collection Benefactors’ to the Gallery. Stephen Bush’s Ericifolia 2004, is also the first dinner along with an important, rare, vintage Olive Cotton. work by the artist to enter the collection and was acquired The majority of photographs this year were acquired by in Japanese poetry. Another select Japanese piece obtained though the Contemporary Collection Benefactors Fund. Photography Collection Benefactors Fund. with the generosity of the Roger Pietri Fund was a Tea bowl This lolly-hued painting depicts a decaying hut against an - painted by the well-known female artist Otagaki Rengetsu on area of abstract poured paint which resembles an alpine ASIAN ART which is written a poem attributed to Shogetsu. This piece landscape, combining Bush’s interest in history painting The past year has seen the acquisition of a number of exemplifies in all aspects the Japanese aesthetic of transience. and pop art references. significant works for the Asian art collection, with sought-after An important Japanese painting acquired was the 14th-century additions complementing many of the works already in the Acquiring a major Imants Tillers work had been a priority The ?10th ‘rakan’ (from a set of 16). This wonderful painting Gallery’s collection. for the contemporary collection for a number of years as depicts a rakan (luohan or arhat), one of the disciples of the Gallery’s holdings had not been updated since 1984. JAPANESE ART: An important work acquired for the Japanese Buddha, and is an excellent example of a style of painting Monaro 1998, the first major painting by the artist after he collection was a pair of rare, 17th-century six-fold Japanese which was taken by monks studying in back to Japan, left Sydney for Cooma in the Monaro region and a significant screens, Uji bridge under the willows, which had been on loan and later adapted. A beautiful suzuribako lacquer ware writing contemplation on landscape and place was purchased. Stephen Bush Ericifolia 2004, oil and enamel on linen, 183 x 183 cm. Contemporary for some years until the Gallery could acquire funding. box of the mid 1800s was also a wonderful addition to the In addition the artist generously donated Counting: one, two, Collection Benefactors 2005 with the assistance of Natalia Bradshaw, Andrew Developed from a native Japanese style of painting known as collection. The box is decorated inside and out with lotus plant Cameron, Candice Bruce & Michael Whitworth, Luca Belgiorno-Nettis, Peter & three 1988, and Brian and Dr Gene Sherman donated Iris field Angela Keel, Rob Gould, Helen Gannon, Tony Meagher, Gordon Fell, Anne Fulwood, meisho-e (pictures of famous places), the work depicts the design and the text of the Buddhist Heart Sutra, epitomising 1986, greatly improving the Gallery’s representation of one of Peter Braithwaite, Julian & Stephanie Grose, Fiona McIntosh & Peter English and scenic landscape around the Uji bridge which links Kyoto and the specialised techniques and skill necessary which this New South Wales’ most important artists. Further acquisitions Joe Catanzariti © the artist Nara – a setting in and one often celebrated traditional art commands.

28 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 29 EXHIBITIONS Kevin Connor, winner of the Archibald, Sulman and Dobell Drawing prizes on each of two occasions, has distinguished himself as a powerful and expressive draughtsman and painter of urban landscapes and the human figure since the early 1960s. Kevin Connor: sketchbooks, drawings & AUSTRALIAN ART studies for paintings and sculpture was displayed at the The major exhibitions for the Australian art department this Gallery from 28 April to 25 June 2006 and included over year were Margaret Preston: art and life and Kevin Connor: 100 sketchbooks along with larger drawings, paintings sketchbooks, drawings & studies for paintings and sculpture. and sculpture. This exhibition, focusing on the artist’s sketchbooks, included a selection of larger drawings, Margaret Preston (1875-1963) was one of Australia’s most gouaches, paintings and sculpture produced since the early celebrated modernists. Her bold, cosmopolitan and intensely 1990s and revealed the fundamental part that drawing coloured woodblock prints and paintings of still-life subjects from life in small hand-held sketchbooks plays in Connor’s and the Sydney metropolis particularised a moment of work. Uncompromisingly, his subject is life on the street, extraordinary innovation in the history of Australian art. Preston in cafés, railway stations, parks and foodhalls, principally in was also the country’s first serious advocate of Aboriginal art: Sydney, Paris and London. The exhibition was accompanied her early appropriation, and promotion, of Aboriginal imagery by Kevin Connor sketchbook: drawings by Kevin Connor to the cause of has contributed to her ongoing in Sydney, Paris and London, a book in which each of the significance. Margaret Preston: art and life opened on 29 July 80 drawings selected from his most recent sketchbooks Mongolia, Manla, the medicine Buddha, 17th century – early 18th century, and following conclusion of its display at the Gallery on 23 gilt bronze (with traces of paint) 24cm height. Edward and Goldie was reproduced at the same size as the original. A notable Sternberg Chinese Art Purchase Fund 2005 October 2005, toured to the state galleries of Victoria, feature and highlight of the display, was the visually Queensland and South Australia. The exhibition included over spectacular grouping of some 660 drawings – not bound 180 works comprising paintings, prints, pottery, textiles, in sketchbooks but existing only as individual works – Zanabazar workshop, shows the gilded, glowing Buddha in the illustrative work and substantial archival displays. The pinned together on the walls for display. These were a diamond posture on a double lotus pedestal. The worship of exhibition was an outstanding success with over 130 000 tremendous drawcard for visitors, who responded Manla supposedly results in the imparting of medicine or a cure. people visiting the show here at the Gallery and on tour, and, enthusiastically to the exhibition. to date over 12 000 monographs on Preston have been sold. SOUTH AND SOUTHEAST ASIAN ART: Sculptures acquired for the Indian collection include the 11th-century ‘Jina’ Munisuvrata, a piece which has been much sought after by the Gallery. Part of the Jain religion, the ‘jina’ or ‘supreme being’ of which there are 24 liberators or Great Teachers, China, Court lady 8th century Tang dynasty, earthenware, 39cm height. Purchased holds the most important position in the Jain pantheon. with funds provided by Vicki Liberman and her daughter Lara in memory of their The rare and imposing Jain couple and child, a finely carved mother and grandmother Goldie Sternberg 2006 sculpture of the 10th century from North India, depicts a yaksha (nature spirit) couple who are regarded as the parents of a jina. Both pieces are splendid additions to the Gallery’s CHINESE ART: Some exceptional pieces have been acquired permanent installation on the Faiths of Asia. Additionally the through the generosity of donors. This year, Vicki Liberman Gallery has been able to acquire three yantra sculptures. and her daughter Lara generously provided funds for the Yantra (sacred diagrams) are ritual tools of the Tantric religion, purchase of a Tang dynasty Court lady earthenware figurine of and these particular pieces, yantras that symbolise the the 8th century. The rounded form of this voluptuous beauty, goddess, were acquired partly for inclusion in the Gallery’s characteristic of the period, subtly shows individual qualities October 2006 exhibition on the goddess. in the facial expression, hair and shoes. Night rain at Xiao and Xiang River by Wang Yuanqi is a superb Qing dynasty painting Dr John Yu and Dr George Soutter have very generously of the famous region in present-day Hunan province and given the Gallery a number of Indonesian textiles which will was inspired by the Southern Song master Mi Fu and Yuan be apt additions to our ever-growing textile collection. Along dynasty master Gao Kegong. The work displays a subtlety of with this they have also gifted a number of Chinese and brushstroke which reveals the beautiful, varied, mist covered Southeast Asian ceramics, thangkas and Yao paintings of the landscape of the region. An important ceramic piece we have Mien peoples – examples of which are entering the collection acquired is the 12th-century Cizhou ware Vase with incised for the first time. Peter Elliott has given a West Timorese design of children playing amidst grasses, a bottle-shaped protective figure, the first West Timorese sculpture to enter vase with an incised decoration on a black surface exposing the collection, along with ceramics. Jeanette Sharpe gave a the white lineal narrative. With funds provided by the number of attractive Chinese ceramics, and Marea Gazzard Contempo Group, the Gallery has also acquired a very generously has given some contemporary Japanese contemporary Chinese work, Welcome the world famous ceramics by major exponents of the folk art movement. brand 1993–94, by the Luo brothers. A lacquer and collage Through the James Giffen gift we have acquired an album piece on wood, this work is a good example of a period in of 34 individual ukiyo-e prints of actors. Chinese contemporary art known as ‘gaudy art’ of the late LIBRARY 1980s and early 1990s. In the last year the Archive received generous donations of The impressive, serene Mongolian piece, Manla, the medicine important primary material from both commercial galleries and Buddha 1600s – early 1700s, was purchased through the individual artists. These included the records of the Notanda generous support of the Edward and Goldie Sternberg Chinese Gallery, Sydney, and papers from Louis James, George Finey, The Gallery’s installation officers, Brett Cuthbertson and Peter Tsangarides, hanging some of the 660 drawings for the Kevin Connor: sketchbooks, drawings and studies for Art Purchase Fund. This piece, considered to be from the Harold Cazneaux, Ann Thomson and Donald Friend. paintings and sculptures exhibition (28 April – 25 June 2006)

30 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 31 poetic subtlety; and Waterfall: images from the collection which highlighted the influence of colonial artist Eugene von Guérard on later artists. Other displays centred on the prints and watercolours of Earle Backen, James Gleeson’s Ubu diptych, drawings by Nora Heysen, and the remarkable group of etchings Night in a city produced by Theo Scharf. The latter exhibition revealed the extraordinary talent of an artist little known in Australia following his departure for Germany in 1914. For the first time in connection with the focus displays, an online catalogue on the Gallery’s website was produced for the Theo Scharf display and proved a great success with a total of 2644 catalogue copies downloaded from the site. The most notable addition to the collection displays in the Australian 20th-century galleries was the new Lowy Gonski Gallery, created in the heritage wing boardroom. Originally designed by the official colonial architect W L Vernon, this space was refurbished to exhibition standard, with parquetry flooring, climate control and suitable lighting. Named in honour of two distinguished presidents of the Board of Trustees, the Lowy Gonski Gallery opened to the public in late 2005, displaying a selection of paintings, sculpture and works on paper from the collection by Australian artists whose careers flourished during the First or Second World Wars, and/or the years between. From the earliest work, a George Lambert Palestinian scene of 1918, to Horace Kevin Connor Le Grand Palais, Clémenceau, de Gaulle and me. Winner of the 2005 for Drawing (exhibition 5 August – 16 October 2005) © Kevin Connor Trenerry’s visionary landscapes of the mid 1940s, a range of artists can be seen attempting to preserve respect for certain classical values of form and composition and at the The Australian Art Department installed the Dobell Prize for Looking forward to 2007–08, Australian Art Department staff same time reconnoitre modern idioms. Drawing presented this year for the first time in the Rudy continued preparatory research for the Bertram Mackennal Artist Marcus Wills, 2006 Archibald Prize winner in front of his work Because of loans to the Margaret Preston and Grace Komon Gallery on the upper level where it was arguably the and Sidney Nolan retrospectives. In the area of works on Cossington Smith retrospectives the early modern Australian best presentation of the prize since its inception in 1993. paper, a catalogue raisonné of ’s prints is being displays required considerable revamping. However the Won by Kevin Connor for the second time, the show was prepared, together with exhibitions of 20th century prints Gallery’s generous lending policy actually creates good accompanied by a second updated edition of the catalogue. from the collection and of screenprints by Jan Senbergs. opportunities to show a greater numbers of works which are The department also collaborated with staff of the National In the realm of permanent collection displays, a particularly usually kept in storage due to limited permanent display space. Gallery of Australia to install the lively program was featured in the Australian Collection retrospective, the second venue for this touring exhibition. Focus Room, now generously supported by sponsorship BRETT WHITELEY STUDIO The Archibald Prize 06, hung with the annual Sulman and Wynne from Macquarie Bank. These included three theme-based A stimulating program of exhibitions was presented at the prizes and the Photographic Portrait Prize, attracted record displays: Wastelands: a poetic legacy (revealing the influence Brett Whiteley Studio during the year. Following closure of crowds this year of 129 979 visitors and kept the department of T S Eliot’s poetry on the landscape imagery of certain Sydney genesis and beyond in November 2005, the Brett An Indigenous focus was also maintained within the Australian active particularly in the form of comments to the media. More Australian artists); Magical realism, which focused on the Whiteley Travelling Art Scholarship showed finalists from the modern gallery as works by Rover Thomas, Lorna Napanangka, details about art prizes and winners for 2005–06 can be found work of Australian photographers in the 1970s who blurred year’s applicants. At the end of April, More affinities: Brett George Ward Tjungurrayi and Prince of Wales were displayed in the Appendix – Art prizes, grants and scholarships section. the relationship between reality and fantasy with a particular Whiteley and Lloyd Rees, highlighting the strong mentor- alongside non-Indigenous Australian artists like Tony Tuckson. protégé relationship that existed between Rees and Whiteley over three decades, was the first touring exhibition to be EUROPEAN PRINTS, DRAWINGS AND WATERCOLOURS mounted by the studio. Generously funded by Margaret Olley, Old Europe: prints and drawings from the collection c1500– it travelled to the New England Art Museum at Armidale where c1800 (3 June – 6 August 2006) was the first survey of the it attracted a large number of visitors. The final exhibition for Gallery’s holdings of old master prints and drawings, including the year was Ink: Whiteley and others, which focused on the many works which had rarely been seen on public display. influence of Asian visual culture – in particular calligraphic It featured some 150 works by artists including Mantegna, brush painting – on Australian art from the 1960s to 80s. Dürer, Agostino Carracci, Rembrandt, Callot, Hogarth, Canaletto and Fragonard. ABORIGINAL AND TORRES STRAIT ISLANDER ART During the year the Yiribana Gallery showcased a selection EUROPEAN PAINTING PRE-1900 of works drawn from the Gallery’s permanent collection, Pissarro: the first impressionist (19 November 2005 to which underwent subtle changes every few months as recent 19 February 2006) was the largest exhibition of a major acquisitions were highlighted. This exhibition reflected the impressionist artist ever to be held in Australia. Comprising diversity of practices from Arnhem Land bark paintings to more than 100 paintings and works on paper, the exhibition early Papunya Tula boards, recent works by Tommy Watson featured some of Pissarro’s most famous paintings. Camille and classic Tiwi paintings by Kitty Kantilla, Freda Warlapinni Pissarro (1830–1903) was the only painter of the impressionist group to participate in all eight of the groundbreaking Wastelands: a poetic legacy exhibition (10 August – 5 October 2005) More affinities: Brett Whiteley and Lloyd Rees exhibition at the Brett Whiteley Studio and Timothy Cook, as well as more political works by Robert (9 December 2005 – 3 April 2006) Campbell jnr and Gordon Bennett. impressionist exhibitions held in Paris between 1874 and 1886.

32 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 33 Camille Pissarro: the first impressionist exhibition (19 November 2005 – 19 February 2006) Wolfgang Laib exhibition (11 August – 6 November 2005)

He acted as the principal organiser of the first exhibition, exhibition was not principally contemporary in focus but which opened in the photographer Nadar’s studio in April it provided an extraordinary opportunity for a Renaissance 1874, and drafted the first convention incorporating the scholar and a contemporary curator to think across their group, then calling itself the Société Anonyme des Artistes. respective disciplines and brought about a highly contemporary Always searching for new means of expression, Pissarro view of a very traditional subject in art. The year ended with was one of the most innovative of the impressionists. the opening of the Biennale of Sydney 2006: zones of contact Over 40 of the world’s leading art museums lent works which proved to be one of the most popular in recent years. for this landmark exhibition, including the Metropolitan It explored areas of the world often ignored by contemporary Museum, New York; Musée d’Orsay, Paris; and the art exhibitions, including Eastern Europe and the Middle East, British Museum, London. The exhibition was a resounding and exceeded the global reach previously attempted by success attracting over 133 000 visitors and touring to Boundary rider, the 9th Biennale of Sydney in 1992. the Victorian state gallery. The contemporary collection on level 2 was rehung on a more INTERNATIONAL MODERN AND CONTEMPORARY thematic basis with small focus shows of works on paper International contemporary art was particularly lively starting and other fragile objects in the smaller spaces on level 2. with the Balnaves Sculpture Project, which presented the These thematic hangs included: Idea demonstration with German sculptor Wolfgang Laib. This exhibition was drawn works by Joseph Kosuth, Art & Language and Ian Burn and largely from the collection of ifa in Stuttgart and some performance videos from the 1970s; Dust pictures which additional works from the artist who came to install the pieces included works by Miriam Cahn, Igor and Svetlana including his signature pollen piece and a vast wax ziggurat. Kopystiansky, Gabriel Orozco, Dieter Roth and Vik Muniz; Overlapping with Laib there was a spectacular installation and Modern to now – Doris Salcedo, Bob Law, Shirazeh by the Danish artist Jeppe Hein. This interactive neon wall Houshiary, Anselm Kiefer, Stieg Persson, Rebecca Horn and stretched most of the way across one of the large galleries others. This process led to the inauguration of a scheduled on level 2 rising four metres to the ceiling. As the public program starting in September 2006 and sponsored by UBS. approached the wall they caused it to flick on and off – Considering the collection is largely in storage with only section by section. 1% on show at any time, this will be a valuable way to rotate and research items that may not have been seen for some Self portrait: Renaissance to contemporary exhibition (17 February – 14 May 2006) Self portrait: Renaissance to contemporary was a collaboration years. The Contemporary collection handbook, which will be between the Gallery’s head curator Anthony Bond and Joanna launched in September 2006 goes hand in hand with this Woodall, deputy director at the Courtauld Institute, London. exhibition model and will provide an important resource for It was shown in London before travelling to Sydney. The curators and public programs.

34 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 35 Points of view: Australian photography 1985–95 exhibition (19 November 05 – 29 January 2006)

works while he was working for the Hong Kong government in the 1970s and 80s. Painted by prominent scholar-officials of the times, the couplets covered the period from the Ming dynasty until the fall of the Republican period in the first half of the 20th century. We are privileged to have such esteemed works in our collection and the curator of Chinese art, Dr Liu Yang, produced a detailed bilingual catalogue of all the works.

Contemporary Asian art exhibitions included the popular Zen mind Zen brush: Japanese ink paintings from the Gitter-Yelen collection exhibition (17 June 05 – 24 September 2006) Shirin Neshat, which was held in conjunction with the Festival of Sydney from December 2005 through January 2006. The exhibition, her first solo exhibition in Australia, focused on Neshat’s only work to be shown in Iran, Tooba 2002, a two- to ship cloths from Sumatra. The exhibition provided an insight screen video installation. It also featured examples of her not only to the Indonesian culture through textiles, but gave photographic works, particularly from the renowned Women the audience an opportunity to understand textiles in their David Griggs’ Contemporary Projects exhibition, Exchanging culture for flesh of Allah series, which put Neshat on the international stage. uses for the everyday. With floor talks provided by such (16 February – 2 April 2006) collectors as John Yu, the exhibition provided an accessible With 2006 being the Australia-Japan Year of Exchange, way to become familiar with the beauty and importance the Asian Art Department organised a number of Japanese textiles hold in Southeast Asia. exhibitions. Chrysanthemum carpet/hinomaru featured AUSTRALIAN CONTEMPORARY the work of Yukinori Yanagi, and in particular the giant red This year there has also been the opportunity to exhibit some With the support of Andrew and Cathy Cameron the Gallery’s Chrysanthemum carpet 1994, embossed with the emblem of temporary exhibitions in the lower Asian galleries including contemporary projects program presented existing work by the imperial family, the chrysanthemum crest. The powerful in September 2005, the J Hepburn Myrtle Collection of Patricia Piccinini and Daniel Crooks, and new work by Saskia work questions the imperial system in Japan, and the ideals Chinese ceramics, given and bequeathed over the years Olde Wolbers, David Griggs and Constanze Zikos. of individual responsibility. This was accompanied by to the Gallery by J Hepburn Myrtle and his family. These Hinomaru, lithographs playing with the chrysanthemum and magnificent Chinese ceramics have been an important part PHOTOGRAPHY rising sun motifs, and Japan’s militaristic past. The exhibition of the Gallery’s ceramics collection since the 1960s. Following A number of important exhibitions were held including two Unryuan: contemporary lacquer master, held in the lower in January 2006, the lower Asian galleries also hosted an collection projects: Points of view: Australian photography Asian gallery revealed the work of leading contemporary exhibition of the collections important Japanese prints from 1985–95 and Reflections in time: 19th-century portrait lacquer artist Kitamura Tatsuo, whose interest in lacquer the early 20th century. With the assistance of Colin McDonald, Unryuan: contemporary lacquer master exhibition (26 January – 23 April 2006) photography. Both drew heavily on the collection as part technique was evident in the objects he created such as there have also been two loan exhibitions of Japanese swords – of the ongoing series of exhibitions which research and writing cases, incense boxes, tea wares, inro containers and revival swords with carving which continued to the recontextualise Australian and international photography. netsuke. end of 2005 and Hizen swords of the Nakeshima daimyo from January 2006. Bill Henson concluded its highly successful tour at the Because of the focus on Japan for the year 2006, the Gallery National Gallery of Victoria in July 2005 having been seen also negotiated the exhibition Zen mind Zen brush: Japanese The Asian art department is now gearing up for the a major by 115 000 people in Sydney and Melbourne. ink paintings from the Gitter-Yelen collection. The exhibition 2006 exhibition Goddess: divine energy which will include consisted of 80 works of Zen ink painting dating from the 17th beautiful images of Hindu and Buddhist goddesses, with ASIAN ART to 20th centuries from the private collection of Dr Kurt A Gitter works on loan from around the world. The Asian Art Department this year organised a number of and Alice Rae Yelen who have built up the collection over LIBRARY successful exhibitions for the exciting temporary exhibition some years. Primarily used as a tool for meditation and space in the Asian galleries. Rajput: sons of kings continued spiritual teaching, the works evoke a gamut of emotional The first Research Library and Archive exhibition for 2006 into September 2005 and was an enormous success. responses, from humour at images illustrating Zen riddles to was organised as a joint event for the biennale conference Borrowed from the notable collection held at the National meditation on the messages of serious looking Darumas. of the Jewellery and Metalsmiths Group of Australia. Gallery of Victoria, the 74 pieces in the exhibition showed the An exhibition of works from the growing Asian textile Rewind/FORWARD: Margot Douglas (25 January to 28 April life and times of the Hindu Rajput courts in India, from the collection, Symbols and ceremonies: Indonesian textile 2006) was an exhibition of ‘objects and books for the body’, elaborate costumes worn at court, to hunting scenes, palace tradition was a beautiful display of Indonesian textiles that exploring the colonial history of the artist’s pioneering family. interiors and portraits of the privileged Rajput rulers. the Gallery has acquired over the years, mostly gifts from This was followed by Artists’ books from the collection of The poetic mandarin: Chinese calligraphy from the Hayes Dr John Yu and Dr George Soutter, but with other gifts Noreen Grahame (10 May to 31 August 2006), showcasing Collection consisted primarily of couplets and calligraphy given included. The exhibition illustrated textiles from trade cloths works from the largest and most important private collection to the gallery by James Hayes, who had been collecting such which went to Indonesia from India, court cloths from Java, of artists’ books in Australia.

36 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 37 PUBLICATIONS Winner: 2005 AAANZ (Accounting Association of Australia & New Zealand) Melbourne University Prize for Best Large Catalogue. Crossing country: the alchemy of western Arnhem Land art. Author: Hetti Perkins.

This year saw the publication of seven major new AGNSW Winner: 2005 University of Western Australia Prize for Best titles and new editions of three perennially popular titles. Small Catalogue. Anne Landa Award for video and new media arts. Author: Wayne Tunnicliffe. Australian art was particularly well represented this year with the hugely popular Margaret Preston: art and life and the Silver Award – Australasian Reporting Awards. Art Gallery of innovative Kevin Connor sketchbook: drawings by Kevin New South Wales 2005 Annual Report. Coordinator: Trish Connor in Sydney, Paris and London being published. Margaret Kernahan Preston, published with a companion CD-ROM, was reprinted Highly commended: Museums Australia Multimedia and Camille Pissarro the lives of artists and their unique perspective on themselves and is now one of the Gallery’s best-selling Australian titles Publication Design Awards. Category: Exhibition catalogue Terence Maloon and their work. An impressive array of self-portraits, ranging ever. Kevin Connor sketchbook, which sold out during the life (over 64 pages), Level C. Camille Pissarro. Author: Terence 2005, 248pp, pb, over 150 colour images from some of the best-known and most important works of the of the exhibition, was published in an innovative ‘facsimile’ Maloon. Designer: Analiese Cairis This book charts a sequence of changes in Pissarro’s art, last 500 years to less familiar works, is presented in this major format that strongly paralleled the artist’s own small sketchbook, beginning with his early, somewhat subversive explorations of survey of the genre from the 15th century to the present day. Highly commended: Museums Australia Multimedia and creating an intimate connection between reader and artist. picturesque composition, passing to his experiments with Publication Design Awards. Category: Education, Level C Archibald 06 what he and Cézanne called ‘rapports’ and ‘accords’, through There were also three new editions of Australian titles Exhibition highlights. Designer: Analiese Cairis 2006, 52pp, pb, 36 colour images his impressionist adventures into a sort of anti-composition, to indicating the strength of interest from Gallery visitors in this Now in its second year, this complete catalogue of finalists in Highly commended: Museums Australia Multimedia and an eventual recoil from this extreme aesthetic of shattered and area: Margaret Olley, The Dobell Prize for drawing and Let’s the Archibald Prize has proved very popular. The catalogue is Publication Design Awards. Category: Website, Level C. ‘levelled’ motifs, reinstating a visual hierarchy and the figure. face it: the history of the Archibald Prize. A small catalogue to both a souvenir and permanent record of one of Sydney’s Pissarro.com.au (mini-website for Pissarro: the first accompany the Archibald Prize, produced for the first time last Margaret Preston: art and life favourite cultural events, and includes full reproductions and impressionist exhibition). Designer: Jo Hein year, was again published with Archibald 06. Deborah Edwards artist statements about each painting, as well as a short Poetic mandarin and Zen mind Zen brush were the two major Winner: The Australian Publishers Association 54th Annual 2005, 304pp, hb & pb, over 400 colour images with CD-ROM biography of each artist. Asian titles produced for the year with both attracting Book Design Awards 2006. The Adobe Software Best Margaret Preston is an engaging and detailed investigation international distribution and continuing the Gallery’s strong Designed Multimedia Title or Literary or Publishing Website. into one of Australia’s best-loved artists. Accompanied by over EDUCATION KITS & RESOURCES interest in publishing in Asian art. Pissarro.com.au (mini-website for Pissarro: the first 400 colour illustrations (oils, works on paper, woodcuts) this Printed education kits were produced to accompany the impressionist exhibition). Designer: Jo Hein book will be the definitive Preston publication for years to Margaret Preston and Pissarro exhibitions, including a special Camille Pissarro was praised not only for its scholarly re- come and is the first major publication on her life and work. Camille Pissarro: French language education kit supplement for evaluation of Pissarro but for its sensitive and beautiful design. BOOKS PUBLISHED 2005–06 The CD-ROM is included in both paperback and hardback French language students, the result of a fruitful partnership The Gallery worked with the National Portrait Gallery in London Zen mind Zen brush editions. It includes music, numerous archival photographs, between the Public Programs department and the French to produce Self portrait: Renaissance to contemporary. Together John Stevens & Clare Pollard a complete list of lectures, articles and exhibitions, and it has Embassy in Australia. with Camille Pissarro, Poetic mandarin and Zen mind Zen 2006, 144pp, pb, 80 colour images an interactive index. A highly successful extended online education kit was made brush, this title has attracted major world-wide distribution. Simple yet profound, spontaneous yet controlled, the art of available for the Margaret Preston exhibition, which greatly Zen Buddhism is intended to communicate the vision of Zen Kevin Connor sketchbook: drawings by Kevin Connor in extended the original printed kit. This extended version (88 PUBLICATION AWARDS masters and to reveal the essence of Zen. This book provides Sydney, Paris and London pages) was also used by other state galleries during the The high quality of our publications, including temporary an introduction to the art of Zenga, literally ‘zen painting’, a Hendrik Kolenberg exhibition’s interstate tour. The online kit incorporated specific exhibition websites, was recognised during the year with the term that refers to the ink painting and calligraphy executed by 2006, 176pp, hb, 80 black and white images sections for primary school cross-curricular studies, secondary Gallery being presented with the following awards: Zen monks in Japan from 1600 to the present day. Kevin Connor, winner of the Archibald, Sulman and Dobell Drawing prizes, each on two occasions, has distinguished school visual arts and history syllabuses, and for gifted and himself as a powerful and expressive draughtsman and painter talented, and intellectually disabled students. of urban landscapes and the human figure since the early In 2005–06 printed education kits were also made available in 1960s. This book demonstrates the fundamental role that PDF form to download from the Gallery’s website, making drawing from life (using small, hand-held sketchbooks) plays in these resources available to wider audiences, especially those Kevin Connor’s work. Uncompromisingly, his subject is life on in regional NSW. the street – in cafes, railway stations, parks and foodhalls, principally in Sydney, Paris and London. Three exclusive online exhibition education kits were produced: Archibald Prize: portraiture and the prize, Self portrait: Poetic mandarin Renaissance to contemporary, and Zen mind Zen brush. The Yang Liu online Archibald Prize kit was further developed in 2006, and 2005, 144pp, pb, 82 black and white images was again a valuable resource for education programs on the Calligraphy in China fulfils the functional roles of written texts, regional and interstate tour of the Archibald Prize. As a new conveying meaning and purpose, and as an instrument of initiative the Gallery collaborated with leading primary and government. But there is more to the art and practice of secondary school teachers to write the Archibald kit, part of an calligraphy – the spirit of individual lives is conveyed in the ongoing strategy to involve teachers’ professional expertise in flourish of brush and ink. Calligraphy has thus become the the production of Gallery education resources. most esteemed of all the arts of China, embracing meaning and expression, the specific and the abstract. For the first time an online kit specifically for primary schools was developed for a major exhibition, Zen mind Zen brush. Self portrait: Renaissance to contemporary Anthony Bond and Joanna Woodall 2005, 216pp, pb, 140 colour images from left: Margaret Preston; Camille Pissarro; Self Portrait; Poetic mandarin; Kevin Connor sketchbooks; Archibald 06; Zen mind Zen brush From Van Eyck and Carracci, Velazquez and van Gogh to Kahlo, Bonnard, Bacon and Warhol, Self portrait celebrates

38 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 39 AUDIENCES and was chaired by exhibition curator Terence Maloon. Also Claire Durand-Ruel Snollaerts of the Wildenstein Institute in Paris launched a revised catalogue raisonné of Camille Pissarro’s work at the symposium.

This was an extraordinary year with the most ambitious and A unique partnership between the Gallery and SBS Television successful public and education program ever presented at saw the recent French documentary film L’ami Pissarro the Gallery. Highlights for audiences in 2005–06 included dubbed in English and screened nationally on SBS (the landmark programs for the major exhibitions as well as the world premiere) on the first weekend of the exhibition. It later Art After Hours and Film at the Gallery programs – which go screened daily in the Gallery throughout the exhibition to from strength to strength – and innovations on the Gallery’s consistently full houses. Social Turpitudes, a major 14-week website. Attracting 248 060 participants to the Gallery, this film series accompanied the exhibition. Inspired by the year’s program was the most complex and far-reaching in an stories of Emile Zola and Guy de Maupassant, it attracted Australian art museum. consistently large and appreciative audiences throughout the summer months.

Special events 3% Film MARGARET PRESTON: ART AND LIFE Education – Tertiary 14% The Margaret Preston: art and life exhibition program explored 3% Sunday concerts Preston’s body of work through a symposium, exhibition talks 2% and lectures by curators, artists, writers, celebrity speakers Children and Education – Secondary family programs and academics. The program involved a diversity of speakers, 22% 6% including the Gallery’s exhibition curator Deborah Edwards; Access artists Fiona Hall, Lindy Lee, Robyn Stacey and Jenny Kee; 1%

Education – Primary 11% Tours – Volunteer guides & CAs 20%

Courses AAH 7% celebrity speakers 7% Exhibition lectures and symposia Exhibition & collection talks, The school holiday program during Rajput: sons of kings exhibition included Indian dance performances 2% including AAH 2%

Audience for public and education programs

Ron Radford, director of National Gallery of Australia; Julie RAJPUT: SONS OF KINGS Ewington, head of Australian art, Queensland Art Gallery; This National Gallery of Victoria travelling exhibition featured PISSARRO: THE FIRST IMPRESSIONIST Geoffrey Smith, curator of Australian art, National Gallery of artist-in-residence miniature painter Abdul Karim Rahimi, More than 40 specialists were involved in developing and Victoria; Mathew Poll, artistic director of Boomalli; Peter Valder, who painted in the exhibition for two afternoons per week. presenting this large and varied exhibition events program, botanist and author; and Deborah Thomas, editorial director of He displayed materials and answered questions from visitors delivered to an audience of 6586. Events included an Alliance the Australian Women’s Weekly. on the techniques of this exquisite art. A full-day symposium organised in conjunction with the Asian Arts Society of Française Brunch at which lectures in French were given The Margaret Preston exhibition program included over 25 Australia expanded on the luxurious world of the Rajput by Joachim Pissarro, the artist’s great grandson, and Claire specialist speaking engagements. All were well attended, courts, their residences, temple ceremonies and court Durand-Ruel Snollaerts; a Camille Pissarro Printmakers attracting an audience of 3175 people. The Gallery’s pageantry. The symposium presented lectures by curator Forum; a concert program; and Art After Hours celebrity talks successful public and education programs became the Carol Cains, collectors and experts, along with two hands-on given by former NSW premier Bob Carr, author and food template for the three other state galleries that presented this jewellery workshops. Rajput: sons of kings was also the focus activist Stephanie Alexander, film producer Patricia Lovell, exhibition – in Melbourne, and Adelaide. federal senator Bob Brown, director of the National Gallery of the July school holiday program with daily Indian dance performances. Music added another component with four of Victoria Dr Gerard Vaughn, and harpist and composer SELF PORTRAIT: RENAISSANCE TO CONTEMPORARY Art After Hours concerts of the classical music of Rajasthan Marshall McGuire. There were also many lectures and This well-attended exhibition also found an appreciative presented by the Classical Hindustani Music Association. exhibition talks by prominent artists, curators, writers and audience, especially within the education sector. The Self The popular Glorious Folly film program which ran over the academics: exhibition curator Terence Maloon; artists Aida Portrait Symposium on 18 February 2006 presented same period explored the life of the Indian upper classes. Tomescu, Euan Macleod, Simon Cooper, Tony Ameneiro and international and national speakers, including Dr Joanna Michelle Hiscock; master printmaker John Loane; academics Woodall, Courtauld Institute and co-curator of the exhibition; India was also the theme of the VisAsia special lecture by Dr Alan Krell, College of Fine Art UNSW and Dr Christopher Andrew Sayers, director of the National Portrait Gallery, Oliver Everett, librarian emeritus of the Royal Library, Windsor Allen, the National Art School; and art critic John McDonald Canberra; Dr Erin Griffey, lecturer, University of New Zealand, Castle, who spoke to a full theatre on ‘Mughal painting at its of the Sydney Morning Herald. Auckland; Giovanna Giusti, curator, Uffizi Gallery, Florence zenith: the life of the Indian emperor Shah Jahan’. The Camille Pissarro International Symposium was held on and Dr Sandy Nairne, director of the National Portrait Gallery, Saturday 19 November, attracting 283 participants and setting London. OTHER MAJOR EXHIBITION PROGRAMS Other wide-ranging and popular programs continued to a benchmark for Gallery symposia. This scholarly event Art After Hours celebrity talks were presented by, among other develop new audiences for Australian and Asian art included contributions from renowned international Pissarro writers, Robert Dessaix and Louis Nowra. Lectures, exhibition exhibitions, including Grace Cossington Smith, Poetic experts, including Joachim Pissarro, several distinguished Federal senator Bob Brown, an Art After Hours speaker, 25 January 2006 talks, curatorial talks and tertiary student lectures were mandarin, and of course the Archibald Prize 06. The Archibald university professors from Sydney, the USA and the UK delivered to a total audience of 1525.

40 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 41 Prize was again a huge drawcard for the Gallery. In 2006 this group Monsieur Camembert, the Matt Keegan Duo, the exhibition toured interstate to Myer in Melbourne, where a Haupmann Trio, Karpatsky Gypsy Guitar Duo and Chilean balanced public and education program was organised by our musicians, Steve and Cesar Marin playing with the Gallery. The Archibald After Dark event involved ABC Radio Alcohotlicks. host Red Symons interviewing Archibald winning artist and Melbourne resident, Marcus Wills, and sitter for one of the FILM AT THE GALLERY entries, Julia Gillard. Also successful were special National Over the year the Gallery’s very popular film program drew a Gallery of Victoria members events, an artist talk given by total of 33 518 attendees to the three weekly film screenings in Peter Churcher, education talks for schools, and a very the Domain Theatre – at 2pm on Wednesdays and Sundays, popular children’s holiday program, Kid’s Archibald, at which and at 7.15pm on Wednesday evenings, as part of Art After Academy Award winning animation artist Adam Elliot and Hours. An innovation in 2006 saw additional film screenings on Marcus Wills were judges. Saturday afternoons, Wednesday mornings and Sunday A children’s tour led by stilt-walking ‘Mimih’ Indigenous actor Russell Smith Year 11 school students participating in a life-drawing class mornings, to present more specialised films in conjunction ART AFTER HOURS with selected exhibitions. Since its inception in 2003 Art After Hours (AAH) has gone The film program screened important feature films (in series) in from strength to strength, continuing to develop and engage conjunction with major exhibitions at the Gallery. The program FAMILY PROGRAMS were inspired by the Gallery’s temporary exhibition program. new audiences for the Gallery’s exhibitions. The statistics for drew on themes and ideas from exhibitions, exploring them There were 27 909 children and families who watched and Each Sunday, an average of 300 people enjoyed the ambience the Wednesday evening program speak clearly of its success. from a cinematic perspective. In promoting cinema as an participated in the performances and tours in 2005–06, a of the Old Courts and the free performances. In total the program attracted 62 226 extra visitors to the artform, within the context of an art gallery, the films were 25% increase over the previous year. At the end of 2005 Gallery over the year. The AAH website attracted 48 000 visits EDUCATION PROGRAMS presented in their original formats of 35mm and 16mm film family programs were re-titled Gallerykids (from Fundays at over the year and now has over 8000 subscribers to its weekly The Gallery’s Public Programs department is seen as a leader prints. With the recent closure of the Valhalla, one of the last the Gallery) following the end of the successful five-year email newsletter. Audience numbers attending the 6.30pm in the field of visual arts and gallery education, both in venues in Sydney to offer retrospective cinema, the Gallery’s sponsorship with the Sunday Telegraph. Careful budgeting celebrity talks throughout the year were in excess of 16 200, Australia and abroad. Museum educators from across NSW role in presenting film in the way its makers intended it to be and evaluation has enabled the program to continue to while 5.30pm curatorial talks attracted 3 687 visitors. regional galleries, state galleries and international art museums seen became all the more culturally important and vital. develop and expand in 2005–06. The Gallerykids program regularly consult with Gallery staff. Regional NSW gallery CELEBRITY SPEAKERS: In additional to the ten-week Pissarro was enhanced in 2005–06 with an article in the February The film program held in association with Pissarro: the first educators as well as educators from the Museum of Modern celebrity speaker program, AAH highlights included an eight- issue of the Art Gallery Society’s Look magazine and by the impressionist attracted a very large audience of 11 566 over Art, New York, were hosted for professional development week celebrity speaker program for Archibald Prize 06 introduction of a special mini-site, www.gallerykids.com.au, a 14-week period. The series borrowed its title from Pissarro’s programs and research meetings during the year. The Gallery’s attracting a total audience of 3222, and in which various devoted to the performances, tours, workshops and activities scathing political drawings of 1889, Social turpitudes, which head of public programs, Brian Ladd, was invited to speak presenters spoke with great affection for the venerated prize. for young children and families in the Gallery. The website explored the plight of the working classes, the downtrodden about our successful public and education program at the Particularly large audiences attended the talks given by Justice includes photographs and images of performers and and the oppressed in France in the late 19th century, as well September 2005 International Symposium on Art Museum Michael Kirby and actor John Bell, who both spoke of their characters and will continue to be up-dated regularly. New as in contemporary situations. The Lives of the Artists, a six- Education, at the Taipei Fine Arts Museum. He presented the experience as sitters for Archibald portraits. Other popular family sessions were introduced in 2006 enabling parents and week film program held in conjunction with the exhibition Self keynote paper ‘Behind the scenes: the artist as educator’, and speakers included media personalities Libbi Gorr and Lex children aged 3–5 to participate together in active learning portrait: Renaissance to contemporary, drew a fascinated was the only Australian speaker in the program which also Marinos, and interviews with artists given by Gretel Killeen and experiences. These proved very popular and will be expanded audience total of 5489 to a series of biographical feature films included representatives from Tate Modern, Centre Georges Jonathan Biggins. Two celebrity talks were also held in in 2006–07 as Tours for Tots. exploring the lives of selected ground-breaking portrait artists. Pompidou and the Whitney Museum of American Art. Also association with Artexpress 2006. They featured TV and radio The popularity of these two series required extra support from GALLERYKIDS PERFORMERS: The 2.30pm Sunday leading in online education, the Gallery’s website manager presenter Peter Berner and writer, Sydney Morning Herald the Gallery’s volunteer task force to manage the often- performers and 1.30pm school holiday performers remain Jonathan Cooper made a strong impression on participants at journalist and ABC radio presenter Richard Glover, each of overflowing crowds. popular, meeting the needs of the growing family audience. the American Web Conference in Albuquerque USA in March whom interviewed two Artexpress students. Two new performances were commissioned for the Gallerykids 2006, when he demonstrated the Gallery’s website. The Gallery has strengthened its association with the National 5.30PM CURATORIAL TALKS: The AAH 5.30pm curatorial program: Open Stage Productions designed an interactive Film and Sound Archive as a result of the Cinematic Sydney KINDERGARTEN TO TERTIARY: The overall participation rate talks program has developed a growing, committed and storytelling/drama performance inspired by the Grace film series presented in conjunction with Margaret Preston: for education audiences in 2005–06 for primary, secondary increasingly diverse audience. Speakers were selected for Cossington Smith and Pissarro exhibitions in January 2006, art and life exhibition. This series explored the unique and tertiary students, and teachers and lecturers was 91 412, both their academic expertise and lively rhetorical skills. and the Etcetera Duo staged an ambitious portraiture-inspired character and personality of Margaret Preston’s home city a growth of 11% over the previous year or an increase of 9346 During the year over 60 curatorial floor talks were delivered to performance based upon the Archibald Prize 06 and Self through the eyes of Australian feature film and documentary students. A multi-program strategy continued, maximising a 3687 people. Curatorial floor talks were conducted for the portrait exhibitions in April 2006. Both were held in the makers. The series drew heavily on the collection of Australian school’s limited time at the Gallery on a single day by offering temporary (free and paying) exhibitions, the Contemporary Gallery’s central court and attracted huge, enthusiastic films preserved by the NFSA in Canberra and many of the multiple and joint exhibition and program options at Projects Space, the Australian Focus Room, the Modern and audiences. filmmakers were invited to introduce their work to eager concentrated periods of the year. This strategy incorporated Contemporary collection and the other permanent collection audiences. CHILDREN’S ART TRAILS: The high quality in both content new booking procedures for the education sector which exhibitions. Other developments with this program included and design of children’s Art Trails program was continued with successfully maximised school numbers and programs on an exhibition talks in Old Europe: prints and drawings from the BRETT WHITELEY STUDIO two new trails designed for the major exhibitions Margaret hourly basis, across an entire day, rather than the traditional collection, with floor talks delivered in the most part by The Sundays at 2 events program included popular poetry Preston and Pissarro, both produced for the first time in full 2–3 hour morning focus. prominent art historians from the University of Sydney and the readings held on the 4th Sunday of every month. The colour and utilised by other state galleries during the National Art School. Future seasons of talks will be successful young people’s program Flamenco @ Whiteley, exhibitions’ tours. Each trail was made available to young This year also saw the further development of non-visual art programmed for the Australian, Asian, Contemporary and which is held in conjunction with the International Day of children visiting the Gallery with families or as part of a school education audiences through sustained, specific programming Modern collections throughout the next year. People with a Disability, was held again in December. Life group, and incorporated activities within the exhibitions and and resources for the curriculum areas of Languages, History, English and Science, across the collection and major ARTBAR: In the AAH ArtBar, a special program of world music drawing workshops held every Saturday morning, and Follow extensions for home. This integrated approach has generated exhibitions. This new Kindergarten to Tertiary strategy featuring Wei Zen Ho was programmed when the Gallery the Curve, every Saturday afternoon, continued to attract extremely positive feedback from teachers and students. The emphasises the importance of the Gallery’s collection and hosted performances by visiting Tibetan monks. The monks committed audiences, totalling 972. The Brett Whiteley Studio trails were also available to download from the Gallery’s exhibition resources for study across a broad school curricula. performed the Cham dance with its elaborate costumes and catered for 1688 students in a year when education bookings website. masks for the City of Sydney Chinese New Year Festival. Other were constant. The studio is particularly relevant for HSC Case SUNDAY CONCERTS: The Sunday Concerts, presented by It is important to note that the overall education audiences ArtBar performances throughout the year have included the Study programs, and historical and practical aspects of the students from the Australian Institute of Music (AIM), were held increased in 2005–06 despite an increase (for the third year Strano Sisters, Eddie Bronson and Anatoli Torjinski from the studio provided valuable research opportunities for students. in four series from July 2005 to June 2006. These concerts running) in program costs for secondary students, which

42 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 43 ‘We would like to congratulate the Gallery on the excellent exhibition of student art (Artexpress) – we wish all major art galleries around did the same.’ Gallery visitor

resulted in the Gallery this year passing on an unavoidable fee year. The website received extremely positive feedback and increase for Discussion Tours. There were also more restrictive has become a key resource for Sydney metropolitan and Department of Education school excursion policies in play regional NSW schools and galleries, many of whom engage which allow schools only one excursion per class, per year. with Artexpress both at the Gallery and in their local area through the NSW regional tour. 2005–06: YEARS KINDERGARTEN TO TERTIARY (K-T) ARTEXPRESS: Artexpress, now in its 23rd year at the Gallery, A new Artexpress initiative at the Gallery to further support continued to present excellence in NSW visual arts education. teacher professional development is an internship for a trainee Overall it attracted in 2005–06 approximately 120 000 visitors, teacher (studying a Bachelor of Education) to support the including 20 277 booked students, an increase of 14% on the curator during the selection process each October. During the previous year. Under its Arrive Alive initiative, the Motor Accident highly sought after internship of 2–4 weeks, the trainee teacher Authority NSW continued its second year of sponsorship. gains insights into selection, exhibition design and curatorial processes. The 2005 internship was granted to a Bachelor of The Inside Artexpress mini-website, an innovative project Education student from the College of Fine Arts, UNSW. begun last year, was expanded to incorporate more Artexpress background content; a virtual tour of the exhibition; education PRIMARY EDUCATION (KINDERGARTEN TO YEAR 6): resources and information about Artexpress; collection A total of 28 269 students and teachers participated in K–6 connections; and artists’ investigations of the collection. educational programs and interpretive tours provided by the It also included samples of student visual art diaries along education coordinators and children’s guides. The demand for with artwork e-cards and the inaugural Artexpress People’s K–6 teacher professional development continues to increase Choice award. with 378 teachers participating in a range of programs including exhibition enrichment days, school staff development The redesigned website was launched in February 2006 to days and three teachers previews (a joint presentation with coincide with the opening of the 2006 exhibition and it Years 7-12) for Margaret Preston, Pissarro and the Biennale of attracted over 26 000 visits, a growth of 420% on the previous Sydney 06.

The Gallery’s information manager, Jonathan Cooper, leads a school group to explore the Gallery’s collection

NEW CHILDREN’S TOURS: New K–6 tours were also art collections on programs including secondary school developed to coincide with the launch of the new education discussion tours, studio sessions and study mornings, children’s website, Education Online. The tours are more closely linked holiday workshops, children’s volunteer guide training, new to the Visual Arts syllabus, with a cross-curricular emphasis. teacher-lecturer training and mentoring, and K–12 teacher Input from the guides has been integral to the development of professional development days. The teacher-lecturers have these tours. become even more valuable as their role continues to develop and diversify with new education programs utilising their SECONDARY EDUCATION (YEARS 7–12): A total of 56 517 expertise and skills, including Artside-In, the Da Vinci Project, secondary students and teachers, an increase of 15% from access programs, Asian education programs and Artexpress. the previous year, participated in a range of exhibitions and educational programs, including permanent collection and ASIAN: YEARS K–12 EDUCATION PROGRAMS: Asian art temporary exhibition discussion tours, artists’ talks, study collection and exhibition education programs for students and mornings, study days and studio sessions. teachers continue to expand and draw strong audiences. The Asian gallery Art Adventure Tours and Discussion Tours along Professional development continues to increase with 1031 with Asian artist workshops for schools, and tea ceremony, enthusiastic teachers from a range of subject areas calligraphy, Indian dance and ink painting events together participating in programs including: Focus Fest 2006 (the drew audiences of 1270 primary and 1150 secondary annual two-day education conference based on a key theme in students. A new initiative was the development and launch of the Visual Arts – this year ‘Bearing witness’); Artexpress an illustrated introduction to the Asian galleries for use with Teachers Day 2006; Pissarro French Language Teachers Day; large groups in the lecture theatre. Margaret Preston History Teachers Day, and three teachers previews (jointly presented with Years K–6) for Margaret In response to the demand for information on artworks in the Preston, Pissarro and the Biennale of Sydney 06; and a permanent Asian collection, Collection Notes have been Chinese Language Teachers short course – Chinese Art as produced as a new format resource that offers teachers and Text. The Gallery also hosted the annual Association of students an in-depth essay on a specific artwork as well as Independent Schools History Teachers Conference focusing issues for consideration. They give evidence 1996-97 by on diverse approaches to teaching history, including artworks Dadang Christanto was the first subject in this concise and as key sources in Australian history; and the NSW Department focused format. of Education and Training Visual Arts Multicultural Project An online-only education kit for the exhibition Zen mind Zen development day. brush was written specifically for the primary school audience TEACHER-LECTURERS: Five new teacher-lecturers (the to explore six key themes in Zen Buddhist art with visual arts Gallery’s secondary school educators) were trained in 2006, and cross curriculum links, as well as provide connections to bringing to 15 the total who service more than 800 booked relevant key works in the Gallery’s collection enabling the kit’s Students participating in the ‘Creative Calligraphy’ Asian art workshop secondary groups annually. The primary role of teacher- long-term use as an Asian collection resource. lecturers is to work with secondary students in the permanent

44 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 45 history, collections, exhibition program, research and learning COMMUNITY ACTIVITY AND SUPPORT secondment was designed not only to develop a touring resources and facilities. It emphasised the Gallery as a key exhibitions program of works from the Gallery, managed educational resource in the study of the various university by Museums & Galleries NSW, but also to foster closer courses. The delivery of this program was facilitated by the relationships between the Gallery and regional galleries by Public Programs department with contributions from a range facilitating loans and one-off project exhibitions, and enabling of other Gallery departments, including the Research Library THE POOL PARTY easier access to advice and assistance from the Gallery’s and Archives, Information Management and Curatorial. In November 2005 the Gallery coordinated the Pool Party in professional staff. The response to this new initiative has been positive with the association with the Charlie Perkins Children’s Trust, to raise In September 2005 Michael Wardell travelled to Coffs Harbour participation of over 225 undergraduate and post-graduate funds to support the construction of two swimming pools in for a meeting with Sandra Warner, director of Coffs Harbour students from a diverse range of faculties and institutions remote Aboriginal communities. City Gallery. He then drove on to Grafton to officially open the including the College of Fine Arts, Sydney, College of the Arts, Grafton Artsfest and to visit the Grafton Regional Gallery. Artist talks to Dulwich Hill High School students participating in Artside-In The Charlie Perkins Children’s Trust has identified the University of Sydney, University of Western Sydney, University establishment of swimming pool facilities in Aboriginal Also in September he visited Cowra Art Gallery to officially of New South Wales and the National Art School. communities as its key area of advocacy and support. open the touring Archibald Prize 2005 exhibition and give a floortalk on the following day. He took the opportunity to visit ACCESS PROGRAMS: The number of people engaging The health of Indigenous people in Australia is by far the Bathurst Regional Gallery and Orange Regional Gallery. In with the Gallery through access programs continued to be worst of any developed nation in the world. Statistics reveal October 2005, Michael travelled to Gosford Regional Gallery Another teacher professional development event for the year consolidated and expanded during 2005–06, increasing by grossly disproportionate mortality rates, endemic disease was the Visual Art Multicultural Project Day. This liaison, 23% for the year. 1530 visitors participated in a variety of and crippling poverty. It has been well documented that & Arts Centre to judge the 2005 Gosford Art Prize. He also between Asian programs coordinators and the coordinators of programs for this specialised audience. The three most the single intervention of a chlorinated swimming pool represented the Art Gallery of New South Wales at the Annual secondary schools Asian education programs with the popular access programs continued to be Signing Art (Auslan significantly reduces many chronic health afflictions General Meeting of the Regional Galleries Association. In June Department of Education and Training, was hosted by the interpreted events), In Touch tours and the Da Vinci Project. particular to Indigenous communities. 2006, he travelled to Coffs Harbour to visit the Coffs Harbour Gallery and presented at the annual City Gallery and the Bunker Cartoon Gallery. Teachers Conference. WEBSITE The Pool Party was a sell-out event and special guests on the night included Ian Thorpe, Aden Ridgeway and Tracey GALLERY STAFF WORKING WITH THE ARTS COMMUNITY: Work continued with the Japan Foundation on the The usage of the Gallery website continues to grow. The total In August 2005, Anthony Bond, general manager curatorial number of visits for the year was 1 641 367 an increase of Moffatt. Performances by National Aboriginal Islander Skills development and writing of the Japanese art and culture kit. Development Association (NAISDA) students David Page and services, travelled to Campbelltown Regional Gallery for the approximately 32% from 2004–05, and over 207% from Joan Grounds Memorial and to present her artist’s book. INDIGENOUS PROGRAMS: A unique partnership begun in 2002–03. Adam Hill highlighted the diversity and skills of Indigenous performers. He also gave lectures on the Self portrait: Renaissance to 2005 between the Gallery and Warawara Department of contemporary exhibition at Wollongong City Gallery, May Indigenous Studies at Macquarie University has resulted in the EDUCATION ONLINE (NEW): A major achievement in the past year was the re-launch of the education section of the Over $920 000 was raised at this event, and donated directly 2006 and at Newcastle University, June 2006. joint development of two Indigenous art courses. Structured to two remote communities through their respective Aboriginal around the Gallery’s extensive and unique Indigenous art Gallery’s website, known as Education Online. This involved Barry Pearce wrote an essay on ’ portraits for the rewriting, design and new program development. The website councils to assist with the construction and maintenance of collection, these courses were taught at the Gallery, with ten two 25-metre swimming pools. Work has a begun at one of 2006 Inverell Tom Roberts Festival exhibition, Portraiture. students enrolled and 50% of profits derived from the two now makes greater use of design and images to illustrate the the sites with the other due to commence construction within In October 2005 Ann Ryan, assistant curator, travelled to units going into an Indigenous art acquisition fund for the Gallery’s dynamic education program, while enabling both six months. Armidale to advise the New England Regional Art Museum Gallery. The Gallery’s IT department has set up a live web students and teachers to navigate their way in more logical on curating exhibitions from their collection and in the same camera for lectures, for use by overseas audiences. and direct pathways to achieve their specific needs. As part of the ongoing strategy to diversify education audiences, specific REGIONAL SUPPORT month travelled to to officially open the Archibald LEADING FROM THE EDGE: The coordinator of Aboriginal sections dealing with programs and resources related to visual REGIONAL NSW COLLECTION LOANS AND TOURING Prize 2005 exhibition and give a floortalk on the exhibition programs was an advisory committee member of the National arts, history, languages and chemistry of art were developed EXHIBITIONS: During 2005–06 the Gallery approved loans of the next day. Regional Galleries and Museums Conference, Leading from for secondary school, and relevant cross-curricular links were 185 works to 23 different NSW regional galleries, an increase Jonathan Jones, Aboriginal education officer, was a guest the edge, held in Wagga Wagga in October 2005, where he incorporated for primary school years. from last year’s 133 works to 20 galleries. This included the speaker at the conference Leading from the edge in Wagga presented a paper, ‘Perceptions of audience’, discussing the substantial loans of 16 works by Mike Parr for the exhibition role of Indigenous public programs. He also co-curated an COLLECTION NOTES: Collection Notes is a concise new Mike Parr: four decades of practice at Newcastle Region Art Wagga. He was also co-curator (with Haema Sivanesan) of exhibition for the conference entitled From the edge, format of online information about iconic works in the Gallery’s Gallery, 26 decorative art works for the exhibition Social riches: the exhibition From the edge presented at Wagga Wagga presenting a number of emerging Indigenous artists from Asia, collection. These short focused resources include a key a century of craft: the Society of Arts & Crafts of NSW at Art Gallery in conjunction with the summit. Tristan Sharp, the Pacific region and Australia in the exhibition, which toured curatorial essay, reference list, colour images of the work and Manly Art Gallery & Museum and 55 prints for the forthcoming education officer, also attended the summit and as a direct to the Ivan Dougherty Gallery, Sydney in 2006. issues for discussion. They are presented for school and exhibition Sydney print at S H Ervin Gallery, touring to result of this, the Gallery’s Public Programs department is tertiary education audiences, but with an awareness of the Hawkesbury Regional Gallery and Tamworth Regional Gallery. setting up a regional educators group for closer TERTIARY PROGRAMS: A total of 6626 tertiary students and general public’s interest. To date Collection Notes have been communication and cooperation in the future. lecturers accessed the Gallery’s collection, exhibitions and written for Brett Whiteley’s Alchemy 1972–73 and Dadang NEW ENGLAND REGIONAL ART MUSEUM: The Gallery sent education programs in 2005–06, with 1476 participating Christanto’s They give evidence, with 429 downloads since the exhibition More affinities: Lloyd Rees and Brett Whiteley, The assistant curators at the Gallery have formed a group to directly in programs, an increase of 14% from the previous their availability in early 2006. comprising 33 works, to New England Regional Art Museum arrange regular visits to NSW Regional Galleries starting early year. supported by a generous contribution from Margaret Olley. next year. They plan to contact the curators and/or directors before each visit to arranged a tour of the gallery and facilities University students studying a variety of education, museum The Rees and Whiteley exhibition was part of the Gallery’s and to offer their services in future projects. studies and architecture courses constitute an important part ongoing commitment to supporting the New England Regional of tertiary programs. Twenty presentations and lectures were Art Museum through its recent funding difficulties. In June, GALLERY EDUCATORS COURSE: This specialised training given to undergraduate students (early childhood, trainee director Edmund Capon and Barry Pearce, head curator program, the only gallery education course of its kind in school teachers and students of the built environment), and Australian art, travelled to Armidale to attend a public meeting Australia, was supported by a comprehensive course reader. post-graduate students (Museum Studies, Arts Administration to outline the proposal of purchasing a half-share in the The program was originally designed to train the Gallery’s teacher-lecturers, but this year it was made available to and Master of Education). painting Mosman Bay 1894 by Tom Roberts, currently in the regional gallery education officers and visual arts head New England Regional Art Museum collection. TERTIARY GALLERY ORIENTATIONS (NEW INITIATIVE): teachers. One education officer from Goulburn Regional Art Tertiary Gallery Orientation sessions were a new initiative MUSEUMS & GALLERIES NEW SOUTH WALES: Michael Gallery participated, along with four teachers, one each from trialled in 2006. This program presented tertiary students with Wardell has been working with Museums & Galleries NSW Brigidine College Randwick, Stella Maris College, Manly High a relevant and comprehensive introduction to the Gallery’s since July 2006 as manager of special projects. This one-year School and Conservatorium High School. The program helped

46 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 47 engage with artworks in the exhibition. There were 784 downloads of the Da Vinci section of the online kit during the exhibition. This important initiative is part of a long-term strategy to develop more programs and resources for disadvantaged audiences.

VOLUNTEERS CHILDREN’S GUIDES TRAINING: There are 64 volunteer children’s guides (the Gallery’s primary school educators) who received up to 40 hours of ongoing training throughout The Gallery’s senior coordinator of education programs, Tristan Sharp, conducts The Gallery’s coordinator for the Brett Whiteley Studio, Alec George, working with the year. This important internal training and professional a workshop at the public galleries conference Leading from the edge at the kids at the New England Regional Art Museum development program incorporates workshops on interpretive Wagga Wagga Art Gallery and guiding skills, information and strategies on major exhibitions and new collection ‘hangs’ and updates on the primary school syllabus. the participants to develop their professional expertise in the by the editor of Art & Australia, a prominent art critic, a senior Organised as a series of bi-weekly workshops throughout the field and increased their knowledge and skills relevant to Visual Arts teacher and the senior coordinator of education school year, the training presents fresh approaches for working working with the Gallery and its collections. programs at the Gallery. The winning entries will be profiled on with primary students with the Gallery’s collection as a core the Gallery’s website and on Art & Australia’s website. REGIONAL GALLERY MENTORSHIP: As part of an ongoing resource. Workshops were also developed for major temporary exhibitions in 2005–06 including: Rajput: sons of kings, Grace initiative, the gallery educator training program was ACCESS PROGRAMS incorporated into Regional Gallery Mentorship, a joint program Cossington Smith, Margaret Preston, Pissarro, Self portrait CHINESE ART AS TEXT: Chinese language teachers were the involving the Gallery’s Public Programs department, the and Zen mind Zen brush. Each workshop was annotated to target audience for the short course Chinese Art as Text. Over Art Gallery Society and Museums & Galleries NSW. Cowra provide the guides with a comprehensive set of notes to use four Wednesday evenings, lectures and floortalks by curators, Art Gallery director Jacqueline Shultz was awarded the in future guiding. educators and artists exposed teachers to the potential for mentorship and spent two weeks at the Gallery as part of using the Chinese collection to teach the Chinese language. A range of specialist presenters from within the Gallery the program. VisAsia funding through Stanley Tan and Jim Williams, (including the coordinator of access programs) and outside participated in a program about working with children with EDUCATION TRAINING specifically for teacher professional development on Asia, supported this course. learning difficulties. A core group of 10 guides was trained to CRITICAL FRIENDS: TEACHER ADVISORY GROUPS: lead tours for this specialised audience. These tours will begin Eight primary and eight secondary teachers from a range of SIGNING ART: Auslan-interpreted tours for deaf and hearing in 2006–07. schools – public and private, co-educational and single-sex, impaired people attracted 251 individual visitors who are deaf metropolitan and regional – were invited to participate in the as well as 329 regular Gallery visitors to the free tours at VOLUNTEER GUIDES: The Gallery has an invaluable human Critical Friends groups. Tenure is for two years, with a rolling 1.30pm on the last Sunday of every month. An innovation resource in its volunteer guides, who currently number 134. intake of new teachers each year to ensure fresh and changing for this program was the successful integration of Auslan The volunteer guides provided tours for a remarkable 53 296 perspectives. The groups meet each school term to workshop interpretation into selected Art After Hours celebrity talks on visitors during the year, from primary school children on new programs, resources and initiatives, and provide feedback Wednesday evenings. In Touch, sculpture tours for individuals excursions to adult tours for major exhibitions, Gallery on Gallery education services and discuss current issues in who are blind or visually impaired, attracted 63 visitors. collection tours – Indigenous, Asian and contemporary art, classroom teaching. Critical Friends also contribute to school gallery introductory tours, tours for disadvantaged visitors education programs by presenting at teacher professional DA VINCI PROJECT: The Da Vinci Project – Manioo Workshop, and outreach. A recent development has been a growth in development programs, participating in the gallery educators designed specifically for Indigenous children, is an initiative the number of tours provided for corporations, clubs and course, and writing material for education resources including for underachieving disadvantaged, and gifted and talented associations over the year, in particular to the Margaret the Archibald Prize online education kit, the Margaret Preston primary school children. This program began in February 2006 Preston, Pissarro and Archibald Prize exhibitions. online education kit and the New Word Order Critical Writing with generous funding from a Telstra Community Development LONG-TERM VOLUNTEERS: The Gallery is also greatly Prize. Fund grant. Using the Gallery’s collections, the program presents innovative workshops: Starting with Art, for students assisted by other volunteers and gratefully acknowledges WESTERN SYDNEY AND SOUTH WESTERN SYDNEY with an intellectual disability; and HOT Art, for those identified in particular the long-term dedication of the of following EDUCATION PROGRAMS: The annual HSC Study Days are as intellectually gifted and talented. There has been an individuals: Emma Collerton, Elizabeth Callanan and Patricia another successful secondary education initiative. These enthusiastic response with 320 students participating across James, Australian art; Anna Ridley, Photography; Anthony Bradley, Armaldo Buch, Marilyn Keys and Meredith Birrell, intensive one-day programs for Western Sydney, South both Da Vinci programs. Western Sydney and Hunter/ Central Coast Year 11 students Library; Lesley Millar, Elizabeth McCarthy, Paul Solly and aim to help develop their critical analysis and writing skills in In 2005–06 the Da Vinci Project was extended to offer Matsha Svenson, Conservation; Nick Yelveton, Registration preparation for the HSC visual arts written examination. Over education programs and resources to one major exhibition and the numerous shorter-term volunteers who assist staff the three programs, 547 students participated from over 30 each year, starting with Margaret Preston in July 2005. Specific in Gallery work. high schools in these regions. programs for disadvantaged students were linked to key works in the exhibition that were also part of the Gallery’s collection. Out of this program a new initiative was developed. The New The response to this initiative was strong with 73 students with Word Order is a critical writing prize for Year 11 and 12 visual an intellectual disability participating in Da Vinci – Nature of Art arts students, to enhance the profile of this important skill in workshops and 237 gifted and talented students participating the visual arts. The prize will be held annually in partnership in Margaret Preston – Written by Herself workshops. with the widely respected journal Art & Australia. It will be launched at the HSC Study Days, and will require students to An additional resource for these programs was a specific submit a piece of critical writing about a major exhibition they section of the Margaret Preston online education kit which have seen, preferably at the Gallery. The prize is to be judged focused on activities and questions, assisting students to

48 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 49 CORPORATE SUPPORT were supplied for James Gleeson’s The Ubu diptych, and Since inception, the foundation has contributed over $23 • Foundation: Art Gallery of New South Wales Foundation Contempo’s fundraising events enabled it to support the million to the Gallery’s collection, (which has increased in • International Art Department contemporary Asian collection with the Luo brothers’ work value to over $39 million) and has accumulated over $24 • Public Programs Welcome the world famous brand. million in funds under investment. This is an astounding • Research Library & Archive (Friends of the Library) $63 million of value brought to the Gallery as a result of the COLLECTION CIRCLE: In order to augment its support for Acquisitions made, or projects undertaken by these groups are SPONSORSHIP tireless efforts of foundation donors and benefactors, in the collection, in June 2006 the society launched a new reported in the bi-annual foundation newsletter. The past year has witnessed an exciting period of growth particular the foundation trustees, past and present. The fundraising initiative, the Collection Circle, inviting members within sponsorship, with income secured from both cash foundation publishes its own annual report where further to contribute directly to funds for acquisitions. and in-kind arrangements expanding significantly. details of its activities can be found. A copy of this report is EVENTS: Central to the society’s success has been its also available on the Gallery’s website in the ‘About us’ The year saw a total of $1.4 million (up from $626 000 in active functions program. Resonate concerts in the section (www.artgallery.nsw.gov.au/aboutus/annual_reports) 2004–05) secured in cash and in-kind sponsorship with Old Courts continued to delight members; the 2006 art many ventures greatly enhanced as a result. Looking THE CENTENARY FUND appreciation lectures on ‘Decoding the Renaissance’ forward, the Gallery continues to expand upon its existing The Centenary Fund, established in 2000, comprises patrons proved the most popular yet, and the innovative weekend client base, and 2006–07 promises to be an exciting year. who have pledged $100,000 to enhance the Gallery’s lecture series included ‘Civilisation’ with Dr Chris Hartney buildings. The amount pledged is payable in cash over a The Gallery was delighted to welcome a number of new of Sydney University, ‘La France profonde’ with a range of nominated period of time with any balance payable from the principal sponsors: Myer for the Archibald Prize; Ernst & specialist lecturers, and ‘Food of love: an introduction to patron’s estate. Young for the Art After Hours program; and Investec Bank classical music’ with Professor Kim Walker of the Sydney for the Pissarro: the first impressionist exhibition. Other Conservatorium. Weekend workshops, notably Kids’ Club, The first project, the Centenary Auditorium, was opened in interesting new initiatives were developed with Porters were fully booked, Private Eye and Gallery Express November 2001. Future projects include an extension to the Paints, now the official paint supplier to the Gallery, and viewings flourished, and a lively program of Contempo Research Library and Archive; and considerable enhancement BNP Paribas who are funding the restoration of the Frans social events contributed to the growth of the younger to the Prints Drawings & Photography Study Room. Snyders’ painting The boar hunt 1650s for the Gallery’s membership. A full list of fund patrons can be found in the Sponsorship collection. JPMorgan became principal sponsor of the and philanthropy appendix. Self portrait: Renaissance to contemporary exhibition and LOOK: Look magazine, published monthly, remained the Macquarie Bank now sponsor the Gallery’s focus room key vehicle for communications with members, the recent VISASIA projects. The Gallery is also tremendously grateful to its survey showing that 96% of readers find it both enjoyable With its charter of celebrating Asian art and culture, the ongoing partners Sydney Morning Herald, JCDecaux, the and informative. Online communications grew in Australian Institute of Asian Culture and Visual Arts (VisAsia) Sofitel Wentworth and Citigroup for all their support. And importance, with almost 50% of members subscribing to underwrites the Gallery’s extensive Asian exhibition and finally a very special mention must go to our longest-serving the email newsletter Peek. education programs. The Gallery has the largest specialist corporate supporter, Qantas, who enjoyed their 11th year VOLUNTEERS: The four volunteer bodies which form Asian art department of any art museum in Australia and as a principal sponsor. part of the society, the Volunteer Guides, Task Force, is committed to promoting and cultivating a better The sponsorship relationships between the Gallery and the Community Ambassadors and Contempo, between them understanding and enjoyment of Asian art and culture. contributed some 40,000 hours of labour, and all took in corporate community not only ensure important financial The VisAsia Council has 21 members. Membership is by new recruits. support, but extend the Gallery’s reach from both audience invitation only and is restricted to chief executives, chairmen development and marketing perspectives. SPONSORS: Sponsors of the society’s programs included and business leaders. The Council is chaired by Dr John Yu. A full list of members can be found in the Sponsorship and ART GALLERY SOCIETY OF NEW SOUTH WALES Taylors Wines, Qantas, Getronics, Bonhams & Goodman, philanthropy appendix. The Art Gallery Society of New South Wales consolidated Lindsay Yates (Printers), 10 group, CPI Papers, Pat Corrigan its position as not only the largest but the most active and UAC and Lindt Chocolates. VisAsia also has over 92 individual members. organisation of visual arts supporters in Australia. New FAREWELLS AND WELCOMES: The society said a research shows that 76% of members visit the Gallery at reluctant farewell to development manager Louise COLLECTION BENEFACTORS AND least four times a year; 74% use the Members Lounge; and O’Halloran, after 10 years in which she played a key role in OTHER SUPPORT GROUPS 70% take advantage of members’ prices at exhibitions. devising program and marketing strategies to involve Many departments within the Gallery have their own support 39% have attended art appreciation lectures, and an members more closely with the Gallery. groups to help raise funds either for their collection, or in the astonishing 56% have attended weekend lectures, part of case of the Library and Conservation departments, for special the new audience development program begun in 2003. In March 2006 Professor Michael Feneley became president projects. Members of all groups who pledge a minimum of the society’s governing council, taking over from Inge commitment of $1000 per year for 5 years are listed within the MEMBERSHIP: Membership numbers continued steady Grant who has a 30-year record of contributing to the foundation. For a full list of foundation membership please see growth, reaching 20 617 (33 187 cardholders) by the end of organisation’s work. The Gallery’s director, Edmund Capon, the Sponsorship and philanthropy appendix. 2005. This number included 1416 members of the fast- took up his seat on council, together with the appointee of growing young Contempo group, 1124 student members The support groups are as follows: the Board of Trustees, Professor Janice Reid. The society and 111 schools. Country membership grew, accounting for continues to work closely with all Gallery bodies to develop • Aboriginal & Torres Strait Islander Art Department: 3634 cardholders. The Margaret Preston and Pissarro membership and build funds for acquisitions. Aboriginal Collection Benefactors (ACB) exhibitions attracted many new members. A rise in the • Asian Art Department: VisAsia/acquisitions renewal rate, from 84% to 88%, indicated high satisfaction ART GALLERY FOUNDATION • Asian exhibition and education programs: VisAsia levels among existing members. Corporate membership The Art Gallery of NSW Foundation continues to raise funds • Australian Art Department continued to build, with 46 new companies joining the to support the Gallery’s acquisition program. Its policy is to • Australian Contemporary Art Department: Contemporary program. invest its capital (donations and bequests) and use the Collection Benefactors (CCB) ART ACQUISITION: The society contributed a total of $814 income to purchase works of art for the Gallery’s permanent • Australian Prints Drawings & Watercolours Department (PDW) 001 to the purchase of works for the permanent collection. collection. The foundation joined with the Art Gallery Society • Conservation Department: Friends of Conservation In addition to continued support for the acquisition of in a two-year project last year to purchase Cy Twombly’s • Photography Department: Photography Collection Cy Twombly’s Three studies from the Temeraire, funds Three studies from the Temeraire. Benefactors (PCB)

50 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 51 VISITOR SERVICES ENVIRONMENTAL MANAGEMENT Around 35 temporary exhibitions are mounted every year and wherever possible construction and display materials are reused. All excess steel, workshop materials and wire are sent to an external recycler, and the conservation department recycles offcuts internally. The consumption of energy and especially water in the Gallery GALLERY SHOP AND MERCHANDISING very much reflects the volume of general public activity The IT department participates in the ReConnect.NSW program, The Gallery’s retailing includes a main store near the entrance throughout the year, with definite peaks linked directly to major a whole-of-government initiative which enables the donation foyer and temporary retail outlets set up for particular temporary exhibitions. During 2005–06 the Gallery’s heritage of redundant computers to not-for-profit organisations and exhibitions (exhibition shops). The Gallery also wholesales building attracted over 1.2 million visitors, an average of over disadvantaged individuals. publications to other galleries and book retailers and provides 100 000 people per month, with over 160 000 visitors in April Used toner cartridges are sent for recycling with approximately some speciality merchandise for the corporate market. These 2006 primarily visiting the Archibald Prize 06 exhibition. 120 cartridges being recycled in the 2005–06 period. The activities are managed in-house to better position outcomes in The Gallery maintains 24-hour plant control through our Research Library and Gallery Shop reuse cardboard boxes for order to achieve our strategic objectives. building management system, ensuring that operations are packaging interlibrary loans and filling visitor and e-commerce merchandise orders. All Gallery functions are handled by the on- This year saw a record year of trading with over $5 million of energy efficient and that building services staff can react quickly to fluctuations in environmental conditions and continually site caterers with all glass bottles being recycled. sales (up from $3.6 million in 2004–05) keeping us at the Range of merchandise available from the Preston exhibition shop forefront of museum retailing in Australia. maintain temperature and humidity to international museums standards. RECYCLED CONTENT AGNSW publications are a key component of sales, The Gallery continues to purchase plain A4 paper with 50% accounting for about 25% at the retail and wholesale level, WATER AUDIT recycled content and all envelopes purchased are recycled stock. including sales to international distributors. support for the exhibition-related functions was a growing During 2005–06 the Gallery conducted a water audit. The audit This equates to over 5500 reams of paper. All 138 toner cartridges trend in companies using the Gallery’s permanent art identified that 46% of annual water usage was required for plant purchased for printers had recycled components. The caterer The exhibition shops staged for the Margaret Preston and collection as backdrop for their events. Special themed events and equipment primarily needed to maintain the temperature and ensures soft drinks and juices are purchased in recyclable glass Pissarro exhibitions were another key component and included a fashion parade for a French designer, a major humidity levels in keeping with international museum standards. containers (approximately 10 tonnes) and a number of suppliers are already delivering other products in refillable containers. The contributed about 20% of the sales. The majority of dinner for a high-profile international event held in Sydney and The audit showed an increase in water usage over the last four Gallery continues to use other recycled paper products including merchandise for the Margaret Preston exhibition shop was a two-day conference for a film group. years, but this trend has subsequently been reversed largely due developed by the Gallery Shop, providing a well defined, to the upgrade of the building’s sensor/value urinals and the toilet rolls and paper towels. affordable and attractive product range which appealed to our Food and beverage services are provided in the Gallery at the installation of water saving taps in staff toilets. The average visitor demographic. The Pissarro shop sold an attractive cafe, the restaurant, the society members lounge and at all kilolitre per day (kL/d) water usage fell from 152kL/d to 125kL/d. REDUCTION IN THE EMISSIONS FROM VEHICLES product range including a variety of books which supported corporate sector and Gallery functions. These services are The Gallery will consider implementing recommendations from In 2005–06 service demands saw a 9% reduction in fuel the scholarly aims of the exhibition and proved very popular as provided under contract with the caterers Trippas White the audit report pending further investigation of financial consumption by Gallery vehicles. well. As these exhibitions toured other parts of Australia, the Catering Ltd. A dining theme incorporating French wines and feasibility. This decrease in fuel usage has been offset by increased petrol Gallery was able to supply other museum shops with this food proved very popular with customers during the Pissarro prices resulting in higher vehicle running costs. Fuel cards merchandise to further enhance our sales. exhibition, and providing extra staffed service points helped to ENERGY AUDIT discounting the retail price of unleaded petrol have slightly serve many visitors on our record-breaking attendance days An energy audit was also conducted with major electricity usage offset these increased costs. The remaining 55% of sales comprised general merchandise during the Archibald Prize 06 exhibition. In 2006 the being for heating, ventilation and air conditioning (63%) and sold in the main Gallery Shop. Sales were up across all key Restaurant and Caterers Association recognised the Gallery’s lighting (35%), again in line with the requirements of keeping the PERFORMANCE categories and this was achieved without increasing the basic restaurant with the Best Informal Modern Australian restaurant building’s environmental conditions at international museum The Gallery regularly reports its energy usage data via the standard levels. stock position of the store. Important to this result has been award. EDGAR (environmental data gathering and reporting) system the review and ongoing improvement in buying, inventory In accordance with NSW Government policy the Gallery’s which centrally monitors NSW government agency’s energy Tour groups, a small but growing venue service, provides control and merchandising. One feature of the shop is its electricity usage comprises a 6% green energy component. As a performance. Annual energy consumption and costs of fuels collection of children’s titles, a comprehensive range of guests such as senior citizens groups, international visitors part of a sponsorship agreement the Gallery has entered into an by the Gallery for financial years 2005–06 and 2004–05 are colourful and fun books introducing art to the young. and heads of state with private guided tours of the Gallery’s arrangement with Delta Electricity for in-kind provision of $80 000 indicated in the following table: permanent collection or an exhibition. As a specialised art book store, the shop can assist with of electricity in 2007–08 with savings being redirected to support sourcing art books or catalogues. Telephone inquires can be Further information about services can be accessed on the other Gallery activities. Fuel type Total energy Energy use % Greenhouse Greenhouse directed to (02) 9225 1718. A wide range of AGNSW Gallery’s website (www.artgallery.nsw.gov.au/shop/venue_hire) consumed total emissions emissions REDUCTION IN THE GENERATION OF WASTE GJ (tonnes) % change publications and other merchandise can also be purchased or by phoning the venue manager on (02) 9225 1836 for between Gallery staff are encouraged to use, where possible, electronic online at www.artgallery.nsw.gov.au/shop functions and tour groups; or (02) 9225 1819 for restaurant years mail for internal and external communication. Use of the Gallery’s bookings. 2004- 2005- 2004- 2005- 2004- 2005- intranet has been steadily growing and staff are able to apply for VENUE HIRE SERVICES 05 06 05 06 05 06 leave, reserve resources, and access a range of information The Venue Hire department is responsible for managing venue Automotive including Gallery policies and procedures and the staff directory. Diesel 171 136 0.50 0.41 12 10 -.03% hire and food and beverage services and from this year it also These activities were previously paper based. took on the servicing of tour groups. The 2005–06 year was a Petrol 348 339 1.03 1.01 23 22 0.0% record year for venue services with turnover exceeding $1 An eNewsletter, Artmail, replaces previous hardcopy notification to Natural Gas 1 186 1 051 3.50 3.14 61 54 -0.08% million (up from $828 000 in 2004–05). media outlets and is used as a cost-effective general public news Greenpower 1 934 1 919 5.70 5.73 0 0 0.0% source, replacing hardcopy advertising materials. Artmail has Electricity 30 298 30 057 89.27 89.72 8 047 7 983 1.2% Gallery function spaces are hired out primarily to companies currently over 85 000 recipients. for their private functions. This year there were over 330 TOTALS 33 938 33 501 100% 100% 8 143 8 069 functions (up from 169 in 2004–05) ranging from gala dinners, RESOURCE RECOVERY INITIATIVES cocktail parties, themed events, afternoon teas, breakfasts and A designated recycling mini-skip is located on the loading dock for art classes. Many companies took the opportunity to entertain recycling all paper products, including flattened cardboard boxes. their clients in conjunction with a private viewing of an Every office and workstation is issued with a recycling bin which is exhibition, in particular Pissarro: the first impressionist, collected regularly by the cleaners. Since this recycling initiative Margaret Preston: art and life, Archibald Prize 06 and Self was introduced, the output of general waste has decreased by portrait: Renaissance to contemporary. Complementing this approximately 25% which constitutes a saving of $7000.

52 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 53 CORPORATE GOVERNANCE

BOARD OF TRUSTEES of their time and expertise in their role as trustees but Ms Irene Lee BA (History of Art), Prof Janice Reid AM, BSc, MA, MA, PhD have also provided specialist services for Gallery projects, barrister-at-law Prof Reid is vice-chancellor, University of The Art Gallery of New South Wales Trust Board is constituted encouraged donors and made donations themselves to the Ms Lee has held senior positions in investment Western Sydney and member of the Federal under part 2 (section 5–10) of the Art Gallery of New South Gallery’s fundraising activities, and occasionally gifted or lent banking and funds management over the Council for Australia Latin American Relations past 20 years. She was an executive director (COALAR); Salvation Army Greater Western Wales Act 1980. Section 6 stipulates that: ‘the Trust shall works of art to the Gallery. A Code of Conduct is in place and consist of 11 Trustees who shall be appointed by the NSW of Citicorp Investment Bank before Sydney Advisory Board. She is the Australian all trustees are required to acknowledge their acceptance by becoming Head of Corporate Finance at representative on the governing board of the Governor on the recommendation of the Minister for the signing the document. the Commonwealth Bank of Australia. Organisation for Economic Cooperation and Arts and at least two of whom shall be knowledgeable and Ms Lee is currently a director with QBE Development’s (OECD) program on Institutional experienced in the visual arts’. Trustees are appointed for Corporate secretariat support is provided for the Trust Board Investments Ltd, Mariner Financial Ltd, TEN Management in Higher Education (IMHE); a term not exceeding three years and may serve four and its sub-committees, each of which meets approximately Network Holdings Ltd and ING Bank (Australia) patron of Kedumba Drawing Award; former consecutive terms. six times a year. Each of the five sub-committees (detailed Ltd. Ms Lee was CEO of Sealcorp Holdings Ltd and was a former member of Integral Energy Board (2000–2006) and the Federal p 56) provides specialist expertise in monitoring the activities director with Record Investments Ltd, Beyond International Ltd, Government Higher Education Review Group (2002); council member Trustees do not receive any remuneration for their board of the Gallery. The minutes of Trust sub-committee meetings Record Funds Management Ltd (Record Realty), Biotech Capital Ltd. of the Art Gallery Society of New South Wales; former chair, Australian activities. During the year they have not only given generously and recommendations are tabled at the main board meeting. Ms Lee is a member of the Takeover Panel, the Advisory Council Institute of Health and Welfare; former trustee, Queensland Museum; of JPMorgan Australia and the Executive Council of the Faculty of former deputy chair, Queensland Institute of Medical Research; chair Business, University of Technology, Sydney. (1994–95) National Review of Nursing Education; member of the Order Initial date of appointment 1 January 2002; expiry of current term of Australia (AM); Wellcome Medal; Centenary Medal; fellow of PRESIDENT federal government’s National Tourism Infrastructure Investment 31 December 2007. Australian Academy of Social Sciences. Consultative Group and the Business Government Advisory Group Initial date of appointment 1 January 2004; expiry of current term is Mr David Gonski B Comm, LLB, SIA (Aff), 31 December 2006. FAICD, FCPA on National Security. In June 2001 he was awarded Officer in the General Division of the Order of Australia (AO). Mr Baffsky was Dr Lindy Lee Dip Ed (Art, Secondary School), Mr Gonski is a solicitor and was a partner at BA (Visual Arts), Post Grad Dip (Painting), PhD Freehills; is chair of Investec Wentworth Pty awarded the Centenary Medal in 2003 and was the 2004 Asia Pacific Hotelier of the Year. (Art Theory) Mr John Schaeffer AO Ltd, a corporate advisory firm that became part Dr Lee is an artist whose works are held in the Mr Schaeffer is the founder and former of the Investec Bank (Australia) in March 2001; Initial date of appointment 1 January 2006; expiry of final term 31 December 2008. collections of the National Gallery of Australia, executive chairman of Tempo Services Ltd; chair of Coca-Cola Amatil Ltd and the Investec Canberra and the state galleries of New South current member National Gallery of Australia Group in Australia; a director of ANZ Banking Wales, South Australia and Western Australia, Foundation; former member National Portrait Group Ltd, the Westfield Group and Singapore as well as major corporate collections. She Gallery Board; Former president Australian Airlines; chancellor of the University of New South Wales; chair of Mr Pierce Cody Mr Cody is the executive chairman, has had many solo exhibitions since 1985, Building Services Association, current Sydney Grammar School; member of the Prime Minister’s Community in Adelaide, Brisbane, Melbourne, Sydney and directorships in several Australian, UK and Business Partnership, the Takeover Panel and the Chairmen’s Panel of Macro Life Pty Ltd; director of APN News & Media; board member of Adcorp; Singapore; and numerous group exhibitions New Zealand companies. Officer of the the Business Council of Australia; formerly member of the Committee since 1992 in Canada, China, Hong Kong, Japan, Malaysia and Order of Australia 2003. of Inquiry into Charitable and Related Organisations, and member of founder, former chairman and managing director of Cody Outdoor Advertising; Australia. Former board member of Artspace and the Australia Initial date of appointment 13 August 2001; the Nugent Committee which examined the major arts organisations in Centre of Photography, former president of the Asia Australia Artists expiry of current term 31 December 2006. Australia; author of the Gonski Report into the Australian film industry. governor and director, Australian Ireland Fund. Association and former deputy chair of the Visual Arts and Craft Initial date of appointment 1 January 1997; expiry of current term Fund, Australia Council. 31 December 2006. Initial date of appointment 1 January 2000; expiry of final term 31 December 2005. Initial date of appointment 1 January 2006; expiry of current term Mr Imants Tillers BSc (Arch) Syd, DLitt 31 December 2008. (honoris caursa) UNSW Mr Tillers is a visual artist, writer and curator; VICE PRESIDENT Ms Anne Fulwood since 1973 has had solo exhibitions in Mr Steven Lowy B Comm (Hons) Australia, Germany, Finland, Italy, Latvia, Dr John Yu AC, Hon MD (Syd), Hon DLitt Ms Fulwood is a television journalist Mr Lowy is group managing director, Mexico, New Zealand, Spain, Switzerland, (UWS), MB BS DCH (RCP&S), FRACP, and presenter; member, Council for the Westfield Group; director of the Victor the UK and USA, and in 2006 a major survey FRACMA Australian Honours, the Film and Literature Chang Cardiac Research Institute, of his work, Imants Tillers: one world many Dr Yu is chancellor, University of New South Board of Review, Interim Board of the the Lowy Institute for International visions, was held at the National Gallery of Wales; chair, Australia China Council of DFAT; National Film and Sound Archive and Policy, and various Lowy Family Australia. His public commissions include the chairman Specialist Advisory Committee of Luna Park Reserve Trust. Group entities. dome of the Federation Pavilion in Centennial NSW Commission for Children and Young Initial date of appointment Initial date of appointment Park, Sydney, the Founding Donors commission at the Museum People; chairman VisAsia; member of the 1 January 2002; expiry of current 1 January 2006; expiry of current of Contemporary Art, Sydney, and The attractor and Eight women board of National Australia Day Council, Walter term 31 December 2007. term 31 December 2008. sculptures at Overflow Park, Sydney Olympic Park; awards and and Eliza Hall Trust, NSW Public Education international prizes include Gold Prize at the Osaka Painting Triennale Council; formerly chief executive, Royal Alexandra Hospital for Children. in 1993, awarded a Doctor of Letters honoris casua for ‘his long and Initial date of appointment 1 January 1997; expiry of final term Ms Janet Laurence Ms Sandra McPhee DipEd, FAICD distinguished contribution to the field of arts’ by the University of 31 December 2005. Ms Laurence is a mixed-media installation artist whose work extends from exhibiting Ms McPhee has extensive experience as New South Wales in 2005. within the gallery and museum into architecture a non-executive director and as a senior Initial date of appointment 1 January 2001; expiry of current term and landscape; commissions include The executive in international consumer facing 31 December 2006. MEMBERS edge of the trees at the Museum of Sydney; industries including aviation, retail and Mr David Baffsky AO Veil of trees in the Domain, Sydney, an tourism, most recently with Qantas Airways Chairman, Accor Asia Pacific, which is environmental art work In the shadow at Ltd. Ms McPhee is a director of Coles Mr Peter Francis Young BSc, MBA the largest hotel management company Homebush Bay Olympic Site, Elixir house Myer Ltd, Perpetual Ltd, Australia Post and Mr Young is a senior advisor, ABN AMRO in the Asia Pacific; director, Tourism Asset in Ngata, Japan, and the Australian War St Vincents and Mater Health. Ms McPhee Australia Pty Ltd; chairman Delta Electricity, Holdings; director and life member of the Memorial London; represented by Sherman was previously a director of Primelife Export Finance & Insurance Corporation; Tourism Task Force; director of the Indigenous Galleries, Sydney; awarded the RAIA Lloyd Rees award for urban Corporation Ltd, CARE Australia and the director, Great Barrier Reef Research Land Corporation. Memberships include design 1995, Rockefeller Fellowship 1996; currently completing PhD. Tourism Council Australia, and deputy chair of South Australia Water. Foundation, Sydney Theatre Company, charities and non-profit organisations including Initial date of appointment 1 January 1997; expiry of final term Initial date of appointment 1 January 2004; expiry of current term John Fairfax Holdings and South Australian Sydney Grammar Foundation, St Vincent’s 31 December 2005. 31 December 2007. Government Defence Industry Advisory Board. Hospital, the Museum of Contemporary Art Initial date of appointment 13 August 2001; and the Royal Flying Doctor Service. He was responsible for the expiry of current term is 31 December 2006. development of the first Club Med in Australia at Lindeman Island and was a director of Club Mediterranée (Australia) Pty Ltd from 1985 to August 2000. In 2004 Mr Baffsky was appointed to the Honorary Solicitors to the Trust: Freehills

54 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 55 TRUSTEE MEETINGS OTHER GALLERY ENTITIES

ATTENDANCES AT BOARD OF TRUSTEE MEETINGS REGIONAL SUB-COMMITTEE There were six meetings of the Trust during the period July The Regional Sub-Committee was responsible for the Gallery’s 2005 to June 2006. Trustee attendances were as follows: numerous activities in supporting NSW regional galleries. David Gonski (6/6), John Yu (2/3 to Dec 2005), David Baffsky These include loans of artworks, touring exhibitions and Art Gallery of New South Wales Trust (3/3 from Jan 2006), Pierce Cody (3/3 to Dec 2005), Anne provision of expertise. This year it was agreed to include Director: Mr Edmund Capon Fulwood (4/6), Janet Laurence (3/3 to Dec 2005), Irene Lee Regional Committee matters under the Acquisitions and Staff: 210 (FTE) Art Gallery Society of New South Wales (3/6), Lindy Lee (3/3 from Jan 2006), Steven Lowy (2/3 from Loans Sub-Committee. Net Assets: $786 million Jan 2006), Sandra McPhee (3/6), Janice Reid (5/6), John Trust President: Mr David Gonski MEMBERS: John Yu (chair), Imants Tillers, Mary Turner. Schaeffer (4/6), Imants Tillers (6/6), Peter Young (4/6). President: Prof Michael Feneley Staff: Anthony Bond, general manager, curatorial services; Executive Officer: Mrs Judith White The Centenary Fund Michael Wardell, manager of special projects AGNSW/ Value: $1.6 million TRUST SUB-COMMITTEES The President’s Council MGNSW). Established in 1953 The sub-committees generally comprise a subset of board Collection Benefactor Groups members based on their respective areas of interest and There was only one meeting of the Regional Sub-Committee Bequests and Special Funds expertise. Relevant senior staff members and other experts are during the period July 2005 to June 2006. Trustee attendance included as appropriate. The sub-committees are responsible was as follows: John Yu (1/1), Imants Tillers (1/1). for monitoring their respective areas and making recommendations to the full board for approval or otherwise. RISK MANAGEMENT SUB-COMMITTEE They usually meet within the week before the main board The Risk Management Sub-Committee is responsible for VisAsia Art Gallery of New South Wales Brett Whiteley meeting, at which the minutes of their meetings are tabled. overseeing and providing guidance on risk management Controlled Entity Foundation Foundation matters and submitting reports and recommendations to the VisAsia Council ACQUISITIONS AND LOANS SUB-COMMITTEE main board to enable it to discharge its responsibilities in this Chairman: Mrs Rowena Danzinger Chairman: Mr David Kent The Acquisition and Loans Sub-Committee plays an important regard. Chairman: Dr John Yu Value: $24.0 million Value: $0.1 million role in overseeing the Collections Policy. It considers curatorial Value: $1.0 million MEMBERS: Steven Lowy (chair), David Baffsky, David Gonski, Established in 1983 Established in 1994 proposals on acquisitions, gifts, inward and outward loans and Established in 1999 (if applicable), de-accessions. Based on these considerations Bruce Cutler. Staff: Edmund Capon, director; Anne Flanagan, recommendations are made to the board for approval. general manager, exhibitions and building services; Rosemary Senn, general manager, finance and management services; MEMBERS: John Yu (chair to Dec 2005); Janice Reid (chair Trish Kernahan, manager, administration and strategy. from Jan 2006); Anne Fulwood; Janet Laurence (to Dec 2005); The Gallery is responsible for providing administrative support BRETT WHITELEY FOUNDATION Irene Lee; Lindy Lee (from Jan 2006); Imants Tillers. Staff: There has been one meeting of the Risk Management Sub-Committee during the period July 2005 to June 2006. for other entities, namely the Art Gallery of New South Wales Non controlled entity. Edmund Capon, director; Anthony Bond, general manager, Foundation, the Brett Whiteley Foundation and the VisAsia Enabling legislation: Brett Whiteley Agreements 1994; curatorial services; Donna Brett, project officer, curatorial Trustee attendances were as follows: Steven Lowy (1/1), David Baffsky (1/1), David Gonski (1/1). Foundation. Each of these entities has separate legal Incorporated entity. services. structures established by a Trust Deed or incorporated with a ABN/Gift Deductible status. There were six meetings of the Acquisitions and Loans Sub- Memorandum and Articles of Association. Each has a board of Purpose: To promote and encourage knowledge and Committee during the period July 2005 to June 2006. Trustee trustees/directors as determined by its enabling legislation. appreciation of the work of the late Brett Whiteley. attendances were as follows: John Yu (4/4), Janice Reid (4/6), The board meetings are generally held on a quarterly basis. Board of directors comprise: Anne Fulwood (3/6), Janet Laurence (2/3), Irene Lee (4/6), The AGNSW Foundation also has a Finance Sub-Committee, Independent representative: John Meacock (chair). Lindy Lee (2/2), Imants Tillers (6/6). which monitors the funds invested. The support provided by Art Gallery of New South Wales representatives: Brian Ladd, the Gallery includes management, finance, corporate Barry Pearce. SPONSORSHIP SUB-COMMITTEE secretariat and general administrative services. Brett Whiteley Estate members: Wendy Whiteley, Anna Schwartz. The Sponsorship Sub-Committee is responsible for supporting The Brett Whiteley Foundation produces its own audited the Gallery’s efforts in raising funds for its various activities. ART GALLERY OF NEW SOUTH WALES FOUNDATION financial statements which are lodged with Australian Non controlled entity. Securities and Investment Commission (ASIC). Members: David Gonski (chair), Pierce Cody, Deeta Colvin, Enabling legislation: Art Gallery of New South Wales Anne Fulwood, Daniel Gauchat, Sandra McPhee, John Foundation Deed 1983 with subsequent amendments. VISASIA Schaeffer, Scott Walters, Peter Young. Staff: Edmund Capon, ABN/Gift Deductible status. Controlled entity. director; Belinda Hanrahan, general manager, marketing & Purpose: To raise funds through donations and bequests, Enabling legislation: VisAsia Constitution 1999; business development; Leith Douglas, sponsorship manager. invest funds and use the income to acquire major artworks for Incorporated entity. There were two meetings of the Sponsorship Sub-Committee the Gallery. Since inception, the Foundation has contributed ABN/Gift Deductible status. during the period July 2005 to June 2006. Trustee attendances over $20 million to the Gallery’s collection, (which has Purpose: To promote Asian arts and culture. were as follows: David Gonski (2/2), Anne Fulwood (1/2), increased in value to over $38 million), and has accumulated Board of directors comprise: Sandra McPhee (1/2), John Schaeffer (2/2), Peter Young (2/2). over $24 million in funds under investment. Art Gallery of New South Wales representatives: John Yu Board of trustees comprise: (chair), Edmund Capon, Jackie Menzies, Sabrina Snow plus FINANCE AND AUDIT SUB-COMMITTEE Art Gallery of NSW representatives: Rowena Danziger (chair), three vacant positions. The Finance and Audit Sub-Committee oversees all financial Jillian Broadbent (deputy chair), Prue Allen, Michael Feneley, Director/member representatives: Steve Burdon, Philip Cox, aspects of the Gallery, including budgeting, monitoring Denyse Spice and one vacant position. Stephen Menzies, Judith Rutherford, Vicki Liberman. performance and ensuring stewardship of the assets. All audit NSW Government representatives: Mark Nelson, Ray Wilson. VisAsia produces its own audited financial statements matters are also tabled with the sub-committee. Donor representatives: Geoffrey Ainsworth, Brian France, which are lodged with Australian Securities and Investment Fraser Hopkins, Catriona Mordant, Reg Richardson, Susan Commission (ASIC). Being a controlled entity it is also MEMBERS: Peter Young (chair), David Gonski, Jillian Broadbent, Rothwell, Isaac Wakil, Peter Weiss. consolidated into the financial statements of the Art Gallery Bruce Cutler. Staff: Edmund Capon, director; Rosemary Senn, Finance Sub-Committee: Jillian Broadbent (chair), Geoff of New South Wales. general manager, finance & management services. Ainsworth, Brian France, Mark Nelson. ART GALLERY SOCIETY OF NEW SOUTH WALES There were six meetings of the Finance & Audit Sub-Committee The Art Gallery of New South Wales Foundation publishes its A separate legal entity controlled and operated by the during the period July 2005 to June 2006. Trustee attendances own annual report. society’s council and members. The Art Gallery Society were as follows: David Gonski (6/6), Peter Young (6/6). of New South Wales produces its own annual report.

56 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 57 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 who is a member of the Gallery’s senior management team. Within Director • Curatorial Services these divisions activities are divided into departments, which Edmund Capon took up his appointment as director of the Art • Finance and Management Services are the responsibility of the relevant department head. Gallery of New South Wales in November 1978 following his • Exhibitions and Building Services The general managers all report to the director of the Gallery. arrival from London where, for the previous five years, he held the • Marketing and Business Development position of assistant keeper, Far Eastern Section, Victoria & Albert Also reporting to the director are staff employed within the Museum. Mr Capon attained a Master of Philosophy degree in Directorate, Benefaction Services and Gallery Services. Chinese art and archaeology (including language) from London University (Department of Oriental and African Studies) with his thesis ‘The interdependence of Chinese Buddhist sculpture in GENERAL MANAGER CURATORIAL SERVICES bronze and stone from AD386 to 581’, and is a recognised world expert in his particular field. ASIAN ART AUSTRALIAN ART WESTERN ART In 1994 Mr Capon was made a member of the Order of Australia Japan Paintings & Sculpture pre-1900 China and in 2000 was awarded a Doctor of Letters honoris casua from Prints, Drawings & Watercolours Contemporary Southeast Asia the University of New South Wales and a Chevalier of Arts and Aboriginal & Torres Strait Islander Photography Letters from the French government. In 2004 he was appointed clockwise from lower left: Anne Flanagan, Belinda Hanrahan, Anthony Bond, India adjunct professor in the department of Chinese and Indonesian Rosemary Senn, Jane Wynter, Edmund Capon Studies at the University of New South Wales. He is a member Brett Whiteley Registration of the Council of Australian Art Museum Directors (CAAMD). ROSEMARY SENN B Comm, FCPA, MAICD Dip Conservation Public Programs DIRECTOR ANTHONY BOND B Ed (Hons) General Manager, Finance and Management Services General Manager, Curatorial Services Rosemary Senn joined the Gallery in 1998. She is a Fellow of the Library Photography Studio/Digitisation Anthony Bond joined the Gallery in 1984 as curator of contemporary Australian Society of Certified Practising Accountants and holds Curatorial Services art. In January 1995 he was appointed to the position of general a Bachelor of Commerce from the . She manager, curatorial services to oversee the Gallery’s curatorial staff also holds qualifications in company directorship and taxation Directorate matters and spent several years in the commercial sector. and manage the curatorial services departments: Conservation, GENERAL MANAGER FINANCE & MANAGEMENT SERVICES Registration, Public Programs, Research Library, the Photography Ms Senn is the chief financial officer and company secretary Benefaction Manager Studio/Digitisation and Copyright. This is coupled with his role for the Trust, the Foundation, VisAsia and the Brett Whiteley Human Resources Finance, Legal & Corporate Secretariat as head curator, Western Art with special responsibility for 20th- Foundation. She is also responsible for human resources Foundation Private Benefaction century and contemporary international collections. He was management, strategic planning, corporate services, legal, Information Technology formerly director of Wollongong City Gallery and assistant director administration and records, information technology, and Administration/Records Management of the Art Gallery of Western Australia. commercial services, which includes the Gallery Shop, venue Gallery Services & Communications hire and the management of the catering contract. Mr Bond’s curatorial specialisation is in 20th-century and Venue Management Gallery Shop contemporary international art. His recent major projects include curating Trace, the inaugural Liverpool Biennial in England (1999) JANE WYNTER BA, LLB and Body, an exhibition tracing aspects of realism in art from the Benefaction Manager GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES mid 19th century, and this year the Self portrait exhibition in conjunction with the London Portrait Gallery. JaneWynter joined the Gallery in 1994 to assist with raising funds for the Art Gallery of New South Wales Foundation. Prior to this Security Building Management she worked as a solicitor in two major city law firms, Sly & Russell ANNE FLANAGAN Dip Int Design, Dip Ed, Dip Vis Arts and Dawson Waldron. She holds a Bachelor of Arts and a Exhibitions Graphics General Manager, Exhibitions and Building Services Bachelor of Laws degree from the University of New South Wales. Anne Flanagan joined the Gallery in 1992. Her academic Since 2000 Mrs Wynter has been in charge of individual giving at Installation background includes visual arts, interior design and education. the Gallery. This includes all gifts, donations and bequests to the For the last 21 years she has worked within arts organisations, Gallery and the Foundation. GENERAL MANAGER MARKETING & BUSINESS DEVELOPMENT initially at the Crafts Council of NSW, Powerhouse Museum, Biennale of Sydney, Australian Bicentennial Authority and then at the Historic Houses Trust of New South Wales. SUMMARY SENIOR OFFICER POSITIONS Publicity Office Marketing Ms Flanagan is responsible for the exhibition program including Year Position No of senior Positions held design, development and financial management, building services level positions by women Information Desk Business Development including capital and maintenance programs, publications and all 2004–05 Senior executive service 4 1 0 security services within the Gallery. Senior officer 2 1 0 STAFF PROFILE Senior officer 1 3 3 BELINDA HANRAHAN B Comm Average over 12 months FTEs FTEs FTEs FTEs FTEs 2005–06 Senior executive service 4 1 0 30.06.06 30.06.05 30.06.04 30.06.03 30.6.02 General Manager, Marketing and Business Development Senior officer 2 1 0 Building and Security Services 60 59 60 57 59 Belinda Hanrahan joined the Gallery in November 1992 as Senior officer 1 3 3 marketing manager. Prior to this she worked in marketing Curatorial Services 48 50 54 51 51 management for Unilever and Johnson & Johnson for ten years, Curatorial 27 24 22 24 20 later forming her own marketing training consultancy. She holds a Exhibition/Display 25 23 23 21 16 Bachelor of Commerce from the University of New South Wales. Finance and Management Services 18 18 18 21 20 Ms Hanrahan is responsible for the Gallery’s marketing and Commercial Services 16 15 14 15 16 corporate development, which encompasses advertising and Marketing and Business Development 16 14 13 11 11 promotions, publicity, tourism, visitor services and sponsorship, including the President’s Council. TOTAL 210 203 204 200 193 This table shows equivalent full-time (FTE) staff numbers. Increased FTEs in 2006 mainly reflect higher casual staffing levels due to major temporary exhibition-related activities.

58 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 59 RISK MANAGEMENT INSURANCE The Gallery, as a NSW Government agency, is covered by the Treasury Managed Fund, a government self-insurance scheme. Over the last 15 years or so, there have been no significant AUDITS claims of any sort. There have been some occasional property Internal audit reviews conducted during the year included related claims and less than 30 (mostly minor) public liability Building Maintenance/Total Asset Management Plan, claims from a current average visitation population of over Temporary Exhibitions, Benefaction and Sponsorship. 1.2 million visitors each year. Workers’ compensation and Generally favourable reports were received on all audits. other claims have enjoyed a good record in the past. The All recommendations were carefully considered and Gallery is constantly reviewing work practices to eliminate implemented as appropriate. Some findings related to risks or reduce hazards. The annual insurance premium amounted due to under-funding of building maintenance and the limited to $3.3 million (excl GST), reflecting the value of the asset storage capacity for the Gallery’s collection. The Gallery has holdings of the Gallery’s permanent art collection, heritage been addressing these issues through its annual Forward building and artworks on temporary loan for major exhibitions. Estimates/Total Asset Management Plan submissions to The Fine Arts premium was the major contributor in insurance government. Whilst short term measures have been taken costs, due to the significant works on loan for the exhibition to minimise exposures, long term solutions are needed. program. Insurance coverage is directly funded by the NSW The Gallery is seeking government support for a specialist Treasury. off-site storage facility with appropriate environmental conditions that meet international museum standards. LEGAL CHANGES This facility will alleviate current exposures and enable The Art Gallery of New South Wales Act 1980 was amended benefactors to continue to donate valuable collections, by the Public Sector Employment Legislation Amendment enhancing the state’s cultural assets in the Gallery, and Act 2006 (assented to on 17 March 2006). This Act made their public accessibility. amendments to the definition of director and the employment The above audit reviews were conducted by the NSW arrangement for the director and staff of the Gallery. government’s IAB Services teams and the cost of these The Art Gallery of New South Wales Act 1980 was also audits is borne by Arts NSW from a central allocation of amended by the Statute Law (Miscellaneous Provisions) funds for the arts portfolio agencies. Act 2005 (assented to on 1 July 2005). The amendments The NSW Audit Office’s external auditors certified the updated references to redundant legislation such as the financial statements without qualification with the exception Public Sector Management Act 1988 and the Stamp Duties of one item of compliance with Treasurer’s Directions as Act 1920; and repealed redundant annual report and outlined in Item 1(e)(i) in the Notes to and forming part of financial year provisions to better reflect current practice the Financial Statements. This item is of a reporting nature and requirements; and involved minor renumbering and and in no way affects the viability of the Gallery. rewording, including provisions to permit the Trust of the Gallery to conduct its business outside of meetings or by BUSINESS CONTINUITY PLANNING telephone. From time to time, the NSW Audit Office also undertakes Another change made to the Art Gallery of New South Wales compliance reviews of a selection of agencies on a particular Act 1980, in progress at the time of this report, is the inclusion aspect for reporting to parliament. In 2005–06 the Gallery of a clause to provide direct control of the Gallery by the was included in a business continuity plan review and at the NSW Minister for the Arts. This is intended to bring the time of writing this report the findings of this review have not Gallery’s Act in line with other government agencies whose yet been published. The Gallery recognises the importance governing legislation includes a board of management. of business continuity, but with budget savings required and limited resources, progress has been slow. Nevertheless, OCCUPATIONAL HEALTH AND SAFETY the Gallery has undertaken work in this area and is moving Number of work related injuries: 8 towards full compliance within the next few months. Number of work related illnesses: 0 During the year, a Risk Management Sub-Committee of the Prosecutions under the OH&S Act: 0 Board was established to oversee and provide guidance on The Gallery’s Occupational Health & Safety Committee risk management matters. The Gallery has also established (OH&S) met regularly during 2005–06. This committee a risk management staff team, with representatives from all reviews procedures and practices and, where appropriate, key operational areas of the Gallery. This team meets implements changes to minimise risk. fortnightly and its first major task is to refresh the Gallery’s disaster recovery and business continuity plans (collection, During 2005–06 the Gallery provided fitness training to staff information technology, records) into a comprehensive in specific occupations so as to meet occupational fitness Gallery-wide business continuity plan. External expertise requirements, part of the Gallery’s three-year OH&S plan. has been engaged to assist with this project which should be completed by end of 2006.

INDUSTRIAL RELATIONS No major industrial disputes occurred in 2005–06 and no time was lost due to industrial disputation. The Gallery’s Joint Consultative Committee (JCC), comprising management and staff representatives, continued to meet on a regular basis.

60 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES FINANCIAL STATEMENTS

Financial commentary 94 Financial summary 95

START OF AUDITED FINANCIAL STATEMENTS Independent audit opinion 96 Statutory financial statements for the year ending 30 June 2006: Trustees statement 98 Operating statement 99 Statement of changes in equity 99 Balance sheet 100 Cash flow statement 101 Summary of compliance with financial directives 102 Notes to and forming part of the financial statements: Note 1: Summary of significant accounting policies 103 Note 2: Expenses excluding losses 110 Note 3: Revenue 110 Note 4: Gain/(loss) on disposal of non-current assets 111 Note 5: Government appropriations 111 Note 6: Current assets – cash and cash equivalents 112 Note 7: Current assets – receivables 112 Note 8: Current assets – inventories 112 Note 9: Non-current assets – financial assets at fair value 112 Note 10: Restricted assets 112 Note 11: Non-current assets – property, plant and equipment 113 Note 12: Current liabilities – payables 114 Note 13: Current/non-current liabilities – provisions 114 Note 14: Changes in equity 114 Note 15: Controlled entities 115 Note 16: Reconciliation of cash flows from operating activities to net cost of services 116 Note 17: Non-cash financing and investing activities 116 Note 18: Financial instruments 116 Note 19: Commitments for expenditure 117 Note 20: Contingent liabilities 117 Note 21: Results of fundraising appeals 118 Note 22: Budget review 118 Note 23: Impact of adoption AEIFRS 118

END OF AUDITED FINANCIAL STATEMENTS

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 93 FINANCIAL COMMENTARY FINANCIAL SUMMARY

FINANCIAL STEWARDSHIP INVESTMENTS 2001-02 2002-03 2003-04 2004-05 2005-06 Five Year Total Average p.a.

The Gallery continues to maintain its financial soundness through The Gallery invests its bequests and special funds ($17.8 million) Total Visitors – Incl Touring/Studio million 1.18 1.13 1.51 1.35 1.69 6.86 1.37 rigorous budgetary and expenditure control, stewardship of in a portfolio comprising term deposits and T.Corp’s Hour Glass assets, cash flow management, and revenue enhancement. Our facilities – in particular the medium and long term growth facilities. Artworks purchased $’m $1.4 $4.6 $5.2 $9.0 $7.7 $28.0 $5.6 Donations of artworks $’m $2.8 $3.2 $2.8 $2.2 $2.2 $13.2 $2.6 accounting and management reporting system enables us to These investments are in accordance with NSW Treasury Total works of art acquired $’m $4.3 $7.8 $8.1 $11.2 $9.9 $41.2 $8.2 produce timely reports on a cost centre and business activity level, requirements under the Public Authorities (Financial Arrangements) so that management, the Board of Trustees and the NSW Act 1987, which confines investments to term deposits with Exhibition admission revenue $’m $2.6 $2.6 $2.9 $1.6 $3.8 $13.5 $2.7 Merchandise, books and publications sales $4.0 $3.6 $4.0 $3.6 $5.2 $20.3 $4.1 Government can monitor financial aspects of the Gallery and approved banks and financial institutions and T.Corp, the Other services/activities $’m $1.6 $1.6 $3.3 $1.6 $2.7 $10.8 $2.2 direct resources in a punctual and effective way. government investment facility. Bequests & special funds $7.7 $6.8 $7.6 $12.4 $11.3 $45.8 $9.2 Other grants & contributions/other misc $’m $2.4 $3.1 $3.4 $3.2 $4.6 $16.7 $3.3 FINANCIAL PERFORMANCE The investment returns during 2005–06 were 6.0% pa (weighted average) on bank deposits (compared with benchmark of 5.8%), Total revenue from exhibitions, The surplus for the year was $14.1million (up 10%), reflecting: Visitor services and benefaction $’’m $18.3 $17.7 $21.2 $22.4 $27.5 $107.1 $21.4 8.8% on T.Corp’s Medium Term facility (compared with benchmark • Improved revenues (up 22.7% to $27.5 million) on exhibition of 8.4%) and 16.9% on T.Corp’s Long Term facility (compared with Staff related expenses $13.3 $15.0 $16.0 $16.8 $17.9 $79.0 $15.8 admissions, merchandise, books and publications sales, other benchmark of 15.9%). The benchmarks quoted are sourced from Depreciation $1.6 $2.1 $2.3 $2.3 $2.2 $10.4 $2.1 Insurance $0.8 $2.1 $2.3 $1.1 $1.7 $7.9 $1.6 commercial services, bequests and special funds. These earnings T.Corp Hour Glass Facility Performance Summary for June 2006. Other operating expenses $12.0 $11.4 $12.7 $10.1 $12.5 $58.6 $11.7 are used for the purchase of artworks and underpin core business The Gallery also manages investments on behalf of its related activities. Total operating expenses $’m $27.7 $30.5 $33.3 $30.2 $34.3 $148.8 $29.8 entities, primarily the Art Gallery of New South Wales Foundation • NSW Government recurrent funding for core business operations ($24 million) with smaller amounts for the Brett Whiteley Net cost of services (total) $’m $9.4 $12.8 $12.1 $7.8 $6.7 $41.6 $8.3 increased to reflect higher insurance premiums and sustainable Foundation ($136 000) and VisAsia entity ($991 000). The returns Recurrent appropriation $’m $14.5 $16.3 $16.9 $15.8 $18.3 $81.7 $16.3 funding, and to cover award salary increases, but was offset by a on the Foundation funds improved considerably this year with the Liabilities assumed by government $’m $1.5 $1.9 $1.9 $2.1 $0.8 $8.1 $1.6 reduction in capital funding. upturn in equity markets. Capital appropriation/other $’m $6.4 $14.2 $2.8 $2.8 $1.8 $28.0 $5.6

Over 57% of our revenue was derived from non-government LOOKING FORWARD Total NSW Government’s grants $’m $22.4 $32.3 $21.6 $20.7 $20.8 $117.8 $23.6 sources in 2005–06. The Gallery has received an additional $2.6 million government Total revenue $’m $40.7 $50.0 $42.8 $43.1 $48.4 $225.0 45.0 DONATIONS & BEQUESTS / TAXATION INCENTIVES funding in the forthcoming year to cover insurance, normal cost Govt contribution as % of total revenue 55% 65% 50% 48% 43% 52% 52% escalations and the commitment made under the Service A substantial contribution each year comes from donors and Agreement. Exhibition and visitor services revenues are expected benefactors ($11.3 million in 2005–06 compared to $12.4 million Net surplus $’m $13.0 $19.5 $9.5 $12.8 $14.1 $67.4 13.5 to be lower as the program for 2006–07 may not generate the revenue in 2004–05). Much of this is in the form of gifts of same level of popular appeal as the Pissarro and Margaret Preston Staff – Effective full time (EFTs) Number 193 200 200 203 210 artworks or cash to purchase artworks. A higher than usual exhibitions in 2005–06. We anticipate another good year for contribution in 2004–05 was due to contributions from the Art Average salary per head (EFT) $’000 $69 $75 $80 $83 $85 bequests and special funds, which are ‘restricted funds’ primarily Gallery of New South Wales Foundation, the Art Gallery Society for acquisition of artworks. Net cash flows $’m -$0.7 $0.2 $1.3 -$0.9 $5.5 and individuals for purchase of the Cy Twombly Three studies from the Temeraire 1998–99 (triptych). Other donations were also The Gallery continues to be committed to maintaining its high level Net assets $’m $716.8 $736.3 $748.9 $768.2 $786.4 received to support various initiatives such as scholarships, prizes of performance and will work with staff and the NSW Government Net cost of services per visitor $ $7.90 $11.40 $8.00 $5.80 $4.00 or research. in improving our service to the community. * Data in this table has not been subject to audit A substantial component of the donations is preserved as a capital BUDGET SUMMARY FOR 2006–07 base for future income generation. At the end of June 2006, the $’m total amount of bequests and special funds amounted to $17.8 OVER $126m WORTH OF ARTWORKS WERE ACQUIRED NET ASSETS ARE NOW WORTH OVER $786 MILLION REVENUE IN THE PAST 14 YEARS million, much of which is given to the Gallery for specific purposes Government funding 24.3 $850 (primarily art acquisitions and other projects such as prizes, Other revenue 13.8 $800 Other assets awards). These comprise over 90 bequests and special funds. $150 $750 38.1 $700 Land & $100 $650 buildings $600 The Taxation Incentives for the Arts (TIAS) has provided a major EXPENDITURE $ million $550 Collection $ million $50 Staff related 18.4 $500 of artworks incentive for artists and donors to provide gifts of artworks to the $450 Gallery. These contributions have provided a significant resource Insurance 3.3 $0 $400 for acquisitions of artworks and special projects, which would not Depreciation 2.4 Other operating 13.4 1998-99 2000-01 2001-02 2002-03 2003-04 2004-05 2005-06 otherwise have been feasible. 1993-94 1995-96 1997-98 99-2000 2001-02 2003-04 2005-06 1999-2000 37.5 FINANCIAL STATUS SURPLUS 0.5 GOVERNMENT FUNDING OTHER FUNDING SOURCES

The Gallery has over $786 million worth of net assets, comprising Government boosted funding in these years for the Asian galleries $628 million of artworks and library collection, $133 million in land This budget is in accordance with NSW Government 2006–07 $35.0 building program $30.0 and building, $24.7 million of cash and investments representing $30.0 2005–06 was a record year for revenues generally Budget Papers. This differs slightly from the internal budgets $25.0 $25.0 bequests and special funds (‘restricted assets’) and $0.3 million in $20.0 Capital funding Bequests & which have more stringent targets. $20.0 Liabilities assumed special funds $15.0 other minor net assets. During the year the library collection was $ million $15.0 Exhibition $10.0 valued by a registered valuer resulting in an increase of $4.1 Note: The figures quoted in this report have not been subject to audit Recurrent funding $ million $10.0 admissions $5.0 $5.0 Other million which was recorded in the asset revaluation reserve. commercial $0.0 $0.0

-01 -03 -04 -05 -2000 1998-99 2000 2001-02 2002 2003 2004 2005-06 1999 1998-99 2000-01 2001-02 2002-03 2003-04 2004-05 2005-06 1999-2000

94 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 95 96 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 97 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

STATUTORY FINANCIAL STATEMENTS OPERATING STATEMENT For the year ended 30 June 2006 For the year ended 30 June 2006

Notes Actual Budget Actual 2006 2006 2005 $'000 $'000 $'000 Group Group Group STATEMENT IN ACCORDANCE WITH SECTION 41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983 Expenses excluding losses Operating expenses In accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales we state that: Personnel Services Costs 2(a) 16,509 17,414 15,513 Other operating expenses 2(b) 15,598 13,268 12,387 (a) The accompanying financial statements have been prepared in accordance with the provisions of the Public Depreciation and amortisation 2(c) 2,151 2,015 2,337 Finance and Audit Act 1983, the Financial Reporting Code for Budget Dependent General Government Sector Agencies, the applicable clauses of the Public Finance and Audit Regulation 2005, applicable 32,697 Accounting Standards, other mandatory reporting requirements and the Treasurer’s Directions. Total expenses excluding losses 34,258 30,237 Less: (b) The financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June Revenue 2006 and the operations for the year then ended. Sale of goods and services 3(a) 11,652 6,709 6,873 Investment revenue 3(b) 1,748 810 1,256 (c) At the date of signing we are not aware of circumstances that would render the financial statements Grants and contributions 3(c) 14,865 6,713 16,375 misleading or inaccurate. Other revenue 3(d) 48 - 44

(d) The financial report has been properly drawn up and the associated records have been properly kept for the Total Revenue 28,313 14,232 24,548 period from 1 July 2005 to 30 June 2006, in accordance with the Charitable Fundraising (NSW) Act 1991 and Regulations; and Gain/(loss) on disposal 4 9 - (38)

(e) Money received as a result of fundraising activities conducted during the period from 1 July 2005 to 30 June 2006 has been properly accounted for and applied in accordance with the Charitable Fundraising (NSW) Act Net Cost of Services 16 5,936 18,465 5,727 1991 and Regulations. Government Contributions Recurrent appropriation 5(a) 18,299 18,299 15,774 Capital appropriation 5(b) 1,770 1,770 2,836

Total Government Contributions 20,069 20,069 18,610

SURPLUS FOR THE YEAR 14,133 1,604 12,883

STATEMENT OF CHANGES IN EQUITY For the year ended 30 June 2006

Net increase in property, plant and equipment asset revaluation reserve 14 4,100 - 6,346 TOTAL INCOME AND EXPENSE RECOGNISED DIRECTLY IN EQUITY 4,100 - 6,346

Surplus for the year 14,133 1,604 12,883 TOTAL INCOME AND EXPENSE RECOGNISED FOR THE YEAR 14 18,233 1,604 19,229

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

98 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 99 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

BALANCE SHEET CASH FLOW STATEMENT As at 30 June 2006 For the year ended 30 June 2006

Notes Actual Budget Actual Notes Actual Budget Actual 2006 2006 2005 2006 2006 2005 $'000 $'000 $'000 $'000 $'000 $'000 Group Group Group Group Group Group CASH FLOWS FROM OPERATING ACTIVITIES ASSETS

Current Assets Payments 11,472 Cash and cash equivalents 6 16,988 11,518 Personnel Services (15,551) (14,776) (14,079) 3,408 Receivables 7 1,031 3,408 Other (14,265) (14,349) (12,630) Inventories 8 1,170 1,319 1,319

Total Current Assets 19,189 16,199 16,245 Total Payments (29,816) (29,125) (26,709)

Receipts Non-Current Assets Sale of goods and services 11,578 6,709 6,837 6,858 Financial assets at fair value 9 7,781 6,858 Interest received 1,362 810 998 Property plant and equipment 11 Other 13,212 4,261 10,014 - Land and buildings 133,447 133,780 133,535 - Plant and equipment 1,522 1,342 1,832 Total Receipts 26,152 11,780 17,849 - Collection assets 628,742 616,754 614,807 Total Property, plant and equipment 763,711 751,876 750,174 Total Non-Current Assets 771,492 758,734 757,032 Cash Flows from Government Total Assets 790,681 774,933 773,277 Recurrent appropriation 18,299 18,299 15,774 Capital appropriation 1,770 1,770 2,836 Cash reimbursements from the Crown Entity - - 885 LIABILITIES Cash transfers to the Consolidated Fund - - (181) Current Liabilities 3,684 Payables - Other 12 2,687 3,632 Net Cash Flows from Government 20,069 20,069 19,314 Payables - Personnel Services 13 1,600 1,230 1,230 Total Current Liabilities 4,287 4,914 4,862 NET CASH FLOWS FROM OPERATING ACTIVITIES 16 16,405 2,724 10,454

Non-Current Liabilities Provisions 13 13 261 261 CASH FLOWS FROM INVESTING ACTIVITIES Proceeds from sale of Property, Plant and Equipment 50 - 204 Total Non-Current Liabilities 13 261 261 Purchases of Property, Plant and Equipment (10,563) (2,770) (10,665) Total Liabilities 4,300 5,175 5,123 Purchases of investments (422) - (873)

Net Assets 786,381 769,758 768,154 NET CASH FLOWS FROM INVESTING ACTIVITIES (10,935) (2,770) (11,334)

EQUITY (46) (880) Reserves 14 153,471 149,393 149,393 NET INCREASE/(DECREASE) IN CASH 5,470 11,518 Accumulated funds 14 632,910 620,365 618,761 Opening cash and cash equivalents 11,518 12,398 11,472 Total Equity 786,381 769,758 768,154 CLOSING CASH AND CASH EQUIVALENTS 6 16,988 11,518 16,988

The accompanyingaccompanying notes notes form form part partof these of these statements financial statements The accompanying accompanying notes notes form form part partof these of these statements financial statements

100 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 101 Supplementary financial statements SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVES ART GALLERY OF NEW SOUTH WALES TRUST The Liability to Consolidated Fund represents the difference between "Amount drawn down against Appropriation" and "Tot The summary of compliance is based on the assumptions that Consolidated Fund monies are spent first (except where otherwise ide APPROPRIATION/EXPENDITUR ORIGINAL BUDGET Liability to Consolidated Fund Appropriation Amount drawn down against Fund (includes transfer payments) Expenditure/Net Claim on Consolidated Total Appropriations OTHER APPROPRIATION/EXPENDITUR ART GALLERY OF NEW SOUTH WALES TRUST the Appropriation Act) Transfers to / from another agency (Section 28 of Treasurer's Advance Appropriation Act

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2006 / E E prpito Net Claim on Appropriation eurn xedtr/CptlEpniue eurn xedtr/CptlExpenditure/ Capital Expenditure/ Recurrent Expenditure/ Capital Expenditure/ Recurrent 8291,9 ,7 ,7 5741,7 ,3 2,836 2,836 15,774 15,774 1,770 1,770 18,299 18,299 8291,9 ,7 ,7 5171,8 ,3 2,836 2,836 2,836 2,836 15,187 15,187 15,187 15,187 1,770 1,770 1,770 1,770 18,299 18,299 18,299 18,299 '0 '0 '0 '0 '0 '0 '0 $'000 $'000 $'000 $'000 $'000 $'000 $'000 $'000 osldtdFn osldtdFn osldtdFn Consolidated Fund Consolidated Fund Consolidated Fund Consolidated Fund 8291701,7 2,836 15,774 1,770 18,299 - 2006 A porainNet Claim on ppropriation al Expenditure/Net Claim on Consolidated Fund". ntified or prescribed). - A porainNet Claim on ppropriation 6 168 168 8 587 419 587 419 - 2005 A porainNet Claim on ppropriation -

102 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 103 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 2006 For the year ended 30 June 2006

104 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 105 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 2006 For the year ended 30 June 2006

106 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 107 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 2006 For the year ended 30 June 2006

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2006 For the year ended 30 June 2006

y $'000 $'000 2006 2005 Group Group $'000 $'000 2 EXPENSES EXCLUDING LOSSES Group Group (b) Investment revenue (a) Personnel Services Expenses Tcorp Hour-Glass investment facilities 955 710 Salaries and wages (including Recreation Leave) 13,536 12,479 Interest 793 546 Superannuation - defined benefit plans 508 415 1,748 1,256 Superannuation - defined contribution plans 920 885 Long Service Leave 231 679 (c) Grants and contributions Workers' compensation Insurance 417 194 Sponsorship - cash 980 434 Payroll tax and fringe benefit tax 897 861 Sponsorship - in kind 432 192 16,509 15,513 Donations Works of Art 2,187 2,174 Donations - cash 8,378 9,324 260 There were no personnel services costs capitalised and excluded from above. Donations - in kind 161 Grants - Other 461 633 (b) Other operating expenses Value of Voluntary Services-Note 2(a) 1,403 1,320 Value of volunteer services (refer also Note 3c) 1,403 1,320 Acceptance by the Crown Entity of personnel service benefits and other Liabilities Auditor's remuneration -audit or review of the financial reports 54 45 Superannuation 508 1,375 Cost of sales 2,801 2,073 Long service leave 231 679 Travel and Accommodation 1,014 565 Payroll Tax (on Superannuation) 25 83 Operating lease rental expense - minimum lease payments 181 166 14,865 16,375 Maintenance (Refer reconciliation below) 636 652 Insurance 1,654 1,066 (d) Other revenue Consumables 615 575 Workers compensation recovery 48 44 Exhibition fees and related costs 781 648 Fees- General professional 727 771 Freight, packing and storage 1,418 304 Marketing and promotion 953 854 Printing/Graphics 583 682 Property Expenses 1,517 1,495 4 GAIN/(LOSS) ON DISPOSAL OF NON-CURRENT ASSETS Other 1,261 1,171 15,598 12,387 Property, Plant and Equipment: Proceeds from Disposal 50 Reconciliation - total maintenance 204 Written down value of assets disposed (41) (242) Maintenance expense as above 636 652 9 (38) Personnel Services maintenance expense included in Note 2(a) 325 285 Total maintenance expenses included in Note 2(a) & 2(b) 961 937 5 GOVERNMENT APPROPRIATIONS

(c) Depreciation and amortisation expense (a) Recurrent appropriations Buildings 1,463 1,322 Total recurrent drawdowns from NSW Treasury (per Summary of Compliance) 18,299 15,774 Plant and Equipment 688 1,015 2,151 2,337 Comprising: Recurrent appropriations (per Operating Statement) 18,299 15,774 3 REVENUE (b) Capital appropriations (a) Sales of goods and services Total capital draw-downs from NSW Treasury (per summary of compliance) 1,770 2,836 Sale of goods Less: Liability to Consolidated Fund ( see note 12) - Merchandise, Book and Publication Sales 5,178 3,575 Capital appropriations (per Operating Statement) 1,770 2,836

Rendering of Services Admission fees 3,790 1,621 Venue hire and catering 1,077 828 Other 1,607 849 6,474 3,298 11,652 6,873

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NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2006 For the year ended 30 June 2006

y 2006 2005 11 NON CURRENT ASSETS - PROPERTY, PLANT AND EQUIPMENT $'000 $'000 Group Group Land and Plant and Collection 6 CURRENT ASSETS - CASH AND CASH EQUIVALENTS Buildings Equipment Assets Total $'000 $'000 $'000 $'000 At 1 July 2005 Cash at bank and on hand 2,422 613 Gross Carrying Amount 153,279 11,121 614,807 779,207 Short term deposits 14,566 10,905 Accumulated depreciation and impairment 19,744 9,289 - 29,033 16,988 11,518 At Fair Value 133,535 1,832 614,807 750,174 For the purpose of the Cash Flow Statement, cash includes cash at bank, cash on hand and short term At 30 June 2006 deposits. Cash and cash equivalent assets recognised in the Balance Sheet are reconciled at end of the Gross Carrying Amount 154,654 9,211 628,742 792,607 financial year to the Cash Flow Statement as follows: Accumulated depreciation and impairment 21,207 7,689 - 28,896 At Fair value 133,447 1,522 628,742 763,711 Cash and Cash Equivalents (per Balance Sheet) 16,988 11,518 Bank overdraft - - Reconciliation Closing cash and cash equivalents (per Cash Flow Statement) 16,988 11,518 A reconciliation of the carrying amount of each class of property, plant and equipment at the beginning and end of the current reporting period is set out below: 7 CURRENT ASSETS - RECEIVABLES Year ended 30 June 2006 Gross Carrying Amount at start of year 133,535 1,832 614,807 750,174 Sale of goods and services 503 413 Additions 1,375 395 9,859 11,629 Less: Allowance for impairment (11) (11) Disposals - (17) (24) (41) Accrued Income 235 2,259 Depreciation Expense (1,463) (688) - (2,151) Other debtors 70 94 Net revaluation increment less revaluation decrements - - 4,100 4,100 Prepayments 234 653 Fair value at end of year 133,447 1,522 628,742 763,711 Total Receivables 1,031 3,408 Land and Plant and Collection 8 CURRENT ASSETS- INVENTORIES Buildings Equipment Assets Total Held for resale $'000 $'000 $'000 $'000 At 1 July 2004 Stock on hand-at cost 1,170 1,319 Gross Carrying Amount 144,456 11,010 603,781 759,247 Accumulated depreciation and impairment 9 NON-CURRENT ASSETS- FINANCIAL ASSETS AT FAIR VALUE 18,421 8,465 - 26,886 At Fair Value 126,035 2,545 603,781 732,361 At 30 June 2005 Tcorp Hour-Glass investment - medium term and long term facilities 7,781 6,858 Gross Carrying Amount 153,279 11,121 614,807 779,207 Accumulated depreciation and impairment 19,744 9,289 - 29,033 10 RESTRICTED ASSETS At Fair Value 133,535 1,832 614,807 750,174

Investments in the following are restricted use assets to the extent that they represent bequests and donations Reconciliation held by the Gallery to be used in accordance with the deed of trust or other documents governing these funds A reconciliation of the carrying amount of each class of property, plant and equipment at the beginning and (refer also note 14b): end of the previous reporting period is set out below: Short term deposits 10,104 7,925 Tcorp Hour-Glass investment - medium term and long term facilities 7,781 6,858 Year ended 30 June 2005 17,885 14,783 Gross Carrying Amount at start of year 126,035 2,545 603,781 732,361 Additions 2,497 339 11,231 14,067 Disposals - (37) (205) (242) Depreciation Expense (1,322) (1,015) - (2,337) Net revaluation increment less revaluation decrements 6,325 - - 6,325 Fair value at end of year 133,535 1,832 614,807 750,174

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.

The building was revalued in 2004 at fair value by a senior quantity surveyor from the NSW Department of Commerce.

Collection of art works were valued in 2002 by Mr Simon Storey MAVA, at fair value.

Library collection was valued in 2006 by Mr Simon Taaffe, accredited valuer for the Taxation Incentives for the Arts Scheme (TIAS) for Australian Books, including artists' books, manuscripts etc after 1900 at fair value.

These values do not differ materially from their fair values at reporting date.

112 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 113 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 2006 For the year ended 30 June 2006

2006 2005 TCorp Hour Glass growth facilities (medium and long term ) $'000 $'000 Note (a) – Movements in fair value of these facilities were previously recognised through the asset revaluation reserve. Group Group They are now recognised through profit and loss. This change has resulted in the reclassification of these gains from 12 CURRENT LIABILITIES - PAYABLES reserves to accumulated funds. Note (b) – Change to bid price. Under AASB 139, these facilities are measured using the ‘bid’ price, rather than ‘mid- Accrued personnel services costs 122 52 point’ market prices. This results in the opening balance on 1 July 2005 being slightly lower than the closing balance on Creditors 2,565 3,580 30 June 2005 under previous AGAAP. 2,687 3,632 Asset Revaluation Reserve Creditors include capital creditors of $766,000 (2005 - $1,887,000). 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 Property, Plant and Equipment' as discussed in Note 1. 13 CURRENT / NON-CURRENT LIABILITIES - PROVISIONS 2006 2005 Personnel Services costs $'000 $'000 Recreation leave 1,355 1,202 (b) Bequests and Special Purpose Funds Long Service Leave On-costs 258 289 Included in the total Accumulated Funds is an amount restricted for the Bequests and 1,613 1,491 Special Purpose Funds as follows: AGNSW Trust AGNSW Trust Current 1,600 1,230 Revenue Non-current 13 261 Sale of goods and services 36 184 1,613 1,491 Investment income 1,398 1,054 Aggregate Personnel Services costs Grants and contributions 10,358 11,042 Provisions - current 1,600 1,230 Other Income 33 157 Provisions - non-current 13 261 11,825 12,437 Accrued salaries, wages and on-costs 122 52 Expenditure 1,735 1,543 Personnel Services 249 269 As discussed in Note 1, the Gallery's liabilities for long service leave are assumed by the Crown Entity. The Other 292 455 value of long service leave liabilities assumed by the Crown Entity for Gallery staff was $3.0 million at 30 June 541 724 2006 ($3.1 million at 30 June 2005). Surplus for the year 11,284 11,713 Equity 14 CHANGES IN EQUITY 14,783 Asset Opening balance 13,264 Transfers (86) (444) Accumulated Revaluation Art Acquisitions (8,096) Funds Total Reserve (9,750) Total Equity 11,284 $'000 $'000 $'000 Surplus for the year 11,713 Closing balance 17,885 (a) 14,783 Balance as at 30 June 2004 605,878 143,047 748,925 15 CONTROLLED ENTITIES Changes in Equity - Other than transactions with owners as owners The Australian Institute of Asian Culture and Visual Arts Ltd (VisAsia) - Surplus for the year 12,883 12,883 The principal activities of VisAsia is the raising of funds for the promotion of an understanding and appreciation of Asian Increment on revaluation of investments (AGAAP) - 21 21 Culture through the arts. As a controlled entity of the Art Gallery of New South Wales Trust, the operating result, assets and Increment on revaluation land - 6,325 6,325 liabilities have been incorporated into the Trust's financial report. During 2004/05 a major contribution was made to the Total 12,883 6,346 19,229 Gallery for its Asian program and it was included as expenditure. Balance as at 30 June 2005 618,761 149,393 768,154 VisAsia VisAsia Income Statement AASB 139 first-time adoption adjustment note (a) 22 (22) - Revenue Tcorp Hour Glass facilities - change to bid price note (b) (6) (6) Investment Income 47 28 Restated opening balance 1 July 2005 618,777 149,371 768,148 Grants and Contributions 241 348 Changes in Equity - Other than transactions with owners as owners 288 376 Surplus for the year 14,133 - 14,133 Expenditure 5 Increment on revaluation of library collections - 4,100 4,100 Other 303 5 303 Total 14,133 4,100 18,233 SURPLUS FOR THE YEAR 283 Balance as at 30 June 2006 632,910 153,471 786,381 73 Statement of Financial Position Cash and cash equivalents 979 706 Receivables 19 5 Payables (7) (3) Net Assets 991 708

Accumulated Funds 991 708 Total Equity 991 708 These amounts have been included within the financial report of the Trust under appropriate classifications.

114 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 115 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 2006 For the year ended 30 June 2006

2006 2005 Hour-Glass Investment Facilities $'000 $'000 The Gallery has investments in the following TCorp's Hour-Glass Investment facilities. The Gallery's investments are Group Group represented by a number of units in managed investments within the facilities. Each facility has different investment 16 RECONCILIATION OF CASH FLOWS FROM OPERATING horizons and comprises a mix of asset classes appropriate to the investment horizon. Tcorp appoints and monitors fund ACTIVITIES TO NET COST OF SERVICES managers and establishes and monitors the application of appropriate investment guidelines. 2006 2005 Net cash flows from operating activities (16,405) (10,454) $'000 $'000 Net (gain)/loss on sale of non-current assets (9) 38 Group Group Depreciation 2,151 2,337 (Increment)/decrement - other financial assets (507) (273) Medium Term Growth Facility 3,049 2,805 Gifts of Works of art (2,187) (2,174) Long Term Growth Facility 4,732 4,053 Recurrent appropriation 18,299 15,774 7,781 6,858 Capital appropriation 1,770 2,836 These investments are generally able to be redeemed with 24 hours notice. The value of the investments held can Acceptance by Crown Entity of Personnel Service Benefits decrease as well as increase depending upon market conditions. The value that best represents the maximum credit risk and other Liabilities 764 2,137 exposure is the fair value. The value of the investments represents the Gallery's share of the value of the underlying assets Increase/(decrease) in creditors 176 (293) of fund and is stated at fair value, based on the market value. The returns for the period ranged from +8.8% to +16.9% (Increase)/decrease in receivables 2,377 (1,978) (2005 +9.2% to +12.1%), as compared with Tcorp's bench mark return of between 8.4% and 15.9%. (Increase)/decrease in inventories 149 (186) Fair Value Increase/(decrease) in provisions 122 100 Financial instruments are carried at (amortised) cost, with the exception of Tcorp Hour Glass facilities, which are carried at fair value. Net cost of services 6,700 7,864 However, the fair value of the other classes of financial instruments approximates their carrying value. 6,700 17 NON-CASH FINANCING AND INVESTING ACTIVITIES 19 COMMITMENTS FOR EXPENDITURE

The following non-cash transactions are included in the financial accounts for the year. (a) Capital Commitments There were no material capital commitments outstanding as at 30 June 2006. Donations of works of art - brought to account by creating an asset and crediting non cash donations 2,187 2,174 (b) Other Expenditure Commitments There are no material other expenditure commitments outstanding as at 30 June 2006. The following items are brought to account as expenses in the Operating Statement and are credited as income in the form of non-cash sponsorships, non-cash donations or services provided free of charge: (c) Operating Lease Commitments Future non-cancellable operating lease rentals not provided for and payable: Voluntary services provided 1,403 1,320 Advertising, freight, accommodation, travel and similar expenses 432 192 Not Later than one year 146 115 Legal fees 260 161 Later than one year and not later than 5 years 688 15 Total (including GST) 834 130 18 FINANCIAL INSTRUMENTS The Gallery's principal financial instruments are outlined below. These financial instruments arise directly from the Gallery's The total "Operating Lease Commitments" above include input tax credits of $75,800 (2005 $11,800) that are expected operations or are required to finance its operations. The Gallery does not enter into or trade financial instruments for to be recovered from the Australian Taxation Office. There were no other contingents assets as at 30 June 2006. speculative purposes and does not use financial derivatives. The Gallery leases a number of industrial units for off site storage. Lease rentals (including GST) are payable to the lessors monthly in advance. Bank guarantees have been taken in lieu of security deposits. Term Deposits The Gallery has placed funds in bank deposits "at call" or for a fixed term. The interest rate payable is negotiated initially 20 CONTINGENT LIABILITIES and is fixed for the term of the deposits. The deposits are usually held to maturity. The fair value includes the interest accrued as at 30 June. The Treasury ManagedFund normally calculates hindsight premiums each year. However in regard to workers compensation the final adjustment calculations are in arrears. 2006 2005 Carrying Fair Carrying Fair The restatement of "Employee costs" as "Personnel Services" costs as directed by the Treasury Circular 06/13 dated 21 Amount Value Amount Value June 2006 (Refer Note 1(e)) may give rise to a contingent liability(ies) in the form of penalty(ies) from the Australian $'000 $'000 $'000 $'000 Taxation Office under GST legislation. There may also be liabilities with regard to other third parties who may also be impacted by this change in treatment. It not possible at this stage to quantify the extent of the potential liability(ies). 1 year or less 14,566 14,770 10,905 10,990 14,566 14,770 10,905 10,990

The securities at balance date were earning an average interest rate of 5.9% (2005 5.9%) and over the year the weighted average interest rate was 6.0% (2005 5.8%) on a weighted average balance of $13,024,000 (2005 $8,937,000)

116 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 117 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 2006 For the year ended 30 June 2006

2006 2005 Financial Instruments – 1 July 2005 first time adoption impacts $'000 $'000 As discussed in Note 1(c), the comparative information for 2004/05 for financial instruments has not been Group Group restated and is presented in accordance with previous AGAAP. AASB 132 and AASB 139 have been applied 21 RESULTS OF FUNDRAISING APPEALS from 1 July 2005. Accordingly, the 1 July 2005 AEIFRS opening equity adjustments for the adoption of AASB 132 / AASB 139 follow: The Gallery conducted a number of fundraising activities during the year and the results are as follows: Asset Donations - Works of Art 2,187 2,174 Accumulated Revaluation Donations - Cash 8,378 9,324 Funds Total Reserve Total Equity 103 Other fundraising 233 $'000 $'000 $'000 10,668 11,731 Total opening equity 1 July 2005 618,761 149,393 768,154 546 AASB 139 first-time adoption adjustment - Tcorp Hour Glass Cost of fundraising 727 facilities 22 (22) - 10,122 Net surplus from fundraising 11,004 Tcorp Hour Glass facilities - change to bid price (6) (6) Restated opening Equity 1 July 2005 (after applying AASB 139) 618,777 149,371 768,148 Purchase of Works of art/Other 8,096 9,750 Transferred to/(from) Accum. Funds 2,026 1,254 10,122 11,004 END OF AUDITED FINANCIAL STATEMENTS

In accordance with the Charitable fundraising Act 1991, the following details are provided: Cost of fundraising as percentage of funds raised 5% 6% Net surplus as percentage of funds raised 95% 94% Cost of services as percentage of total expenditure 94% 93% Cost of services as percentage of income received 76% 83%

22 BUDGET REVIEW

Net Cost of Services The actual net cost of services is lower than budget by $12.8m, primarily due to better than anticipated attendances and donations.

Assets and Liabilities Net Assets is $15.8m higher than budget due largely to the higher than budgeted acquisition of collections and the increase on revaluation of the library collections.

Cash Flows (a) Operating Operating cash flows were higher than budget by $13.7m as a result of better than anticipated receipts from admission and donations.

(b) Investing Investing cash outflows were higher than budget by $8.1m reflecting an increase in budgeted purchases of collections.

23 IMPACT OF ADOPTION AEIFRS

The Gallery has applied the AEIFRS for the first time in the 2005-06 financial report. The key areas where changes in accounting policies have impacted the financial report are disclosed below. Some of these impacts arise because AEIFRS requirements are different from previous AASB requirements (AGAAP). Other impacts arise from options in AEIFRS that were not available or not applied under previous AGAAP. The Gallery has adopted the options mandated by NSW Treasury for all NSW public sector agencies. The impacts below reflect NSW Treasury’s mandates and policy decisions.

The Gallery has determined that there were no material impacts on total equity, surplus/(deficit) and cash flows as reported under previous AGAAP.

118 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 119 INDEX

aboriginal & torres strait islander asian art 29 international modern and vision, purpose, pledge of service 5 programs and services 68 australian art 20 contemporary 35 australian contemporary 27 library 37 visitor numbers 65 access inside back cover european painting pre-1900 25 photography 36 european prints, drawings and visitor services 52 acquisitions (collection purchases watercolours 25 exhibitions listing 66 gallery shop and and gifts) of works of art 72,75 international modern and touring exhibitions 67 merchandising 52 aboriginal & torres strait contemporary art 26 venue hire services 52 islander art 72, 77 library 30 financial statements 93 asian art – burma 77 photography 29 commentary 94 women’s action plan 70 asian art – bangladesh 77 independent audit report 96 asian art – china 73, 77 collection loans 80 index 93 asian art – India 73, 77 furnishing loans 83 summary 95 asian art – indonesia 77 works of art lend to the statements and notes 98 asian art – japan 73, 78 gallery 80 asian art – mongolia 73 works of art lent by the miscellaneous administration 90 asian art – nepal 73 gallery 80 credit card usage 91 asian art – thailand 79 customer complaints 91 asian art – tibet 79 community activity and support 47 eeo statistics 90 asian art – vietnam 79 access programs 48 electronic service delivery 91 australian art 72, 75 education training 48 engagement and use of european art pre-1900 73, 79 regional support 47 consultants 90 modern and contemporary the pool party 47 freedom of information – 73, 79 volunteers 49 statement of affairs 91 photography 74, 79 freedom of information – corporate governance 54 procedures 91 aged and disability access program board of trustees 54 internships 91 and services 68 organisation structure 59 land disposals 91 other gallery entities 57 major assets 91 agnsw publications for sale 67 risk management 60 major capital works 90 audits 60 payment performance 90 appendices index 61 business continuity policy development 91 planning 60 production costs 2006 art prizes, grants and scholarships industrial relations 60 annual report 91 64 insurance 60 privacy management 91 anne landa award 64 legal changes 60 brett whiteley travelling art occupational health and overseas travel 71 scholarship 64 safety 60 dyason bequest 64 senior management publications 38 the archibald prize 64 profile 58 books published in 2005–06 38 the bobell prize for drawing 64 staff profile 59 education kits & resources 39 the 64 trustee meetings 56 publication awards 38 the sir john Sulman prize 64 the citigroup private bank corporate support 50 president’s foreword 12 australian photographic portrait art gallery foundation 50 prize 64 art gallery society 50 sponsorship and philanthropy 62 the basil and Muriel hooper collection benefactors and centenary fund 62 scholarship 64 other support groups 51 foundation membership 62 the prize 64 the centenary fund 51 grants / partnerships 64 the robert le gay brereton visasia 51 life governors 62 memorial prize 64 new bequests 64 studios in paris 64 director’s statement 14 president’s council 62 sponsorship 62 audiences 40 ethnic affairs priorities statement 69 visasia 62 2005–05: years kindergarten to tertiary (K–T) 44 environmental management 53 staff list 84 art after hours 42 energy audit 53 audiences for public and performance 53 staff publications, presentations and education programs 43 recycled content 53 related activities 86 brett whiteley studio 42 reduction in the emission from education programs 43 vehicles 53 transmission letter to minister 4 family programs 43 reduction in the generation film at the gallery 42 of waste 53 year in brief 6 margaret preston: art and life 40 resource recovery initiatives 53 highlights 6 other major exhibitions water audit 53 summary of performance 7 programs 41 strategic plan – aims and pissarro: the first impressionist exhibition case study 16 objectives 8 40 rajput: sons of kings 41 exhibitions 31 year in review 20 self portrait: renaissance to aboriginal & torres strait audiences 40 contemporary 41 islander art 33 collections 20 website 46 asian art 36 community activity and support australian art 31 47 brett whiteley studio 33, 42 australian contemporary 36 corporate support 50 brett whiteley studio 33 exhibitions 31 collections 20 european art pre-1900 33 environmental management 53 aboriginal & torres strait european prints, drawings and publications 38 islander art 23 watercolours 33 visitor services 52

120 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES APPENDICES

Sponsorship and philanthropy 62 Sponsorship Life governors Centenary Fund President’s Council VisAsia Foundation membership Grants/partnerships New bequests Art prizes, grants and scholarships 64 Visitor numbers 65 Exhibitions listing 66 AGNSW publications for sale 67 Aged and disability access programs and services 68 Aboriginal and Torres Strait Islander programs and services 68 Ethnic affairs priorities statement 69 Women’s action plan 70 Overseas travel 71

Collection purchases 72 Collection gifts 75 Loans 80

Staff list 84 Staff publications, presentations and related activities 86 Miscellaneous administration appendix 90

ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 61 Fellows Beaumont; Mrs Janette Beavis; Robert Felton; Nikki Fesq; Vicki Dr Kathryn Lovric; Tom & Sylvia SPONSORSHIP AND PHILANTHROPY AEH Group; Mark & Lindy Graham & Mary Beirman; Luca & Grace & Phil Fiebig; Jean Findlay; Lowenstein; David & Sue Lowes; Ainsworth; Mrs M C Ainsworth; Anita Belgiorno-Nettis; Pamela Bell Chris & Anne Finn; Erin Flaherty; Morris & Fiona Lyda; Mrs Diana Sir Alexis Albert RFD RD & Robert OAM; Thor Beowulf; Nicole Berger; The Florin Family; Barbara Flynn & Macarthur-Stanham; Anni O Albert AO RFD RD; Kate Klaas & Lise Berkeley; Daniel & William Grounds; Sandra Forbes & Macdougall; Megan Machin (in SPONSORSHIP CENTENARY FUND Bill Ferris AO, CHAMP Private Diane Balnaves; James Barker; Mr Anderson; Patsy Asch; Felicity Danielle Besen; Ken & Lynette Robert Farrar; Mariann Ford; Roslyn memory of); Alfred H Machin; David Equity; Philip Cox AO, Cox & Mrs P L Binnie; Jillian Broadbent & John Atanaskovic; Australian Bignill; Michael & Jenny Birt; Judge Forrest; The Freedman Foundation; Maloney; J & A Mandelson; Sarah Avantcard: Support sponsor: Patrons of the Centenary Fund as Richardson; Geoffrey Applebee, AO; Caltex Australia Limited; Galleries; Philip Bacon AM; Sam AD & Mrs C Bishop; The Hon John Frey; Jim & Judy Friend; Gwen Mandelson & Richard Single; Julie general at 30 June 2006: Ernst & Young; Peter Hall, Genworth Vincent Fairfax Family Foundation; & Susan Ballas; Sir Howard & Lady Bronwyn Bishop; Allan Blaikie; Frolich; Judy & Chris Fullerton; Anne Manfredi Hughes; Richard Mann & BNP Paribas: Conservation Claire Armstrong, Alex & Vera Financial; Penny Bingham-Hall, John M Gillespie; David Gonski AO Beale; Mrs N Brink; Gregory & Richard Andrew Blair; Kevin & Fulwood; Mr Lucio Galletto; Sally Mary Curtis; Anthony & Suzanne Partner – Snyders Restoration Boyarsky, Jillian Broadbent AO & Leighton Holdings; John Saunders, & Orli Wargon; Dr Elizabeth Hazel; Nicola Bundy; Paul & Karen Byrne; Marianne Bleasel; William & Annette Garrett; Sue Gazal; Getty Images; Maple-Brown; Joy & Harold The Citigroup Private Bank: Olev Rahn, Joanna Capon OAM, The Linden Group; Warwick Smith, Robert Quentin Hole; Fraser & Joanna Capon OAM; Peter & Blinco; Ken Bloxsom; Audrey & Jilly & Mike Gibson; Donald & Rosita Marchant; Eugene & Joanne Principal sponsor: Australian Judy Cassab AO CBE, David & Macquarie Bank; Stephen Knight, Victoria Hopkins; Isa & Hal Jones; Margaret Cary; Janet R Cooke; Robert Blunden; The Bodor Family; Gibson; Belinda Gibson; Ross & Marchese; Pierre Marecaux & Ken Photographic Portrait Prize Michelle Coe, Kenneth Coles AM NSW TCorp; Warwick Johnson Mr C Lloyd Jones CMG; Andrew Dr Malcolm Coppleson AO & Patricia Terry & Rob Bolin; Bonhams & Narelle Gibson; James & Robin Thompson; Scott Marinchek & City of Sydney: Support sponsor: & Rowena Danziger AM, Jenny Optimal Fund Management; Quang Klippel; Sophie Landa; Mr & Mrs Coppleson; Bruce & Ann Corlett; Goodman; David Boyce; Natalia Patricia Giffen; Suzanne Gleeson; Daniel Valawink; Bert & Diana Marks Margaret Preston, Pissarro, Self Ferguson, David Gonski AO & Orli Luu AO, SBS Radio; Nicholas Teck-Chiow Lee; Frank Lowy AC; Ian Darling; Vesta & Owen Davies; Bradshaw; Peter Braithwaite; Eva Barry & Katherine Goldman; Robert (in memory of); F & M Martin; portrait Wargon, in memory of Aida Gordon, Curtis, Sino Gold; Tim Casey, Jim Masselos; Nelson Meers AC The Hon Mrs Ashley Dawson- Breuer; Mary-Jane Brodribb; Gould; Gill Green; Bill & Anne Richard & Maryanne Martin; Mitchel Yvonne & Christopher Gorman, Clayton Utz: Principal sponsor: St Hilliers; John Ingleson, University & Carole Meers; Catriona & Simon Damer; Christopher & Fiona Day; Barbara Brown; Michael & Wendy Gregory; Randolph & Amanda & Robyn Martin-Weber; Brenda & Alex Holland, Peter & Sharon Ivany, Jeppe Hein of New South Wales; David Mordant; David Moore; Carole Lauraine Diggins; Mr & Mrs G M Brown; Martin Browne; Warwick Griffiths; Julian & Stephanie Grose; Robert May; John McBride; Mrs Nettie & Peter Joseph OAM, Anne Colonial Foundation: Regional Goodman, University of Technology Muller; Susan Rothwell; Charles & Douglass; Mr J O Fairfax AO; Zeny Bryan; Ian & Siena Buchanan; Kylie Thurston Grosser & Tim Marie McCann OAM; McConnel Landa, Michelle & John Landerer Archibald Tour 2005 Sydney; Michael Sternberg, Valiant Denyse Spice; Isaac & Susan Wakil; Edwards; Sandra & Paul Ferman; Thomas Bucich; Michael Bulloch; Grosser; Sophie Guest; Bill & Kate Smith & Johnson; Mark & Roslyn CBE AM, Geoffrey & Deborah Levy, Embassy of France: Film program Hire; William Clark; Michael Hawker; Peter Weiss AM; Westfield Holdings Rosemary Foot AO; Mr M A Steve & Suzanne Burdon; Dr John Guy; Hon Justice Ian V Gzell; McCulloch; Frank McDonald; Elizabeth Longes, David Lowy, John sponsor: Pissarro and Lee Seng Huang. Ltd; Wesptac Banking Corporation; Gleeson-White AO; Mollie Gowing; & Prof Margaret Burgess; Ruth Damian Hackett & Michelle Holmes- R McDonald Luger; Jan McGovern; Ernst & Young: Principal sponsor: & Jane Morschel, Mrs Kerry Packer, David George Wilson; Dr John Yu Maurice & Christina Green; Linda Burgess; Mrs Joyce A Burnard; Hackett; Indranil Halder & Jane Susan & David McGrath; Roger Bridget Pirrie & Stephen Grant, Art After Hours FOUNDATION AC & Dr George Soutter AM. Gregoriou & Dale Jones-Evans; Elizabeth Burns; Gil & Kim Burton; Wilkins; Michael & Gail Hale; McIlroy; Andrew McKinnon; Andrew Investec: Principal sponsor: Steven & Lisa Pongrass, John MEMBERSHIP Mr Neville Gruzman AM & Mrs Margot Buttrose; Paul & Elizabeth Thomas Hamel; Ken & Di Handley; & Abbey McKinnon; Lady McMahon; Pissarro L Sharpe, Brian Sherman AM, Governors Gruzman; Amanda Harkness; Mr & Buzby; Michael Callaghan; Elizabeth John Hanlon; Antonia & Con Dr Stephen McNamara; Tony & JCDecaux: Media sponsor: Dr Gene Sherman, Geoffrey Members of the Foundation as at Paul & Valeria Ainsworth; Nanette & Mrs I R L Harper; Simon & Diana Callanan; Lisa Cantamessa & Haralambis; Sally Hardy; James Fran Meagher; R P Meagher; Paul Margaret Preston, Pissarro Susskind, Malcolm & Lucy Turnbull, 30 June 2006. For memberships Stephen Ainsworth; Mrs Antoinette Heath; Beverley & Stanley Horwitz; Francis Douglas; Adrian & Evan Harker-Mortlock; Amanda Harkness; & Gráinne Meehan; Brian & Lorna JPMorgan: Principal sponsor: Self Michael & Eleonora Triguboff, and before 1994, please see the Albert; Robert & Elizabeth Albert; Judy Joye; Judith & Ervin Katz; Cardiacos; Jim Carlsson; Alison & Angelo & Despina Hatsatouris; Mellor; Charles G Mendel; Stephen portrait Phillip Wolanski. separate Art Gallery of New South David Apelbaum & Werner Peter Keel & Angela Arnold; Phillip Robert Carr; Michael Carr; Philip Michael Hawker; Evelyn Hawkins; Menzies; Warwick & Suzanne Macquarie Bank: Principal sponsor: Wales Foundation Annual Report. Schmidlin; Mrs Kate Armati; Ken Keir; Jeannette & Gordon King; Mrs Carr; Bronwyn & Anthony Carroll; Eric Hawley & Glen Weston; Lesley Miller; Paul Milliss; Russell Mills; general PRESIDENT’S COUNCIL & Ellen Borda; Gillian Bunning; R Komon; David Knaus; John & Simon Cary; Peter & Norma Heath; Michael Hedger; Hal Herron; Dr Margaret Mills; Mr R H Minter; Foundation membership comprises Myer: Principal sponsor: Archibald, Members of the President’s Council Andrew & Cathy Cameron; Judy Anne Leece; Alan Legge; Bernard & Castaldi; Joseph Catanzariti; Licia Jean W Herron; Peter H Hesky; Sue Dr Hing Yiu Mok; Brian & Jocelyn donors to the Foundation itself, plus Wynne and Sulman prizes 2006 as at 30 June 2006: Cassab AO CBE; David & Michelle Barbara Leser; Ann Lewis AM; Mr Cattani; Ronni & Merelyn Chalmers; Hewitt; Nora Heysen; Catherine Munday; Kingsley Mundey; Barry & donors to all the different support The Motor Accidents Authority: David Gonski AO, President; Peter Coe; The Clitheroe Foundation; Anthony Odillo Maher; John & Gail Julia Champtaloup; Chinese Hickson; John & Catherine Higgins; Elizabeth Murphy; Mr Tim Murray groups within the gallery. Prior to Venue and website sponsor: Young, ABN AMRO; David Baffsky Charles Davies-Scourfield; Peter Marshall; Andrew & Michele Ginsengs & Herbs Co Pty Ltd; Lachie Hill; Stephen Hill (in memory & Ms Camilla Drover; Mrs T A & 2004 all donors to the different Artexpress AO, Accor Asia Pacific; Roger Elliott; Margaret Ellis; Lady (Vincent) Michael; Will Noble; Gwen Pearson; Ronda Chisholm; Alan Chiswick; of); Winifred Hinds; Christopher Mr J D Murray-Jones; Michael collection benefactors groups The Flower Man: Floral sponsor: Allen, Allen & Buckeridge; Scott Fairfax OBE; Jenny Ferguson; Brian Bridget Pirrie & Stephen Grant; Oi Choong; Jane & Hamish Clark; Hodges & Helen Eager; Kate Musgrave; Dr Desmond & Suzanne (Aboriginal Collection Benefactors Margaret Preston Reid, Australia & New Zealand France AM & Philippa France; Chris Michael & Lexie Polin; Alex Popov John & Rosemary Clarke; David Hodgkinson & Frank Hodgkinson Nasser; Kimberley Needham; ACB; Contemporary Collection Optimal Fund Management: Banking Group Ltd; John Symond & Judy Fullerton; Elizabeth Fyffe; & Alison Hulett; Michael J Reed; & Anna Cleary; Jillian A Cobcroft; (in memory of); Malcolm & Helen Kazuko Nelson; Dr Warwick Nettle Benefactors CCB; Photography Principal sponsor: Zen mind Zen AM, Aussie Home Loans Ltd; Sally Garrett; John & Inge Grant; Reg & Sally Richardson; Dr & Mrs Richard Cobden; John & Doreen Holmes; Maria Teresa Savio Hooke; & Mimi Verlaine Nettle; Bruce & Collection Benefactors PCB; brush Scott Walters, Citigroup; Giam Neville H Grace; Deirdre & David S Robertson; Greg & Elizabeth Coburn; Dr Gianni & Mrs Elena Andrew L Horsley; Mr & Mrs S J Lynne Newey; Kerry Nicholson; Conservation Benefactors CB) were Porter’s Paints: Official Paint Swiegers, Deloitte Touche Greatorex AO; Ginny & Leslie Sanderson; Max & Alison Sandow; Cocco; Joanna R Coghlan; Ron Howard; Bruce & Carolyn Hudson; Carmel Niland AM; Nomadic Rug listed separately according to the Supplier Tohmatsu; Chum Darvall, Deutsche Green; Christine & David Hartgill; Michael & Lia Silvers; David Slessar Coles; Cheryl Collins; Simon & The Hon T E F Hughes AO QC & Traders; William Nuttall & Annette department supported. Now all Qantas Airways: Principal sponsor: Bank AG; Chris Gorman, The Geoffrey L Hassall; Dr James & Alice Ilich; Joyce Sproat; James & Roberta Collins; Peter & Gail Mrs Hughes; Roslyn & Alex Hunyor; Reeves; Rory, Zena & Lucy are listed at the level within the Yiribana Aboriginal and Torres Strait Executive Connection Pty Ltd; Hayes; Bill Henson; Michael & Jeanne-Claude Strong; Dr & Mrs Comino; Susan Conde; Alan Cooley; Dr Susan Hurley & Dr James La O’Connor; Alec O’Halloran & Helen foundation according to the amount Islander gallery, Airline sponsor: David Kirk, John Fairfax Holdings Doris Hobbs; The Estate of the late Hugh Taylor; Mrs Marie Trainor; Peter & Helene Coombes; Peter & Nauze; W Nevin Hurst; Mrs H W Zimmerman; Tim Olsen; Janette donated, or in the case of supporters Margaret Preston, Pissarro Ltd; Bruce K Cutler, Freehills; Clark M E R Horton; IBM Australia Limited; The Hon T W Waddell & Mrs Thea Dee Court; Geoffrey Cousins & Hutchinson; T & D Hyde Page; O’Neil; Marianna & Tony O’Sullivan; who have notified the Gallery of SBS Radio: Media sponsor of the Perkins, Goldman Sachs JBWere; Angela Isles; Peter & Sharon Ivany; Waddell OAM; Phyllis Warnock; Darleen Bungey; Dr Maria Craig The Insight Group; David & Monica Roslyn & Tony Oxley; John & Faye their pledged bequest to the Gallery Emmanuel Pohl, Hyperion Asset Robert Johnson; Nettie & Peter Ms C Zampatti; Salvatore Zofrea. & Mr Richard Bornman; Robin Jackson; Ted & Cynthia Jackson; Parker; Michael & Fiona Pascalis; Gallery or Foundation, at the level Sofitel Wentworth Hotel: Support Management Ltd; Peter Ivany, Joseph OAM; Mrs VN Kahlbetzer; Crawford; Rear Admiral Ian Crawford Ken & Louise Jacobs; Josephine Lisa & Egil Paulsen; The Hon commensurate with one half of the sponsor: Archibald Wynne and Ivany Investment Group; Steven Andrew James Kellett ; Mr & Mrs Donors AO AM (Mil) & Mrs Catherine Jacoby; Di Jagelman; Pamela Andrew Peacock AC & The Hon current value of the pledged bequest. Sulman prizes and Pissarro O’Connor, JCDecaux Australia; R H Kidd; Wal & Denise King; Anne Ron Coles; The Freedman Crawford; Mr J N Creer; Frank & Jennings; Adam & Jilly Johnson; Penne Korth Peacock; Gwen The Sydney Morning Herald: Media Andrew Pridham, JPMorgan; Rob Landa; Ross Langlands & Irene Foundation; James Geneid; Jeanne Joan Croll; Angelo & Erenie Crones; Robert Johnson; Rainbow Johnson; Pearson; John G Pearson & Mark The levels within the foundation since sponsor: Margaret Preston, Wannan, Kemp Strang Lawyers; Langlands; Dr Colin & Mrs Elizabeth & Josef Lebovic; D & E Prevedoros; Elinor Crossing; Peter & Sally Michael & Margot Johnson; Ian B Clark; John & Susannah Penton; November 1994 are as follows: Pissarro, Self portrait Chris Jordan AO, KPMG; Gary Laverty; Geoffrey & Deborah Levy; Vassily & Robert Skinner; Scott & Crossing; Charles P Curran AO; Johnston; Amanda Johnstone & Anthony W Perry; Molly Perry (in • Life Benefactors ($1 million +) The Australian Women’s Weekly: Reidy, Korn/Ferry International; Vicki Liberman; David Lowy; Mr Merrill Witt. Prof Noel & Adrienne Dan; David Cowling; Dr Ross Jones; memory of); Gabrielle Pizzi; Ian • Benefactors ($200 000 up to National media sponsor: Margaret John C Conde AO, MBF Australia Andrew Lu & Prof Dr Geoffrey Sally Dan-Cuthbert; Brian & Yvonne Erika Jumikis; Naomi Kaldor; Plater & Claire Wivell Plater; Fiona $1 million) Preston Ltd; Dawn Robertson, Myer; Lancaster AM; Mr Jack Manton Members Davidson; Sandy & Jane Dawson; Vasili Kaliman; Ms Poppy & Iphy Playfair; Anna & Vessa Playfair; Mr & • Governors ($50 000 up to Paul O’Sullivan, Optus; Alan Bell, OBE & Jenny Manton; Yvonne Russell & Lucinda Aboud; Ms Roderick & Gillian Deane; Peter & Kallinikos; Peter Kampfner; Mary Mrs John Playoust; John & Sandra $200 000) LIFE GOVERNORS Parnell; Deeta Colvin, PBL Diana Buchanan May & Hugh Karma Abraham; Mr & Mrs J H Deborah Debnam; John & Helen Kavanagh; C. John Keightley; David Pope; Rex & Genevieve Porter; • Fellows ($20 000 up to $50 000) Media; Tony Harrington, Buchanan May; Sam Meers & Adair; Mr Ross Adamson; Mr L H Denoon; The Dickerson Family; Kelly & Aynsley Cameron; Mrs Frances Prell; Ann & Andrew Proctor; The Gallery has acknowledged the • Donors ($10 000 up to $20 000) PricewaterhouseCoopers; Geoff Richard Kuo; Mrs John Minter; Ainsworth; Victoria Alexander; D Collette Dinnigan; James & Suzanne Suzanne Kelly; Nick & Susie Kelly; Elizabeth Pryce; Julia & Fred Pucci; significant support of the following in a five-year period (category Dixon, Qantas Airways Ltd; Eric Dr & Mrs Mark Nelson; Mr & Mrs John W Allen; Timothy & Prue Allen; Dominguez; Ken & Judy Done; Christina Kennedy; Susie & Ian Philip Ramsden; Dr Dick Quan; individuals by appointing them as added in 2005) Dhoste, Société Générale CIB; Nicholas Peters; Kerry Packer AC Mr Mark E Andrews; Annandale Barbara & Andrew Dowe; Stella Kennedy; David S Kent; Lesley Susan Ray; Kenneth R Reed; Alan Life Governors: • Members ($5000 up to $10 000) Galleries; Chris Antico & Samantha Justin Miller, Sotheby’s; Greg Daniel & Roslyn Packer; Guy Paynter; Downer; Pamela Downey; Michael Kernaghan; Key Foundation; & Jan Rees; Brian L Regan; Marcia Franco Belgiorno-Nettis AC CBE; in a five-year period Elizabeth Ramsden; Garry Rothwell; Green; John Antico AM; Gillian L Duigan; The late Mrs I G Dulieu; Richard King; Anna-Lisa AM, Statecraft; Guido & Luca Resch; Isabel Reynolds; Mr & Mrs Joseph Brender AO; Jillian Judith & Ken Rutherford; Penelope Appleton; Arc One Gallery; June & John & Jill Dunlop; Anita & Don Klettenberg; Timothy Klingender; D Ritchie; Andrew & Andrea Belgiorno-Nettis, Transfield Broadbent AO; Ken Cowley AO; Life Benefactors & Harry Seidler AC OBE; John L Jim Armitage; Jonathan Armytage; Dunn; Sue & Colin Dunston; Mr & Mrs Gilles Kryger; Ian & Sue Roberts; Patricia A Rochford; Holdings Pty Ltd; Philip Coleman, James Fairfax AO; Michael Gleeson- James Agapitos OAM & Ray Wilson Sharpe; Dr Gene & Brian Sherman Pheona Arndell & John Quinn; Carmel Dwyer & Charles Leedman; Lancaster; Dr William Land AM; Geraldine C Rogan; Liane Rossler UBS AG Australia; Leon Davis, White AO; Mollie Gowing; Shosuke OAM; Maurice Cashmere; Ken AM; Eve Silver; W J Sinclair; Charles & Deidre Aronson; Lachlan Matthew Dysart (in memory of); Annette Larkin; Chloris Latham; & Sam Marshall; Gabriella Roy; Westpac Banking Corporation; Idemitsu; James Leslie AC MC; Coles AM & Rowena Danziger AM; Sabrina & George Snow; J A & Astle & Neil Matthews; Lady Atwill; Max & Sandra Eady; Donald Elley; Charles Latimer; Robert Lavigne; Michael S H Royal; Drs Philip & Steve Burdon; and Bruce McComish. Frank Lowy AC; Rupert Murdoch James Gleeson AO & Frank H D Sperling; Frederick & Caroline Susan Ayers; Henry & Peta Robert Elliott & Elizabeth Russell; Dr L Lawrence; Neil & Caroline Valmae Rundle; Mrs Cynthia AC; Kenneth Myer AC, DSC; O’Keefe; Walter Hartwig; Mary Storch; Stanley Tan & Jim Williams; Badgery; Jim & Janette Bain; Dr Peter English & Fiona McIntosh; Lawrence; John Laws CBE & Russell; Margaret & John Ryan; J Hepburn Myrtle CBE; Margaret VISASIA Heseltine; News Limited; Mary Mr & Mrs G M Thorp; Malcolm & Roderick Bain & Mr Norman Glenn; James & Jacqui Erskine; Janet Caroline Laws; Bernard & Linna Ken & Echiko Sadamatsu; Terry & Olley AC; Max Sandow AM; John Members of the VisAsia Business Eugene Tancred. Lucy Turnbull; Diana Walder OAM; D & R Baker; Richard & Chrissie Espie; Carole & Brian Ettelson; Bill Le Boursicot; Edith Lees; Professor Judith Salmon; Kelly Salteri; Barry Schaeffer AO; Goldie & Edward Council as at 30 June 2006 Bret Walker SC; Margaret Waller; Banks; Christopher T Barry QC; Evans; Ruth Faerber; Sr Jennifer Michel Lefebvre; Therese Leuver; Salzman; Margaret & Victor Sternberg AM; Fred Street AM; John Yu AC, Chairman; Mark Benefactors S H W & E M Watson; Doreen & Doug & Pam Bartlett; Mr & Mrs Fahey AM RSC; Lady Mary Fairfax Christine M & David B Liddy; Robert Sammut; Mark & Ruth Sampson; Diana Walder OAM; Neville Wran Warren, Australia Post; Richard Geoff & Vicki Ainsworth; Art Gallery Geoffrey K Williams; Diana Yeldham; Charles Battersby; John Beard & AM OBE; Dr Donald K Faithfull; Linnegar & Randi Linnegar; Bob Ruth Sams; Mr & Mrs C G AC QC; and John Yu AC. Fisher, Blake Dawson Waldron; Society of New South Wales; Neil & Steven Zador. Wendy Davis Beard; Julian & Anne Tony & Amelia Fay; Peter Fay; & Eleni Longwell; Amanda Love; Samuelson; Peter & Christa

62 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 63 Satouris; Mrs Alfred Saunders; Simpson; Shane David Simpson; Tanner; Victoria Taylor; Bhupen The Edmund & George Whitlock Robert & Mitzi Saunders; Alysoun Fiona Sinclair King; Janet E Single; Thakker; Jeanette C Thomas; Mrs Foundation; Greg & Karen VISITOR NUMBERS Schoer; Pamela Schüttler; Anna Terri Sissian; Pat & Derek Smith; W J Tilley; Isolde Tornya; Michael Whittred; Michael Whitworth & Schwartz; Lilli Scott; Mr John Terrill Mr R A Smith; Peter & Kathryn & Eleonora Triguboff; Kevin & Dawn Dr Candice Bruce; Sarah J Whyte; Scott; Annette Searle; Morna Snowball; Gary & Max Stead; Troy; Urban Art Projects; Akky & Drs Eva & Heinz Wicki; Dr Ian Seres & Ian Hill; Bernard Shafer in Ross Steele AM; Peter & Suzanne John van Ogtrop; Edward & Morna Wilcox; Mr David Wilkenfeld; Visitor numbers as at 30 June 2005 Memory of Anna Shafer; Dr John Steigrad; Dr Miriam & Mr Les Stein; Vellacott; Will & Jane Vicars; Mrs Cameron Williams; Julie Williams; & Mrs Robin Shand; Mr & Mrs David & Nikki Stein; Lyn & Ian F G D Voss; Eugenie Vrisakis; Mr Robert H. Williams; Chris & Judi Total Visitors Total Visitors Total Visitors Total Visitors Total Visitors Domain W Studio Reg Touring Andrew Shapiro; Dr Philip Sharp; Stephenson; Mr & Mrs G V & Mrs W D T Ward; Philippa Wilson; Neil & Lesley Wilson; Julia 2001-02 2002-03 2003-04 2004-05 2005-06 2005-06 2005-06 2005-06 Vivienne Sharpe; Jeanette & Brian Stewart; Brett Stone & Mark Warner; Suzanne A R Waterhouse; Wokes; Donna Woodhill; Margaret July 169 193 115 250 85 229 115 194 95 690 82 436 756 12 498 Sharpe; Mandy & Oliver C Shaul Cowley; Bruce & Jennifer Stuckey- Shirley Watkins; Gail Watt; John Woodward; Margaret Wright; August 64 025 75 305 87 094 102 579 112 172 100 798 603 10 771 OAM; Neville Spry & Susan Clarke; Sullivan+Strumpf Fine Art J Webster SC; Roslyn E Weiley; Andrew Wright; Larry & Patricia Shehadie; Ray Shorrocks; Mrs Pty Ltd; Dr Paul Sutherland; Sutton Joy Elizabeth Wennerbom; Mr Wyner; Tohr & Marianne September 55 962 64 005 93 306 100 238 91 764 83 883 763 7 118 Helen Showniruk; Patrick & Gallery; John D Swainston; Georgie & Mrs Morris L West; Craig Yamaguchi; Susan Yates; Dr Ling October 57 290 61 473 97 974 111 954 97 960 83 466 770 13 724 Gabriella Simpson; Janice & Bruce Swift; Yosi & Derryn Tal; Howard Westgate; Ivan & Karel Wheen; Yoong; Corinne & John Young. November 69 718 87 442 88 898 93 854 130 102 90 104 471 39 527 December 96 159 111 304 129 554 144 923 189 628 95 379 336 93 913 January 146 525 140 771 177 706 123 277 231 202 130 525 872 99 805 GRANTS/ PARTNERSHIPS February 117 255 114 713 145 421 96 651 126 184 122 493 863 2 828 During the year the following grants were received: March 95 158 96 622 131 793 101 521 145 393 117 051 853 27 489 April 91 834 104 269 183 494 88 190 196 936 160 044 653 36 239 From Project Amount May 76 494 81 593 181 284 151 085 157 541 111 470 705 45 366 June 141 129 73 914 111 066 121 988 116 295 79 562 593 36 140 Visual Art Centre – Denmark Jeppe Hein Exhibition $4 761 Ministry for the Arts Connected Arts Project - Moree $78 788 YTD TOTAL 1 180 742 1 126 661 1 512 819 1 351 454 1 690 867 1 257 211 8 238 425 418 Gordon Darling Foundation Travelling expenses $14 000 Nelson Meers Foundation Sidney Nolan’s Central Australia $100 000 Nelson Meers Foundation Aboriginal Collection Benefactors $5 000 Paid exhibition program for 2005–06 Month Total AWS 2005 (part year) July 6 196 NEW BEQUESTS Rajput July–Sept 9 958 One new bequest from Alison Bundock was received this financial year. Preston July–Oct 65 412 Cossington Smith Nov–Jan 18 142 Pissarro Nov–Feb 133 813 Self portrait Feb–May 66 208 AWS 2006 Mar–May 129 979 ART PRIZES, GRANTS AND SCHOLARSHIPS Zen Mind Zen Brush (part year) June 1 491 Total 431 199

ART PRIZES THE WYNNE PRIZE GRANTS AND BRETT WHITELEY TRAVELLING The prize of $15 000 for an ART SCHOLARSHIP The 2006 Archibald, Wynne and SCHOLARSHIPS Australian landscape or figure This scholarship was established Sulman Prize competitions, sculpture was awarded to John THE BASIL AND MURIEL HOOPER to provide young artists with an AVERAGE DAILY VISITORS 2005–06 supported by the Colonial Beard for his work The Gap. SCHOLARSHIP opportunity to travel to Europe and Foundation, were held in March These scholarships, valued at further their artistic interests. The 2006. A total of 2079 entries were THE SIR JOHN SULMAN PRIZE $4000 each, are available each scholarship includes a financial 6000 received, 95 of which were selected The Sulman Prize of $10 000, year to fine art students attending award and access to the Gallery’s for display. The Photographic 5000 judged by artist Janet Lawrence, recognised schools in New South Paris Studio for a period of three Portrait Prize, sponsored by The was awarded to Jiawei Shen for Wales to assist with the costs of months. It is a memorial to the late Citigroup Private Bank, was held 4000 his work Peking treaty 1901. fees, materials and general living Brett Whiteley, who was encouraged in conjunction with the Archibald, expenses. One scholarship was in his artistic endeavours by winning 3000 Wynne and Sulman competitions. THE CITIGROUP PRIVATE BANK awarded to Kevin McKay. a similar scholarship in his youth.

Of the 614 entries received, 42 Visitors 2000 PHOTOGRAPHIC PORTRAIT PRIZE Beryl Whiteley, Brett’s mother, were selected for display. The The $20 000 prize was awarded THE ELIOTH GRUNER PRIZE provides the generous donation to Dobell Prize for Drawing, sponsored 1000 to Vanila Netto for her work The The prize of $1000 for the best fund the scholarship. The 2005 by the Sir Art magnanimous beige wrap – part 1 landscape in oil by an art student was scholarship of $25 000 was 0 Foundation, was held in August (contraption). awarded for 2005 to Anthony White. awarded to Wayde Owen. July August September October November December January February March April May June 2005. Of the 578 entries received, 48 were selected for display. THE DOBELL PRIZE FOR THE ROBERT LE GAY BRERETON STUDIOS IN PARIS DRAWING MEMORIAL PRIZE The Gallery allocates tenancy to two THE ARCHIBALD PRIZE The $20 000 prize, judged by This prize promotes and encourages art studios in Paris: the Moya Dyring The prize of $35 000 for portraiture Elizabeth Cross, was awarded the art of draughtsmanship, and is Studio and the Dr Denise Hickey ANNUAL VISITOR NUMBERS 1992–93 TO 2005–06 was awarded to Marcus Wills for his to Kevin Connor for his work available each year to art students. Memorial Studio, leased at the Cite work The Paul Juraszek monolith Le Grand Palais Clémenceau, The 2005 prize of $800 was Internationale des Art. The studios (after Marcus Gheeraerts). The de Gaulle and me. awarded to Katrina Dean. were occupied during the year by 1.7m People’s Choice, which asks the Maria Buchner, Léa Donnan, viewing public to vote for their 1.6m ANNE LANDA AWARD DYASON BEQUEST Tamara Voninski, Pam Aitkins, David favourite Archibald entry, was won 1.5m This award has been established in Administered under the terms of the Wills, Tim Schultz, Annabel Butler by Paul Jackson for his work, 1.4m honour of Anne Landa, a trustee of will of the late Miss Anthea Dyason, and Terence Maloon. Garry McDonald ‘All the world’s a 1.3m the Art Gallery of New South Wales the bequest provides grants of stage…’ Jackson received $2500, 1.2m who died in 2002. This biennial $5000 to Australian art students as did the Gallery patron whose Visitors series of exhibitions for moving who have already won travelling 1.1m vote for the winning entry was image and new media work has scholarships so as to enable them 1m drawn from a barrel containing all an acquisitive award of $25 000. to better study architecture, 0.9m votes cast for the winning artist. This exhibition is by invitation only sculpture or painting in countries 0.8m other than Australia and New and is not open to applications. 0.7m Zealand. An award of $5000 was The next exhibition will open in 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 05–06 November 2006. made to Kenzee Patterson.

64 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 65 EXHIBITIONS LISTING TOURING EXHIBITIONS

DATE EXHIBITION VENUE CITY/STATE/COUNTRY EXHIBITION TITLE ATTENDANCE

DATE DEPARTMENT EXHIBITION TITLE Ticketed AGNSW AGNSW 01.07.05 – 10.07.05 * National Gallery of Victoria Melbourne, Vic Bill Henson 10 542 Tours Catalogue 09.07.05 – 07.08.05# Moree Plains Gallery Moree, NSW Archibald Prize 05 2 400 01.07.05 – 31.12.05 Asian Japanese swords 13.08.05 – 11.09.05# Newcastle Region Art Museum Newcastle NSW Archibald Prize 05 15 385 02.07.05 – 25.09.05 Australian: Whiteley Sydney genesis and beyond 1955 to 1965 17.09.05 – 16.10.05# Cowra Art Gallery Cowra, NSW Archibald Prize 05 4 620 13.07.05 – 04.12.05 Western: Contemporary Idea demonstration 21.10.05 – 16.11.05 Albury Regional Art Gallery Albury, NSW Archibald Prize 05 3 764 20.07.05 – 25.09.05 Western Traces in the dust 20.10.05 – 29.01.05 National Portrait Gallery London, UK Self portrait: Renaissance to contemporary 65 000 29.07.05 – 23.10.05 Australian Margaret Preston: art and life • 12.11.05 – 29.01.06 National Gallery of Victoria Melbourne, Vic Margaret Preston: art and life 30 445 10.08.05 – 03.10.05 Australian Wastelands: a poetic legacy 17.11.05 – 16.01.06 Victorian Arts Centre Melbourne, Vic Archibald Prize 05 145 200 11.08.05 – 06.11.05 Western: Contemporary Wolfgang Laib • 18.02.06 – 07.05.06 Queensland Art Gallery Brisbane, Qld Margaret Preston: art and life 25 463 17.08.05 – 11.09.05 Directorate Reg Grundy Wildlife Photography 04.03.06 – 28.05.06 National Gallery of Victoria Melbourne, Vic Pissarro: the first impressionist 82 025 20.08.05 – 09.10.05 Western: Contemporary Swell: Patricia Piccinini 29.04.06 – 02.07.06 New England Regional Art Museum Armidale, NSW More affinities: Whiteley & Rees 6 737 14.09.05 – 14.01.06 Asian J H Mrytle Collection 26.05.06 – 30.06.06 ** Art Gallery of South Australia Adelaide SA Margaret Preston: art and life 6 271 21.09.05 – 04.12.05 Western: Contemporary Neonwall: Jeppe Hein • 02.06.06 – 30.06.06 Myer Foundation Hall Melbourne Vic Archibald Prize 06 27 566 23.09.05 – 27.11.05 Asian Poetic mandarin • 01.10.05 – 27.11.05 Australian: Whiteley Brett Whiteley Travelling Art Scholarship * Bill Henson tour to National Gallery of Victoria began on 23.04.05 # Tour organised in association with the Museums & Galleries Foundation of NSW 05.10.05 – 31.10.05 Marketing Shoot the chef ** Margaret Preston tour to Art Gallery of South Australia continues till 13.08.06 06.10.05 – 17.11.05 Australian Earle Backen 13.10.06 – 11.12.05 Western: Photography Reflections in time: 19th-century portrait photography • 15.10.05 – 04.12.05 Western: Contemporary Train no 1: Daniel Crooks 03.11.05 – 15.01.06 Australian Grace Cossington Smith • 06.11.05 – 20.11.05 Marketing Qantas Youth Awards AGNSW PUBLICATIONS FOR SALE 19.11.05 – 19.02.06 Directorate Pissarro: the first impressionist ••• 19.11.05 – 29.01.06 Western: Photography Points of view: Australian photography 1985–95 21.11.05 – 18.12.06 Australian James Gleeson 29.11.05 – 18.12.05 Directorate Operation art • AGNSW collections, Capon, hb • Charles Conder 1868–1905, • Margaret Preston: art and life, • What colour is that? Keeler-Milne, 09.12.05 – 03.04.06 Australian: Whiteley More affinities: Whiteley & Rees $88 Galbally & Pearce, pb $45 Edwards, pb $50 & hb $80 pb $18.95 16.12.06 – 29.01.06 Asian Shirin Neshat • AGNSW handbook, James, pb • Crossing country: the alchemy of • Margaret Olley, revised edition, • What number is that? Keeler- $22 cased edition $25 western Arnhem Land art, Pearce, hb $60 Milne, pb $18.95 15.12.05 – 05.02.06 Western: Contemporary Trailer: Saskia Olde Wolbers • • Albertina drawings, Raissis & Perkins, pb $50 • 19th century Australian • Zen mind Zen brush, Pollard, pb 17.12.05 – 21.05.06 Western: Contemporary Modern to now 1 Hayes, pb $40 • Crossing country: the alchemy of watercolours, drawings & pastels, $35 21.12.05 – 15.02.06 Australian Nora Heysen drawings • Archibald 05, pb $16 western Arnhem Land art, DVD Kolenberg, hb $45 25.12.05 – 13.01.06 Western: Photography Transforming the sublime $30 • Archibald 06, pb $16 • Olive Cotton, Ennis & Donohue, • bold denotes new publications for 01.01.06 – 15.06.06 Asian Japanese swords • Dancing to the flute, Menzies, pb $30 2005–06 • Arthur Boyd retrospective, Pearce, pb $44 13.01.06 – 03.05.06 Western Art Nouveau and Vienna Secession pb $44 • Orientalism: Delacroix to Klee, 21.01.06 – 15.02.06 Asian Modern Japanese prints • Dobell Prize for Drawing Benjamin (ed), pb $45 • Asian collections, Menzies, pb $40 1993–2004, 2nd edn, Kolenberg 25.01.06 – 28.04.06 Library Rewind/Forward: Margot Douglas • Poetic Mandarin, Liu, pb $20 • Australian drawings, Kolenberg, & Ryan, pb $22 25.01.06 – 08.04.06 Asian Unryuan: contemporary lacquer master • Pre-Raphaelites and Olympians, pb $40 • Fragrant space, Yang, pb $33 04.02.06 – 09.04.06 Public Programs Artexpress Beresford, pb $20 • Australian prints, Kolenberg • James Fairfax collection, 10.02.06 – 26.03.06 Asian Yukinori Yanagi & Ryan, pb $38 • Rayner Hoff: this vital flesh, Beresford & Raissis, hb $99 Edwards, pb $27.50 16.02.06 – 02.04.06 Western: Contemporary Exchanging culture for flesh: David Griggs • Australian watercolours, • James Gleeson: drawings for • Robert Klippel, Edwards, pb $50 17.02.06 – 14.05.06 Western Self portrait: Renaissance to contemporary ••• Kolenberg, pb $33 paintings, Kolenberg, pb $20 • Self portrait: Renaissance to 18.02.06 – 02.04.06 Western: Photography Magic realism • Belle Ile: Monet, Russell and • , Capon & Pearce, Matisse in Brittany, Prunster, contemporary, Bond & Woodall, 25.03.06 – 28.05.06 Australian Archibald Prize pb $45 & hb $66 ••• hb $25 pb $45 25.03.06 – 28.05.06 Australian Wynne Prize & Sulman Prize • • Kevin Connor sketchbook: • Still life: Balnaves Foundation • Camille Pissarro, Maloon, pb drawings by Kevin Connor in 25.03.06 – 28.05.06 Australian Citigroup Australian Photographic Portrait Prize • $50 sculpture project, Tunnicliffe, Sydney, Paris and London, pb $25 05.04.06 – 14.05.06 Australian Night in a city: Theo Scharf • • Caravaggio: darkness and light, Kolenberg, hb $35 08.04.06 – 21.05.06 Western: Contemporary Fit for flogging: Constanze Zikos • Capon, pb $40 • Tradition today: Indigenous art in • Let’s face it: history of the Australia, Perkins, pb $40 13.04.06 – 28.05.06 Asian Symbols and ceremonies: Indonesian textiles • Celestial Silks: Chinese religious & Archibald prize, Ross, pb $50 • True stories: artists of the East 28.04.06 – 25.06.06 Australian Kevin Connor: sketchbooks, drawings & studies court textiles, Rutherford & & hb $65 Kimberley, DVD $30 for paintings and sculptures • Menzies, pb $35 • Man Ray, Annear, pb $30 28.04.06 – 20.08.06 Australian: Whiteley Ink: Whiteley and others 10.05.06 – 31.08.06 Library Artists’ books from the collection of Noreen Grahame 17.05.06 – 16.07.06 Australian Waterfall 03.06.06 – 06.08.06 Western Old Europe: prints and drawings from the collection 08.06.06 – 27.08.06 Western Biennale of Sydney 2006: zones of contact 17.06.06 – 24.09.06 Asian Zen mind Zen brush ••

66 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 67 AGED AND DISABILITY ACCESS PROGRAMS AND SERVICES ETHNIC AFFAIRS PRIORITIES STATEMENT

The Gallery is committed to providing DEAF AND HEARING The main visitor elevator (servicing HELPERS The Gallery is committed to the symbols: the chrysanthemum crest, Selected exhibitions and special The Gallery will present public and people with disabilities excellent IMPAIRED VISITORS level 1, ground floor and the upper General entry to the Gallery is free principles of multiculturalism as emblem of the imperial family, and events were advertised in education programs in 2006–07, access to services, the building, SEVERELY AND PROFOUNDLY level) has voice notification of floor to all visitors. However, where entry outlined in Section 3 of the the hinomaru, the rising sun of the various multicultural publications, including: information and opportunities. DEAF VISITORS and access information, and Braille, fees are charged for major temporary Community Relations Commission Japanese flag. and the Gallery regularly The lunchtime lecture series Arts of Highlighted below are initiatives The Gallery engages sign language floor buttons. exhibitions, helpers accompanying and Principles of Multiculturalism Symbols and ceremonies advertises on SBS in various Asia and European Art: Modern Art undertaken in 2005–06 by the interpreters for the regular advertised visitors with disabilities are admitted Act 2000. (13 April – 28 May 2006) – this languages including Mandarin, in the Making. Gallery. guided tours and in association with free of charge. French, Arabic, Hindi, Punjabi INTELLECTUALLY DISABLED The NSW Government has identified exhibition offered examples of lavish Hearing Awareness Week. and Vietnamese. Symposiums will be held in CHILDREN INFORMATION AND PUBLICITY four key objectives for respectful court textiles from Java, boldly conjunction with the exhibitions PHYSICALLY DISABLED Groups of deaf visitors making The Da Vinci Program is a Gallery The free quarterly publications intercultural community relations: designed warrior cloths from The Gallery continues to provide Goddess: divine energy and VISITORS bookings are provided with sign initiative involving a specially Exhibitions and Events are available leadership, community harmony, Sumba, narrative paintings of the management services support to Translucent world: Chinese jade There are four dedicated disabled language interpreters free of charge. designed program for students with at the ground floor information desk. access and equity, and economic Ramayana epic from Bali and ship VisAsia, which promotes and from the Palace Museum. parking spaces available at the front The TTY number (02) 9225 1711 is mild to moderate intellectual These booklets contain information and cultural opportunities. cloths from Sumatra. Included in the cultivates a better understanding for visitors with special needs. Art Adventure Tours will be run in of the Gallery and two at the rear. listed in the Telstra TTY directory. disabilities. This program provides To assist in achieving these exhibition were Indian trade cloths and enjoyment of Asian arts and Currently Exhibitions and Events are conjunction with various exhibitions Special arrangements are also students with the opportunity to objectives the Gallery has made specifically for the Indonesian culture. The Gallery provides free monthly posted to over 4000 interested focusing on people and their cultural made for bus parking. Access to experience art through stimulating undertaken exhibitions, public and market. The Gallery’s guide map is Auslan guided tours and conducts individuals and organisations. beliefs. the spaces at the rear of the Gallery Signing Art, Auslan-interpreted free and fun-filled workshops which education programs and other 2006 Biennale of Sydney: zones available in Japanese, Mandarin is via the service road on the include discussion, role-play and the Free brochures on the accessible initiatives listed in the outcomes of contact (8 June – 27 August Korean, Italian, French, Spanish The Gallery will continue to present performances which incorporate a culturally diverse range of films. southern side of the building. From mime, puppetry and improvisation use of sensory materials. arts programs are also available at below. 2006) – the conceptual framework and German languages. the rear of the Gallery access to all the information desk. to create vibrant and diverse of 15th Biennale of Sydney was Gallery staff members include Gallerykids and holiday workshops exhibitions, displays, public and ‘zones of contact’ and the exhibition will continue, with highlights educational entertainment. GENERAL EMPLOYMENT PRACTICES 24% from non-English speaking administrative areas is by way of ETHNIC AFFAIRS PRIORITY included a range of some 80 artists, including Indian dance, Zhenmu HEARING IMPAIRED COMMUNICATIONS The Gallery is committed to equal backgrounds. This compares ramps and lifts and is signposted. OUTCOMES 2005–06 practising in all forms of the visual Shou the Guide from the Grave, The Domain Theatre is equipped The Gallery’s Internet website opportunity principles for recruitment favourably with the figure of The following exhibitions included arts, from 40 countries around the and a huge cultural program in A wheelchair accessible bus (route with audio-induction loop facilities (www.artgallery.nsw.gov.au) can and general employment practice. 15.5% of the national population in the 2005–06 exhibitions program world. association with the Goddess 441) runs from the Queen Victoria for all lectures and films. display large-print screen versions Of staff working at the Gallery, 3% from non-English speaking Building to the Gallery. Telephone reflected and promoted cultural The on-going presentation of a backgrounds (Australian Bureau exhibition. An FM microphone system for of all information. have a disability and 1.1% require 13 15 00 for timetable details. diversity. dynamic and culturally varied series of Statistics 1996 Census). The Gallery will continue to hearing aid users is available on STAFF TRAINING some form of adjustment to the Rajput: sons of kings (8 June – of public and education programs A number of employees who encourage staff to participate in the The Domain Theatre has access request for guided tours. Information and awareness sessions workplace. 4 September 2005) – created in the reflects the Gallery’s commitment to Community Language Allowance space designed for wheelchair are held for staff and volunteer speak community languages Rajput courts of Rajasthan, north- making the collection and temporary Scheme and to extend the range of users. guides, with particular reference to assist Gallery staff and visitors, west India, the paintings in this exhibitions readily accessible to the languages currently represented. The Gallery provides wheelchairs VISUALLY IMPAIRED VISITORS servicing visitors with special needs. and earn a Community Language public. This year the program which are available from Security. The In Touch at the Gallery program Some volunteer guides and staff exhibition revealed the vitality and Allowance. As at 30 June 2006 provides visually impaired people sensuality of life at court from the included: the Gallery had staff officially All exhibition spaces are accessible have undertaken introductory the opportunity to explore works 1600s to the 1800s. Art After Hours – special designated to be able to offer by lift. courses in sign language. through touch. Specially trained programs held each week including assistance in Hindi, Cantonese, A designated education officer Wolfgang Laib (11 August – Disabled toilets are located on the volunteer guides help visitors performances, talks, films and Polish, German, Italian, Mandarin, manages the Gallery’s accessible 6 November 2005) – the third upper level, level 1 and level 3. experience the tactile qualities of music. Many of these events Spanish and Indonesian. arts programs and facilities for Balnaves sculpture project featured marble, bronze and stone and highlight and explore cultural people with disabilities. German artist Wolfgang Laib, best An annual calendar of significant discover the stories and ideas known for his work using pollen, diversity. religious and holy days was surrounding these unique objects. beeswax and other materials in Arts of Asia – lunchtime lecture circulated to all supervisors to enable a ritual setting. series focused on religious scheduling of staff commitments to The Poetic Mandarin expressions in art and architecture, meet religious obligations. (23 September – 27 November including the impact of Hinduism and Buddhism as these faiths 2005) – this exhibition focused ETHNIC AFFAIRS PRIORITY spread across Asia. on the cultural life of the imperial GOALS FOR 2006–07 Chinese Mandarins, demonstrating European Art: Modern Art in the ABORIGINAL & TORRES STRAIT ISLANDER PROGRAMS AND SERVICES Continuing to reflect and the important role of calligraphy in Making 2 – lecture series exploring promote cultural diversity and official life and as a leisure activity. the contexts of masterpieces of harmony, the Gallery’s 2006–07 modern art in painting, sculpture Shirin Neshat (16 December 2005 – program of major exhibitions and and architecture. There are many Gallery activities children, for tertiary students and from the course’s revenue will go funds specifically for the acquisition 29 January 2006) – based associated educational programs in New York, Iranian artist Shirin developed to introduce Aboriginal special needs groups. towards an Aboriginal art acquisition of Indigenous art. Education kits – kits include: will include the following: Neshat uses video installation to Adventures in Asia; Zen mind, Zen and Torres Strait Islanders and fund. Giacometti – this exhibition will • Guided tours conducted for • Aboriginal and Torres Strait explore immigrant experiences. brush; Camille Pissarro; Picasso: others to the history and culture of bring to Australia for the first Aboriginal people to assist in • Students from NAISDA were Islanders represent 3% of the Her work draws on her personal last decades and Seasons: Indigenous peoples of Australia, strengthening their appreciation of engaged to perform in the Yiribana Gallery’s workforce which exceeds time, sculpture, prints and including temporary exhibitions, experiences, and she describes Japanese art. Aboriginal art and artists. gallery which assistance them in the NSW government’s Two Ways it as a visual discourse on the drawings by Alberto Giacometti, public program events and the Film – the program is free and drawn from the remarkable • As a part of Gallerykids the developing their public performance Together public sector employment subjects of feminism and permanent collection on display in this year included films from India, modern art collection of the character of ‘Ngunny, the Cheeky skills. target of 2%. contemporary Islam. the Yiribana gallery, the largest France and Germany. Zones of Marguerite and Aimé Maeght Fruit Bat’ was created to take • In November 2005 the Gallery • Hetti Perkins, senior curator display focused on Aboriginal art in Unryuan (26 January – 23 April contact film series in conjunction Foundation in Saint Paul de visitors on a lively tour of Aboriginal hosted a Pool Party and Auction to Aboriginal and Torres Strait Islander the southern hemisphere. 2006) – Kitamura Tatsuo (Unryuan) with the 2006 Biennale of Sydney Vence, France. art creating a greater understanding raise money for swimming pools in art, was a member of the selection Services available and activities is one of Japan’s leading screened films from Palestine, Iran, of key art works from the collection. remote Aboriginal regions. The event panel for the NSW Aboriginal Art Goddess: divine energy – a held included: contemporary lacquer artists. Iraq, Algiers, Afghanistan, China, Other Gallerykids events included raised over $920 000 and highlighted Award. Unryuan specialises in the Africa, Germany, Greece and major exhibition exploring the • The online education kits for the the plight of Indigenous people in myriad imaginative expressions weekend holiday guided tours by • Jonathan Jones, coordinator techniques, forms and styles of Russia, as well as Indigenous recent Crossing country and Rover these communities as well as of divine female power in the art the Mimih and regular performances Aboriginal programs, was on the traditional lacquer work. cinema from Australia and New Thomas exhibitions and a printed kit focusing the national and international of India and the Himalayas. of didgeridoo and Aboriginal dance. advisory committee for the ‘Leading Zealand. edition for the Clifford Possum spotlight on Indigenous art. Yukinori Yanagi (10 February – • A unique partnership between from the Edge’ conference Osamu Tezuka – will highlight Tjapaltjarri exhibition. 26 March 2006) – leading Japanese Gallerykids and Holiday Warawara department of Indigenous • Strengthening our archive of organised by the Museums and contemporary artist Yukinori Yanagi Workshops – highlights included the work of the renowned • Kids Art Trails, which encourage Studies, Macquarie University and Indigenous art, the Aboriginal and Galleries NSW. He also co-curated uses national symbols to question Zhenmu Shou, the Guide from the animator Tezuka, who is the children to engage more the gallery resulted in the joint Torres Strait Islander art department the From the Edge exhibition for the politics and ideology of Grave, Meet the Queen of Sheba creator of iconic characters such interactively with Indigenous art development of two Indigenous art continued to film interviews with the conference which featured a contemporary Japan. In this and performances in conjunction as Astro Boy and Kimba the • One-hour educational tours of units, taught and structured around Indigenous artists. number of emerging Indigenous exhibition, Yanagi explored questions with Rajput: sons of kings, Pissarro White Lion. the Yiribana gallery designed for the gallery’s extensive and unique • The Aboriginal Collection artists from Australia, Asia and the of nationalism and cultural identity and Self portrait – Renaissance to Chinese modern prints – works kindergarten to secondary school Indigenous collection. 50% of profits Benefactors continued to raise Pacific regions. through two of Japan’s best-known contemporary. from the Gallery’s collection.

68 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 69 WOMEN’S ACTION PLAN OVERSEAS TRAVEL

The Annual Reports (Statutory Neon: Janet Burchill and Jennifer CONTINUING THE COMMITMENT Anthony Bond, general manager, Courier Ricky Swallow’s Killing time Donna Hinton, senior conservator, Wayne Tunnicliffe, curator of Bodies) Regulation 2005 requires McCamley (26 June – 14 August TO THE PRINCIPLES OF curatorial services from Venice to New York objects contemporary art NSW public sector agencies to 2005) Burchill and McCamley’s ACCESS, EQUITY, RIGHTS AND Europe, 1–23 Oct 2005 Dr Liu Yang, curator of Chinese art USA, 23 Mar – 3 Apr 2006 Europe, 10–26 June 2006 provide information about their conceptual art practice interlaces PARTICIPATION: Co-curator for Self portrait China, 27 Dec 2005 – 8 Jan 2006 Courier return of Killing time by Research and negotiations for implementation of the NSW feminist, psychoanalytic, filmic, The Gallery recognises that exhibition, National Portrait Gallery Present paper at international Ricky Swallow UBS contemporary art collection Government’s Action Plan for semiotic and spatial concerns. traditional gender imbalances on in London official opening symposium Classical Works in Barry Pearce, head curator, exhibition scheduled for May 2007 Women. Patricia Piccinini (17 August – decision-making bodies can have Anthony Bond, general manager, History Australian art Anne Flanagan, general manager, The Gallery supports the whole-of- 9 October 2005) Piccinini is one implications for strategic outcomes. curatorial services Hetti Perkins, curator Aboriginal art USA, UK and Europe, 2–25 Apr exhibitions and building services government approach to addressing of Australia’s leading contemporary There are five women on the Europe, 18–27 Nov 2005 France and Italy, 21 Jan – 8 Feb 2006 UK, Europe and USA, 16–30 June women’s issues and concerns and artists, and her work has been 11-member Board of Trustees (46%). Present papers at Self portrait 2006 Research for Sidney Nolan 2006 exhibition symposia acknowledges that all areas of the widely exhibited both locally and The Gallery is committed to the Australian Indigenous Art retrospective Looking at works to be included in NSW public sector must commit to internationally. In 2003 she employment of all staff based on Judy Annear, senior curator of Commission Musée du quai Branly Dr Richard Beresford, senior the Islamic treasures exhibition the principles of access, equity, represented Australia at the Venice selection by merit, and the Gallery’s photography project and tour of Papunya Tula curator European art pre-1900 Anthony Bond, general manager, rights and participation of women Biennale. Swell is part of a workforce is currently made up of Japan, Europe, UK, 25 Sep – show to Rome UK, 11 Apr – 4 May 2006 curatorial services by integrating the needs and sequence of works that the artist 52% women. Under the principle of 15 Oct 2005 Jonathan Cooper, manager, Major research of the Gallery’s UK, Europe and Japan, 27 June – concerns of women as part of calls ‘Wilderness’, which examine employment by merit, employees Invited jury member for Hasselblad information European collections 24 July 2006 normal business. the evolution of nature in relation Award Committee, Sweden benefit by having their capabilities USA, 22–28 Mar 2006 Research exhibition of Anselm Kiefer to progressive technology. Emma Smith, senior registrar, The Gallery is committed to the fully utilised and their skills Margaret Sawicki, senior Present and demonstrate the collections in 2007–08; develop partnerships advancement of women in all forms Shirin Neshat (16 December 2005 – expanded. Of the five executive conservator, frames AGNSW Virtual Gallery at USA, 15–22 May 2006 with Japanese institutions interested of cultural, artistic and work life 29 January 2006) management positions, three Europe, 9–18 Sept 2005 international conference in New Return Self portrait loans and collect in collaborations with Australian and is aware of the need to identify New York-based Iranian artist general managers are women and Present a ‘poster’ session at the Mexico our Sickert loans from Washington partner and redress discrimination against Shirin Neshat uses video installation 60% of middle management ICOM-CC 14th Triennial Meeting in Rosie Peel, senior conservator, Terence Maloon, curator, women by making services more to explore immigrant experiences. positions are occupied by women, The Hague, and participate in the works on paper exhibitions accessible and responsive. From Her work draws on her personal reflecting the Gallery’s commitment Frames: the northern European New Zealand, 19–21 Apr 2006 France, 3 May – 7July 2006 an organisational perspective, the experiences and she describes to the advancement of women influence conference in Dresden Present a paper at the AICCM Research forthcoming exhibition Gallery acknowledges the needs it as a visual discourse on the based on merit. Brian Ladd, head of Public paper, Book and Photographic The origins of abstraction and interests of women as a subject of feminism and Approximately 55% of women took Programs Symposium direct occupational group and contemporary Islam. Richard Harling, manager Gallery advantage of the Gallery’s flexible Taiwan, 8–12 Sept 2005 Erica Drew, senior exhibitions its responsibility to promote a Shop Saskia Olde Wolbers work practices including part-time Present keynote paper about art manager workplace which is equitable, safe (15 December 2005 – 5 February work, job sharing, working from education for diverse audiences, USA and UK, 16 May – 1 June France and Singapore, 20–27 Feb 2006 and responsive to women’s needs. 2006) Saskia Olde Wolbers was home, part-time leave without pay at the International Symposium on 2006 Meet with and sell AGNSW titles to the recipient of the prestigious and the career-break scheme in Art Museum Education Courier return of Pissarro paintings Becks’ Futures Award at the order to effectively balance distributors in UK and USA ACHIEVEMENTS UNDER KEY Dr Liu Yang, curator of Chinese art and visit galleries in Singapore as Institute of Contemporary Art, workplace priorities with family and Hetti Perkins, senior curator OBJECTIVES IN THE ACTION Taiwan, 29 Aug – 5 Sept 2005 per Darling Travel Grant London in 2004. personal commitments. The Gallery Aboriginal art PLAN FOR WOMEN Return works on loan to National Charlotte Davy, assistant registrar In 2006–07 the Gallery will present as a whole benefits in the long term Museum of History in Taipei France, 28 Apr – 17 May 2006 MAKING SERVICES MORE UK, 28 Feb – 11 Mar 2006 a major exhibition Goddess: divine by being adaptable and responsive Installation of major artworks which ACCESSIBLE AND RESPONSIVE: Dr Richard Beresford, senior Courier return of Pissarro paintings energy. This exhibition will survey to changing community needs and are part of the Australia Indigenous While the many of exhibitions curator, European art to private collection the innumerable imaginative expectations. Art Commission, Musée du quai staged by the Gallery include works UK, 20 Sept – 23 Oct 2005 Stewart Laidler, senior conservator, expressions of the divine female Branly of art created by women artists, two Courier two works by Walter Sickert paintings found in the art of India, Tibet and Deborah Edwards, senior curator, important exhibitions in 2005–06 to Tate Britain and continue research UK, 26 Jan – 5 Feb 2006 Nepal through over 120 paintings Australian art celebrated the work of two of work on the AGNSW’s collection Courier works for Self portrait and sculptures, dating from the UK, 21 May – 11 June 2006 Australia’s most influential female Hetti Perkins, senior curator, exhibition early centuries CE through to the Research for Bertram Mackennal artists. Aboriginal art Wayne Tunnicliffe, curator, 20th century. Works from major France, 2–23 Sept 2005 retrospective Margaret Preston: art and life contemporary Australia art public and private collections of Australian Indigenous Art Edmund Capon, director (29 July – 23 October 2005) New Zealand, 11–15 Feb 2006 Asian art around the world are on Commission Musée du quai Branly Honolulu, 3–9 June 2006 Preston is one of Australia’s most Attend meetings and conduct loan to the exhibition. project Invited by Honolulu Academy of Arts celebrated modernists and her negotiations for exhibition of art The Gallery has maintained a in Hawaii to judge an art exuberant decorative compositions Charlotte Cox, assistant registrar, from Oceania general free admission policy to competition have remained among the most Exhibitions ensure the broadest range of the Jonathan Jones, coordinator, popular of all Australian art works. UK, 10–21 Sept 2005 Natasha Bullock, assistant curator, community, including financially Aboriginal programs Modern, cosmopolitan and intensely Courier self-portraits of Sidney western art disadvantaged visitors (who are New Zealand, 11–15 Feb 2006 coloured, Preston’s woodblock Nolan and Pierre Bonnard and Attend meetings and conduct Singapore, 10–18 June 2006 often women), have access to the return with Pissarro loans Invited by Asialink to install the prints and paintings of still-life state’s fine art collection and negotiations for exhibition of art subjects and the Sydney metropolis Paula Dredge, from Oceania exhibition Supernatural artificial at associated education programs. Nanyan Academy of Fine Art particularised a moment of conservator, paintings Natalie Seiz, assistant registrar, The Gallery administers two extraordinary innovation in the Honolulu, 18–26 Oct 2005 Asian art Peter Raissis, curator European bequests open only to women. history of Australian art. Courier Claude Monet’s Port- UK, 3–13 Apr 2006 prints & drawings These are the John and Elizabeth Goulphar, Belle Ile and return with Present a Paper at the 32nd France, 19–25 June 2006 Grace Cossington Smith Newnham Pring Memorial Prize for Pissarro loan Association of Art Historians Annual Courier delivery of Georges (3 November 2004 – 15 January ‘the best landscape executed in Edmund Capon, director Conference Braque’s Landscape with houses 2006) This exhibition acknowledged watercolours by a women artist’; Europe, 6–20 Oct 2005 to Musée Cantini in Marseille Cossington Smith’s significance to and a fund in the name of Viktoria Edmund Capon, director Meetings to negotiate future Australian art and paid homage to Marinov, with interest earned on the Europe, 2–15 Feb 2006 Judy Peacock, assistant registrar, exhibitions her distinctive approach and investment used to purchase works Urgent talks for Gallery’s Papunya western art uncompromising vision. of art for the permanent collection Jackie Menzies, head curator Tula exhibition tour to Rome, plus USA, 16–26 May 2006 The following exhibitions also ‘by female artists under the age of of Asian art negotiations for other major Courier return of Richter which had exclusively or significantly featured 35 years’. The Gallery administers India & Paris, 2 Nov – 2 Dec 2005 exhibitions been considered for acquisition the work of female artists, or were other awards and scholarships to Negotiate loans for the 2006 Charlotte Davy, registrar, exhibitions Clare Germain, registrar, collections representative of women artists’ assist in the professional Goddess exhibition USA, 25 Apr – 3 May 2006 Switzerland, 1–8 June 2006 contribution to the history of art, development of Australian artists Donna Hinton, senior conservator, Invited to participate in the 2006 Return Pissarro paintings to reflecting the achievements of which are open to all artists, objects American Association of Museums Kunsthaus Zurich and to a private women in society. including women. Europe, 28 Oct – 15 Nov 2005 Conference collection in Zurich

70 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 71 COLLECTION PURCHASES

Note: Dates of works given in Purchased 2005 Roland Wakelin (Australia, Billabong at Milmilngkan 2005, paper; Gapu Dhangal 2004, 2- INDIA John Faber the Younger (England, assistance of Natalia Bradshaw, brackets are estimates. Titles in Brent Harris (New Zealand; 1887–1971), Self-portrait 1920, oil natural earth pigments on colour etching, blue and brown ink Triangular yantra on stand 1700s– c1695–1756), after Sir Peter Paul Andrew Cameron, Candice Bruce brackets are descriptions rather Australia, b1956), 15 prints from the on paperboard. Edward Stinson eucalyptus bark. Mollie Gowing on white BFK Rives paper. 1800s, bronze. Purchased 2006 Rubens (Flanders, 1577–1640), 2 & Michael Whitworth, Luca than titles assigned by the artist/s. portfolio The stations, 1989: (Title Bequest Fund 2006 Acquisition Fund for Contemporary Purchased with funds provided by Yantra 1800s, bronze. Purchased prints: Bust of Cicero, mezzotint; Belgiorno-Nettis, Peter & Angela page) 1989, printed text on ivory John Walker (Australia, b1957), Aboriginal Art 2005 the Aboriginal Collection 2006 Bust of Demosthenes, mezzotint. Keel, Rob Gould, Helen Gannon, wove paper; Christ before Pilate Tallanganda Forest 2005, diptych, Djambawa Marawili (Australia, Benefactors 2005 Yantra shrine 1800s, bronze. Accessioned 2005 Tony Meagher, Gordon Fell, Anne AUSTRALIAN ART 1989, etching, aquatint, black ink gouache on two sheets of white b1953), 1 sculpture and 1 bark Naata Nungurrayi (Australia, born Purchased 2006 Hendrik Goltzius (Netherlands, Fulwood, Peter Braithwaite, Julian on ivory wove paper; He takes the wove paper. D G Wilson Bequest painting: Dhanbarr (Burrut’tji) 2005, c1932), Untitled 2004, synthetic North India, probably Madhya 1558–1617), Apollo 1588, & Stephanie Grose, Fiona cross 1989, aquatint, roulette, black Fund 2005 natural pigments on wood; Source polymer paint on canvas. Purchased Pradesh, Jain couple and child engraving. Purchased 2006 McIntosh & Peter English, Joe Tony Ameneiro (Australia, b1959), and grey ink on ivory wove paper; of fire 2005, natural pigments on with funds provided by the Aboriginal 900s, sandstone. Purchased 2005 William Hogarth (England, Catanzariti Gymea lily II 2004, hard-ground The first fall 1989, aquatint, black SUB TOTAL 35 WORKS eucalyptus bark. Purchased with Collection Benefactors Group 2006 Rajasthan, ‘Jina’ Munisuvrata 1697–1764), 8 prints: A rake’s Michael Craig-Martin (Ireland; etching, black ink, chine collé (Kozo ink on ivory wove paper; Christ funds provided by the Aboriginal Michael Riley (Australia, 1000s, polished buff sandstone. progress: the young heir takes USA; England, b1941), handmade paper) on off-white meets Mary 1989, aquatint, black Collection Benefactors 2005 1960–2004), Untitled from the series Purchased 2005 possession 1735, engraving; A Deconstructing Piero 2005, vector Hahnemühle wove paper. Purchased John Mawurndjul (Australia, ‘Fly blown’ 1998 (printed 2005), rake’s progress: the levee 1735, drawings with bespoke software, with funds provided by the Arthur ink on ivory wove paper; Simon ABORIGINAL AND TORRES b1952), 4 prints: Mardayin at digital pigment print. Purchased SUB TOTAL 5 WORKS engraving; A rake’s progress: the computer and LCD screen. Boyd Acquisition Fund 2006 helps carry the cross 1989, STRAIT ISLANDER ART Dilebang 2005, etching, brown ink 2005 orgy 1735, engraving; A rake’s Mervyn Horton Bequest Fund Judy Cassab (Australia, b1920), aquatint, black ink on ivory wove paper; Veronica wipes the face of on white Arches Moulin du Gué Mick Namarari Tjapaltjarri progress: the arrest 1735, 2005 Kitchen scene 1947, oil on canvas. Patrick Hayes (Australia), 2 Christ 1989, aquatint, black and wove paper; Mardayin at (Australia, c1926–98), 2 paintings: JAPAN engraving; A rake’s progress: the Daniel Crooks (New Zealand; D G Wilson Bequest Fund 2005 paintings: Bush onion 2005, brick-red ink on ivory wove paper; Kakodbebuldi 2005, etching, brown Untitled 1994, synthetic polymer marriage 1735, engraving; A rake’s Australia, b1973), Train no 1 Robert Clinch (Australia, b1957), synthetic polymer paint on canvas; The second fall 1989, aquatint, ink on white Arches Moulin du Gué paint on canvas (rolled); Untitled ‘Suzuribako’ (writing box) mid progress: the gaming house 1735, 2002–05, 3-channel DVD digital Full stop 2004, lithograph, black ink Untitled 2006, synthetic polymer black (and dark grey?) ink on ivory wove paper; Mardayin design 2005, 1994, synthetic polymer paint on 1800s, Edo (Tokugawa) period engraving; A rake’s progress: the video projection with sound, 4 on ivory Somerset paper. Purchased paint on canvas. Mollie Gowing wove paper; Christ comforts the etching, brown ink on white Arches canvas (rolled). Purchased with 1615–1868, box: lacquer with gold, prison 1735, engraving; A rake’s minutes. Contemporary Collection with funds provided by the Arthur Acquisition Fund for Contemporary women of Jerusalem 1989, Moulin du Gué wove paper; funds provided by the Aboriginal silver, shell; water dropper: gilt progress: the madhouse 1735, Benefactors 2005 Boyd Acquisition Fund 2005 Aboriginal Art 2006 aquatint, black and brown ink on Mardayin at Dilebang 2005, etching, Collection Benefactors Group 2006 metal. Purchased 2005 engraving. Purchased 2006 Juan Davila (Chile; Australia, Charles Conder (Australia; Reggie Jackson (Australia, born brown ink on white Arches Moulin Harry Tjutjana (Australia, born The ?10th ‘rakan’ (from a set of Jean-François Janinet (France, b1946), 3 prints: I am positive and England, 1868–1909), Lady and ivory wove paper; The third fall c1923), Parrtjartanya, the story of du Gué wove paper. Mollie Gowing c1930), 3 paintings: Wati Kulini sixteen) 1300s, hanging scroll; ink 1752–1814), after Jean-Baptiste- I am negative 1989, silkscreen harlequin (c1899), pen and brown 1989, etching, aquatint, black ink the native cat and possum brothers Acquisition Fund for Contemporary minymatjara 2006, synthetic and colour on silk. Purchased 2005 André Gautier Dagoty (France, print; God’s whore 1993, ink on paper. Purchased with funds on ivory wove paper; The disrobing 2005, synthetic polymer paint on Aboriginal Art 2005 polymer paint on paper; Untitled Ôtagaki RENGETSU (Japan, 1740–1786), Marie Antoinette 1777, silkscreen print; The archangel provided by the Docking Drawing 1989, aquatint, black ink on ivory canvas. Purchased with funds Kate Miwulku (Australia, born 2006, synthetic polymer paint on 1791–1875), Teabowl 1800s, colour etching and engraving, Michael (conquering Satan) 1994, Fund 2006 wove paper; The crucifixion 1989, provided by the Aboriginal c1950), 5 prints: Mat 2005, etching, paper; Minyma Mingkari 2006, stoneware with underglaze blue and printed in yellow, blue, red and silkscreen print. Rudy Komon (Australia, aquatint, black ink on ivory wove Collection Benefactors 2006 brown ink on white Arches Moulin synthetic polymer paint on canvas. black pigment on white slip. Roger black inks from four plates. Memorial Fund 2005 b1934), Arkaroola landscape 2004, paper; The death 1989, aquatint, Elizabeth Kandabuma (Australia), du Gué wove paper; Old grass Mollie Gowing Acquisition Fund for Pietri Fund 2005 Purchased 2006 Giorgio de Chirico (Italy, oil on canvas. Purchased with funds black ink on ivory wove paper; The Gungura 2005, etching, brown ink 2005, etching, brown ink on white Contemporary Aboriginal Art 2006 Unknown (Japan), Uji Bridge under Giovanni Orlandi (Italy, 1888–1978), The divine horses of provided by the Australian deposition 1989, aquatint, black ink on white Arches Moulin du Gué Arches Moulin du Gué wove paper; Fred Untjima Forbes (Australia), the willows 1600s, Edo (Tokugawa) 1590–1640), after Joseph Ribera Achilles, Balios and Xanthos 1963, Collection Benefactors 2005 on ivory wove paper; The wove paper. Mollie Gowing Grass from long time ago 2005, Wati Kutju 2004, synthetic polymer period 1615–1868, pair of 6-fold (Spain, 1588–1656), Don Gioseppe oil on canvas. Ruth Komon Shay Docking (Australia, 1928–98), entombment 1989, aquatint, black Acquisition Fund for Contemporary etching, brown ink on white Arches paint on canvas. Purchased with screens; ink, colour gold leaf on 1628, facsimile etching. Bequest in memory of Rudy Escarpment of the Olgas 1987, and grey ink on ivory wove paper. Aboriginal Art 2005 Moulin du Gué wove paper; Dilly funds provided by the Aboriginal paper, lacquer frames with metal Accessioned 2006 Komon 2006 pencil. Purchased with funds Purchased with funds provided by Roy Kennedy (Australia, b1934), bag 2005, etching, brown ink on Collection Benefactors Group 2006 fittings. Purchased 2005 G H Phillips (United Kingdom, Andy Goldsworthy (England, provided by the Australian Prints, the Australian Prints, Drawings and Mission boy dreams, etching. Mollie white Arches Moulin du Gué wove Manman Wirrpanda (Australia, Yoshihiro SUDA (Japan, b1963), c1800–25), after Thomas Lawrence b1956), Leaf throws, Blairgowrie, Drawings and Watercolours Watercolours Benefactors 2005 Gowing Acquisition Fund for paper; Yabbi 2005, etching, brown b1955), Djowuy 2005, natural earth Anemone 2004, magnolia wood (England, 1769–1830), The May Perthshire, Tayside, 3 January Benefactors 2005 Robert Klippel (Australia, Contemporary Aboriginal Art 2006 ink on white Arches Moulin du Gué pigments on eucalyptus bark. painted with mineral pigments; Queen, mezzotint. Accessioned 1989 1989, 4 Cibachrome Robert Eadie (Australia, b1941), 2 1920–2001), No 300 1972–74, Belinda Kuriniya (Australia), 2 wove paper. Mollie Gowing Purchased with funds provided by flower stem and separate petal, life 2005 photographs, unique prints. drawings: Ship passing, Hermitage brazed and welded steel, found prints: Untitled 2005, etching, Acquisition Fund for Contemporary the Aboriginal Collection size. Purchased with funds provided Giulio Cesare Procaccini (Italy, Purchased with funds provided by Reserve, Sydney 1995, pen and objects. Purchased with funds brown ink on white Arches Moulin Aboriginal Art 2005 Benefactors Group 2005 by Geoff Ainsworth 2005 1574–1625), The lowering of the Bret Walker SC 2006 black ink, pastel, gouache on provided by the Gleeson O’Keefe du Gué wove paper; Untitled 2005, Samuel Namunjdja (Australia, Debra Wurrkidj (Australia), Yawk cross with Saints Mary Magdalene, Richard Hamilton (England, paper; Wave on rocks, bright note, Foundation 2006 etching, brown ink on white Arches b1965), 5 prints: Namarrkon 2005, yawk 2005, etching, brown ink on SUB TOTAL 5 WORKS Augustine, Jerome and angels b1922), Typo/topography of Bronte 1999, pen and black ink, Colin Lanceley (Australia, b1938), Moulin du Gué wove paper. Mollie etching, brown ink on white Arches white Arches Moulin du Gué wove c1618, oil on canvas. Purchased Marcel Duchamp’s large glass pastel, gouache on paper. Burning bright (big top) 2005, oil on Gowing Acquisition Fund for Moulin du Gué wove paper; paper. Mollie Gowing Acquisition with funds from the estate of Mr 2001–02, laminated inkjet print on Purchased with funds provided by carved wood and canvas. Contemporary Aboriginal Art 2005 Gungura 2005, etching, brown ink Fund for Contemporary Aboriginal MONGOLIA Walter Hartwig through the Art aluminium, 2 panels. Mervyn the Australian Prints, Drawings and Purchased with funds provided by Jackie Kurltjunyintja Giles on white Arches Moulin du Gué Art 2005 Manla, the Medicine Buddha Gallery of New South Wales Horton Bequest Fund 2006 Watercolours Benefactors 2006 the D G Wilson Bequest and the (Australia, b1944), Kaliangku 2005, wove paper; Gungura 2005, 1600s–early 1700s, gilt bronze (with Foundation 2005 Jonathan Jones (Australia, Ian Fairweather (United Kingdom; Patrick White Bequest 2006 synthetic polymer paint on canvas. etching, brown ink on white Arches SUB TOTAL 45 WORKS traces of paint). Edward and Goldie b1978), 4 drawings: untitled Australia, 1891–1974), Outside the Sidney Nolan (Australia; United Mollie Gowing Acquisition Fund for Moulin du Gué wove paper; Sternberg Chinese Art Purchase SUB TOTAL 16 WORKS (graphite b) 2005, charcoal, city gate, Peking 1941, pencil, Kingdom, 1917–92), African Contemporary Aboriginal Art 2005 Gungura 2005, etching, brown ink Fund 2005 graphite on paper; untitled gouache on paper. Purchased 2006 landscape (1963), oil on hardboard. Jackie Kurltjunyintja Giles on white Arches Moulin du Gué (graphite c) 2005, charcoal, Donald Friend (Australia, 1915–89), Purchased with grateful (Australia, b1944), Marapinti ASIAN ART wove paper; Gulach 2005, etching, SUB TOTAL 1 WORK MODERN AND graphite on paper; untitled The renovations (c1940), etching, acknowledgment to Cynthia Nolan Tjukurrpa 2004, synthetic polymer brown ink on white Arches Moulin CONTEMPORARY ART (graphite d) 2005, charcoal, aquatint, brown/black ink with plate 2005 paint on canvas. Mollie Gowing du Gué wove paper. Mollie Gowing CHINA graphite on paper; untitled tone on dark cream wove paper. Jenny Sages (Australia, b1933), Acquisition Fund for Contemporary Court lady 700s, Tang dynasty Acquisition Fund for Contemporary NEPAL (graphite g) 2005, charcoal, Purchased with funds provided by Luminous 2003, drypoint, printed Aboriginal Art 2006 618–907, earthenware. Purchased Hany Armanious (Egypt; Aboriginal Art 2005 Portrait of the Malla King graphite on paper. Mollie Gowing the Australian Prints, Drawings and in black ink on ivory wove paper. Kay Lindjuwanga (Australia, with funds provided by Vicki Australia, b1962), Turns in Arabba Terry Ngamandara Wilson Bhupatindra and Malla Queen Acquisition Fund for Watercolours Benefactors 2006 Purchased with funds provided by b1957), 5 prints and 1 bark (Australia, b1950), Gulach 2005, Liberman and her daughter Lara in 2005, clay, wax, wick, pewter, Contemporary Aboriginal Art 2005 c1700s, bronze. Purchased 2006 Donald Friend (Australia, 1915–89), the Arthur Boyd Acquisition Fund painting: Mardayin at Milmilngkan etching, brown ink on white Arches memory of their mother and plaster, polyurethane, wood, Anselm Kiefer (Germany; France, I Made Jojol (Indonesia, born 2005 2005, etching, brown ink on white Moulin du Gué wove paper. Mollie grandmother Goldie Sternberg 2006 formply, silicone, peppercorns, b1945), 3 sculptures: Women of SUB TOTAL 1 WORK c1951), recto: Self-portrait on John Scurry (Australia, b1947), You Arches Moulin du Gué wove paper; Gowing Acquisition Fund for Henan province, Cizhou ware, Vase ceramic, drums, speaker. antiquity: Myrtis 2002, painted Balinese door, verso: Jungle motif Yangs landscape 2004, etching, Mardayin at Milmilngkan 2005, Contemporary Aboriginal Art 2005 with incised design of children Contemporary Collection bronze, lead; Women of antiquity: TOTAL ASIAN ART DEPARTMENT with devotional figure (c1974), oil, black ink with plate tone on ivory etching, brown ink on white Arches Terry Ngamandara Wilson playing amidst grasses 1100s, Song Benefactors 2006 Hypatia 2002, painted bronze, 15 WORKS gold leaf, carved jackfruit tree wove paper. Purchased with funds Moulin du Gué wove paper; (Australia, b1950), Waterhole at dynasty 960–1279, stoneware with Stephen Bram (Australia, b1961), glass, iron, ash; Women of (Artocarpus heterophyllus) door and provided by the Arthur Boyd Mardayin at Milmilngkan 2005, Barlparnarra 2005, natural earth black glaze. Purchased 2005 Untitled (two point perspective) antiquity: Candidia 2002, painted frame. Purchased with funds Acquisition Fund 2005 etching, brown ink on white Arches pigments on eucalyptus bark. WANG Yuanqi (China, 1642–1715), 1988, oil and synthetic polymer bronze, iron. Purchased 2005 provided by Carole Muller and the Joshua Smith (Australia, 1905–95), Moulin du Gué wove paper; Purchased with funds provided by Night Rain at Xiao and Xiang River EUROPEAN ART PRE-1900 paint on canvas. Rudy Komon Anselm Kiefer (Germany; France, Pissarro Dinner Fund 2005 Drawing of my mother 1935, pencil Wakwak 2005, etching, brown ink the Aboriginal Collection Qing dynasty 1644–1911, hanging Memorial Fund 2005 b1945), Von den Verlorenen James Gleeson (Australia, b1915), on cartridge paper, squared. on white Arches Moulin du Gué Benefactors Group 2005 scroll, ink on paper. D G Wilson Bartolomeo di Giovanni (Italy, Stephen Bush (Australia, b1958), gerührt, die der Glaube nicht trug, The Ubu diptych comprising Ubu Purchased with funds provided by wove paper; Mardayin at Dilebang Dennis Nona (Australia, b1973), Bequest Fund 2005 d1501), Saint John the Baptist Ericifolia 2004, oil and enamel on erwachen die Trommeln im Fluss regnant and The senior mandarin the Australian Prints, Drawings and 2005, etching, brown ink on white 2 prints: Sazi – special root 2004, 1475–1500, tempera on panel. linen. Contemporary Collection 2004, oil, emulsion, acrylic and 2004, diptych, oil on canvas. Watercolours Benefactors 2006 Arches Moulin du Gué wove paper; etching, blue ink on BFK Rives SUB TOTAL 3 WORKS Purchased 2005 Benefactors 2005 with the sand on canvas with concrete

72 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 73 COLLECTION GIFTS

staircase. Purchased with funds Olive Cotton (Australia, Sobo (Mrs Henry Phillips) 1880s, Untitled (portrait of a woman AUSTRALIAN ART paper; Near Pompidou Jun 1989, and black ink on paper; (Sydney 1999, pen and black ink on paper; provided by Geoff & Vicki 1911–2003), Only to taste the albumen photograph, cabinet card seated with a book) 1890–1910s, pencil, coloured pencil on paper; St street at night) 1999, pen and black (Both sides of the iron fence, Bill Ainsworth and Catriona & Simon warmth, the light, the wind c1939, laid down on original printed albumen photograph, laid down Paul at the Rue St Antoine (Jun ink on paper; (Stanley Street, and Toni’s, Stanley Street, East EARLE BACKEN Mordant 2006 gelatin silver photograph, vintage, presentation mount; Untitled on original embossed presentation 1989), pen and black ink on paper; Sydney at night) 1999, pen and Sydney) 1999, pen and black ink on Frances Ellis (New Zealand, Robert MacPherson (Australia, laid down on original mount. (portrait of Irene Phillips) 1883, mount; Untitled (sculpture of a Musée d’Orsay (Paris) Jun 1989, black ink on paper; (Reading a paper; (Roof menders from the 1900–71), 1 painting and 1 b1937), Mayfair: smoko for Purchased with funds provided hand-coloured albumen man standing holding a rolled pen and black ink on paper; From newspaper, Bill and Toni’s, Stanley studio window, East Sydney) 1999, watercolour: Memento, oil on Tommy Lamare 1992–02, Dulux by John Armati 2006 photograph, carte-de-visite. document in left hand) Musée d’Orsay (Paris) 1989, pencil Street, Sydney) 1999, pen and pen and black ink on paper; (Bill cardboard; Still life of flowers and weathershield acrylic on masonite, Olive Cotton (Australia, Accessioned 2006 1870–80s?, albumen photograph, on paper; Detail of Notre Dame black ink on paper; (Bill and Toni’s, and Toni’s, Stanley Street, East fruit, watercolour on paper 6 panels. Rudy Komon Memorial 1911–2003), Skeleton leaf 1964, A F Le Chevalier Lafosse cabinet card laid down on original (Paris) Jun 1989, pencil on paper; Stanley Street, Sydney) 1999, pen Sydney) 1999, pen and black ink on Fund 2006 gelatin silver photograph, vintage. (Belgium, d1927), Untitled printed presentation mount. Bridge and Notre Dame (Paris) Jun and black ink on paper; (Outside Bill paper; (Airline bus) 1999, pen and ALLAN CAMPBELL Patricia Piccinini (Sierra Leone; Purchased with funds provided by (two women) c1880s, albumen Accessioned 2006 1989, pencil on paper and Toni’s, Stanley Street, East black ink on paper; (Two figures, Nora Heysen (Australia, Australia, b1965), Swell 2000, 3- the Photography Collection photograph, cabinet card. Unknown, London Stereoscopic Judy Cassab (Australia, b1920), 3 Sydney) 1999, pen and black ink on one smoking, Bill and Toni’s, Stanley 1911–2003), 10 drawings: Portrait channel DVD video installation, 4 Benefactors 2006 Accessioned 2005 Company (England, active drawings: Circus 1963, pen, brush paper; (Backs turned, Bill and Street, East Sydney) 1999, pen and of a young man (c1928), carbon minute loop. Contemporary William & Daniel Downey J W Lindt (Germany; Australia, 1854–1908), Gordon Pasha and black ink, white gouache on Toni’s, Stanley Street, East Sydney) black ink on paper; (Man and pencil (?) on grey paper; Portrait of Collection Benefactors 2005 with (England, active c1855-1900), 1845–1926), Untitled (portrait of yellow/green paper; Desert shapes 1999, pen and black ink on paper; woman in profile, Bill and Toni’s, (Charles George Gordon at a young woman (c1928), carbon the assistance of Natalia Untitled (dead man) post 1867, a man seated holding a book) 1980, charcoal on canvas; The (Two archways, Bill and Toni’s, Stanley Street, East Sydney) 1999, Khartoum) 1875–79, albumen pencil (?) on grey paper; Male nude Bradshaw, Andrew Cameron, albumen photograph. 1876–88, albumen photograph, Devil’s Marbles 1980s, charcoal on Stanley Street, East Sydney) 1999, pen and black ink on paper; photograph, cabinet card. in a loin cloth, London (mid 1930s), Mark Flitcroft, Richard Frolich, Accessioned 2005 cabinet card, laid down on original canvas pen and black ink on paper; (Glass (Sydney Street) 1999, pen and Accessioned 2005 brown conté on ivory paper; Two Leslie & Ginny Green, Amanda Walker Evans (USA, 1903–1975), printed presentation mount. doors, Bill and Toni’s, Stanley black ink on paper; (Town Hall Unknown, Talma Studio, studies of a seated male nude in a Love, Roslyn & Tony Oxley, Stuart Untitled 1973–74, colour Polaroid Accessioned 2006 KEVIN CONNOR Street, East Sydney) 1999, pen and Station) 1999, pen and black ink on Melbourne (Australia, active loin cloth, viewed from behind, Quin, Reg Richardson, Penelope photograph. Purchased with funds Vanila Netto (Brazil; Australia, Kevin Connor (Australia, b1932), black ink on paper; (Bill and Toni’s, paper; (Five by the door, The Arch, 1893–99), 2 albumen photographs: London (mid 1930s), sanguine, pen Seidler, Vivienne Sharpe, Ray provided by Tiffany & Co. 2005 b1963), The magnanimous beige 100 drawings from the sketchbook Stanley Street, East Sydney) 1999, Stanley Street, East Sydney) 1999, Untitled (portrait of a man with and brown ink on ivory paper, recto: Shorrocks, Stephen Solomons, W Gooden (England, active wrap – part 1 (contraption) 2006, Sketchbook 68, 1999: (Bill and pen and black ink on paper; (Bill pen and black ink on paper; (Two beard, bust-length) 1893–99, Studies of a female nude, London, Corrinine & John Young 1800s), ‘Hanlan’ 1878, albumen digital print mounted on aluminum. Toni’s, Stanley Street, East Sydney) and Toni’s, Stanley Street, East talking, Bill and Toni’s, Stanley albumen photograph, cabinet card verso: Studies of a female nude, Jacky Redgate (England; photograph, cabinet card. The Citigroup Private Bank 1999, pen and black ink on paper; Sydney) 1999, pen and black ink on Street, East Sydney) 1999, pen and laid down on original printed London (c1928), pencil on ivory Australia, b1955), Untitled (work Accessioned 2005 Australian Photographic Portrait (Two figures at a table, Bill and paper; (Two figures, Bill and Toni’s, black ink on paper; (Bill and Toni’s, presentation mount; Untitled paper, recto: Studies of a seated in 5 parts) vase shapes # 1–# 5 Charles Green (Australia, b1953), Prize winner 2006 Toni’s, Stanley Street, East Sydney) Stanley Street, East Sydney) 1999, Stanley Street, East Sydney) 1999, (portrait of a man seated, dressed male nude in a loin cloth, London 1989, wood, ceramic, acrylic. Lyndell Brown (Australia, b1961), Fiona Pardington (New Zealand, 1999, pen and black ink on paper; pen and black ink on paper; (Next pen and black ink on paper; (Bill in Freemason ceremonial costume) verso: Four studies of a male nude Rudy Komon Memorial Fund 2006 The map of Atlantis 2005, light jet b1961), Solitary female Huia 2006, (Bill and Toni’s, Stanley Street, East to the iron fence, Bill and Toni’s, and Toni’s, Stanley Street, East 1893–99, albumen photograph, (mid 1930s), recto: carbon pencil (?) Alia Syed (Wales; England, print on duraclear film. Purchased gelatin silver photograph, gold Sydney) 1999, pen and black ink on Stanley Street, East Sydney) 1999, Sydney) 1999, pen and black ink on cabinet card laid down on original on ivory paper verso: pencil, carbon b1964), Eating grass 2003, 16mm with funds provided by the toned. Purchased with funds paper; (M's birthday, Bill and Toni’s, pen and black ink on paper; (Bill paper; (Three figures, Bill and Toni’s, printed presentation mount. pencil (?); Standing female nude colour film transferred to DVD, Photography Collection provided by Martin Brown & Stanley Street, East Sydney) 1999, and Toni’s, Stanley Street, East Stanley Street, East Sydney) 1999, Accessioned 2006 viewed from behind, leaning on a 22 minutes 51 seconds. Mervyn Benefactors 2005 Anonymous 2006 pen and black ink on paper; Sydney) 1999, pen and black ink on pen and black ink on paper; (With Unknown, Tesla Studio, Sydney pillar, London (mid 1930s), pencil on Horton Bequest Fund 2005 Robert Hellis (United Kingdom, Sarah Ryan (Australia, b1975), (Holding hands, Bill and Toni’s, paper; (Waving his hand, Bill and hand on mouth, Bill and Toni’s, (Australia, established c1905, ivory paper; Male nude viewed from Imants Tillers (Australia, b1950), c1834–95), Untitled (portrait of a blossom 2005, digital lenticular Stanley Street, East Sydney) 1999, Toni’s, Stanley Street, East Sydney) Stanley Street, East Sydney) 1999, closed 1934), Untitled (portrait of behind, with left hand leaning on left Monaro 1998, gouache, synthetic man with pipe holding a sculpture) photograph. Viktoria Marinov pen and black ink on paper; (Bill 1999, pen and black ink on paper; pen and black ink on paper; (Three young girl standing on a chair) knee, London (mid 1930s), carbon polymer paint on 288 canvas 1871–96, albumen photograph, Bequest Fund 2005 and Toni’s, Stanley Street, East (Three of them, one crazy, East figures, one reading, Bill and Toni’s, 1900-1910, gelatin silver pencil (?) on grey paper; Standing boards, nos 52594–52881. cabinet card, laid down on original August Sander (Germany, Sydney) 1999, pen and black ink on Sydney street) 1999, pen and black Stanley Street, East Sydney) 1999, photograph, cabinet card laid male nude holding a vertical bar, Patricia Lucille Bernard Bequest printed presentation mount. 1876–1964), Field with paper; (Sitting outside, Bill and ink on paper; (Bill and Toni’s, pen and black ink on paper; (Bill down on original printed London (mid 1930s), carbon pencil Fund and the Don Mitchell Accessioned 2006 marguerites 1930s, gelatin silver Toni’s, Stanley Street, East Sydney) Stanley Street, East Sydney) 1999, and Toni’s, Stanley Street, East presentation mount. Accessioned (?) on ivory paper; Standing male Bequest Fund 2005 Bill Henson (Australia, b1955), photograph, vintage, mounted on 1999, pen and black ink on paper; pen and black ink on paper; Sydney) 1999, pen and black ink on 2006 nude viewed from behind, London Edouard Vuillard (France, Untitled 2005/2006 2005–06, card. Purchased with funds (Bill and Toni’s, Stanley Street, East (Reading, hunched over, Bill and paper; (Next to the door, Bill and (mid 1930s), carbon pencil (?) on 1868–1940), Breton House, Saint- diptych, 2 type C photographs. provided by the Photography Sydney) 1999, pen and black ink on Toni’s, Stanley Street, East Sydney) Toni’s, Stanley Street, East Sydney) SUB TOTAL 38 WORKS ivory paper Jacut 1909, distemper and pastel Purchased with funds provided Collection Benefactors 2006 paper; (Man with a hat, Bill and 1999, pen and black ink on paper; 1999, pen and black ink on paper; on paper, laid on canvas. by Greg & Anne Clarke, John Unknown (unknown), 11 albumen Toni’s, Stanley Street, East Sydney) (At full stretch, Bill and Toni’s, (Fingers on the chin, Bill and Toni’s, TOTAL WESTERN ART JUDY CASSAB Purchased with funds provided by Higgins, Philip Keir, Reg photographs by unknown artists: 1999, pen and black ink on paper; Stanley Street, East Sydney) 1999, Stanley Street, East Sydney) 1999, DEPARTMENT 79 WORKS Judy Cassab (Australia, b1920), the Margaret Hannah Olley Art Richardson, Suzanne Steigrad, Untitled (portrait of a man (Bill and Toni’s, Stanley Street, East pen and black ink on paper; (Bill pen and black ink on paper; 23 drawings from the series Twenty Trust 2005 The Freedman Foundation, Roslyn standing) 1860–70s?, albumen Sydney) 1999, pen and black ink on and Toni’s, Stanley Street, East (Through the door, Bill and Toni’s, & Tony Oxley, Lisa Paulsen, Allan photograph, carte-de-visite; TOTAL ALL DEPARTMENTS: studies Paris, 1989: In the Picasso paper; (Hand before face, Bill and Sydney) 1999, pen and black ink on Stanley Street, East Sydney) 1999, 174 WORKS PURCHASED Museum, Paris Apr 1989, pencil on SUB TOTAL 25 WORKS Stacey, Rachel Verghis and the Untitled (portrait of a man seated Toni’s, Stanley Street, East Sydney) paper; (The Arch, Stanley Street, pen and black ink on paper; (Figure Photography Collection at desk) 1860–70s?, albumen paper; ‘L’Homme au mouton’, 1999, pen and black ink on paper; East Sydney) 1999, pen and black in the street) 1999, pen and black Benefactors 2006 photograph, carte-de-visite; Picasso Museum Apr 1989, pencil, (Bill and Toni’s, Stanley Street, East ink on paper; (Campari ad, Bill and ink on paper; (Bill and Toni’s, pen and black ink(?) on paper; In PHOTOGRAPHY Bill Henson (Australia, b1955), Untitled (portrait of a man seated Sydney) 1999, pen and black ink on Toni’s, Stanley Street, East Sydney) Stanley Street, East Sydney) 1999, Untitled 2005/2006 2005–06, type reading) 1860–70s?, albumen the Musée Rodin (Paris) Apr 1989, paper; (Newtown Road) 1999, pen 1999, pen and black ink on paper; pen and black ink on paper; (Steve C photograph. Purchased with photograph, carte-de-visite; pen and black ink(?) on paper; View and black ink on paper; (Bloom’s (Coupling) 1999, pen and black ink Hoffman) 1999, pen and black ink William Bland (United Kingdom, funds provided by the Untitled (nude portrait of a of Paris from the Centre Pompidou Deli) 1999, pen and black ink on on paper; (Court 13a) 1999, pen on paper; (Figures in park) 1999, c1851–1929), 2 gelatin silver Photography Collection woman, back view) 1860–70s?, Apr 1989, pencil on paper; Church paper; (On the bus) 1999, pen and and black ink on paper; (Bill and pen and black ink on paper; (Bill photographs: Untitled (portrait of Benefactors 2006 albumen photograph, carte-de- view from Musée Pompidou (Apr black ink on paper; (Hyatt, Toni’s, Stanley Street, East Sydney) and Toni’s, Stanley Street, East Mrs Winifred Gadsby Thorpe) Grit Kallin-Fischer (Germany, visite; Untitled (portrait of a man 1989), pencil on paper; View from Melbourne) 1999, pen and black ink 1999, pen and black ink on paper; Sydney) 1999, pen and black ink on 1917, gelatin silver photograph 1897–1973), Eduard Fischer on seated) 1870–80s?, albumen Musée Pompidou (Paris) May 1989, on paper; (North Melbourne) 1999, (Bill and Toni’s, Stanley Street, East paper; (Bill and Toni’s, Stanley mounted to board; Untitled Mart Stam chairs, Bauhaus photograph, cabinet card; pencil on paper; (Max Ernst’s ‘King pen and black ink on paper; (Coffee Sydney) 1999, pen and black ink on Street, East Sydney) 1999, pen and (summer: portrait of Mrs Winifred Dessau 1928, gelatin silver Unknown (Unknown), Untitled and Queen’, Musée Pompidou, bar, Melbourne) 1999, pen and paper; (Bill and Toni’s, Stanley black ink on paper; (Bill and Toni’s Gadsby Thorpe) 1917, gelatin photograph, vintage. Purchased (portrait of a man, bust-length Paris) May 1989, pencil on paper; black ink on paper; (Bill and Toni’s, Street, East Sydney) 1999, pen and and imaginary model) 1999, pen silver photograph. Accessioned with funds provided by the looking left) 1870–80s?, albumen Laurens L’Automne and Paris May Stanley Street, East Sydney) 1999, black ink on paper; (Dark figure, Bill and black ink on paper; (Two heads, 2006 Photography Collection photograph, cabinet card; Untitled 1989, pencil on paper; Pompidou pen and black ink on paper; (Park and Toni’s, Stanley Street, East Bill and Toni’s, Stanley Street, East Karl Blossfeldt (Germany, Benefactors 2006 (portrait of a man, front profile, and Paris May 1989, pencil on bench) 1999, pen and black ink on Sydney) 1999, pen and black ink on Sydney) 1999, pen and black ink on 1865–1932), Euphorbia Henry King (Australia, bust-length) 1870–80s?, albumen paper; Pompidou near the water paper; (Bill and Toni’s, Stanley paper; (Four figures, Bill and Toni’s, paper; (Dark figures, Bill and Toni’s, helioscopia, sun spurge, 5 x enl 1855–1923), 2 albumen photograph, cabinet card; Untitled from (May 1989), pencil, pen and Street, Sydney) 1999, pen and Stanley Street, East Sydney) 1999, Stanley Street, East Sydney) 1999, 1915–25, gelatin silver photographs and 1 hand-coloured (portrait of a man, side profile, black ink on paper; Laurens black ink on paper; (Standing figure, pen and black ink on paper; (Bill pen and black ink on paper; photograph, vintage. Alistair albumen photograph: Untitled bust-length) 1870–80s?, albumen ‘Caryatide’ and Paris May 1989, Bill and Toni’s, Stanley Street, and Toni’s, Stanley Street, East (Restaurant, Melbourne) 1999, pen McAlpine Photography Fund 2006 (family portrait of five children) photograph, cabinet card; pencil on paper; Laurens ‘La Terre’ Sydney) 1999, pen and black ink on Sydney at night) 1999, pen and and black ink on paper; (Café, Boning and Small (England, 1880s, albumen photograph, Directors and managers of and Paris May 1989, pen and black paper; (Seated figure, Bill and black ink on paper; (Four figures, Bill Melbourne) 1999, pen and black ink active 1879–95), Madame Helena cabinet card laid down on original Harringtons Ltd, and Harringtons, ink on paper; Pond before Musée Toni’s, Stanley Street, Sydney) and Toni’s, Stanley Street, East on paper; (Café, Melbourne) 1999, Modjeska c1891, albumen printed presentation mount; NZ, Ltd c1916–20, albumen Pompidou May 1989, pen and 1999, pen and black ink on paper; Sydney) 1999, pen and black ink on pen and black ink on paper; photograph, cabinet card. Untitled (portrait of Margaret photograph, laid down on original black ink on paper; Near Pompidou (Four at a table, Bill and Toni’s, paper; (Standing to pay, Bill and (Prostitute and mattress, East Accessioned 2005 (Maggie) Thomson Phillips/née printed presentation mount; Jun 1989, pencil, coloured pencil on Stanley Street, Sydney) 1999, pen Toni’s, Stanley Street, East Sydney) Sydney) 1999, pen and black ink on

74 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 75 paper; (On the bus) 1999, pen and (Untitled – figure study) 1958, black ink, wash on page from a wood engraving, black ink on Lloyd Rees (Australia, 1895–1988), ASIAN ART XU Qi (China, c1859–1900), pigment on paper; Yao ceremonial black ink on paper; (Reader on a synthetic polymer paint?, crayon on sketchbook; Variations on a kiss 3 paper; Landscape 1952, wood 2 printing blocks and plates: Plate Couplet in running script 1882, pair painting – Nyut Hung late park bench) 1999, pen and black glossy white paper; (Untitled – head 1947, pencil, pen and black ink, engraving, black ink on paper for ‘Bay at Northwood’ 1984, zinc of hanging scrolls, ink on paper 1800s–early 1900s, pigment on BANGLADESH ink on paper; (Figure running amok study) 1958, synthetic polymer wash on page from a sketchbook; etching plate; Plate for ‘Sydney Opera paper; Yao ceremonial painting – BEGUM SELIMA REHMAN, HON in the street) 1999, pen and black paint? on glossy white paper; Variations on a kiss 4 (c1946–47), MARGARET OLLEY House’ (c1984), zinc etching plate HENDRIK KOLENBERG Hoi Fan Ton late 1800s–early STATE MINISTER FOR CULTURAL ink on paper; (Bill and Toni’s, (Untitled – reclining figure) 1958, pencil, pen and black ink, wash on Earle Backen (Australia, Brett Whiteley (Australia, 1939–92), ZHAO Zongzao (China, b1931), A 1900s, pigment on paper AFFAIRS, BANGLADESH Stanley Street, East Sydney) 1999, synthetic polymer paint?, crayon on page from a sketchbook; Variations 1927–2005), Still life with gourd Lloyd Rees’ ‘The road to Berry’, pen loner, woodblock print Mahmudal Haque (Bangladesh, pen and black ink on paper; (Two glossy white paper; (Untitled – on a kiss 5 (c1946–47), pencil, pen 1955, oil on canvas and ink, brush and ink, wash, white SUB TOTAL 35 WORKS b1945), (untitled) 2005, oil on men standing, The Arch, Stanley diving figure) 1958, synthetic and black ink, wash, wax resist on Cressida Campbell (Australia, gouache on cream laid paper JEANETTE SHARPE canvas Street, East Sydney) 1999, pen and polymer paint?, crayon on glossy page from a sketchbook; Variations b1960), Nasturtiums 2002, colour 4 ceramics: Dish with phoenix motif black ink on paper; (The Arch, white paper; (Untitled – two figures) on a kiss 6 (c1946–47), pencil, pen woodblock HANS AND PAMELA SCHUTTLER Yongzheng 1723–35, Qing dynasty INDIA SUB TOTAL 1 WORK Stanley Street, East Sydney) 1999, 1958, synthetic polymer paint?, and black ink, wash, blue Joyce Allen (Australia, 1916–92), 1644–1911, porcelain with GILLIAN GREEN pen and black ink on paper; (The crayon on glossy white paper; watercolour on page from a JOHN OLSEN Meeting at the monument 1986, underglaze blue decoration; Dish Gujarat, Double ikat patola cloth Arch, Stanley Street, East Sydney) (Untitled – two figures) 1958, sketchbook; Sketchbook 2004, John Olsen (Australia, b1928), linocut, black ink on white cartridge with sea and rock motifs Yongzheng c1800, silk, natural dyes BURMA 1999, pen and black ink on paper; crayon? on glossy white paper; bound sketchbook: 32 drawings in Laughing frog 1977, sugarlift paper period 1723–35, Qing dynasty PAMELA GUTMAN (Outside at The Arch, Stanley (Untitled – figure study) 1958, charcoal, ink and collage aquatint, dark brown ink on cream Jeff Gibson (Australia, b1958), 3 1644–1911, porcelain with DR JOHN YU AND DR GEORGE Arakan, Breast cover (akhin) with Street, East Sydney) 1999, pen and synthetic polymer paint?, crayon on Velin Arches paper prints: Untitled 1994, colour photo- underglaze blue decoration (rare SOUTTER bead trim c1900, cotton, beads; black ink on paper; (Sitting outside, glossy white paper; (Untitled – figure GLEESON O'KEEFE FOUNDATION screenprint on Stonehenge paper; design); Small dish Yongzheng Gujarat, 6 textiles: Indian trade Ararkan, Mrauk-U, Breast cover Stanley Street, East Sydney) 1999, study) (c1958), synthetic polymer James Gleeson (Australia, b1915), JOHN H PASSMORE Untitled 1994, colour photo- period 1723–35, Qing dynasty cloth late 1700s–1800s, silk (akhin) and accompanying beads pen and black ink on paper; (Café) paint?, crayon on glossy white Prospero’s workshop 2005, oil on John Passmore (Australia, screenprint on Stonehenge paper; 1644–1911, porcelain with blockprinting; Man’s hip wrapper c1900, cotton 1999, pen and black ink on paper; paper; (Untitled – seated figure) canvas 1904–84), 3 paintings: Untitled Untitled 1994, colour photo- overglaze red enamel; Cup with late 1700s–1800s, blockprinting (Three figures on the street, Sydney) 1958, synthetic polymer paint?, (Figure group: male and female screenprint on Stonehenge paper landscape design Yongzheng period with later decoration; Indian trade 1999, pen and black ink on paper; crayon? on glossy white paper; BEQUEST OF NORA HEYSEN standing, female seated) early DR JOHN YU AND DR GEORGE 1723–35, Qing dynasty 1644–1911, cloth 1800s, cotton blockprinted; SOUTTER (Lone figure in archway, Bill and (Untitled – three figures) 1958, Nora Heysen (Australia, 1930s, oil on canvas; Untitled DR ROBIN SHARWOOD porcelain with enamel decoration Indian trade cloth 1800s, patola 3 ceramics: Fish shaped kendi Toni’s, Stanley Street, East Sydney) synthetic polymer paint?, crayon? 1911–2003), 3 prints and 1 (Unfinished female nude) early Mabel Pye (Australia, 1894–1982), design; Large hanging Indian trade c1400s, earthenware with green 1999, pen and black ink on paper; on glossy white paper; (Untitled – drawing: Tree studies (c1930s) 1930s, oil on canvas; Untitled (Male 7 prints: After glow 1938, colour DR JOHN YU AND DR GEORGE cloth 1800s–early 1900s, cotton; glaze; Deep dish 15th century, (Figure and railway tunnel) 1999, figures) 1957, crayon? on glossy (printed Oct 2005), etching, black nude) early 1930s, oil on canvas linocut on thin buff tissue; Untitled SOUTTER mordant painting of tree of life in the earthenware with green glaze; pen and black ink on paper white paper; (Untitled – figure) 1959, ink on ivory wove paper; Tree 1939, colour linocut on thin buff 6 ceramics, 1 textile and 1 European style; painted dyes; reverse shows clay body; White synthetic polymer paint? on glossy studies (c1930s) (printed Oct 2005), JUDY PENNEFATHER tissue; The mountain (1930s), colour sculpture: Bowl Song dynasty Ceremonial cloth and ma’a wave dish 15th century, JACQUELINE CROOKSTON white paper; (Untitled – five figures) etching, black ink on ivory wove Thea Proctor (Australia, linocut on ivory laid paper; The iris 960–1279, Yuan dynasty 1700s–early 1800s, handspun earthenware with characteristic thick Arthur Murch (Australia, 1902–89), 1958, synthetic polymer paint?, paper; Tree studies (c1930s) 1879–1966), Sylvia Moore Sims (1930s), colour linocut on cream 1279–1368, porcelain with qingbai cotton blockprinted mordant glaze Portrait of Miss Suzanne Crookston crayon? on glossy white paper; (printed Oct 2005), etching, black (c1929–30), pencil on paper wove paper; The oak tree (1930s), glaze and incised decoration; Dish painting 1935, oil on canvas Untitled (female nude and head), ink on ivory wove paper; Penuel – colour linocut on ivory laid paper; Yuan dynasty 1279–1368, porcelain SUB TOTAL 5 WORKS crayon?, oil? on white paper a head study of a Solomon Islander ALAN AND JANCIS REES Shadow pattern 1936, colour of greyish qingbai glaze and SUB TOTAL 7 WORKS THE SIR WILLIAM DOBELL ART Terry O'Donnell (Australia, b1942), (1950s), sanguine, charcoal on Lloyd Rees (Australia, 1895–1988), linocut on ivory laid paper; Spring moulded decoration; Dish Yuan FOUNDATION Out west 1997, etching, drypoint, paper 14 prints: Northwood Point with tree morning (1930s), colour linocut on dynasty 1279–1368, porcelain with CHINA Kevin Connor (Australia, b1932), black ink on white wove Johannot 1978, soft-ground etching, blue ink; thin white tissue qingbai glaze in shufu form with INDONESIA THE ART GALLERY SOCIETY OF Le Grand Palais, Clémenceau, de paper FRASER HOPKINS The island, Iron Cove 1978, soft- Eveline Syme (Australia, 1888– incised decoration; Bowl Yuan PETER ELLIOTT NEW SOUTH WALES CONTEMPO Gaulle and me 2005, charcoal on John Olsen (Australia, b1928), Cressida Campbell (Australia, ground etching, grey ink; Greenwich 1961), Banks of the Yarra 1935, dynasty 1279–1368, porcelain with West Timor, Webriamata Village, GROUP white wove paper (Untitled abstract), gouache, ink b1960), Bondi 1987, colour 1978, colour soft-ground etching; colour linocut on thin ivory tissue qingbai glaze and incised Belu region, Figure (hau atoni) wash on white paper woodblock print on cream wove Greenwich Point 1978, soft-ground LUO Brothers, Welcome the world decoration; Flask Wanli period c1920–30, wood famous brand 2000, collage and BEQUEST OF GWEN FROLICH Jan Senbergs (Australia, b1939), paper etching, pale blue ink; Wind on the THEA WADDELL 1573–1619, Ming dynasty lacquer on wood David Aspden (Australia, Port panorama 1980, lithograph, Harbour 1978, soft-ground etching, George W Lambert (Australia, 1368–1644, porcelain with GILLIAN GREEN 1935–2005), Untitled, crayon, black black ink on white BFK Rives Moulin ROBERT JUNIPER grey ink; The ferry goes to town 1873–1930), Portrait of Thea underglaze blue decorated with river 2 textiles: Ulos (cloth) c1900, PETER AYSCOUGH fibre-tipped pen on ivory wove du Gué paper Sam Fullbrook (Australia, 1978, soft-ground etching, blue ink; Proctor 1905, charcoal on paper scene; Jar Han dynasty 206 cotton, dyes, gold thread; dark blue; Unknown (China), 2 prints: Guanyin paper Jeffrey Smart (Australia, b1921), 1922–2004), 2 paintings: La Hand-coloured version of ‘The ferry Margaret Preston (Australia, BCE–220 CE, green lead glaze with Hip wrapper c1900s, cotton dyes, c1700s, woodblock print; Guanyin (Australia, Rudy Komon 1982, sanguine, black Perouse 1951, oil on canvas; Little goes to town’ 1978, soft-ground 1875–1963), Native flowers 1923, iridescence; Tibetan master Kesi, gold thread, mauve and green c1700s, woodblock print b1928), Untitled (three figures), chalk on pale yellow laid paper girl eating mulberries (c1951), oil on etching, hand coloured; Quiet bay hand-coloured woodcut silk slit-weave tapestry; Guanyin West Central Sumatra, brush and black ink, watercolour Eric Smith (Australia, b1919), 2 canvas 1978, soft-ground etching, grey- Thea Proctor (Australia, 1879–1966), c1700s?, bronze Minanagkabau people, Selandang PETER ELLIOTT wash on white wove paper prints: John Olsen 1969, colour blue ink; Bay at Northwood 1984, 3 watercolours, 1 drawing and 1 Cizhou ware, Bowl Song dynasty (ceremonial shoulder cloth), c1900, 3 ceramics: Martaban jar with William Dobell (Australia, screenprint on ivory wove paper; BILL LAMONT colour soft-ground etching; Bay at print: Woman in white (c1942), 960–1279, stoneware with well- silk, dyes, gold thread, indigo blue dragon design Ming dynasty 1899–1970), 3 drawings: (Study Portrait of Jon Molvig 1969, colour Dorothy Thornhill (Australia, Northwood 1984, soft-ground watercolour, pencil on ivory laid drawn incised decoration; external centre field and weft supplementary 1368–1644, stoneware with for a portrait of a man holding screenprint on ivory wove paper 1910–87), Seated male nude 1976, etching, blue ink; Bay at Northwood paper; (Still life with flowers in a chocolate brown glaze stripes stamped relief decoration, brown cigarette), pencil on cream wove Fred Williams (Australia, 1927–82), pencil on cream wove paper 1984, soft-ground etching, black vase, on checked tablecloth) Cizhou ware, Censer Song dynasty glaze; Martaban jar with dragon paper; (Untitled – abstract study), 3 sketchbooks and 2 drawings: ink; Sydney Opera House (c1984), (c1928–38), pencil, watercolour on 960–1279, Yuan dynasty DR JOHN YU AND DR GEORGE design Qing dynasty 1644–1911, blue ball-point pen on cream wove Volume one 1954–56, bound BEQUEST OF LEILA (JILL) soft-ground etching, blue ink; silk; Double Bay interior, with cat 1279–1368, stoneware white glaze SOUTTER stoneware with stamped relief paper; (Untitled – abstract study), album: 52 leaves, 52 etchings MACDONALD Sydney Opera House (c1984), soft- (c1961), pencil, pen and ink, on exterior with brown mark; Bali, 7 textiles: Breast wrapper blue ball-point pen on cream wove tipped onto album pages; Volume Conrad Martens (Australia, ground etching, blue and terracotta watercolour on cream wove paper; decoration, brown glaze; Dish Song Censer Yuan dynasty 1279–1368, (kemben), silk weft ikat; Breast paper two 1954–63, bound album: 50 1801–78), Untitled (Tahiti?) (c1835), ink; Sydney Opera House (c1984), (Woman’s head, profile), pencil on dynasty 960–1279, porcelain with stoneware with calligraphic wrapper (kemben), silk weft ikat; Petr Herel (Australia, b1943), soft- leaves, 50 etchings tipped onto watercolour on paper soft-ground etching, blue, terracotta cream wove paper; The bathers qingbai glaze decoration Breast wrapper (kemben) late ground etching, black ink on ivory album pages; Volume three and lemon yellow ink (c1918), lithograph, red ink on white Mien people, 9 paintings: Yao 1800s–early 1900s, silk weft ikat wove paper, (Borges series?) 1958–62, bound album: 48 leaves, ALLAN MITELMAN Lloyd Rees (Australia, 1895–1988), paper GRAHAM E FRASER ceremonial painting – Tai Wei late and songket; Hip wrapper with Mandy Martin (Australia, b1952), 48 etchings tipped onto album Allan Mitelman (Australia, b1946), 6 drawings: recto: Drawing for Henan province, Henan Blackware, 1800s–early 1900s, pigment on songket, silk; Ceremonial cloth, Plant 8, No 9 redundant 1983, pages; Redcliffe, Murray River 1978, 2 drawings: Untitled (pale grey ‘Northwood Point with tree’ verso: SUB TOTAL 244 WORKS Bowl with iron-brown streaks on paper; Yao ceremonial painting – supplementary weft and ‘a jour’ screenprint, black ink on white gouache on thick white wove paper; horizontal) 2001, synthetic polymer Impression of ‘Northwood Point black glaze 1100s–1200s, Jin Tang Yun-suei late 1800s–early techniques; Hip wrapper for Arches paper Glass House Mountain, Queensland paint on paper; Untitled (pale yellow with tree’ 1978, pencil, wax; dynasty 1115–1234, stoneware 1900s, pigment on paper; Yao ceremonial wear, songket with small attrib Sidney Nolan (Australia; 1970, gouache on thick white wove vertical) 2002, synthetic polymer Drawing for ‘Wind on the harbour’ ABORIGINAL AND TORRES ceremonial painting – Tai Wei late figures; Half hip wrapper with England, 1917–92), (Untitled – paper paint on paper 1978, pencil; Drawing for ‘The ferry JAMES HAYES 1800s–early 1900s, pigment on wayang figures, songket decoration abstract), oil? on card goes to town’ 1978, pencil; Second STRAIT ISLANDER ART CHEN Pu (China, 1820–87), paper; Yao ceremonial painting late Central Java, 2 sculptures: Buddha Sidney Nolan (Australia; United JAMES GLEESON JUNE MORLEY drawing for ‘Sydney Opera House’ DR COLIN AND MRS ELIZABETH ‘Comments on painting’ in running 1800s – early 1900s, pigment on seated in vitarka mudra with halo Kingdom, 1917–92), 16 drawings: James Gleeson (Australia, b1915), Vaclovas Ratas (Australia; (c1984), pencil; Drawing for soft- LAVERTY script Qing dynasty 1644–1911, paper; Yao ceremonial painting late and chattra c10th century, bronze; (Untitled – figure study) 1957, 6 drawings and 1 sketchbook: Lithuania, 1910–73), 4 prints: Ferry ground etching ‘Bay at Northwood’ Paddy Bedford (Australia, born hanging scroll, ink on paper 1800s–early 1900s, pigment on Oil lamp with stem in form of synthetic polymer paint? on glossy Variations on a kiss 1 1946, pencil, boat 1953, wood engraving, black 1984, pencil, lithographic crayon on c1922), Untitled 1998, natural earth GUI Dian (China, 1865–1958), paper; Yao ceremonial painting late Garuda 1500s, bronze white paper; (Untitled – figure study) pen and black ink, wash on page ink on white tissue; (Aboriginal newsprint; Drawing for ‘Sydney pigments on canvas ‘Revisiting Ten-thousand-willow Hall’ 1800s–early 1900s, pigment on Cirebon, Java, M’aa cloth late 1958, synthetic polymer paint?, from a sketchbook; Variations on a figures) 1953, wood engraving, Opera House’ (c1984), lithographic in running script 1938, hanging paper; Yao ceremonial painting – 1800s–early 1900s, batik painted; crayon? on glossy white paper; kiss 2 (c1946), pencil, pen and black ink on paper; The boat 1952, crayon on paper SUB TOTAL 1 WORK scroll, ink on paper Heng Fei late 1800s–early 1900s, commercial cotton

76 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 77 Lampung, Sumatra, 12 textiles: period 1615–1868, colour rooftop at night time from an album actors, 1864?–1870s?: period 1615–1868; colour EUROPEAN ART PRE 1900 PHOTOGRAPHY Tapis (skirt cloth) c1900, gold- woodcut/ukiyo-e print: oban of ukiyo-e woodblock prints of Congratulatory announcement at woodcut/ukiyo-e print: single sheet wrapped thread on silk; Tapis (skirt diptych; Two men and one woman ‘kabuki’ actors 1860?, Edo the Nakamura theatre, showing oban print MARGARET OLLEY GEOFF AND VICKI AINSWORTH cloth) early 1900s, gold-wrapped on stage 1862, Edo (Tokugawa) (Tokugawa) period 1615–1868, the troupe of actors seated on the Paul Cézanne (France, Anne Zahalka (Australia, b1957), thread on silk; Tapis (skirt cloth) period 1615–1868, colour colour woodcut/ukiyo-e print: 2 stage late 1870s?, Edo (Tokugawa) REV MUNEHARU KUROZUMI 1839–1906), Large bathers Woodchop stadium from the series early 1900s, gold-wrapped thread woodcut/ukiyo-e print: oban oban sheets, probably part of period 1615–1868, colour FUJIWARA Kazu (Japan, b1958), 1896–97, colour lithograph Leisureland 2000 1999, type C on silk; Tapis (skirt cloth) early diptych; Scene from the love story triptych woodcut/ukiyo-e print: oban Bizen ware, ‘Mizusashi’ (water jar (Spain; France, photograph 1900s, gold-wrapped thread on silk; of Osome and Hisamatsu. A snowy Utagawa (Japan, triptych; Night scene: two men, for the tea ceremony), stoneware Tapis (skirt cloth) early 1900s, gold- evening scene during plum blossom 1786–1864), 3 prints from an album one holding an umbrella, confront 1881–1973), Head of a woman PETER FAY wrapped thread on silk; Tapis (skirt season, the 2 left-hand sheets of ukiyo-e woodblock prints of each other beneath a large tree 1948, lithograph SUB TOTAL 41 WORKS Peter Peryer (New Zealand, cloth) early 1900s, gold-wrapped showing Osome as a puppet, kabuki actors, 1863–64: Scene in as a woman standing by a b1941), Datura 2002, gelatin silver thread on silk; Tapis (skirt cloth) operated by a veiled puppeteer, and the pleasure quarters with geisha palanquin looks on 1865, Edo SUB TOTAL 2 WORKS photograph early 1900s, gold-wrapped thread two ruffians. The right-hand sheet playing the samisen 1864, Edo (Tokugawa) period 1615–1868, THAILAND Marie Shannon (New Zealand, on silk; Tapis (skirt cloth) early shows the hero, Hisamatsu, who (Tokugawa) period 1615–1868, colour woodcut/ukiyo-e print: DR JOHN YU AND DR GEORGE b1960), The house of parmesan 1900s, gold-wrapped thread on silk; has been locked in a ‘kura’ colour woodcut/ukiyo-e print: oban oban triptych; Snowy scene in SOUTTER MODERN AND 1991, gelatin silver photograph Tapis (skirt cloth), gold-wrapped storehouse 1862, Edo (Tokugawa) triptych; Courtesan playing ‘koto’, front of large house, 3 men and Bowl 1300s–1400s, Sukothai period CONTEMPORARY ART thread on silk; Tapis (skirt cloth) period 1615–1868, colour man with lantern and courtesan with 3 women 1864?, Edo (Tokugawa) 1200–c1400, stoneware with typical early 1900s, gold-wrapped thread woodcut/ukiyo-e print: 2 sheets an attendant carrying tray 1864, period 1615–1868, colour DAVID KNAUS body and slip glaze; brown-black on silk; Tapis (skirt cloth) 1900s, from oban triptych + ?3rd sheet Edo (Tokugawa) period 1615–1868, woodcut/ukiyo-e print: oban ANONYMOUS GIFT Lewis Morley (England; Australia, decoration featuring chakra. Base b1925), 8 gelatin silver gold-wrapped thread couched on from different set; Woman with colour woodcut/ukiyo-e print: oban triptych Brent Harris (New Zealand; shows typical granular body with photographs: Hyde Park London silk, Chinese influence; Tapis (skirt scroll, man with umbrella and triptych; Night scene against Utagawa YOSHICHIKA (Japan, Australia, b1956), Grotesquerie small white grains in grey clay body cloth) early 1900s, gold-wrapped musician with drum Edo (Tokugawa) autumn grasses, three men, one active 1850–60), 9 prints from an 1960s, gelatin silver photograph; Sankampaeng, Chiang Mai, (no 1) 2001, oil on linen thread on silk period 1615–1868, colour disguised as a cow, one courtier album of ukiyo-e woodblock prints Jenny Boyd (‘She’ fashion) 1965, Palembang, Sumatra, 2 textiles: woodcut/ukiyo-e print: oban triptych (Minamoto) playing flute, three of kabuki actors, 1863?–1868: 4 ceramics: Deep dish with twin gelatin silver photograph; Donovan fish design 1300s–mid 1500s, MAURICE J CASHMERE 1965, gelatin silver photograph; Silk weft ikat and songket 1800s, Toyohara KUNICHIKA (Japan, geese fly overhead 1863, Edo Interior scene during the cherry Albert Irvin (England, b1922), rare plain green field; Silk weft ikat 1835–1900), 8 prints from an album (Tokugawa) period 1615–1868, blossom season from the series stoneware with underglaze iron Jean Shrimpton 1961, gelatin silver Beatrice 1982, synthetic polymer and songket 1800s–early 1900s, silk of ukiyo-e woodblock prints of colour woodcut/ukiyo-e print: oban ‘?Hikinuite iro no nibanme’ 1863?, brown decoration of twin fish, photograph; Joe Orton, London paint on canvas Sulawesi, Ceremonial banner ‘kabuki’ actors, 1860–70s: Snowy triptych Edo (Tokugawa) period 1615–1868, greenish glaze, grey fine body and 1965, gelatin silver photograph; hanging, cotton warp ikat night scene in which a woman Utagawa KUNISADA I / colour woodcut/ukiyo-e print: oban refined pottery; Bowl with incised (Dolls in box) 1980s, gelatin silver Sumatra, Lima, Silk weft ikat and (Okin) holds a lantern as she looks TOYOKUNI III (Japan, 1786–1864), triptych; A woman brandishes a decoration 1300s–mid 1500s, GUY DE COMPIEGNE photograph; Simon Ward 1960s, songket, silk out at a man with two children 6 prints from an album of ukiyo-e ?funerary tablet at a cowering man, stoneware with olive green glaze, Susan Norrie (Australia, b1953), gelatin silver photograph; Prague Sumba, Old Sumba ‘Lau hada’ late 1863, Edo (Tokugawa) period woodblock prints of kabuki actors, while a child and smoking man look finely potted; Bowl with incised Untitled 1998, oil on canvas 1992, gelatin silver photograph 1800s–early 1900s, tufted fibre 1615–1868, colour woodcut/ukiyo-e 1849–63: Scene from the tale of the on 1864?, Edo (Tokugawa) period decoration 1300s–1400s, decoration and appliqué shells, print: oban diptych, possibly part of Musume Oshichi, daughter of an 1615–1868, colour woodcut/ukiyo-e stoneware with green glaze, fine DANNY GOLDBERG ALEC AND SUE MURRAY Alec Murray (Australia; England, seeds and beads triptych; Actor Ichikawa Kodanji Edo greengrocer who fell in love print: oban triptych, slightly cropped potting; Deep dish with twin fish Bob Law (England, 1934–2004), 1917–2002), 3 gelatin silver Tanimbar, 3 textiles: Loin cloth early reading from a scroll in front of with a young priest whom she met at top; A man and woman against a decoration (modern), 1900s, Untitled (black watercolour) 1987, photographs: Paris collection 1900s, warp ikat; Loin cloth early stage curtain decorated with the at his temple while seeking shelter smoky background, the man earthenware watercolour on paper 1900s, warp ikat with names of other actors 1860–70s, from a large fire 1849–50, Edo holding a letter with a picture of a Sawankhalok, Decorated lamp (model at Metro entrance wearing Claude Rivière gown) 1959, gelatin supplementary weave; Loin cloth Edo (Tokugawa) period 1615–1868, (Tokugawa) period 1615–1868, woman 1863, Edo (Tokugawa) 1400s–1500s, stoneware with iron RICHARD GOODWIN 1800s–early 1900s, songket colour woodcut/ukiyo-e print: oban colour woodcut/ukiyo-e print: oban period 1615–1868, colour brown decoration silver photograph, vintage; Richard Goodwin (Australia, decoration diptych, possibly part of triptych; diptych, possibly part of triptych; woodcut/ukiyo-e print: 2 oban Veruschka as Veruschka and as a b1953), Prosthetic re-thought Toraja, Sulawesi, Rong Kong Two actors (Ichimura Kakitsu and Interior scene with woman, two men sheets, possibly part of triptych; SUB TOTAL 6 WORKS man, advertising campaign for region, Blanket, warp ikat female impersonator Onoe Eizaburo and ?servant 1857, Edo (Tokugawa) Four men fighting on and under 2003, stainless steel, steel, timber, ‘Dormeuil Frères’ c1970, gelatin as Yadokari) performing song from period 1615–1868, colour stage 1863, Edo (Tokugawa) period cloth silver photograph, collage, vintage; (Veruschka in suit), advertising SUB TOTAL 35 WORKS kabuki play with libretto inscribed in woodcut/ukiyo-e print: oban 1615–1868, colour woodcut/ukiyo-e TIBET campaign for ‘Dormeuil Frères’ background 1864, Edo (Tokugawa) triptych; Two actors against dark print: 2 oban sheets, possibly part 4 thangkas: Heruka and partner, ANSELM KIEFER c1970, gelatin silver photograph period 1615–1868, colour blue ground 1857, Edo (Tokugawa) of triptych; Actor Sawamura painting on cloth; Shakyamuni Anselm Kiefer (Germany; France, JAPAN woodcut/ukiyo-e print: oban period 1615–1868, colour Tanosuke II as Yaoya Oshichi, Buddha, painting on cloth; Eleven- b1945), Von den Verlorenen POLAROID AUSTRALIA PTY LTD BEQUEST OF GWEN FROLICH diptych; Two men, one with woodcut/ukiyo-e print: single sheet climbing a ladder to beat a fire headed 1000-armed gerührt, die der Glaube nicht trug, Debra Phillips (Australia, b1958), Utagawa KUNISADA (Japan, umbrella, by a river with waterwheel oban print, part of multiple-sheet alarm drum and Bando Jiro as Avalokiteshvara, painting on cloth; erwachen die Trommeln im Fluss 2 diptychs: Untitled 1985, diptych, 1786–1864), 60 provinces of Japan: 1863, Edo (Tokugawa) period print; Man (actor Nakamura Nita/Nitta Jiro Edo (Tokugawa) Shakyamuni Buddha, painting on 2005, glass and hair Kai province 1843–47, Edo 1615–1868, colour woodcut/ukiyo-e Fukusuke) fighting woman (actor period 1615–1868, colour Polaroid photographs; Untitled cloth 1985, diptych, Polaroid (Tokugawa) period 1615–1868, print: 2 oban sheets, probably part Nakamura ?suke as Kasane), with woodcut/ukiyo-e print: oban ERNST MULLER woodblock print of triptych; Two women fighting over circular inset showing another triptych; Half figure man (actor photographs SUB TOTAL 4 WORKS Ernst Muller (Germany, active an obi, irises in the foreground man’s head (actor Nakayama Ichikawa Ichizo as Yasuda ?hito) 1950s), Woodblock for ‘Et cum MAREA GAZZARD 1864, Edo (Tokugawa) period Genjuro) 1863?, Edo (Tokugawa) and woman (female impersonator HAMADA Shôji (Japan, 1615–1868, colour woodcut/ukiyo-e period 1615–1868, colour Iwai Kikujiro) in front of curtain with spiritu tuo’ and ‘Per omnia saecula SUB TOTAL 16 WORKS VIETNAM 1894–1978), 2 ceramics: Incense print: oban triptych; Four musicians woodcut/ukiyo-e print: single sheet shibori textile pattern, glossy blue saeculorum’ 1959, woodblock PAMELA GUTMAN bowl with carving (with unique accompanying two puppets from oban print, part of multiple-sheet background on right 1863, Edo of six planks joined, cut on both TOTAL WESTERN ART 3 ceramics: Bowl 1300s–1400s, carving by Hamada), stoneware; ‘joruri’ theatre, operated by two print; Three actors (R to L): Ichikawa (Tokugawa) period 1615–1868, sides DEPARTMENT 27 WORKS Tea ceremony bowl, stoneware, veiled puppeteers 1865, Edo Ichizo, Iwai Kumesaburo, Nakamura colour woodcut/ukiyo-e print: oban earthenware, crisp potting and temmoku with finger wipe design, (Tokugawa) period 1615–1868, Shikan within frame 1863, Edo triptych; Actor Nakamura Shikan good colour and glaze; Bowl BRIAN AND DR GENE SHERMAN TOTAL ALL DEPARTMENTS: ash glaze interior and rim colour woodcut/ukiyo-e print: oban (Tokugawa) period 1615–1868, against glossy blue ground 1863, 1300s–1400s, stoneware with iron Imants Tillers (Australia, b1950), 411 WORKS GIFTED brown decoration in classical KAWAI Takeichi (Japan, 1908–89), triptych; Three half-length figures, a colour woodcut/ukiyo-e print: single Edo (Tokugawa) period 1615–1868, Iris field 1986, synthetic polymer tradition; Bowl 1400s–1500s, 2 ceramics: Vase, stoneware; Dish, man with two courtesans dressed in sheet oban print, Sumida River (‘No colour woodcut/ukiyo-e print, paint, gouache, oilstick on 68 porcelain with underglaze blue stoneware, straw ash glaze kimono with designs of dragon and to Sumidagawa’) from the series probably part of multiple-sheet print; canvasboards nos 9543–9610 MORINO Hiroaki Taimei (Japan, hawk respectively 1864, Edo ‘The flowers of Edo with pictures of Title: ?Wind at Susaki Series: Edo decoration TOTAL WORKS PURCHASED AND b1934), Vase, deep blue stoneware (Tokugawa) period 1615–1868, noted views’ (‘Edo no hana meisho Hakkei Man (actor Ichikawa ?) and probably An Giang province, 2 GIFTED IN 2005–06: 585 IMANTS TILLERS colour woodcut/ukiyo-e print; Three eawase’) from an album of ukiyo-e woman (actor Sawamura Tanosuke ceramics: Round-bottomed bowls, Imants Tillers (Australia, b1950), JAMES GIFFEN half-length figures, a woman and woodblock prints of kabuki actors as Geisha Tanokichi) in front of Oc Eo culture c200–300 BCE, Utagawa KUNIAKI II (Japan, two men, beneath a curtain 1863, 1863, Edo (Tokugawa) period seashore Edo (Tokugawa) period earthenware Counting: one, two, three 1988, 1835–88), 4 prints from an album of Edo (Tokugawa) period 1615–1868, 1615–1868, colour woodcut/ukiyo-e 1615–1868, colour woodcut/ukiyo-e synthetic polymer paint, gouache, ukiyo-e woodblock prints of kabuki colour woodcut/ukiyo-e print: oban print: single sheet oban print print: single sheet oban print, part of SUB TOTAL 5 WORKS oilstick on 162 canvas boards nos actors, 1862: Scene by a river bank triptych Utagawa KUNISADA II (Japan, multiple-sheet print; Female 17188–17349 with a sandalmaker, samurai and Utagawa KUNIHISA (Japan, 1823–80), 3 prints from an album of impersonator Bando Shuka holding TOTAL ASIAN ART DEPARTMENT two geisha 1862, Edo (Tokugawa) 1832–91), Two warriors fight on a ukiyo-e woodblock prints of kabuki umbrella 1863?, Edo (Tokugawa) 139 WORKS SUB TOTAL 9 WORKS

78 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 79 LOANS

Notes: * Renewed loans. Dates of Ancient Gandhara/Pakistan, Seated WORKS LENT BY THE AUSTRALIAN NATIONAL Brett Whiteley, The blossom tree Alex Leckie, ‘Ancient symbols’ Sir , The romantic Walter Richard Sickert, The Oxford works given in brackets are estimates figure of Buddha c100 CE, stucco GALLERY UNIVERSITY DRILL HALL GALLERY 1971–82, oil, silk flowers, branch, covered jar 1963, stoneware garden (1922), woodcut Music Hall c1888–89, oil on canvas Ancient Gandhara/Pakistan, Figure Janet Laurence survey exhibition wood, nails and electricity on board Col Levy, Wine jar 1964, glazed Sir Lionel Lindsay, recto: (Studies Walter Richard Sickert, Gatti’s WORKS LENT TO THE of Buddha cutting his hair c50 CE, 18/8/05 – 25/9/05 Brett Whiteley, Marriage of stoneware of swans and a duck) verso: Hungerford Palace of Varieties: GALLERY schist RMIT GALLERY Janet Laurence, Forensic 1994, Gauguin and Vincent’s chairs 1983, Col Levy, Bowl 1977, stoneware, (Further studies of a swan), pencil second turn of Katie Lawrence Thailand, Seated Buddha, bronze Slow burn: the art of Nick 12 boxes, wood, photographs, straw, collage on paper bizen ware Sir Lionel Lindsay, (Three studies c1887–88, oil on canvas Mourtzakis, paintings and drawings glass, lead, light box, ash, perspex Brett Whiteley, Vincent for Andy Carl McConnell, Bowl 1964, of a calf), pencil PRIVATE COLLECTION KINDLY LENT BY THE NATIONAL 4/7/05 – 23/7/05 1983, matchbox collage stoneware, iron glaze, magnesia Sir Lionel Lindsay, (Sheet of HONOLULU ACADEMY OF ARTS Michael Riley, Untitled 2000 GALLERY OF AUSTRALIA, Nick Mourtzakis, Untitled study MUSEUM TINGUELY, Brett Whiteley, Imagined self- glaze studies of cows) (1921), pencil Reciprocal loan (printed later), pigment print CANBERRA 1999, conté, white chalk on two SWITZERLAND portrait of Vincent if he had lived to Ivan McMeekin, Vase 1963, Sir Lionel Lindsay, Lethe Wharf 24/10/05 – 30/5/06 Pankalyirri, Nyankapiti, Jijigarrgaly Sir Peter Paul Rubens, Self portrait sheets of brown dressmakers paper SPRENGEL MUSEUM, HANOVER 1891 1983, oil on board stoneware, white feldspathic glaze (1938), wood engraving Claude Monet, Port-Goulphar, spirit being of Lake Disappointment 1623, oil on canvas GERMANY Ivan McMeekin, Vase stoneware Sir Lionel Lindsay, Bathers (three Belle-Ile 1887, oil on canvas 1959, carved and engraved mulga Sir Peter Paul Rubens, Sketch for MOSMAN ART GALLERY Rarrk – John Mawurndjul: journey CAIRNS REGIONAL GALLERY Milton Moon, Vase 1962, glazed nudes bathing under trees) 1917, wood the triumphal entry of Henri IV into Bon à tirer: Diana Davidson, master in time in Northern Australia Encounters with country: stoneware with brush decoration aquatint S H ERVIN GALLERY Paris 22 May 1594 1628, oil on printer, and the Whaling Road Studio Museum Tinguely, Switzerland landscapes of Ray Crooke Frederick Olsen, Bottle 1962, Norman Lindsay, The amazons Margaret Olley and Donald Friend PRIVATE COLLECTION, SYDNEY panel 1978 – 2005 20/8/05 – 31/1/06 Cairns Regional Gallery glazed stoneware etching Mornington Peninsula Regional Tracey Moffatt, Some lads 1986, Jacopo di Cione, Madonna and 8/9/05 – 23/10/05 Alan Peascod, Wine bottle 1970, Gallery 23/7/05 – 28/8/05 Sprengel Museum, Hanover Norman Lindsay, Lands of 5 gelatin silver photographs child enthroned with saints, 1367, Mornington Peninsula Regional stoneware, high iron glaze 1/11/05 – 12/2/06 Brett Whiteley, The 19/2/06 – 6/6/06 afternoon 1923, etching Destiny Deacon, Where’s Mickey tempera and gold leaf on panel Gallery Peter Rushforth, Casserole with S H Ervin Gallery fig 1979, etching, drypoint; black ink John Mawurndjul, Yawkyawk Norman Lindsay, Tryst in Arcadia 2003, light jet print from Polaroid Claude-Joseph Vernet, 24/1/06 – 26/3/06 cover 1960, stoneware, feldspathic 21/1/06 – 19/3/06 on ivory wove paper 1985, natural pigments on bark 1930, etching, stipple, blue/black Destiny Deacon, Melancholy 2000, Mediterranean port, calm weather S H Ervin Gallery iron glaze Margaret Olley, Backbuildings John Mawurndjul, Yawkyawk ink on ivory wove paper Lamda print from Polaroid original c1740–45, oil on canvas 19/5/06 – 25/6/06 Peter Rushforth, Jar 1960, glazed 1948, oil on board TIN SHEDS GALLERY 1985, natural pigments on bark , The spirit of the Claude-Joseph Vernet, Storm on Orange Regional Gallery stoneware Margaret Olley, Portrait in the The grey voice: contemporary John Mawurndjul, Lorrkkon c1986, plains c1918, aquatint, etching, ON LOAN FROM PAULINE the Mediterranean coast c1740–45, Australian drawing 30/6/06 – 6/8/06 Peter Rushforth, Bottle jar 1964, brown ink on buff wove paper mirror 1948, oil on cardboard GANDEL oil on canvas natural pigments on wood Ray Crooke, Chillagoe 1961, glazed stoneware Margaret Olley, Still life with kettle 23/7/05 – 13/8/05 John Mawurndjul, Mardayin Sydney Long, Turkeys and Japan, Bizen wakizashi sword John Mawurndjul, Mardayin oil on canvas on hardboard Bernard Sahm, Bowl 1962, glazed pumpkins 1925, line etching, 1955, oil on hardboard ON LOAN FROM THE UNIVERSITY ceremony 2000, natural pigments Ray Crooke, Normanton, North stoneware Margaret Olley, Apples 1980, oil on signed by Morimasa c1360 ceremonial design 2003, etching drypoint, brown/black ink on wove OF SYDNEY UNION on bark Queensland 1962, oil on canvas Bernard Sahm, Bottle vase 1963, hardboard with plate tone, brown ink on cream paper Maurice de Vlaminck, After the John Mawurndjul, Mimihs at Ray Crooke, Track along the stoneware Margaret Olley, Still Life with pink ON LOAN FROM COLIN wove Hahnemüle paper Sydney Long, Pastoral Avoca (post McDONALD storm c1939, oil on canvas Milmilngkan 1989, natural pigments , Queensland 1970, oil, Tom Sanders, Bowl 1963, glazed fish 1948, oil on cheesecloth on John Mawurndjul, Mardayin design 1928) undated, line etching, dark Japan, Sword: Hizen Tadahiro II on eucalyptus bark synthetic polymer paint on canvas earthenware hardboard 2004, hard-ground etching, black brown ink on paper ON LOAN FROM THE BRUCE AND Les Blakebrough, Covered storage Derek Smith, Bowl 1968, Margaret Olley, Chinese screen Katana mid 1600s Sydney Long, Koala I, line etching, JOY REID FOUNDATION * ink on white wove Velin Arches MACQUARIE UNIVERSITY jar 1962, stoneware, reduced iron stoneware and yellow room 1996, oil on Japan, Sword: Settsu Nagayuki foul biting, black ink on paper Karel Dujardin, A fresh morning 250gsm paper GALLERY glaze Elizabeth Söderberg, Copper hardboard Katana c1670 Sydney Long, Pan 1898, oil on Japan, Sword: Takahashi Naganobu 1657, oil on canvas Berowra visions: imagining Margaret plaque 1912, beaten copper Margaret Olley, Homage to Manet PARRAMATTA HERITAGE CENTRE canvas Katana c1830 Preston POWERHOUSE MUSEUM Hiroe Swen, On the wing 1981, 1987, oil on hardboard Drawn together Sydney Long, Moonrise fantasy Japan, Sword: Hizen Hirosada PRIVATE COLLECTION, SYDNEY * 5/9/05 – 14/10/05 Long-term loans renewed stoneware Margaret Olley, Still life in green Parramatta Heritage Centre 1917, etching, aquatint, dark brown Katana c1625 Ben Nicholson, Wharfedale 1972, Margaret Preston, NSW orchid 30/9/05 – 30/9/10 Peter Travis, ‘Ovaloid’ pot 1967, 1947, oil on cardboard 5/8/05 – 30/10/05 ink on ivory wove paper Japan, Sword: Hizen Tadayoshi V pencil and brown wash c1935, woodcut, handcoloured with Les Blakebrough, Bowl 1967, stoneware Donald Friend, Boy seated, pen Wangaratta Exhibitions Gallery Frank Medworth, The fairy forest Katana c1750 Ben Nicholson, Wharfedale no 2 gouache on cream laid paper stoneware with grey celadon type Robin Welch, ‘Round flanged form’ and ink, wash 20/1/06 – 19/2/06 1927, wood engraving Japan, Sword: Hizen Tadayoshi I 1972, pencil and blue wash Margaret Preston, The winding glaze, also motifs jar 1964 stoneware Donald Friend, Hill End c1951, PRIVATE COLLECTION, BRISBANE* Grafton Regional Gallery , Disturbed fowls Katana late 1500s – early 1600s road to Berowra waters c1939, Anne Dangar, Tobacco jar with lid Robin Welch, Ashtray 1965, glazed oil on canvas SHIRAGA Kazuo, Shyu Kongoo 1/3/06 – 2/4/06 1930, 1932, colour linocut on thin Japan, Dagger: Tegai Kanenaga II woodcut, black ink, handcoloured in 1937, earthenware, painted, glazed stoneware Donald Friend, Sofala 1947, oil, 1987, oil on canvas Ballarat Fine Art Gallery cream tissue Tanto c1370 gouache on cream laid Japanese Harry Davis, May Davis, Dish 1970, pen and ink on canvas SHIRAGA Kazuo, Sekiu 1982, Helen Ogilvie, Chooks in the straw Japan, Swordguard: Gilt Namban 6/5/06 – 3/7/06 paper stoneware NEWCASTLE REGIONAL ART Donald Friend, The fortune teller oil on canvas Anne Douglas, Bowl 1964, GALLERY c1932, colour linocut on thin cream 1953, oil on canvas on hardboard Tsuba c1650 Judy Cassab, Portrait of Margo Margaret Preston, Decorative SHIRAGA Kazuo, Kankai 1990, stoneware with wax resist and Mike Parr: four decades of practice tissue Donald Friend, Tamarillo harvest Japan, Swordguard: Namban Tsuba Lewers 1967, oil on canvas woodcut, flannel flowers etc c1925, oil on canvas wood ash glaze 1/10/05 – 20/11/05 Kathleen Shillam, Seated pig 1987, watercolour on white wove c1700 Nora Heysen, My three sisters woodcut, black ink, handcoloured in Mollie Douglas, Covered jar with Mike Parr, Bronze liars (minus 1 to c1948, pen and black ink paper Japan, Swordguard: Armourer’s 1928, pencil gouache and silver paint on white PRIVATE COLLECTION, SYDNEY * cane handle 1964, stoneware 16) 1996, bronze and beeswax Kathleen Shillam, Calf c1948, pen Tsuba c1600 Note: Heysen’s My three sisters only laid Japanese paper Frank Auerbach, Head of JYM Ivan Englund, Decanter 1961, sculpture and black ink MANLY ART GALLERY & MUSEUM Japan, Pair of swordguards: Hizen displayed at first venue. Margaret Preston, Australian rock 1990, oil on canvas stoneware, wax resist decoration, Kathleen Shillam, Goat c1948, pen Joshua Smith – Artist Daisho Tsuba c1620 lily c1933, woodcut, black ink, , On the left and on the glaze HAZELHURST REGIONAL and black ink 2/12/05 – 22/1/06 Japan, Swordguard: 6-lobed Iron QUEENSLAND UNIVERSITY handcoloured with gouache on off- right 1992, oil on canvas Ivan Englund, ‘The Unlimited’ vase GALLERY & ARTS CENTRE , The plough 1929, Joshua Smith, Portrait group 1942, ART MUSEUM white Japanese paper Tsuba 1600s Ian Fairweather, Ariadne c 1961, 1966, stoneware Heaven on earth: visions of Arcadia wood engraving, black ink on thin oil on canvas Queensland at war Margaret Preston, Native hibiscus Japan, Swordguard: Yoshiro Zogan oil on board Patricia Englund, ‘Form’ vase & country life ivory laid paper Joshua Smith, Dame Mary Gilmore 12/8/05 – 6/11/05 and gum flower c1936, woodcut, Iron Tsuba 1600s Julian Opie, Jacques, racing driver 1965, stoneware, glazed 1/10/05 – 27/11/05 Violet Teague, Windswift piping to 1943, oil on canvas Donald Friend, The incinerator black ink, handcoloured in gouache Japan, Sword furniture: Guri-bori with helmet 2002, vinyl on wooden Toni Carver Farley, Bowl 1963, Vera Blackburn, Pattern 1936, her faun c1904, woodcut, brown ink Joshua Smith, Standing male nude 1944, pen, ink, gouache, on cream laid paper Fuchi Kashira c1780 stretcher carved mangrove wood linocut, black ink on cream wove on buff paper with robe and towel late 1920s, pencil watercolour Margaret Preston, Coral flower Japan, Sword furniture: Yasumasa Georges Rouault, Antonio 1937, Wanda Garnsey, Plate 1963, oriental-style paper Napier Waller, Bantams 1932, Joshua Smith, Study for Dame QUEENSLAND ART GALLERY Iron Fuchigashira 1700s–1800s oil on board 1946, colour monotype on thin stoneware, pine ash and temmoko Rupert Bunny, Fresque c1920–21, colour linocut on off-white wove Mary Gilmore c1943, black ink, Sparse shadows, flying pearls: a Maurice Utrillo, Place du Tertre et white Japanese paper glaze colour monotype on thick white paper white chalk on black paper squared Japanese screen revealed ON LOAN FROM DR PETER rue Norvins 1908, oil on board Bill Gregory, Float prop 1968, wove paper Napier Waller, Turkeys, woodcut in pencil ELLIOTT 13/8/05 – 27/11/05 MORNINGTON PENINSULA earthenware, enamel , The goddess and the Napier Waller, Young ducks, Joshua Smith, Study for ‘Portrait Japan, Small travelling shrine attrib Gu Jianlong, Scholars REGIONAL GALLERY Gwyn Hanssen Pigott, Teapot aspidistra 1934, wood engraving on woodcut group’ c1942, gouache lacquer, wood gathering at the Western Garden After Van Gogh 1962, stoneware, with cane handle, cream laid Japanese (kozo) paper, Napier Waller, The shepherd Korea, Small Buddha holding stupa, 1705, handscroll: ink and colour on 5/9/05 – 23/10/05 brown glaze Rah Fizelle, Rooster and hens c1925, linocut NATIONAL GALLERY OF VICTORIA bronze silk Brett Whiteley, The night café H R Hughan, Bottle 1962, glazed 1927, wood engraving Napier Waller, Hit c1925, linocut Exiles and emigrants: epic journeys Laos, Seated Buddha on inscribed China, Covered box decorated with 1972, oil on board stoneware A H Fullwood, The picnic 1923, The Ian Potter Centre: NGV plinth 1500s–1700s, bronze lychee sprays late 1500s, carved Brett Whiteley, Vincent self portrait H R Hughan, Covered jar with cut etching TATE BRITAIN 9/12/05 – 26/3/06 China, Tibet, Sino-Tibetan seated cinnabar lacquer with black lacquer 1971, oil on plywood sides 1969, stoneware, tea dust glaze Weaver Hawkins, The spring THE PHILLIPS COLLECTION, The National Museum of Australia Buddha 18th century, gilt bronze interior With loans from the Brett Whiteley H R Hughan, Dish 1968, (Rollright) (1926), linocut WASHINGTON 1/6/06 – 27/8/06 Burma, Shan seated Buddha 18th China, Cup decorated with figure of Studio collection stoneware, temmoku glaze with wax Rayner Hoff, Faun and nymph Degas, Lautrec and Britain Conrad Martens, View of the century, bronze Tao Yuanming late 1600s – early Brett Whiteley, Thanks Pablo – Van resistant decoration 1924, bronze TATE Britain 6/10/05 – 15/1/06 Heads, Port Jackson 1853, Nepal, Figure of Vajrasattva 1700s, porcelain with famille verte Gogh’s chair 1982, wooden chair Eileen Keys, Vase 1962, glazed Sir Lionel Lindsay, The black cat The Phillips Collection, Washington watercolour, gouache, opaque white 1500s–1600s, wood decoration with woven rush seating stoneware 1922, woodcut 18/2/06 – 14/5/06 on paper

80 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 81 Charles Conder, Departure of the NATIONAL GALLERY OF MORNINGTON PENINSULA NEW ENGLAND REGIONAL ART NATIONAL MUSEUM OF WOMEN FURNISHING LOANS OFFICE OF THE DEPUTY Orient – Circular Quay 1888, oil on AUSTRALIA REGIONAL GALLERY MUSEUM IN THE ARTS, USA PREMIER, PARLIAMENT HOUSE canvas Australia and Constable WARNING: SMOKING has been Whiteley & Rees: More Affinities Dreaming their way: Australian Arthur Boyd, Midday, the Wimmera David Davies, From a distant land 3/3/06 – 12/6/06 linked to some of the most powerful 29/4/06 – 2/7/06 Aboriginal women painters OFFICE OF THE LEGISLATIVE 1948–49 oil on canvas on plywood 1889, oil on canvas Lloyd Rees, Sketchbook no 2: images of the 20th century Lloyd Rees, The blue bay National Museum of Women in COUNCIL, PARLIAMENT HOUSE * James R Jackson, Summer day, William Strutt (attrib), Gold diggers Singapore, France, Italy, United 4/4/06 – 28/5/06 c1938–45, oil on canvas the Arts Nora Heysen, Spring flowers 1938, Mona Vale c1937, oil on canvas on receiving a letter from home c1860, Kingdom 1953, bound sketchbook: Herbert Badham, Breakfast piece Lloyd Rees, Evening on the 30/6/06 – 24/9/06 oil on canvas on hardboard paperboard oil on canvas 84 leaves, 83 drawings, mixed 1936, oil on hardboard Bathurst Hills c1936, oil on canvas Hood Museum of Art Sydney Long, Reflections, media Katt Both, Atikah-cigarette on paperboard 6/10/06 – 10/12/06 OFFICE OF THE DIRECTOR McDonald River c1931, oil on NATIONAL PORTRAIT GALLERY John Glover, Ullswater, early 1930–1931, gelatin silver Lloyd Rees, Evening landscape, Mitjili Napurrula, Nullanulla and GENERAL OF CABINET, canvas survey morning c1824, oil on canvas photograph, vintage Orange 1943, oil on canvas on alcatjari (bush sultanas), Ualki 1994, PARLIAMENT HOUSE * Tom Roberts, On the Timbarra – 9/12/05– 26/2/06 Sydney Long, In the Constable Ralph Gibson, Untitled (woman plywood synthetic polymer paint on canvas John Brack, Out 1979, oil on Reek’s and Allen’s sluicing claim Clifton Pugh, John Perceval 1985, country, oil on canvas with cigarette) 1974, gelatin silver Lloyd Rees, The road to Berry canvas c1894, oil on canvas on hardboard oil on canvas Tom Roberts, (Storm at sea) photograph 1947, oil on canvas on paperboard NATIONAL MUSEUM OF Jeffrey Smart, The stilt race (1960) Roland Wakelin, The bridge 1958, c1910–12, oil on canvas on Frank Hinder, Cigarette still life Lloyd Rees, The harbour from AUSTRALIA oil on plywood oil on hardboard HISTORIC HOUSES TRUST OF plywood 1935, pencil, watercolour McMahon’s Point 1950, oil on Pacific Encounters NSW – MUSEUM OF SYDNEY Tom Roberts, Harrow Hill Horst P Horst, Helen Bennett canvas 19/6/06 – 30/9/06 OFFICE OF THE DEPUTY LEADER OFFICE OF THE NSW MINISTER Bondi, a biography c1910–12, oil on canvas on Cartier jewels 1935, gelatin silver Lloyd Rees, The great rock: dusk Augustin Pajou, Captain James OF THE OPPOSITION, FOR PRIMARY INDUSTRIES, 17/12/05 – 19/3/06 plywood photograph 1977, oil on canvas Cook 1788, white marble PARLIAMENT HOUSE * GOVERNOR MACQUARIE TOWER Max Dupain, Form at Bondi 1939, Helmut Newton, Violetta, Paris Lloyd Rees, Illawarra landscape (Private collection – inward loan) Tom Roberts, Trawool landscape Jack Carington Smith, Regatta, gelatin silver photograph CAMPBELLTOWN CITY 1979, gelatin silver photograph 1980, lithograph from aluminium, 1928, oil on canvas on cardboard Sandy Bay 1949 oil on canvas Elioth Gruner, c1912, BICENTENNIAL ART GALLERY Cindy Sherman, Untitled 1982 black ink on white Velin Arches MUSÉE CANTINI, MARSEILLE, Seymour Lucas, The king’s rival Hans Feibusch, The old oil on cardboard John Peart survey exhibition 1982, type C photograph paper FRANCE 1901, oil on canvas houseboat, oil on canvas Henry King, Bondi Beach, Sydney 17/3/06 – 7/5/06 Madonna Staunton, Collage 1976, Lloyd Rees, The Pinnacles, Mount Georges Braque et le Paysage: de c1889–94, albumen photograph John Peart, Cool corner II 1968, collage of paper on paper Wellington 1980, lithograph l’Estaque á Varengeville 1906–63 SBS TELEVISION * PRESIDENT’S CHAMBERS, Philip Quirk, Untitled (sunbaker, synthetic polymer paint on canvas Brett Whiteley, Self portrait in the Lloyd Rees, Storm at sunset 1980, 30/6/06- 1/10/06 Peter Schipperheyn, Maschera INDUSTRIAL RELATIONS Bondi) 1980, gelatin silver studio 1976, oil, collage, hair on lithograph Georges Braque, Landscape with maschio 1991, Carrara marble COMMISSION, CHIEF houses 1908–1909, oil on canvas SECRETARY’S BUILDING photograph MUSEUM & ART GALLERY OF canvas Lloyd Rees, Fire haze at Peter Schipperheyn, Maschera Sir Arnesby Brown, August Frederick B Schell, High tide, THE NORTHERN TERRITORY Salvatore Zofrea, Self portrait Gerringong 1980, oil on canvas femina 1991, Carrara marble CAMPBELLTOWN CITY ART morning 1920, oil on canvas Bondi 1888, watercolour The sound of the sky with cigarette 1994–1999, Lloyd Rees, The waterfall, Victor Meertens, Where does GALLERY (LOAN THROUGH Frederick McCubbin, Landscape Brett Whiteley, A day at Bondi 18/3/06 – 16/7/06 woodblock print, black ink on Tasmania 1982, oil on canvas such tenderness come from? (1984), etching, black ink on white Brett Whiteley, The black whole, 15TH BIENNALE OF SYDNEY) 1914, oil on canvas Arthur Murch, Allen 1933, oil on heavy white Japanese Hitachi 1987, painted galvanised steel wove paper brush and black ink on white wove 15th Biennale of Sydney Roland Wakelin, Richmond canvas on hardboard paper over wooden frame paper 8/6/06 – 27/8/06 landscape, Tasmania 1944, oil on Arthur Murch, Gosse’s Bluff, IAN POTTER MUSEUM, VICTORIA Brett Whiteley, Sofala 1958, oil on Alia Syed, Eating Grass 2003, paperboard Central Australia c1934, oil on SUTTON GALLERY OFFICE OF THE PREMIER, Just a feeling canvas on board 16mm colour film transferred to Sydney Ball, Sabbath night 1982, canvas on plywood Stephen Bush PARLIAMENT HOUSE * 11/2/06 – 7/5/06 Brett Whiteley, Sense, on his back DVD oil, collage on paper Sali Herman, Aboriginal burial 8/4/06 – 3/5/06 Frank Andrew, All night joint 1946, Brent Harris, Grotesquerie no 1 c1974, brush and black ink on Marion Borgelt, Fire, wind and ground II 1961–63, oil on canvas Stephen Bush, Ericifolia 2004, oil on hardboard 2001 2001, oil on linen cream laid paper water 1989, triptych: oil on canvas Margaret Preston, Australian oil on canvas Arthur Boyd, Cattle on hillside, Brett Whiteley, Fragment off Olga Michael Shannon, Autumn legend, number 4: kangaroo dance Shoalhaven c1975, oil on canvas PS1 CONTEMPORARY ART or Jah! How black can you get landscape, Heathcote no 1 1985, oil and pointing the bone c1957, INVERELL ART SOCIETY John Brack, Battle of the Etruscans CENTRE, NEW YORK 1974–75, pen and black ink, oil, on canvas colour woodcut on buff Japanese Tom Roberts festival – portraiture 1975, oil on canvas Ricky Swallow collage, plastic doll, plaster on paper 21/4/06 – 30/4/06 Milton Budge, Three and a half 17/1/06 – 27/3/06 hardboard LOWY INSTITUTE Tom Roberts, Grey lady (Mrs Ince) 1994, synthetic polymer paint on Ricky Swallow, Killing time Brett Whiteley, The balcony 2 Michael Kmit, Woman and girl canvas 2003–04, laminated jelutong maple TIN SHEDS GALLERY c1910-c1912, oil on canvas 1975, oil on canvas 1957, oil on hardboard John Coburn, Tree of life 1964–65, What Lies Beneath Tom Roberts, Mrs Lucy Scott Brett Whiteley, The letter (Anna) oil on hardboard TANDANYA NATIONAL 31/3/06 – 22/4/06 Skirving 1898, oil on canvas 1980-81, oil, charcoal, collage on , Picture of ABORIGINAL CULTURAL Amanda Robins, Linen dress 2000, Tom Roberts, Percy F S Spence canvas Donald Friend c1948, oil on INSTITUTE, ADELAIDE charcoal, black and white pastel on 1896, oil on canvas on paperboard With loans from the Brett Whiteley hardboard MELBOURNE MUSEUM white Arches paper on hardboard Studio collection: Weaver Hawkins, Dance of the Colliding worlds Tom Roberts, Portrait of Mr T P Brett Whiteley, Oberon River and football field 1947, oil on canvas Tandanya National Aboriginal INVERELL ART SOCIETY Purves 1900, oil on canvas dark clouds 1980, pencil on thick on cardboard Cultural Institute Long-term loan Tom Roberts, Self portrait 1924, white wove paper 18/2/06 – 28/5/06 1/4/06 – 1/4/08 oil on canvas Brett Whiteley, Willow at Oberon Rita Kunintji, Special law and Melbourne Museum Ben Quilty, Golden soil, wealth for Tom Roberts, Sir Henry Parkes 1980-88, charcoal, collage on ivory ceremony ground, synthetic 3/7/06 – 9/10/06 toil 2004, oil on canvas c1894, oil on canvas wove paper polymer paint on canvas Willy Tjungurrayi, Tingari story Tom Roberts, A study of Brett Whiteley, Expandingness Marilyn McGrath, Palea 1975, 1986, synthetic polymer paint on NATIONAL MUSEUM OF Jephthah’s daughter (1899), oil on 1983, charcoal, on ivory wove paper bronze linen canvas AUSTRALIA canvas Brett Whiteley, Sketch of a swamp Sidney Nolan, Broome – Uta Uta Tjangala, Untitled Dari a krar: headdresses and masks at the back of Hill End Pub 1986, Continental Hotel 1949, synthetic 1975–76, synthetic polymer paint of the Torres Strait SYDNEY JEWISH MUSEUM pen and brush and ink, collage on polymer paint and red ochre oil on linen canvas 1/4/06 – 31/3/08 As Australian as Archibald? paper paint on hardboard Unknown, Turtle shell mask, turtle The Australian artist as Brett Whiteley, Oberon 1987, Max Ragless, Dust, Birdsville NATIONAL GALLERY OF shell, shells, pearl shell, fibre string, immigrant: a conversation with triptych: oil and collage on canvas 1959, oil on hardboard AUSTRALIA infilled lime decoration Judy Cassab Brett Whiteley, The 15 great dog Fred Williams, Landscape 1969, TE PAPA, NEW ZEALAND 28/4/06 – 9/6/06 pisses of Paris 1989, charcoal, oil, oil on canvas John Constable: impressions of HISTORIC HOUSES TRUST Judy Cassab, Stanislaus Rapotec collage, wax, plaster on canvas land, sea and sky OF NSW 1960, oil on hardboard OFFICE OF THE PREMIER, National Gallery of Australia Joseph Lycett: convict artist THE IAN POTTER MUSEUM OF ART, PARLIAMENT HOUSE 3/3/06 – 12/6/06 Museum of Sydney MUSEO MADRE THE UNIVERSITY OF MELBOURNE Bryan Westwood, South of Alice Te Papa, New Zealand 1/4/06 – 18/6/06 Jannis Kounellis retrospective Jon Cattapan, works and Springs after good rains 1992, oil 5/7/06 – 8/10/06 Joseph Lycett, View of the Heads 22/4/06 – 4/9/06 collaborations on canvas John Constable, Landscape with at the entrance into Port Jackson, Jannis Kounellis, Untitled 13/5/06 – 17/9/06 Sidney Nolan, Wounded Kelly goatherd and goats 1823, oil on New South Wales c1822, 1984–87, steel, wood, plaster, cloth, Jon Cattapan, Skeletal 1995, 1969, synthetic polymer paint on canvas watercolour gas burner, paint, soot marks diptych, oil on linen hardboard

82 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 83 STAFF LIST

as at 30 June 2006 COORDINATOR, PHOTOGRAPHY ARCHIVIST ASSISTANT CONSERVATOR EXHIBITIONS PROJECT REGISTRAR PROJECT OFFICER Maryanne Marsh DEPUTY MANAGER, GALLERY COLLECTION BENEFACTORS Steven Miller BA (Hons), B Theol, Matthew Cox BA (Indonesian Amanda Green Jackie Bullions Daniel McCready BA (Political SERVICES Nadine Saacks Grad Dip IM (Arch) Studies) ASSISTANT REGISTRAR Theory) Jeff Browne DIRECTOR Cassandra Willis Edmund Capon AM, OBE, MPhil SENIOR CONSERVATOR, EXHIBITIONS FINANCIAL CONTROLLER SENIOR GALLERY OFFICERS PAINTINGS HEAD CURATOR, ASIAN ART HEAD, PUBLIC PROGRAMS Edwina Brennan France Du Buisson Perrine BFin Peter Howlett EXECUTIVE PERSONAL Stewart Laidler Dip Cons STORES OFFICER Peter Rozario ASSISTANT TO THE DIRECTOR Jackie Menzies BA (Hons), MA Brian Ladd Dip Fine Art, Dip Ed PRINT PRODUCTION Admin, CPA, Grad Dip (Fin CONSERVATOR, PAINTINGS MANAGER/STUDIO Planning), Assoc Sec Institute Bevynn Wilkerson GALLERY OFFICERS Lisa Franey BA (Hons) CURATOR, ASIAN ART SENIOR COORDINATOR, PUBLIC Paula Dredge BAppSc (Cons), BA COORDINATOR of Aust Freddi Alam CURATOR, EXHIBITIONS Chaya Chandrasekhar PROGRAMS (Fine Arts) Cara Hickman BSc (Arch) ACCOUNTS PAYABLE VENUE MANAGER Ian Bolt Terence Maloon BA (Hons), Dip Art CURATOR, CHINESE ART Sheona White BA (Visual Arts), Grad SENIOR CONSERVATOR, WORKS JUNIOR GRAPHIC DESIGNER SUPERVISOR Caroline Harvey Arthur Boucas & Design Yang Liu BA, MA, PhD Diploma (Prof Art Studies) ON PAPER Graeme Callaghan Alan Boyd SENIOR COORDINATOR, Karen Hancock VENUE ASSISTANT PRESIDENT’S COUNCIL & VISASIA SENIOR COORDINATOR, ASIAN Rosemary Peel BA (Fine Arts) Kevin Callope EDUCATION PROGRAMS EXHIBITIONS PROJECT OFFICER, ACCOUNTS PAYABLE CLERK Joanne Oldfield MANAGER PROGRAMS Anthony Caracoglia Tristan Sharp BA, MA (Arts Admin), SENIOR CONSERVATOR, INSTALLATION Maria Montenegro Maree Whybourne BA, Dip Ed, MA Ann MacArthur BA (East Asian Murray Castles OBJECTS Stefanie Tarvey Communication Mgmt Dip Ed (Secondary) Ana Crespi Studies), M Intl Mgmt Donna Hinton MA Applied Science BENEFACTION MANAGER MANAGER, INFORMATION TICKETING SUPERVISORS Stephen Davies ASSISTANT REGISTRAR, (Cons), Dip Museum Tech. MANAGEMENT ACCOUNTANT Jane Wynter BA, LLB Jonathan Cooper Dip Art Ed. Chris Aronsten Bernadine Fong BBus (Banking Romeo Domingo GENERAL MANAGER, (CURATORIAL) ASIAN ART DEVELOPMENT COORDINATORS SENIOR CONSERVATOR, FRAMES Carmel Crisp & Finance) Kuldeep Duhan CURATORIAL SERVICES Natalie Seiz BA (Hons), M Art Admin MUSEUM EDUCATOR/CURATOR – Malgorzata Sawicki MA Applied Fiona Barbouttis BA Dip Ed TICKETING OFFICER Terry Forde HEAD CURATOR, WESTERN ART SPECIAL PROJECTS Science (Mat Cons), BA (Cons) ACCOUNTING CLERKS Barbara Cressall Prue Watson David Grech CURATOR, TWENTIETH CENTURY Ursula Prunster BA (Hons), MA Rita Briguglio HEAD CURATOR, AUSTRALIAN CONSERVATOR, PAINTING Phillip Hill-Travis INTERNATIONAL ART EDUCATION OFFICER Viva Chelvadurai ART Andrea Nottage GENERAL MANAGER, MARKETING Janak Kadian BA Anthony Bond BEd (Hons) Jethro Lyne BA, MA MANAGER, BUILDING SERVICES Barry Pearce Dip Art Ed CONSERVATORS, FRAMES AND BUSINESS DEVELOPMENT Peter Karamanis Phil Johnstone REGISTRAR, COLLECTIONS MUSEUM EDUCATOR, Barbara (Basia) Dabrowa MA (Cons) MANAGER, INFORMATION & Belinda Hanrahan BComm John Kavallaris SENIOR CURATOR, AUSTRALIAN Rayson Light SYSTEM INTEGRATION CONTEMPORARY ART David Butler MANAGER ENGINEERING TECHNOLOGY PUBLICITY OFFICERS ART Phil Limon Jesmond Calleja BA George Alexander BA (Hons) SERVICES Maurice Cirnigliaro MBus Susanne Briggs Assoc Dip B Deborah Edwards BA (Hons), M Phil SENIOR CONSERVATOR, Juan Lira COORDINATOR, STUDY ROOM COORDINATOR, K-6 SCHOOLS Ray Cunico Adv Dip Mech (Information Technology) Studies, Dip Counselling ASSISTANT CURATOR, ASIAN ART Ramon Lozada Deborah Jones BA Grad Dip AND FAMILY PROGRAMS Engineering MANAGER, NETWORK Claire Martin BA (Hons), Dip AUSTRALIAN ART Sun Yu BA (Art History) Valita Manu (Museum Studies) Victoria Collings BA (Hons), MA, MAINTENANCE OFFICER OPERATIONS Marketing Helen Campbell BA (Hons), Grad ASSISTANT CONSERVATOR, Stuart Matheson PGCE, Nat Dip Rob Schumacher Theo Papalimperis PROJECT OFFICER, CURATORIAL Dip (Museum Studies) ASIAN ART BUSINESS DEVELOPMENT Jamil Mati SERVICES COORDINATOR, GIFTED AND Yang Yan Dong PLANT FITTER/OPERATOR HELP DESK OFFICERS MANAGER Patrick McBride BA (Hons), MA SENIOR CURATOR, AUSTRALIAN Donna Brett BA (Visual Arts), MA TALENTED PROGRAMS Julio Angulo Adam Dunn Leith Douglas BA (Communications) Nigel Milsom BFA (Hons), MFA PRINTS, DRAWINGS & (Art History and Theory) Sherryl Ryan BEd, MEd (Gifted & Roseann Phillips BUSINESS DEVELOPMENT (Research) WATERCOLOURS SENIOR REGISTRAR, TRADES ASSISTANT Talented), PGD, FA COORDINATOR Chris Muir Hendrik Kolenberg COLLECTIONS Lindsay Drummond Merryn Schriever Kevin Nguyen PROJECT MANAGER, MUSEUMS COORDINATOR, ACCESSIBLE Emma Smith BA, Grad Dip MANAGER, HUMAN RESOURCES ASSISTANT CURATOR, Ray Nguyen & GALLERIES NSW/ AGNSW PROGRAMS Decorative Arts Donna Grubb MARKETING COORDINATOR AUSTRALIAN PRINTS, DRAWINGS LIGHTING SUPERVISOR Vanessa Orrego Michael Wardell BA Amanda Peacock BA, Dip Ed Kylie Wingrave BA (Vis Arts), B & WATERCOLOURS ASSISTANT REGISTRAR, Simm Steel HUMAN RESOURCES Dominque Pirrie COORDINATOR, SECONDARY Comm SENIOR CURATOR, EUROPEAN Anne Ryan BA (Hons), M Art Admin. COLLECTIONS COORDINATOR Peter Rawlins AND ASIAN EDUCATION ART, PRE 1900 Clare Germaine BA, MA (Arts Shirley Dunshea BBus (HRM) MARKETING ASSISTANT Debasish Ray ASSISTANT CURATOR, PROGRAMS SENIOR INSTALLATION Richard Beresford BA (Hons) MBA Admin) Sean Foyel BBus (Personnel Mgt Molly Waugh Frank Saunders AUSTRALIAN ART Leeanne Carr B Ed VArts TECHNICIAN PhD & Industrial Relations) RECEPTIONIST Sharat Sharma Denise Mimmocchi BA (Hons) REGISTRATION ASSISTANTS Nikolaus Rieth CURATOR, EUROPEAN PRINTS, CLERICAL MANAGER Paul Solly Michelle Berriman BA (Hons), Dip HE Peta Sirec BA (Vis Arts) ASSISTANT REGISTRAR, INSTALLATION OFFICERS DRAWINGS & WATERCOLOURS Joan Radkevitch Nicholas Strike BVisual Arts MANAGER, ADMINISTRATION WEEKEND COORDINATOR Suzanne Slavec (CURATORIAL) AUSTRALIAN ART Maryanne Cornford Peter Raissis BA (Hons) BOOKINGS OFFICER Brent Willison BA (Fine Arts) & STRATEGY Sally Bates Joan Standfield Natalie Wilson BA (Visual Arts), MA Brett Cuthbertson Patricia Teece CURATOR, CONTEMPORARY Dot Kolentsis Dip Visual Arts, Grad Trish Kernahan INFORMATION OFFICER / (Art History & Theory) John Freckleton Mary Thom AUSTRALIAN ART Dip Visual Arts ADMINISTRATION SERVICES SUPERVISOR SENIOR CURATOR, ABORIGINAL SENIOR PHOTOGRAPHER Peter Tsangarides Steve Triantos Wayne Tunnicliffe BA (Hons) MA, IMAGE LIBRARIAN SUPERVISOR Jeanette Klease AND TORRES STRAIT ISLANDER Jenni Carter Mark Turner BA, AA M Art Admin Louise Fischer BA, MA Meredith Robinson BA PHOTOGRAPHER INFORMATION OFFICERS Russell Ward ART STORES OFFICER ASSISTANT REGISTRAR, ART AFTER HOURS STAGING Andrew Lamoreux ADMINISTRATIVE SUPPORT Minette Brewin Gisela Weber Hetti Perkins BA Steve Peters (CURATORIAL), WESTERN ART ASSISTANT Diana Panuccio OFFICER Kate Dorrough EDUCATION OFFICER, Paul Woolcock Judy Peacock BA, Grad Dip App Ashlie Pellow Deborah Spek Tracey Keogh ABORIGINAL AND TORRES PHOTOGRAPHERS – Lorraine Xuereb Sc, M Art Admin STRAIT ISLANDER ART DIGITISATION SENIOR DISPLAY TECHNICIAN, INFORMATION OFFICER / CARPENTRY RECEPTIONIST ASSISTANT CURATOR, WESTERN Cara Pinchbeck BA (Visual Arts), COORDINATOR, BRETT WHITELEY Chilin Gieng MANAGER, GALLERY SHOP Bill Viola Olivia Prunster ART MA (Visual Arts) STUDIO Miriam Stirling Richard Harling BA (Hons) Natasha Bullock BA (Hons), SENIOR DISPLAY TECHNICIAN, COORDINATOR, ABORIGINAL Alec George Dip Ed ASSISTANT MANAGER, GALLERY Postgrad Dip (Art Curatorship & PAINTING PROGRAMS EDUCATION OFFICER, BRETT GENERAL MANAGER, SHOP MANAGER, SECURITY SERVICES Museum Management) MA Michael Brown Jonathon Bottrell BA (Fine Arts) WHITELEY STUDIO EXHIBITIONS & BUILDING Gillian Williamson BSc George Alamanos IMAGE REPRODUCTION OFFICER Jenny Hall Dip Art (Ed) SERVICES DISPLAY TECHNICIANS, SHOP SUPERVISOR SECURITY OFFICERS Michelle Andringa BA, MA, Dip Anne Flanagan Dip Int Design, Dip CARPENTRY Rebecca Allport BA (Art Theory) Emilio Cruz Drama HEAD LIBRARIAN Ed, Dip Ed Visual Arts Gary Bennett Glenn Gavin Susan Schmocker BA, Dip Lib COORDINATORS, AUDIOVISUAL BOOK BUYER / HEAD CASHIER COORDINATOR, CONTEMPORARY SENIOR REGISTRAR, EXHIBITIONS Ismael Costa Scott Gulliford Brian Blackwell Denise Faulkner BA (Fine Arts) COLLECTION BENEFACTORS & SENIOR LIBRARIAN/ TECHNICAL Charlotte Davy BA, Dip Fashion Ram Mudaliar Peter Humphreys Simon Branthwaite STOCK & SALES OFFICERS ABORIGINAL COLLECTION SERVICES Design & Technology, Adv Dip DISPLAY TECHNICIANS, PAINTING Telly Linakis Laurence Hall BA (Com) BENEFACTORS Kay Truelove BA, Dip Lib Fashion Design & Technology Daniel Green Carlota Arias BA (Spanish & David Paine JP Performance Studies) Bambi Blumberg BEcon, Dip Ed, LIBRARIANS Alan Hopkinson Bob Partridge ASSISTANT REGISTRAR, Julie Crawford BA (Hons) PhD Cert Teach English Robyn Louey BL Arch, Grad Dip IM AUDIOVISUAL TECHNICIAN EXHIBITIONS Hudson Qureshi Robert Herbert Angharad Dalton Dip Book Edit & Bryan Reynolds (Lib) Charlotte Cox BA, Grad Dip (Works GENERAL MANAGER, FINANCE & Pub SENIOR CURATOR, Valerie Tring of Art) MANAGEMENT SERVICES Loretta Doolan BA (Hons) Art Theory PHOTOGRAPHY LIBRARY TECHNICIAN HEAD, CONSERVATION SENIOR EXHIBITIONS MANAGER Rosemary Senn BComm, FCPA, Marc Hartl CSCM MANAGER, GALLERY SERVICES Judy Annear BA Vivian Huang Assoc Dip Arts Alan Lloyd Erica Drew BA (Hons) MAICD Dip Alison Huguenet BA MA Michael Bennett

84 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 85 ‘Delivering online collections Committee Conference Stretched to Committee member, Power Judge, Hutchins Works on Paper STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES @ag.nsw.gov.au’, paper for the limit: finding storage solutions for Department, University of Sydney Art Prize, Oct 2005 Copyright, Digitisation & Cultural the 21st century, Sydney Dec 2005 Alumni Judge, inaugural Adelaide Perry Institutions Conference, University Prize for Drawing, PLC, Sydney, of Melbourne, Aug 2005 Paula Dredge (painting Louise Fischer (administrative March 2006 Unless otherwise stated all lectures Magazine, vol 148, no 1237, April Presentation: Mike Parr, Newcastle Committee member, Museums & Coordinator, ARC research conservator) services supervisor) Opened Amanda Robins paintings and presentations were held at the 2006, pp 264–69 (with Paula Region Art Gallery, Sept 2005 Galleries NSW, visual arts reference partnership with the University of ‘Walter Sickert at Gatti's: new Committee member: State Records and drawings, School of Architecture Gallery. Dredge) ‘Performing the self’, paper for Self committee Melbourne, Copyright and technical evidence’, The Burlington Focus Group for Review of the Gallery, University of Sydney, March Abbreviations: ‘Decoding the Renaissance’, Look, Portrait symposium, NPG, London, Treasurer, AAANZ Digitisation in Cultural Institutions Magazine, April 2006, pp 264–269 Administrative Records Disposal 2006 AGNSW Art Gallery of New South Dec 2005 –Jan 2006 Nov 2005 Member, Visual Arts and Design (with Richard Beresford) Authority Judge, Margaret Flockton Award, Wales ‘Changing appearance of paintings’, Presentation: Antony Gormley and special interest group Helen Campbell (assistant curator, ‘Drawing from life? JW Lewin's “The Floor Talk: Sidney Nolan and his Ned Botanic Gardens, Sydney, June 2006 AGS Art Gallery Society of NSW lecture, University of Sydney book launch, Anna Schwartz Gallery, Member, editorial working group, Australian art) gigantic lyllie of New South Wales”,’ Kelly series Art After Hours July 2005 Opened Marks and motifs, prints CCB Contemporary Collection ‘Picture frames’, lecture, University Melbourne Nov 2005 Dictionary of Australian Artists Curator, Wastelands: A poetic Melbourne journal of technical from the PCA collection, QUT Benefactors of Sydney Presentation: Tatsuo Miyajima, South Online, UNSW legacy, Australian collection Focus studies in art, vol 2 Underdrawing, Donna Hinton (objects Gallery, Brisbane, June 2006 PCB Photography Collection ‘Reading Duccio’s Maestà: forwards Australian School of Art and CACSA, Masters in Art History and Theory, Room, 10 Aug – 3 Oct 2005 (with pp 49–54 conservator) Judge, Glebe Art Prize, Sydney, Benefactors and backwards’, lecture, Decoding Adelaide, Sept 2005 with merit, University of Sydney Barry Pearce) ‘A huge project: lifting a veil of old ‘AICCM Objects SIG Symposium June 2006 NPG National Portrait Gallery, the Renaissance series AGS ‘Interpretation or (Re)presentation of Curator, Waterfall: images from the varnish and conserving a treasure’, 2005: polymers and synthetic London National Portrait Gallery, ‘Materiality and meaning in ephemeral art works: documenting Natasha Bullock (assistant collection, Australian collection Look, May 2006 materials’, AICCM National Dr Liu Yang (curator, Chinese art) Canberra Masaccio’, lecture, Decoding the artists intentions in museum curator, photography and Focus Room, 17 May – 16 July 2006 ‘Life story of a painting, what an Newsletter no 97, Dec 2005 Curator, The poetic mandarin: COFA College of Fine Arts, Sydney Renaissance series AGS collections’ paper for AAANZ contemporary art) ‘Wastelands: a poetic legacy’, Look, unpeeling of the layers has revealed – ‘Conservation’, lecture, COFA, Chinese calligraphy from the James UNSW University of New South Presentation: ‘Conservation of The Conference Eye-site: situating Curator, Neon: Janet Burchill & Sept 2005 so far’, Look, Aug 2005 UNSW Hayes collection, 23 Sep – 27 Nov Wales boar hunt from the workshop of practice & theory in the visual arts, Jennifer McCamley, 26 June 2005 ‘Waterfall: images from the ‘Aboriginal Art as physical objects’, 2005 AAANZ Art Association of Australia & Frans Snyders’, with Stewart Laidler University of Sydney, Dec 2005 –14 Aug 2005 collection’, floortalk, Art After Hours, Deborah Edwards (senior curator, art history and theory students, ‘Fantastic mountains: where man New Zealand ‘Conversation with Mike Parr’, Curator, Reflections in time: 19th May 2006 Australian art) University of Sydney meets nature in Chinese landscape ARC Australian Research Council Anthony Bond (head curator, Museum of Contemporary Art, century portrait photography, 13 Oct ‘Waterfall: an inspiration to travellers Co-curator, Margaret Preston: art painting’, Oriental Art, vol LV, no 3, international art) Sydney, March 2006 2005 – 11 Dec 2005 and artists’, Look, June 2006 and life, 29 July – 23 Oct, 2005 Vivian Huang (library technician) 2006, pp 2–21 George Alexander (coordinator, Curator, Self portrait: Renaissance ‘Self portrait: renaissance to Curator, Trailer: Saskia Olde (National tour: National Gallery of AGNSW representative, National ‘Offering tray from China’, Look, contemporary programs) to contemporary, with Dr Joanna contemporary’, lecture for AGNSW Wolbers, 15 Dec 2005 – 5 Feb 2006 Dr Chaya Chandrasekhar (curator Victoria Nov 2005 – Jan 2006; Library and Information Technicians July 2005 ‘The dead travel slow’ (cat essay), Woodall (Courtauld Institute, Symposium, Feb 2006; University of Curator, Exchanging culture for flesh: of South and Southeast Asian art) Queensland Art Gallery Feb – May Conference, Sydney, 6–9 Sep, 2005 ‘Eremitism in Chinese landscape Artspace Publications, Sydney London), NPG, London and Sydney, March 2006; Newcastle David Griggs, 16 Feb 2006 – 2 April ‘Sacred symbol, secret meaning: the 2006; Art Gallery of South Australia Supervised TAFE Library and painting of the Ming and Qing ‘Tooba’ (cat essay), Shirin Neshat’s AGNSW, 2005 University, April 2006; Queensland 2006 Khatvanga ritual staff in Buddhism’, May – Aug 2006) Information Studies student intern dynasties’, paper presented at Tooba, Institute of Modern Art, Curator, Wolfgang Laib, 11 Aug – Art Gallery April 2006 Curator, Fit for flogging: Constanze TAASA Review, vol 15, no 1, March Margaret Preston: art and life (exhib Assisted in the assessment of the Mountain and Stream, organised Brisbane 6 Nov 2005 ‘Boundary Rider and Trace’, lecture, Zikos, 8 April 2006 – 21 May 2006 2006 cat) & Margaret Preston catalogue CA trainees, 12 April 2006 by the National Museum of Victoria, ‘Biennale preview: art as a transit Curator, Neonwall: Jeppe Hein, 21 COFA Sydney, May 2006 Editor (with Lily Hibberd), Photofile ‘The art, symbolism and religion in raisonné on CD-ROM, AGNSW, May 2006 visa’, TAASA Review, vol 15, no2, Sept – 11 Dec Exhib Appen says ‘22 years collecting at AGNSW’, 76: Shifting ground, summer one small sculpture: Kalachakra’, Sydney 2005 Jonathan Jones (Aboriginal ‘Literary metonymy and illusory June 2006 4 Dec 2005 lecture, University of Wollongong, 2005–06, Australian Centre for Look, March 2006 ‘Margaret Preston’ (co-author), programs coordinator) spatial time: a study of the ‘Close encounters: how much can Curator, Arthur Wicks Solstice June 2006 Photography, Sydney ‘Prajnaparamita: the perfection of Art & Australia vol 43, no1, spring ‘Perceptions of Audience’, paper ‘fisherman/recluse’ theme in Yuan we learn from a single photograph?’, Project, June 2006 Board memberships: Biennale of Editor (with Reuben Keehan), Zones wisdom in Buddhist religion and art’, 2005 for Museums &Galleries NSW dynasty painting’, presented at the Look, March 2006 ‘Alexi Glass, Lisa Roet: uncommon Sydney, Power Institute Foundation of contact: 2006 Biennale of lecture, Arts of Asia series, July 2006 ‘A Klippel masterpiece: inaugural Conference Leading from the edge, symposium Great classics of ancient ‘Antony Gormley’s vision: the body observations’, book review in Art member, Treasurer AICA Australia, Sydney: A critical Reader, Artspace, ‘Newar revisioning of the Buddha Gleeson O’Keefe Foundation Wagga Wagga, Nov 2005 Chinese painting and calligraphy, as a place of memory and Monthly Australia, issue 187, March executive officer AAANZ, ARC Visual Arts Centre Sydney 2006 biography: image, text, and practice’, purchase’, Look, June 2006 Co-curator, exhibition associated organised by Museum transformation’, Look, April 2006 2006 member, ARC Grants assessor ‘Reflections in time’, Look, Oct 2005 lecture, arts and archaeology of Articles on Preston: state art gallery with MGNSW Conference; tour, Ivan and the Palace Museum, Shanghai, Columns for Art & Australia ‘Who ‘Performing Bodies: self portraits’, ‘Killing Time: Ricky Swallow’, lecture Southeast Asia seminar series, Society magazines, Look, North Dougherty Gallery, Sydney 2006 China, Dec 2005 owns the art’, issue 41; ‘Art & Art & Australia, vol 43, no 3, autumn Donna Brett (project and research for Focus Fest: Bearing witness, Dec University of Sydney, May 2006 Shore Times, Daily Telegraph, Manly Coordinator, Michael Riley Archive in ‘Imperial patronage in Tang Daoist humour’, issue 42; ‘Art & money’, 2006 officer, curatorial services) 2005 ‘Blissful union, adamantine one: the Daily, Sydney Morning Herald. conjunction with the Michael Riley art’, lecture AGNSW, Sept 2005 issue 43; ‘Artist’s books’, issue 44 Twenty: Sherman Galleries, ‘Yvonne Boag: Unravelling ‘Behind the Scenes: International gender-embedded runction of hand- ‘Bertram Mackennal’ World of Foundation ‘Chinese painting’, research paper Australian desk editor for 1986–2006, cont author, Craftsman conversations and spaces’ (cat Pictorialism’, floortalk PCB, June held attributes in Buddhist Antiques and Art, June 2006 Advisory committee member, presented at Shanghai Museum, ArtAsiaPacific House, Roseville 2006 essay) Yvonne Boag: Unravelling: a 2005 iconography’, paper for 16th Entry, Australian Dictionary of MGNSW Conference Leading from Dec 2005 Opening speech for Vanishing point 'Performing the self?' in Self portrait: survey exhibition, Stonington Stables Neon: Janet Burchill and Jennifer Biennial Conference of the Asian Biography, Lyndon Dadswell, Oct the edge, Wagga Wagga, Nov 2005 The poetic mandarin: Chinese exhibition by Kendel Heyes, Addison renaissance to contemporary, co- Museum of Art, , McCamley, floortalk, Art After Hours, Studies Association of Australia, 2005 Member, National Exhibitions Touring calligraphy from the James Hayes Street Gallery editor and cont author (exhib cat) Oct 2006 June 2005 University of Wollongong, June 2006 Radio, press and television Support (NETS); board, MGNSW collection (exhib cat, principle Managed annual 28-week Art of the NPG, London and AGNSW, Sydney ‘Korea: a conversation with Yvonne Reflections in Time: 19th century interviews for Margaret Preston Member, 2006 pre-selection author) AGNSW XX Century Wednesday lecture 2005 Boag’, Imprint vol 41, no 2, winter portrait photography, floortalk, Art Victoria Collings (coordinator, K–6 exhibition: ABC, Channel 9, Ovation, committee, National Aboriginal and series (for June – Dec 2005) Inside Australia, Antony Gormley, 2006 After Hours, Oct 2005 schools and family programs) Sydney Morning Herald, Daily Torres Strait Islander Telstra Art Award Alan Lloyd (head of conservation) cont author, Thames and Hudson, ‘The art museum and the city: Saskia Olde Wolbers: Trailer, floortalk, ‘Gallerykids’, Look, Feb 2006 Telegraph, Melbourne Magazine, ‘Joy oh joy: a new Cossington Judy Annear (senior curator, London 2005 mapping cultural interconnections’, CCB and Art After Hours, Jan 2006 Curator, Art for Athletics, inaugural Adelaide Advertiser, Courier Mail Hendrik Kolenberg (senior curator, Smith’, Look, March 2006 photography) ‘Wolfgang Laib’ in Wolfgang Laib: paper for Museums Australia Research coordinator and Art Show for Our Lady of Perpetual Lectures on Margaret Preston Australian prints, drawings and Curator, Bill Henson exhibition the third Balnaves sculpture project, Conference Exploring dynamics: publications assistant, AGNSW Succour School, West Pymble, Sept exhibition for Collection, Library and watercolours) Robyn Louey (librarian) (Jan – July 2005) co-editor and cont author (exhib cat) cities, cultural spaces, communities, contemporary collection handbook 2005 Conservation benefactors, AGS and Curator, Earle Backen in focus, Co-hosted NSW SPUN meeting Curator, Points of view: Australian AGNSW, Sydney 2005 Brisbane, May 2006 (forthcoming) Judge, under 19 ceramic art Art Gallery Foundation; and for Australian collection Focus Room, held at AGNSW, July 2005 photography 1985–95 & exhibition ‘Wolfgang Laib’, Look, July 2005 ‘The good, the bad and the ugly’, Curatorial representative for Asialink, category at the Royal Easter Show, corporate functions, staff and Oct 2005 Represented AGNSW at training brochure ‘Self portraits’, Look, Sept 2005 paper for Copyright, Digitisation and University of Melbourne exhibition March 2006 volunteer guides, tertiary student Curator, Nora Heysen drawings, course, State Library of NSW for Curator, Magical realism 18 Feb – ‘Artists as models’, Look, Feb 2006 Cultural Institutions Conference, Supernatural artificial: contemporary seminars Australian collection Focus Room, Libraries Australia Cataloguing 2 April 2006 ‘Self portrait with history: Mike Parr University of Melbourne, Aug 2005 photo-based art from Australia, Jonathan Cooper (manager, Lectures on Margaret Preston Dec 2005 – Feb 2006 Client, Dec 2005 ‘Points of view’, Look, Nov 2005 in performance as his bridal ‘Bill Viola: devotion and Nanyang Academy of Fine Arts, information – website) exhibition for Warringah Library, Curator, Kevin Connor: sketchbooks Introduction to the Library talks ‘Lewis Morley: rounding out the persona’, Look, May 2006 contemplation through the moving Singapore, June 2006 Paper: 'Beyond the online museum: Manly Art Gallery, a number of Project Gallery 28 Apr – 25 June presented to various student groups, picture of a versatile photographer’, ‘Incidents’ in Igor & Svetlana image’, lecture, Art of the XX participatory virtual exhibitions', Sydney bookshops, COFA, 2006 2005–2006 Look, June 2006 Kopystiansky, cont author (exhib Century series, Aug 2005 Jesmond Calleja (senior registrar – Museums and the Web 2006, Mornington Peninsula Art Gallery, The Dobell Prize for Drawing Opening speech for Simone cat), University Gallery at the Fine Publications assistant, AGNSW collections systems integration) Archives & Museums Informatics National Gallery of Victoria, 1993–2004 AGNSW, Sydney 2005 Jethro Lyne (education officer) Douglas, Sky of the skies exhibition, Arts Centre, University of contemporary collection handbook ‘Re-evaluating content & digital 'myVirtualGallery project', paper, Queensland Art Gallery, Art Gallery ‘Earle Backen in focus’ Look, Oct ‘Russian-European cross-currents Artereal, Sydney, June 2006 Massachusetts, Amherst and (forthcoming) delivery – incorporating the Vernon Museums and the Web Conference, of South Australia 2005 at the turn of the century’, lecture, Committee member, Hasselblad Kunsthalle Fridericanum Kassel, Awarded 2nd prize for the best Browser’, Collection connection, Albuquerque, NM, USA, March 2006 Keynote address, Margaret Preston ‘Focus on Nora Heysen’ Look, Dec Modern Art in the Making 2, AGS, International Award in Photography, 2005 student paper at the Museums no 59, Sept 2005, pp 2–3 Member, technical working group, seminar, AGNSW, Aug 2005 and Art 2005 – Jan 2006 July 2005 Sweden 2005–06 (awardee David ‘Neonwall’ in Jeppe Hein: Neonwall, Australia Conference ‘Online access to the AGNSW’s Dictionary of Australian Artists Gallery of South Australia June 2006 Kevin Connor Sketchbook AGNSW, ‘Art and the Russian revolution’, Goldblatt, South Africa) PCB (exhib cat) AGNSW, Sydney 2005 Conference manager and committee collection’, Museums Australia Online, UNSW Interview panel: curator, NPG, Sydney 2006 lecture, Modern Art in the Making 2, program ‘Global art after 1989’, paper for member for AAANZ Conference Magazine, vol 14, no 2, Nov 2005, Canberra 29–30 Aug 2005 ‘Tom Bass as draughtsman’ (cat AGS, Aug 2005 AAANZ Conference Transforming Transforming aesthetics, July 2005 pp 22–3 Charlotte Davy (senior exhibitions Judge, Paddington Art Prize, Sept essay), Sydney Opera House ‘Medieval Italian sculpture and the Dr Richard Beresford (senior aesthetics, AGNSW, July 2005 Participant, ARC research ‘Exhibiting in the virtual world’, registrar) 2005 Opened the Annual spring exhibition Pisani’, lecture, Decoding the curator of European art pre-1900) Commissioning editor, AGNSW partnership with the University of Journal of the Australian Registrars Committee member, Australian Judge, The Helen Lempriere Royal Art Society, Sydney, Aug 2005 Renaissance, AGS, March 2006 ‘Walter Sickert at Gatti’s: new contemporary collection handbook, Melbourne, Copyright and Committee, vol 52, June 2006, Registrar’s Committee National Sculpture Award 2006, and selected/awarded their Medal of ‘Civic humanism: Ambrogio technical evidence’, The Burlington forthcoming Digitisation in Cultural Institutions pp 4–7 Convenor, Australian Registrar’s Werribee Park, Victoria, Nov 2005 Distinction Lorenzetti's allegory of peace and

86 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 87 war’, lecture, Decoding the ‘Christian imagery in Asian art’, ‘Margaret Preston’, (co-author) Art & speech, Lismore, June 2006 vol XIII, no 1, fall–winter 2005–06 public programs foreign language Christanto’, conference paper at exhibition from the collection, Renaissance, AGS, April 2006 lecture for VisAsia Focus on Faith Australia, vol 43, no 1, spring 2005 Interview for BBCTV on Rolf Harris, Review, ceramics: the art of guides, Aug 2005 Focus Fest 2005: Bearing witness, 17 Dec 2005 – 21 May 2006 ‘French Medieval sculpture’, lecture, course, Aug 2005 Margaret Preston: art and life, (co- 24 Jan 2006 Japanese export porcelain and Dobell Prize for Drawing, floortalk, AGNSW, 2–3 Dec 2005 Co-curator, AGNSW Contemporary Sydney Medieval and Renaissance Introductory lecture, Arts of Asia author exhib cat) & Margaret Preston Interview for BBCTV on Rolf Harris, Satsuma Ware 1868–1912, by Gisela Aug 2005 ‘Does contemporary Asian art Projects Group 2006 course on Goddesses, March catalogue raisonné on CD-ROM, 27 Jan 2006 Jahn, for Orientations, Sept 2005 Opened Archibald Prize exhibition history exist in the museum?’ Commissioning editor, AGNSW Lecturer, National Art School; ADFAS 2006 AGNSW, Sydney 2005 Interview for Sunday program, ‘Marvels or aberrations? Early and presented lecture, Albury conference paper at 32nd contemporary collection handbook, Doctoral research ongoing, French Introductory lecture for symposium ‘Margaret Preston: art and life’, Channel 9 on Margaret Olley, products of the Kzan studio’, TAASA Regional Art Gallery, Oct 2005 Association of Art Historians Annual forthcoming Medieval sculpture for Zen mind, Zen brush exhibition, floortalk, Australiana Society, 28 June 2006 Review, vol 14 no 4, Dec 2005 Opened Contrasting images; Erika Conference, Leeds, UK, 5–7 April Member, CCB Committee June 2006 AGNSW, Aug 2005 ‘Miyagawa Kozan and the role of Beck, Jane Bennett, Gwen Tinney, 2006 MC, CCB annual dinner, Aug 2005 Ann MacArthur (coordinator, ‘Shakti’, lecture for Asian Studies ‘Margaret Preston: art and life’, Rosemary Peel (senior paper Satsuma Export Ware’, summary of Sheila White, Max Taylor Galleries, ‘Shirin Neshat’, lecture to AGNSW Asian programs) Association of Australia (ASAA) floortalk, Art After Hours, AGNSW, conservator) lecture in Transactions of the Oriental Summer Hill, April 2006 guides, Nov 2005 Michael Wardell (manager of ‘Buddha in suburbia, Look, Aug Biennial Conference, June 2006 Aug 2005 Co-curator, Margaret Preston: art Ceramic Society, vol 68, 2005 Advisory committee member, ‘Shirin Neshat’, talk to CCB function, special projects, Museums & 2005 TV presentation, Nexus program ‘Margaret Preston’, lecture, History and life, AGNSW 29 July – 23 Oct ‘Creativity within tradition: Dictionary of Australian Artists Jan 2006 Galleries NSW/AGNSW) ‘Goddesses: Asian lecture series’, broadcast on ABC Asia Pacific Teacher’s Study Day, AGNSW, Aug 2005 (National tour: National Gallery contemporary lacquerworks by Online, UNSW, 2005–06, ongoing Member, Management Committee, ‘Kurt Schwitters, Out of the dark, Look, Dec 2005 –Jan 2006 Television 2005 of Victoria Nov 2005 – Jan 2006, Unryuan’, Look, Dec 2005 – Jan Committee member, Sydney Art The Asian Arts Society of Australia 1943’ in World of Antiques & Art, ‘Seasons and the Japanese Opened fund-raising exhibition by ‘Margaret Preston: art and life’, Queensland Art Gallery Feb –May 2006 on Paper Fair (SAAPF) PhD research, University of Sydney, Aug 2005, p 125 Kimono’, lecture for Ikebana Friends of Swaminathan Australia, lecture, K–6 teachers, AGNSW, Aug 2006, Art Gallery of South Australia ‘Yukinori Yanagi’s Chrysanthemum Judge and supervising curator, ongoing ‘The Archibald Prize touring International Sept 2005 2005 May – Aug 2006) Carpet’, Look, Feb 2006 Fresh (emerging artists exhibition), exhibition in Cowra’ The Mag, Member, publications committee, Opened Chinese whispers exhibition Press interview for Sydney Morning Margaret Preston: art and life (exhib ‘Hinomaru, contemporary SAAPF, July 2005 Tristan Sharp (senior coordinator, Museum & Galleries NSW, issue 4, TAASA Review at Mosman Art Gallery, March 2006 Herald for Margaret Preston cat co-author), AGNSW Sydney, lacquerworks by Unryuan’, Look, Host, panel discussion with Fresh education programs) 2005, p 11 External examiner, Masters degree, exhibition, Aug 2005 2005 Feb 2006 artists, July 2005 ‘Margaret Preston’, Teacher History: ‘Virtual Reality’ The Mag, Museum & Terence Maloon (curator, special COFA, UNSW Introduction, Australian painting and Talk, Voluntary guides, June 2005 Curator, displays of work by Robert Journal of the History Teachers Galleries NSW, issue 2, 2006, p 18 exhibitions) Member, Australia–Japan Historical sculpture collection, AGNSW, April Talk, Friends of Conservation Ursula Prunster (museum Dickerson and Michael Fitzjames, Association of NSW, vol 39 no 1, ‘2005 Archibald Prize’, lecture, Curator, Pissarro: the first Photo Exhibition Committee 2006 2006 Benefactors, Aug 2005 educator/curator – special New England Regional Art Museum, March 2005 Cowra Art Gallery, Cowra 2005 impressionist, 19 Nov 2005 – 19 Director, VisAsia (The Australian ‘Margaret Preston: art and life’, Talk, Margaret Preston symposium, projects) Armidale, Oct 2005 ‘ArtExpress: The contemporary voice Opened 2005 Archibald Prize Feb 2006 Institute of Asian Culture and Visual lecture, Art Gallery of South Aug 2005 ‘Kandinsky from improvisation to of young people’, Look, Feb 2006 touring exhibition, Cowra Art Galley, ‘Camille Pissarro’, Look, Oct 2005 Arts), 2000– Australia, May 2006 Talk, Friends of the Library abstraction: the art of “inner Malgorzata Sawicki (senior ‘Processing ArtExpress: selecting, Cowra 2005 ‘The art of accords: Pissarro and Member, Morrissey Bequest Masters degree in art history and Benefactors, Aug 2005 necessity” ’, lecture for Modern Art conservator/ head of frame curating and viewing’, lecture, Opened Grafton Artsfest 2005, Corot’, Art & Australia, vol 43 no 2, Committee, University of Sydney theory, University of Sydney Talk, Australian Art lecture series, in the Making 2, AGS, Aug 2005 conservation) ArtExpress Teachers Day, Newcastle Grafton 2005 summer 2005 1997– (ongoing) Aug 2005 ‘Portraiture in the Renaissance’, ‘Future of losses compensation in Regional Art Gallery, July 2005 Judged 2005 Gosford Art Prize, Chair, Pissarro Conference AGNSW Member, Vice-Chancellor's Advisory Talk, Botanic Art Society of Australia, lecture for Decoding the conservation of gilded objects – Opening address & presentation, Gosford Regional Gallery & Arts 2005 Committee for the Nicholson Barry Pearce (head curator, Sept 2005 Renaissance, AGS, Feb 2006 non-traditional in-gilding techniques’ ‘The value of the visual arts in Centre, 2005 ‘Aida Tomescu’ (cat essay) Niagara Museum, University of Sydney, Australian art) Talk, Australian Institute for the ‘Giotto di Bondone: man or myth?’, presented and published at ICOM – schools’, Art on the Hill exhibition, Galleries, Melbourne 2006 1996– Curator, Wastelands: a poetic Conservation of Cultural Material, lecture for Decoding the Committee for Conservation 14th Rooty Hill High School, Sept 2005 Sheona White (senior coordinator, Translator, Jean Claude-Lebensztejn, legacy, Australian collection Focus Sept 2005 Renaissance, AGS, March 2006 Triennial Meeting, The Hague, Opening address & presentation, public programs) ‘Sol’ Steven Miller (archivist) Room, 10 Aug – 3 Oct (with Helen Margaret Preston: art and life book ‘From Flanders to Florence: the Netherlands, Sept 2005 ‘Visual communication and young ‘Cities, art, architecture:virtual and Translator, Isabelle Maeght (cat Curator, Rewind/FORWARD: Margot Campbell) launch and talk with Deborah impact of Flemish artists in Italy’, PhD research into ‘Non-traditional people’, International Baccalaureate actual journeys amongst the USA’s essay) Giacometti, AGNSW, Sydney Douglas, AGNSW Library, 25 Jan – Curator, James Gleeson: the Ubu Edwards, Manly Art Gallery and lecture for Decoding the gilding techniques as a substitute Visual Arts Exhibition, St Paul’s greatest’, Look, May 2006 2006 28 April 2006 diptych, Australian collection Focus Shearers Aug 2005 Renaissance, AGS, June 2006 for traditional matte water-gilding’, Grammar School, Penrith; Penrith ‘Nature Post Nature’, lecture, Art of ‘Cezanne selfportrait’ in Self portrait: Curator, Artists' books from the Room Book, Paper and Photographic University of Western Sydney Regional Art Gallery, Oct 2005 the XX Century series, Aug 2005 Renaissance to contemporary, NPG, collection of Noreen Grahame, Curator, More affinities: Lloyd Rees & Materials Symposium (AICCM) New Peter Raissis (curator of European (continuing) Opening address & presentation, London and AGNSW, Sydney 2006 AGNSW Library, 10 May – 31 Aug Brett Whiteley, Brett Whiteley Studio, Zealand, April 2006 prints, drawings & watercolours) Interviews, SBS Polish Radio on ‘Creativity: the role of schools and Natalie Wilson (assistant curator, Opened John Peart exhibition, 06 then New England Regional Art Floortalk to Friends of the Art Gallery Curator, Old Europe prints & Margaret Preston: art and life, galleries’, annual presentation Australian art) Cambelltown Lecture on history of the AGNSW, Museum of South Australia, May 2006 drawings from the collection Pissarro: the first impressionist, evening, Dulwich High School of Curator, Theo Scharf: night in a city Judge, Portia Geach Prize, S H Ervin Community Extension program, Aug Curator, Ink: Brett Whiteley and 1500–1800, 3 June – 6 Aug 2006 Self portrait: from Renaissance to Visual Arts and Design, Dec 2005 AGNSW 5 Apr – 14 May 2006 Gallery, Sydney 2005 others, Brett Whiteley Studio Hetti Perkins (curator, Aboriginal ‘Pissarro and printmaking: an contemporary and Archibald Prize ‘The “how” and “what” of working ‘(Works of) Paradise, and yet: Stan ‘Basilica of Saint-Denis, lecture, Lecture on history of the AGNSW, Introductory essay in Pat McCartney, and Torres Strait Islander art) introduction’, in Terence Maloon (ed), 2006 exhibitions with education’, presentation, Moriarty, Tony Tuckson and the La France Profonde, AGS Sydney College of Arts, Feb 2006 Bailed up: the making of a ‘Yiribana: a facelift and a new show’, Camille Pissarro, AGNSW, Sydney ConnectEd, Working with Schools ‘The arcades of Paris’, lecture, Lecture on history of the AGNSW, masterpiece, launched at Tom (with Ken Watson) Look, July 2005 2006, pp 59–64 Susan Schmocker (head librarian) Forum & Workshop, Arts NSW, collection of oceanic art at the Art La France Profonde, AGS COFA UNSW, Feb 2006 Roberts Festival, Inverell, April 2006 ‘Aboriginal art on the walls of Paris’, ‘Camille Pissarro’s impressionist ‘Role and function of the Gallery’s March 2006 Gallery of New South Wales’, paper ‘Pissarro’, lecture, La France Lecture on history of the AGNSW, ‘Brett Whiteley’s Alchemy’, essay for Look, June 2006 etchings’, Imprint, vol 40, no 4, Research Library and Archive’, Radio Interview: ArtExpress, ABC for The Pacific in Australia – Australia Profonde, AGS AGNSW guide teachers, April 2006 education kit and Whiteley Studio Commissioning curator, Australian summer 2005, pp 10–12 lecture to Information Management radio 702, Feb 2006 in the Pacific Conference, Centre for ‘Brunelleschi and his patrons – ‘Deaccessioning and the AGNSW’, website, April 2006 Indigenous Art Commission, Musée ‘Old Europe: rarely seen prints and students, , Judge, Newcastle Emerging Artist Social Change Research, QUT, decoding decorum’, lecture, lecture for AGNSW guides, Aug Article on Sidney Nolan du quai Branly, Paris, 2005–06 drawings on show’, Look, June 2006 Aug 2005 Award, Newcastle Artspace, May Brisbane, Jan 2006 Decoding the Renaissance, AGS, 2005 retrospective, Look, June 2006 ‘Camille Pissarro and printmaking’, Management and services of a 2006 ‘Theo Scharf as political satirist and May 2006 ‘Modernism and Australia’, lecture ‘Focus on Wastelands’, Look, Sept Dr Clare Pollard (curator of lecture, Dec 2005 special library, talk to University of illustrator’ and ‘Biographical notes’, Led AGS travel tour to Paris for Independent Scholars 2005 Japanese art) ‘Pissarro’, exhibition talk, Dec 2005 Technology Sydney students, Aug Kay Truelove (senior librarian) Theo Scharf: night in a city, (online Awarded Chevalier des Arts et Association of Australia, State ‘The Lowy Gonski Gallery’, Look, Curator, Unryuan: contemporary ‘Old master drawings: technique, 2005 Co-host, NSW Spun meeting, exhib cat), AGNSW, April 2006 Lettres Library of NSW, Sept 2005 Dec 2005–Jan 2006 lacquer master 25 Jan – 8 April function and connoisseurship’, ‘Security measures in an art library’, AGNSW, July 2005 ‘Theo Scharf: night in a city’, Imprint, Vice president, Alliance Francaise Interviewed by Andrea Stretton for Editor, Donald Friend diaries vol 4, 2006 lecture for Sydney University, Aug lecture to members of Art Libraries Represented AGNSW at Libraries Print Council of Australia, autumn de Sydney the Writers in Recital Series, National Library of Australia, June Curator, Yukinori Yanagi, 10 Feb – 2005 and April 2006 Society, Sydney, Sept 2005 Australia user-group meetings at the 2006 Member, Société Paul Cézanne, Woollahra Public Library, Sept 2005 2006 26 March 2006 ‘Old Europe’, exhibition talk, June Represented the Gallery at State Library of NSW ‘Theo Scharf: night in a city’, Kultur: Aix-en-Provence, France ‘Art between the Wars’, talk for Talk on Australian installation and the ‘Zen mind: the development of Zen 2006 ‘Dictionary of Australian Artists magazine of the Goethe-Institut in Queens Club, Sydney, May 2006 Lowy Gonski Gallery for AGNSW Buddhism’ in Zen mind, Zen brush: Online’ at UNSW Wayne Tunnicliffe (curator of Australia, April 2000. Jackie Menzies (head curator, ‘Degenerates and Perverts’, lecture guides, July 2005 Japanese ink paintings from the Anne Ryan (curator, Australian ‘Research Library and Archive’, contemporary Australian art) Asian art) at the Sydney Writers’ Festival, May ‘Wastelands’ floortalk, Australian Gitter-Yelen collection, AGNSW, prints) Foundation Newsletter #7 & 8 Curator, Unscripted: language in Curator, Symbols and ceremonies 2006 collection Focus Room, Sept 2005 2006 Curator, Dobell Prize for Drawing Treasurer for Art Libraries Society of contemporary art, 17 May – 24 July Indonesian textile traditions, Joint recipient of the 2005 Australian Address at literary lunch for Jeffrey ‘ “Gorgeous with glitter and gold” : 5 Aug – 16 Oct 2005 Australia & NZ executive, 2003– 2005 13 Apr – 28 May 2006 History Award Smart book, Woollahra, Sept 2005 Miyagawa Kozan and the role of Curator, Theo Scharf: night in a city, ‘Swallowing Venice’, Look, Oct 2005 Guest editor, ‘Ceramics’, TAASA Recipient of the National Archives of Opening speech, Heaven and earth Satsuma Export Ware in the early AGNSW, 5 Apr – 14 May 2006 Natalie Seiz (assistant registrar, Lecture, ‘Wolfgang Laib’, Oct 2005 Review, vol 14, no 4, Dec 2005 Australia Ian Maclean Award exhibition, Hazelhurst Gallery, Sept Meiji ceramic industry', in Editor, The Dobell Prize for drawing curatorial – Asian) Judge, Blake Prize for Religious Art, Guest editor, TAASA Review, vol 15, 2005 Challenging past and present: the 1993–2004 AGNSW, Sydney 2005, Curator, Shirin Neshat, 16 Dec Nov 2005 no 1, March 2006 Denise Mimmochi (assistant More affinities exhibition floortalk, metamorphosis of Japanese art in second edition 2005 – 29 Jan 2006 ‘Contemporary art at the AGNSW’, ‘Tantra up close and personal’ The curator, Australian art) Armidale, April 2006 the nineteenth century, University of ‘Fred Williams, first showing of his ‘Iranian voices: finding a place for lecture to Gallery guides, Nov 2005 Mag, Museums & Galleries NSW, Assistant curator, Margaret Preston: More affinities exhibition opening Hawaii Press, 2006 etchings given by Gwen Frolich’ art between two cultures’, Look, Modern to Now 1, CCB tour, Jan issue 2, 2006, p9 art and life, 29 July – 23 Oct 2005 speech, Armidale, April 2006 Review, Meiji ceramics: the art of Look, May 2006 Dec 2005 – Jan 2006 2006 ‘Curatorial Practice’, lecture to (National tour: National Gallery of More affinities exhibition floortalk, Japanese export porcelain and ‘Night in a city’, Look, April 2006 Book review, Old China through ‘Hany Armanious Turns in Arabba’, students from COFA, UNSW Victoria Nov 2005 – Jan 2006; Armidale, April 2006 Satsuma Ware 1868–1912 by Gisela ‘Pissarro and prints’, lecture, G E Morrison’s eyes, Shen Jiawei floortalk, Art After Hours, May 2006 ‘Asian Art’, lecture to Museum Queensland Art Gallery Feb – May Address public meeting at NERAM, Jahn, for Studies in Decorative Art, AGNSW, Feb 2006 (ed), TAASA Review, vol 15, no 2, Co-chair, Oceania forum, Auckland Studies students from the University 2006; Art Gallery of South Australia Armidale, June 2006 journal of The Bard Graduate Centre ‘Australian art in AGNSW collection’, June 2006, p 2 Art Gallery, Feb 2006 of Sydney May – Aug 2006) Margaret Olley retrospective opening for Studies in the Decorative Arts, lecture to community ambassadors, ‘They give evidence, Dadang Co-curator, Modern to Now 1,

88 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 89 MISCELLANEOUS ADMINISTRATION APPENDIX CUSTOMER COMPLAINTS created a historical database with University of Western Sydney; reports; and human resource In accordance with the Gallery’s online search function for the entrants University of Technology, Sydney; policies. Pledge of Service visitors are invited and winners of the Archibald Prize, Australian National University; Documents available for purchase to leave both praise and complaints Wynne Prize, Sir John Sulman and internationally Taiwan National The Gallery publishes a range of in the Visitors Comments book. Prize, Dobell Prize for Drawing and University of the Arts, Taiwan; catalogues and art books (see MAJOR CAPITAL WORKS PAYMENT PERFORMANCE This book is regularly reviewed by Citigroup Private Bank Australian University of Northumbria and appendix). Publication prices are Photographic Portrait Prize. This City & Guilds of London Art School Capital works Cost 2005–06 Completion Overrun Aged Creditor Analysis at the end of each quarter 2005–06 the Gallery’s senior management for regularly reviewed by the Gallery appropriate response and further database contains references to in the UK; Evtek Institute of Art projects ($’000) date ($) Shop. Selected items are available Quarter ended Current Less than Less than Less than More than action if required. During 2005–06 every exhibited work for each of and Design, Finland and Ecole du from the Gallery’s website Artworks purchased 8 769 ongoing nil (ie within 30 days 60 days 90 days 90 days there were 202 comments these competitions. This year Louvre, France. (www.artgallery.nsw.gov.au/shop). Building works 1 375 ongoing nil due date) overdue overdue overdue overdue recorded – 187 complaints and continued work was undertaken to The Gallery also publishes bi- make available online more education Plant and equipment $$$$$ 15 comments of praise. monthly exhibitions and events kits and other educational materials. PRIVACY MANAGEMENT replacement 419 ongoing nil Sept 2005 238 102 20 584 – – 1 881 The majority of the complaints bulletins. Further information about recent In September 2005 the Gallery Dec 2005 293 890 254 790 1 189 – 39 150 related to the restaurant/cafe (9); FOI Procedures Applications for Total capitalexpenditure 10 563 website developments can be found was granted a permanent exception security (9), wheelchair/pram access access to Gallery documents under Mar 2006 187 291 3 302 – – – in the Year in Review – Audiences under s.41 of the Privacy and (7), public programs (6) and text not the Freedom of Information Act June 2006 435 631 30 – – – section of this report. Personal Information Protection being large enough on signage (5). should be made in writing and (PPIP) Act 1988 relating to personal Regular reviews with the Gallery’s directed to: Human Resources information in archival materials ENGAGEMENT AND USE OF CONSULTANTS Accounts paid on time each quarter contract caterer aim to ensure areas Manager, Art Gallery of New South LAND DISPOSAL obtained in future or currently Total accounts paid on time Total paid of below-standard performance Wales, Art Gallery Road, The There were three consultancies in 2005–06 costing a total of $18 689. The Gallery did not acquire or contained in the Gallery’s Research are addressed on an ongoing Domain, Sydney NSW 2000. They were engaged in the following categories: Quarter Target Actual Amount Amount dispose of any land in 2005–06. Library and Archive collections. basis. Equally any complaint The Gallery’s Privacy and Personal Arrangements can be made to Category Number of %% $ $ about the Gallery’s service officers Information Management Plan was obtain copies of documents, or Consultancies is addressed by the relevant Sept 2005 90.00 95.86 7 617 975 7 946 880 MAJOR ASSETS reviewed in January 2006 and to inspect them telephoning the supervisors with their staff to ensure Information Technology 1 Dec 2005 90.00 87.70 6 242 115 7 117 733 The Gallery’s major assets are its updated accordingly. During human resources manager on Management Services 2 Mar 2006 90.00 92.89 5 481 457 5 900 778 service to the public is of the artworks and its land and building in 2005–06 there were no internal (02) 9225 1795. June 2006 90.00 94.72 5 280 523 5 574 893 highest standard, whist ensuring the Domain. reviews conducted by or on behalf the protection of art works is still Total 90.00 92.77 24 622 069 26 540 284 of the Gallery under part 5 of the FREEDOM OF the primary responsibility. Disabled Privacy and Personal Information access remains an issue with PRODUCTION COSTS Protection Act. INFORMATION heritage building considerations 2006 ANNUAL REPORT PROCEDURES meaning a significant investment The Gallery has a designated The Gallery’s annual report seeks Applications for access to Gallery privacy officer in accordance with would be required to address the to present critical performance documents under the Freedom the provision of the PPIP Act and EEO STATISTICS problem successfully. Improved information in an honest, transparent of Information Act 1989 should this officer can be contacted at: signage for disabled access at the and reader-friendly manner. The be accompanied by a $30 PARLIAMENTARY ANNUAL REPORT TABLES Human Resource Services, rear of the building has been total external costs incurred in the application fee and directed in Art Gallery of New South Wales, implemented. production of the 2006 Annual writing to: Report is approximately $25 000 Art Gallery Road, Comments of praise were very Human Resources Manager A. TRENDS IN THE REPRESENTATION OF EEO GROUPS (this includes text editor, print The Domain NSW 2000. encouraging with a number relating (FOI Coordinator) management and print production). Telephone: (02) 9225 1795 or to public programs, the helpfulness Art Gallery of New South Wales % of Total staff The report is provided free to key Fax: (02) 9225 1622. of staff and the quality of the Art Gallery Road EEO group Benchmark or target 2003 2004 2005 2006 stakeholders and other interested exhibitions program. The Domain NSW 2000 parties. It is also available through FREEDOM OF Women 50% 48% 50% 53% 51% our website in the About Us section INFORMATION – Aboriginal people and Torres Strait Islanders 2% 2.0% 2.0% 2.5% 1.8% POLICY DEVELOPMENT (www.artgallery.nsw.gov.au/aboutus). Arrangements can be made STATEMENT OF AFFAIRS to obtain copies of documents During the year policies were This report is the Gallery’s major People whose first language was not English 20% 20% 18% 19% 20% or to inspect them by contracting drafted for several key areas of corporate publication produced each The following Statement of Affairs the FOI coordinator on People with a disability 12% 3% 3% 3% 2% the Gallery including a Risk year and feedback is welcomed. It is presented in accordance with the telephone (02) 9225 1795 constitutes the Gallery’s compliance Freedom of Information Act 1989, People with a disability requiring work-related adjustment 7% n/a 1.1% 1.1% 0.4% Management Statement of Intent; or fax (02) 9221 6226. a new Sponsorship Principles policy with the Annual Reports (Statutory section 14 (1) (b) and (3). The statement; a new Conflict of Interest Bodies) Act 1984 and associated Gallery’s statement is correct as policy; and an updated Employees regulations. The report is also at 30 June 2006. The Gallery (FOI B. TRENDS IN THE DISTRIBUTION OF EEO GROUPS Privacy and Personnel Information annually measured against criteria Agency no 376) received two formal set out by the Australasian Reporting requests for information, both Distribution index Protection policy and management plan. Award (ARA), gaining a Silver Award classified as ‘other’, under the Act EEO group Benchmark or target 2003 2004 2005 2006 in 2003, 2004 and 2005. during 2005–06. All requests were completed. No requests were Women 100 116 112 113 117 CREDIT CARD USAGE carried over from the previous INTERNSHIPS financial year. Aboriginal people and Torres Strait Islanders 100 n/a n/a n/a n/a The director certifies that credit card Tertiary internships took place across The Gallery regularly receives People whose first language was not English 100 91 95 93 90 usage in the Gallery has been a wide range of Gallery departments, representations from the public conducted in accordance with People with a disability 100 n/a n/a n/a n/a including public programs, education concerning its operations. We relevant Premier’s Memorandums programs, curatorial, exhibitions, endeavour to make the collection People with a disability requiring work-related adjustment 100 n/a n/a n/a n/a and NSW Treasury Directions. library and archives, registration, and associated information as Notes: conservation, the Brett Whiteley accessible as possible to the 1 Staff numbers are as at 30 June 2006 ELECTRONIC SERVICE studio, marketing and the website. general public and we welcome 2 Excludes casual staff DELIVERY A total of 22 internship placements public interest and participation in Gallery activities. 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 The Gallery’s website has took place in 2005–06 for 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 e.commerce capability with online undergraduate and post-graduate Documents held by the Gallery: 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 services including exhibition students from Australia and Art Gallery of New South Wales index is automatically calculated by the software provided by ODEOPE overseas, from faculties such as 4 The distribution index is not calculated where EEO group or non-EEO group numbers are less than 20 admission ticketing and Gallery Act 1980; accounts manual, policies Shop merchandise trading. Venue museum studies, art history and and procedures; agendas and hire applications can also be lodged theory, architecture, visual arts minutes of meetings; collections electronically via this system. The education and conservation management policy; administrative website also has an extensive management. policy and procedures; education Collection Search database which Participating institutions included policy; annual reports; exhibitions incorporates images of over 9000 College of Fine Arts, University of policy; EEO annual report; filming works from the permanent New South Wales; Macquarie and photography policy; the collection. The Gallery’s Library has University; University of Sydney; strategic plan 2003–08; financial

90 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006 91 FREEDOM OF INFORMATION REQUESTS 2005–06

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 Total to be processed 0 0 0 Financial hardship – pensioner, child 0 0 Completed 0 2 2 Financial hardship – non-profit organisation 0 0 Transferred out 0 0 0 Total 0 0 Withdrawn 0 0 0 Total processed 0 2 2 Significant correction of personal records 0 0 Unfinished (carried forward) 0 0 0 DAYS ELAPSED BEFORE COMPLETION RESULTS OF COMPLETED REQUESTS Days elapsed Personal Other FOI requests Personal Other 0–21 0 0 Granted in full 0 0 22–35 0 2 Granted in part 0 2 Over 35 0 0 Refused 0 0 Total 0 2 Deferred 0 0 Completed 0 0 HOURS REQUIRED TO PROCESS REQUESTS Hours for processing Personal Other MINISTERIAL CERTIFICATES ISSUED 0-10 0 2 Ministerial certificates issued 0 11-20 0 0 21-40 0 0 REQUESTS REQUIRING FORMAL CONSULTATIONS Over 40 0 0 Number of requests requiring formal consultation 0 Total 0 2

REQUESTS FOR AMENDMENT OF PERSONAL RECORDS REVIEWS AND APPEALS FINALISED Amendment request Total Number of internal reviews finalised 0 Number of requests for amendment 0 Number of Ombudsman reviews finalised 0 Result of amendment – agreed 0 Number of District Court appeals finalised 0 Result of amendment – refused 0 Total 0 INTERNAL REVIEW RESULTS Bases of internal review Personal Other REQUESTS FOR NOTATION OF PERSONAL RECORDS Upheld Varied* Upheld Varied* Number of requests for notation 0 Access refused 0 0 0 0 Deferred 0 0 0 0 BASIS FOR DISALLOWING ACCESS Exempt matter 0 0 0 0 Basis for disallowing or restricting access Personal Other Unreasonable charges 0 0 0 0 Charge unreasonably incurred 0 0 0 0 Application incomplete or wrongly directed 0 0 Amendment 0 0 0 0 Deposit not paid 0 0 Total 0 0 0 0 Diversion of resources 0 0 Exempt 0 0 * Relates to whether or not the original agency decision was upheld or varied Otherwise available 0 0 subsequent to the internal review Documents not held 0 0 Deemed refused 0 0 Released to medical practitioner 0 0 Total 0 0

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

92 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2006