Art Gallery of New South Wales 2015 Year in Review
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Queensland Art Gallery Board of Trustees Annual Report 2015–16
QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Stephen Page on Nyapanyapa
— OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
BACKBONE Double Issue
Arts Volume 8: Issue 2/3 December 2008 BACKBONE Double Issue Tom Lawford painting up Mangkaja artist and ANKAAA Director Ngarralja Tommy May at the Kimberley Aboriginal Law and Culture festival. Photo: Alistair McNaughton C 2008. www.aboriginalart.org Welcome from the ANKAAA Chairman – Djambawa Marawili Darwin Office As Chairman of ANKAAA Director Donna Burak hosted this This year ANKAAA has GPO BOX 2152, DARWIN I need to see ANKAAA moving meeting at beautiful Garden Point, worked particularly NORTHERN TERRITORY, AUSTRALIA 0801 Melville Island, then experiencing the closely with the major Frogs Hollow Centre for the Arts into a future and we need to first signs of the coming wet season with funders: The Department 56 McMinn Street, Darwin, NT make a pathway for those people heavy bursts of afternoon rain. of the Environment, Ph +61 (0) 8 8981 6134 who are coming onto our board. Water, Heritage and Fax +61 (0) 8 8981 6048 The Katherine Regional Meeting the Arts (DEWHA), the Email [email protected] ANKAAA is a face for the art centres. was held at Springvale Homestead, Australia Council of It is really important in the eyes of Katherine, on 29 October with many the Arts and Arts NT www.ankaaa.org.au (as well as continuing government who look to ANKAAA to members travelling vast distances to www.aboriginalart.org attend and share news and discussion. to work with our other understand art centres and Aboriginal This idyllic retreat was also the venue for funders). Their practical All text and images are copyright the artist, artists from the Top End. -
Balnhdhurr - a Lasting Impression Yirrkala Print Space
BALNHDHURR - A LASTING IMPRESSION BALNHDHURR - A LASTING IMPRESSION YIRRKALA PRINT SPACE a lasting impression WARNING Aboriginal and Torres Strait Islander people are respectfully advised that this publication contains the names and images of deceased persons 2 3 4 5 CONTENTS Foreword 8 Introduction 10 Early Linocuts 14 Early Colour Reduction Linocuts 16 Early Collagraphs 18 Early Screenprints 22 Japanese Woodblocks 26 Etchings 30 Berndt Crayon Etchings 32 String Figure Prints 34 Ngarra – Young Ones Portraits 38 Gunybi Ganambarr Portraits 40 Seven Sisters 42 Djalkiri – We are Standing on Their Names 48 Mother / Daughter 50 Midawarr Suite 52 The Yuta Project 56 Gapan Gallery 60 Afterword 62 List of Works 66 Acknowledgements 68 6 7 THE SONG OF THE PRESS I arrived at Buku-Larrnggay Mulka Centre in May 1995 just as Andrew and Dianne Blake were bringing into fruition Steve Fox’s vision for a dedicated Print Space. The new studio was built onto the existing 1960’s handbuilt cypress pine ex- mission hospital building which had been the art centre since 1975. Since then I have been an interested observer. A nosy neighbor listening to the music coming over the fence. From within an art centre, which is a vehicle for serious lawmen and women to represent their law in natural media as a political and artistic act of resistance to the dominant settler culture, comes a completely different tune. A lilting, gentle, persistent, sweet melody of (mostly) women humbly working together to make beautiful things. It has been the sound of laughter and considerateness. The sound of compassion and empathy and respect and dignity. -
Annual Report 2010–11
ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
QUEENSLAND CULTURAL CENTRE Conservation Management Plan
QUEENSLAND CULTURAL CENTRE Conservation Management Plan JUNE 2017 Queensland Cultural Centre Conservation Management Plan A report for Arts Queensland June 2017 © Conrad Gargett 2017 Contents Introduction 1 Aims 1 Method and approach 2 Study area 2 Supporting documentation 3 Terms and definitions 3 Authorship 4 Abbreviations 4 Chronology 5 1 South Brisbane–historical overview 7 Indigenous occupation 7 Penal settlement 8 Early development: 1842–50 8 Losing the initiative: 1850–60 9 A residential sector: 1860–1880 10 The boom period: 1880–1900 11 Decline of the south bank: 1900–1970s 13 2 A cultural centre for Queensland 15 Proposals for a cultural centre: 1880s–1960s 15 A new art gallery 17 Site selection and planning—a new art gallery 18 The competition 19 The Gibson design 20 Re-emergence of a cultural centre scheme 21 3 Design and construction 25 Management and oversight of the project 25 Site acquisition 26 Design approach 27 Design framework 29 Construction 32 Costing and funding the project 33 Jubilee Fountain 34 Shared facilities 35 The Queensland Cultural Centre—a signature project 36 4 Landscape 37 Alterations to the landscape 41 External artworks 42 Cultural Forecourt 43 5 Art Gallery 49 Design and planning 51 A temporary home for the Art Gallery 51 Opening 54 The Art Gallery in operation 54 Alterations 58 Auditorium (The Edge) 61 6 Performing Arts Centre 65 Planning the performing arts centre 66 Construction and design 69 Opening 76 Alterations to QPAC 79 Performing Arts Centre in use 80 7 Queensland Museum 87 Geological Garden -
Queensland Art Gallery Board of Trustees Annual Report 2011–12 Report of the Queensland Art Gallery Board of Trustees
QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2011–12 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 October 2012 The Honourable Ros Bates, MP Minister for Science, Information Technology, Innovation and the Arts Level 5, Executive Building 100 George Street BRISBANE QLD 4000 Dear Minister I am pleased to present the Annual Report 2011–12 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual Report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be accessed online at www.qagoma.qld.gov.au/about_us/annual_reports. Yours sincerely, Professor Susan Street Chair, Queensland Art Gallery Board of Trustees CONTENTS 04 INTRODUCTION 04 Vision 04 Purpose 04 Queensland Art Gallery | Gallery of Modern Art 06 CHAIR'S OVERVIEW 08 BACKGROUND 08 Government objectives 08 Strategic plan 2011–16 09 Operational plan 2011–12 10 OUTCOMES 10 Collection development 21 New audiences 25 Visitor experience 32 Acquisitions 82 Exhibitions 102 Performance measures 103 Statistical summary 104 FiNANCIAL SUMMARY & STATEMENTS 104 Financial summary 2011–12 104 Budget versus actual results 106 Financial statements 2011–12 126 Certification of the financial statements 127 Independent auditor’s report 130 PrOPOSED FOrwARD OPERATIONS 130 Strategic plan 2012–17 131 Operational plan 2012–13 132 GOVERNANCE 132 Management and structure 138 Compliance 138 Human resources 139 Operations 140 GLOSSARY 141 FEEDBACK FORM 04 Queensland Art Gallery Board of Trustees Annual Report 2011–12 INTRODUCTION INTRODUCTION Vision Increased quality of life for all Queenslanders through enhanced access to, and understanding and enjoyment of, the visual arts, and the assurance of Queensland’s reputation as a culturally dynamic state. -
Report of the Queensland Art Gallery Board of Trustees
REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 16 September 2009 The Honourable Anna Bligh, MP Premier of Queensland and Minister for the Arts PO Box 15185 City East Qld 4002 Dear Premier I am pleased to present the Annual Report 2008–09 for the Queensland Art Gallery. I certify that this Annual Report complies with: • the prescribed requirements of the Financial Accountability and Audit Act 1977 and the Financial Management Standard 1997, and • the detailed requirements set out in the Annual Reporting Guidelines for Queensland Government Agencies. A checklist outlining the annual reporting requirements can be accessed at www.qag.qld.gov.au. Yours sincerely Professor John Hay, AC Chair, Board of Trustees GALLERY PROFILE QUEENSLAND ART GALLERY ANNUAL REPORT 2008–09 3 CONTENTS COVER 5 GALLERY PROFILE Works from Ah Xian’s ‘Metaphysica’ series 2007 in ‘The China Project’ at GoMA. With the generosity of Tim Fairfax, AM, a group of six of 6 HIGHLIGHTS AND ACHIEVEMENTS the sculptures was acquired for the Collection. The ‘Metaphysica’ series was loaned by the artist for 9 CHAIR’S OVERVIEW ‘The China Project’. Ah Xian ‘Metaphysica’ series (detail) 2007 13 DIRECTOR’S OVERVIEW Bronze and brass 36 sculptures: dimensions variable 16 2008–09 — CONNECTING ART AND PEOPLE OPPOSITE Installation view of 17 TWO SITES, ONE VISION acquisitions in GoMA. Foreground: Tobias Putrih 21 CULTURAL TOURISM Connection 2004 Cardboard boxes 25 COLLECTION DEVELOPMENT Purchased 2008 with funds from Tim Fairfax, AM, through the 33 ACCESSIBILITY AND EDUCATION Queensland -
Annual Report 98-99.Qxd
annual report 1998–99 annual report 1998–99 national gallery of australia Annual Report 1998–99 © National Gallery of Australia 1999 ISSN 1323-5192 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed in Australia by Goanna Print, Canberra. National Gallery of Australia GPO Box 1150, Canberra ACT 2601 Telephone (02) 6240 6411 Facsimile (02) 6240 6529 Website: www.nga.gov.au Cover: Arthur Boyd Reflected Bride I 1958 Purchased with funds from the Nerissa Johnson Bequest 1999 Reproduced with the permission of Bundanon Trust 17 September 1999 The Honourable Peter McGauran MP Minister for the Arts and the Centenary of Federation Parliament House CANBERRA ACT 2600 Dear Minister I have pleasure in providing to you the Annual Report of the National Gallery of Australia for 1998–99, as required under the National Gallery Act 1975 and the Commonwealth Authorities and Companies Act 1997. The report follows the Guidelines for the Content, Preparation and Presentation of Annual Reports by Statutory Authorities (1982) and the Commonwealth Authorities and Companies Orders for Report of Operations (August 1998). Kerry Stokes AO Chairman of Council iii annual report 1998–99 Contents Letter of Transmission iii Chairman’s Foreword 1 Director’s Report 2 Corporate Overview 6 Performance 1998–99 Developing the Collection 11 Maintaining the Collection 16 Providing Access and Information 18 Managing Resources 26 Appendixes 1.