ART GALLERY OF NEW SOUTH ANNUAL REPORT 2002 TABLE OF CONTENTS ART GALLERY OF HIGHLIGHTS

PRESIDENT’S REPORT 2 BUDDHA: RADIANT AWAKENING, AN INSPIRING EXHIBITION THAT BROKE NEW GROUND – UNIQUE AGNSW CURATORIAL CONCEPT; SCOPE AND SCALE OF LOANED ART DIRECTOR’S REPORT 4 1 WORKS; SUPERB EXHIBITION DESIGN AND PRESENTATION, EXTENSIVE COMMUNITY YEAR IN REVIEW 8 BASED PUBLIC PROGRAMMES; A MAJOR CATALOGUE PUBLICATION; AND, WITH OVER 100,000 VISITATIONS, HUGE PUBLIC INTEREST. AIMS/OBJECTIVES/PERFORMANCE INDICATORS 26 CORPORATE GOVERNANCE 32 THE OPENING IN NOVEMBER, 2001 OF THE INNOVATIVELY DESIGNED CENTENARY 2 AUDITORIUM LOCATED BELOW GROUND AND ADJACENT TO THE MAJOR EXHIBITION SENIOR MANAGEMENT PROFILE 35 DISPLAY AREA WAS COMPLETED ON BUDGET FROM PRIVATELY RAISED FUNDS AND ORGANISATION CHART 36 WITHOUT INTERRUPTION TO THE ART GALLERY’S OPERATIONS.

FINANCIAL INFORMATION 38 DAVID JONES LIMITED DONATED AN IMPORTANT GROUP OF WORKS BY AUGUSTE RODIN (1840–1917), INCLUDING A SET OF CASTS OF SKETCH MODELS FOR THE APPENDICES 62 3 BURGHERS OF CALAIS, UNQUESTIONABLY ONE OF THE GREATEST OF ALL INDEX 88 MASTERPIECES OF EUROPEAN SCULPTURE.

GENERAL INFORMATION 89 YALE UNIVERSITY PRESS, A VERY PRESTIGIOUS PRESS WITH A WORLDWIDE 4 REPUTATION FOR EXCELLENCE IN THE AREA OF VISUAL ARTS AND SCHOLARSHIP, AGREED TO BE DISTRIBUTORS IN THE UNITED STATES FOR AGNSW PUBLICATIONS – THE BUDDHA: RADIANT AWAKENING CATALOGUE, BEING THE FIRST PUBLICATION THEY WILL DISTRIBUTE ON OUR BEHALF, HAS COMMENCED THIS RELATIONSHIP WITH THE LARGEST SINGLE ORDER THE GALLERY HAS EVER RECEIVED.

IN AN ACT OF ENORMOUS SUPPORT FOR ARTS AND CULTURE IN HAS Bob Carr MP 5 SEEN THE ART GALLERY BECOME ONE OF THE MAJOR BENEFACTORS FROM THE Premier, Minister for the Arts, and Minister for Citizenship ESTATE OF THE LATE RUTH KOMON – SIGNIFICANTLY INCREASING THE RUDY Level 40 KOMON MEMORIAL FUND BY $2.4 MILLION. Governor Macquarie Tower 1 Farrer Place CONSTRUCTION COMMENCED IN JANUARY, 2002 ON THE BUILDING EXTENSION, A NSW 2000 6 CAPITAL WORKS PROJECT FUNDED BY THE NSW STATE GOVERNMENT, WHICH WILL INCLUDE A NEW ASIAN ART GALLERY, ADDITIONAL TEMPORARY EXHIBITION SPACE, Dear Premier, AN IMPROVED CONSERVATION STUDIO, NEW CAFÉ AND RESTAURANT, AND EXPANDED OFFICES. In accordance with the requirements of the Annual Report (Statutory Bodies) Act 1984, we have pleasure in submitting to you the Annual Report for the THE MAJOR CONTEMPORARY ART EXHIBITION – SPACE ODYSSEYS: SENSATION AND Art Gallery of New South Wales for the year ended 30th June, 2002, for Top: Guyto monks making a sand Mandala 7 IMMERSION – WAS A COMPLEX ART GALLERY CURATED EXHIBITION INVOLVING as part of Buddha: Radiant Awakening AUSTRALIAN AND INTERNATIONAL ARTISTS WORKING WITH NEW TECHNOLOGIES presentation to Parliament. exhibition activities 10 November 2001 – 24 February 2002 TO CREATE ENVIRONMENTS THAT EXPANDED THE VISITORS’ PERCEPTION OF SPACE. The annual report of the Gallery, in our opinion, has been prepared in full Middle: Centenary auditorium opened in compliance with the requirements of the Annual Reports (Statutory Bodies) November, 2001 CONTINUED EXPANSION OF VISASIA, THE INSTITUTE OF ASIAN CULTURE AND VISUAL Act and the Annual Reports (Statutory Bodies) Regulations. Bottom: Lynette Wallworth Hold vessel #1 and ARTS, LAUNCHED LAST YEAR, WITH EIGHT NEW BUSINESS COUNCIL MEMBERS. Hold vessel #2 2001. Projections, digital video 8 imagery. Courtesy the artist and Australian Centre for the Moving Image. THE ART GALLERY SOCIETY PRESENTED A SHIPWRECK OFF A ROCKY COAST BY Yours sincerely, Underwater film © David Hannan PHILIPPE JACQUES DE LOUTHERBOURG (1740–1812) WHICH WAS PAINTED IN Space Odysseys: Sensation and Immersion 9 exhibition 18 August – 14 October 2001 IN THE 1760’S AND IS AN EXCEPTIONAL EXAMPLE OF LOUTHERBOURG’S MELODRAMATIC SHIPWRECK SCENES AND PROVIDES A LINK BETWEEN THE FRENCH ROCOCO AND BRITISH ROMANTIC ARTISTS SUCH AS TURNER AND JOHN MARTIN. David Gonski Edmund Capon President Director MAJOR ACQUISITION HIGHLIGHTS FOR THE ASIAN COLLECTION INCLUDED A FINELY Cover: Inside the Buddha: Radiant Awakening 10 CAST CHINESE GILT BRONZE FIGURE OF A BODHISATTVA FROM THE 14TH CENTURY exhibition 10 November 2001 – 24 February 2002 AND A PAINTING OF A STANDING BEAUTY BY THE WELL-KNOWN JAPANESE ARTIST HOSODA EISHI (1756–1829). PRESIDENT’S FOREWORD

The 2001–02 year has been a year of building construction which has seen the completion of the new Centenary Auditorium and the commencement of the Building Extension project.

Centenary Auditorium, opened in November, 2001. Funded by private contribution from the Centenary Fund.

In November 2001 the Centenary Auditorium was officially from their Capital Works allocation. This is an ambitious and During this reporting period the terms for Mr Lachlan world-class exhibition and public programmes while working opened by the NSW Treasurer the Hon. Michael Egan, MLC. exciting project that will see an additional Asian art gallery Murdoch and Ms Jillian Broadbent were completed. I take around major building construction, not for one minute The Auditorium’s cost of $2.2 million was funded entirely constructed above the current Level 1 gallery space, this opportunity to thank them both for their assistance to the diminishing their enthusiasm for their work. Our Gallery is from private contributions. The members of the Centenary effectively doubling the display space available for Asian art Gallery. I am very pleased to say that Ms Broadbent’s work extremely successful and it is their creativity and hard work Fund are each contributing $100,000 over varying periods, and in particular contemporary Asian art. A new temporary and support for the Gallery will continue in the role of that has made it so. and are responsible for making this excellent building project exhibition gallery on the Upper Level will provide much Deputy Chairman of the Art Gallery Foundation; she having a reality. I extend to them my deepest thanks for their needed space for the temporary exhibition programme. The for many years been the Vice President of the Trust and Chair commitment. development also includes a new Conservation Studio, a re- of the Trust’s Finance Committee. ordering of internal office space which will see several staff David Gonski The Centenary Auditorium is a tiered theatrette comfortably previously languishing in the sub-basement area integrated Newly appointed Trustees, commencing their first terms from President seating up to 90 people and fills a real need for servicing the into the general office accommodation. Completing the scope 1 January 2002, are Ms Anne Fulwood and Ms Irene Lee. I Art Gallery of New South Wales Gallery’s very active public programmes. The auditorium has of this project will be the establishment of a new Restaurant welcome all four new Trustees and extend my thanks to the been fitted out with modern information technology allowing and Functions area to be situated on the ground floor and an continuing Trustees. More details about the Trust can be online connectivity, assistance for the hearing impaired and upgraded and expanded Café on Level 1. found in the Corporate Governance section of this report. high quality presentation of film and images. As such the auditorium plays a key role in enabling the Gallery to fulfil This Building Extension project will be completed by mid This year has also seen the continued significant support for its mission – to provide an accessible venue for the year-long 2003, with the extended Café being the first new area open the Gallery from a range of people and entities including the Contemporary, Asian and (evening sessions of) European art to the public in August 2002. All this work will be completed Art Gallery Foundation, members of the President’s Council, lecture series, and for the many public programme events without closing the Gallery for a single day. of the Centenary Fund, of VisAsia, and of the Art Gallery supporting and enhancing our major exhibitions, which Society and their hard working Volunteer Guides and Task include such activities as film sessions, symposia, artist talks As well as expanding the building, the Board of Trustees has Force members. This involvement has allowed the Art Gallery and curatorial lectures. also expanded its membership from 9 to 11 Trustees during to expand its art collection, increase it’s public access and the year. The two additional Trustees are Mr John Schaeffer generally develop into the place of fine arts excellence it is With the completion of the Auditorium, the Gallery rapidly and Mr Peter Young, both of whom add considerable today. moved from the planning and approval stage of the last year management and financial expertise to our board, in addition to the on-site construction stage of the major Building to their strong interest as great supporters of the Art Gallery, I would also like to take this opportunity to thank the Extension project. This 3 year project, with a total cost of and as notable collectors. Director, Mr Edmund Capon, and his staff for their continued over $16 million, is being funded by the NSW Government commitment to presenting to the public of New South Wales

2 3 DIRECTOR’S STATEMENT

The year 2001–02 was, as it turned out, the Year of Buddha, the Biennale and the Building.

Work on the new extensions to the Gallery which include a not even the new building, but the acquisitions of works of new restaurant and coffee shop, new exhibiting gallery, new art that we have made. The heart and mind of any art conservation centre and new Asian gallery, commenced in museum such as this are the collections and they are the stage earnest in January; the 2002 Biennale of Sydney curated by upon which the intelligence and the opportunities of the Richard Grayson was as its title, (The World May Be) institution are performed and explored. The development of Fantastic, inferred, just that; and the Gallery’s major summer the Gallery’s permanent collections thus remains our primary exhibition Buddha: Radiant Awakening brought new realms responsibility. of experience, a great mixture of people, wonderful works of art, and a colourful bustle punctuated by moments of Many factors contribute to the determination of acquisitions: Lloyd Rees tranquillity to the Gallery. Certainly one of the memorable opportunity, availability, funding, curatorial planning and Fornalutx cottage, Majorca 1967 events of the year was the opening of the Buddha exhibition perception, benefaction and often just sheer good fortune, or black ballpoint pen, watercolour attended as it was by over one hundred monks and many lack of it. As to how and why a work of art is acquired is an in sketchbook no. 15 (bound sketchbook 112 leaves, 62 drawings) p. 23 Gift of Alan and Jancis Rees, the artist’s son and daughter-in-law, 2001 more attendants from around the world who were in Sydney, intriguing question but the overriding logic resides with the © Alan and Jancis Rees, Viscopy Ltd, Sydney most conveniently, for the World Buddhist Sangha Council. It insight and conviction of the responsible curator. The Gallery was also a surprisingly noisy event at which we discovered, does have acquisition policies which, rightly, indicate rather again somewhat to our surprise, that even monkish spiritual than determine the development of the collections. Australian serenity can be quite challenged in a pressing crowd when art is our principal charge and the collections must be as position, prestige and precedence are threatened. broad and representative as possible and as detailed as possible; whereas the Western collections are inevitably less Meanwhile in the course of the year the Gallery held 65 representative and characterised by certain strengths concerts, had 248 film and video showings, staged over 35 reflecting the history of the Gallery and its aspirations and exhibitions and special displays, opened its new Centenary opportunities from time to time; and the Asian collections are Auditorium, presented a remarkable 439 lectures and talks, relatively young and perhaps more than any other reflect the and attracted over 1.1 million visitors. Amid such pace and impact and contribution of a few individuals. activity it is often easy to overlook the essentials and our most fundamental responsibilities and objectives. It is, for As the collections grow certain strengths appear, and like example, necessary to remind ourselves that our lasting most such strengths they are worthy of further development. legacy to future generations will not, I suspect, be the This is true of all areas of the Gallery’s collections, and is exhibitions we have organised, nor our publications, perhaps particularly true of the Australian collection where

4 5 representative strength and individual depth are not merely all our publishing efforts but also to our graphics staff. desirable but essential. Following the re-hang of the It has been as busy and active year as ever with all those Australian 20th century collection in the year 2000 under the associated with and working for the Gallery fully title Australian Icons, it became evident that certain of those contributing to our continuing good health and imagination. ‘icons’ were not as well represented as they should be. There It has also been a year with the promise of great were noticeable inadequacies in the representation of such developments on the immediate horizons, not only with the crucial figures as Nolan and Williams and addressing those construction work well under way, but also with regard to inadequacies through the acquisition of certain works has some major acquisitions that are being contemplated and, of become a focus for the Australian department. To this end course, the programme of major exhibitions being developed the Gallery has been hugely supported by the Art Gallery that stretches way beyond any immediately visible horizons. Society and Lyn Williams by their continuing acquisitions and In all our tasks and responsibilities the Gallery is superbly gifts of Fred William’s works, whilst the Society has also served by its staff. My thanks to everyone and above all the supported the purchase of selected works by Nolan. This year three Senior Managers, Tony Bond, Anne Flanagan and has seen further progress through the generous support of the Rosemary Senn, and the Head Curators Barry Pearce and Nelson Meers Foundation which has committed to funding Jackie Menzies. A special mention of thanks and recognition the purchase of certain works by Sidney Nolan, beginning for those in our marketing, publicity and business this year with Italian crucifix,1955. Another artist indelibly development sections which this year have been much associated with this Gallery and whom we also represent in strengthened with Jill Keyte joining to head the business great depth is Lloyd Rees and we are indebted to the family development team. As the Gallery continues to grow and its for their continuing gifts. activities expand the involvement of the Board of Trustees under the guidance of David Gonski is ever more crucial. We Which brings us, appropriately, to the matter of private thus acknowledge with great appreciation the contribution of benefaction and its vital role in supporting our acquisitions’ time and resources of our President and members of the activity. Where indeed would the Gallery be without private Board, the President’s Council and its members, the support for its acquisitions: to which the answer is, severely Foundation Board, the Art Gallery Society, the various in the doldrums. The 2001–02 year was a modest year for Collection Benefactor groups and all those who have so acquisitions. The total value of additions to the collections supported the Gallery. Next year we’ll be opening the new was just $4.25 million, but what is more significant is that NSW Government funded extensions, or at least the greater works to the value of $3.7 million were either purchased with part of those works, which will give us yet further cause for a privately sourced funds or donated to the Gallery. Funds bit of a party. from the Gallery’s Trust and commercial activities were used to acquire the balance of those acquisitions. These figures highlight our absolute dependence upon our benefactors and it is, therefore, timely to express once again our thanks to all Edmund Capon those who enable us to acquire the works of art that become Director indelible assets of our Gallery and most especially those who Art Gallery of New South Wales have for many years continued that support: the names of Mollie Gowing, , Goldie Sternberg, James Fairfax, John Schaeffer, Geoff and Vicki Ainsworth are among those that regularly appear in our acquisition credits, along with the wonderful support given by the various benefactor groups, especially the Contemporary Collection Benefactors and the Photography Collection Benefactors.

‘Access’ in its many forms and variations is very much a priority in current thinking and attitude. For the Gallery access is primarily the Gallery visit, but there is a large and growing range of options, enhancements and alternatives to the traditional Gallery visit. Exhibitions are certainly a most powerful instrument of public access, but so too are publications, lectures, films, floor talks, guided tours, educational programmes, children’s activities and the gamut of extra-curricula events which we in art museums now undertake. This year the Gallery has once again excelled in both the quality and quantity of such activities but we are especially proud of our publishing record. Again this year was no exception. The Buddha: Radiant Awakening catalogue is proving to be a strong and reliable seller both here and abroad, whilst the three Australian department Right: Sidney Nolan publications on Fred Williams graphics, Lloyd Rees Italian crucifix 1955 (detail) sketchbooks and the Parallel Visions collection hang are all synthetic polmer paint on hardboard 91.5 x 122cm substantial books with what the trade describes a good ‘shelf- Gift of the Nelson Meers Foundation 2001 life’. Particular thanks not only to the curators responsible for © Nolan Estate

6 YEAR IN REVIEW

Left: John Mawurndjul Eastern kunwinjku, Central Arnhem Land Among the numerous acquisition highlights this year, the Gallery enriched its Mardayin 2001 natural pigments on eucalyptus bark representation of celebrated Australian artist Sidney Nolan with the acquisition of 215.5 x 87cm Purchased 2002

Italian crucifix 1955. Part of a small series completed by the artist after his second Right: John Mawurndjul visit to Italy in 1954, this painting is remarkable for a quality of formal invention not Eastern kunwinjku, Central Arnhem Land Mimis at minmilgan 1989 hitherto represented in the collection. natural pigments on bark 249 x 95cm Purchased 2002

COLLECTIONS especially sensitive portrait by Rupert Bunny, and a group of country while Untitled (Yarrinya) 2001 by the late Dula from the Mollie Gowing Fund include the Jimmy Njiminjuma her own best paintings including the evocative early work Ngurruwuthun depicts the bones of the whale Mirinyungu on bark painting Yawk Yawk figure 2001 and Owen Yalandja’s Portrait in the mirror of 1948. The latter works were given the beach at Yarrinya. The directions of the bands of miny’tji carved and painted wood sculpture Yawk Yawk 2001 and the Italian crucifix, 1955 was held in high regard by the artist, especially for inclusion in the major collection exhibition (sacred clan design) relate to the sacred saltwater of Yarrinya, prints from Eora and Northern Editions. A spherical hand who retained it for his own estate. This painting was Parallel Visions. the chop on the surface and the ancestral powers emanating built stoneware pot by the artist Thancoupie, Mosquito generously purchased for the Gallery by the Nelson Meers from it. The painting was completed only days before the Corroboree, two by two 1995, was gifted by Dr and Mrs Foundation. Generous benefaction on the part of the Art Exhibitions organised by the Australian Department have artist’s sudden death in August 2001. The bark painting Yawk Donald K. Faithfull. The Friends of Yiribana in association Gallery Society of New South Wales also enabled welcome spurred other significant benefaction including a major gift of Yawk figure 2000 by Mawurndjul’s older brother, Jimmy with the Art Gallery Society of NSW have continued to co- purchase of a recent painting by Garry Shead, The studio Robert Klippel’s work by the artist’s son, Andrew Klippel, in Njiminjuma, was also acquired along with a related sculpture, ordinate events designed to raise funds specifically to acquire 2001. Shead was one of the essential artists of the Sydney association with the retrospective exhibition Robert Klippel; a Yawk Yawk 2001, by artist Owen Yalandja. works for the collection. scene of the 1960s but is perhaps best known today for the number of drawings and prints by Fred Williams presented by recent satirical series on eminent English writer D.H. the artist’s widow Lyn Williams; and Sketchbook no. 15: The acquisition of two large paintings on canvas by ASIAN ART Lawrence and the British Royal Family. Other important Europe and Australia 1967 by Lloyd Rees given by the artist’s artists Warlimpirrnga Tjapaltjarri and Kenny Williams A finely cast Chinese gilt bronze Figure of a Bodhisattva, purchases this year include Robert Klippel No. 981 Diorama, son and daughter-in-law Alan and Jancis Rees. Splendid and Tjampitjinpa continues the Gallery’s collection of outstanding dated to the 14th century, was a significant addition to the an extraordinary sculpture from the last months of the artist’s generous individual gifts and bequests were made by works by the Tula Artists. Both paintings Gallery’s collection of Chinese Buddhist art (reproduced on life, a set of drawings by related to his works numerous donors including a large group of prints and innovatively explore aspects of the Tingari ancestral stories page 17). Seated in the posture of ‘royal ease’, with one leg in the collection and three drawings by Peter Purves Smith drawings by influential artist and teacher Frank Medworth, associated with the artists’ country. An epic twelve metre, pendant and the other raised on a lotus pedestal, this (a highly imaginative Australian artist of the 1930s and 40s donated by Maggie Rowe, and Salvatore Zofrea’s further eight panel painting on canvas, Waterbrain 2001, by Gija Bodhisattva is known either as the ‘Water and Moon’ deserving better representation in the collection) purchased presentation of many works in connection with his artist Rusty Peters from the east Kimberley was also acquired. Guanyin or the ‘Southern Sea’ Guanyin. The metaphor of the from the estate of Lady Drysdale. Appassionata woodcut series. This painting is significant because it is a conceptual work water and moon is a Buddhist reference to the transitory and expressing Peters’ philosophy explaining the growth of the insubstantial nature of the world. Images of water and moon In the area of gifts, Margaret Olley purchased a spectacular ABORIGINAL AND TORRES STRAIT ISLANDER ART individual’s consciousness from conception to the grave and bodhisattvas are mentioned in records of paintings from as Sidney Nolan tapestry Ned Kelly for the Gallery, through the Five significant bark paintings by Arnhem Land artists were includes sections relating to teachings of the artist’s early as the 8th century and it is possible that these paintings Margaret Hannah Olley Art Trust. Based on Nolan’s 1946 acquired during the past financial year. Two strikingly grandfather, men’s and women’s business and the served as the prototypes for these sculptural images. painting Kelly and horse, Ned Kelly was woven for the artist different paintings by John Mawurndjul, Mimis at Minmilgan administration of the Law. in Portugal at the Tapeçarias de Portalegre Limitada in 1971. 1989 and Mardayin 1997, reveal the development of his Margaret Olley’s gifts to the Australian collection this year painting style over almost a decade. The bark painting In the past year the Mollie Gowing Acquisition Fund for have been prolific: of particular note, paintings by her late Journey of the Guwaynang 2000 by John Bulunbulun depicts Contemporary Aboriginal Art has been instrumental in fellow-artist friends David Strachan and , an the travels of the Djang’kawu Sisters across Bulunbulun’s acquiring a significant body of this work. Artworks acquired

8 9 Auguste Rodin Second maquette for the Burghers of Calais 1885 bronze, six separate pieces Gift of David Jones Ltd 2001

Another highlight was the acquisition of the hanging scroll Hunt (1827–1910): the Study of a bloodhound for Hunt’s Standing beauty reading a letter by one of the ukiyo-e painting of the Eve of Saint Agnes (Guildhall Art Gallery, tradition’s ‘masters of beautiful women’, the Japanese artist Corporation of London), a pivotal work in the formation of Hosoda Eishi (1756–1829). Gifts to the collection included a the Pre-Raphaelite brotherhood in 1848. Not since its very number of Japanese prints, netsuke and other works of art first years, when Ford Madox Brown’s Chaucer at the Court from the estate of the late Mrs G.F. Williams and a large of Edward III was among its inaugural purchases, has the collection of Vietnamese and other Southeast Asian ceramics Gallery succeeded in acquiring a work from this crucial gifted by Dr John Yu and Dr George Soutter. period in the history of British painting.

EUROPEAN ART BEFORE 1900 INTERNATIONAL MODERN AND CONTEMPORARY ART David Jones Limited donated an important group of works by The Gallery was lucky enough to receive as a gift of Beverley Auguste Rodin (1840–1917), including a set of casts of sketch Horwitz, Max Ernst’s L’Imbécile, a bronze on a marble base, models for the Burghers of Calais, unquestionably one of the 1961. Surrealism remains an under represented aspect of greatest of all masterpieces of European sculpture. The set of twentieth century art in our collection and this helps bridge six figures, each standing around three-quarters of a metre in the gap. Margaret Olley has continued her great support to height, represent Rodin’s working thoughts at an early stage this department by her gift of Pierre Bonnard’s Woman with in the creation of the well-known monument. They are joined carriage a charcoal and ink drawing from 1895. by three further Rodin pieces as part of the same gift, immeasurably enhancing the Gallery’s holdings in this area. The Western Art Department has been working closely with the Asian Art Department to acquire some international The Art Gallery Society of New South Wales presented A contemporary works in preparation for the new Asian shipwreck off a rocky coast by Philippe Jacques de galleries. The following works could equally be displayed in Loutherbourg (1740–1812). Painted in Paris in the 1760s the contemporary galleries or the new Asian space. Nam June picture is an exceptional example of Loutherbourg’s melodramic Paik’s Buddha Games 1991 was acquired at auction. It is a shipwreck scenes and provides a link between the French rococo dynamic example of this leading Korean contemporary artist’s Hosoda Eishi and British romantic artists such as Turner and John Martin. work incorporating found objects, DVD video monitors and Standing beauty reading a letter c.1814 Buddhas all housed in an antique television cabinet collaged hanging scroll; ink and colour on silk 85 x 34.5cm Funds provided by John and Julie Schaeffer also enabled the over with Korean texts. A major multimedia installation by Purchased 2002 Gallery to purchase its first painting by William Holman Yin Xiuzhen recreates the images and sounds of a Beijing

10 11 Phillippe Jacques de Loutherbourg A shipwreck off a rocky coast c. 1760s, oil on canvas, 83 x 126.4cm. Purchased with funds provided by the Art Gallery Society 2002 Holman Hunt Study of a bloodhound 1848 oil on board with traces of pencil, 22.9 x 27.9cm Purchased with funds provided by John and Julie Schaeffer 2002

streetscape. Beijing Opera 2000 includes five large photographic AUSTRALIAN CONTEMPORARY panels of people going about their occupancy of the street The Contemporary Collection Benefactors made great along with sound recordings from the site and stools acquired contributions this year. The most striking probably being also from the sites of the photos. Mikala Dwyer’s large and complex installation from the series Iffytown 1999. The artist also donated other parts of the With funds from the Mervyn Horton Bequest we added to the series to give us the complete work. This was an overdue collection of European artists with a portfolio of signed acquisition of one of the outstanding women artists of her photographs of Joseph Beuys by Werner Kruger that generation in Sydney. complements our existing holdings of photos by Ute Klophaus. Also acquired were 1972 prints by Eduardo Paolozzi that Mathys Gerber was another serious gap in the collection and recreated the collages he made after 1947 in response to Kurt the purchase of two paintings Clouds #1 and #2 1995 begin Schwitters called the Bunk portfolio. In the same vein we his representation also with funds from CCB. The Rudy purchased Ron Kitaj’s Art of our Time portfolio from 1969. Komon Memorial fund provided us with the means to acquire two major paintings by Dale Frank; Stephen Hawking 2001 More contemporary works included Christine Borland’s and Stephen Hawking and the illusion of size 2001. Winter garden 2001 which were also acquired with funds from the Mervyn Horton Bequest. Twelve glass vessels that Deutsche Bank, through the auspices of the Contemporary are based on the human uterus are slumped on the floor each Collection Benefactors, purchased an important painting by containing leaves preserved in alcohol so that they have ADS Donaldson Untitled 2001, the first work to be acquired turned white. This ghostly remembrance typifies the artist’s by this influential artist. studies of scientific processes and the body. We also acquired a portfolio of exquisite new aquatints by Anish Kapoor, PHOTOGRAPHY Blackness from her womb 2001. Whereas the sculptural Due to the exceptional generosity of the Photography installation void field already in the collection represents the Collection Benefactors, the Collection has been able to vessel as a black hole at the brink of becoming, these images acquire an excellent range of contemporary Australian show the womb as an explosive source of being. photography in 2001/02. Photographs include those by Debra Phillips, Ricky Maynard, Simryn Gill, Darren Sylvester, David Mikala Dwyer iffytown (detail) from the series Iffytown 1999 Stephenson, Anne Ferran, Luke Roberts and Rosemary Laing. acrylic and p.v.c. Purchased with funds provided by the Contemporary Collection Benefactors Program 2002 © Mikala Dwyer International photography acquired includes works by

12 13 Anne Zahalka Cole Classic from the series Leisureland 1998, type C photograph 115 x 145cm Fred Williams Music Hall III 1953–54, brown conté on Gestetner paper, 21 x 26.3cm. Gift of Lyn Williams 2002 Purchased with funds provided by Geoff and Vicki Ainsworth, Sydney 2002

Laurence Aberhart, Michael Parekowhai and Yanagi Miwa. EXHIBITIONS In the area of prints and drawings, the major exhibitions Brett Whiteley, Brett Whiteley Travelling Art Scholarship, Important gifts such as those by Destiny Deacon, the featured this year were From Music Hall to Landscape: Fred Alchemy and other transcendental works, Animals and birds Invocations series by Tracey Moffatt from Pat Corrigan, and AUSTRALIAN ART Williams drawings and prints and Lloyd Rees in Europe, and Rivers +Rocks – Brett Whiteley and , curated a fine Anne Zahalka given by Geoff & Vicki Ainsworth have In contrast to the chronological approach of Decades: selected drawings from his sketchbooks in the Gallery’s by Gavin Wilson as part of a regional galleries tour. come into the Collection. General funds contributed to the through and beyond Australian 1910–2000 which collection. Widely recognised as one of the finest painters of purchase of an excellent hand coloured Hans Bellmer concluded in February, the major exhibition for the year was the Australian landscape in the 20th century, Fred Williams ABORIGINAL ART photograph. Parallel Visions. Generously sponsored by ABN AMRO was also a major printmaker and draughtsman. Shaped by the An exhibition featuring recently acquired paintings was Rothschild, the exhibition was accompanied by a fully collection of Williams’ drawings and prints in the Gallery and installed in the Yiribana Gallery in May 2001. In September RESEARCH LIBRARY AND ARCHIVE illustrated catalogue funded by long-standing supporters of supplemented by works from the artist’s estate, this exhibition 2001 this was succeeded by the major exhibition for the year The Gallery Archive was greatly enriched this year with the the Gallery, Margaret Olley and Philip Bacon. This exhibition provided the public with a rare insight into this less widely Ngurra Kutu – Going Home, a tribute to the late Papunya donation by the Library’s principal patron, Pat Corrigan, of comprised a spectacular display of some 250 paintings, known aspect of the artist’s oeuvre with a diverse selection of Tula artist . The exhibition important Brett Whiteley archival material. The family of the drawings, prints and sculptures by 22 major Australian works spanning the years 1953 to 1978. The Lloyd Rees emphasized work from artists and icons of founder of Sydney’s Macquarie Galleries, John Young, artists. Like its antecedent, Australian Icons, the exhibition exhibition was the first to be devoted to Rees’ sketchbooks Aboriginal art such as Rover Thomas and Emily Kngwarreye. continued their support of the Archive by donating a showcased the greatest strengths of the Australian collection and his love of Europe and showcased the Gallery’s This exhibition extended until the end of June 2002. In both substantial collection of correspondence between Robert at the Gallery. On this occasion however, instead of being exceptionally rich collection, the result of donations by the these exhibitions appropriate paintings on loan from several Campbell and Daryl Lindsay, along with other letters from represented as individuals – as was the case with Australian artist and his family. private collections were exhibited along with works from the Rupert Bunny and Kathleen O’Connor. Photographer David Icons – the artists were grouped in a deliberate exercise of Gallery’s collection. Moore donated books from his own library and that of his comparisons and revealed to varying degrees: shared Following the conclusion of the focus on ’s distinguished father John D. Moore. Edwin Jewell donated a intentions and visual language, subject matter, sense of place, painting Sunday evening 1941 towards the end of September, complete set of bookplates by Robert Jacks. Finally, the entire and in many cases a personal relationship. the department continued the popularly acclaimed Australian archive of the Garry Anderson Gallery, which was founded in Collection Focus series of exhibitions with a display devoted Sydney in 1982 and continued for almost ten years, was The exhibition moved through the connections between such to three works by Margaret Preston: The brown pot 1940, donated to the Archive. figures as Rupert Bunny and Emanuel Phillips Fox, Godfrey I lived at Berowra 1941 and Grey day in the ranges 1942 – Miller and Roger Kemp, Jeffrey Smart and John Brack and highlighting this artist’s important and influential appreciation others – culminating in a section devoted to Margaret Olley of Aboriginal art. This series is made possible thanks to the and Donald Friend, two artists with fascinating lives which generous continuing sponsorship of ABN AMRO Rothschild. intertwined over their long careers. A richly diverse exhibition Over page: Crowds gather for the dissolution of The exhibition programme at the Brett Whiteley Studio was the sand mandala of Guhyasamja performed by Parallel Visions gave extensive representation to the featured the Gyuto Monks of Tibet as part of the artists including some of their most acclaimed masterpieces particularly active this year, with a series of exhibitions exhibition Buddha: Radiant Awakening and was free to the public. organised with help from Wendy Whiteley including Interiors: 10 November – 24 February 2002

14 15 Figure of a bodhisattva 1279–1368 gilt bronze 28 x 17.5 x 11cm Edward and Goldie Sternberg Chinese Art Purchase Fund 2002

ASIAN ART from the 14th–19th centuries drawn from one of China’s Buddha: Radiant Awakening was a major exhibition curated most prominent art institutions, The Museum. by Jackie Menzies, Head Curator of Asian Art. This exhibition collected together more than 120 works of EUROPEAN ART BEFORE 1900 Buddhist art from a diverse range of countries and traditions The Art Gallery provided the second venue for Love & Death: to examine the idea of the multiple manifestations of the Art in of Queen , an Art Gallery of South Buddha across time and space. Works from some of the Australia touring exhibition curated by Angus Trumble. The world’s finest public and private collections were included in exhibition brought together a selection of the greatest Victorian this important exhibition including key objects from the paintings in public and private collections in Australia and New British Museum, Metropolitan Museum of Art, New York Zealand and included many major examples from the Art and the State Hermitage Museum, St Petersburg. Gallery of New South Wales’s permanent collection.

100 Views of Mount Fuji drew its inspiration from the most MODERN AND CONTEMPORARY ART famous of Japanese mountains and contained over 100 works Space Odysseys was a major exhibition dealing with the by Japanese painters and print designers from the 17th experience of space through multi media installations using century to the present day. Drawn from the British Museum’s the most recent interactive technologies. This project was collection, this exhibition featured the complete set of colour completed in collaboration with the new Cine Media Centre prints from the famous series Thirty-Six Views of Mt. Fuji in . It marked a first in terms of our major level 1 (c.1830) by Katsushika Hokusai (1760–1849) presented exhibition programme but complemented the continuing alongside traditional paintings as well as modern and commitment to new technologies in art through our level 2 contemporary prints. A full colour catalogue of the exhibition projects over the years. was published by the British Museum. This was also a Biennale of Sydney year and the Gallery made Much of the year under review has been spent preparing for all of level 2 available to the Biennale as well as the entrance the installation of the new Asian gallery due to open late July court. (The World May Be) Fantastic was a very successful 2003. Forthcoming major exhibitions for the Asian exhibition attracting large groups of students as well as the department include Four Seasons: nature in Japanese art, general public. organised in conjunction with the Agency of Cultural Affairs, Japan, and Fantastic Mountains: Chinese landscape painting

17 Belle-Île: Monet, Russell & Matisse in Brittany 2001, 136 pages, 97 full colour and 5 black and white reproductions. This catalogue reveals the extraordinary relationship of Claude Monet, Australian Impressionist John Peter Russell and Henri Matisse as they undertook painting sojourns in the storm-tossed island of Belle-Île in . Russell’s role as a living link between Monet and Matisse – and the resulting mutual encouragement of a shared passion for colour on Brittany’s ‘beautiful-island-in-the-sea’ – is a little known but fascinating story. This beautiful hardcover catalogue contains full colour reproduction and four essays about the artists. Curated by Ursula Prunster, Coordinator, Australian Art Programmes.

Len Lye 59 pages, 28 sepia and black and white photographs. Len Lye is recognised as one of New Zealand’s most distinguished artists, highly regarded for his experimental films and kinetic sculptures. The exhibition commemorates the centennial year of the artist’s birth and is the first major exhibition of his work to be seen in Australia. Three aspects of Lye’s career are highlighted in this exhibition catalogue: kinetic sculpture, films and photograms. This catalogue contains three essays by Judy Annear, the exhibition curator, Roger Horrocks and Hanna Scott.

Lloyd Rees in Europe 2002, 144 pages, 117 full colour reproductions. The great Australian artist Lloyd Rees made four extended visits to Europe between 1953 and 1973. He recorded his Callum Morton Medium level noise Bitter Sweet exhibition 20 April – 10 June 2002 Fred Williams Tumbler, Music Hall 1958, lithograph on wove paper 31 x 37.2cm. Fred Williams Estate passion for Europe in a variety of sketchbooks. This is the first exhibition to be devoted to Rees’ sketchbooks. The catalogue includes an essay by curator Hendrik Kolenberg, Bittersweet Senior Curator, Australian Prints, Drawings and 2002, 32 pages, full colour reproductions. Essays, biographies and checklist At the same time as the Biennale the Gallery showed telling emphasis. Comprising some 250 paintings, drawings Watercolours. Wayne Tunnicliffe, Contemporary arts curator. Bittersweet, an exhibition of young Australian artists whose and prints, the exhibition reveals to varying degrees: shared Bittersweet presents works by seven contemporary Australian paintings, sculptures, installations, videos and photographs intentions and visual language, subject matter, sense of place Space Odyssey: Sensation and Immersion artists which are characterised by a continuing interest in took an ambivalent look at the world around them including and in many cases a personal relationship. This catalogue 2001, 80 pages, full colour reproductions. identity, self expression and the endlessly rich exploration of popular culture. Their skilful use of seductive everyday imagery includes text by Head Curator of Australian art Barry Pearce. This contemporary installation exhibition of both Australian the machinations and intrigues of human dialogue. These laced with gentle irony gives the show its bittersweet flavour. and international artists, invites the viewer to plunge into installations, videos, photographs, paintings and sculptures Buddha: Radiant Awakening uncanny and intoxicating environments of light, imagery and are an investigation into behavioural attidudes, actions and The Level 2 projects included an installation by the German 2001,191 pages, full colour reproductions sound. The works all explore space, time, light and journey – reactions. The artists include: Darren Sylvester, Callum artist Carsten Nicolai in which the visitor could participate in Edited by Jackie Menzies, this exhibition catalogue presents all the elements that were encountered by ’s Ulysses in Morton, Louise Weaver, David Rosetzky, Stephen Birch, growing snow crystals in a blindingly white-lit interior space images of a myriad of individual Buddhas and Buddha lands. The Odyssey. Artist’s included are: Luc Courchesne, David Raquel Ormella, and Adam Cullen. that resembled a scientific laboratory. Other artists working in Over 120 works of art depict Buddha, from the very first Haines, Joyce Hinterding, Gary Hill, Laszlo Moholy-Nagy, this space were Debra Phillips, Tim Johnson in collaboration through to the twenty first century from the sites where Mariko Mori, Bruce Nauman, James Turrell and Lynette Lets Face It: A History of the Archibald Prize Revised Edition with My le Thi, and Nell and Mel O’Callaghan. Buddhism had flourished – India to Central Asia, Tibet, Wallworth. The catalogue includes text by exhibition curator 2002,155 pages, full colour reproductions. Thailand, eastwards to China, Korea and Japan and south to Victoria Lynn. Peter Ross’ subversive and witty history of one of Australia’s Considerable work has also been undertaken this year for the Australia. This rich catalogue has full colour reproductions most famous art prizes is the first Gallery publication to reach 2002/03 major summer exhibition Picasso: The Last Decades and several essays by leading scholars discussing It’s a Beautiful Day: New Painting in Australia: 2 national best seller status. The Archibald Prize is indelibly developed by the Gallery’s Terence Maloon, Curator of representations of the Buddha. 2002, 49 pages, Essays, bibliography, biographies and notated checklist etched into the history and psyche of twentieth-century Special Exhibitions, which is scheduled to open 9th with full colour illustrations. Australian Art. This second and revised edition contains over November, 2002 and run through to late February 2003. From Music Hall to Landscape: Fred Williams Drawings and Part of a series of exhibitions exploring contemporary 200 colour illustrations, an index of past winners and an Prints. painting, this exhibition curated by Bala Starr, features twelve illustrated chronology. PUBLICATIONS 2001, 96 pages, 158 sepia and & black and white images. artists from across the country who explore and delight in the The Gallery has published several major books this year on This catalogue grew from the collection of Fred Williams art of figurative and representational painting. Artists include: Each of these books was produced substantially in-house, both Australian and Asian art. Below is a brief description of works owned by the Gallery. It includes all the Gallery’s Derek O’Connor, Tim Maguire, Raafat Ishak, Peter Booth, with design by the Graphics Department. Publishing plans for each publication. prints and drawings and generous loans from the artist’s Vivienne Shark LeWitt, Brent Harris, Matthys Gerber, Julie the coming year include a Gallery Handbook on the Aboriginal widow Lyn Williams. This catalogue is rich and consistent in Downing, Anne Wallace, David Jolly, Mutlu Cerkez and Tim Art collection. Parallel Visions: Works from the Australian Collection. quality across all the media he favoured and in which he McMonagle. 2002, 148 pages, 165 full colour reproductions. excelled – painting in oil or gouache, drawing and 22 artists from the Australian collection have been selected printmaking. It also includes a comprehensive essay on and grouped together in a deliberate exercise of comparisons. Williams by Anne Ryan, Assistant Curator, Australian Prints, Each association between one artist and another has its own Drawings and Watercolours and reproductions of each work.

18 19 by AGNSW 2002. Author: Jacqueline Millner. Education Kits were produced by the Gallery’s Public Programmes Department for major exhibitions including: Renoir to Picasso (in conjunction with the Art Gallery); Fred Williams: From Music Hall to Landscape and the Archibald Prize 2002; on-line kits for Space Odysseys and Buddha: Radiant Awakening; and exhibition guides for Parallel Visions and the Biennale of Sydney 2002. The Gallery also provided valuable programming expertise in the development of a CD-ROM Catalogue Raisonné for the forthcoming Robert Klippel retrospective exhibition. AUDIENCES Public Programmes was again seen as a trend-setter for Australian art museums, developing and sustaining new audiences. The overall participation rate of visitors in special events and programmes remains very high, with a total of 201,194 (incl. 105,427 booked students). In an Australian context this is a remarkable participation rate in education or public programmes.

Some of the most successful and innovative programmes during the last 12 months occurred in conjunction with the major exhibition Buddha: Radiant Awakening. Some 200 events including lectures, films, performances, community presentations as well as an exhibition website were produced. There was an unprecedented involvement of the community of Buddhist monks, nuns and followers in the exhibition. In Cherry Hood and Simon Tedeschi in front of Simon Tedeschi – Unplugged the Wisdom Room, a dedicated public programmes space Winner 2002 Archibald Prize 1 June – 21 July 2002 within the exhibition, Buddhist temples and associations presented key aspects of their particular Buddhist tradition in Smaller publications included: five-day residencies. The richness of local traditions ranged Australian Collection Focus Series no. 11: Margaret Preston from craft activities such as folding lotus flowers with The brown pot 1940, I lived at Berowra 1941 and Grey day members of the Nantien Temple, , to the Shingon in the ranges 1942, 16 pages, full colour, published by the Buddhist healing ceremony on the final day of the exhibition. AGNSW, 2001. Authors: Deborah Edwards, Hetti Perkins, A new initiative Art After Hours, a series of eight celebrity Rosemary Peel. Selective chronology by Steven Miller, talks on Buddhist related themes, was held in the Entrance Deborah Edwards, Rosemary Peel. Court. The talks attracted over 4,500 paying visitors to the Whistler to Freud. Etching in Great Britain, 4 pages, exhibition on Wednesday evenings throughout January and Top: Studio Zoo partnered education project with Taronga Zoo. Nikki Bordell, Education Officer Taronga Zoo, with a broadsheet catalogue, black & white, published by AGNSW February. The diverse range of well-known speakers, double headed monster lizard and school group. 2001. Author: Peter Raissis. including Paul McDermott, Jack Thompson, Dr Karl Bottom: Lunchtime performance by Adam Hill in the Yiribana Gallery Sculptures by Auguste Rodin & Dame Elizabeth Frink. The Kruszelnicki, Dr John Yu, Tashi Tenzing and Hugh Mackay, David Jones Gift to The Art Gallery of New South Wales, 6 explored the many ways Buddhism has impacted on Western pages, full colour, published by AGNSW 2001. Author: Society. This proved a highly successful and popular Great Art in the Making booking out entirely on subscriptions, of whom were overseas visitors. Volunteer Guides also Richard Beresford. programme. Many new audience development programmmes and the concert series Resonate and Flights of Jazz bringing in supported the K–6 education programmes with delivery of Guide to the Papers of David Strachan (1919–1970) AGNSW were trialled through the Art Museums Collections returns well above budget. The Gallery’s 2001 Arts of Asia discussion tours and Public Programmes with the delivery Manuscript Guides No. 4, 49 pages, black & white, published Accessibility (AMCAI) grant the Gallery received from the Ian Lecture Series presented 24 lectures preparing for the introductory slide presentations for major exhibitions. All of by AGNSW 2001. Compiled by Steven Miller. Essay & Potter Foundation. exhibition Buddha: Radiant Awakening. The 2002 series these tours are free access for both general public and school Biographical Chronology by Denise Mimmochi. focused on the theme of Nature in Asian Art, covering East students. Guide to the Papers of The Sydney Camera Circle A Day on Belle-Ile Study Day was well received by an Asia, South and Southeast Asia. Two successful Contemporary (1916–1978) AGNSW Manuscript Guides No. 5, 42 pages, enthusiastic audience of 250. The programme included talks Art Courses were conducted to provide a context for viewing NAIDOC week celebrations in early July were marked by black & white, published by AGNSW 2001. Compiled by by the curator Ursula Prunster, Professor Anne Galbally, aspects of contemporary art and culture: Making Connections: school holiday activities and a film program. Steven Miller. writer David Dale, conservator Paula Dredge and featured the Contemporary Art and Everything Else, in 2001 and The AGNSW Contemporary Projects – Managing Curator and premiere of Albie Thoms’ new film on Russell, The King of Enigmatic Object: Contemporary Art and the AGNSW The Gallery’s website has achieved the number one ranking catalogue commissioner: Wayne Tunnicliffe. Debra Phillips. Belle-Ile. An introductory video, curated into the exhibition, Collection, in 2002. They attracted a growing and committed for Australian art-related sites, according to Hitwise Australia 52 sidelong glances, 6 pages, full colour, published by successfully captured the wild beauty of Belle-Ile and provided audience over the period. (www.hitwise.com.au). New website developments that AGNSW 2001. Author: Juliana Engberg; Ronnie van Hout. a glimpse into the life and work of the artists who painted enhanced Gallery exhibitions included the Space Odysseys Only the only, two colour, published by AGNSW 2001. there. Impressions of Russell, a play specially commissioned The Volunteer Guides continued to support the Gallery website which featured online contributions from tertiary Author: Simon Rees; Yab Yum. Collaborative installation by for the exhibition, further enhanced this fascinating story. presenting 24 general collection tours each week. Guides were students from the College of Fine Arts, University of New Tim Johnson & My Le Thi with Karma Phuntsok, Daniel rostered to give tours in the Yiribana Gallery 6 days per week South Wales, Sydney College of the Arts, Bogunovic & Edward Johnson, 6 pages, full colour, published Art Gallery Society functions became more popular than ever, and daily tours were given in the Asian Gallery until it was and School of Contemporary Arts and University of Western by AGNSW 2001. Author: Linda Michael; Nell + Mel with the 2002 Art Appreciation lecture series, prepared in closed for building extensions and renovations. A total of Sydney and a continuing project Lloyd Rees Sketchbooks O’Callaghan. The fly and the mountain, one colour, published conjunction with the Gallery’s Public Programmes Department, 2,700 adult tours were undertaken for 35,556 people, many website, on the Gallery’s server, comprising every (known) page

20 21 of Lloyd Rees’ 19 sketchbooks. Buddha: Radiant Awakening REGIONAL CONTACT had its own site (www.buddha.artgallery.nsw.gov.au) The Gallery project managed the joint Visitor Services Agencies In line with the NSW Government’s Principles for regional e-Commerce Portal, integrating online Shop and Venue Hire programs by State Government cultural institutions, the modules within the Gallery’s website. Work on the Events Gallery has initiated and advised on numerous regional Ticketing and Membership modules is continuing. A major projects in the past year. A major ongoing initiative upgrade of the website’s functionality was undertaken during introduced this year is the Mentorship Programme, financed the year and a fresh design will be introduced in late 2002. On- by the Museums & Galleries Foundation of New South going technical expertise was also provided to the VisAsia Wales, which awards three Internships to staff from Regional website. Galleries to work with the Gallery’s arts professionals on a specific project. These interns return to their jobs in Regional The Digital Imaging and Access Project continued into it’s Galleries with not only the valuable hands-on learning second year. It is anticipated that there will be over 7,800 experience of working on the project but also with developing images of art works from the gallery’s Collection in the web- first hand relationships with Gallery staff that can be more based catalogue by the end of 2002, with a further 20,000 easily contacted in the future. images by the end of 2003. Research was undertaken into digital watermarking solutions, which resulted in the purchase Gallery staff have continued to give advice on Regional of two programs: one to embed watermarks and another to Gallery building projects and exhibitions as well as travelling search the Internet for images containing our watermark to regional areas to give lectures, open exhibitions and judge prizes. The Brett Whiteley Studio, in association with the The Gallery now has a new capacity to produce professional Bundanon Trust, managed a major exhibition Rivers and standard videos for use in conjunction with temporary rocks: select works of Arthur Boyd and Brett Whiteley, which exhibitions, for educational and marketing purposes. toured to Regional Galleries in New South Wales, Queensland Additionally the videos have become important documentary and Victoria. The exhibition People & Destiny: George material recording lectures, performances, art installations, Lambert and Federation also continued its tour of Regional special events and artist’s profiles. As well as screenings at the Galleries, travelling from Dubbo to New England, Albury, Gallery, the videos were seen in regional NSW Galleries, Bendigo and Hazelhurst before finishing in Bathurst. The accompanying touring exhibitions, and also in NSW schools. 2001 Archibald Prize touring exhibition travelled from Lake Videos included Artexpress 2002, The 2002 Archibald Prize Macquarie to Tamworth, Bega Valley and to . exhibition; and introductory videos for Belle Ile, Monet, Russell The Public Programmes Department continues to advise and Matisse in Brittany and the Biennale of Sydney 2002. A Regional Galleries on their Volunteer Guide Training video exploring the conservation of frames was sponsored by programmes, which is based on the very successful model the Conservation Benefactors. Funds were raised during the used at the Gallery, and the Gallery’s Research Library year to produce a series of educational videos profiling continues to include all Regional Galleries in their contemporary Australian artists. The series, Conversations with publications exchange scheme. Australian Artists, will be marketed to schools, universities, art museums and collectors in 2003. Audio Visual services opened There has also been a major increase in loans to regional a second digital suite to cope with the expanding demand for galleries including the loan of 13 works to the retrospective in-house video production. Film-maker Robert Herbert has exhibition Jon Molvig, Expressionist at Newcastle Region Art significantly raised the profile of film at the Gallery with Gallery and two works to the retrospective exhibition David specially curated film programmes covering a diverse range of Brian Wilson, at Bathurst Regional Art Gallery, which further cinema classics, important documentaries, experimental films, traveled to Mosman and New England. Hendrik Kolenberg, shorts and animations. Senior Curator of Australian Prints, Drawings and Watercolours, carried out extensive preparation, research and wrote the Wide-ranging exhibition programmes were also developed for: catalogue essay for this exhibition. Renoir to Picasso, Heroes and Villains from the Floating World, Space Odysseys, Parallel Visions, Archibald, Wynne and During this year the Brazilian artist, Ernesto Neto was invited Sulman Prizes, Fred Williams, Love and Death, Biennale of to Australia as a joint project between the Gallery and Sydney 2002 and Artexpress exhibitions. Newcastle University. In preparation for his forthcoming exhibition at the Gallery, he was artist-in-residence at A key component of the five year Sunday Telegraph sponsorship Newcastle University where his work was fabricated with for children and family programmes has been the development assistance from students at the University. of four Gallery characters who introduce children to the delights of art through scripted performances. Written by well The Art Gallery Society continues to offers discount known children’s writer Geoffrey McSkimming, the first membership fees to Country Members including a free ticket character, Queen of Sheba, was successfully launched in March to all paying exhibitions. There are currently over 3,300 2002. Her deliciously cheeky tours on Sundays and during the Country members and this is one of the fastest growing School Holidays have attracted a very enthusiastic audience of membership categories for the Society. Look, the Society’s over 1200 children and adults to the European Galleries. Also, monthly magazine, continued to develop under its new editor, the popular concert programme presented by students of the Jill Sykes, lists Regional Gallery exhibitions in the ‘What’s on’ Australian Institute of Music continues to attract a wider section and during the year publish major articles on various audience interested in music and art. Regional Galleries and their exhibitions programmes.

22 SUPPORT coast 1760s, Standing crowned Buddha 12th century Khmer, COMMERCIAL Shorty Lungkata Tjungurrayi’s Women’s Dreaming (Two SPONSORSHIP Women) 1972 and Justin O’Brien’s The Greek burial 1947. CENTENARY FUND VENUE HIRE The Gallery has developed a sound foundation of corporate The Contempo group of younger members also provided The Centenary Fund, which was established in 2000, The Venue Hire Department contributed income of $642,000 support through a wide range of creative partnerships with funds to purchase Matthys Gerber’s Clouds #1 and Clouds 2 comprises patrons who have pledged $100,000 to enhance the for the 2001/02 year. Successful exhibitions such as the the corporate sector. These partnerships provide an important 1995. All most desirable additions to the Gallery’s permanent Gallery’s buildings. The amount pledged is payable in cash Renoir to Picasso; Buddha: Radiant Awakening and the element of funding for exhibitions and public programmes. In collection. over a nominated period of time with the balance, if any, annual Archibald Prize all attracted patrons to our food 2001/02, the Gallery increased the level of sponsorship payable from the patron’s estate. The Patrons of the Fund are outlets and corporate clients for exhibition related functions. income to a total of $1.69 million which was secured as cash Several Society Councillors were recognised when they retired listed in the appendices. and in-kind sponsorship. The Gallery has a strategy of after long service, among them Peter Flick who became a Life Considerable work was completed in preparation for the developing long term mutually beneficial relationships with Governor of the Society. In May, 2002 Prue Allen completed a The Centenary Fund’s first project, the 90 seat Centenary issuing, in May, 2002, of a new tender for all Food Services at corporations across all its public activities. Exhibition and successful three-year term as President, new Councillors Auditorium opened in November 2001 with the inaugural the Gallery. The new contract will be effective from 1st public programme sponsors receive public and media elected were Jenny Birt, Michael Feneley, Ian Kennedy, lecture being delivered by the Gallery’s Director, on the November, 2002 and will incorporate the new Restaurant and exposure, branding and awareness opportunities, as well as Michael Magnus and artist Ann Thomson. David Stewart- history of the Gallery. For more details on this project please Café facilities forming part of the Gallery’s major building the chance to entertain in a unique setting. Hunter became President and a new Contempo committee refer to the President’s Foreword. Future projects include an project. was formed with Kylie Legge as President. extension to the Research Library and Archive; and a second The Gallery gratefully acknowledges the support of its entrance to the Gallery for large groups such as school The new Café is scheduled to open in early August, 2002 with Corporate Sponsors, who provide a valuable link between the The Society is now preparing for its 50th anniversary children, with improved disabled access. the new Restaurant, Functions space and kitchen available Art Gallery and business sector. We thank them for their celebrations in May 2003. Plans will focus on the Society’s early next year. support over the past year and look forward to a continuing contributions to the Collection, with a dinner to honour ART GALLERY FOUNDATION relationship with these companies. Founding Members and other special events. The Society’s Now in its 19th year, the principal objective of the Art GALLERY SHOP aims for this period are to rejuvenate the membership, Gallery Foundation continues to be to raise funds for The Gallery Shop achieved a turnover of just under $4 million PRINCIPAL SPONSORS professionalise all services and grow the Gallery’s core investment with the application of the investment income to for the 2001/02 year. This success is firmly based in the Airways – Principal Sponsor, Yiribana Aboriginal and audience. be used for the purchase works of art for the Gallery’s Gallery’s own publishing strength with another two major Torres Strait Islander Gallery. permanent Collection. While no works were purchased during books produced – Parallel Visions based on the Gallery’s The Colonial Foundation Charitable Trust – Principal VISASIA this reporting period future acquisitions are planned and there Australian art collection and From Music Hall to Landscape: Financial Supporter, Archibald Wynne and Sulman Prize. VisAsia, the Australian Institute of Asian Culture and Visual were two major purchases in the prior year. The value of Fred Williams Drawings and Prints. Another popular Gallery The Sunday Telegraph – Principal Sponsor, Fundays at the Arts, was launched in 2001. VisAsia aims to further the study, works that the Foundation has contributed to the purchase of publication, Material as Landscape: Rosalie Gascoigne by Gallery, a programme of free family weekend programmes, promotion and appreciation of Asian visual arts and culture. since its inception revealed a 76% increase – from $17m to Deborah Edwards, required a reprint to be commissioned performances and holiday workshops. The Founding Sponsor of VisAsia is Ipoh Limited. In 2001 $30m. The Foundation publishes its own Annual Report during the year. ABN AMRO Rothschild – Principal Sponsor, Parallel Visions VisAsia presented Buddha: Radiant Awakening in association where further details of its activities can be found. A copy is and From Music Hall to Landscape: Fred Williams Drawings with the Sydney Festival, with assistance from the Ian Potter also available on the Gallery’s website in the ‘About Us’ Yale University Press, a very prestigious press with a and Prints. Foundation and the University of Western Sydney. The section. worldwide reputation for excellence in the area of visual arts Andersen – Principal Sponsor, New Painting in Australia, a exhibition was sponsored by the President’s Council, The and scholarship, has agreed to be distributors in the United three year series surveying current painting practice in Sydney Morning Herald, JCDecaux, Qantas Airways and States for AGNSW publications – the Buddha: Radiant Australia. Stamford Hotels and Resorts. Awakening catalogue, being the first publication they will Merrill Lynch HSBC – NSW Sponsor, Renoir to Picasso: distribute on our behalf, has commenced this relationship Masterpieces from the Musse de l’Orangerie, Paris. The VisAsia Business Council was established to support the with the largest single order the Art Gallery has ever received. Creative NZ provided support for first major exhibition of objectives of the Institute and to provide companies with Len Lye’s work in Australia, which also commemorates the access to business and cultural links in the region. Please see The Gallery Shop has started a program, which will continue centenary of the artist’s birth. appendices for the full listing of Business Council members. over the next 3 years, of rejuvenating it’s product range. The The following companies provided invaluable support in cash first effort in this area has been the four different box card and in-kind throughout the year as supporting sponsors: THE PRESIDENT’S COUNCIL sets: Margaret Preston; Contemporary Aboriginal; Sydney JCDecaux, Asprey Di Donato, Avant Card, City of Sydney, The President’s Council, established in 1995, extends the Harbour and Australian Modern. Purchasing of Gallery Shop Hotel Inter-Continental Sydney, Lion Nathan, McWilliam’s corporate patronage of the Gallery, with a view to creating a product online also came into effect from February 2002 – to Wines, Space Furniture, Squiz.net and The Mode Group. corporate network which attracts the ongoing support of the date a significant number of these Internet sales are for business community. Funds raised through membership are international and interstate customers. The online product ART GALLERY SOCIETY directed to the sponsorship of exhibitions and public categories available for direct purchase will be expanded over The Society’s membership grew by 8%, the first substantial programmes. time. growth in a decade, taking it to a membership of 32,000. A new student category immediately attracted 400 members, In 2001 the President’s Council supported Buddha: Radiant and 75 members upgraded to Donor category, making a total Awakening and Belle Ile: Monet, Russell & Matisse in of 356. Membership research showed that members visit the Brittany. The Gallery offers members and their guests an Gallery on average six times a year, are highly educated annual social programme of private viewings, dinners and (37.3% have postgraduate degrees), have interests across a intimate behind-the-scenes tours of special areas of the Jenny Manton, Kenneth Reed and Donna Woodhill at the President’s Coucil and Foundation Benefactors Dinner held October 2001. broad spectrum of the visual arts and express a growing Gallery. Membership is by invitation only to the Chairman or demand for lectures, classes and functions. For calendar year CEO of major companies. There were six new members this 2001 the Society’s activities returned a surplus of $833,284. year: Mr Paul Batchelor, AMP; Ms Carla Zampatti AM, Carla Zampatti Pty Ltd; Mr Mark Cohen, Deloitte Touche Such a large membership base allows the Society to continue Tohmatsu; Mr John Conde AO, Medical Benefits Fund of is strong financial support for the Gallery, expressed this year Australia Limited; Mr Graham Bradley, Perpetual Trustees Previous page: with Society funds purchasing Garry Shead’s The Studio Australia Limited; and Mr Luca Belgiorno-Nettis, Transfield Queen of Sheba performance in the European collection as part of Fundays at the 2001, Philippe de Loutherbourg’s A Shipwreck off a rocky Pty Ltd – please see appendices for the full membership listing. Gallery sponsored by The Sunday Telegraph. Performed by Lorraine Manus, written by Geoffrey McSkimming, directed by Robina Beard.

24 25 STRATEGIES TARGETS PERFORMANCE OUTCOMES

1.2 Maintain high standards Publish a Collection book. Two major Australian Art books were published: of curatorial work and • Parallel Visions –148 pages, with 165 full colour images - conservation to achieve a highlighting 22 artists from the Collection. ‘centre of excellence’ • From Music Hall to Landscape: Fred Williams Drawings and standard. Prints – 96 pages, 158 sepia and b&w images – includes all the Art Gallery Williams prints and drawings plus loaned AIM, OBJECTIVES AND PERFORMANCE INDICATORS works from the artist’s window Lyn Williams.

CHARTER OBJECTIVES Curatorial staff to publish 12 books specifically published the Art Gallery’s Collection The purpose of the Art Gallery of New South Wales Trust, as • Strategies have been developed in the Corporate Plan 1999- information about the published since 1994 featuring major essays by curators. Refer defined by the Art Gallery of New South Wales Act 1980, is 2005 to meet the following objectives: Collection. additional information in Publications listing appendix. to develop and maintain a Collection of works of art, and to • Enhance and conserve the State’s art collection and heritage propagate and increase knowledge and appreciation of art. building. Increase staff skills levels – Australian Art Department staff member awarded the Sarah • Operate a varied, exciting and active exhibition programme training courses, seminars, and William Holmes Scholarship – British Museum for 6 VISION to encourage visitors and expand appreciation of art. conferences. months October 2001 – March 2002. It is the Gallery’s vision is to be the great Australian arts • Provide educational and research programmes and services museum reflecting our heritage and vitality, and to be to an ever-broadening public. Focus conservation priorities • Conservation Department focused on restoring original recognised nationally and internationally for our Collection, • Inspire and explore artistic attitude and aspiration. on permanent Collection to period frames and constructing reproduction period frames services and commitment. • Operate the Art Gallery in an efficient and effective manner meet in-house developed for the Parallel Visions exhibition, comprised completely that encourages an increasing level of public visitation. exhibition programme needs. from our Collection. MISSION • Ensure effective funding sources for the Art Gallery to • Private benefaction allowed conservation on 5 x Ralph • To achieve the purpose stated in the Charter and the support its acquisition program and expansion of services. Balson, 2 x E. Phillips Fox works and Classical landscape by ambition of our Vision, the Art Gallery has set itself the John Glover (see pg. 31) following goals: The Gallery’s measures of achievement towards these • To acquire, collect and present to the public the finest works objectives are set out below and detail the each strategies Provide professional • Conducted ‘ukiyo-e’ print workshop, part of Museums and development, through external Galleries Foundation symposium, July 2002 of art available, with a special emphasis on the artistic outcome for the year ending 30th June, 2002. or in-house workshops and • Chaired sessions and organised ‘Conducting Bodies’ traditions of Australia. internships, to representatives Conference for AAANZ July 2001. • To explore and inspire through our collection and from other arts institutions. • AICA Forum chair Biennale of Sydney, May 2002. exhibitions, the emotional and intellectual resources of our • Convened / presented sessions at the Conservation Special audiences. Interest Group Biennial Meeting of the Australian Institute • To create a sense of belonging and provide our visitors with for the AICCM. September 2001. an enjoyable and enduring experience. • Advisor to Mosman Art Gallery for ‘Margaret Preston in Mosman’ exhibition. • Coordinated the Regional Galleries Mentorship Programme KEY PERFORMANCE INDICATORS – 2001/2002 2002. • Taught ‘Conservation and Collection Management’ to Master Objective 1 Enhance and preserve the states art collection and heritage building. of Art Theory students at the COFA, UNSW. • Australian Art internship continued with students from STRATEGIES TARGETS PERFORMANCE OUTCOMES College of Fine Arts, Sydney; University of Western Sydney; and University of Sydney. 1.1 Increase acquisitions of art Increase Collection value by While $4.3 million of artwork was acquired / gifted this year, works 1% this is increase of 0.007%; Total value of the Collection now 1.3. Maintain and refurbish the Build the new 90-seat Centenary Fund Auditorium completed in November 2001 – $588 million. This was a lean year due to lower investments building in keeping with Auditorium. $2.2 million totally funded by the private sector – providing earnings from the Foundation. its heritage value and as a enhanced public access to education programs / activities. public venue Develop a major acquisition Acquisition fund at 30th June 2002, comprised $3.478 million Building Extension Project – On-site construction of NSW Government Fund $16 million fund for the year 2005 including this year’s earnings. expand gallery display area by Building Extension Project commenced in January 2002 – 10%. building schedule for completion in 2003. Enhance the quality of our The following significant art works were acquired, mainly by Collection with major works donation:- Implement third year of the Maintenance work completed on time and on budget for items • Figure of a Bodhisattva, c.14th century. five year Total Asset such as Travertine Repairs; Gallery Shop Cage; Painting Courts • A shipwreck off a rocky coast by Phillippe Jacques de Maintenance (TAM) plan. 7 & 12; Bird Proofing; Fire Panel Upgrade; Refurbished Steam Loutherboug (1740–1812) Supply; Cooling Tower Motors; Carbon Filters; and PABX & • A set of cast of sketch models for the Burghers of Calais by IT Air-conditioning upgrades ensuring safe and accessible Auguste Rodin (1840–1917). building conditions maintained for both the protection of the Collection, staff and visitors to the Gallery. Focus acquisitions of works on Enhancing last year’s focus on outstanding Australian artist Collection priority areas Sidney Nolan was the acquisition, by the Nelson Meers Foundation, of his Italian crucifix, 1955 and the tapestry gift from the Margaret Hannah Olley Trust of Ned Kelly which is based on Nolan’s 1946 painting Kelly and horse.

26 27 STRATEGIES TARGETS PERFORMANCE OUTCOMES STRATEGIES TARGETS PERFORMANCE OUTCOMES

Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art. • Enhanced presentation of exhibition by lecture series lead to a greater audience understanding of cultural significance of 2.1 Exhibit and feature the Profile Australian artist from • Artists highlighted in focus series included Russell Drysdale these works and / or events leading up to their creation. permanent Collection in as the permanent Collection via and Margaret Preston –free entry exhibitions. attractive a manner as ABN AMRO sponsored ‘Focus • In addition, the Decades: through and beyond Australia The Asian Gallery was closed In spite of display space limitations commencing in June 2002 possible; Provide series’ exhibitions. Modernism 1910–2000 and the Parallel Visions exhibitions for a large part of the is the 100 Views of Mt Fuji exhibition which featured Japanese Temporary Exhibitions. highlighted major Australian artists from our Collection – 2001/2002 year due to major art and culture both also free entry. building works.

Major temporary exhibition Provided our visitors with an educational and personally 2.5 Lend / Borrow works of Borrow significant art works • Over 150 works borrowed from many international programme to include Buddha: enriching opportunity to view, in many cases for the first time art to / from other from international museums institutions and private lenders enable the presentation of Radiant Awakening; Space in Australia, major art works with some items entrusted on galleries to make a wide for Buddha: Radiant world class temporary exhibitions to the public. Odysseys; and Belle Ile: loan exclusively to the Art Gallery of New South Wales. range of art accessible to Awakening and Belle Ile: • Relationships developed with other international museums Monet, Russell & Matisse in the public. Monet, Russell and Matisse in and individuals to the point of being able to obtain exclusive Brittany. Brittany exhibitions. art loans never before released to the care and control of an Australian gallery. Balance free vs paid exhibition • Paid entry for only 6 of 31 exhibitions –visitor number 30% entry to ensure equitable access paid – 70% free admission. Lend works from our 124 works lent to 22 arts institutions included 25 works to to art for all visitors. • Ticketed exhibitions supported the cost of full exhibition Collection to all requesting various NSW art galleries ensuring increased public access to programmes. institutions. our Collection including Bathurst Regional Art Gallery.

2.2 Foster our visitors to Target for Art Gallery Society Membership grew by 8% taking total membership to over Tour exhibitions to Regional • Ensured the Collection was accessible to Regional NSW and encourage loyalty and memberships achieved. 32,000. NSW and other Australian the general public in other Australian States. longer-term commitments. locations. • Visitor numbers from touring exhibitions totalled 160,182 Capture an increased youth The new student category of membership attracted 400 across Australia, with 29,152 visitors from Regional NSW. audience. members. Objective 3 Provide educational and research programmes and services to an ever-broadening public. Convert regular members into 75 AGS members upgraded to the Donor category, total now Donor members. 356. 3.1 Conduct public Continue to develop and • Academic lecture series including Art History and Expand tourism packages / • Family tickets; Student/Concession; and AGS Member were programmes to further present comprehensive Appreciation, Contemporary Art and Asian Art courses met opportunities available to discounted tickets available for each paying exhibition. enjoyment, appreciation and educational lecture series. public demand for quality art eduction. The 2002 Art visitors. • Special Subscription – Major Exhibition Series – covered four understanding of art. Appreciation Course, Great Art in the Making, sold out. major exhibitions – Buddha: Radiant Awakening; Belle Ile: Monet, Russell & Matisse in Brittany; Love & Death: Art in 3.2 Encourage young people to Develop education kits for • Education Kits were published for Renoir to Picasso (in the Age of Queen Victoria; and 2002 Archibald Wynne & appreciate, enjoy and students based on major conjunction with Queensland Art Gallery), Fred Williams: Sulman Prizes – 1226 tickets were sold during 2001/02. understand art through exhibitions. From Music Hall to Landscape and the 2002 Archibald, stimulating education Wynne and Sulman exhibitions. 2.3 Raise awareness of the Art Art Gallery’s website to • New website development included the Space Odysseys site programmes. • Online Education Kits were also published on the exhibition Gallery and its exhibitions increase public awareness of which featured online contributions from tertiary students websites for Space Odysseys and Buddha: Radiant so that the public is keen our activities. and the Buddha site, a collaborative venture between the Art Awakening. to attend and be Gallery, Liquard Vision and UTS. associated with the Art • Website visits increased to consistently over 1,500 visitors per Develop and present education • The Children’s Guides delivered free discussion tours for a Gallery day (up from 1,000 last year); ranking our site as #1 arts programmes specifically for 17,108 K–6 students. website within Australia. young people / students. • A record total number of 105,427 (83,617 last year) K–6, secondary and tertiary students booked through Public Increase visitor attendance by With 2002 Archibald Prize exhibition, split over two reporting Programmes Department for educational activities and guided obtained extensive media year, the June 2002 attendance figure was 58,278 and the final tours. coverage for major exhibitions month of the Renoir to Picasso exhibition attracted over • Awarded the annual Brett Whiteley Travelling Arts including Archibald Prize and 81,000 visitors in July 2001. Scholarship valued at $25,000 plus a three month residency Buddha: Radiant Awakening in the Art Gallery’s Paris studio, to an artist under 30 years old. 2.4 Expand the Art Gallery Secure recognition of the Art VisAsia presented Buddha: Radiant Awakening exhibition was profile by establishing a Gallery’s expertise with regard curated by the Art Gallery’s Head Curator of Asian Art and Develop new fun programmes Fundays at the Gallery, sponsored by the Sunday Telegraph, ‘centre of excellence’ in to Asian art. attracted over 82,000 visitors. for kids. continued with the launch in March 2002 of the Queen of Asian arts and maintaining Sheba. This is the first of four characters to be developed to Australian cultural focus Continue education • Presented the Buddhist Art Symposium with keynote speakers introduce children to the delights of art through scripted programme under VisAsia. Marianne Yaldiz, Director Museum Für Indische, Kunst performances – attracted over 1,200 children and adults. Berlin and Jane Portal Curator of Chinese Art, British Museum. 3.3 Disseminate information Expand website functionality • Space Odysseys exhibition website featured online • Asian Art Course 2002 – Tuesday’s lunch-time lecture series on art and contribute to to allow greater online contributions from tertiary students from UNSW; UWS and –Term 1: East Asian held March to June; Term 2: South and scholarship. information and participation. the University of Sydney and School of Contemporary Arts. Southeast Asia to be presented July – October, 2002.

28 29 STRATEGIES TARGETS PERFORMANCE OUTCOMES STRATEGIES TARGETS PERFORMANCE OUTCOMES

• AGNSW’s main website incorporates a mini website which 5.4 Manage staff resources Improve reporting on workers Treasury Managed Fund statistics indicated improved reporting comprised every (known) pages of Lloyd Rees’ 19 effectively to ensure high compensation claims. times for workers compensation claims which assists faster sketchbooks. employee morale, high return to work of employees. skills level and support for Reprint AGNSW publications. Reprinted Material as Landscape: Rosalie Gascoigne by continued expansion. Maintain low instances of No major morale issues were raised through the Joint Deborah Edwards, Senior Curator of Australian Art. employee industrial dispute. Consultative Committee process by employees or union representatives; all formal grievances were resolved. Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art. Objective 3 Provide educational and research programmes and services to an ever-broadening public. Provide skills development • Expressions of interest process used to develop skills, opportunities to staff. knowledge and experience of existing staff; 8 staff were provided with development opportunities under this 4. Inspire and explore artistic Continue encouragement and A total of $114,200 from art prizes and scholarships was arrangement. attitude and aspiration. financial support for Australian awarded to artists supporting their efforts to continue to create • 22 staff undertook short term higher duties arrangements artists. new works and participate in the arts community. during the year.

Present ‘Level 2 Project’ By providing display space in Australia’s most respected arts Objective 6 Ensure effective funding sources for the Gallery to support its acquisition programme and expansion of services. contemporary art exhibition institution this specially developed exhibition programme programme. brings vital exposure for emerging contemporary artists to a broad audience. Highlights this year included Bittersweet 6.1 Effective use of Manage operations within Continued successful operations and service level outputs exhibition featuring seven contemporary Australian artists. Government funding and Government allocations. 6.2 within budgetary constraints. improve government Objective 5 Operate the Gallery in an efficient and effective manner that encourages an increasing level of public visitation. relations.

6.2 Increase funding from Increase both commercial • Total revenue from sales of goods and services was $7.9m, 5.1 Manage the Art Gallery Continuous access for the Opened to the public 363 days without disruptions to services commercial activities, activities revenues and unfortunately this was a decrease by 2000/2001 level of operations effectively. public without industrial action in spite of major construction for Auditorium and Building bequests, donations and sponsorship / donations. $8.3m. or services disruptions. Extension Projects throughout 2001/02. sponsorships • Cash sponsorship income was reduced by nearly 50% for $1.1m to $524,000. Extend opening hours for Taking advantage of daylight savings, opening hours were exhibition programme as extended to 8pm for the five Wednesday’s in January 2002 Negotiate a major sponsorship No new major sponsorship agreements were negotiated in required to meet public allowing the public greater access to the major exhibition agreement. 2001/2002. demand. Buddha: Radiant Awakening. 6.3 Manage our Trust, Meet all corporate governance All statutory and corporate governance requirements were met 5.2 Meeting customer needs Continue commercial activities Retained revenue totalled $10.5m for the 2001/02 year raised Foundation, Brett requirements. for each of the four entities – Art Gallery Trust, Art Gallery by improving service to support general gallery by some 65 concerts, 248 film and video showings, 35 Whiteley Foundation, Foundation, Brett Whiteley Foundation and VisaAsia. levels. operations. exhibitions and special displays, 439 lectures and talks – all VisAsia entities to comply attracted over 1.1 million visitors. with statutory requirements Provide multi language version The Art Gallery’s Guide Map is available in Japanese, of the Gallery Guide Mandarin and Korean, Italian, French and German languages. 6.4 Enhance returns from Increase investment returns on • Bequest and Special Funds – Cash Bequests/Donations Gallery funds, whilst Art Gallery Funds. amount for 2001/02 was $5.8m, largely due the estate of the 5.3 Implement state of the art Digital Imaging and Access IT Digitisation project underway – anticipated 7,800 images to be maintaining acceptable late Ruth Komon. technology and corporate Project. available on the website by end of 2002 with a further 20,000 risk levels and improve • VisAsia expanded with the addition of 8 new Business systems images by the end of 2003. contributions Council members. • Unfortunately the Foundation returns are adversely impacted Upgrade finance, human • Computer systems configured with latest software releases by the downturn in the investment markets. resources and Internet systems allowing complex analysis reporting which assists to meet federal and state management decisions on key areas of financial management statutory requirements. and personnel management. • Project Managed joint NSW Government Agency e- Commerce website portal development – Shop and Venue Hire module launched. Event ticketing and Membership module to be completed in late 2002.

Review archive and record Worked co-operatively with 7 other national art galleries and management requirements. museums to develop a common Records Management Disposal Schedule ensuring compliance with State Record Act 1999.

Investigate development of Art Pilot projects for searchable document and online workflow Gallery Intranet. modules commenced.

John Glover Classical landscape c. 1820 oil on canvas 149.2 x 240.1cm Purchased 1975 Restored using funds provided by Eric Hawley and Glen Watson – ‘Friends of Conservation.’

30 31 Pierce Cody CEO of APN Outdoor; TRUSTEE MEETINGS AND COMMITTEES Chairman of Cody Outdoor & Captive ATTENDANCES AT BOARD OF TRUSTEE MEETINGS Media, CEO-Outdoor, APN News & There were six board meetings of the Trust during the period Media; Director of Tower Estate and of July, 2001 to June, 2002. Trustee attendances were as follows: Casey Foods. Initial date of appointment David Gonski (President) 6 was 1st January 2000 and expiry of Jillian Broadbent (Vice President) 3 (to 31.12.01) current term is 31st December, 2002. Anne Landa 3 Janet Laurence 5 CORPORATE GOVERNANCE John Morschel 5 Ms Irene Lee Bachelor of Arts 1974 Pierce Cody 4 (Cum Laude and High Distinction) in Dr John Yu 4 History of Art, Smith College, Imants Tillers 6 Northampton, Massachusets, USA. Lachlan Murdoch 0 (to 31.12.01) BOARD OF TRUSTEES Ms Janet Laurence Mixed media Barrister-at-law, Gray’s Inn, London. John Schaeffer 6 (from 13.08.01) The Art Gallery of New South Wales Trust is constituted by installation artist. Former member of Director of The TEN Group Pty Ltd Peter Young 3 (from 13.8.01) Section 5 of the Art Gallery of New South Wales Act, 1980. SOCOG Cultural Committee (Visual and TEN Network Holdings Ltd., Anne Fulwood 3 (from 1.1.02) Section 6 stipulates that: ‘the Trust shall consist of 11 Trustees Arts) and Board of Australian Centre of Record Investments Limited, Biotech Irene Lee 3 (from 1.1.02). who shall be appointed by the Governor on the Photography; RAIA Lloyd Rees award Capital Limited, Beyond Internal Apologies were submitted for all Trustee absences and recommendation of the Minister for the Arts and at least two for urban design 1995; Rockefeller Limited, Australian Assets Corporation authorised leave was granted. of whom shall be knowledgeable and experienced in the Fellowship 1996 and Australia Council Limited and QBE. Initial date of visual arts’. Trustees are appointed for a term not exceeding Fellowships 1992, 1996; Permanent appointment was 1st January, 2002 and TRUST COMMITTEES three years and may serve four consecutive terms. public commissions include the Tomb of expiry of current term is 31st December, Acquisitions and Loans the Unknown Soldier in , The 2004. Dr John Yu (Chair), David Gonski (ex-officio), Anne Landa, PRESIDENT Edge of the Trees at the Museum of Janet Laurence, Imants Tillers, Anne Fulwood, Irene Lee, Mr David Gonski Principal of Investec Sydney, Stilled Lives, Melbourne Imants Tillers Visual artist, widely Edmund Capon – Director, Anthony Bond – General Wentworth Pty Limited; Chairman of Museum, Veil of Trees in the Domain, exhibited internationally. Initial date of Manager, Curatorial Services, Michael Wardell – Curatorial the Australia Council, of Coca-Cola Sydney, 49 Veils windows for the appointment was 1st January 2001 and Services Co-ordinator Amatil, and of NIDA; Director of ING Central Synagogue in Bondi and expiry of current term is 31st December Australia, of the ANZ Banking Group, environmental art work for the 2003. Sponsorship of John Fairfax Holdings, of the UNSW Homebush Bay Olympic site. Initial David Gonski (Chair), Daniel Gauchat, Chris Gorman, Foundation, of Westfield Holdings; date of appointment was 1st January, John Schaeffer, Scott Walters, Peter Young, Edmund Capon – Consultant to Morgan Stanley and 1997 and expiry of current term is 31st Director, Jill Keyte – General Manager, Corporate Trustee of Sydney Grammar School. December, 2002. Development, Melissa Hankinson – Development Manager Initial date of appointment was 1st January, 1997 and expiry date of Dr John Yu, AC, Hon MD(Syd.), Hon Peter Francis Young Director of ABN Finance and Audit current term is 31st December, 2003. Dlitt (UWS), MB BS DCH (RCP&S), AMRO. Chairman of Export Fianance Peter Young (Chair), David Gonski, Bruce Cutler, Jillian FRACP, FRACMA. Chancellor, & Insurance Corporation; Director of Broadbent, Edmund Capon – Director, Rosemary Senn – MEMBERS University of New South Wales; Chair, Australian Business Arts Foundation General Manager, Finance and Management Services Mr John Powell Morschel Chairman of Australia China Council of DFAT; Limited of Taronga Zoo Foundation Leighton Holdings Limited and of CSR Chair, Specialist Advisory Committee of and of Neuroscience Institute of Building Limited; Director of Tenix Pty Limited, NSW Commission for Children and Schizophrenic & Allied Disorders. John Morschel (Chair), David Gonski (ex-officio), Pierce of Rio Tinto plc, of Rio Tinto Ltd and Young People; Chair, VisAsia; Member Initial date of appointment was 13 Cody, Edmund Capon – Director, Anne Flanagan – General of Singapore Telecommunications of Board of National Australia Day August 2001 and expiry of current term Manager, Exhibitions and Building Services Limited. Initial date of appointment was Council, Walter and Eliza Hall Trust, is 31st December 2003. 1st January, 1995 and expiry date of NSW Public Education Council; Regional current term is 31st December, 2003. Formerly Chief Executive, Royal Mr John Schaeffer Executive Chairman Dr John Yu (Chair), Imants Tillers, Mary Turner, David Alexandra Hospital for Children. Initial of Tempo Services Limited and Director Gonski, Edmund Capon – Director, Anthony Bond – General Ms Anne Landa Director since inception date of appointment was 1st January, of its subsidiary companies; Director of Manager, Curatorial Services, Michael Wardell – Curatorial in 1984 of the Landa Piano Scholarship; 1997 and expiry of current term is 31st Rasay Pty Limited and several related Services Co-ordinator Advisory Council Member for the December, 2002. Pty Ltd companies. Board member of College of Fine Arts, University of New the National Portrait Gallery and the Paris Studio South Wales; and for the Centre for Anne Fulwood Television Journalist and National Gallery of Australia Barry Pearce – Head Curator, Australian Art, Wayne Immunology, St Vincents Hospital. Presenter; Member of the Council for Foundation; Honorary Governor of the Tunnicliffe – Curator, Contemporary Australian Art Initial date of appointment was 1st the Australian Honours, of the Film and Historic Houses Trust of New South January, 1996 and expiry of current Literature Board of Review, Interim Wales. Initial date of appointment was term is 31st December, 2004. Board of the National Film and Sound 13 August 2001 and expiry of current Archive and Luna Park Reserve Trust. term is 31st December 2003. Initial date of appointment was 1st January, 2002 and expiry of current term is 31st December, 2004. Honorary Solicitors to the Trust: Freehills

32 33 FINANCIAL AND MANAGEMENT SERVICES As an indicator of how well the Gallery manages its insurance SENIOR MANAGEMENT PROFILE Anne Flanagan Financial Services risks, a 10 year review of public liability exposure revealed Edmund Capon, AM General Manager, Exhibitions and Building Services The Gallery’s financial soundness is an on-going key priority, less that 30 (mostly minor) claims from an estimated Director Anne Flanagan joined the Gallery in March 1992. Her which is maintained through rigorous budgetary/expenditure visitation population of over 11.5 million visitors. Edmund Capon has been the Director of the Art Gallery of academic background includes visual arts, interior design and control, stewardship of assets, cash flow management, and New South Wales since 1978. For five years before leaving education. For the last fourteen years she has worked within revenue enhancement. Audit Reviews London he held the position of Assistant Keeper, Far Eastern arts organisations initially at the Crafts Council of NSW, Our accounting systems enable timely and effective reporting Internal Audit reviews were conducted during the year, by the Section at the Victoria and Albert Museum, having started at Powerhouse Museum, Biennale of Sydney, Australian of financial information to the Board and management. The NSW Government’s Internal Audit Bureau, on Artworks that Museum in 1966 in the Textile Department specialising Bicentennial Authority and then at the Historic Houses Trust reporting system enables us to produce reports within 6 Collection Management, Strategic Plan/Risk Assessment, and in Chinese textiles and costume, and European tapestries. He of NSW before joining the Gallery. working days of the end of the month at a cost centre and Catering Services. Favourable reports were received on all has also managed a commercial gallery in London primarily Ms Flanagan is responsible for the exhibition programme business level. These reports enable management, the Board audits with no significant matters arising. All recommendations concerned with modern British paintings and sculpture. including design, development and financial management, and Government, to monitor financial aspects of the Gallery were carefully considered and implemented where appropriate. He obtained his Master of Philosophy degree in Chinese Art building services including capital and maintenance and direct the resources in a timely and effective way. An audit was also undertaken by the Australian Customs and Archaeology (including language) from the London programmes and all security services within the Gallery. Department reviewing the registration processes of University School of Oriental and African Studies. Edmund Rosemary Senn importing/exporting works of art into Sydney for our has also completed studies on 20th century painting at the Investments General Manager, Finance and Management Services temporary exhibition programme. Courtauld Institute of Art, London University. During the year, the Board of Trustees extended the range of Rosemary Senn is a Fellow of the Australian Society of The Finance and Audit sub-committee of the Board of Mr Capon is recognised as a world expert in his particular investments to include T.Corp medium growth facility, Managed Certified Practising Accountants and holds a Degree of Trustees are advised of audit outcomes to re-affirm the field and has published several books and catalogues funds and listed preference shares. Approximately $7.7 million Commerce with the University of Melbourne. importance of the Board’s role in audit matters. The cost of including Princes of Jade (1974); Art and Archaeology in was invested in these securities representing the capital She also holds qualifications in company directorship and internal audit work is borne by the Ministry for the Arts from China (1977); Qin Shihuang: Terracotta Warriors and Horses component of the Bequests and Special Funds. It was anticipated taxation matters. She has been with the Gallery for four a central allocation of funds for the Arts Portfolio. (1982); and Tang China: Vision and Splendour of a Golden that these investments would yield a better longer term return years and prior to that she worked for a major listed The following Internal Audit reviews are scheduled for the Age (1989), as well also many selected articles for Australian than the traditional fixed interest term deposits. Returns ranged corporation, doing business both domestically and 2002/03 financial year: Temporary Art Exhibitions; Income and international newspapers and professional art journals. from –2.5% to 10% on these investments during the year. The internationally over several years. Collection & Banking; Plant/Equipment – Fixed Assets. Mr Capon was made a Member of the Order of Australia in downturn in the markets since the end of the financial year have Ms Senn is the Chief Financial Officer, and Company 1994. In 2000 Edmund was awarded a Doctor of Letters also had a negative impact on its value. Secretary for the Trust, the Foundation, VisAsia and the Brett Corporate Governance honoris casua from University of New South Wales and a The Gallery also manages investments on behalf of its related Whiteley Foundation. She is also responsible for human Corporate secretariat support is provided for the Trust Board Chevalier of arts and letters from the French Government. He entities, primarily the Art Gallery of NSW Foundation [$15 resources management, corporate services, administration, and its sub-committees, each of which meet approximately six is also a member of the Advisory Council of the Asia Society million] with smaller amounts (less than $150,000 each) for the copyright, information technology departments and the times a year. During the year the Board approved a ‘Code of AustralAsia Centre and a member of the Council of Brett Whiteley Foundation and VisAsia entity. Due to the commercial services, which includes the Gallery shop, Venue Conduct’ and each Trustee acknowledged commitment to it Australian Art Museum Directors (CAAMD). downturn in the investment markets, the earnings and value of hire and the management of the catering contract. the Foundation funds have been adversely impacted. on an individual basis. Anthony Bond Belinda Hanrahan General Manager, Curatorial Services Bequests and Special Funds OTHER GALLERY ENTITIES Manager, Marketing Anthony Bond joined the Gallery in 1984 as Curator of The Gallery maintains a portfolio of 35 bequests and special The Gallery is also responsible for managing the activities of its Belinda Hanrahan initially joined the Art Gallery in November Contemporary Art. In January, 1995 he was appointed to the funds, valued at $12.6 million, which have been granted over other entities, namely the Art Gallery of New South Wales 1992 where she had responsibilities for marketing and business position of General Manager, Curatorial Services, to oversee many years. These contributions have provided a significant Foundation, the Brett Whiteley Foundation and the VisAsia development until September 1998, rejoining the Gallery in the curatorial staff of the Gallery together with responsibility resource for acquisitions of art works and special projects, Foundation. Each of the Boards meets on a quarterly basis. The March 2001. She holds a Bachelor of Commerce from the for the overall management of curatorial services departments: which would not otherwise have been feasible. support provided by the Gallery includes management, finance, University of New South Wales and has twenty years experience Conservation, Registration, Public Programmes, Library and These funds are managed under specific directions of the corporate secretariat and general administrative services. in marketing management. Prior to joining the Gallery, Belinda the Photography Studio. This is coupled with his role as Head bequest conditions with the majority of funds invested as ART GALLERY OF NEW SOUTH WALES FOUNDATION worked in marketing management for Unilever and Johnson & Curator, Western Art, with special responsibility for 20th capital and only the interest earned able to be used for the Patron Johnson for ten years, later forming her own marketing training century and contemporary International collections. He was acquisition of works of art and other specific purposes. The Her Excellency Professor Marie Bashir AC, Governor of NSW consultancy for a major employer organisation. formerly Director of Wollongong City Gallery and Assistant level of available funds for acquisitions varies from year to President As Manager, Marketing, Belinda is responsible for advertising Director of Art Gallery of . year depending on interest return achieved in volatile The Hon Bob Carr MP, Premier of NSW and promotions, publicity, tourism and visitor service for the His curatorial specialisation is in 20th century and investment markets. Chair Gallery and its exhibitions. Mr Rupert Murdoch AC contemporary International art ands recent major projects include curating TRACE, the inaugural Liverpool Biennial in Jill Keyte Risk Management and Insurance Deputy Chairman England (1999) and BODY, an exhibition tracing aspects of Manager, Corporate Development The Gallery, as a NSW Government agency, continues to be Ms Jillian Broadbent realism in art from the mid 19th century to today (AGNSW Jill joined the Gallery in March, 2002. She has a diverse insured by the Treasury Managed Fund, a government self- Trustees 1997). In 1999 his book Body that accompanied the exhibition experience in the preforming and visual arts over more than insurance scheme administered by the GIO. There were no Mr James Agapitos OAM, Mr Geoff Ainsworth, was awarded the inaugural Power Institute Award for the best 20 years. Jill has held senior management positions with The significant claims on this scheme during the financial year. Mrs Prue Allen, Mr Brian France AM, IBM Australia Ltd, book of art history, an award offered through the AAANZ. Australian Ballet, National Gallery of Victoria Business The annual premium amounted to just over $1 million (excl. (Ms Louise Davis), Mr Barry Murphy, Dr Mark Nelson, His ongoing research is in the function of objects and Council, The Really Useful Company, the Olympic Co- GST) reflecting the value of the State asset holdings of the Mr Reg Richardson, Ms Susan Rothwell, Mrs Denyse Spice, materials in art as memory triggers and the issue of objectivity ordination Authority and within her own event management Gallery’s permanent art Collection, the heritage building plus Mr Isaac Wakil, Mr Peter Weiss AM in affect. His current projects are Anselm Kiefer, a decade in company, High As A Keyte. She is the Chair of Playing art works on temporary on loans for major exhibitions. BRETT WHITELEY FOUNDATION BOARD Barjac 1995 to 2005, for AGNSW in 2005 and Self Portraits: Australia and Festivals Australia, Federal Government However, the Fine Arts premium in the 2002/03 financial year David Kent (Chair), Wendy Whiteley, Arkie Whiteley Durer to Freud, an exhibition for AGNSW and The regional tourism programmes. will see our total insurance cost more than double, reflecting (deceased December 2001), Edmund Capon – Director, Barry Courtauld Institute London 2004–05. He sits on a number of Ms Keyte is responsible for the Gallery’s corporate the substantial increase in expected exhibition values. Pearce – Head Curator, Australian Art Boards, including the Biennale of Sydney and the Council of development which includes the President’s Council and Additional funding to meet these costs will be provided as an VISASIA BOARD the Power Foundation at Sydney University. He is also a sponsorship for the Gallery’s exhibition and public automatic budget supplement from NSW Treasury. John Yu (Chair), Justice Kim Santow, Goldie Sternberg, Stephen Menzies, Steve Burdon, Edmund Capon – Director, member of various other committees including the Executive of programmes. Jackie Menzies – Head Curator, Asian Art the AAANZ, and the Bundanon Trust residency programme.

34 35 ORGANISATIONAL STRUCTURE STAFF PROFILE The structure of the Gallery comprises five major functions EFT’s within the operations of the Gallery: Average over 12 months 30/6/02 • Curatorial services Building and Security Services 59 • Finance and Management services Curatorial Services Staff 51 • Building and Exhibition services • Marketing Services Curatorial Staff 20 • Business Development Exhibitions/Display 16 Finance and Management Services 20 Each of these functions are managed by a member of the Commercial Services 16 Gallery’s senior management team. Within these functional Marketing and Business Development 11 areas, activities are divided into a number of Departments Total 193 which are the responsibility of Department Managers who report to the relevant senior manager.

ORGANISATION CHART

GENERAL MANAGER CURATORIAL SERVICES

WESTERN ASIAN AUSTRALIAN EUROPEAN ART Japan Paintings & Sculpture pre – 1900 China Prints, Drawings & Watercolours Contemporary South-East Asia Aboriginal & Torres Strait Islander Photography India

Brett Whiteley Registration

Conservation Public Programmes

Library Digitisation/Website

Curatorial Services

GENERAL MANAGER FINANCIAL & MANAGEMENT SERVICES

Human Resources Finance DIRECTOR Administration Corporate Services

Information & Technology Gallery Shop

Venue Management

GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES

Gallery Services Building Management

Exhibitions Workshop

Installation Graphics

GENERAL MANAGER MARKETING & BUSINESS DEVELOPMENT

Sponsorship Information Desk

Marketing Membership Services

36 ART GALLERY OF NEW SOUTH WALES FINANCIAL REPORTS Net Cost of Services per visitor Net Surplus per visitor (incl bequests) Net Assets Net cash flows Employees - Effective Full time (EFT's) Net Surplus Total Revenue Government funding as a % of total revenues Total Govt Grants Capital appropriation/Other Liabilities assumed by government Recurrent appropriation Net Cost of Services (exc. Bequests) Operating Expenses T Bequest/Special funds income Revenue from Commercial activities Other Commercial Activities/other misc Sponsorships and contributions Exhibition Admission revenue Total Works of Art Acquired Donations of Artworks Artworks Purchased Total Attendances - Main Building Attendances - Free access Main Attendances - Paid exhibitions Total Attendances - Incl Touring/Studio sources ART GALLERY OF NEW SOUTH WALES

Financial Summary REVENUE RECEIVED OVER TEN YEARS TO 2001/02 REVENUES AND OPERATING EXPENSES Net Cost of Services per visitor Net Surplus per visitor (incl bequests) Net Assets Net cash flows Employees - Effective Full time (EFT's) Net Surplus Total Revenue Government funding as a % of total revenues Total Govt Grants Capital appropriation/Other Liabilities assumed by government Recurrent appropriation Net Cost of Services (exc. Bequests) Operating Expenses T Bequest/Special funds income Revenue from Commercial activities Other Commercial Activities/other misc Sponsorships and contributions Exhibition Admission revenue Total Works of Art Acquired Donations of Artworks Artworks Purchased Total Attendances - Main Building Attendances - Free access Main Attendances - Paid exhibitions Total Attendances - Incl Touring/Studio sources ART GALLERY OF NEW SOUTH WALES Financial Summary o o t a t $323 Million a l l

R R evenue evenue f f rom commerc rom commerc 40 35 30 i a l an

i 25 a l an d 20 pr d i pr va 15 t i e va 10 t e

Number 5 million million million million %

$'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m 0 Number $ $ million million million million % $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $ $ 929 939 949 95919-719-819-919-0020-0120-02Total 2001-2002 2000-2001 1999-2000 1998-99 1995-961996-97 1997-98 1994-95 1993-94 1992-93 1.0$09 1.0$10 1.0$76 1.0$52 1.0$16.30 $721.7 $14.80 $780.8 $15.20 $712.8 $15.20 $641.8 $17.60 $616.0 $13.10 $606.0 $11.00 $524.0 $11.70 $518.0 $10.90 $485.0 $13.40 $474.0

1. 2. 3. 3. 3. 3. 3. 3. 3. 4. 2. 32.3 323.4 $13.1 $40.1 $22.9 $39.4 $131.2 $229.1 $33.1 $16.4 $33.3 $27.1 $14.8 $37.0 $27.1 $13.7 $31.3 $24.6 $14.5 $32.8 $26.1 $16.2 $32.2 $26.1 $13.2 $27.0 $23.7 $10.9 $17.2 $23.2 $11.5 $20.1 $9.9 $16.9 $10.0 $14.2 The Gallery has generated over $300 million revenue, of which over 50% has The Government funds the core operations but the Gallery has generated .509 .909 .109 .509 .010 .30.94 0.62 0.32 9.43 6.19 3.24 1.01 0.70 0.31 1.00 0.72 0.28 0.90 0.64 0.26 0.95 0.65 0.30 0.92 0.65 0.27 1.01 0.56 0.45 0.99 0.59 0.40 0.99 0.63 0.35 0.91 0.48 0.43 0.75 0.57 0.18 7 0 8 8 0 8 7 2 6 6 7 47% 47% 56% 46% 52% 47% 48% 50% 38% 38% 40% 57% 6 5 7 8 9 8 8 9 9 193 $2.2 -$0.7 9.4 $0.9 193 $1.2 $15.2 $22.0 $9.4 94.3 $12.1 193 -$1.0 $152.3 $6.4 $1.5 $13.0 186 -$0.3 $120.9 $7.3 $22.4 $3.0 $5.0 $17.1 $12.3 $1.4 $2.4 $0.4 $8.6 189 $14.5 $2.4 $18.2 $73.2 $2.3 $0.8 $171.1 $1.2 $50.0 197 $13.8 $7.2 $7.9 $5.7 $17.1 $24.3 $2.1 $23.6 $1.1 -$0.5 $7.0 $9.8 187 $1.2 $13.6 $17.7 $7.6$10.8 $15.8 $5.7 $78.7 $2.4 $57.3 -$2.0 $21.4 $3.4 $2.6 $8.9 $13.6 $21.2 $9.5 $0.8 $17.8 170 $6.1 $97.9 $1.0 $3.8 $2.0 $4.3 $2.8 $13.6 $15.8 $16.0 $2.5 $5.2 $0.9 $1.4 157 $12.1 $5.7 $0.4 $0.6 $10.7 $12.9 $12.4 $3.0 $17.5 $0.9 $10.1 $7.8 $6.2 $2.1 $5.9 167 $1.6 $11.0 $5.1 $12.3 $12.2 $0.6 $3.0 $3.8 $19.2 $0.9 $5.2 $4.3 $2.7 $9.3 $0.9 $10.7 $10.7 $11.6$10.8 $1.7 $5.4 $15.5 $0.4 $2.1 $5.0 $4.1 $3.7 $8.7 $2.4 $9.8 $0.3 $20.4 $5.4 $9.9 $1.0 $2.6 $0.4 $8.0 $2.5 $8.5 $11.3 $7.2 $19.9 $4.1 $6.3 $10.5 $3.1 $5.5 $2.9 $11.3 $16.3 $4.3 $8.6$12.4 $1.2 $4.3 $1.5 $9.3 $10.3 $7.4 $7.4 $2.8 $7.0 $2.9 $3.7 $0.9 $3.2 $12.4 $2.3 $4.2 $10.4 $1.9 $2.3 $9.8 $1.0 $8.2 $0.8 $1.6 $8.2 $2.8 $5.3

929 939 949 95919-719-819-919-0020-0120-02Total 2001-2002 2000-2001 1999-2000 1998-99 1995-961996-97 1997-98 1994-95 1993-94 1992-93 come from non government sources surpluses on its other activities which are used to fund acquisitions. 1.0$09 1.0$10 1.0$76 1.0$52 1.0$16.30 $721.7 $14.80 $780.8 $15.20 $712.8 $15.20 $641.8 $17.60 $616.0 $13.10 $606.0 $11.00 $524.0 $11.70 $518.0 $10.90 $485.0 $13.40 $474.0 12345678910 *1 1 .310 .710 .611 .91.16 8.09 1.17 1.26 1.03 1.17 1.08 1.23 ***1.16 1. 2. 3. 3. 3. 3. 3. 3. 3. 4. 2. 32.3 323.4 $13.1 $40.1 $22.9 $39.4 $131.2 $229.1 $33.1 $16.4 $33.3 $27.1 $14.8 $37.0 $27.1 $13.7 $31.3 $24.6 $14.5 $32.8 $26.1 $16.2 $32.2 $26.1 $13.2 $27.0 $23.7 $10.9 $17.2 $23.2 $11.5 $20.1 $9.9 $16.9 $10.0 $14.2 .509 .909 .109 .509 .010 .30.94 0.62 0.32 9.43 6.19 3.24 1.01 0.70 0.31 1.00 0.72 0.28 0.90 0.64 0.26 0.95 0.65 0.30 0.92 0.65 0.27 1.01 0.56 0.45 0.99 0.59 0.40 0.99 0.63 0.35 0.91 0.48 0.43 0.75 0.57 0.18 7 0 8 8 0 8 7 2 6 6 7 47% 47% 56% 46% 52% 47% 48% 50% 38% 38% 40% 57% 6 5 7 8 9 8 8 9 9 193 $2.2 9.4 $0.9 193 $15.2 $22.0 $9.4 94.3 $12.1 193 $152.3 $6.4 $1.5 $13.0 186 $120.9 $7.3 $22.4 $3.0 $5.0 $17.1 $12.3 $1.4 $2.4 $8.6 189 $14.5 $2.4 $18.2 $73.2 $2.3 $171.1 $1.2 $50.0 197 $13.8 $7.2 $7.9 $5.7 $17.1 $24.3 $2.1 $23.6 $1.1 $7.0 $9.8 187 $1.2 $13.6 $17.7 $7.6$10.8 $15.8 $5.7 $78.7 $2.4 $57.3 $21.4 $3.4 $2.6 $8.9 $13.6 $21.2 $9.5 $0.8 $17.8 170 $6.1 $97.9 $1.0 $3.8 $2.0 $4.3 $2.8 $13.6 $15.8 $16.0 $2.5 $5.2 $0.9 $1.4 157 $12.1 $5.7 $0.4 $0.6 $10.7 $12.9 $12.4 $3.0 $17.5 $0.9 $10.1 $7.8 $6.2 $2.1 $5.9 167 $1.6 $11.0 $5.1 $12.3 $12.2 $0.6 $3.0 $3.8 $19.2 $0.9 $5.2 $4.3 $2.7 $9.3 $0.9 $10.7 $10.7 $11.6$10.8 $1.7 $5.4 $15.5 $0.4 $2.1 $5.0 $4.1 $3.7 $8.7 $2.4 $9.8 $0.3 $20.4 $5.4 $9.9 $1.0 $2.6 $0.4 $8.0 $2.5 $8.5 $11.3 $7.2 $19.9 $4.1 $6.3 $10.5 $3.1 $5.5 $2.9 $11.3 $16.3 $4.3 $8.6$12.4 $1.2 $4.3 $1.5 $9.3 $10.3 $7.4 $7.4 $2.8 $7.0 $2.9 $3.7 $0.9 $3.2 $12.4 $2.3 $4.2 $10.4 $1.9 $2.3 $9.8 $1.0 $8.2 $0.8 $1.6 $8.2 $2.8 $5.3 12345678910 *1 1 .310 .710 .611 .91.16 8.09 1.17 1.26 1.03 1.17 1.08 1.23 ***1.16

ATTENDANCES $78.8m WORKS OF ART ACQUIRED Main Building over 10 years $. -$0.5 -$2.0

$100

$50 $ million 08$0.4 $0.8 $0

During the year the gallery underwent major building construction work which Over seventy eight million dollars worth of art has been acquired thanks to the impinged on the level of activities. Hence visitor numbers have remained static. generosity of our donors/patrons and our commercial earnings. $. -$1.0 -$0.3

GALLERY FUNDING NET COST OF SERVICES PER VISITOR $1.2 -$0.7 Average p.a.

Revenue from non government sources declined this year although it is still The Net cost of services per visitor increased this year due to the lower above the 10 year average. visitor/revenue numbers. Costs have remained static. Average p.a.

38 39 ART GALLERY OF NEW SOUTH WALES TRUST

STATUTORY FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2002

ART GALLERY OF NEW SOUTH WALES TRUST STATEMENT IN ACCORDANCE WITH SECTION41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983

In accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales we state that:

(a) the accompanying financial statements have been prepared in accordance with the provisions of the Public 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 (General) Regulation 1995, applicable Accounting Standards, other mandatory reporting requirements and the Treasurer’s Directions

(b) the financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June 2002 and the operations for the year then ended; and

(c) at the date of signing we are not aware of circumstances that would render the financial statements misleading or inaccurate.

D.M. GONSKI E.G CAPON PRESIDENT DIRECTOR

P. YOUNG R. SENN CHAIRMAN GENERAL MANAGER FINANCE AND AUDIT COMMITTEE FINANCIAL & MANAGEMENT SERVICES

40 41 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

STATEMENTART GALLERY OF NEWOF FINANCIALSOUTH WALES TRUST PERFORMANCE STATEMENT OF FINANCIAL POSITION For the year ended 30 June 2002 AsART at GALLERY 30 June OF2002 NEW SOUTH WALES TRUST Statement of Financial Performance for the Year Ended 30 June 2002 Statement of Financial Position as at 30 June 2002

Notes Actual Budget Actual Notes Actual Budget Actual 2002 2002 2001 2002 2002 2001 $'000 $'000 $'000 $'000 $'000 $'000 ASSETS Expenses Current Assets Operating expenses Cash 6 660 1,662 1,347 Employee related 2(a) 13,206 12,849 12,948 Receivables 7 1,376 1,511 1,523 Other operating expenses 2(b) 11,261 10,385 11,543 Inventories 8 1,379 1,577 1,577 Maintenance 2(c) 961 907 1,372 Other financial assets 9 10,071 10,598 10,598 Depreciation and amortisation 2(d) 934 1,300 1,192 Total Current Assets 13,486 15,348 15,045 Other Expenses 2(e) 736 - -

Total Expenses 27,098 25,441 27,055 Non-Current Assets Property Plant and Equipment 10 Less: - Land and Buildings 107,603 178,177 173,228 Retained Revenue - Plant and Equipment 3,721 6,863 4,939 Sale of goods and services 3(a) 7,923 7,475 8,336 - Collection Assets 588,094 587,647 587,647 Investment Income 3(b) 233 532 145 Total Property, Plant and Equipment 699,418 772,687 765,814 Grants and contributions 3(c) 2,412 1,832 3,761 Other financial assets 9 7,755 2,996 2,996 Other revenue 3(d) 65 - 9 Total Non-current Assets 707,173 775,683 768,810 Total Assets 720,659 791,031 783,855 Total Retained Revenue 10,633 9,839 12,251

Gain(loss) on disposal of non current assets 436- 26 LIABILITIES Current Liabilities Net cost of services before bequests Payables 12 3,015 1,948 1,946 and special funds 16,429 15,602 14,778 Employee entitlements and other provisions 13 995 1,119 1,119 Total Current Liabilities 4,010 3,067 3,065 Bequests and Special Funds 14(b) (7,006) - (8,913)

Net cost of services after bequests and special funds 16 9,423 15,602 5,865 Net Assets 716,649 787,964 780,790

Government Contributions EQUITY Recurrent appropriation 14,504 14,482 13,824 Reserves 14 139,889 216,993 216,993 Capital appropriation 6,415 7,173 2,978 Accumulated funds 14 576,760 570,971 563,797 Acceptance by the Crown Entity of employee Total Equity 716,649 787,964 780,790 entitlements and other liabilities 5 1,467 368 1,396 22,386 22,023 18,198 The accompanying notes form part of these statements SURPLUS/(DEFICIT) FOR THE YEAR FROM ORDINARY ACTIVITIES 12,963 6,421 12,333

NON-OWNER TRANSACTION CHANGES IN EQUITY

Net increase(decrease) in asset revaluation reserve (77,104) - 55,682

TOTAL REVENUES, EXPENSES AND VALUATION ADJUSTMENTS RECOGNISED DIRECTLY IN (77,104) - 55,682 EQUITY TOTAL CHANGES IN EQUITY OTHER THAN THOSE RESULTING FROM TRANSACTIONS WITH OWNERS AS OWNERS 14 ( 64,141) 6,421 68,015

The accompanying notes form part of these statements

42 43 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST * * * * For the year ended 30 June 2002 SUMMARY OF COMPLIANCE WITH FINANCIAL DIRECTIVES * * * * OR O Lia A C Total ons T m H I b ount dr G ilit E Appropriation Act) Transfers from other agency (section 25 of the prpito c 442 442 ,7 543 389 384 ,2 2,978 - 942 7,420 13,824 942 22 13,829 5,473 22 7,173 - 14,482 Section 22 - expenditure for certain works and services - Treasurer's Advance - - 14,482 - s26 PF&AA - Commonwealth specific purpose payments s24 PF&AA - transfers of functions between departments s21A PF&AA - special appropriations Additional Appropriations Appropriation Act weather conditions experienced during the building extension program The expenditure/net claim on Consolidated Fund was lower than the Capital Appropriation due to technical problems in constructi (except where otherwise identified or prescribed). The summary of compliances based on the assumption that Consolidated Fund moneys are spent first ol A A I R A

STATEMENT OF CASH FLOWS N y t i ppr dated F AL PPRO o BUDGE awndown agai C C ARTFor the GALLERY year ended OF NEW 30 JuneSOUTH 2002 WALES TRUST opr o n i a PRI und [Total und [Total s ti o ons lid A T A T a [s I t O PPRO e

Statement of Cash Flows for the Year Ended 30 June 2002 ubtotal d N F S 1 ns und* / ] PRI E (i t appr XPE ncl 2 A [Total Notes Actual Budget Actual ] Ex T udes N opr I O pendi D

2002 2002 2001 N I i T 4 a / tr E U ti ] ans on [Total tur XPE $'000 $'000 $'000 R E e fer N /N D pay et C et C I T 3 CASH FLOWS FROM OPERATING ACTIVITIES U ments l ] R ai E m on

Payments ) Employee related (11,353) (10,964) (10,777) A ------

Other (13,572) (13,255) (13,760) PPRO RE PRI CU

Total Payments (24,925) (24,219) (24,537) A RRE T I O 14,504 N 442 442 ,7 543 389 384 ,2 2,978 7,420 13,824 13,829 5,473 7,173 14,482 14,482 N T $

' 2 2 4 942 942 22 22

Receipts 000 - Sale of goods and services 9,772 7,475 9,169

EX

Interest received 959 532 145 C O P E N N

Other 5,915 2,677 4,728 S D O ITU L I D R A E/ N E/ N T

16,646 10,684 14,042 E D FU Total Receipts ET C N L 14,504 D 14,504 A $' I M 000 O O ------Cash Flows from Government - - N 2002

Recurrent appropriation 14,504 14,482 13,824 A on and severe adverse ------

Capital appropriation 6,415 7,173 2,978 PPRO Cash reimbursements from the Crown Entity 561 368 514 CA CA PRI PI A T T I A O L 8,115

Net Cash Flows from Government 21,480 22,023 17,316 N

$ ' 000 NET CASH FLOW FROM OPERATING ACTIVITIES 16 13,201 8,488 6,821 EX ------C O P E N N S D O ITU L I

CASH FLOWS FROM INVESTING ACTIVITIES D R A E/ N E/ N T

Proceeds from sale of Land and Buildings, Plant and Equipment E D FU FU and Collection Assets 170 - 68 ET C N L D 6,415 6,415 A

Proceeds from investments 35,907 - 29,739 $' I M 000 O Purchases of Land and Buildings, Plant and Equipment O N and Collection Assets (9,603) (8,173) (5,112)

------A

Purchases of investments (40,362) - (30,295) PPRO RE RE PRI CU A NET CASH FLOWS FROM INVESTING ACTIVITIES (13,888) (8,173) (5,600) RRE T I 13, O N N T 829 829 $

' 000 - EX Supplementary Financial Statements ------C O NET INCREASE/(DECREASE) IN CASH (687) 315 1,221 P E N N S D

Opening cash and cash equivalents 1,347 1,347 126 O ITU L I D R A E/ N E/ N T

CLOSING CASH AND CASH EQUIVALENTS 6 660 1,662 1,347 E D FU ET C N 13,824 13,824 L D A *The above Payments and Receipts are GST inclusive $' I M 000 O O N 2001

A ------The accompanying notes form part of these statements PPRO CA CA PRI PI A T T I A O L 7,420 N

$ ' 000 EX

C O P E N N S D O ITU L I D R A E/ N T E D FU FU ET C N L D A $' 2,978 2,978 I M 000 O

N

44 45 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 2002 For the year ended 30 June 2002

1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (iii) Investment income Interest revenue is recognised as it accrues. Dividend income is recognised when the Gallery’s right to receive payment is established.

(a) Reporting Entity The Art Gallery of NSW Trust, as a reporting entity comprises all the activities under its control, (d) Employee Entitlements including the Gallery's commercial activities of exhibitions, merchandising, venue hire, and catering. (i) Wages and Salaries, Annual Leave, Sick Leave and On-costs Liabilities for wages and salaries, annual leave and vesting sick leave are recognised and measured as the amount unpaid at the reporting date at current pay rates in respect of Other entities associated with the Gallery but not under its direct control and hence not consolidated, employees' services up to that date. include the Art Gallery Foundation, the Brett Whiteley Foundation and VisAsia Foundation. Unused non-vesting sick leave does not give rise to a liability, as it is not considered The reporting entity is consolidated as part of the NSW Total State Sector and as part of the NSW probable that sick leave taken in the future will be greater than the entitlements accrued Public Accounts. in the future.

The outstanding amounts of payroll tax, workers' compensation insurance premiums and (b) Basis of Accounting fringe benefits tax, which are considered consequential to employment, are recognised as The agency's financial statements are a general purpose financial report which has been prepared liabilities and expenses where the employee entitlements to which they relate have been on an accrual basis and in accordance with: recognised. applicable Australian Accounting Standards; other authoritative pronouncements of the Australian Accounting Standards Board (ii) Long Service Leave and Superannuation (AASB); The Gallery’s liabilities for long service leave and superannuation are assumed by the Urgent Issues Group (UIG) Consensus Views; Crown Entity. The Gallery accounts for the liability as having been extinguished resulting the requirements for the Public Finance and Audit Act and Regulations; and in the amount assumed being shown as part of the non-monetary revenue item described the Financial Reporting Directions published in the Financial Reporting Code for Budget as "Acceptance by the Crown Entity of Employee Entitlements and other Liabilities". Dependent General Government Sector Agencies or issued by the Treasurer under section 9(2)(n) of the Act. Where there are inconsistencies between the above requirements, the legislative provisions have Long service leave is measured on a nominal basis. The nominal method is based on the prevailed. In the absence of a specific Accounting Standard, other authoritative pronouncement of remuneration rates at year-end for all employees with five or more years of service. It is the AASB or UIG Consensus View, the hierarchy of other pronouncements as outlined in AAS 6 considered that this measurement technique produces results not materially different "Accounting Policies" is considered. Except for certain investments, Land and Buildings and the from the estimate determined by using the present value basis of measurement. majority of Collection assets, the financial statements are prepared in accordance with historical cost convention. The superannuation expense for the financial year is determined by using the formula All amounts are rounded to the nearest one thousand dollars and are expressed in Australian specified in the Treasurer's Directions. The expense for certain superannuation schemes currency. (i.e. Basic Benefit and First State Super) is calculated as a percentage of the employee’s salary. For other superannuation schemes (i.e. State Superannuation Scheme and State Authorities Superannuation Scheme), the expense is calculated as a multiple of the (c) Revenue Recognition employees' superannuation contributions. Revenue is recognised when the agency has control of the good or right to receive, it is probable that the economic benefits will flow to the agency and the amount of revenue can be measured reliably. Additional comments regarding the accounting policies for the recognition of revenue are discussed (e) Insurance below. The Gallery’s insurance activities are conducted through the NSW Treasury Managed Fund Scheme for self-insurance for Government agencies. The expense (premium) is determined by the Fund Manager based on past experience. (i) Parliamentary Appropriations and Contributions from Other Bodies Parliamentary appropriations and contributions from other bodies (including grants and donations) are generally recognised as revenues, when the agency obtains control over (f) Accounting for the Goods and Services Tax (GST) the assets comprising the appropriations/contributions. Control over appropriations and Revenues, expenses and assets are recognised net of the amount of GST, except: contributions are normally obtained upon the receipt of cash. the amount of GST incurred by the agency as a purchaser that is not recoverable from the An exception to the above is when appropriations are unspent at year-end. In this case, Australian Taxation Office is recognised as part of the cost of acquisition of an asset or as part the authority to spend the money lapses and generally the unspent amount must be repaid of an item of expense. to the Consolidated Fund in the following financial year. As a result, unspent appropriations are accounted for as liabilities rather than revenue. receivables and payables are stated with the amount of GST included.

(ii) Sale of Goods and Services Revenue from the sale of goods and services comprises revenue from the provision of products or services i.e. user charges. User charges are recognised as revenue when the agency obtains Control of the assets that result from them.

46 47 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 2002 For the year ended 30 June 2002

(g) Acquisitions of Assets In accordance with Treasury policy, the gallery has applied the AASB 1041 “Revaluation of Non- The cost method of accounting is used for the initial recording of all acquisitions of assets controlled Current Assets” transitional provisions for the public sector and has elected to continue to apply the by the Gallery. Cost is determined as the fair value of the assets given as consideration plus the existing revaluation basis, while Treasury’s policy on fair value is finalised. It is expected, however, costs incidental to the acquisition. that in most instances the current valuation methodology will approximate fair value.

Assets acquired at no cost, or for nominal consideration, are initially recognised as assets and When revaluing non-current assets by reference to current prices for assets newer than those being revenues at their fair value at the date of acquisition. Fair value means the amount for which an revalued (adjusted to reflect the present condition of the assets), the gross amount and the related asset could be exchanged between a knowledgeable, willing buyer and a knowledgeable, willing accumulated depreciation are separately restated. seller in an arm' s length transaction. Otherwise any balances of accumulated depreciation existing at the revaluation date in respect of Where settlement of any part of cash consideration is deferred, the amounts payable in the future those assets are credited to the asset accounts to which they relate. The net asset accounts are are discounted to their present value at the acquisition date. The discount rate used is the increased or decreased by the revaluation increments or decrements. incremental borrowing rate, being the rate at which a similar borrowing could be obtained. The recoverable amounts test has not been applied, as the gallery is a not-for-profit entity whose (h) Plant and Equipment service potential is not related to the ability to generate net cash flows. Plant and Equipment costing $5,000 and above individually are capitalised. Revaluation increments are credited directly to the asset revaluation reserve, except that, to the (i) Revaluation of Physical Non-Current Assets extent that an increment reverses a revaluation decrement in respect of that class of asset Each class of physical non-current assets is included in a five year revaluation plan, based on the previously recognised as an expense in the surplus/deficit, the increment is recognised immediately estimated written down replacement cost of the most appropriate modern equivalent replacement as revenue in the surplus/deficit. facility having a similar service potential to the existing assets. Land is valued on an existing use basis, subject to any restrictions or enhancements since acquisition. The Art Gallery building is a Revaluation decrements are recognised immediately as expenses in the surplus/deficit, except that, heritage asset valued at replacement cost (not subject to write down) equivalent to a building closely to the extent that a credit balance exists in the asset revaluation reserve in respect of the same class resembling the existing facility. Collection assets are also heritage assets valued at replacement of assets, they are debited directly to the asset revaluation reserve. cost, which is current market buying price. Revaluation increments and decrements are offset against one another within a class of non-current (i) Property, Plant and Equipment assets, but not otherwise. Land was valued by the Department of Public Works and Services at 30 June 2000. The amount of the revaluation was brought to account in the books of the Gallery. Land is valued on an existing use basis. Assets Not Able to be Reliably Measured The agency does not hold any assets other than those recognised in the Statement of Financial The building was revalued as at 30 June 2002 at replacement cost using current Position. acceptable building methods by Martin Lomas, Senior Quantity Surveyor, QS Services, Department of Public Works and Services. As a result of the revaluation there was a Depreciation of Non-Current Physical Assets significant decrement to the Building valuation of $74.0M. This was mainly due to the Depreciable assets include plant and equipment, permanent exhibition fit out and Motor vehicles. assumption that the existing external sandstone walls would be replaced with a sandstone façade. Certain items of building infrastructure integral to the building were assessed to be Depreciation is provided for on a straight-line basis for all depreciable assets so as to write off the depreciable and to have a longer life expectancy. These items will be depreciated using depreciable amount of each asset as it is consumed over its useful life to the entity. Land and the rates determined by the valuer . Additionally certain building items which were heritage assets comprising the Art Gallery building and collection assets are not depreciable assets. previously classified as plant and equipment were transferred to buildings and will be Those items comprising the integral internal structure of the building ie escalators, lifts and air depreciated accordingly. conditioning etc are depreciated based on the remaining useful life as determined by the valuer.

Items of plant and equipment are carried at original cost net of depreciation which is considered to approximate replacement cost. All material separately identifiable component assets are recognised and depreciated over their shorter useful lives, including those components that in effect represent major periodic maintenance. (ii) Collection All works on hand as at 31 December 2001 were valued at fair market value by Simon Depreciation rates are listed below. For Plant and Equipment each asset's effective life is assessed Storey MAVA, Principal Valuer, Fine Arts and Heritage Collections. As a result of the and a depreciation rate of 7%, 14% or 20% is applied. valuation there was a decrement of $3.8M in the value of the collection as at the date of valuation of 31 March 2002. The Gallery will use various market indicators such as the Depreciation Rates for each class of depreciable assets are as follows: International Art Indices, ADEC prices guides etc to maintain up to date values for the collection and also look at the possibility of undertaking a comprehensive valuation at Rate least once every five years. Plant and Equipment 7-20% Motor Vehicles 20% (iii) Library Collection Furniture and Fittings 20% The Library collection is revalued on an ongoing basis using the four most valuable Office Equipment 33% categories of the collection. The policy is to value all the remaining categories at least Computer Equipment 33% once during the five-year period. The last valuation was performed at 30 June 2001 by Catering Equipment 20% Simon Taaffe. Other Equipment 20% Building Infrastructure 3-7%

48 49 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 2002 For the year ended 30 June 2002

(l) Maintenance and repairs (v) Budgeted Amounts The costs of maintenance are charged as expenses as incurred, except where they relate to the The budgeted amounts are drawn from the budgets as formulated at the beginning of the financial replacement of a component of an asset, in which case the costs are capitalised and depreciated. year and with any adjustments for the effects of any additional appropriations, s21A, s 24 and/or s 26 of the Public Finance and Audit Act 1983. (m) Leased Assets The agency does not have any assets, which are subject to finance leases. Operating lease The budgeted amounts in the Statement of Financial Performance and the Statement of Cash Flows payments are charged to the Statement of Financial Performance in the periods in which they are are generally based on the amounts disclosed in the NSW Budget Papers (as adjusted above). incurred. However, in the Statement of Financial Position, the amounts vary from the Budget Papers, as the opening balances of the budgeted amounts are based on carried forward actual amounts i.e. per the (n) Receivables audited financial statements (rather than carried forward estimates). Receivables are recognised and carried at cost, based on the original invoice amount less a provision for any uncollectible debts. An estimate for doubtful debts is made when collection of the (w) Programme Statement full amount is no longer probable. Bad debts are written off as incurred. The Gallery operates one programme – Art Gallery of New South Wales. The objective of the programme is to develop and maintain collections of art works for the benefit of the community and (o) Inventories to increase knowledge and appreciation of art. Inventories are stated at the lower of cost and net realisable value. The cost is calculated using the “weighted average” price of each stock item.

(p) Other Financial Assets TCorp Hour-Glass Facilities, Listed Interest Rate Securities and Managed Fund Investments, are measured at market value. Revaluation increments and decrements are recognised in the same manner as physical non-current assets.

Bills of exchange, negotiable certificates of deposits and term deposits are recognised at cost.

(q) Bequests and Special Funds This note is considered to cover conditions of contributions and also covers restricted assets.

The agency receives monies and gifts in specie in a trustee capacity for various trusts as set out in note 14(b). As the Gallery is restricted in the use of these funds, they are not brought to account in the financial statements until after calculation of the Net Cost of Services before Bequest and Special Funds. The aggregate of contributions received for the year has been recognised as revenue in the ‘Bequest and Special Funds’ Revenue and Expenditure Statement in Note 14(b). These revenues provide for expenditure in the current year and in future years. Any revenues unspent in the current year have been carried forward for appropriate expenditure in future years.

(r) Trustee benefits No Trustee of the Gallery has received or become entitled to receive a benefit because of a contract made by the Gallery or a related body with the Trustee or with a firm of which the Trustee is a member, or with a company in which the Trustee has a substantial interest.

(s) Taxation status The activities of the Gallery are exempt of income tax. The Gallery is registered for GST/ABN purposes and has gift deductible recipient status.

(t) Services provided at no cost Where material contributions are made to the Gallery at no charge an expense is recorded in the accounts to reflect activities at the Gallery and is offset by an equivalent revenue entry. Refer to notes 2a, 2c and 3c. i. Volunteer Services Volunteers make a substantial and integral contribution to the operation of the Gallery. Volunteer guides provide guided tours of the Gallery’s permanent and temporary exhibitions to the public and primary aged children. Additional assistance is provided to the Gallery’s library and study room. ii. Building Maintenance The Department of Public Works is undertaking a programme of restoring heritage buildings, including the Gallery. The cost of these works is being borne by the Department of Public Works and the Gallery will not incur any costs.

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

50 51 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

ART GALLERY OF NEW SOUTH WALES TRUST NOTESART GALLERYART TO GALLERY ANDOF NEW OF FORMING SOUTHNEW SOUTH WALES PARTWALES TRUST TRUSTOF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2002 ForNOTES the year TO ended AND 30 JuneFORMING 2002 PART OF THE FINANCIAL STATEMENTS FOR NOTESNOTES TO AND TO AND FORMING FORMING PART PART OF THE OF THEFINANCIAL FINANCIAL STATEMENTS STATEMENTS FOR FOR ART GALLERY OF NEW SOUTH WALES TRUST THE THEYEAR YEAR ENDED ENDED 30 JUNE 30 JUNE 2002 2002 THE YEAR ENDED 30 JUNE 2002 2002 2001 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS$'000 FOR $'000 2002 2002 2001 2001 THREVENUESE YEAR ENDED 30 JUNE 2002 2002 2001 $'000 $'000 $'000 $'000 (a) Sales of goods and services $'000 $'000 2EXPENSESEXPENSES Sale of goods (a)(a) Employee Employee related relatedexpenses expenses comprise comprise the the 3 REVENUES Merchandise, Book and Publication Sales 3,983 4,227 followingfollowing specific specific items: items: (a) Sales of goods and services SalariesSalaries and wages and (includingwages (including Recreation Recreation Leave) Leave) 9,569 9,569 9,568 9,568 SaleRendering of goods of Services SuperannuationSuperannuation 1,273 1,273 1,002 1,002 Merchandise,Admission fees Book and Publication Sales 3,983 2,571 4,227 2,450 Long ServiceLong Service Leave Leave 362 362 338 338 Venue hire and catering 642 793 Workers'Workers' Compensation Compensation Insurance Insurance 201 201 173 173 RenderingOther of Services 727 866 Payroll Payrolltax and tax fringe and benefit fringe benefittax tax 705 705 678 678 AdmissionTotal Rendering fees of Services 2,571 3,940 2,450 4,109 Value ofValue volunteer of volunteer services services (refer also (refer Note also 3c) Note 3c) 1,073 1,073 1,123 1,123 Venue hire and catering 642 793 Other Other 2323 66 66 OtherTotal Revenue727 7,923 866 8,336 13,20613,206 12,948 12,948 Total Rendering of Services 3,940 4,109 (b) Investment Income TotalInterest Revenue 7,923 233 8,336 145 (b)(b) Other operating Other operating expenses expenses

Auditor'sAuditor's remuneration remuneration (b) Investment Income -audit or-audit review or reviewof the financial of the financial reports reports 33 33 31 31 Interest 233 145 Cost of Costsales of sales 2,085 2,085 1,849 1,849 (c) Grants and contributions Travel andTravel Accommodation and Accommodation 542 542 689 689

OperatingOperating lease rental lease expense rental expense Sponsorship - cash 524 1,126 - minimum- minimum lease payments lease payments 119 119 145 145 (c) GrantsSponsorship and contributions - in kind 443 643 InsuranceInsurance 832 832 508 508 Donations - cash 70 134 ConsumablesConsumables 1,603 1,603 1,712 1,712 SponsorshipGrants - Other - cash 524 52 1,126 86 ExhibitionExhibition fees and fees related and relatedcosts costs 678 678 1,410 1,410 SponsorshipValue of Voluntary - in kind Services-Note 2(a) 443 1,073 643 1,123 Fees- GeneralFees- General professional professional 653 653 700 700 DonationsServices - provided cash at no charge-Note 2(c) 70 250 134 649 Freight,Freight, packing packing and storage and storage 746 746 589 589 Grants - Other2,412 52 3,761 86 MarketingMarketing and promotion and promotion 881 881 1,490 1,490 Value of Voluntary Services-Note 2(a) 1,073 1,123 Printing/GraphicsPrinting/Graphics 233 233 301 301 Services provided at no charge-Note 2(c) 250 649 PropertyProperty Expenses Expenses 1,143 1,143 1,221 1,221 (d) Other revenue 2,412 3,761 OtherOther 1,713 1,713 898 898

11,26111,261 11,543 11,543 Workers compensation recovery 65 9 (d) Other revenue 65 9

(c)(c) Maintenance Maintenance Workers compensation recovery 65 9 RoutineRoutine maintenance maintenance 711 711 723 723 65 9 MaintenanceMaintenance undertaken undertaken free of chargefree of charge(Refer Note (Refer 3c) Note 3c) 250 250 649 649 GAIN/(LOSS) ON DISPOSAL OF NON-CURRENT ASSETS 961961 1,372 1,372 Property, Plant and Equipment Proceeds from Disposal 85 68 (d)(d) Depreciation Depreciation and amortisation and amortisation expense expense 4 GAIWrittenN/(LOSS) down ON value DISPOSAL of assets OF disposed NON-CURRENT ASSETS (49) (42) Plant andPlant Equipment and Equipment 934 934 1,192 1,192 Property,NET GAI PlantN/(L OSS)and Equipment ON DISPOSAL OF 934934 1,192 1,192 ProceedsNON CURRENT from Disposal ASSETS 85 36 68 26 Written down value of assets disposed (49) (42) NET GAIN/(LOSS) ON DISPOSAL OF (e)(e) Other Expenses Other Expenses NONACCEPTAN CURRENTCE ASSETS BY THE CROWN ENTITY OF EMPLOYEE 36 26 PhysicalPhysical non-current non-current asset revaluation asset revaluation decrement: decrement: ENTITLEMENTS AND OTHER LIABILITIES Land andLand Buildings and Buildings 736 736 - - 736736 - - 5 ACCEPTANThe followingCE BYliabilities THE CROW and/orN expenses ENTITY OF have EM beenPLOYEE assumed ENbyTI theTLEM CrownENTS Entity AND or OTHER other government LIABILITIES agencies

TheSuperannuation following liabilities and/or expenses have been assumed 1,040 995 byLong the Crown service Entity leave or other government agencies 362 338 Payroll Tax 65 63 Superannuation 1,0401,467 995 1,396 Long service leave 362 338 Payroll Tax 65 63 1,467 1,396

52 53 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTESART GALLERYART TO GALLERY OF AND NEW OF FORMINGSOUTH NEW SOUTH WALES WALES PARTTRUST TRUST OF THE FINANCIAL STATEMENTS ARTART GALLERY GALLERY OF NEWOF NEW SOUTH SOUTH WALES WALES TRUST TRUST For the year ended 30 June 2002 For the year ended 30 June 2002 NOTESNOTES TO AND TO ANDFORMING FORMING PART PART OF THE OF FINANCIALTHE FINANCIAL STATEMENTS STATEMENTS FOR FOR NOTESNOTES TO TO AND AND FORMING FORMING PART PART OF OF THE THE FINANCIAL FINANCIAL STATEMENTS STATEMENTS FOR FOR THE YEARTHE YEAR ENDED ENDED 30 JUNE 30 JUNE 2002 2002 THETHE YEAR YEAR ENDED ENDED 30 30JUNE JUNE 2002 2002 20022002 20012001 10NON CUNRORNEN CTU ARSRSEENTTS A -S PSREOTPSE -R PTRYO, PLEARNTYT, APNLADN ETQ AUNIPDM EEQNUTIPMENT 2002 2002 2001 2001 $'000$'000 $'000$'000 $'000 $'000 $'000 $'000 6 CURRENTCURRENT ASSETS ASSETS - CASH - CASH CashCash at bank at bank and andon hand on hand 660 660 1,347 1,347 Land andLand Bui landdings Buildings For theFor purposethe purpose of the of Statementthe Statement of Cash of Cash Flows, Flows, cash cash includes includes cash cash on hand, on hand, and andcash cash at bank. at bank. Cash Cash Assets Assets recognised recognised in the in the StatementStatement of Financial of Financial Position Position are equalare equal to cash to cash at the at endthe endof the of financialthe financial year year as shown as shown in the in Statementthe Statement of Cash of Cash Flows. Flows. Land - AtLand Valuation - At Valuation 10,925 10,925 10,925 10,925 Buildings-AtBuildings-At Cost Cost -- 4,378 4,378 Buildings-AtBuildings-At Valuation Valuation 106,873 106,873 157,405 157,405 Work in WorkProgress in Progress 4,1324,132 520 520 7 CURRENCURRENT ASSETS-T ASSETS-RECEIRECEIVABLVABLES ES 121,930121,930 173,228 173,228

SaleSale of Goods of Goods and andservices services 232 232 806 806 AccumulatedAccumulated Depreciation Depreciation at Valuation at Valuation 14,327 14,327 - - AccruedAccrued Income Income 348348 319 319 107,603107,603 173,228 173,228 OtherOther debtors debtors 290290 249 249 PrepaymentsPrepayments 521521 164 164 TotalTotal 1,3911,391 1,538 1,538 Plant andPl antEqui andpm entEquipment At Cost At Cost 9,9109,910 16,429 16,429 Less:Less: Provision Provision for doubtful for doubtful debts debts 15 15 15 15 9,9109,910 16,429 16,429

TotalTotal Receivables Receivables 1,3761,376 1,5231,523 AccumulatedAccumulated Depreciation Depreciation at Cost at Cost 6,189 6,189 11,490 11,490 6,1896,189 11,490 11,490 3,7213,721 4,939 4,939 8 CURRENTCURRENT ASSETS- ASSETS- INVENTORI INVENTORIES ES Art and ArLibrt andary ColLibrlectaryi onsCollections

CURRENTCURRENT INVENTORIES INVENTORIES At Cost At Cost 3,0403,040 14,982 14,982 StockStock on hand-at on hand-at cost cost 1,379 1,379 1,577 1,577 At ValuationAt Valuation 585,054585,054 572,665 572,665 1,3791,379 1,577 1,577 588,094588,094 587,647 587,647

Total PrTotoperalt yPr, Ploperantt yand, Pl antEqui andpm entEquipment 9 CURRENT/CURRENT/NON-NON-CURRENTCURRENT ASSETS- ASSETS- OTHER OTHER FINANCI FINANCIAL ASSETSAL ASSETS At Net BoAto Nek Vta Bolueok Value 699,418699,418 765,814 765,814

CurrCurentrent The GalleryThe continues Gallery continues to derive to service derive potentialservice potential and economic and economic benefits benefits BillsBills of Exchange of Exchange 2,9962,996 4,9984,998 from thefrom following the following fully depreciated fully depreciated assets assets NegotiableNegotiable Certificates Certificates of Deposit of Deposit 1,000 1,000 1,700 1,700 Plant andPlant Equipment and Equipment 4,394 4,394 10,261 10,261 TermTerm Deposits Deposits 6,0756,075 3,900 3,900 10,07110,071 10,598 10,598 ReconciliaReconciliations tions Non-NCuron-rCurentrent ReconciliationsReconciliations of the carrying of the carrying amounts amounts of each classof each of classproperty, of property, plant and plant equipment and equipment at the beginning at the beginning and the endand ofthe the end current of the andcurrent previous and previous financial financial year are year set out are below. set out below. BillsBills of Exchange of Exchange - - 2,9962,996 TCorp-HourTCorp-Hour Glass Glass facilities facilities 1,374 1,374 - - 2002 2002 ListedListed Shares Shares 2,9802,980 - - Land & LandPl &ant andPl antCol andlect ionCol oflect ion of ManagedManaged Funds Funds 3,4013,401 - - BuildingBus ildinEquigs pmentEquipmentArtworkArs tworks Total Total 7,7557,755 2,9962,996 17,82617,826 13,594 13,594

CarryingCarrying amount atamount start of at year start of year 173,228 173,228 4,939 4,939 587,647 587,647 765,814 765,814 AdditionsAdditions 5,785 5,785 2,383 2,383 4,257 4,257 12,425 12,425 DisposalsDisposals - - (100) (100) - - (100) (100) Net revaluationNet revaluation increment increment less revaluation less revaluation decrements decrements (74,027) (74,027) - - (3,810) (3,810) (77,837) (77,837) DepreciationDepreciation Expense Expense - - (934) (934) - - (934) (934) DepreciationDepreciation written back written on backdisposal on disposal of assets of assets - - 50 50 - - 50 50 TransfersTransfers 2,617 2,617 (2,617) (2,617) - - - -

CarryingCarrying amount atamount end of at year end of year 107,603 107,603 3,721 3,721 588,094 588,094 699,418 699,418

54 55 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTESART TO GALLERY AND OF FORMING NEW SOUTH WALESPART TRUST OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2002 ForART the GALLERYART year GALLERY ended OF NEW 30 OF June SOUTH NEW 2002 SOUTH WALES WALES TRUST TRUST ART GALLERYNOTES OFTO NEW AND SOUTH FORMING WALES TRUST PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2002 NOTESNOTES TO AND TO ANDFORMING FORMING PART PART OF THE OF FINANCIALTHE FINANCIAL STATEMENTS STATEMENTS FOR FOR NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEARTHE YEAR ENDED ENDED 30 JUNE 30 JUNE 2002 2002 THE YEAR ENDED 30 JUNE 2002 Asset 11RESTRIRESTRICTED ASSETSCTED ASSETS Asset BequestBequess and tAccums and ulAccumated ulRevatedal uatReviona luation 20022002 20012001 GeneralGener Fund al FundSpecial SpeciFundsal FundsFunds Funds ReserveRes e rTotve al Equi Tottyal Equity IncludedRESTRIIncludedCTED in the ASSETS cashin the and cash investments and investments are restricted are restricted use use $'000$' 000 $'$'000000 2001 2001 2001 2001 2001 2001 2001 2001 2001 2001 assets assets(refer also(refer note also 14a) note 14a) $' CurrentCurrent Assets Assets BalanceBal asance at 1 Jul as yat 2000 1 July 2000 541,385541,385 10,079 10,079 551,464 551,464 161,311 161,311 712,775 712,775 Non-currentNon-current Assets Assets 4,8544,854 7,961 7,961 7,7557,755 2,996 2,996 ChangesChanges in Equit yin-o Equithert ythan-other than 12,60912,609 10,957 10,957 transacttironsans actwitihons ow wneriths owas nerowners ass owners

These fundsThese representfunds represent donations donations and bequests and bequests held heldby the by Gallerythe Gallery to be to usedbe used in accordance in accordance with with the the deed deed of of trust trust or or other other Surplus/DeficitSurplus/Deficit for the year for the year 3,420 3,420 8,913 8,913 12,333 12,333 - - 12,333 12,333 documentsdocuments governing governing these thesefunds. funds.

IncrementIncrement on revaluation on revaluation of of CollectionCollection Assets Assets ------55,682 55,682 55,682 55,682 12CURRENTCURRENT LIABI LLIITIABIESL I-TI PAYABLES - PAYABLES ES

CURRENT L ABI TIES - PAYABLES Other Increases/(Decreases)Other Increases/(Decreases) TransferTransfer to/(from) to/(from) General GeneralFund Fund 61 61 (61) (61) ------Trade CreditorsTrade Creditors 3,0133,013 1,943 1,943 Art AcquisitionsArt Acquisitions 7,454 7,454 (7,454) (7,454) ------CapitalCapital Creditors Creditors 2323 Other Capital Expenditure 520 (520) - - - 3,0153,015 1,946 1,946 Other Capital Expenditure 520 (520) - - -

Total Total 11,45511,455 878 878 12,333 12,333 55,682 55,682 68,015 68,015

13CURRENCURRENT LIABIT LLIITIABIESL I-TI EMESPL - EMOYEEPLOYEE ENTI ENTLEMTITLENEMTSEN ANTSD AN OTHERD OTHER PROVISIONS BalanceBal asance at 30 asJune at 320010 June 2001 552,840 552,840 10,957 10,957563,797 563,797 216,993 216,993780,790 780,790 PROVICURRENSIONSABI TIES - EMPLOYEE ENTITLEMENTS AND OTHER

PROVISIONS Asset ReAvasseluta Rtieovan Rlueasetiorven Reserve The asset revalaution reserve is used to record increments and decrements on the revaluation of non-current assets. This EmployEmeepl entoyeeitle entmentitlesments The asset revalaution reserve is used to record increments and decrements on the revaluation of non-current assets. This Recreation leave 716 807 accords accordswith the withGallery's the Gallery's policy on policy the revaluation on the revaluation of Physical of Physical Non-Current Non-Current Assets and Assets Investments and Investments as discussed as discussed in Note 1.in Note 1. RecreationEmployee leaveent ent 716 807 AccruedAccrued salaries salaries and wages and wages 279 279 312 312 995995 1,119 1,119

2002 2001 14CHANGESCHANGES IN EQUI INTY EQUITY (b) 2002 2001 $'000 $'000 CHANGES I EQUITY $'000 $'000 AAssesset t Beques tBequess and Specits andal SpeciPurposale Pur Fundspose Funds BequesBequests andts and Accum Accumulatuledated RevRevalauatluationion Revenue Revenue (a) General Fund Special Funds Funds Reserve Total Equity General Fund SpeciBequesal Funds and AccumFunds ulated ResRevervuate on Total Equity DonationsDonations of works of of works art of art 2,823 2,823 6,171 6,171 2002 2002 2002 2002 2002 Gener2002al und Speci2002al unds 2002unds 2002Res e Tot2002al Equi Capital bequests/donationsCapital bequests/donations 1,509 1,509 253 253 Balance as at 1 July 2001 552,840 10,957 563,797 216,993 780,790 Balance as at 1 July 2001 552,840 10,957 563,7972002 216,993 780,790 ExpendableExpendable bequests bequests 3,343 3,343 2,720 2,720 Balance as at Jul 2001 7,6757,675 9,144 9,144 Changes in Equity-other than Changes in Equity-other than tChangesransacttransions i act Equi wiionsth ow winertherh ows ashanner ows asner ows ners ansact ons h owner as owner ExpendiExturpendie ture Surplus/Deficit for the year 5,957 7,006 12,963 - 12,963 Surplus/Deficit for the year 5,957 7,006 12,963 - 12,963 Prizes andPrizes Scholarships and Scholarships 37 37 29 29 Diminution Diminution of Investments of Investments 223 223 - - Decrement on revaluation of Decrement on revaluation of Other Other 409409 202 202 Land andBuildings - - - (73,294) (73,294) Land andBuildings - - - (73,294) (73,294) 669669 231 231 CollectionCollection Assets Assets ------(3,810) (3,810) (3,810) (3,810) Surplus forSurplus the year for the year 7,0067,006 8,913 8,913 Other Increases/(Decreases)Other Increases/(Decreases) Art AcquisitionsArt Acquisitions 3,699 3,699 (3,699) (3,699) ------Other Capital Expenditure 1,655 (1,655) - - - Other Capital Expenditure 1,655 (1,655) - - - 1BUDGET5 BUDGET REVIEW REVIEW

Total Total 11,31111,311 1,652 1,652 12,963 12,963 (77,104) (77,104) (64,141) (64,141) Net CostNet of Services Cost of Services Total The actualThe net actual cost netof services cost of services before Bequests before Bequests and Special and FundsSpecial was Funds higher was than higher budget than by budget $.8M. by This $.8M. was This due was largely due due largely to a due to a BalanceBal asance at 3as0 Juneat 30 2002June 2002 564,564,151151 12,12,609609 576,576,760760 139,139,889889 716,716,649649 revaluation decrement on Land and Buildings. Balance as at June 12, 139, revaluation decrement on Land and Buildings.

Assets andAssets Liabilities and Liabilities Net AssetsNet decreased Assets decreased by $71.3M by against $71.3M budgetagainst due budget to decrements due to decrements upon revaluation upon revaluation of the Gallery's of the Gallery's Buildings Buildings and Collections and Collections assets. assets.

Cash FlowsCash Flows (a) Operating(a) Operating OperatingOperating cash outflows cash outflows were higher were than higher budget than by budget $4.7M by due $4.7M largely due to largely an increase to an increase in revenues. in revenues.

(b) Investing(b) Investing InvestingInvesting cash flows cash were flows higher were than higher budget than by budget $5.7M by due $5.7M to additional due to additional purchases purchases of property, of property, plant and plant equipment and equipment and investme and investments. nts.

56 57 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

ART GALLERY OF NEW SOUTH WALES TRUST NOTESART GALLERYART TOGALLERY OF AND NEW OF SOUTHFORMING NEW SOUTH WALES WALES PARTTRUST TRUST OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS For the year ended 30 June 2002 ForNOTES the year TO ended AND 30 JuneFORMING 2002 PART OF THE FINANCIAL STATEMENTS FOR NOTESNOTES TO AND TO ANDFORMING FORMING PART PART OF THE OF FINANCIALTHE FINANCIAL STATEMENTS STATEMENTS FOR FOR THE YEAR ENDED 30 JUNE 2002 THE YEARTHE YEAR ENDED ENDED 30 JUNE 30 JUNE 2002 2002

Otherher FFiinancinancialal AsAssseettss 1RECONCI6 RECONCILIATIONL IOFATI CASHON OF F LCASHOWS FLROOMWS OPERATI FROM OPERATING NG

ACTI VITIACTIES TOVITI NETES TOCOST NET OF COST SERVI OFCES SERVI AFTERCES BEQUESTS AFTER BEQUESTS 20022002 20012001 AND SPECIANDAL SPECI FUNDSAL FUNDS $'$'000000 $'$'000000 2002 2002 2001 2001 Net Fair Net Fair $'000 $'000 $'000 $'000 Value Value ListedListed PreferencePreference SharesShares 1,948 1,948 - - Net CashNet flow Cash from flow Operating from Operating activities activities (13,201) (13,201) (6,821) (6,821) ListedListed ConvertibleConvertible NotesNotes 1,032 1,032 - - Net (Gain)/LossNet (Gain)/Loss sale of non-current sale of non-current assets assets (120) (120) (26) (26) 2,9802,980 - - DepreciationDepreciation 934934 1,192 1,192 DiminutionDiminution in Investments in Investments 223 223 - - The Gallery holds Preference Shares and Convertible Notes (valued at $2.980M) listed on the Australian Stock exchange. Decrement-RevaluationDecrement-Revaluation of Land andof Land Buildings and Buildings 736 736 - - The Gallery holds Preference Shares and Convertible Notes (valued at $2.980M) listed on the Australian Stock exchange. The value of the investments held can increase or decrease depending upon the market conditions. The value that best represents the maximum credit Gifts of WorksGifts of of Works art of art (2,823) (2,823) (6,171) (6,171) The value of the investments held can increase or decrease depending upon the market conditions. The value that best represents the risk exposure is the net fair value. The average return for the period invested was 3.2% determined as the last sale price quoted on the RecurrentRecurrent appropriation appropriation 14,504 14,504 13,824 13,824 maximum credit risk exposure is the net fair value. The average return for the period invested was 3.2% determined as the last sale Australian Stock at the end of the financial year. Capital appropriationCapital appropriation 6,415 6,415 2,978 2,978 price quoted on the Australian Stock at the end of the financial year. AcceptanceAcceptance by Crown by Entity Crown of Entityemployees of employees entitlements entitlements Managed Funds and otherand liabilities other liabilities 1,4671,467 1,396 1,396 Managed Funds The Gallery has investments in TCorp's Hour-Glass Investment facilities and private sector managed funds. The Gallery's investments are represented Increase(decrease)Increase(decrease) in accounts in accounts payable payable 1,069 1,069 (514) (514) The Gallery has investments in TCorp's Hour-Glass Investment facilities and private sector managed funds. The Gallery's investments are by a number of units in the managed investments. Each fund has different investment horizons and comprises a mix of asset classes appropriate (Increase)decrease(Increase)decrease in receivables in receivables 147 147 33 33 represented by a number of units in the managed investments. Each fund has different investment horizons and comprises a mix of asset to the investment horizon. Fund managers monitor the application of appropriate investment guidelines. (Increase)decrease(Increase)decrease in inventories in inventories 198 198 (192) (192) classes appropriate to the investment horizon. Fund managers monitor the application of appropriate investment guidelines. Increase(decrease)Increase(decrease) in employee in employee entitlements entitlements (126) (126) 166 166 The Gallery's Holdings were: 2002 2001 The Gallery's Holdings were: 2002 2001 $'000 $'000 Net cosNt ofet scoservti cesof s eafrvteicesr beques after tbequess and ts and $'000 $'000 special sfundspecial funds 9,4239,423 5,865 5,865 Net Fair Net Fair Value Value

TCorp-MediumTCorp-Medium TermTerm GrowthGrowth FacilityFacility TrustTrust 1,3741,374 - -

Other Private Sector Managed Funds 3,401 - 1NON-7 CASHNON- FICASHNANCI FNINANCIG ANDN IGN VESTIAND INGVESTI ACTINVIGTI ACTIES VITIES 4,7754,775 - - The followingThe following non-cash non-cash transactions transactions are included are included These investments are generally able to be redeemed with 24 hours notice. The value of the investments held can decrease as well as in the financialin the financial accounts accounts for the year for the year These investments are generally able to be redeemed with 24 hours notice. The value of the investments held can decrease as well as increaseincrease dependingdepending uponupon marketmarket conditions.conditions. TheThe valuevalue thatthat bestbest representsrepresents thethe maximummaximum creditcredit riskrisk exposureexposure isis thethe netnet fairfair valvalue.ue. The value of the investments represents the Gallery's share of the value of the underlying assets of the fund and is stated at net fair value. DonationsDonations of works of of works art - brought of art - broughtto account to accountby creating by creating The value of the investments represents the Gallery's share of the value of the underlying assets of the fund and is stated at net fair value. The returns for the period ranged from -2.5% to 10.5%. an assetan and asset crediting and crediting non cash non donations cash donations 2,823 2,823 6,171 6,171 The returns for the period ranged from -2.5% to 10.5%.

Other Securities The followingThe following items are items brought are broughtto account to accountas expenses as expenses in in Other Securities The Gallery has placed funds in Trustee approved Bills of Exchange, Negotiable Certificates of Deposit and bank deposits placed "at call" the statementthe statement of financial of financial performance performance and are creditedand are credited The Gallery has placed funds in Trustee approved Bills of Exchange, Negotiable Certificates of Deposit and bank deposits placed "at call" or for a fixed term. The interest rate is fixed for the term of the security and the securities are held to maturity. as incomeas inincome the form in the of non-cash form of non-cash sponsorships, sponsorships, non-cash non-cash donations donations or for a fixed term. The interest rate is fixed for the term of the security and the securities are held to maturity. or servicesor services provided provided free of charge free of charge

2002 2001 VoluntaryVoluntary services services provided provided 1,073 1,073 1,123 1,123 2002 2001 $'000 $'000 Advertising,Advertising, freight, accommodation, freight, accommodation, travel travel $'000 $'000 CarryingCarrying and similarand expenses similar expenses 443 443 643 643 CarryingCarrying Amount Amount MaintenanceMaintenance (Dept of (DeptPublic of Works) Public Works) 250 250 649 649 Amount Amount At call 1,263 - LessLess thanthan oneone yearyear 8,808 8,808 10,598 10,598 One to five years - 2,996 18FINANCIALFINA INSTNCIARUML INESNTTRSUMENTS Greater than five years - - 10,07110,071 13,594 13,594 Cas h Cash Cash comprisesCash comprises cash on cashhand onand hand bank and balances. bank balances. Interest Interestis earned is on earned daily onbank daily balances bank balances and paid and monthly paid monthlyat the normal at the normal TheThe securitiessecurities atat balancebalance datedate werewere earningearning anan averageaverage interestinterest raterate ofof 5.5%5.5% (2001(2001 5.5%)5.5%) whilstwhilst overover thethe yearyear thethe weightedweighted averaverageage commercialcommercial rate of such rate deposits.of such deposits. interestinterest raterate waswas 5.5%5.5% (2001(2001 5.9%)5.9%) onon aa weightedweighted averageaverage balancebalance ofof $11,055,040$11,055,040 (2001(2001 $12,722,180)$12,722,180)

ReceivablReceies vables Bank OvOvererdrdrafaftt All tradeAll debtors trade aredebtors recognised are recognised as amounts as amounts receivable receivable at balance at balancedate. Collectability date. Collectability of trade ofdebtors trade isdebtors reviewed is reviewed on an ong onoing an ongbasis.oing basis. TheThe GalleryGallery doesdoes notnot havehave anyany bankbank overdraftoverdraft facility.facility. Debts whichDebts are which known are to known be uncollectible to be uncollectible are written are off. written A provision off. A provision for doubtful for doubtfuldebts is debtsraised is when raised some when doubt some as doubt to coll asection to collection exists. Theexists. credit The risk credit is the risk carrying is the carrying amount (netamount of any (net provision of any provision for doubtful for doubtfuldebts). Nodebts). interest No isinterest earned is on earned trade on debt tradeors. debtors. TrTradeade CrCrediedittoorrss andand AccrAccrualualss The carryingThe carrying amount approximatesamount approximates net fair value. net fair Sales value. are Sales made are on made 30 day on terms. 30 day terms. TheThe liabilitiesliabilities areare recognisedrecognised forfor amountsamounts duedue toto bebe paidpaid inin thethe futurefuture forfor goodsgoods oror servicesservices received,received, whetherwhether oror notnot invoicedinvoiced.. Amounts owing to suppliers (which are unsecured) are settled in accordance with the policy set out in Treasurer's Direction 219.01.219.01. IfIf tradetrade termsterms areare notnot specified,specified, paymentpayment isis mademade nono laterlater thanthan thethe endend ofof thethe monthmonth followingfollowing thethe monthmonth inin whichwhich thethe invoiceinvoice oror statementstatement isis received.received. Treasurer'sTreasurer's DirectionDirection 219.01219.01 allowsallows thethe MinisterMinister toto awardaward interestinterest forfor latelate payment.payment. No Ministerial direction was given, nor did the Gallery incur any interest expense in relation to the late payment of invoices forfor thethe financialfinancial yearsyears 20022002 andand 2001.2001.

58 59 ART GALLERY OF NEW SOUTH WALES TRUST

ART GALLERYART GALLERY OF NEW OF SOUTH NEW SOUTH WALES WALES TRUST TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS ForNOTES theNOTES year TO ended AND TO 30 ANDJuneFORMING 2002 FORMING PART PART OF THE OF FINANCIALTHE FINANCIAL STATEMENTS STATEMENTS FOR FOR THE YEARTHE YEAR ENDED ENDED 30 JUNE 30 JUNE 2002 2002

1EXPEN9 DEXPENITURE DCOMITUREMI TMCOMENMTSITMENTS (a ) Capi(ata)l Coammitmepital Commitments nts ART GALLERY OF NEW SOUTH WALES APPENDICES Aggregate Aggregate capital expenditure capital expenditure for building for buildingimprovements improvements and extension and extension works contracted works contracted for at balance for at balancedate and date not providedand not provided for: for:

2002 2002 2001 2001 $'000 $'000 $'000 $'000

Not LaterNot than Later one than year one year 10,800 10,800 1,272 1272 Later thanLater one than year one and year not laterand not than later 5 years than 5 years - - - - Later thenLater 5 years then 5 years ---- Total (includingTotal (including GST) GST) 10,800 10, 800 1,272 1,272

ContingentCont Asingentsets Assets

The totalThe "Capital total Commitments""Capital Commitments" above include above inputinclude tax input credits tax of credits $ 982,000 of $ that982,000 are thatexpected are expected to be recoverable to be recoverable from the from Austr thealian Australian TaxationTaxation Office. Office.

(b) Other(b Ex) Otpendither Exurpendite Commiture mentCommits ments

There areThere no other are no expenditure other expenditure commitments commitments outstanding outstanding as at 30 Juneas at 302002. June Commitments 2002. Commitments recognised recognised in 2001 related in 2001 to related exhibitio to exhibition n agreementsagreements and computer and computer network networkoutsourcing. outsourcing.

Not LaterNot than Later one than year one year -- 659 659 Later thanLater one than year one and year not laterand not than later 5 years than 5 years - - - - Later thenLater 5 years then 5 years ---- Total (includingTotal (including GST) GST) - - 659 659

(c) Oper(cat)in Opg eLeraatsineg C Loemmitmease Commitments nts

Future non-cancellableFuture non-cancellable operating operating lease rentals lease rentals not providednot provided for and payable: for and payable:

Not LaterNot than Later one than year one year 98 98 107 107 Later thanLater one than year one and year not laterand not than later 5 years than 5 years 49 49 160 160 Later thenLater 5 years then 5 years ---- Total (includingTotal (including GST) GST) 147 147 267 267

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

ContingentCont Asingentsets Assets

The totalThe "Operating total "Operating Lease Commitments" Lease Commitments" above include above inputinclude tax input credits tax of credits $13,000 of that$13,000 are thatexpected are expected to be recovered to be recovered from the from the AustralianAustralian Taxation Taxation Office. Office.

End of audiEndt edof audifinancitedal fi nancistatemalent stats ements

60 ART GALLERY OF NEW SOUTH WALES TRUST

ART GALLERYART GALLERY OF NEW OF SOUTH NEW SOUTH WALES WALES TRUST TRUST NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS ForNOTES theNOTES year TO ended AND TO 30 ANDJuneFORMING 2002 FORMING PART PART OF THE OF FINANCIALTHE FINANCIAL STATEMENTS STATEMENTS FOR FOR THE YEARTHE YEAR ENDED ENDED 30 JUNE 30 JUNE 2002 2002

1EXPEN9 DEXPENITURE DCOMITUREMI TMCOMENMTSITMENTS (a ) Capi(ata)l Coammitmepital Commitments nts ART GALLERY OF NEW SOUTH WALES APPENDICES Aggregate Aggregate capital expenditure capital expenditure for building for buildingimprovements improvements and extension and extension works contracted works contracted for at balance for at balancedate and date not providedand not provided for: for:

2002 2002 2001 2001 $'000 $'000 $'000 $'000

Not LaterNot than Later one than year one year 10,800 10,800 1,272 1272 Later thanLater one than year one and year not laterand not than later 5 years than 5 years - - - - Later thenLater 5 years then 5 years ---- Total (includingTotal (including GST) GST) 10,800 10, 800 1,272 1,272

ContingentCont Asingentsets Assets

The totalThe "Capital total Commitments""Capital Commitments" above include above inputinclude tax input credits tax of credits $ 982,000 of $ that982,000 are thatexpected are expected to be recoverable to be recoverable from the from Austr thealian Australian TaxationTaxation Office. Office.

(b) Other(b Ex) Otpendither Exurpendite Commiture mentCommits ments

There areThere no other are no expenditure other expenditure commitments commitments outstanding outstanding as at 30 Juneas at 302002. June Commitments 2002. Commitments recognised recognised in 2001 related in 2001 to related exhibitio to exhibition n agreementsagreements and computer and computer network networkoutsourcing. outsourcing.

Not LaterNot than Later one than year one year -- 659 659 Later thanLater one than year one and year not laterand not than later 5 years than 5 years - - - - Later thenLater 5 years then 5 years ---- Total (includingTotal (including GST) GST) - - 659 659

(c) Oper(cat)in Opg eLeraatsineg C Loemmitmease Commitments nts

Future non-cancellableFuture non-cancellable operating operating lease rentals lease rentals not providednot provided for and payable: for and payable:

Not LaterNot than Later one than year one year 98 98 107 107 Later thanLater one than year one and year not laterand not than later 5 years than 5 years 49 49 160 160 Later thenLater 5 years then 5 years ---- Total (includingTotal (including GST) GST) 147 147 267 267

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

ContingentCont Asingentsets Assets

The totalThe "Operating total "Operating Lease Commitments" Lease Commitments" above include above inputinclude tax input credits tax of credits $13,000 of that$13,000 are thatexpected are expected to be recovered to be recovered from the from the AustralianAustralian Taxation Taxation Office. Office.

End of audiEndt edof audifinancitedal fi nancistatemalent stats ements

60 Output 33, 1978; Output 34, 1978; nights, 1969 colour screenprint; The monster master or slave, 1972 colour funds provided by the Contemporary PURCHASES Output 35, 1978; Output 36, 1978; prevention of destitution, 1969 colour photo screenprint; Meet the people, Collection Benefactors’ Program 2001 Output 37, 1978; Output 38, 1978; screenprint; XYZ - photo eye, 1969 1972 colour screenprint, colour photo Peter Tyndall (Australia, b.1951), Output 39, 1978; Output 40, 1978. colour screenprint; The Congo and lithograph, collage; Improved beans, detail A Person Looks At A Work Of AUSTRALIAN ART Purchased 2002 Door twenty-five, 2000-2001 etching; author vol. 1: Still Life, 1919 woodcut; Mervyn Horton Bequest Fund 2002 other poems, 1969 colour 1972 photo lithograph; Refreshing Art/ someone looks at something … (Australia, Door twenty-six, 2000-2001 etching; View of a suburb, 1923 woodcut; A Joy Hester (Australia, b.1920,d.1960), Christine Borland (Scotland, b.1965), screenprint; Battle songs of the and delicious, 1972 colour photo LOGOS/ HA HA, 1995 2 panels, oil on b.1902,d.1959), Catherine Creek, Door twenty-seven, 2000-2001 etching; cutting, 1924 colour woodcut; Winter Reclining female nude (Barbara Winter garden, 2001 twelve hand International Brigade, 1969 colour lithograph; You’ll soon be linen, wooden frame, brackets. , circa 1950 Door twenty-eight, 2000-2001 etching; day, 1924 colour woodcut; A Blackman), 1955 brush and black ink blown glass vessels containing screenprint; The Jewish question, congratulating yourself, 1972 photo Purchased with funds provided by watercolour. Purchased 2001 Door twenty-nine, 2000-2001 etching; Western-style house, 1924 colour on ivory wove paper. Purchased 2001 bleached specimens of Penny Royal, 1969 colour screenprint; Die Donau, lithograph; Goering with wings, 1972 the Contemporary Collection Eubena Nampitjin (Australia, b.circa Door thirty, 2000-2001 etching. woodcut; A View of Utsunomiya, 1924 Robert Klippel (Australia, preserved in alcohol solution. 1969 colour screenprint; The photo lithograph; Real gold, 1972 Benefactors’ Program 2001 1925), Untitled, 2000 screenprint. Purchased with funds provided by colour woodcut; Trees, 1925 b.1920,d.2001), No. 951 Diorama, 2001 Mervyn Horton Bequest Fund 2002 Bronxville portfolio, 1969 colour colour photo screenprint; Fantastic Yin Xiuzhen (China (People’s Republic Mollie Gowing Acquisition Fund for Niall and Freya Edwards-FitzSimons woodcut; A view of a suburb, 1926 steel and bronze. Purchased 2001 A.D.S. Donaldson (Australia, b.1961), screenprint; Lou Gehrig - pride of the weapons contrived, 1972 photo of) b.1963), Beijing Opera, 2000 four Contemporary Aboriginal Art 2002 2001 colour woodcut; Winter, 1926 John Olsen (Australia, b.1928), Untitled, 2001 enamel on polyester Yankees, 1969 colour screenprint; lithograph; Has Jazz a future?, 1972 digital prints on canvas, sound, Dula Ngurruwutthun (Australia, Sam Tjampitjin (Australia), Untitled, woodcut; Still life, 1927 colour Reclining nude III, 1991 reed pen and cotton. Purchased with funds Mark Rothko, 1969 colour colour photo screenprint, colour stools/folding chairs. Purchased 2002 b.circa 1936,d.2001), Untitled, 2001 1999 screenprint. Mollie Gowing woodcut; A cutting, 1927 colour black ink, wash. D G Wilson Bequest provided by Deutsche Bank and the screenprint; China of today: the photo lithograph; Vogue gorilla with natural pigments on eucalyptus bark. Acquisition Fund for Contemporary woodcut; A hill, 1927 colour woodcut. SUB TOTAL 148 WORKS Fund 2002 Contemporary Collection Yellow Peril, 1969 colour screenprint; Miss Harper, 1972 photo lithograph; Purchased 2001 Aboriginal Art 2002 Yasuko Bequest Fund 2001 Peter Purves Smith (Australia, Benefactors’ Program 2001 Transition Act 1927, 1969 colour Electric arms and hands also Jimmy Njiminjuma (Australia, Kenny Williams Tjampitjinpa NAGASE Yoshirô (Japan, b.1891, PHOTOGRAPHY b.1912,d.1949), 4 drawings: Gaderene Mikala Dwyer (Australia, b.1959) 2 screenprint; Der Russische shaving love is better than ever, 1972 b.1945), Yawk Yawk figure, 2000 (Australia, b.circa 1950), Untitled, d.1978), Dancing Shiva (Memory of Laurence Aberhart (New Zealand, swine, circa 1949 pencil, pen and installations from the series, Revolutions film, 1969 colour photo screenprint, photo lithograph; natural pigments on eucalyptus bark. 2001 synthetic polymer paint on linen India) from the series Journey b.1949), 2 photographs: Taranaki (The black ink; Landscape, circa 1946 pen Iffytown, 1999: un, 1999 wood shelf, screenprint; London by night, 1969 It’s daring it’s audacious, 1972 colour Mollie Gowing Acquisition Fund for canvas. Purchased 2001 through Asia, 1930 colour woodcut. Heavens Declare the Glory of God), and blue ink on squared paper; modelling clay, glass, perspex, colour screenprint, collage; Vampyr, photo lithograph; North Dakota’s lone Contemporary Aboriginal Art 2001 Ronnie Tjampitjinpa (Australia, Yasuko Myer Bequest Fund 2001 New Plymouth, 14 May 1986, 1986 Dancer (Spinning top), circa 1949 pen plasticine, audio tape, fabric, glue, 1969 colour screenprint, collage; sky scraper, 1972 colour photo Elizabeth Nyumi (Australia), Minyili in b.circa 1942), Untitled, 2001 synthetic ONCHI Kôshirô (Japan, b.1891, (printed 1987) gelatin silver and blue ink; The man who never synthetic polymer paint; iffytown, Hollywood: wie es Wirklich ist, 1969 lithograph; Will alien powers invade sand dune country, 2000 screenprint. polymer paint on linen canvas. d.1955), Coffee from the series Eight photograph; Taranaki from Oeo Road, moved, 1939 pencil. D G Wilson 1999 acrylic & p.v.c. Purchased with colour screenprint; Fighting the the earth?, 1972 photo screenprint; Mollie Gowing Acquisition Fund for Purchased 2002 impressions of modern women, 1929, under Moonlight, 27-28 September Bequest Fund 2002 funds provided by the Contemporary traffic in young girls: or the white Windtunnel test, 1972 colour photo Contemporary Aboriginal Art 2002 Warlimpirrnga Tjapaltjarri Shôwa period 1926-1988 colour 1999, 1999 (printed 2000) gelatin silver Garry Shead (Australia, b.1942), The Collection Benefactors’ Program 2002 slave trade, 1969 colour screenprint, screenprint, colour photo lithograph; Otto Pareroultja (Australia, b.1918, (Australia, b.circa 1959), Untitled, woodcut on paper. Yasuko Myer photograph, gold and selenium studio, 2001 oil on canvas. Purchased Dale Frank (Australia, b.1959), 2 collage; Four in America, 1969 colour New life for old radios, 1972 colour d.1973), (Untitled landscape), circa 2001 synthetic polymer paint on linen Bequest Fund 2002 toned. Purchased with funds provided with funds provided by the Art Gallery paintings: Stephen Hawking, 2001 screenprint; Intelligence Bulletin photo lithograph; 2000 horses and 1950s watercolour. Purchased 2001 canvas. Purchased 2001 by the Photography Collection Society of New South Wales 2001 SUB TOTAL 16 WORKS synthetic polymer paint and varnish June 1944, 1969 colour screenprint; turbo-powered, 1972 colour photo Rusty Peters (Australia, b.1935), Tjumpo Tjapananka (Australia, Benefactors’ Program 2002 Jeffrey Smart (Australia, b.1921), 7 on canvas; Stephen Hawking and the The defence of terrorism, 1969 colour screenprint; I was a rich man’s Waterbrain, 2002 natural pigments on b.1929), Untitled, 1999 screenprint. ASIAN ART DEPARTMENT Hans Bellmer (Germany, b.1902, drawings: Seated nude, 1942 pencil illusion of size, 2001 synthetic screenprint; O’Neill, 1969 colour plaything, 1972 colour photo linen canvas. Purchased 2002 Mollie Gowing Acquisition Fund for 18 WORKS d.1975), La Poupée (the puppet), on paper; Attilio, 1957 pen and brown polymer paint and varnish on canvas. screenprint; We have not forgotten, screenprint, collage; Never leave Kutuwulumi Purawarrumpatu Contemporary Aboriginal Art 2002 circa 1938-circa 1939 gelatin silver ink on paper; Studies for ‘Truck and Purchased with funds provided by 1969 colour screenprint; Songs of a well enough alone, 1972 colour photo (Australia, b.circa 1928), 5 prints: Helicopter Tjungarrayi (Australia, EUROPEAN ART BEFORE photograph, hand coloured. trailer approaching a city’, 1972 pen the Rudy Komon Memorial Fund 2001 sour-dough, 1969 colour screenprint, lithograph ; No one’s sure how good Untitled #1, 2000 hard ground b.circa 1937), Untitled, 1999 Purchased 2001 and brown ink, black fibre-tipped pen 1900 Matthys Gerber (Netherlands; collage; Edward Hopper, 1969 colour it is, 1972 colour photo screenprint, etching; Untitled #2, 2000 hard screenprint. Mollie Gowing Mervyn Bishop (Australia, b.1945), on paper; Study for ‘Central Station Philippe Jacques de Loutherbourg Australia, b.1956), 2 paintings: Clouds screenprint; Plague: a manual for colour photo lithograph; Man holds ground etching; Untitled #3, 2000 Acquisition Fund for Contemporary Jimmy Little - State Funeral II’, 1973 pen and blue ink on paper; (France, b.1740,d.1812), A shipwreck #1, 1995 oil on polyester; Clouds #2, medical and public health workers, the key, 1972 colour photo hard ground etching; Jilimara #1, Aboriginal Art 2002 Kwementyaye Perkins from the Study for ‘Portrait of Clive James’, off a rocky coast, 1760s oil on canvas. 1995 oil on polyester. Purchased with 1969 colour screenprint; Hollywood: screenprint; Merry Xmas with T-1 2000 two-colour lithograph; Owen Yalandja (Australia, b.1960), series A Dubbo Day with Jimmy, 2000 1991 black fibre-tipped pen on paper; Purchased with funds provided by the funds provided by the Art Gallery wie es Wirklich ist II, 1969 colour space suits, 1972 photo lithograph; A Jilimara #2, 2000 two-colour Yawk Yawk, 2001 natural pigments on gelatin silver photograph. Purchased Study I for ‘Margaret Olley in the Art Gallery Society of New South Society’s Contempo Group 2001 screenprint; Hanging in chains, 1969 new brand of brilliance, 1972 colour lithograph. Purchased with funds wood. Purchased 2002 with funds provided by the Louvre Museum’, 1995 pencil on Wales 2002 Anish Kapoor (India;England, b.1954), colour screenprint; The wording of photo lithograph; Hi-Ho, 1972 colour provided by Niall and Freya Photography Collection Benefactors’ paper; Study II for ‘Margaret Olley in SUB TOTAL 62 WORKS Holman Hunt (England, b.1827, Blackness from Her Womb, 2001 police charges II, 1969 colour screenprint, colour photo lithograph, Edwards-FitzSimons 2001 Program 2002 the Louvre Museum’, 1995 pencil on d.1910), Study of a Bloodhound, 1848 boxed portfolio of 13 whiteground screenprint; Reklame: durch das collage; You can’t beat the real thing, Kutuwulumi Purawarrumpatu AUSTRALIAN ART DEPARTMENT Destiny Deacon (Australia, b.1957), paper. Purchased 2001 oil on board with traces of pencil. aquatints. Purchased 2002 Schaufensten, 1969 colour 1972 colour photo screenprint; It’s a (Australia, b.circa 1928), 3 paintings: 77 WORKS Over the Fence from the series Sad Purchased with funds provided by R.B. Kitaj (United States of America; screenprint; La lucha del pueblo psychological fact pleasure helps SUB TOTAL 15 WORKS Untitled, 2001 ochres on linen & Bad, 2000 Lambda print from John and Julie Schaeffer 2002 United Kingdom, b.1932), 50 prints español por su libertad, 1969 colour your disposition, 1972 colour photo canvas; Untitled, 2001 ochres on Polaroid. Purchased with funds ASIAN ART Frederick Landseer Griggs (England, from the portfolio In our time: Covers screenprint; Benia Krik, 1969 colour lithograph; Mother goose goes ABORIGINAL AND TORRES linen canvas; Untitled, 2001 ochres provided by the Photography b.1876,d.1938), The Almonry, 1925 for a small library after the life for the screenprint; Permit me voyage, 1969 Hollywood, 1972 colour photo on paper. Purchased 2002 CHINA Collection Benefactors’ Program 2001 STRAIT ISLANDER ART etching. Purchased 2001 most part, 1969: Workers in the dawn colour screenprint. Purchased 2002 screenprint; Shots from peep show, Paddy Japaljarri Stewart (Australia, Figure of Bodhisattva, Yuan dynasty Anne Ferran (Australia, b.1949), Bai Bai (Australia, b.circa 1934), Graham Sutherland (England, by George Gissing, 1969 colour Nam June Paik (Korea; United States 1972 photo screenprint; Lessons of b.circa 1940) and Paddy Japaljarri 1279 – 1368 gilt bronze. Edward and Ground at Ross 9 from the series Untitled, 2000 screenprint. Mollie b.1903,d.1980), The village, 1925 screenprint, collage; With Scott to of America, b.1932), Buddha game, last time, 1972 colour photo Sims (Australia, b.1916), 30 prints Goldie Sternberg Chinese Art Lost to Worlds 2001, 2001 gelatin Gowing Acquisition Fund for etching. Purchased 2001 the Pole, 1969 colour screenprint; 1991 antique television set covered in screenprint, colour photo lithograph; from the portfolio Doors, Purchase Fund 2002 silver photograph. Purchased Contemporary Aboriginal Art 2002 Edward Weston, 1969 colour pages from a Korean book, two gold A funny thing happened on the way 2000–2001: Door one, 2000-2001 SUB TOTAL 1 WORK SUB TOTAL 4 WORKS with funds provided by John and John Bulunbulun (Australia, b.1946), screenprint; Industrial cammouflage leaf Buddhas, neon, antennae, three to the airport, 1972 colour photo etching; Door two, 2000-2001 etching; Kate Armati, Malcolm and Rhonda Journey to the Guwaynang, 2000 manual, 1969 colour screenprint; Sony watchmans, two Sony 8 inch lithograph; The dynamics of biology, Door three, 2000-2001 etching; Door INDONESIA MODERN AND Rose 2002 natural pigments on eucalyptus bark. Articles and pamphlets, 1969 colour televisions KV8AD10, Sony laser disk 1972 colour photo lithograph; Poor four, 2000-2001 etching; Door five, Eastern Java, Java, Boar, circa 1400, Simryn Gill (Singapore;Malaysia; Mollie Gowing Acquisition Fund for CONTEMPORARY ART screenprint; Towards a better life, player, original Paik laser disk, Eleanor knows them by heart, 1972 2000-2001 etching; Door six, 2000- Majapahit period 1292 – 1520 Australia, b.1959), 2 type C Contemporary Aboriginal Art 2001 Joseph Beuys (Germany, b.1921, 1969 colour screenprint; Max and the Stancore 350 1989. Purchased 2002 photo lithograph; Write Dept P-1 for 2001 etching; Door seven, 2000-2001 terracotta. Goldie Sternberg South- photographs: A small town at the Roy Kennedy (Australia), 4 prints: d.1986), 40 gelatin silver photographs white phagocytes, 1969 colour Sir Eduardo Paolozzi (Scotland, beautiful full-colour catalog, 1972 etching; Door eight, 2000-2001 East Asian Art Purchase Fund 2001 turn of the century, 1999-2000 type C Memories of the good days in my from the portfolio, Output, 1978: screenprint; Bub and Sis (Rimes No. b.1924), 45 prints from the portfolio colour photo screenprint; Folks etching; Door nine, 2000-2001 photograph. Purchased with funds childhood, etching; Days of harmony SUB TOTAL 1 WORK Output 1, 1978; Output 2, 1978; 3), 1969 colour screenprint; Short Bunk, 1972: Evadne in green always invite Me for the holidays, etching; Door ten, 2000-2001 etching; provided by Barbara Flynn, William, on my Mission in days gone by, Output 3, 1978; Output 4, 1978; takes, 1969 colour screenprint, dimension, 1972 colour photo 1972 colour photo screenprint; What Door eleven, 2000-2001 etching; Door Rory and Lachlan Grounds 2002 etching; Mossgiel Weigh Station, JAPAN Output 5, 1978; Output 6, 1978; collage; The pursuit of the house- screenprint, collage; Will man a treat for a nickel!, 1972 colour twelve, 2000-2001 etching; Door A small town at the turn of the etching; Pepper Tree Avenue, etching. AZECHI Umetarô (Japan, b.1902, Output 7, 1978; Output 8, 1978; boat, 1969 colour screenprint; The outgrow the earth, 1972 colour photo photo screenprint; Yours till the boys thirteen, 2000-2001 etching; Door century, 1999-2000 type C Mollie Gowing Acquisition Fund for d.1999), Kamegamori (lyo), 1940, Output 9, 1978; Output 10, 1978; Caliph’s design, 1969 colour lithograph; Fun helped them fight, come home, 1972 colour photo fourteen, 2000-2001 etching; Door photograph. Purchased with funds Contemporary Aboriginal Art 2001 Shôwa period 1926-1988 Output 11, 1978; Output 12, 1978; screenprint; How to read, 1969 colour 1972 colour photo lithograph; The screenprint; Headlines from horrors fifteen, 2000-2001 etching; Door provided by Luca and Anita Lily Sandover Kngwarreye (Australia, colour woodcut on paper. Yasuko Output 13, 1978; Output 14, 1978; screenprint; Albyn or Scotland and ultimate planet, 1972 colour photo ville, 1972 colour photo lithograph; sixteen, 2000-2001 etching; Door Belgiorno-Nettis, Roslyn and Tony b.circa 1937), 2 prints: Alhwert I, 2001 Myer Bequest Fund 2002 Output 15, 1978; Output 16, 1978; the future, 1969 colour screenprint; screenprint; See them? A baby’s life Trigger assembly removal, 1972 seventeen, 2000-2001 etching; Door Oxley, Nick Peters and the etching; Alhwert II, 2001 etching. Hosoda EISHI (Japan, b.1756,d.1829), Output 17, 1978; Output 18, 1978; The people of the abyss, 1969 colour is not all sunshine, 1972 photo colour photo screenprint, colour eighteen, 2000-2001 etching; Door Photography Collection Benefactors’ Mollie Gowing Acquisition Fund for Standing beauty reading a letter, Output 19, 1978; Output 20, 1978; screenprint; Coming of age in Samoa, lithograph; Sack-o-sauce, 1972 photo lithograph. Purchased 2002 nineteen, 2000-2001 etching; Door Program 2002 Contemporary Aboriginal Art 2002 circa 1814, Edo (Tokugawa) period Output 21, 1978; Output 22, 1978; 1969 colour screenprint; Partisan colour photo screenprint, colour Slave Pianos (Michael Stevenson, twenty, 2000-2001 etching; Door Rosemary Laing (Australia, b.1959), John Mawurndjul (Australia, b.1952), 1615 – 1868 hanging scroll; ink and Output 23, 1978; Output 24, 1978; review, 1969 colour screenprint; The photo lithograph, collage; Take-off, New Zealand/Germany b.1964; twenty-one, 2000-2001 etching; Door groundspeed (Red Piazza) #4, 2001 2 paintings: Mimihs at Minmilgan, colour on silk. Purchased 2002 Output 25, 1978; Output 26, 1978; wording of police charges, 1969 1972 colour photo lithograph; Danius Kesminas, Australia b.1966), twenty-two, 2000-2001 etching; Door type C photograph. Purchased with 1989 natural pigments on eucalyptus FUKAZAWA Sakuichi (Japan, Output 27, 1978; Output 28, 1978; colour screenprint; City of Burbank, Hazards include dust, hailstones and Slave Pianos Publications, 1999 twenty-three, 2000-2001 etching; funds provided by the Photography bark; Mardayin, 2001 natural b.1896,d.1946), 12 prints from the Output 29, 1978; Output 30, 1978; California, Annual Budget 1968-1969, bullets and Survival, 1972 diptych: limited edition boxed set of 17 offset Door twenty-four, 2000-2001 etching; Collection Benefactors’ Program 2001 pigments on eucalyptus bark. series Small works selected by the Output 31, 1978; Output 32, 1978; 1969 colour screenprint; Zeppelin photo lithograph; Was this metal printed sheet music. Purchased with

62 63 Ricky Maynard (Australia, b.1953), (unique work). Purchased with funds C photograph. Purchased with funds with funds provided by Martin pencil, one pencil study of baboons black ink on Kent paper; Comedian, white Japanese Hitachi paper; woodblock; My friend the gardener, 2 gelatin silver photographs from the provided by Anonymous, Vivienne provided by Joanna Capon, and the Browne, Jo Braithwaite, Leon Rogan, on inside back cover, 18 blank sheets 1955-1956 etching, drypoint, black ink Afternoon in Chartres Cathedral, 1994-1999 magnolia woodblock; Book series Returning to Places that Name Sharpe, Michael Hughes and Photography Collection Benefactors’ Erin McCartin, Patrick Flanagan, Frank Medworth (Australia;United on Kent paper; Plenty Gorge, 1973 1994-1999 woodblock print; black ink launch and exhibition of the Psalms Us 2000, 2000: Wik Elder, Gladys, 2000 Katharine Allen, Peter Steigrad, and Program 2002 Michel Lemaitre, Erick Valls, Annette Kingdom, b.1892,d.1947), 17 prints: electric hand engraving tool, roulette, on heavy white Japanese Hitachi at the Art Gallery of New South gelatin silver photograph. Purchased the Photography Collection Darren Sylvester (Australia, b.1974), Larkin, Chris Bruce, Ildiko Kovacs 2002 (Bullfighting No. 1), 1926 engraving, engraving, drypoint, black ink on paper; A day in Venice, 1994-1999 Wales, 1994-1999 jelutong woodblock; with funds provided by Stephen Benefactors’ Program 2002 They return to you in song, 2001 Sachiko, 2000 type C photograph + brown ink on ivory wove paper; The Lavis Montgolfier St-Marcel-Les- woodblock print; black ink on heavy Eating at Uno Uno, 1994-1999 Grant and Bridget Pirrie 2002 Luke Roberts (Australia, b.1952), Lambda print. Purchased with funds text. Purchased with funds provided cape (Bullfighting No. 2), 1926 Annonay paper; Yarra billabong, Kew white Japanese Hitachi paper; magnolia woodblock; Building the Wik Elder, Bruce, 2000 gelatin silver 1+1=8, 1988-1993 (printed 2001) provided by the Photography by Naomi Kaldor, Penelope Seidler, engraving, brown ink on ivory wove II, 1975 aquatint, foul biting, electric Caressing the hair, St Francis and St new studio at Seaforth, 1994-1999 photograph. Purchased with funds Limited edition archival boxed set of Collection Benefactors’ Program 2002 The Freedman Foundation, Peter and paper; (Bullfighting No. 3), 1926 hand engraving tool, burnisher, black Claire in moonlight, 1994-1999 jelutong woodblock; The artist’s provided by Amanda and Andrew 12 giclée prints from a photographic Ronnie van Hout (New Zealand; Thea Markus, Candice Bruce and engraving, brown ink on buff wove ink on Arches paper woodblock print; black ink on heavy model, 1994-1999 magnolia Love 2002 performance series 1988-1993. Iris Australia, b.1962), 2 gelatin silver Michael Whitworth, Geoff and Vicki paper; (Bullfighting No. 4), 1926 SALVATORE ZOFREA white Japanese Hitachi paper; My woodblock; The last Christmas with Michael Parekowhai (New Zealand, Equipoise inks on Arches watercolour photographs, selenium toned: Ainsworth, Stephen Ainsworth, Gary engraving, brown ink on ivory wove Salvatore Zofrea (Australia, b.1946), friend the gardener, 1994-1999 my brother Leonardo, 1994-1999 b.1968), 2 type C photographs from paper, 2001. Purchased with funds untitled from the series Mephitis, Langsford, Luca and Anita Belgiorno- paper; Coronets, 1922 etching, brown 2 sketchbooks: Drawing book for woodblock print; black ink on heavy jelutong woodblock; Self portrait at the series The Consolation of provided by the Photography 1995, gelatin silver photograph, Nettis, and the Photography Collection black ink on ivory wove paper; Chital, Appassionata: book no. 6, 1994-1999 white Japanese Hitachi paper; Book Manly Beach, 1994-1999 magnolia Philosophy, 2001 (printed 2002): Collection Benefactors’ Program 2002 selenium toned; Self titled, 1995, Benefactors’ Program 2002 1928 linocut, black ink on buff wove bound sketchbook: 24 leaves, 44 launch and exhibition of the Psalms woodblock; Thinking about my father, Passchendaele, 2001 (printed 2002) David Stephenson (United States of gelatin silver photograph, selenium Anne Zahalka (Australia, b.1957), Cole paper; Kid Thar, 1931 wood drawings, mixed media on white at the Art Gallery of New South 1994-1999 jelutong woodblock type C photograph. Purchased with America;Australia, b.1955), 4 type C toned. Purchased with funds Classic from the series Leisureland, engraving, black ink on ivory wove Wales, 1994-1999 woodblock print; wove paper; Drawing book for SUB TOTAL 142 WORKS funds provided by Egil Paulsen, Gary photographs: Pantheon c117-138, provided by the Photography 1998 type C photograph. Purchased paper; Woolf!, 1931 wood engraving, Appassionata: book no. 7, 1994-1999 black ink on heavy white Japanese Langsford, Edmund Capon, and the Rome, 1997 (printed 2002) type C Collection Benefactors’ Program 2002 with funds provided by Geoff and black ink on ivory wove paper; bound sketchbook: 18 leaves, 34 Hitachi paper; Eating at Uno Uno, ABORIGINAL AND TORRES Photography Collection Benefactors’ photograph; Sala de los YAMAWAKI Iwao (Japan, b.1898, Vicki Ainsworth, Sydney 2002 Begonia, 1931 wood engraving, black drawings, mixed media on white 1994-1999 woodblock print; black ink Program 2002 Abencerrajes Alhambra c1333-91, d.1987), 2 gelatin silver photographs: ink on ivory laid paper; Anemone on heavy white Japanese Hitachi STRAIT ISLANDER ART SUB TOTAL 27 WORKS wove paper Turk Lane, 2001 (printed 2002) type C Granada, Spain, 1997 (printed 2001) untitled (glass abstraction), 1930-1932 Japonica, 1931 wood engraving, Salvatore Zofrea (Australia, b.1946), paper; Building the new studio at DR AND MRS RONALD K FAITHFULL WESTERN ART DEPARTMENT photograph. Purchased with funds type C photograph. Purchased with gelatin silver photograph; untitled black ink on ivory wove paper; Webs, 30 prints from the suite Appassionata, Seaforth, 1994-1999 woodblock print; Thancoupie (Australia, b.1937), 179 WORKS provided by Roderick and Gillian funds provided by Ginny Green 2002 (portrait of woman), 1930-1932 gelatin 1931 wood engraving, black ink on 1994-1999: Outside Toledo, 1994-1999 black ink on heavy white Japanese Mosquito corroboree, 1994 hand-built Deane, Melanie Rogers, Reg and Cathedral of the Assumption, Kremlin silver photograph. Purchased with GRAND TOTAL: 274 WORKS ivory wove paper; Los Buquos, 1930 woodblock print; black ink on heavy Hitachi paper; The artist’s model, stoneware Sally Richardson, and the 1475-79, Moscow, 2000 type C funds provided by the Photography wood engraving, dark brown ink on white Japanese Hitachi paper; A 1994-1999 woodblock print; black ink Photography Collection Benefactors’ photograph. Purchased with funds Collection Benefactors’ Program 2001 ivory wove paper; Dockscape, circa on heavy white Japanese Hitachi CHRISTOPHER HODGES AND London affair, 1994-1999 woodblock HELEN EAGER Program 2002 provided by Graham and Mary YANAGI Miwa (Japan, b.1967), 2 type 1926 wood engraving in black ink on print; black ink on heavy white paper; The last Christmas with my Debra Phillips (Australia, b.1958), Bierman, Josef and Jeanne Lebovic C photographs + text from the series thin ivory tissue glued on card; brother Leonardo, 1994-1999 Freddy Timms (Australia, b.1944), Japanese Hitachi paper; The clowns, Untitled, circa 1990s natural pigments Untitled 1, 1997 16 gelatin silver 2002 Sant’ivo alla Sapienza 1645-50 My Grandmothers, 2000: Hiroko, 2000 Morning in the port, 1927 engraving, homage to Fellini, 1994-1999 woodblock print; black ink on heavy photographs mounted on aluminium Rome, Italy, 1997 (printed 2001) type type C photograph + text. Purchased brown ink on ivory wove paper; white Japanese Hitachi paper; Self on linen canvas woodblock print; black ink on heavy Queenie McKenzie (Australia, Woodblock for ‘(Ship)’, 1933 white Japanese Hitachi paper; Zorba, portrait at Manly Beach, 1994-1999 woodblock; (Ship), 1933 wood woodblock print; black ink on heavy b.1925,d.1998), Untitled, natural 1994-1999 woodblock print; black ink pigments on linen canvas GIFTS engraving, brown ink on ivory laid on heavy white Japanese Hitachi white Japanese Hitachi paper; paper; Etching plate for ‘The new paper; Poppaea and Nero, 1994-1999 Thinking about my father, 1994-1999 SUB TOTAL 3 WORKS baby’, 1927 zinc etching plate woodblock print; black ink on heavy woodblock print; black ink on heavy Frank Medworth (Australia;United white Japanese Hitachi paper AUSTRALIAN ART DEPARTMENT LADY DRYSDALE Margaret Olley (Australia, b.1923), ALAN AND JANCIS REES, THE white Japanese Hitachi paper; AUSTRALIAN ART Kingdom, b.1892,d.1947), 6 prints from Salvatore Zofrea (Australia, b.1946), 145 WORKS Russell Drysdale (Australia, 5 paintings: Backbuildings, 1948 oil on ARTIST’S SON AND DAUGHTER-IN- Sunflowers, homage to van Gogh, the series Jottings from Spain: 30 woodblocks for the Appassionata JAMES AGAPITOS AND RAY WILSON b.1912,d.1981), Two drinkers, circa canvas; Portrait in the mirror, 1948 oil LAW 1994-1999 woodblock print; black ink Bullfight, linocut, brown ink on card; suite, 1994-1999: Outside Toledo, ASIAN ART Düsan Marek (Australia, b.1926, 1980-1981 charcoal and oil on ochre- on hardboard; Late afternoon, 1972 oil Lloyd Rees (Australia, b.1895,d.1988), on heavy white Japanese Hitachi The terrace, linocut, brown ink on 1994-1999 magnolia woodblock; A CHINA d.1993), 3 drawings and 1 book: Study primed canvas on hardboard; Turkish pots and Sketchbook no. 15: Europe and paper; My first Sulman Prize, homage card; Deck passengers, linocut, London affair, 1994-1999 kauri pine for ‘Ego’, circa 1951-1952 blue ball- lemons, 1982 oil on hardboard; Australia 1967, 1967 bound to my parents, 1994-1999 woodblock RUTH BURGESS JOHN N DUNN brown ink on card; Mass, linocut, woodblock; The clowns, homage to point pen on cardboard; Columbine, Homage to Manet, 1987 oil on sketchbook: 112 leaves, 62 drawings, print; black ink on heavy white SHEN Shaomin (China (People’s Weaver Hawkins (United Kingdom; brown ink on card; Fisherfolk, linocut, Fellini, 1994-1999 magnolia 1973 charcoal on linen on plywood; hardboard mixed media Japanese Hitachi paper; The Fairfax Republic of) b.1956), Pastorale, 1984 Australia, b.1893,d.1977), Near La- brown ink on card; On the sands, woodblock; Zorba, 1994-1999 Untitled, late 1980s charcoal; David Strachan (Australia;England, mural, 1994-1999 woodblock print; woodcut Seyne-Sur-Mer (The Toulon Hills), MAGGIE ROWE linocut, brown ink on card magnolia woodblock; Poppaea and Impressions from France, 1985 bound b.1919,d.1970), Still life with almonds black ink on heavy white Japanese 1931 pencil, watercolour on buff Frank Medworth (Australia;United Nero, 1994-1999 kauri pine RICHARD CLOUGH book: 21 leaves, 32 drawings, and plums, 1966 oil on canvas MRS MARIE SEXTON Hitachi paper; When I first met wove paper Kingdom, b.1892,d.1947), 10 drawings woodblock; Sunflowers, homage to Couplet, Qing dynasty 1644 – 1911 gouache and watercolour Rosalie Gascoigne (Australia;New Stephanie, 1994-1999 woodblock MARGARET HANNAH OLLEY ART and 1 sketchbook: (Reclining female ink on paper GWEN FROLICH Zealand, b.1917,d.1999), Mosaic, 1976 print; black ink on heavy white van Gogh, 1994-1999 magnolia PROFESSOR DAVID ARMSTRONG TRUST nude), 1930s pen and black ink on Charles Blackman (Australia, b.1928), fragments of decorated china, tins, Japanese Hitachi paper; Stephanie, woodblock; My first Sulman Prize, JUDITH & KEN RUTHERFORD Arthur Boyd (Australia, b.1920, Rupert Bunny (Australia, b.1864, ivory wove paper; (Seated female (Man with crutch), circa 1953 timber, printed art reproductions on 1994-1999 woodblock print; black ink homage to my parents, 1994-1999 2 textiles: Front facing dragon d.1999), Portrait of Professor David d.1947), Portrait of Miss Hilary nude from behind), 1930s pencil on charcoal on thin cream wove paper board on heavy white Japanese Hitachi magnolia woodblock; The Fairfax roundel with imperial yellow Armstrong, 1969 drypoint, black ink Mackinnon, 1913 oil on canvas ivory wove paper; Diana as a baby, paper; The garden at Kurrajong, 1994- mural, 1994-1999 magnolia background, circa 1750, Qing dynasty on white wove paper PAT MINTER Kevin Connor (Australia, b.1932), 1929 pen and grey ink, watercolour BRETT STONE woodblock; When I first met 1644-1911 embroidery; Front facing George Olszanski (Australia, Kevin Lincoln (Australia, b.1941), 1999 woodblock print; black ink on JEFF BURGESS Victoria Street woman, 2000 bronze on ivory wove paper, squared with Stephanie, 1994-1999 magnolia dragon roundel with brown b.1919,d.1982), 2 drawings: Seated Self portrait, 1984 charcoal, wash heavy white Japanese Hitachi paper; Bea Maddock (Australia, b.1934), Nicholas Harding (Australia, b.1956), pencil; Joshua Smith, 1940 pen and woodblock; Stephanie, 1994-1999 background, circa 1775, Qing dynasty nude, 1957 pen and blue black ink, on white wove paper My father remembering his youth, Big berg with Antarctic petrels, 1988 Seated nude, 2000 synthetic polymer brown ink, coloured pencil on ivory jelutong woodblock; The garden at 1644-1911 embroidery fibre-tipped pen; Seated figure 1994-1999 woodblock print; black ink lithograph paint on paper wove paper; Blue plough, 1924 pencil, LYN WILLIAMS Kurrajong, 1994-1999 magnolia reading a book, 1957 pen and blue on heavy white Japanese Hitachi LILY SCHLOSS IN HONOUR OF Sidney Nolan (Australia;United coloured pencil on ivory wove paper; Fred Williams (Australia, b.1927, woodblock; My father remembering PATRICK CORRIGAN black ink, fibre-tipped pen paper; Jealousy, 1994-1999 GOLDIE STERNBERG Kingdom, b.1917,d.1992), Ned Kelly, (Study of fishing nests in Spanish d.1982), 6 drawings: Music Hall III, his youth, 1994-1999 magnolia Alun Leach-Jones (Australia, b.1937), woodblock print; black ink on heavy Guangdong, 2 mingqi ceramics: NELSON MEERS FOUNDATION 1971 woven wool tapestry village), circa 1920s pen and brown 1953-1954 brown conté on Gestetner woodblock; Jealousy, 1994-1999 Through the eye of the needle from white Japanese Hitachi paper; Model of a house [with a dog inside Sidney Nolan (Australia;United Margaret Olley (Australia, b.1923), ink on ivory wove sketchbook sheet; paper; Music Hall VI, 1953-1954 jetulong woodblock; Paranoia, 1994- the series Romance of Death, 1986 Paranoia, 1994-1999 woodblock print; the house], early 1st century, Han Kingdom, b.1917,d.1992), Italian Still life with kettle, (1955) oil on (Study of buildings in Spanish village), sanquine conté on Hylton Bank 1999 magnolia woodblock; The synthetic polymer paint on canvas black ink on heavy white Japanese dynasty 206 BCE-220 CE earthenware; hardboard circa 1920s pen and brown ink on argument, 1994-1999 magnolia crucifix, 1955 synthetic polymer paint paper; Water pond in the landscape, Hitachi paper; The argument, 1994- Model of a house [with two kneeling ALISON MARY DAVIS ivory wove sketchbook sheet; woodblock; The Opera House Fresco, on hardboard JOHN OLSEN 1963 charcoal on Kent paper; Knoll in 1999 woodblock print; black ink on figures inside the house], early 1st J. J. Hilder (Australia, b.1881,d.1916), (Spanish fishing boats), circa 1920s 1994-1999 jelutong woodblock; TRANSFERRED FROM THE NEW Peter Hickey (Australia, b.1943), the You Yangs II, 1963 charcoal, black heavy white Japanese Hitachi paper; century, Han dynasty 206 BCE-220 CE Rocklily Road, pencil, watercolour on pen and brown ink, coloured pencil Godspell, 1994-1999 kauri pine SOUTH WALES STATE GOVERNMENT 3 prints: Berrima pines, aquatint, and sanguine conté on Kent paper; The Opera House Fresco, 1994-1999 earthenware ivory wove paper on ivory wove sketchbook sheet; woodblock; The next day, 1994-1999 Dorothy Thornhill (Australia, b.1910, etching, brown/black ink on white Lysterfield Hills series XVI, 1969 brush woodblock print; black ink on heavy Margaret Preston (Australia, b.1875, (Spanish fishing boats), circa 1920s jelutong woodblock; My fortieth G F WILLIAMS d.1987), Landscape, 1941 oil on wove Fabriano paper; Chorale in E, and black, brown and grey ink on white Japanese Hitachi paper; d.1963), Native flowers of Australia, pen and brown ink on ivory wove birthday, 1994-1999 jelutong Censer with two handles in the shape canvas on hardboard aquatint, etching, brown/black ink on wove paper; Gorge, 1977 black ink on Godspell, 1994-1999 woodblock print; 1946 colour monotype on thin white sketchbook sheet; Muriel Medworth, of elephants’ heads, 17th-18th white wove BFK Rives paper; Lune Arches Aquarelle paper black ink on heavy white Japanese woodblock; Afternoon in Chartres laid tissue MARGARET OLLEY 1946 pencil, watercolour, crayon century, Ming dynasty 1368-1644, Provencale, 1992 aquatint, printed Fred Williams (Australia, b.1927, Hitachi paper; The next day, 1994- Cathedral, 1994-1999 jelutong (Australia, b.1879, Donald Friend (Australia, b.1915, resist on ivory wove paper; Qing dynasty 1644-1911 bronze from two plates, blue ink on white d.1982), 5 prints: Number six, 1955- 1999 woodblock print; black ink on woodblock; A day in Venice, 1994- d.1966), (Ballet dancers), circa 1903 - d.1989), The mermaid, 1949 oil on (Sketchbook), circa 1934 28 sheets, wove paper 1956 etching, engraving, drypoint, heavy white Japanese Hitachi paper; 1999 jelutong woodblock; Caressing DR JOHN YU & DR GEORGE SOUTTER 1921 pencil, watercolour, opaque wood some loose comprised 10 sheets of black ink on Kent paper; Finale, 1955- My fortieth birthday, 1994-1999 the hair, St Francis and St Claire in Export ware, 2 ceramics: Tea bowl white on wove paper on card animal studies in pencil and coloured 1956 etching, engraving, drypoint, woodblock print; black ink on heavy moonlight, 1994-1999 jelutong with dragon decoration, circa 19th -

64 65 20th century blue de hue: porcelain KAN’YÔSAI (Japan), 3 books: Picture lacquer on wood; Hairpin with period 1615-1868 ivory with horn 1868-1912, Edo (Tokugawa) period with seven chains hanging from the design on outer rim, 14th-15th century DARREN KNIGHT with underglaze blue decoration; Flat album by Kan’yôsai vol.1, 1762, Edo chrysanthemum design, 19th-early inlay; Netsuke in the form of a Kirin, 1615-1868 wood; Netsuke in the form lattice, 19th-early 20th century silver; stoneware with underglaze cobalt blue Slave Pianos (Michael Stevenson, dish decorated with cranes and pine (Tokugawa) period 1615-1868 bound 20th century maki-e lacquer on wood 19th century, Meiji period 1868-1912, of oni carrying a child on his back, Wooden tobacco pouch with netsuke decoration, chocolate brown wash on New Zealand/Germany b.1964; trees, 19th-20th century, blue de hue: book: 12 leaves [incomplete], with gold and metal inlay; Hexagonal Edo (Tokugawa) period 1615-1868 and a bowl in front, 19th century, and ojime attached with string, 19th- base; Bowl with stylised floral Danius Kesminas, Australia b.1966), A porcelain with underglaze blue woodcut; Picture album by Kan’yôsai box with low legs and two lugs at the ivory; Netsuke in the form of a Meiji period 1868-1912, Edo early 20th century pouch, netsuke & decoration and calligraphic design on diagnosis, 1998-2001 limited edition decoration and metal rim vol.2, 1762, Edo (Tokugawa) period corners with a design of a crane and cucumber with wasp, 19th century, (Tokugawa) period 1615-1868 wood; ojime: polished gnarled wood; Yatate outer rim, 14th-15th century stoneware boxed set of audio recordings, 1615-1868 15 leaves [incomplete], moon over waves on the lid, and aoi Meiji period 1868-1912, Edo Netsuke in the form of a curly-haired consisting of a plain brush case and with underglaze iron black decoration, documents, texts and music scores SUB TOTAL 9 WORKS woodcut; Picture album by Kan’yôsai crest [Tokugawa family] on reverse (Tokugawa) period 1615-1868 Dutchman carrying a child on his cushion-shaped inkwell, 19th-early chocolate brown wash on base; Plate vol.3, 1762, Edo (Tokugawa) period side of lid, 19th- early 20th century staghorn; Netsuke in the form of a back, holding a horn, 19th century, 20th century silver; Yatate (movable with fluted cavetto, 15th century SUB TOTAL 10 WORKS INDONESIA 1615-1868 24 leaves, woodcut silver with gold and metal inlay; sennin holding a staff, 19th century, Meiji period 1868-1912, Edo writing set) in the shape of a closed stoneware with copper green glaze; DR JOHN YU & DR GEORGE SOUTTER Utagawa KUNIYOSHI (Japan, b.1797, Lacquered box set, 19th-early 20th Meiji period 1868-1912, Edo (Tokugawa) period 1615-1868 wood; fan with a cloud pattern on the lid, Deep dish, 13th-14th century PHOTOGRAPHY Bandung ware, Jarlet in the form of d.1861), Miscellaneous images of century lacquer on wood; Miniature (Tokugawa) period 1615-1868 polished Netsuke in the form of a monkey 19th-early 20th century bronze stoneware with underglaze iron black an elephant with rider, 1940-1950 PATRICK CORRIGAN manners and customs, 1855, Ansei yatate, 19th-early 20th century silver; wood; Netsuke in the form of a tamer, 19th century, Meiji period BEQUEST OF THERESE WINTER decoration; Deep dish, 13th-14th stoneware (?) with brown and white Tracey Moffatt (Australia, b.1960), era 1854-1860, Edo (Tokugawa) period Mirror with design of auspicious Dutchman with a hat, holding a horn, 1868-1912, Edo (Tokugawa) period Suzuki/Utagawa HIROSHIGE II century stoneware with underglaze glaze 1615-1868 bound book: 16 leaves, animals and plants; cranes, tortoises, 19th century, Meiji period 1615-1868 wood; Netsuke in the form iron black decoration, degraded glaze; 13 photographs from the series (Japan, b.1826,d.1869), Shôki, 1868, Invocations, 2000: Invocations 1, 2000 SUB TOTAL 1 WORK colour woodcut pine, bamboo, chrysanthemum etc., 1868-1912, Edo (Tokugawa) period of Hotei and child, 19th century, Meiji Edo (Tokugawa) period 1615-1868 Deep dish of classical form, 15th-16th 19th- early 20th century bronze ; 43 1615-1868 wood; Netsuke in the form period 1868-1912, Edo (Tokugawa) century earthenware with crazed photo silkscreen, printed in colour G F WILLIAMS colour woodcut ultraviolet inks on textured Somerset JAPAN Bizen ware, Daikoku holding mallet netsukes: Netsuke in the form of two of Ashinaga carrying tenaga who period 1615-1868 ivory with horn Utagawa KUNISADA I /TOYOKUNI III cream-grey glaze; Dish with moulded dragon heads encircling a wooden is holding an octopus, 19th century, inlay; Netsuke in the form of Daikoku decoration, 15th-16th century grey satin paper; Invocations 2, 2000 photo NOREEN CARPENTER and bag, leaning against a rice sack (Japan, b.1786,d.1864), (An actor in silkscreen, printed in colour on his side, 19th-early 20th century fish bell (Mokugyo), 19th century, Meiji period 1868-1912, Edo carrying a sack on his head, 19th the role of Naoe Kanetsugu), 1857, stoneware with grey-green glaze; 2 KAGAWA Hôen (Japan, active 1868- Meiji period 1868-1912, Edo (Tokugawa) period 1615-1868 wood; century, Meiji period 1868-1912, Edo Dishes with stylised floral decoration, ultraviolet inks on textured Somerset 1912), (Two hunters in snowy stoneware Edo (Tokugawa) period 1615-1868 satin paper; Invocations 3, 2000 photo Bizen ware, Ebisu holding a fan and (Tokugawa) period 1615-1868 Netsuke in the form of Hotei (?) (Tokugawa) period 1615-1868 wood; colour woodcut 15th-16th century stoneware with mountain), late 19th century, Meiji staghorn; Manju hako netsuke in two carrying a child on his shoulders, 19th Netsuke in the form of a badger underglaze cobalt blue decoration, silkscreen, printed in colour period 1868-1912 ink and colour on snapper, with fish basket on his side, Utagawa KUNIYOSHI (Japan, ultraviolet inks on textured Somerset 19th-early 20th century stoneware parts carved in shishiaibori with century, Meiji period 1868-1912, Edo carrying a sake bottle, 19th century, b.1797,d.1861), Yazawa Kihei chocolate brown wash on base silk thunder god, 19th century, Meiji (Tokugawa) period 1615-1868 wood; Meiji period 1868-1912, Edo satin paper; Invocations 4, 2000 photo Elizabeth Keith (England, b.1887, Mitsunobu from the series The tale of SUB TOTAL 11 WORKS silkscreen, printed in colour CLARE GOODWIN d.1956), Bell Tower, Soochow, circa period 1868-1912, Edo (Tokugawa) Netsuke in the form of a fox (Tokugawa) period 1615-1868 loyal retainers, 1847, Edo (Tokugawa) ASIAN ART DEPARTMENT ultraviolet inks on textured Somerset IMAO Keinen (Japan, b.1845,d.1924), 1919-1936, colour woodcut period 1615-1868 ivory; Manju disguised as a woman dancing, 19th staghorn; Netsuke in the form of a period 1615-1868 colour woodcut 128 WORKS satin paper; Invocations 5, 2000 photo 4 prints from the album Keinen Gafu, Utagawa KUNISADA II (Japan, netsuke of woodcutter and woman, century, Meiji period 1868-1912, Edo standing Daruma, 19th century, Meiji 1868-1912: no.1 (pine, bamboo, bird), with multiple silver chains [which (Tokugawa) period 1615-1868 wood; period 1868-1912, Edo (Tokugawa) DR JOHN YU silkscreen, printed in colour b.1823,d.1880), Eight Views of Lake Hasami ware, Dish with incised floral EUROPEAN ART BEFORE ultraviolet inks on textured Somerset 1868-1912, Meiji period 1868-1912 Biwa: Evening glow at Seta, 1850- originally would have attached it to a Netsuke in the form of a toad, 19th period 1615-1868 ivory; Netsuke in the colour woodcut; no.2 (plum and bird), tobacco pouch], 19th century, Meiji century, Meiji period 1868-912, Edo form of a sennin carrying fruit (?), design, 1650-1700, Edo (Tokugawa) 1900 satin paper; Invocations 6, 2000 photo 1852, Edo (Tokugawa) period 1615- period 1615-1868 stoneware with pale silkscreen, printed in colour 1868-1912, Meiji period 1868-1912 1868 colour woodcut; ôban triptych period 1868-1912, Edo (Tokugawa) (Tokugawa) period 1615-1868 wood; 19th century, Meiji period 1868-1912, blue celadon glaze HENDRIK KOLENBERG ultraviolet inks on textured Somerset colour woodcut; no.16 (sunflower, Utagawa KUNISADA II (Japan, period 1615-1868 netsuke: ivory; metal Netsuke in the form of a frog in a lily Edo (Tokugawa) period 1615-1868 Samuel Palmer (England, b.1805, satin paper; Invocations 7, 2000 photo insect, sparrow), 1868-1912, Meiji b.1823,d.1880), 5 prints from the series parts; Netsuke in the form of a leaf, 19th century, Meiji period ivory; Netsuke in the form of a SUB TOTAL 99 WORKS d.1881), The early ploughman, pre silkscreen, printed in colour period 1868-1912 colour woodcut; Murasaki Shikbu’s Genji playing clothed monkey with cap eboshi, 19th 1868-1912, Edo (Tokugawa) period foreigner with a coat, carrying a 1861 etching ultraviolet inks on textured Somerset no. 38 (autumn flowers and bird), cards, 1857: Chapter 4 Evening faces, century, Meiji period 1868-1912, Edo 1615-1868 wood; Manju netsuke of a child and a horn, 19th century, Meiji THAILAND 1868-1912, Meiji period 1868-1912 (Tokugawa) period 1615-1868 dragon, 19th century, Meiji period period 1868-1912, Edo (Tokugawa) satin paper; Invocations 8, 2000 photo 1857, Edo (Tokugawa) period 1615- DR JOHN YU & DR GEORGE SOUTTER MARGARET OLLEY colour woodcut enamelled porcelain; Manju netsuke 1868-1912, Edo (Tokugawa) period period 1615-1868 staghorn; Note-pad silkscreen, printed in colour 1868 colour woodcut; ôban; Chapter Sawankhalok ware, Sawankhalok, Pierre Bonnard (France, b.1867, with peony and lion, 19th century, 1615-1868 wood; Netsuke in the form holder with design of ultraviolet inks on textured Somerset MARGARET OLLEY 7 The autumn excursion, 1857, Edo Bowl with fluted exterior decoration, d.1947), Woman with carriage, circa Meiji period 1868-1912, Edo of a seated Daruma, holding a fly chrysanthemum on Genji crest with satin paper; Invocations 9, 2000 photo Utagawa KUNIYOSHI (Japan, b.1797, (Tokugawa) period 1615-1868 colour 14th century stoneware with celadon 1895 charcoal and ink (Tokugawa) period 1615-1868 hirado whisk, 19th century, Meiji period character of longevity, 19th-early 20th silkscreen, printed in colour d.1861), Menju Sôsuke leteru woodcut; ôban; Chapter 38 The bell glaze porcelain with overglaze decoration; 1868-1912, Edo (Tokugawa) period century silver; Pipe case with design SUB TOTAL 2 WORKS ultraviolet inks on textured Somerset from the series Biographies of heroes cricket, 1857, Edo (Tokugawa) period Sawankhalok ware, Sawankhalok, Netsuke in the form of two clam 1615-1868 wood; Netsuke in the form of Chinese children learning, 19th- satin paper; Invocations 10, 2000 of the Taiheiki, circa 1850, Edo 1615- 1868 colour woodcut; ôban; Jar with cover, 15th century shells, 19th century, Meiji period of a seated skeleton hitting a wooden early 20th century ivory; Round box WESTERN ART photo silkscreen, printed in colour (Tokugawa) period 1615-1868 colour Chapter 40 The rites, 1857, Edo stoneware with white glaze 1868-1912, Edo (Tokugawa) period fish bell (mokugyo), 19th century, with design of flowers of the four ultraviolet inks on textured Somerset woodcut (Tokugawa) period 1615-1868 colour Sawankhalok ware, Sawankhalok, MODERN AND 1615-1868 polished wood; Netsuke in Meiji period 1868-1912, Edo seasons, 19th-early 20th century gold satin paper; Invocations 11, 2000 woodcut; ôban; Chapter 46 Beneath Lidded jar with fluted sides and CONTEMPORARY ART W.G. PRESTON FROM THE the form of mushrooms, 19th century, (Tokugawa) period 1615-1868 wood; takamakie lacquer with touch of photo silkscreen, printed in colour COLLECTION OF MARGARET the oak, 1857, Edo (Tokugawa) period cover, 15th century stoneware with ultraviolet inks on textured Somerset Meiji period 1868-1912, Edo Netsuke in the form of a Noh mask of colours; nashiji lacquer interior; Set JUDY CHICAGO AND THROUGH THE PRESTON 1615- 1868 colour woodcut; ôban bluish-white glaze satin paper; Invocations 12, 2000 (b.1877,d.1945), (Tokugawa) period 1615-1868 polished yase-otoko (thin man), 19th century, of a comb and hairpin with matching FLOWER CORPORATION Ikeda EISEN (Japan, b.1791,d.1848), ÔHARA Shôson Sukothai ware, Sukothai, 3 Deep photo silkscreen, printed in colour wood; Netsuke in the form of beans, Meiji period 1868-1912, Edo wisteria and peony design, 19th-early Judy Chicago (United States of Brocade bag picture book, 1828, (Hydrangeas and bees), post 1926, dishes with design of fish, 14th ultraviolet inks on textured Somerset 19th century, Meiji period 1868-1912, (Tokugawa) period 1615-1868 wood; 20th century comb: maki-e lacquer on America, b.1939), 5 colour Bunsei era 1818-1830, Edo Shôwa period 1926-1988 colour century stoneware with underglaze satin paper; Invocations 13, 2000 Edo (Tokugawa) period 1615-1868 Netsuke in the form of a sennin with tortoise shell; shell and gold inlay, screenprints from the suite Five (Tokugawa) period 1615-1868 bound woodcut iron black decoration photo silkscreen, printed in colour polished wood; Netsuke in the form basket, 19th century, Meiji period hairpin: maki-e lacquer on tortoise images from the Birth Project, 1985: book: 30 leaves of assorted prints, TAKAHASHI Hiroaki (Japan, b.1870, ultraviolet inks on textured Somerset of a running boar, 19th century, Meiji 1868-1912, Edo (Tokugawa) period shell; shell and gold inlay; Silver one- SUB TOTAL 6 WORKS Guided by the Goddess, 1985 colour colour woodcut d.1945), Asakusa shrine in Tokyo, satin paper period 1868-912, Edo (Tokugawa) 1615-1868 wood; Netsuke in the form case inrô in oblong shape with the screenprint; Earth birth, 1985 colour The Imperial Museum (Japan, Estab. 1926, Shôwa period 1926-1988 colour period 1615-1868 polished wood; of Gama sennin holding a peach, 19th design of a chrysanthemem and TIBET screenprint; Birth tear/tear, 1985 PHYLLIS ADA EVANS (NÉE DEACON) 1889,Closed 1945), 7 books: Ori-mon woodcut Netsuke in the form of Chôkarô century, Meiji period 1868-1912, Edo butterfly, with netsuke in the form of colour screenprint; Birth trinity, 1985 AND HER SON RICHARD DEACON ruisan vol.2, 1892, Meiji period 1868- TSUCHIYA Koitsu (Japan, b.1870, G F WILLIAMS sennin carrying a gourd, 19th century, (Tokugawa) period 1615-1868 wood; a small knife in the shape of a colour screenprint; The creation, 1985 EVANS 1912 bound book: 54 leaves, colour d.1949), Hôryûji, Nara, 1938, Shôwa Sino-Tibetan, Tsong Khapa seated period 1926-1988 colour woodcut Meiji period 1868-1912, Edo Netsuke in the form of Chôkarô dragon-fish [the head for hilt and holding a script (loose attachment) colour screenprint Destiny Deacon (Australia, b.1957), woodcut; Ori-mon ruisan vol.5, 1892, (Tokugawa) period 1615-868 ivory; sennin with a staff, drinking from a body for scabbard] and ojime 2 colour laser prints from Polaroid: YOSHIDA Hiroshi (Japan, b.1876, on left hand resting on lap, 18th MIKALA DWYER Meiji period 1868-1912 bound book: 54 Netsuke in the form of Gama sennin gourd, 19th century, Meiji period attached with string, 19th-early 20th Me and Virginia’s doll, 1995 colour d.1950), 4 prints: Daido gate (Korea), century brass Mikala Dwyer (Australia, b.1959), leaves, colour woodcut; Ori-mon with a toad, 19th century, Meiji period 1868-1912, Edo (Tokugawa) period century inrô: silver, netsuke: ivory, laser print from Polaroid; Postcard 1937, Shôwa period 1926 – 1988 Sino-Tibetan, Tsong Khapa seated in 2 installations from the series Iffytown, ruisan vol.6, 1892, Meiji period 1868- 1868-1912, Edo (Tokugawa) period 1615-1868 wood; Netsuke in the form ojime: red coral with dark spots ; Tray from Bloomfield Beach, 1998 colour colour woodcut; Sacred bridge, 1937, a lotus position holding lotus (?) 1999: Hanging Eyes, 1999 vinyl, canvas, 1912 bound book: 54 leaves, colour 1615-1868 ivory; Netsuke in the form of an old South Sea islander holding with flower and vine pattern, 19th- laser print from Polaroid woodcut; Ori-mon ruisan vol.7, 1892, Shôwa period 1926-1988 colour stems, 18th century brass synthetic polymer paint; I.O.U., 1999 woodcut; Misty day in Nikko, 1937, of Kumosuke (Tôkaidô porter), 19th red coral, 19th century, Meiji period early 20th century lacquer on wood Meiji period 1868-1912 bound book: 54 SUB TOTAL 2 WORKS wood, glue, marine varnish, acrylic SUB TOTAL: 15 WORKS Shôwa period 1926-1988 colour century, Meiji period 1868-1912, Edo 1868-1912, Edo (Tokugawa) period with purple cloth lining; Two-case leaves, colour woodcut; Ori-mon EDRON PTY LTD – THROUGH THE WESTERN ART DEPARTMENT woodcut; Daibutsu Temple gate, 1937, (Tokugawa) period 1615-1868 ivory 1615-1868 wood; Netsuke in the form cherry-bark sheath inrô with silver ruisan vol.8, 1892, Meiji period 1868 - with horn inlay; Netsuke in the form of a sennin holding his hair and a casing in the shape of two tigers in a VIETNAM AUSPICES OF ALISTAIR MCALPINE 25 WORKS 1912 bound book: 54 leaves, colour Shôwa period 1926-1988 colour of a mushroom with okame leaning staff, 19th century, Meiji period 1868- bamboo grove; netsuke in the form of DR JOHN YU & DR GEORGE SOUTTER Robyn Denny (United Kingdom, woodcut; Ori-mon ruisan vol.9, 1893, woodcut GRAND TOTAL against it and oni crouching under it, 1912, Edo (Tokugawa) period 1615- an armrest with design of a Korean Yaozhou style, Dish with moulded b.1930), Kite, 1972 colour screenprint Meiji period 1868-1912 bound book: 54 Comb with flower design, 19th-early GIFTED 298 WORKS 19th century, Meiji period 1868-1912, 1868 wood; Netsuke in the form of dog, and ojime attached with string, floral design, 16th century stoneware on canvas leaves, colour woodcut; Ori-mon 20th century maki-e lacquer on Edo (Tokugawa) period 1615-1868 Chôkarô sennin with a gourd, 19th 19th-early 20th century inrô: stained with celadon glaze; Beaker bowl, BEVERLEY HORWITZ IN MEMORY OF ruisan vol.10, 1893, Meiji period 1868 - tortoise shell; shell and gold inlay; ivory; Netsuke in the form of Daruma century, Meiji period 1868-1912, Edo tree-bark and silver, netsuke: ivory, 12th-13th century stoneware with thin STANLEY HORWITZ 1912 bound book: 54 leaves, colour Comb with design of rice plant and with a fly whisk, wearing a towel (Tokugawa) period 1615-1868 wood; ojime: red coral; Two-leg hairpin with degraded glaze, chocolate-brown Max Ernst (Germany; France, woodcut dragonfly, 19th-early 20th century silver with gold and shell overlay; round his head, 19th century, Meiji Netsuke in the form of a sennin with design of wisteria flowers, leaves wash on base; Bowl with stylised b.1891,d.1976), L’imbécile, 1961 Hairpin, 19th-early 20th century maki-e period 1868-1912, Edo (Tokugawa) long hair, 19th century, Meiji period and vine attached on bamboo lattice, floral decoration and calligraphic bronze, marble base

66 67 Brett Whiteley GOLD COAST ARTS CENTRE James Tissot Hugh Ramsay LOANS Oberon River, 1979 A place in the sun: Historical visions The widower, 1876 The sisters, 1904 gouache and collage on board of the Gold Coast oil on canvas oil on canvas on hardboard Brett Whiteley 2nd Nov. 2001 – 20th January 2002 Lawrence Daws WORKS OF ART LOANED Longquan ware Charles Meere Harold Septimus Power Small preliminary brush drawing for Fred Jessup NATIONAL PORTRAIT GALLERY The recluse, 1997 TO THE GALLERY Vase, 960 CE – 1279 CE Australian beach-pattern, 1940 End of the Day, circa 1922 The River at Carcoar, 1975 Tarring nets, Tweed Heads, 1962 So you want to be a rock star: oil on canvas stoneware oil on canvas oil on canvas ink on paper oil on canvas portraits and rock music in Australia ON LOAN FROM J.H. MYRTLE Thea Proctor Brett Whiteley Mount Warning, New South Wales, November 2001 – March 2002 The boy at the basin, 1932 COLLECTION 2002 ON LOAN FROM THE AUSTRALIAN HEIDE MUSEUM OF Girl in Fancy Dress, circa 1922-1930s Letter to my mother, 1980 1875 14th Dec. 2001 – 17th February 2002 oil on wood Dish decorated with floral motifs, MUSEUM 2002 Leave no space for yearning: The Art pencil and watercolour pen and ink on paper oil on canvas Brett Whiteley William Dobell 1500 – 1525 , 18th century of Joy Hester W.B. McInnes Brett Whiteley Patti Smith, New York, 1976 Margaret Olley, 1948 porcelain with overglaze red and Quiver lacquer and mother-of-pearl inlay on 25th August – 11th November 2001 Portrait of Harold Desbrowe Annear, Small willow, 1991 QUEENSLAND UNIVERSITY OF brush and wash oil on hardboard green enamel decoration wood Joy Hester circa 1921 etching TECHNOLOGY ART MUSEUM Brett Whiteley Russell Drysdale Plate decorated with floral motifs, Reclining female nude (Barbara oil on canvas Brett Whiteley O Soul O Spirit O Fire celebrating Rhythm and rhyme (Bob Dylan) Picture of Donald Friend, 1948 1426 – 1435 ON LOAN FROM MR KLAUS F. Blackman), 1955 The Fish River and Boulders Oberon, fifty years of the for black felt pen, wash, pencil on card oil on canvas lacquer NAUMANN COLLECTION, BERLIN brush and black ink on ivory wove COFFS HARBOUR REGIONAL ART 1979 Religious Art Sidney Nolan Square-shaped censer decorated 2001 paper GALLERY etching QUT Art Museum HISTORIC HOUSES TRUST / Ned Kelly, 1971 with a pair of animals in high relief, QUEENSLAND ART GALLERY Our Place – Images of Coffs Harbour Brett Whiteley 22nd Nov. 2001 – 24th February 2002 MUSEUM OF SYDNEY woven wool tapestry 1426 – 1435 Unknown Uji bridge under the willows, 17th Queensland Art Gallery and Region Oberon 2, 1982 Ivan Dougherty Gallery Location Sydney: Sydney as setting Edgar Degas bronze century 31st August – 11th November 2001 4th October – 2nd December 2001 pen ink on paper 18th April – 25th May 2002 in film and After the bath, circa 1900 Vase decorated with a pair of pair of six fold screens; ink, colour National Gallery of Australia Sali Herman Brett Whiteley John Passmore 15th December 2001 – 31st March 2002 black chalk dragons in high relief, circa 15th and gold leaf on paper 14th December 2001 – 10th March 2002 The Bridge at Coffs Harbour, 1950 Poplars beside the Fish-River, The miraculous draught of fishes, Laurence le Guay Lucian Freud century William Robinson oil on canvas on hardboard Oberon, 1979 1952 Untitled (Fashion queue with masked After Chardin, 2000 bronze PRIVATE COLLECTION LOAN Wispy Landscape, 1990 Frank McNamara Brush ink on paper oil on hardboard child), 1960 etching Jingdezhen ware oil on canvas Nambucca, circa 1950 Brett Whiteley Michael Kmit gelatin silver photograph Albert Marquet Jar decorated with dragons and Rosella Namok That day, 1999 William Robinson watercolour Oberon River and Dark Clouds,1980 The evangelist, John Mark, 1953 The Pont Neuf in snow, late 1920’s motifs, 16th century synthetic polymer paint on canvas Creation Series – Man and the Margaret Preston pencil board on paper oil on canvas SH ERVIN GALLERY, NATIONAL oil on canvas porcelain with underglaze blue Spheres, 1991 Nambucca, circa 1928 Brett Whiteley Studio Museum Desiderius Orban TRUST Ben Nicholson decoration Neo Rauch Marznacht, 2000 oil on canvas woodcut, black ink, handcoloured Brett Whiteley Transition to Christianity, 1971 Favourites: Margaret Olley and Still life (Alice through the looking Jingdezhen ware oil on paper William Robinson with gouache on ivory laid paper Landscape Oberon II oil on hardboard Jeffrey Smart glass), 1946 Tea bowl and cover decorated with Creation Series – Water and Land, pencil, green on paper Arthur Boyd 12th January – 24th February 2002 oil and pencil on canvas floral motifs and a poem by Jiaqing PRIVATE COLLECTION, SYDNEY 1991 NATIONAL GALLERY OF AUSTRALIA Brett Whiteley The mockers, 1945 Robert Barnes Alexander Jacovleff Emperor, 1796 – 1820 oil on canvas Douglas Annand: the art of life Rivers I Walker Street, 1987 oil on canvas on hardboard Macbeth’s visitor, 1999 Nude porcelain with underglaze blue Oskar Kokoschka Landscape at Ullapool, 1945 6th October 2001 – 28th January 2002 ink, collage and photograph on paper Lawrence Daws oil on canvas oil on canvas decoration oil on canvas NATIONAL GALLERY OF AUSTRALIA Douglas Annand Brett Whiteley Golgotha, circa 1955 Charles Blackman Duncan Grant Jingdezhen ware Joy Hester and Friends Ringbarked trees, 1943 Whitely/Boyd portraits, circa 1975 oil on hardboard Girl dreaming, 1953 Still life with cyclamen, circa 1914 Pair of bowls decorated with WORKS OF ART LOANED BY 1st September – 28th October 2001 watercolour on paper etchings on paper oil on hardboard oil on board Chinese characters and animals, Joy Hester Brett Whiteley MORNINGTON PENINSULA John Passmore Henri Fantin-Latour 1500 – 1550 THE GALLERY Frightened, circa 1945 BUNDANON TRUST AND WHITELEY Oberon abstract I, 1986-88 REGIONAL GALLERY The fish stealer, 1954 Flowers and Fruit, 1866 porcelain with underglaze blue NATIONAL GALLERY OF AUSTRALIA ink on paper STUDIO pencil and collage on paper The passionate gardener: Arthur oil on hardboard oil on canvas decoration Anne Dangar at Moly Sabata: River and Rocks Brett Whiteley Streeton’s flower paintings Margaret Preston Jeffrey Smart Jingdezhen ware Tradition and Innovation ART GALLERY OF October 2001 – December 2002 Oberon abstract II, 1986-88 9th Dec. 2001 – 17th February 2002 Implement blue, 1927 Bus Terminus, 1973 Bowl decorated with Daoist isles, 13th July 2001 – 28th October 2001 Federation landscapes Brett Whiteley Studio pencil and collage on paper Arthur Streeton oil on canvas on paperboard synthetic polymer paint on canvas 1821 – 1850 Anne Dangar 14th September – 18th November 2001 19th October 2001 – 27th January 2002 Brett Whiteley Roses, circa 1929 Lloyd Rees Jeffrey Smart porcelain with overglaze enamel Dish with blue glaze and zodiac WC Piguenit Orange Regional Gallery River and landscape oil on canvas Three boats – Lane Cove River, 1978 Study for Margaret Olley in the decoration decorations on border, circa 1937 Kosciusko, 1903 8th February – 10th March 2002 linocut Arthur Streeton oil on canvas Louvre, 1994 Jingdezhen ware earthenware, painted & glazed oil on canvas New England Museum & Art Gallery Brett Whiteley Lilium Auratum, 1933 Arthur Streeton oil on canvas on hardboard Vase decorated with Hans Heysen 15th March – 21st April 2002 River oil on canvas on chipboard The railway station, Redfern, 1893 Jeffrey Smart chrysanthemums and a poem by ART GALLERY Hauling Timber, 1911 Noosa Regional Gallery linocut oil on canvas Alma Mahler feeding the birds, 1968 Zeng Xi (1861-1930), 1916 James Tissot oil on canvas 10th May – 9th June 2002 Arthur Boyd ART GALLERY OF SOUTH AUSTRALIA Peter Upward oil on canvas porcelain with overglaze enamel 14th July 2001 – 11th November 2001 JJ Hilder Perc Tucker Regional Gallery Cattle on a Hillside, Shoalhaven, Love and Death: Art in the Age of New Reality, 1961 Chris Canning decoration James Jacques Joseph Tissot Dry lagoon,1911 21st June – 21st July 2002 circa 1975 Queen Victoria synthetic polymer paint on hardboard Waratah, 1999 Jingdezhen ware The Widower, 1876 pencil, watercolour Penrith Regional Gallery oil on canvas November 2001 – December 2002 William Robinson oil on canvas Square section vase decorated with oil on canvas mounted on hardboard Blamire Young 3rd August – 8th September 2002 Arthur Boyd Art Gallery of South Australia Creation landscape: Darkness and Kevin Connor lions, 1522 – 1566 Dry weather, circa 1912 Mornington Peninsular Regional Reflecting Rock,1975 6th Dec. 2001 – 10th February 2002 light, 1991 Victoria Street Woman, 2000 porcelain with underglaze blue NATIONAL PORTRAIT GALLERY watercolour Gallery oil on canvas Art Gallery of New South Wales woollen tapestry bronze decoration Sydney Nolan Heads W Lister Lister 25th September – 27th October 2002 late February – Mid May 2002 Robert Barnes Jingdezhen ware 3rd August 2001 – 28th November 2001 The golden splendour of the bush, Ballarat Fine Art Gallery BATHURST REGIONAL ART GALLERY Queensland Art Gallery Macbeth’s visitor, 1999 CAMPBELLTOWN CITY Moonflask decorated with floral Sidney Nolan circa 1906 1st November – 1st December 2002 David Wilson Retrospective late May 2002 – August 2002 oil on canvas BICENTENNIAL ART GALLERY motifs, late 18th century – early 19th Self Portrait, 1943 oil on canvas Brett Whiteley October 2001 – July 2002 Auckland City Gallery Robert Dickerson Anne Judell Survey Exhibition century synthetic polymer paint on jute W Lister Lister To Yirrawalla, 1972 – 1974 Bathurst Regional Gallery 24th August – 24th November 2002 The Wall, 1953 1st February 2002 – 24th March 2002 porcelain with underglaze blue canvas on hardboard Loading the jinker, (1914) oil and mixed media on board 19th October – 21st December 2001 Edward Burne –Jones synthetic polymer paint on hardboard Anne Judell decoration oil on canvas Brett Whiteley Mosman Art Gallery The fight: St George kills the dragon William Dobell Mute, 1999 Jingdezhen ware GLOBAL ARTS LINK, IPSWICH Hans Heysen Autumn (near Bathurst) Japanese 2nd March – 7th April 2002 VI, 1866 Nude, 1931 black and white pastel on black Cylinder vase decorated with figures Sporting Australia: Forging a Nation Summer,1909 Autumn, 1987 – 1988 New England Regional Art Gallery oil on canvas mounted on board oil on canvas on wood paper and landscapes, mid 17th century 18th August – 11th November 2001 pencil, watercolour oil tempera, ink, egg and photograph 28th April – 30th June 2002 John Roddam Spencer Stanhope Nicholas Harding porcelain with underglaze blue Unknown photographer, Kerry & Co on board David Wilson ‘Why seek ye the living among the Seated nude, 2000 NATIONAL LIBRARY OF AUSTRALIA decoration studio THE IAN POTTER MUSEUM OF ART Brett Whiteley The woman, 1996 dead?, 1870–1890 synthetic polymer paint on paper Burke and Wills: From Melbourne to Jingdezhen ware Mrs Biddle’s life saving class, 1893 – Norman Macgeorge Oberon, 1987 pen and brown ink, blue ink wash, oil, gesso, goldleaf, wax medium on David Strachan Myth Bottle shaped vase decorated with 1910 (printed later) 22nd September – 25th November 2001 triptych, oil collage pastel, 1996 canvas Portrait of Kenneth Rowell, 1967 March 2002 – December 2002 figures and a poem, 1736 – 1795 gelatin silver photograph J S MacDonald Brett Whiteley Frederic Leighton oil on canvas National Library of Australia porcelain with overglaze enamel Arthur Streeton Self-Portrait Oberon after the rains, 1983 NATIONAL GALLERY OF AUSTRALIA Winding the Skein ,circa 1878 Jean Bellette March 2002 – 2nd June 2002 decoration The national game, 1889 lithograph mixed media, oil and rocks SEEING RED oil on canvas Still life with wooden bowl Art Gallery of South Australia Jingdezhen ware oil on cardboard George Lambert Brett Whiteley 1st November 2002 – 1st April 2002 Edward Poynter oil on hardboard 13th June – 18th August 2002 Vase, 1736 – 1795 H. Desbrowe Annear, 1921 Marulan Bird with Rocks Eugene von Guerard Helen, 1881 Justin O’Brien State Library of Victoria porcelain pencil on paper oil mixed media and rocks Sydney Heads, 1865 oil on canvas Man with the yellow shirt, 1944 13th September – 24th November 2002 oil on canvas oil on wood

68 69 Sidney Nolan Tom Roberts FURNISHING LOANS Sidney Nolan (Australia;United Burke and Wills Expedition, Gray Adagio, circa 1893 Kingdom, b.1917,d.1992) EXHIBITIONS HON. BOB DEBUS, M.P., ATTORNEY Sick, 1949 oil on paperboard 6 paintings: GENERAL synthetic polymer paint on Ant hills, Australia, 1950 Malcolm Dickson (England, b.1941) composition board Nocturne, Wynard Square, 1932 synthetic polymer paint on hardboard 3 paintings: 2001/2002 EXHIBITIONS Sidney Nolan linocut, black ink on ivory mulberry Broome sunset WA, 1985 A. Speed of darkness, 1964 Burke lay dying, 1950 paper synthetic polymer paint on hardboard Date Department Exhibition Title Ticketed AGNSW AGNSW synthetic enamel on hardboard synthetic polymer paint on Martin Sharp Desert storm, 1966 Tours Catalogue B. Excavations in the abyss, 1965 composition board The arrival of Rene Magritte at last, synthetic polymer paint [?] on synthetic enamel on hardboard 1970 hardboard 01.07.01 – 05.08.01 Western Contemporary Carsten Nicolai D. Aftermath, 1965 CASTLEMAINE ART GALLERY & pen and ink Elephant, 1963 14.07.01 – 14.10.01 Australian Interiors; and The Brett Whitely Scholarship synthetic enamel on hardboard HISTORICAL MUSEUM synthetic polymer paint on hardboard 30.07.01 – 28.09.01 Library David Strachan Leonard Hessing (Australia, b.1931) Martin Lewis – Stepping into Light HISTORIC HOUSES TRUST OF NEW The explorer, 1964 12.08.01 – 30.09.01 Western Contemporary Debra Phillips The combatant, 1957 March 2002 – November 2002 SOUTH WALES/ MUSEUM OF synthetic polymer paint on hardboard 18.08.01 – 21.10.01 Western Contemporary Space Odysseys •• • oil on hardboard Castlemaine Art Gallery SYDNEY Painted lady (red-necked Avocet), 24.08.01 – 11.11.01 Western British Etchings: Whistler to Freud • William Rose (Australia, b.1929, 6th April – 19th May 2002 Sydney by Ferry 1948 25.08.01 – 25.11.01 Australian Fred Williams: Etching, Drawing & Gouache • d.1997) Devonport Gallery and Arts Centre 13th April – 4th August 2002 synthetic polymer paint on hardboard 08.09.01 – 23.06.02 Aboriginal Ngurra Kuta (Going Home) Aural painting, 1959 31st May – 20th June 2002 Tom Roberts 09.09.01 – 10.02.02 Western Victorian Painting – The John & Julie Schaeffer Collection • oil on hardboard Heide Museum of Modern Art An autumn morning, Milson’s Point, 29.09.01 – 03.02.01 Australian Margaret Preston • 13th July – 1st September 2002 Sydney, 1888 01.10.01 – 14.10.01 Exhibitions Operation Art BARRY O’FARRELL, M.P., MEMBER Queensland Art Gallery oil on canvas 07.10.01 – 04.11.01 Western Contemporary Ronnie van Hout FOR KU-RING-GAI 12th October – 1st December 2002 Lloyd Rees 08.10.01 – 07.12.01 Library Prints of Timothy Akis Seymour Lucas (England, b.1849, Martin Lewis The harbour from McMahon’s Point, 20.10.01 – 27.01.02 Australian Rivers and Rocks: Whiteley and Boyd d.1923), Berry’s Bay, Sydney, circa 1900 1950 10.11.01 – 24.02.02 Asian Buddha: Radiant Awakening •• The King’s rival, 1901 pencil oil on canvas 10.11.01 – 13.01.02 Western Contemporary Tim Johnson & My Le Thi oil on canvas Martin Lewis Will Ashton 24.11.01 – 03.02.02 Western Belle-Île: Monet, Russell and Matisse in Brittany ••• Tom Roberts (Australia, b.1856, A squatter’s home, Berry’s Bay, circa Kirribilli Wharf, morning, 1919 01.12.01 – 27.01.02 Western Photography Len Lye •• d.1931), 1900 oil on canvas 20.01.02 – 03.03.02 Western Contemporary Nell & Mel O’Callaghan Trawool landscape, 1928 pencil Arthur Streeton 02.02.02 – 19.05.02 Australian Alchemy at the Whiteley Studio oil on canvas on cardboard Martin Lewis Sydney Harbour from Penshurst, 09.02.02 – 28.04.02 Australian Lloyd Rees Sketchbooks • Boss of the Block, circa 1939 Cremorne, 1907 15.02.02 – 14.04.02 Public Programmes ARTEXPRESS OFFICE OF THE PREMIER etching and aquatint oil on wood 22.02.02 – 02.02.03 Australian Parallel Visions • Tony Clark (Australia, b.1954) Ces Tindall Chinoiserie Landscape, 1988 10.03.02 – 21.04.02 Western Contemporary Collection Focus: SH ERVIN GALLERY, NATIONAL From Berry’s Bay oil on canvas board Janet Laurence, Roslyn Piggott, Julie Rrap, Eva Schlegal TRUST watercolour Elioth Gruner (Australia, b.1882, 16.03.02 – 12.05.02 Western Love and Death: Art in the Age of Queen Victoria • The Art of Alison Rehfisch d.1939) 20.04.02 – 10.06.02 Western Contemporary Bittersweet • 20th April – 26th May 2002 QUEENSLAND ART GALLERY Afternoon, Bondi, 1915 15.05.02 – 14.07.02 Western Contemporary Biennale of Sydney – The world may be fantastic Alison Rehfisch Dame Mary Gilmore oil on canvas on paperboard 01.06.02 – 21.07.02 Australian 2002 Archibald, Wynne Sulman and Dobell Drawing Prizes • • Oranges and lemons, circa 1934 17th June – 4th November 2002 Melinda Harper (Australia, b.1965) 15.06.02 – 16.10.02 Australian Birds & Animals – Whiteley oil on canvas William Dobell Untitled, 1998 29.06.02 – 13.01.02 Aboriginal Pumpuni Jilmara (Good Design) Alison Rehfisch Dame Mary Gilmore, 1957 oil on canvas 22.06.02 – 25.08.02 Asian 100 Views of Mt. Fuji • Landscape after the fire, circa 1946 oil on hardboard oil on jute canvas ROYAL ALEXANDRA HOSPITAL FOR Note: Alison Rehfisch POST MASTER GALLERY CHILDREN The Upper Level Gallery and the Asian Gallery have both been closed for a large part of the 2001/2002 year due to major building work. Window in Spring,1953 NATIONAL PHILATELIC CENTRE Sam Byrne (Australia, b.1883,d.1978) oil on jute canvas Postmark Post Mabo Mt. Robe, highest peak, Barrier Alison Rehfisch 29th June – 29th September 2002 Range Negroid ballet, late 1920s Clifford Possum Tjapaltjarri and Tim 2001/2002 EXHIBITIONS TOURS oil on hardboard linocut Leura Tjapaltjarri Lawrence Daws (Australia, b.1927) , 1976 Date Exhibition Venue City/State Exhibition Title Attendance Summer landscape, 1994 MORNINGTON PENINSULA synthetic polymer paint on canvas oil on canvas REGIONAL GALLERY 15.06.01 – 20.07.01 Lake Macquarie Regional Gallery Lake Macquarie, NSW 2001 Archibald Prize 2664* Sam Fullbrook (Australia, b.1922) Nocturne 27.07.01 – 02.09.01 Tamworth Regional Gallery Tamworth, NSW 2001 Archibald Prize 5580* Ford on the Condamine with 24th April – 16th June 2002 30.08.01 – 28.10.01 Tasmanian Museum and Art Gallery , TAS Salvatore Zofrea: Appassionate 6888+ Jacaranda, (circa 1985) Geelong Art Gallery 14.09.01 – 28.10.01 New England Region Art Gallery Armidale, NSW People & Destiny: George Lambert oil on canvas 5th July – 1st September 2002 and Federation 4336# Guy Grey-Smith (Australia, b.1916, David Davies 14.09.01 – 12.10.01 Bega Valley Art Gallery Bega, NSW 2001 Archibald Prize 2434* d.1981) A summer evening, circa 1895 19.10.01 – 02.12.01 Wagga Regional Gallery Wagga Wagga, NSW 2001 Archibald Prize 4904 Gascoyne River country, 1958 oil on canvas on hardboard 24.11.01 – 20.01.02 Ian Potter Museum of Art Melbourne, VIC New Painting in Australia 3064 oil on hardboard Francis Lymburner 02.12.01 – 03.02.02 Penrith Regional Gallery Penrith, NSW Salvatore Zofrea: Appassionate 1008+ Waterfront, circa 1944 08.12.01 – 03.02.02 George Adams Gallery, Centre for oil on canvas the Performing Arts Melbourne, VIC 2001 Archibald Prize 60803+ 04.01.02 – 27.01.02 Albury Regional Gallery Albury, NSW People & Destiny: George Lambert and Federation 2628# 09.02.02 – 24.03.02 Bendigo Art Gallery Bendigo, VIC People & Destiny: George Lambert and Federation 921# 15.03.02 – 21.04.02 Orange Regional Gallery Orange, NSW Salvatore Zofrea: Appassionate 1234+ 05.04.02 – 02.06.02 Hazelhurst Regional Art Gallery Hazelhurst, NSW People & Destiny: George Lambert and Federation 6798# 26.02.02 – 20.04.02 Monash University Gallery Melbourne, VIC Len Lye 2608 17.05.02 – 28.07.02 Queensland Art Gallery , QLD Len Lye 14310 14.02.02 – 21.04.02 Queensland Art Gallery Brisbane, QLD Belle-Ile: Monet, Russell and Matisse in Brittany 40002 * Tour organised in association with the Museums and Galleries Association of New South Wales + Tour organised in association with New England Regional Art Gallery # Works drawn from AGNSW Australian Icons Exhibition for Regional Tour, Managed by Dubbo Regional Art Gallery

70 71 VISITORS SPONSORSHIP AND PHILANTHROPY

WHITELEY Regional Support for the Gallery can be enhance the Gallery’s buildings. The VISASIA SPONSORS CONTEMPORARY COLLECTION TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS DOMAIN STUDIO TOURING provided as a cash contribution or in Centenary Auditorium, the Fund’s first BENEFACTORS The Founding Sponsor of VisAsia is kind, or as a combination of both and project, was completed in November The Gallery’s Contemporary Collection MONTH 1997/98 1998/99 1999/2000 2000/2001 2001/2002 2001/2002 2001/2002 2001/2002 Ipoh Limited July 86,712 76,333 60,969 104,106 169,193 164,866 913 3,414 is directed largely towards the 2001. Benefactors (CCB) was established in Gallery’s programme of temporary Patrons, as at 30 June 2002: 1993 to help develop the Gallery’s August 79,541 65,489 57,015 92,450 64.025 58,642 722 4,661 VISASIA BUSINESS COUNCIL exhibitions. These exhibitions provide Alex & Vera Boyarsky, Jillian permanent collection of contemporary September 67,863 43,356 77,132 100,541 55,962 48,516 818 6,628 The VisAsia Business Council was high public and media exposure, Broadbent & Olev Rahn, Joanna Australian art. To date CCB has raised October 76,853 48,226 86,532 74,843 57,279 47,777 479 9,023 established to support the objectives branding and awareness opportunities Capon OAM, Judy Cassab AO CBE, more than $1million for the purchase of November 74,083 58,774 56,432 67,265 69,718 65,734 596 3,388 of the Institute and to provide and client entertainment in a unique David & Michelle Coe, Kenneth Coles important works of Australian December 62,639 152,012 98,737 101,554 96,642 69,772 432 26,438 companies with access to business setting. & Rowena Danziger, Jenny Ferguson, contemporary art. CCB plans activities January 109,782 220,369 151,067 129,619 146,525 108,337 661 37,527 and cultural links in the region. The Gallery gratefully acknowledges David Gonski, In memory of Aida so that Benefactors become more Members of the VisAsia Business February 116.724 182,183 127,839 130,340 117,255 101,455 1,336 14,464 the continuing support of its Corporate Gordon, Yvonne & Christopher closely involved in the contemporary Council at 30th June 2002 are: March 102,436 92,777 97,926 120,651 95,158 75,292 1,174 18,692 Partners, who provide valuable links Gorman, Alex Holland, Peter & Sharon art scene locally, nationally and Bill Ferris, Castle Harlan Australian April 100,478 100,271 90,537 118,141 91,834 73,404 749 17,681 between the Gallery and the business Ivany, Nettie & Peter Joseph OAM, internationally. CCB presents special Mezzanine Investment; Rob Thomas, May 98,402 71,583 72,115 83,538 74,522 64,432 604 8,486 sector. Anne Landa, John & Michelle activities built around the Gallery’s Citigroup; Philip Cox AO, Cox June 100,037 56,943 88,853 137,875 132,557 122,201 576 9,780 Landerer, Geoffrey & Deborah Levy, exhibitions and national and Richardson; Robert Anderson, TOTAL 1,075,550 1,065,154 1,029,730 1,260,923 1,170,670 1,001,428 9,060 160,182 PRINCIPAL SPONSORS FOR 2001/2002 Elizabeth Longes, David Lowy, John & international art events (some Deacons; Louise Davis, IBM Asia • Qantas Airways – Principal Sponsor, Jane Morschel, Mrs Kerry Packer, involving costs additional to CCB Pacific; Wayne Jarman, NSW Treasury Yiribana Aboriginal and Torres Strait Bridget Pirrie & Stephen Grant, Steven membership). In the last year CCB Corporation; Rob Thomas, Salomon Islander Gallery. & Lisa Pongrass, John L Sharpe, Brian organised a tour to the Venice Smith Barney; Alfa Chan, SingTao • The Colonial Foundation Charitable Sherman, Gene Sherman, Geoffrey Biennale where members were Newspapers; Thomas Ong, Stamford Trust – Principal Financial Supporter, Susskind, Malcolm & Lucy Turnbull, viewed as special contemporary PAID EXHIBITIONS PREVIOUS YEAR TOTALS Hotels and Resorts; Margret Meagher, Archibald Wynne and Sulman Prize. Michael & Eleanora Triguboff, Orli Australian art ambassadors; various PROGRAMME FOR 2001/02 MONTH(S) TOTAL COMPARISONS State of the Arts; Bob Robertson, • The Sunday Telegraph – Principal Wargon, Phillip Wolanski. exclusive curator-led tours of Renoir to Picasso July – July 81,008 University of Technology, Sydney; 1991/92 1,047,967 Sponsor, Fundays at the Gallery, a significant contemporary exhibitions at Space Odysseys Aug – Oct 11,762 Caterina Sorrenti, Valiant Hire. programme of free family weekend THE PRESIDENT’S COUNCIL the Gallery; Eat Your Art Out events at Buddha: Radiant Awakening* Nov – Feb 82,594 1992/93 748,455 programmes, performances and the homes of collectors; hosted the Belle île Nov – Feb 47,466 The President’s Council, established in COLLECTION BENEFACTORS holiday workshops. 1995, extends the corporate patronage yearly CCB dinner and art auction. Love and Death Mar – May 24,276 1993/94 914,785 AUSTRALIAN COLLECTION • ABN AMRO Rothschild – Principal of the Gallery, with a view to creating a Membership is capped at 120 people 2002 Archibald, Wynne & Sulman Prizes June (only) 58,278 BENEFACTORS 1994/95 988,527 Sponsor, Parallel Visions and From corporate network which attracts the for intimacy and good service. 100 Views of Mt Fuji June (only) 2,136 Lou Klepec Music Hall to Landscape: Fred ongoing support of the business Sponsors this year include New Range TOTAL 307,520 1995/96 1,155,216 Williams Drawings and Prints. community. Funds raised through Rover, Splitrock, ABSOLUT Vodka, CONSERVATION COLLECTION * Visitation for this exhibition exceed 100,000 when all complimentary and • Andersen – Principal Sponsor, New membership are directed to the Mount Majura Vineyard, Fred (Percy 1996/97 1,231,440 BENEFACTORS multi-access tickets are included. Painting in Australia, a three year sponsorship of exhibitions and public Marks), Snap Printing Botany, and Geoff Ainsworth, Charles & Deidre series surveying current painting programmes. The Gallery offers Palliser Wines. Aronson, Sam & Susan Ballas, Pamela practice in Australia. members and their guests an annual Bell, Nicole Berger, Bill & Annette • Merrill Lynch HSBC – NSW Sponsor, social programme of private viewings, LIBRARY COLLECTION BENEFACTORS Visitors 1997/98 to 2001/02 Blinco, Eva Breuer, Candice Bruce & Renoir to Picasso: Masterpieces from dinners and intimate behind-the- June and Jim Armitage; Mr and Mrs Michael Whitworth, Liz Callanan, the Musse de l’Orangerie, Paris. scenes tours of special areas of the Binnie; Licia Cattani; Michael and Adrian & Evan Cardiacos, Michael • Creative NZ provided support for first Gallery. Membership is by invitation Mary Whelan Trust Carr, John & Rosemary Clarke, Gianni major exhibition of Len Lye’s work in only to the Chairman or CEO of major & Mrs Elena Cocco, Peter & Gail Australia, which also commemorates companies. PHOTOGRAPHY COLLECTION the centenary of the artist’s birth. Comino, Noel Dan and Mrs Adrienne BENEFACTORS Dan, Peter Debnam, Stella Downer, MEMBERS AT 30 JUNE 2002: CORPORATE GOVERNOR Peter English, Jennifer Fahey RSC, SUPPORTING SPONSORS FOR Peter Young, ABN AMRO; David TCNZA Gwen Frolich, Ross Gibson, Eric 2001/2002 Baffsky AO, Accor Asia Pacific; Roger GOVERNOR Hawley & Glen Weston, Barry & The following companies also provided Allen, Allen & Buckeridge; Paul Patrick Corrigan Katherine Goldman, Robert Gould, Bill invaluable support in cash and kind Batchelor, AMP; Neville Miles, FELLOW Gregory, Mr Neville & Mrs Margo throughout the year: Ballyshaw Pty Limited; Carla Zampatti Kate Armati; Phillip Keir Gruzman, Michael & Gale Hale, Ken & JCDecaux, Asprey Di Donato, Avant AM, Carla Zampatti Pty Limited; Pierce CORPORATE MEMBERS Di Handley AO, Sally Hardy, Sue Card, City of Sydney, Hotel Inter- Cody, CODY Outdoor; Mark Cohen, Young & Rubicam; Getty Images Hewitt, Catherine Hickson, W Hinds, Continental Sydney, Lion Nathan, Deloitte Touche Tohmatsu; Christopher Australia Alex Holland, Andrew Horsley, Pamela McWilliam’s Wines, Space Furniture, Gorman, Dentat Pty Limited; Ken CORPORATE BENEFACTORS Jennings, Poppy & Iphy Kallinikos, Squiz.net and The Mode Group. Borda, Deutsche Bank AG; Joseph Tiffany & Co; Photo Technica Diana Macarthur-Stanham, Greg Carozzi, Ernst & Young; Bruce K. Cutler, FOUNDING BENEFACTORS MacInnes, Jenny Manton, Robyn & LIFE GOVERNORS Freehills; Greg Daniel AM, Issues & Sandra and Paul Ferman; Richard Mitchell Martin-Weber, Brian & Lorna Franco Belgiorno-Nettis AC CBE; Images Group Pty Limited; Peter Ivany, King; David Greatorex Mellor, Justin Miller, Paul Milliss, Tim Joseph Brender AO; Ken Cowley AO; Ivany Investment Group; Angela Clark, SUPPORTING BENEFACTORS Goodman & Ms Rachael Robinson, James Fairfax AO; Michael Gleeson- JCDecaux Australia; Frederick G. Anonymous; Australian Financial Michael Musgrave, Bruce Newey, White AO; Mollie Gowing; Shosuke Hilmer AO, John Fairfax Holdings Review; Graham and Mary Beirman; Janette O’Neil, Tim Olsen, Michael Idemitsu; James Leslie AC, MC; Frank Limited; Scott Reid, JP Morgan; Daniel Martin Browne; Cheryl Collins Design; Pascalis, Theo & Mrs Marianne Lowy AC; Rupert Murdoch AC; Gauchat, Korn/Ferry International; Ken Coles; Sally Dan-Cuthbert; Erin Penklis, Alex Popov, Demetrios & Effie Kenneth Myer (the late) AC, DSC; J. Peter Smedley, Mayne; John C. Conde Flaherty; John Frey; Ginny and Leslie Prevedoros, Ken Reed, Brian Regan, Hepburn Myrtle (the late) CBE; AO, Medical Benefits Fund of Australia Green; Michael Hawker; Amanda Andrew & Andrea Roberts, Greg & Margaret Olley AO; Max Sandow AM; Limited; Scott Walters, Merrill Lynch Harkness; Evelyn Hawkins; Lachie Hill; Visitor numbers include visitors to private functions Elizabeth Sanderson, Peter & Christa John and Julie Schaeffer; Goldie and HSBC Australia Pty Limited; Graham Naomi Kaldor; Charles Latimer; Josef Satouris, Leo Scholfield, Andrew Edward Sternberg (the late) AM; Fred Bradley, Perpetual Trustees Australia and Jeanne Lebovic; Amanda Love; Shapiro, Terri Sissian, J Sydney Smith, Street AM; Diana Walder OAM; Neville Limited; Geoff Dixon, Qantas Airways Russell Mills; David Moore; Roslyn & Peter & Cathy Snowball, David & Nikki Wran AC, QC. Limited; Justin Miller, Sotheby’s; Guido Tony Oxley; Lisa and Egil Paulsen; Stein, Victoria Taylor, Jeanette C. Belgiorno-Nettis & Luca Belgiorno- Photo King; Philip and Elizabeth Thomas, Kevin Troy, Leo & Vicki Vardis, CENTENARY FUND Nettis, Transfield Pty Limited; Philip Ramsden; Reg and Sally Richardson; Carolyn Ward, Suzanne Waterhouse, Coleman, UBS Warburg Australia; Penelope and Harry Seidler; Dr Philip The Centenary Fund, which was Richard & Shirley Watkins, Eva & Mrs Steve Burdon; Deeta Colvin. and Kate Sharp; John D. Swainston; established in 2000, comprises patrons Heinz Wicki, Cameron Williams, Neil & The Freedman Foundation; Gail Watt; who have pledged $100,000 to Mrs Lesley Wilson, Ray Wilson & Worling Saunders James Agapitos OAM, Donna Woodhill. 72 73 SUSTAINING BENEFACTORS Anita Belgiorno-Nettis; Martin Browne, Langsford; Josef and Jeanne Lebovic; DINNER 2002 SPONSORS Richard Bailey; Robert Dein; Barbara Jo Braithwaite, Leon Rogan, Erin Andrew and Amanda Love; Peter and Nikon; Louis Vuitton; Fuji Film; Photo STAFF LIST Flynn; Grant Pirrie; Michele Mossop; McCartin, Patrick Flanagan, Michel Thea Markus; Roslyn and Tony Oxley; Technica; Kodak; LKS Landor; Croser; Janet Oakley; Ivan Wheen LeMaitre, Erick Valls, Annette Larkin, Egil Paulsen; Nick Peters; Reg and Knappstein Wines; Mitchelton Wines SPONSOR Chris Bruce, Ildiko Kovacs; Edmund Sally Richardson; Melanie Roger; DIRECTOR CURATOR AUSTRALIAN ART MUSEUM EDUCATOR (PRIMARY SENIOR CONSERVATOR ASIAN ART LKS Landor Capon; Joanna Capon; Roderick and Malcolm and Rhonda Rose; Penelope GRANTS / PARTNERSHIPS Edmund Capon A.M., M. Phil. Deborah Edwards, B.A. (Hons), M. SCHOOLS) Sun Yu, B.A. (Art History) PHOTOGRAPHY COLLECTION Gillian Deane; Barbara Flynn and Seidler; Vivienne Sharpe; Peter EXECUTIVE ASSISTANT TO THE Phil. Jennifer Keeler-Milne B. Ed., Grad ASSISTANT CONSERVATOR ASIAN Australia Council; Australian Centre for Dip Fine Arts, M.A. (Art Admin) BENEFACTORS DINNER 2002 – William, Rory and Lachlan Grounds; Steigrad; Michael Whitworth and Moving Images; Bushells Foundation; DIRECTOR ASSISTANT CURATOR AUSTRALIAN ART DONORS The Freedman Foundation; Stephen Candice Bruce. Darling Foundation; Nelson Meers Lisa Franey B.A. (Hons) ART MUSEUM EDUCATOR (PRIMARY Yang Yan Dong Geoff and Vicki Ainsworth; Stephen Grant and Bridget Pirrie; Ginny Green; Foundation; Ian Potter Foundation CURATOR EXHIBITIONS Helen Campbell, B.A. (Hons), Grad. SCHOOLS) Ainsworth; Kate and John Armati; Lachie Hill; Michael Hughes and Terence Maloon B.A. (Hons), Dip. Art Dip. (Museum Studies) Vickie Kalocsay, B.Ed., B. A.(Fine HEAD REGISTRAR Graham and Mary Beirman; Luca and Katharine Allen; Naomi Kaldor; Gary & Design SENIOR CURATOR AUSTRALIAN Arts) Ljubo Marun B.A. (Hons) PhD CURATOR (DIRECTORATE) PRINTS AND DRAWINGS MUSEUM EDUCATOR REGISTRAR (STORAGE) Michael Wardell B. A. Hendrik Kolenberg Dip. Ed. Craig Judd Emma Smith B.A., Grad. Dip AGNSW PUBLICATIONS FOR SALE ASSISTANT CURATOR AUSTRALIAN MUSEUM EDUCATOR Decorative Arts HEAD CURATOR OF WESTERN ART PRINTS AND DRAWINGS Amanda Peacock, B.A. Dip. Ed. REGISTRAR (EXHIBITIONS) CURATOR OF TWENTIETH CENTURY Anne Ryan B.A. (Hons), M. Art MUSEUM EDUCATOR Ross Clendinning B. Ed. The following 43 AGNSW $25.00 softbound $27.50 hardbound $38.50 Admin. INTERNATIONAL ART Danielle Gullotta, B.A. Post Grad.Dip. REGISTRAR – CATALOGUE & publications are available for sale • Brett Whiteley: Art and Life, • It’s a Beautiful day: New Painting in • Orientalism, Prunster (ed), GENERAL MANAGER CURATORIAL PROJECT OFFICER from the Gallery Shop: Pearce, softbound $44.00 Australia II, Starr, softbound $20.00 softbound $44.00 CLERICAL OFFICER DOCUMENTATION SERVICES Natalie Wilson B.A. (Visual Arts) Joan Radkevitch Jesmond Calleja B.A. • 52 Views of Rudy Komon, Raymond, • Buddha: Radiant Awakening, • Jeffrey Smart, Capon & Pearce, • Parallel Visions, Pearce, softbound Anthony Bond B. Ed. (Hons) hardbound $33.00 Menzies, softbound $35.00 softbound $45.00, hardbound $66.00 $40.00 CURATOR ABORIGINAL AND BOOKINGS OFFICER ASSISTANT REGISTRAR • Art Gallery of New South Wales • Classic Cézanne, Maloon, • Len Lye, Annear, softbound $18.00 • Phenomena: New Painitng in STUDY ROOM COORDINATOR TORRES STRAIT ISLANDER ART Dot Kolentsis, Dip Visual Arts, Grad. Susie Quinn B.A. (Fine Arts), Grad. Collections, Capon et al, softbound softbound $15.00 • Les Sauvage de la mer Pacifique, Australia I, Wardell, softbound $10.00 Denise Mimmocchi B.A. (Hons) Hetti Perkins, B.A. Dip. Visual Arts Dip. Art History $60.50 hardbound $88.00 • Dancing to the Flute, Menzies, Webb, softbound $11.00 • Portraits of Oceania, Annear, ASSISTANT CURATOR ABORIGINAL SLIDE LIBRARIAN ACTING ASSISTANT REGISTRAR • AGNSW Handbook, James, softbound $44.00 • Lets Face It: A history of the softbound $27.50 SENIOR CURATOR EUROPEAN ART, & TORRES STRAIT ISLANDER ART Meredith Williams B.A. Brent Willison softbound $22.00, Cased Edition • Dead Sea Scrolls, Stone, softbound Archibald Prize, Ross, softbound • Pre-Raphaelites and Olympians, PRE-1900 Ken Watson, B.A. (Hons) $25.00 $25.00 $55.00, hardbound $60.00 Beresford, softbound $20.00 Richard Beresford B.A. (Hons) MBA ACTING SLIDE LIBRARIAN REGISTRATION ASSISTANT ASSISTANT CURATOR ABORIGINAL Victoria Collings, B.A.(Hons),Post Peter Duggan B. A. (Fine Arts), M.A. • Arthur Boyd Retrospective, Pearce, • Dobell, Pearce & Kolenberg, • Lion among Painters, Yang, $27.50 • Raynor Hoff, Edwards, softbound PhD & TORRES STRAIT ISLANDER ART softbound $44.00 softbound $33.00 • Lloyd Rees in Europe, Kolenberg, $30.80 Grad Cert Education, M.A.(Museum CURATOR INTERNATIONAL PRINTS Cara Pinchbeck Studies) • Australian Art in the AGNSW, • Donald Friend, Pearce, hardbound hardbound $40.00 • Salvatore Zofrea, Kolenberg & AND DRAWINGS SENIOR PHOTOGRAPHER Pearce et al, softbound $68.00. $60.50 • Margaret Olley, Pearce, hardbound Ryan, softbound $33.00 COORDINATOR OF ABORIGINAL Jenni Carter Peter Raissis, B.A. (Hons) PROGRAMMES harbound $90.00 • Fragrant space, Yang, softbound $55.00 • Space Odysseys, Lynn, softbound CURATOR, BRETT WHITELEY STUDIO CURATOR CONTEMPORARY Jonathon Bottrell, B.A.(Fine Arts) PHOTOGRAPHER • Australian Drawing, Kolenberg, $33.00 • Masks of Mystery, Yang, softbound $25.00 Sheona White, B.A. Post Grad AUSTRALIAN ART Ray Woodbury softbound $33.00 • From Music Hall to Landscape Fred $27.50 • Uncertain Ground, Martin (ed), Professional Art Studies and Visual Wayne Tunnicliffe B.A. (Hons) M.A., • Australian Prints, Kolenberg, Williams Drawings and Prints, Ryan • Material as Landscape: Rosalie softbound $22.00 HEAD LIBRARIAN Arts COPYRIGHT OFFICER-DIGITISATION M. Art Admin Donna Brett, BVA softbound $38.50 & Kolenberg, softbound $15.00 Gascoigne, Edwards, softbound • Voiceovers, Lynn, softbound $16.50 Susan Schmocker B.A., Dip. Lib. VISITOR SERVICES OFFICER • Australian Watercolours, • Gamarada, Capon, softbound $27.50 $27.50 • World Without End, Annear, ASSISTANT CURATOR, SENIOR LIBRARIAN/ TECHNICAL Alec George PHOTOGRAPHER - DIGITISATION Kolenberg, softbound $33.00 • Hanga, Ajioka et al, softbound, • Modern Boy Modern Girl, Ajioka, softbound $35.00 CATALOGUING & DOCUMENTATION SERVICES Diana Panuccio • Belle-Île: Monet, Russell & Matisse $25.00 softbound $44.00 Judy Peacock B.A., Grad. Dip. App. Kay Truelove, B.A., Dip Lib. AUDIO-VISUAL COORDINATOR CLERK – DIGITISATION in Brittany, Prunster, hardbound • Indonesian Gold, Girard-Geslan, • Olive Cotton. Ennis & Donohue, Sc., M. Art Admin ACTING SENIOR Laurence Hall B.A. (Com) Deborah Jones PROJECT OFFICER LIBRARIAN/TECHNICAL SERVICES Natalia Bradshaw B.A. AUDIO-VISUAL COORDINATOR ART PRIZES, GRANTS AND SCHOLARSHIPS Robyn Louey, B.L. Arch, Grad. Dip. IM Alex Smythe B.A. (Vis Arts) GENERAL MANAGER EXHIBITIONS ASSISTANT CURATOR, WESTERN (Lib) AND BUILDING MANAGEMENT ART AUDIO-VISUAL COORDINATOR Anne Flanagan Dip. Int. Design, Dip. LIBRARIAN Benjamin Moore Natasha Bullock B.A. (Hons), Christine Kenworthy, B. A., Grad Dip. Ed., Dip. Ed. Vis Arts. ART PRIZES THE WYNNE PRIZE Kennedy, Maria Koutis, Marcus Wills the bequest provides grants to Postgrad. Dip (Art Curatorship & The prize of $15,000 for an Australian and George Alexander. Australian art students who have LIBRARIAN EXHIBITIONS PROJECT REGISTRAR The 2002 Archibald, Wynne and Museum Management) HEAD OF CONSERVATION landscape or figure sculpture was already won travelling scholarships Carolyn O’Neill, B.A Anna Hayes B.A., M.A. Sulman Prize competitions, THE BASIL AND MURIEL HOOPER Alan Lloyd awarded to Angus Nivison for his so as to enable them to better study supported by the Colonial SCHOLARSHIP LIBRARY TECHNICIAN PROJECT OFFICER work entitled Remembering rain. architecture, sculpture or painting in SENIOR CURATOR PHOTOGRAPHY ASSISTANT CONSERVATOR Foundation, was held in May 2002. A These scholarships, valued at $6,000 Vivian Huang Assoc. Dip. Arts Erica Drew B.A. (Hons) countries other than Australia and Judy Annear, B.A. Mathew Cox total of 2967 entries were received, THE SIR JOHN SULMAN PRIZE each, are available each year to fine PROJECT OFFICER New Zealand. An award of $5,000 PHOTOGRAPHIC COLLECTION, ARCHIVIST The prize, judged by artist John art students attending recognised ASSISTANT CONSERVATOR, MOUNT Fiona McIntosh 85 of which were selected for CO-ORDINATOR Steven Miller, B.A. (Hons), B. Theol., Wolseley, of $10,000 was awarded to schools in New South Wales to was made to Monika Tichacek. CUTTING display. The Dobell Prize for Lisa Paulsen Grad. Dip. IM (Arch) EXHIBITIONS ASSISTANT Guan Wei for his work entitled assist with the costs of fees, BRETT WHITELEY TRAVELLING ART Bill Lamont Drawing, sponsored by the Sir Stefanie Tarvey William Dobell Art Foundation, was Gazing into deep space no. 9. materials and general living SCHOLARSHIP SENIOR CONSERVATOR, PAINTINGS HEAD PUBLIC PROGRAMMES held in conjunction with the expenses. Three half scholarships An annual scholarship was HEAD CURATOR ASIAN ART Stewart Laidler Dip. Con TICKETING SUPERVISOR Jackie Menzies, B.A., (Hons), M.A. Brian Ladd Dip. Fine Art, Dip. Ed. Diana Curtis Archibald, Wynne and Sulman THE DOBELL PRIZE FOR DRAWING were awarded to Robyn Chiles, David established during 1998/99 to provide CONSERVATOR, PAINTINGS competitions. Of the 679 entries The $10,000 prize, judged by Jan Westerman and Celia Huynh. young artists with an opportunity to CURATOR JAPANESE ART MUSEUM EDUCATOR (CURATOR – Paula Dredge B. App. Sc. (Con), B.A. TICKETING SUPERVISOR SPECIAL PROJECTS) received, 26 were selected for Senbergs, was awarded to Mary THE ELIOTH GRUNER PRIZE travel to Europe and further their Chiaki Ajioka B.A., M.A, PhD (Fine Arts) Carmel Crisp artistic interests. The scholarship Ursula Prunster B.A. (Hons), M.A. display. Tonkin for her work entitled Rocky The prize of $1,500 for the best CURATOR CHINESE ART TICKETING OFFICER includes a financial award and SENIOR CONSERVATOR, WORKS ON THE ARCHIBALD PRIZE outcrop, Werribee Gorge 2000. landscape in oil by an art student Yang Liu, B.A., M.A., PhD MUSEUM EDUCATOR Prue Watson access to the Gallery’s Paris Studio PAPER The prize of $35,000 for portraiture was not awarded for 2001. (COORDINATOR PROGRAMMES) for a period of three months. It is a ASIAN PROGRAMMES Rosemary Peel B.A. (Fine Arts) was awarded to Cherry Hood for her GRANTS AND Liz Gibson B.A. Ed, M.A. (Arts Admin) THE ROBERT LE GAY BRERETON memorial to the artist, the late Brett COORDINATOR SENIOR CONSERVATOR, OBJECTS MANAGER ENGINEERING SERVICES work entitled Simon Tedeschi SCHOLARSHIPS MEMORIAL PRIZE Whiteley who in his youth was Ann MacArthur B.A., MIM MANAGER, INFORMATION Donna Hinton M.A. Applied Science Don Alderson unplugged. The Archibald Prize: Jonathan Cooper Dip. Art Ed. This prize aims to promote and encouraged in his artistic (Con) Dip. Museum Tech. MANAGER BUILDING SERVICES People’s Choice competition, asks STUDIOS IN PARIS ASSISTANT CURATOR encourage the art of endeavours by winning a similar MUSEUM EDUCATOR Phil Johnstone the viewing public to vote for their The Art Gallery allocates tenancy to Haema Sivanesan, B.Arch. (Hons) SENIOR CONSERVATOR, FRAMES draughtsmanship, is available each scholarship. Special thanks are given (TERTIARY/CONTEMPORARY ART) favourite entry, was won by Jan two art studios, the Moya Dyring PROJECT OFFICER Malgorzata Sawicki M.A. (Con) MAINTENANCE OFFICER year to art students. The 2001 prize of to Beryl Whiteley, the mother of the George Alexander B.A. (Hons) Williamson for her work Jenny Studio and the Dr Denise Hickey Kathryn Gfeller Dip. Fine Arts Rob Schumacher $1,200 was jointly awarded to artist for providing the generous CONSERVATOR, FRAMES Morris – singer/songwriter. Memorial Studio, it leases at the Cite MUSEUM EDUCATOR (SECONDARY Johannes Leak and Pamela Irving. donation to fund the scholarship. The Basia Dabrowa, M.A. (Con) PLANT ASSISTANT Williamson received $2,500 as did the Internationale des Art in Paris. The SCHOOLS DYASON BEQUEST 2001 scholarship of $25,000 was HEAD CURATOR AUSTRALIAN ART CONSERVATOR, FRAMES Jan Krycki Art Gallery patron whose vote for the studios were occupied during the Bronwyn Clark-Coolee Dip. Teaching, Administered under the terms of the awarded to Marcus Wills. Barry Pearce Dip. Art Ed. David Butler winning entry was drawn from a year by Richard Beresford, Maria Post. Grad. Dip. Vis. Arts, M.V.A. will of the late Miss Anthea Dyason, barrel containing all votes cast. Lunney, Yenda Carson, Caroline

74 75 LIGHTING SUPERVISOR HUMAN RESOURCES PUBLICITY OFFICER GALLERY SERVICE OFFICER John Powis CO-ORDINATOR Claire Martin B.A. (Hons), Dip David Grech STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES Shirley Dunshea B. Bus (HRM) Marketing GALLERY SERVICE OFFICER INSTALLATION OFFICER HUMAN RESOURCES OFFICER PUBLICITY OFFICER Phillip Hill-Travis Brett Cuthbertson Sean Foyel B. Bus. Jan Batten GALLERY SERVICE OFFICER Chiaki Ajioka (Curator, ‘Blaugrau – a pretty good idea’, Museums at AAANZ annual Natasha Bullock (Assistant Curator, INSTALLATION OFFICER TOURISM COORDINATOR Peter Humphreys Japanese Art) Broadsheet vol. 30, no. 4, December conference keynote session Western Art) Alan Jobson MANAGER, ADMINISTRATION & Janelle Prescott GALLERY SERVICE OFFICER ‘Sochsaku Hanga’ entry in 2001, Contemporary Art Centre, Melbourne University 6/10/01 Exhibition coordinator, Len Lye STRATEGY INSTALLATION OFFICER ACTING TOURISM COORDINATOR Ashton Johnston Encyclopedia of Contemporary p. 19 Presented Paper Permeable travelling exhibition to Monash Trish Kernahan John Freckleton Jeanette Klease GALLERY SERVICE OFFICER Japanese Culture, Routledge 2002. Japanese modernist photography, Membranes at University of University Museum of Art, INSTALLATION OFFICER ADMINISTRATIVE SERVICES MARKETING COORDINATOR Janak Kadian, B.A. Review of Sharon Sadako Takeda lecture, The University of Melbourne, 30/10/01 Melbourne and Queensland Art Nickolaus Rieth SUPERVISOR Kylie Wingrave B.A. (Vis. Arts), B. and Luke Roberts, Japanese 12 September 2001 Presented paper at Newcastle Gallery, Brisbane. Louise Fischer B.A., M.A. GALLERY SERVICE OFFICER Fishermen’s Coats from Awaji Island ‘Love for sale’, Neo-Tokyo, lecture, University on University museums ‘Model: Mark Galea’ and ‘Painted INSTALLATION OFFICER Comm John Kavallaris ADMINISTRATIVE SUPPORT in The World of Antiques & Art Museum of Contemporary Art, Putting theory into practice. 24/9/01 Spaces: David Thomas, Wilma Simm Steel GALLERY SERVICE OFFICER December 2001–June 2002. Sydney, 9 December 2001 Newcastle collection display Tabacco, Chris Heaphy, Simon OFFICER PRINT PRODUCTION Rayson Light ‘One Hundred Views of Mount Fuji’ in Len Lye floortalk, Monash University Newcastle Region gallery 27/3/02 Morris, Richard Kirk, Phil Jones and Adrienne Vaughan-Smith Dip. Fine MANAGER/GRAPHICS STORES OFFICER Carter’s Antiques & Collectables, Gallery, Melbourne, 27 February 2001 Blanchflower and the permeable Sabina Ott’ in RED, Australian Centre Arts COORDINATOR GALLERY SERVICE OFFICER Steve Peters, J.P. no.3, 2002. Backroads and backlots – the serial membrane Curtin University 5/4/02 for Contemporary Art, Melbourne, ADMINISTRATIVE SUPPORT Catherine Ferrari Ramon Lozada ‘Homage to a mountain’ in TAASA worlds of Tracey Moffatt, lecture, Collections policy and strategies 2001 (book). OFFICER GALLERY SERVICE OFFICER Review, Vol.11, no.2, 2002. City Gallery, , New University of Sydney 7/5/02 ‘Gentle’, Pat Brassington, exhibition SENIOR DISPLAY TECHNICIAN Deborah Spek Jamil Mati (CARPENTRY) WEEKEND COORDINATOR Conduct ‘ukiyo-e print workshop’, Zealand, 6 April 2002 AICA forum chair Biennale of Sydney review, Photofile, Summer 2001. Bill Viola COPYRIGHT OFFICER Jonquil Temple GALLERY SERVICE OFFICER part of the Museums and Galleries Opening speaker, Len Lye, Monash 16/5/02 ‘Other Pictures: Anonymous Cherith Devenish B. Juris., L.L.B., Patrick McBride Foundation symposium, July 2002 University Gallery, Melbourne, 26 Interpretation and conservation of Photographs from the Thomas SENIOR DISPLAY TECHNICIAN INFORMATION OFFICER B.A. (Hons) Lecture on ‘Nature and Japanese art’ February 2002 20thC art University of Sydney 20/5/02 Walther collection’, exhibition (PAINTING) Kerri Coombes GALLERY SERVICE OFFICER for VisAsia lecture series, April 2002 Opening speaker, The Enduring Newcastle Conference paper on review, Photofile, Autumn 2002. Michael Brown IMAGE REPRODUCTION OFFICER INFORMATION OFFICER Kevin Nguyen Lecture on ‘Haiga: picturing haiku’ Glance: 20th century Australian Biennale strategies Internationally ‘Swan Imagery: Adam Fuss Alice Livingstone B. Ed, M.A. Kate Dorrough DISPLAY TECHNICIAN (CARPENTRY) GALLERY SERVICE OFFICER for Vis Asia series, April 2002 photography from the Corrigan 25/5/02 acquisition’, LOOK, October 2001, p. 11. RECEPTIONIST Ram Mudaliar INFORMATION OFFICER Ray Nguyen Presentation ‘The eternal Fuji: Collection, Bendigo Art Gallery, 22 permeable ‘Burning Memory’, Lily Hibberd, Michelle Berriman Dip.H.E., B.A. Tracey Keogh GALLERY SERVICE OFFICER images of Fuji in the 20th century June 2002 membranes for all school then catalogue essay, TBC ArtInc, DISPLAY TECHNICIAN (CARPENTRY) (Hons) Gary Bennett INFORMATION OFFICER Trish Noonan Japanese art’ at the Study Day for Seminar to post grads Biennale Melbourne (2001) and Imperial 100 Views of Mount Fuji exhibition Richard Beresford (Senoir Curator, strategies. 7/8/02 Slacks, Sydney (2002) DISPLAY TECHNICIAN (CARPENTRY) Simone Leary GALLERY SERVICE OFFICER MERCHANDISING MANAGER European Art pre 1900) Body art/performance from 1950s to ‘Cut to the Chase’, interview with Alan Hopkinson MANAGER, SECURITY SERVICES Judy O’Neil GALLERY SHOP George Alexander (Public ‘Qui conçoit le décor’, in Un temps 70s for COFA, 19/8/02, repeat 20/8/02 Brendan Lee, exhibition brochure, George Alamanos Richard Harling GALLERY SERVICE OFFICER Programmes) d’exuberance, exh. cat. Grand Palais, Occasional address at 2 graduation First Floor Gallery, Melbourne 2001 Peter Rawlins GENERAL MANAGER FINANCE & ASSISTANT SHOP MANAGER DEPUTY MANAGER Overview of Contemporary Art in Paris, 2002. ceremonies at Newcastle University ‘Perverse doll: Hans Bellmer MANAGEMENT SERVICES Gillian Williamson, B. Sc. Jacques Michel GALLERY SERVICE OFFICER Look Magazine, Sydney. Lectures to the Art Gallery Society, and at the graduation of COFA UNSW acquisition, LOOK,June 2002. Rosemary Senn, B. Comm., FCPA, DEPUTY MANAGER Frank Saunders Lecture for Global Education group the University of Sydney, and students 2001 ‘Artlab’, Vera Möller, catalogue MAICD Dip. SUPERVISOR Sandra Christie B.A. (Hons). Grad. Jeff Browne GALLERY SERVICE OFFICER on Australian art. AGNSW volunteer guides. Museum Collections Policy at COFA essay, Centre for Contemporary Steering Committee, sponsorship and UNSW museum studies 21/8/02 Photography, Melbourne, June 2002. PROJECT OFFICER Dip. Elec. Imag. SENIOR GALLERY SERVICE OFFICER Sharat Sharma organiser with AGS, for Video Anthony Bond (Head Curator, Exhibitions strategies / Biennales Cite des Arts Paris Studio Judging, Jackie Bullions Christine Gracie STOCK & SALES OFFICE GALLERY SERVICE OFFICER Conversations Project. International Art) Cofa UNSW museum studies 28/8/02 June 2002 Jason Simpson Cassandra Willis SENIOR GALLERY SERVICE OFFICER Catalogue Essay for Rosemary Laing Chaired session and organised Member of the Council of The Power Co-coordinator of the Photography MANAGER ACCOUNTING & SYSTEMS Peter Howlett GALLERY SERVICE OFFICER Foundation at Sydney University Collection Benefactors Program until Ray Lovat STOCK & SALES OFFICER exhibition (Gitte Weiss Gallery) Conducting Bodies Conference for Denise Faulkner B.A (Fine Arts) SENIOR GALLERY SERVICE OFFICER Suzanne Slavec Catalogue Essay for Janet Laurence AAANZ July 2001 Treasurer AICA, Australia May 2002 ACCOUNTANT STOCK & SALES OFFICER Frank Flores GALLERY SERVICE OFFICER Eve and the Apple of Sodom, South Collection management and (Association Internationale des Completed a Masters of Arts, Visual Bernadine Fong, B. Bus. (Banking & Australian Museum. strategies into the future; critiques d’art) Culture, (Research), Monash Hooker, Amanda B.A. GALLERY SERVICE OFFICER Joan Standfield Finance) Catalogue Essay for Cherry Hood at Chulalangkhorn University July 2001 Member of the Board of The University, Melbourne in April 2002. Freddi Alam GALLERY SERVICE OFFICER PURCHASING & EXPENDITURE STOCK & SALES OFFICER the Mori Gallery in Sydney. Exhibition management International Biennale of Sydney Supervision of interns from Mary Thom SUPERVISOR Rebecca Allport GALLERY SERVICE OFFICER Catalogue Essay for Kurt Brereton exchanges; Silpakhorn University Member of the executive committee University of Sydney and COFA. Maria Gutzinger STOCK & SALES OFFICER Ray Allen GALLERY SERVICE OFFICER exhibition at the Hermann Black July 2001 of AAANZ. Peter Tsangarides ACCOUNTING CLERK Danielle Hopkin, B.A. (Hons) GALLERY SERVICE OFFICER Gallery. Exhibition management International Member of Bundanon Trust Jesmond Calleja (Registrar - Viva Chelvaduria STOCK & SALES OFFICER Arthur Boucas GALLERY SERVICE OFFICER Feature essay in Artlink on Julie exchanges; Chulalangkhorn Residency committee. Cataloguing and Documentation) Rrap. University July 2001 Assessor for ARC grants, Fine Arts. Elected as President of the Rebekah Nugent GALLERY SERVICE OFFICER Russell Ward ACTING ACCOUNTING CLERK Essay on Linda Dement’s Eurydice for Presented a paper Collection policy Member of the University of Australian Registrars Committee for Alan Boyd Rita Briguglio STOCK & SALES OFFICER GALLERY SERVICE OFFICER Australian Art Monthly. and procedures at COFA University of Newcastle Faculty of Arts Gallery the second consecutive year in Paul Woolcock CLERICAL OFFICER, PURCHASING & Maryanne Marsh GALLERY SERVICE OFFICER Completion of book on Australian NSW 22/8/01 Committee. Adelaide, 18 March 2002 EXPENDITURE Kevin Callope GALLERY SERVICE OFFICER contemporary art, Connecting Flights. Presented a paper Exhibition policy External assessor for UTAS Hobart, Book Review Museums and the Graeme Callaghan VENUE MANAGER GALLERY SERVICE OFFICER Lorraine Xuereb Coordinated with Alain Viguier, and procedures at COFA University of UWS Nepean, RMIT Melbourne, Holocaust: Law, Principles and Carolyn Harvey Anthony Caracoglia SECURITY OFFICER Australia/France exhibition project NSW 29/8/01 Sydney College of the Arts, Practice, Museum National, through the auspices of FRAC Presented a paper International Newcastle University and COFA November 2001, pg. 30-31. MANAGER INFORMATION & GALLERY SERVICE OFFICER Tom Casey director, Yannik Miloux. exhibitions putting Australia in UNSW. Book Review Museums and the TECHNOLOGY COORDINATOR, FOUNDATION & George Caruana, J.P. SECURITY OFFICER Maurice Cirnigliaro M. Bus. PRESIDENTS COUNCIL context Cofa Uni NSW 12/9/01 Holocaust: Law, Principles and GALLERY SERVICE OFFICER Emilio Cruz (Information Technology) Judy Annear (Senior Curator, Presented a paper at A Fairer Deal Donna Brett (Copyright Services, Practice, Journal of the Australian MEMBERSHIP SERVICES MANAGER Steve Davies SECURITY OFFICER Photography) conference ANG Canberra as a Digitisation Project) Registrars Committee, Vol. 38, Spring NETWORK OPERATIONS MANAGER Jane Wynter, B.A. L.L.B. GALLERY SERVICE OFFICER Craig Knott ‘World without End’, Value Added member of the VAIGRP group 9/8/01 Chaired SAMAG seminar on Moral Issue, September 2001, pg. 24-25. Theo Papalimperis BUSINESS DEVELOPMENT Romeo Domingo SECURITY OFFICER Goods – essays on contemporary Presented a paper Collection policy Rights at the Australia Council The Spirit of St. Louis, Registrars HELP DESK OFFICER COORDINATOR photography, art & ideas ed. Stuart and procedures at COFA Uni NSW Committee member of the Sydney Committee of the American GALLERY SERVICE OFFICER David Paine, JP Adam Dunn Justine Cogan Koop, Centre for Contemporary 22/8/01 Arts Management Advisory Group Association of Museums Annual Kuldeep Duhan SECURITY OFFICER DEVELOPMENT MANAGER Photography, Melbourne 2002 Presented a paper Exhibition policy (SAMAG) Report, August 2001, pg. 16-18. GALLERY SERVICE OFFICER Bob Partridge MANAGER HUMAN RESOURCES Melissa Hankinson M.M.(Arts The Art of Tracey Moffatt, Bijutsu and procedures at COFA Uni NSW Presented a lecture on copyright Perpetuation of Myths in Museum Graeme Duncan Donna Grubb Management), BCA SECURITY OFFICER Forum, Daigo Shobo, Kyoto, Japan 29/8/01 with the AGNSW Digitisation team to Documentation and Archives, GALLERY SERVICE OFFICER Brett Morris vol. 5 2002 pp. 200-203 Presented a paper International University of Sydney, Museum Australian Registrars Committee ACTING HUMAN RESOURCES Tony Fletcher ‘Be careful what you wish for! – the exhibitions putting Australia in studies students. seminar in conjunction with the MANAGER MANAGER, MARKETING SECURITY OFFICER art of Tracey Moffatt’, Tracey Moffatt context Cofa Uni NSW 12/9/01 Museums Australia National Bronwyn McCutcheon Belinda Hanrahan B.Comm. GALLERY SERVICE OFFICER Brian Reynolds [exh.cat.] City Gallery, Wellington, Presented paper The Future of Conference Once Upon Our Times: Terry Forde SECURITY OFFICER New Zealand 2002 pp. 10-15 Contemporary art in Australian Exploring the role of cultural Peter Rozario

76 77 institutions in creating, perpetuating ‘Paint, brush and canvas’ Belle-Ile Liz Gibson (Public Programmes) Western Sydney. Presenter, Parramatta Catholic exhibition for the Art Gallery Judged Brett Whiteley Travelling Art From Pencil to Pixel (International and selling social, political and Monet, Russell & Matisse in Brittany, Member, Museums and Galleries Contributed lecture to the Master of Education Office, Asian Connections Society’s ‘LOOK’ magazine. Scholarship at Brett Whiteley Studio Works on Paper Fair symposium) at national myths, 18 March 2002, catalogue of exhibition, Art Gallery Foundation of NSW Advisory Arts Administration Course, College 2002 Conference Continued work on the SPIRT grant and announced winner to media. UNSW College of Fine Arts. 27 July University of South Australia, NSW & Queensland Art Gallery Committee of Fine Arts, UNSW, 2001. Associate Investigator, Museums, with the University of Western September 2001. 2001 Adelaide, South Australia 2001/2002. Trustee, William Fletcher Trust for Supervisor for Master of Arts Cultural Diversity and Audience Sydney, and the Ian Potter S.H. Ervin art advisory committee, Slide talk for Volunteer Guides on Unlocking the Long Dark Shadow, ‘Colour, light, texture’ Artlines Young Artists Administration, COFA, Public Development: A case Study – Foundation’s AMCAI (Art Museum National Trust. From Music Hall to Landscape, Fred Australian Registrars Committee Autumn 2002, (magazine of the Catalogue essay, Arthur Murch and Programmes internees. BUDDHA Strategic Partnerships with Collections Accessibility Initiative) Williams drawings and prints conference, Unveiling Secrets and Friends of the Queensland Art Rayner Hoff, for Parallel Visions Lectured on sculpture and museum Industry, research and Training grant for research into audience Rosemary Peel (Senior Conservator, exhibition Lies: Authenticity and ownership of Gallery). catalogue education to many adult and tertiary scheme grant development. Works on Paper) Gave lecture at the opening of the museum collections, welcome and Lectures ‘Introduction to pigments in Tour Leader for AGS tour, Russian student groups, and Gallery Coordinated 12-week program of Examiner to one doctoral and two ‘Margaret Preston. The ladder of art Salvatore Zofrea Appassionata opening address, Novotel Hotel, Impressionist art’ and ‘Considering Art and Architecture, April-May 2002 volunteer guides at Gallery. Buddhist community events ‘The Master’s theses. lies flat, not vertical’, Style 1900, exhibition, Tasmanian Museum and Melbourne, 8-9 November 2001, fakes’ , University of Sydney, Fine Gave radio interviews in conjiunction Wisdom Room’ as part of BUDDHA: August 2002, NJ. USA. Art Gallery, Hobart Unlocking the Long Shadow – Arts Course, The study of works of Donna Hinton (Objects Conservator) with major Gallery temporary Radiant Awakening featuring Steven Miller (Archivist) Talk and publication, Zhi Bi – Chinese Talk on Fred Williams for AGNSW Unlawful appropriation in Australian art as physical objects, April and Taught “Conservation and Collection exhibitions over the year, on 2BL participation by Bo Bop Sa, Lecture to students of Library and drying board – Construction Society (introduction to video museums, 19th General Conference May 2002. Management” to Masters of Art ABC, 2SER FM, 2SM, 2UE, 2ESR, and Dhammakaya International, Gyuto Information Management, Charles Conservation of Paper, Books and ‘Patterns of landscape’) of the International Council of Theory students at the College of 2MBS FM. Monks of Tibet, Jong Bop Sa, Kan Sturt University, on role and function Photographic Materials. AICCM Floor talk in From Music Hall to Museums, Managing Change: Deborah Edwards (Curator, Fine Arts, UNSW. Um Sa, Nantien Temple, Phuoc Hue of the Archive, 20 March 2002 Symposium 2002 17-19 April Landscape, Fred Williams drawings Museums facing economic & social Australian Art) Stewart Laidler (Paintings Temple, queerdharma, Seizanji Presented talk to ARLIS/ANZ Attended Preventive Photographic and prints exhibition challenges, CIDOC – International Advisor to ‘Margaret Preston in Vivian Huang (Library Technician) Conservator) Temple, Sunnataram Forest members on the development of the Conservation – workshop 1-6 July Launched Tanya Crothers Barbara A Committee for Documentation, What Mosman’ exhibition, Mosman Art Represented the Art Gallery at ALIA Lecture to Art History Sydney Monastery, Sydney Burmese Australia-wide museum record- 2002 Davidson Sydney: Milhau Press, 2001 is documentation, now and in the Gallery (September, 2002) National Library Technicians University students on Technical Buddhist Vihara, Sydney Zen Centre, keeping project PAINT (Preserving Attended History of Western at Lesley McKay’s Bookshop, Double future? Palau Nacional, Barcelona, Preliminary research for Conference in Hobart, 21-24 August Examination of paintings techniques. Wat Pa Buddharangsee, Wat Art Information Now and Tomorrow) Papermaking - workshop, State Bay, September 2001 Spain, 4 July 2001 commissioned exhibition, ‘Australian 2001 Co-ordinator of restoration project, in Prayortkeo Lao Temple, Won 20 November 2001 Library 27th June 2002 Study Leave from 8 October 2001 – 29 Panel Session: Holocaust, Museums Portraits in Sculpture’, National Supervised TAFE Library and collaboration with the University of Buddhism and Vajrayana Institute. Advisor to ‘Margaret Preston in March 2002 to undertake Sarah and and the Art Market (Theft of Art – Portrait Gallery, Canberra (August- Information Studies student Canberra, of the AGNSW painting Untrammeled spirit: Bamboo in East Denise Mimmochi (Study Room Mosman’ exhibition, Mosman Art William Holmes Scholarship at the Part II), Australian Registrars September, 2003) ‘Vive l’empereur’. A twelve month Asian Art lecture, 9 April, Arts of Asia Coordinator) Gallery (September, 2002) British Museum Committee conference, ‘Unveiling ‘Robert Klippel’, Art and Australia, Trish Kernahan (Manager, project is being funded by the Lecture series ‘Joy Hester in Canberra and at Elected convenor of the Special Lecture on printmaking to University Secrets and Lies: Authenticity and 1,000 word obituary, vol 39, no., 2002 Administration & Strategy) ‘Friends of Conservation’ benefactor Coolness in Summer, Warmth in Heide’, Art and Australia, Vol. 39, no. Interest Group for the next AICCM of Sydney 4th year students, AGNSW ownership of museum collections’, ‘Sydney Modern and Establishment Project Manager –VSA E-Commerce group. winter: Responding to Nature in 4 2002 Symposium to be held at the AGNSW 2002 Novotel Hotel, Melbourne, 8-9 Painters’, 2,000 word essay, Points of Portal. Joint NSW Government Japanese Tea lecture, 4 June, Arts of Review of ‘Anne Ferran Lost to 2004. November 2001 View, University of Technology Agencies project with AGNSW; Yang Liu (Curator, Chinese Art) Asia Lecture series. Worlds’, Eyeline, No. 46, Spring 2001 Malgorzata Sawicki (Senior Collection book, Sydney, 2002 Tourism NSW; ; ‘Origins of Daoist Iconography’, Ars Hetti Perkins (Curator, Aboriginal Conservator, Frames) Helen Campbell (Assistant Curator, ‘Margaret Preston’, with Rose Peel, and Royal Botanic Gardens. Orientalis, XXXI (2001): 31-64. Jackie Menzies (Head Curator, Barry Pearce (Head Curator, Art) The Visit of the Queen of Sheba to Australian Art) 2,000 word essay, Style 1900, New ‘Images for the Temple: Imperial Asian Art) Australian Art) Aboriginal Art Collections: Highlights King Solomon’ by Edward Poynter, Judge, Fairfield Art Prize, 2 October Jersey, 2002 Hendrik Kolenberg (Senior Curator, Patronage in the Development of Lecture ‘Developing a Collection’ in Opening speech for Boyd/Whiteley from Australian Museums and 1884–1890. The frame revisited – Attended one day symposium at S.H. ‘Vitalism, Paganism and Sex. Rayner Australian Art) Tang Daoist ‘Explorasian’ seminar organised 2 Rivers and Rocks exhibition at Brett Galleries Art Gallery of NSW, (with AICCM Bulletin, Vol 25, 2000, 21-32. Ervin Gallery, Sydney held in Hoff and Norman Lindsay’, 2,000 David Brian Wilson 1946–98 Art’, Artibus Asiae, vol. 61, no. 2 July by the Museum & Art Galleries Whiteley Studio to launch regional Ken Watson), ed: Susan Cochrane, Research into Non-traditional Gilding connection with the exhibition word essay, ‘The Bohemian in Art retrospective Bathurst Regional Art (2002): 189-261. Foundation of New South Wales; galleries tour. Craftsman House, 2001 Techniques as a Substitute for Modern Australian Women: Paintings History’ Canberra School of Art Gallery, 2001 Buddhist Art in Dunhuang, lecture lectured numerous times to diverse Interview with Joyce Morgan, Traditional Matt Water Gilding and Prints 1925–45, 8 October published papers, Canberra, August, Kevin Lincoln, recent paintings delivered at the Centre for Asian Art groups on the Buddha exhibition, Sydney Morning Herald regarding Peter Raissis (Curator, International, Method. - Preprints of the 13th 2001 Sydney: Australian Galleries, 2001 Studies, 31 July, 2001. including first one at the Newington Parallel Visions. February 2002. Drawings & Watercolours) Triennial Meeting of the ICOM Jonathan Cooper (Public Judge, Brett Whiteley Travelling Art ‘Recent works on paper’ in John Three floor talks on the early Chinese College (22 August) and subsequent Lecture to Volunteer Guides and Talk to Higher School Certificate Committee for Conservation, Rio de Programmes) Scholarship, Sydney, September 2001 Olsen, figures and landscape art to the students from Sydney ones, mainly at the Art Gallery; floor-talk regarding Parallel Visions. students from mid-North Coast high Janeiro, Brazil, September 22-28, Wrote article for Internet.au Judge, Portia Geach 2001 Portrait Sydney: Tim Olsen Gallery, 2001 University, 5 Oct. 2001. lectured on plans for the new Asian February 2002. schools on “What people do in the 2002. magazine (#81, July 2002 issue, Prize, Sydney, August, 2001 Curator of Bathurst Regional Art Chinese Art from Stein’s Collection in Gallery to various groups; lectured Live-to-air community radio interview Gallery”. Followed by a visit to the A Lecture for students of the Master published June 2002): a review of Judge, Inaugural Woollahra Small Gallery exhibition David Brian Wilson the British Museum, lecture on curatorship to COFA Museum 2NBC regarding Parallel Visions. Print Room. 25 February, 2001 Degree course in Art History, Sydney Fine Art Museums of San Francisco Sculpture Prize, Sydney, July-August 1946–98 2001 (and regional tour) delivered at the symposium held in Studies students; lecture for the 100 February 2002. Lecture to Art Gallery Society on University, AGNSW, March 2001. Virtual Gallery. 2001 Spoke at the prize giving ceremony conjunction with the exhibition Views of Mount Fuji exhibition; Interview with Lyndal Stuart for “Italian Renaissance Drawings: Examination and Documentation Imported data and wrote HTML code Conference paper, ‘Vitalism, for Final Year Students, National Art Buddha, 21 November, 2001. lectured to the Friends of Museums Artists Palette regarding Parallel Pisanello, Filippino Lippi and techniques in Frame Conservation – for Robert Klippel Catalogue Paganism and Sex. Norman Lindsay School 2001 An interview with SBS regarding the Association. Visions. February 2002. Leonardo”. 11 April, 2001. lecture and PowerPoint presentation Raisonné of Sculptures (included and Rayner Hoff’, at ‘The Bohemian Spoke at an exhibition of Petr Herel’s exhibition Buddha, 21 November Devised and implemented lecture Public lecture regarding Parallel Lecture to Art History Honours for the conservators from the State with hard-cover edition of Robert in Art History’ Conference, Canberra work, Holmes à Court Gallery, 2001. course ‘Nature in Asian Art’ for Visions. March 2002. students, Sydney University on “Old library of NSW, May 2001. Klippel exhibition catalogue) School of Art, August 12, 2001 Launched a book on Geoffrey de A floor talk on the Buddha show, 6 VisAsia; member of the Board of Attended meeting with South Sydney Master Drawings: Technique, Speaker , public forum, ‘100 years of Groen, AGNSW Dec. 2001. VisAsia, as well as Nicolson Museum Council, Phillip Bartlett and Debora Function and Connoisseurship”. Susan Schmocker (Head Librarian) Mathew Cox (Assistant Conservator) sculpture: Is that Sculpture?’, Opened the satellite exhibition of Sacred Mountains in Chinese Art, Committee and Morrissey Bequest Ely from Ministry regarding Followed by a practical session in Presented paper to ARLIS/ANZ NSW Presented a paper, Originality in Woollahra Council, Sydney, 24 IWOPF, Many Art Gallery lecture delivered at the Centre for Committee (both of the University of development of the Yellow House site the Print Room. 15 April, 2001. members on ‘Security in Art Question at the AICCM, Paintings October, 2001 Long Service Leave from 1 April to 28 Asian Art Studies, 12 March, 2002. Sydney). in Macleay Street. April 2002 Internship at the Département des Libraries’ with particular emphasis Conservation Special Interest Group, Australian Art Oral history project: June 2002 A talk to the Art Gallery Society Opened new Asian Gallery, Gallery Recorded interview regarding Arts Graphiques, Musée du Louvre. made to the Research Library and 7th Biennial Symposium, extensive interviews with Robert members on cultural relics and 249 in Turramurra (28 September); Parallel Visions, Stellar In-flight for Recipient of Ian Potter Cultural Grant. Archive at the Art Gallery of NSW, “Authenticity & Originality”, AGNSW, Klippel. Brian Ladd (Head of Public museums in China. exhibition Four Views of Emptiness at Qantas in-flight, domestic and March-July 2001 July 2001 14-16 Sept 2001. Member, Sydney City Council Programmes) Life is Elsewhere, an address the Monash University Art Gallery (9 international. April 2002 Talk on the history and development Curatorial Committee 2001-2002 Participated in National Heads of delivered at the opening of an October); exhibition organised by the Lecture to Children’s Guides group of Robyn Louey (Librarian/Cataloguer) of the the Research Library and Paula Dredge (Conservator, Supervisor, student intern Education and Public Programmes exhibition of contemporary art University Buddhist Education Volunteer Guides, regarding Parallel Represented the Art Gallery at Gold Archive at the inaugural meeting of Paintings) programme, COFA; University of Forum, Perth, September 2001. Sydney 2002, held at Hill on Hargrave Foundation (4 November, Bankstown); Visions. April 2002 Coast at Kinetica (National the Friends of the Library committee, Convenor Painting Conservation Western Sydney, 2001 Member, NSW Carnivale Council Gallery, 2 July 2002. launched new publication ‘Burma’s Live radio interview with John Bibliographic Database) annual user 29 November 2001 Special Interest Group Biennial Tour Lecturer, The Artists’ Paris,for Lost Kingdoms: Splendours of Stanley 2UE regarding Archibald group meeting, 26-27 July 2001 Lecture to students of Library and Meeting of the AICCM (Australian Louise Fischer (Administrative Art Gallery Society, October 2001. Ann MacArthur (Coordinator, Asian Arakan’ by Pamela Gutman, as well Prize history and current selection; Information Management, Charles Institute for the Conservation of Services Supervisor) Judge, Royal Agricultural Society Programmes) as reviewing it in ‘TAASA Review’, May 2002. Anne Ryan (Assistant Curator, Sturt University, on role of Research Cultural Materials Inc). Authenticity Art Gallery representative on PAINT exhibition, March 2002 Vice-President, The Asian Arts Vol. 10, no. 4. Partake in live panel discussion Australian Prints, Drawings & Library, 20 March 2002 & Originality, 14-16th September, – a national project to establish a Judge, New Children’s Hospital Society of Australia Organised the exhibition Buddha: regarding Archibald Prize exhibition Watercolours) Represented the Art Gallery at Australian Museum & Art Gallery of uniform recordkeeping system for Operation Art Awards. Secretary, Australian Institute of Radiant Awakening and its 192 page ABC Radio National. May 2002. Floor talk at Newcastle Region Art ARLIS/ANZ conference ‘Getting the New South Wales. Biennial meeting Australian art galleries and Opened Loretto College Kirribilli Art Eastern Music catalogue, as well as contributing to Margaret Olley lecture at Queens Gallery on their Fred Williams picture’, Auckland 26-28 April 2002. of Australian and New Zealand museums. Exhibition. Judge, Miniature Art, Royal Easter the catalogue text. Article ‘Organising Club May 2002 exhibition 11 July 2001 Chair of ARLIS/ANZ, NSW Chapter Paintings Conservators. Participant in research into audience Show Buddha: Some thoughts on the Interview with Rose Peterson radio Curator of Sydney International Representatives from all major State development, Strategic Partnership Organising Committee, Association of exhibition’ published in ‘TAASA FM 99.3 live regarding Archibald, Works on Paper Fair Emerging artists and National Galleries and Private with Industry for Research and Independent Schools Engaging Review’, vol. 11, no. 2. Wrote on the Wynne and Sulman exhibitions. June exhibition, Sydney July 2001 Conservators. Training (SPIRT), University of Schools in Asia National Conference Buddha: Radiant Awakening 2002. Chaired session on digital prints at

78 79 ADMINISTRATIVE AND STATUTORY ITEMS

Haema Sivanesan (Assistant Curator, Michael Wardell (Co-ordinator of Natalie Wilson (Assistant Curator CODE OF CONDUCT INDUSTRIAL RELATIONS PAYMENT PERFORMANCE Asian Art) Curatorial Services) Australian Art) The Gallery’s Code of Conduct was No major industrial disputes AGED CREDITOR ANALYSIS AT THE END OF EACH QUARTER - 2001/2002 Member of Management and Events Kevin Lincoln, catalogue essay, Completed Master of Arts (Art not amended during this reporting occurred in 2001-02. No time was lost Quarter Current (ie Less than Less than Less than More than committee, The Asian Arts Society of Niagara Galleries, Melbourne 2001 History and Theory), University of period. A full copy of the code was due to industrial disputation. within due 30 days 60 days 90 days 90 days date) overdue overdue overdue* overdue Australia; Member, History and Jennifer Joseph: The Three Marks of Sydney, 2001 published in the 2001 annual report $$$$$ Theory Research Group, Faculty of Existence, catalogue essay, Span ‘ / / appendices. INFORMATION TECHNOLOGY the Built Environment, University of Galleries, Melbourne 2001 Frank Hinder / ’ in During the year the Board approved In August 2001, the Gallery’s September 2001 716,968 28,579 7,575 73 - New South Wales; Co-ordinator, Arts Organised The Barbara Blackman Parallel Visions: Parallel Visions: a Trustee Code of Conduct and each outsourcing contract for ‘help desk’ December 2001 830,253 103,332 528 2,173 - March 2002 1,333,801 155,953 16,434 - - of Buddhism lecture series March- Temenos Foundation Lecture Grevel Works from the Australian Trustee acknowledged commitments and network management expired June 2002 2,424,680 - - 220 - October 2001 Lindop Blake’s Vision of the Last collections, AGNSW, Sydney, 2002 to it on an individual basis. and the functions were brought in- ‘In the public domain: Hevajra’ in Judgement. October 2001 Researcher, compiler, and translator house. The transition and the * Invoices in dispute TAASA Review, The Journal of the Selected successful applicants for (from German) for monograph Willy COPYRIGHT performance since then, have been ACCOUNTS PAID ON TIME EACH QUARTER Asian Arts Society of Australia, vol.10 The 2001 Dyason Bequest. August Eisenschitz, The Beagle Press, As part of the realisation of the very satisfactory with little or no TOTAL ACCOUNTS PAID ON TIME TOTAL AMOUNT PAID no 3, September 2001; 2001 Sydney, (to be published), 2002. Digitial Imaging and Access Project, down time experienced and Quarter Target% Actual % $ $ Floortalks, lectures and community Co-ordinated the Regional Galleries the Gallery has entered into a cost improved productivity. It has also September 2001 100 99.99 3,646,141 3,646,506 TV interview in conjunction with the Mentorship Programme, in effective licence with Viscopy Ltd, proved more cost effective. December 2001 100 99.74 3,041,270 3,049,198 exhibition BUDDHA: Radiant collaboration with The Museum & the copyright collection agency for With fast technological change, March 2002 100 100 3,241,132 3,241,132 Awakening Galleries Foundation, 2002 visual artists. This licence, for the there is a need to increase the level June 2002 100 100 2,815,758 2,815,758 ‘Sydney Newsletter: three recent Member of the Judging panel for The payment of copyright fees, was of investment in the IT infrastructure. There was no instance where penalty interest was paid. exhibitions’ in Marg vol. 53, no.2, Basel and Muriel Hooper drafted by the Gallery in consultation The Gallery has installed firewalls December 2001 Scholarship. with Viscopy Ltd and represents a and up to date virus detection ‘From icons to contemporary Member of the Judging panel for The significant achievement in balancing software and we are pleased to practice: the challenge of Asian art’ Eliot Gruner Prize. recognition of artists rights with the report that we were able to prevent paper presented at Focusfest 2001: AGNSW representative in the ever increasing need of providing these problems. Asia in art and the visual arts Heritage Collections Committee set public access to collections in a syllabus, Art Gallery of New South up by the NSW Ministry for the Arts. digital environment. This licence is OCCUPATIONAL HEALTH & SAFETY ENGAGEMENT AND USE OF CONSULTANTS Wales, Sydney, December 2001. the first of its kind in Australia. No. of work related injuries: 17 Consultancies more than $30,000 Ken Watson (Assistant Curator of No. of work related illnesses: 2 Name Project Title Cost $ Kay Truelove ( Senior Librarian, Aboriginal Art) ELECTRONIC SERVICE DELIVERY Prosecutions under the OH&S Acts: Gibson Quai Pty Ltd Digitisation 42,510 Technical Services) ‘Western Desert Diversity Aboriginal The first module of our e-commerce Nil The above consultancy was in the IT category and their advice was in Represented the Art Gallery at Gold art in distinctly different styles’ Look system was launched in February relation to the implementation of the digitisation of the Gallery’s collection. Coast at Kinetica (National Magazine Art Gallery of NSW 2002 enabling our Internet customers PRIVACY MANAGEMENT Consultancies less than $30,000 Bibliographic Database) annual user November 2001 to purchase merchandise from all the For information in relation to the During the year 3 other consultancies were engaged in the following areas. group meeting, 26-27 July 2001 ‘Pumpuni Jilamara (Good Design) agencies from the joint site and from Gallery’s Privacy and Personal Information Technology 10,000 Represented the Art Gallery at The Tiwi Approach to Art’ Look each of the agencies own websites. Information Protection Act, 1998 Engineering 6,440 Kinetica focus group meeting at Magazine Art Gallery of NSW April The Venue Hire module has now also obligations contact the Privacy Management Services 7,500 State Library of NSW, May 2001 2002 been launched and the Event Module Contact Officer, Human Resources Total consultancies less than $30,000 23,940 Aboriginal Art Collections: Highlights and Membership Module will come Services, Art Gallery of New South Total Consultancies 66,450 Wayne Tunnicliffe (Curator of from Australian Museums and online during the next reporting Wales, Art Gallery Road, The Contemporary Art) Galleries Art Gallery of NSW, (with period. This initiative ensures Domain, Sydney, NSW 2000, phone Contemporary Asian art works in the Hetti Perkins), ed: Susan Cochrane, compliance with the NSW (02) 9225 1795 for fax (02) 9221 6226. collection, public lecture, AGNSW Craftsman House, 2001 Government’s Electronic Service This Act aims to protect individuals Jail Bait – institutionalising Delivery requirements. The Gallery against the inappropriate collection, contemporary art, lecture, Curatorial Shoena White (Curator, Brett continued to progress this Joint VSA storage, use and disclosure of Lab programme, 200 Gertrude St/Ian Whiteley Studio) e-Commerce Portal initiative in personal information by NSW Public Potter Museum of Art, Melbourne Lecture on the Whiteley Studio to Art conjunction with Royal Botanic Sector Agencies. Innocent flowers and amorous Gallery Society Taskforce May 2002 Gardens, Centennial Parklands and bouquets, Renoir to Picasso Lecture on Expressive Image Bill Tourism New South Wales. RECORDS MANAGEMENT exhibition public lecture, AGNSW Henson, Louise Hearman, Susan The Gallery participated in the Launched Calibre Art Award, Calibre, Norrie for the Enigmatic Object ENERGY MANAGEMENT national galleries and museums Sydney Contemporary Art Course AGNSW The Electrical upgrade was records management project (PAINT Member of judging panel for Myra May 2002 completed in October 2001 at a cost – Preserving Art Information Now & Dyring Studio & Dr Denise Hickey Lecture on Race, Gender and the $150,000 the old switchboard did not Tomorrow). This year the standard Memorial Studio, Cite Internationale Other in Postmodernism for Guide have the capacity to carry the new Disposal Schedule was developed. des Arts, Paris. Training Program MCA June 2002 loads required. The Gas supply Both the Thesaurus and the Disposal Member of Member of judging panel Lecture on The Role of the Curator involves the upgrading of the steam Schedule have been submitted the for Willoughby City Council Art Prize. for Art Express HSC Teachers supply throughout the new building NSW State Records for endorsement Seminar April 2002 extensions and the Captain Cook and implementation within the Lecture on the Whiteley Studio to Wing. The steam boilers are gas Gallery during 2002/03. This initiative Turramurra Club June 2002 driven. The steam supply upgrade to ensures the Gallery’s compliance Article in Meanjin, Art Life and the the humidifiers is mainly aimed at with State Records Act, 1999 Other Drugs; Issues of Addiction in improving the consistency of requirements. Brett Whiteley’s Later Career. 2002 effective and efficient humidification Vol. 61 No. 2 for the environmental conditions for the artworks. This work will be ongoing till December 2002 at a cost of $90,000. Actual dollar savings in this area are hard to estimate at this stage. All electricity savings have been taken up in the increased electricity costs.

80 81 EEO STATISTICS FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS

REPRESENTATION OF EEO GROUPS WITHIN SALARY LEVELS The following Statement of Affairs is DOCUMENTS HELD BY THE ART DOCUMENTS AVAILABLE FOR FOI PROCEDURES (as at 30 June 2002) Numbers used reflect equivalent full time (EFT) staffing numbers. presented in accordance with the GALLERY PURCHASE Applications for access to Gallery Freedom of Information Act, 1989, Art Gallery of NSW Act, 1980 The Art Gallery publishes a range of documents under the Freedom of Men Women Aboriginal & Torres People from People whose People with a People with a section 14 (1) (b) and (3). The Art Accounts Manual catalogues and books. The Information Act should be made in Strait Islander People racial, ethinic, language first disability disability requiring Gallery’s (FOI Agency No. 376) Agendas and Minutes of Meetings publication prices are continually writing and directed to: Human Ethno-religious spoken as a child work related minority groups was not English adjustment statement is correct as at Collections Management Policy reviewed and prices are available Resource Manager, Art Gallery of 30 June 2002. Administrative Procedures from the Gallery Shop. The Gallery New South Wales, Art Gallery Road, Below $27,606 ------The Gallery did not receive any Education Policy also publishes a quarterly bulletin The Domain NSW 2000. $27,606 – $36,258 76% 24% 1.5% 37% 26% 16% 1.5% formal requests for information under Annual Reports and monthly calendar of events free Arrangements can be made to obtain $36,259 – $40,535 18% 82% - 21% 7% 7% - the Freedom of Information Act, 1989 Exhibitions Policy of charge. copies of documents, or to inspect $40,535 – $51,293 37% 63% 6.5% 26% 24% 17% 2.2% during 2001–2002. Nor were any EEO Annual Report them by contacting the Human requests carried over from the Filming & Photography Policy Resource Manager on telephone $51,294 – $66,332 42% 58% - 21% 19% 17% - previous financial year. 1999–2005 Corporate Plan (02) 9225 1700. $66,333 – $82,914 50% 50% 6.3% 25% 25% 6% - The Gallery regularly receives Financial reports Greater than $82,914 representations from the public Human Resources Policies (non-SES) 25% 75% - 33% - 33% - concerning its operations. The SES 100% - - 100% - 100% - Gallery endeavours to make the collection and associated Total 51% 49% 2.7% 29% 22% 16% 1.1% information as accessible to the public as is possible. The Gallery REPRESENTATION OF EEO GROUPS BY EMPLOYMENT BASIS welcomes public interest and (as at 30 June 2002). Numbers used reflect head count of staff. participation in its activities.

Men Women Aboriginal & Torres People from People whose People with a People with a Strait Islander People racial, ethinic, language first disability disability requiring Ethno-religious spoken as a child work related minority groups was not English adjustment

Permanent Full-time 62% 38% 2% 34% 27% 16% 1.3% PLEDGE OF SERVICE Permanent Part-time 13% 87% - 7% 7% 27% - OUR CUSTOMERS GUARANTEE OF SERVICE CUSTOMER SERVICE CUSTOMER COMPLAINTS Temporary Full-time 13% 88% - 8% - 8% - The Art Gallery of New South Wales We aim to ensure that all visitors The Gallery aims to provide the The Gallery continues to receive a Temporary Part-time 25% 75% 16.7% 17% 8% - - endeavours to provide each of our enjoy themselves, will want to return highest levels of service to all very low volume of customer Contract-SES 100% - - 100% - 100% - visitors with an experience that and will recommend the Gallery to visitors. Visitor feedback provides complaints in relation to our visitor Contract- non SES 42% 58% 25% 6% - 13% - exceeds expectations and inspires friends and relatives as a world management with valuable numbers. As in previous years the Training Positions - 100% - - - - - repeat visits standard venue for the enjoyment information to improve Gallery main concerns are in relations to Retained Staff ------and study of art. The Gallery procedures and services. Written visitor faculties, such as difficulties Casual 35% 65% 7.1% 14% 11% - - recognise that the public has the complaints are handled promptly and accessing the front of the building right to expect that services will be professionally and are responded to (lack of ramp for kids Total 47% 53% 6.2% 23% 17% 12% 0.7% provided without discrimination. In within two weeks. Visitor suggestions strollers/disable visitors) and no particular we will provide access have also led to the introduction of ATM. These issues are being service for visitors with special new services, such as improved reviewed as part of the Gallery’s STAFF PROFILE needs, including the disabled. We signage and simpler printed guides. strategic plan but lack of specific Average over 12 months will seek to continuously improve our Telephone enquiries are addressed funding means any progress has Numbers used reflect equivilent full time (EFT) staff numbers. service to visitors and welcome promptly within two working days, been difficult. Visitors can lodge feedback directly to staff and wherever possible. complaints, offer suggestions and EFT EFT EFT through regular surveys. provide feedback at the Information 30/6/00 30/6/01 30/6/02 Desk located in the main foyer Building and Security Services 63 61 59 entrance of the Gallery. Curatorial Services Staff 42 43 51 Curatorial Staff 26 25 20 Exhibitions / Display 19 20 16 Corporate Services 19 18 20 Commercial Services 15 13 16 Marketing 9 13 11 Total 193 193 193

82 83 OVERSEAS TRAVEL SUMMARY IMPLEMENTATION OF ROYAL COMMISSION INTO ABORIGINAL DEATHS IN CUSTODY Recommendation number 56 & 300

Dr Richard Beresford Peter Duggan Anthony Bond Susan Schmocker The Gallery projects that introduce exhibitions in Yiribana curated from ongoing archival purposes. staged the successful Reconciliation 22 June to 14 October 2001 9 to 16 October 2001 12 to 28 February 2002 25 to 28 April 2002 Aboriginal and Torres Strait Islanders the Gallery’s Collection reflecting the • A research field trip was exhibition. This exhibition featured Thailand, Europe, USA and Canada New Zealand Europe New Zealand and others to the history and culture diversity of Aboriginal and Torres undertaken to the East Kimberley for artworks by Aboriginal and non- Continue research and negotiations Courier return of The Widower by Present a paper at ARCO, Madrid Attend Art Libraries of Australia and of Indigenous peoples of Australia Strait Islander art: Ngurra Kutu and the forthcoming exhibition True Aboriginal students from primary and for major exhibitions, research Tissot and hold negotiations for proposed NZ Conference as Chair of the NSW included: Pumpuni Jilamara: Tiwi Art. The Stories: Art of the East Kimberley. secondary schools throughout New potential acquisitions exhibitions. Chapter. • The continued acquisition, exhibition Pumpuni Jilamara, During this visit, extensive film South Wales on the theme of Jackie Menzies exhibition, conservation of Aboriginal concentrating mainly on recent footage was shot for use in the Reconciliation. Wayne Tunnicliffe 17 November to 7 December 2001 Alan Lloyd Richard Harling art and commitment to making the acquisitions, began in NAIDOC Week exhibition and for archival purposes. • Jonathan Jones was appointed 4 to 8 July 2001 Europe and India 28 February to 10 March 2002 25 April to 13 May 2002 collection accessible to the widest July 2002 and is currently on display. The Gallery also interviewed a Coordinator of Aboriginal Programs New Zealand Ascertain future exhibition USA USA and UK possible audience. • During NAIDOC Week, Tiwi artist number of artists, including the late bringing the Indigenous museum Courier The Widower by James possibilities for new Asian gallery Condition check for return of works Attend Museum Stores Association • The growth of exhibitions Pedro Wonaeamirri conducted Ginger Riley Munduwalawala, for staff to four. Jacques Joseph Tissot to the currently under construction. on loan for Buddha exhibition. trade Fair and Book Expo in USA and programmes and public programmes workshops with children and gave a education and archival purposes. • There was a continuing Auckland Art Gallery conduct negotiations with publishers associated with the Yiribana Gallery, public talk in the Pumpuni Jilamara • For the sixth consecutive year the consolidation of links with Dr Chiaki Ajioka Judy Annear and publication outlets. one of the largest spaces for the exhibition. The Aboriginal and Torres Gallery in conjunction with the Indigenous education institutions, Barry Pearce 18 to 30 November 2001 4 to 16 March 2002 display of Aboriginal art in the Strait Islander Art Department also Department of School Education, the courses in Aboriginal Studies and 30 July to 25 August 2001 Japan Europe and USA Dr Richard Beresford southern hemisphere. produced a film featuring Pedro for Aboriginal Education Consultative Aboriginal units and art courses at Europe Hold negotiations for major Finalise loans for Man Ray exhibition 1 May to 16 June 2002 • During the year there were two display in the exhibition and for Group and the Board of Studies tertiary level. Courier return of loan to Victoria & Japanese Art exhibition. and visit possible donors to Gallery USA, UK and France Albert Museum and negotiate loans and negotiate acquisitions. Courier drawing by Jean-Baptiste for major Australian Art Exhibitions. Edmund Capon Greuze, La Mère bien aimèe, to the 7 to 24 January 2002 Judy Annear Frick Collection in NY and to finalise AGED AND DISABILITY PLAN Terence Maloon China 3 to 7 April 2002 neogitations for future exhibitions. 1 September to 10 November 2001 Negotiate major exhibitions of New Zealand USA and Europe Chinese jade and Chinese landscape Present a lecture on Tracey Moffatt’s Alan Lloyd AGED AND DISABILITY PLAN DEAF AND HEARING IMPAIRED Helpers Continue research and negotiations painting. work at Wellington City Art Gallery. 12 to 22 June 2001 The Gallery is developing an updated VISITORS General entry to the Gallery is free to for major exhibition of Picasso works Europe and Singapore Disability Plan that will incorporate Severely and Profoundly Deaf all visitors. However, where charges at end 2002. Dr Liu Yang Edmund Capon Courier Femme nue dans un rocking strategies across six major areas Visitors are made for special exhibitions, 7 to 24 January 2002 12 to 14 April 2002 chair by Picasso. including physical access, promotion In 1997 the Gallery implemented free helpers accompanying visitors with Jackie Menzies China New Zealand of positive community attitudes; staff monthly Auslan guided tours. We disabilities are admitted free of 9 to 23 September 2001 Accompany Mr Edmund Capon to Invited by Wellington City Art Gallery Dr Liu Yang training; information about services; regularly book sign-language charge. Korea negotiate major Chinese exhibitions. to speak at two events. 15 to 24 June 2001 employment; and complaints. The interpreters for advertised guided Information and Publicity Attend workshop on Korean UK Gallery’s commitment to equal tours, and particularly in association Our information publication ceramics at invitation of Korea Dr Chiaki Ajioka George Alexander Present paper at symposium access for all people is reflected in with Deaf Awareness Week. Groups exhibitions/events is freely available Foundation. 27 February to 4 March 2002 15 April to 3 May 2002 Taoism and the Arts of ChiGu our policy as detailed below. of deaf people making bookings are from our Information Desk. This Japan France Kaizhi’s Vimalakirti. GUARANTEE OF SERVICE provided with sign-language booklet contains information for Edmund Capon Condition check for return of works Researching programmes being The Gallery recognise that the public interpreters free of charge. In 1996 visitors with special needs. Currently 12 September to 14 October 2001 on loan for Buddha exhibition. offered in the field of Contemporary has the right to expect that services the Gallery implemented at TTY the Bulletin is posted to over 4,000 Europe Art and holding negotiations for will be provided without telephone number (9225 1711). This interest individuals or organisation. Meet with personnel involved in future exhibitions. discrimination. In particular we will number is listed in the Telstra TTY Employment Practices major exhibitions. provide access service for visitors directory. The Gallery ensures equal with special needs, including the Hearing Impaired opportunity principles are used for disabled. We will seek to Our Domain Theatre provided Audio- recruitment and general employment continuously improve our service to Induction Loop facilities for all practice. visitors and welcome feedback lectures and films. An FM- INFORMATION TECHNOLOGY directly to staff and through regular Microphone System for hearing-aid The Gallery has established a surveys. users is available on request for relationship with a charity guided tours. PHYSICAL DISABLED VISITORS organisation, Technical Aid to the WASTE REDUCTION AND PURCHASING STRATEGIES Two dedicated Disabled Parking VISUALLY IMPAIRED VISITORS Disabled (TAD) NSW and surplus and spaces are available at the rear of A major refurbishment of the elevator outdated computer equipment is the Gallery for visitors with servicing Level 1, Ground Floor and donated to them. Upper Level has seen the installation The Gallery demonstrated its The Gallery is targeting a reduction period. The Conservation Department cartridges purchased for printers disabilities. Special arrangements are also made for bus parking. of voice notification of floor and NEW STRATEGIES TO IMPROVE commitment to the reduction in the of 20% in the generation of paper sends off cuts of wood and materials had recycled components. Soft access details. SERVICES generation of waste though based forms in the first year of to Long Bay Gaol for use by drinks and juices are purchased in Access to these spaces is via the service road on the southern side of GENERAL Resurfacing of outdoor café area encouraging staff to use, where implementation of the intranet. prisoners in recreational activity. The recyclable glass containers The Gallery plans to level and possible, electronic mail for internal Gallery Shop and the Research (approximately 10 tonnes) and a the Gallery. From the rear of the Communications Gallery access to all exhibitions, The Gallery’s Internet website resurface the outdoor café area with and external communication. Staff Resource recovery initiatives include Library reuse cardboard boxes for number of suppliers already deliver travertine which allow for easier are also encouraged to use the paper recycling baskets being packaging for orders and interlibrary products in refillable containers. displays, public and administrative (www.artgallery.nsw.gov.au) areas is by way of ramps and lifts, launched in 2000 has capacity for wheelchair access to the outdoor White and Yellow pages on the situated in every department with loans. The Gallery also functions as a Major office refurbishment has dining area. Internet which has reduced our general office paper, newsprint and venue with catering on-site and occurred during the 2001/2002 period suitably signposted. large print screen versions of all requirements for telephone books by magazines amongst those items contracted catering company and wherever possible existing There are two public Disabled information. 75%. The Gallery is in the process of being recycled. Approximately 58% recycles all glass bottles. The Gallery materials including carpet, shelving Parking spaces available at the front Staff Training developing an intranet site which will of primary paper products are has been undergoing major building and partitioning have been used in of the Gallery. Information and awareness sessions have a workflow application. This recycled equating to 2.5 tonnes of construction during this reporting the fit out. The Gallery is currently The Art Gallery’s Domain Theatre has are held for staff and Volunteer will significantly reduce the paper per year. Approximately 50% of period and 50,000 tonnes of concrete investigating the purchase of access space designed for wheel- Guides, with particular reference to generation of waste as paper based packaging is recycled. slabs was recycled. recycled toilet paper and paper chair users. servicing visitors with special needs. forms such as leave applications, towels as well as recycled Some Volunteer Guides and staff higher duties, approval of payments The Gallery has an arrangement with The Gallery purchases recycled biodegradable plastic bags for use in have undertaken introductory and travel requests can all be the Children’s Cancer Council to general paper items, stationery, the Gallery shop. courses in sign-language. We have processed electronically. collect toner cartridges for recycling envelopes and letterhead which is designated an Education Officer to which approximately 70 cartridges the equivalent of approximately 500 manage the Gallery’s programmes being recycled in the 2001/2002 kilograms. 100% of the 72 toner and facilities for people with disabilities.

84 85 WOMEN’S ACTION PLAN ETHINIC AFFAIRS PRIORITIES STATEMENT

The Annual Reports (Statutory compassion. The exhibition was working from home, part time leave The Gallery is committed to the Cantonese, Polish, German, Italian and • Biennale of Sydney 2002 (15 May – ETHNIC AFFAIRS PRIORITY GOALS Bodies) Amendment (Women’s influenced by My Le Thi’s The Gallery also administers two without pay and the career break principles of cultural diversity as Mandarin. 14 July 2002) Fifty-one artists from FOR 2002/03 Action Plan) Regulation 1997 requires experiences in Vietnam during the bequests which conditions stipulate scheme in order to effectively outlined in Section 3 of the Ethnic • Due to the on-going staff freeze, the twenty-one countries participated in • Continued encouragement of staff agencies to provide information 1970s and memories of her birthplace are only open to women. These balance workplace priorities with Affairs Commission Act, 1979. The Gallery did not increase membership this pre-eminent contemporary art participation in the Community about their implementation of the in the Central Highlands. bequests are the John and Elizabeth family and personal commitments. NSW Government’s three Key Result of recruitment selection panels with a event of the southern hemisphere. The Language Allowance Scheme and Government’s Action Plan for • Australian Collection Focus Series Newnham Pring Memorial Prize for The Gallery as a whole benefits in areas are: Social Justice; Community person from a cultural diverse exhibition comprised a strong extend range of languages currently Women. – Margaret Preston (30 September ‘the best landscape executed in the long term by being adaptable and Harmony; and Economic and Cultural background to the targeted 60%. representation from Asia including represented. A) WHOLE OF GOVERNMENT 2001 – 3 February 2002) The work of watercolours by a women artists’ responsive to changing community Opportunities and to this meet this end The Gallery circulated the annual Vietnam, Korea and Japan. To make • Continue the reflection and APPROACH Margaret Preston, one of Australia’s and a capital fund in the name of need and expectations. the Gallery has developed an Ethnic calendar of significant religious and the exhibition more accessible, entry promotion of cultural diversity and The Gallery is firmly supportive of a foremost artists, has remained Viktoria Marinov with income used to * Promoting the position of women in Affairs Priority Statement (EAPS) holy days to all supervisors to enable was free of charge at all venues. harmony in the Gallery’s exhibitions whole of government approach in extraordinarily popular in the purchase works of art for the all aspects of society which includes two main objectives: scheduling of staff commitments to • Heroes and Villains from Japan’s and associated educational meeting the broad policy outcomes decades since her death. This focus permanent collection ‘by female The Gallery: • Integrate EAPS principles into the meet religious obligations. Floating World (19 May – 19 August programme. The 2002/03 programme of the NSW Government’s Action exhibition examined Preston’s artists under the age of 35 years.’ • has maintained a general free Gallery’s policies, plans and • The Gallery’s Guide Map is available 2001) An exhibition of famous and will included the following Plan for Women. It is recognised that promotion and assimilation of C) ACHIEVEMENTS UNDER KEY admission policy to ensure the procedures in Japanese, Mandarin and Korean, infamous characters immortalised in exhibitions:- all areas of NSW Public Sector have Aboriginal motifs and images. OBJECTIVES IN THE ACTION PLAN broadest range of the community, • Build the Gallery’s Collection and Italian, French and German languages. Japanese literature, poetry and • 100 Views of Mount Fuji This a role in improving the economic and • Nell + Mel O’Callaghan – The fly FOR WOMEN including the financial disadvantaged Services to reflect and promote • The exhibitions and associated folklore. exhibition will explore a wide range of social participation of women by and the mountain (20 January – 3 The following achievements have often being women, have access to cultural diversity and harmony educational public programmes • Casten Nicolai: snow noise (1 July – this most inspirational of mountains as integrating the needs and concerns March 2002) The installation been made under the two key the State’s fine art collection and The Gallery’s statement is reflected and promoted cultural 5 August 2001) This ambitious portrayed in one hundred works by of women as part of normal business. exhibition of these contemporary objectives that are relevant to the associated education programmes. incorporated by the Ministry for the diversity and harmony. This year the installation by German contemporary Japanese painters and print designers The Gallery is committed to the artists was based on three core Gallery in the Government’s Action • delivers an exhibition programme Arts, as a key agency, into a Ethnic programme included:- artist Carsten Nicolai (also known as from the 17th to 20th century. advancement of women in all forms elements, beauty, trust and Plan for Women: that is representative of women Affairs Agreement on behalf of the • Renoir to Picasso – Masterpieces noto) was based on the theme of • Ernesto Neto A new sculptural of cultural and artistic life and is seduction. • Promoting workplaces that are artists’ contribution to the history of entire arts portfolio. from the Musée de l’Orangerie snow crystallization. installation by Brazilian artist Ernesto aware of the need to identify and • Parallel Visions (22 February 2002 equitable, safe and responsive to all art and reflects the lives and ETHNIC AFFAIRS PRIORITY (1 June – 29 July 2001) This exhibition • Tim Johnson & My Le Thi: yab yum Neto. redress discrimination against –4 May 2003) Grace Crowley, Margel aspects of women’s lives achievements of women in society. OUTCOMES comprised some eighty masterpieces (10 November 2001 – 13 January 2002) • Simryn Gill This exhibition will women in delivering services and Hinder and Margaret Olley. The Gallery’s performance under this • administers awards and • The Gallery has launched VisAsia of early modernism by artists based in This collaborative installation was feature a major new photographic programmes to the public. From an Revisiting the concept of Australian key objective is documented in the scholarships which are open to which promotes and cultivates a Paris at the turn of the century. named after the Tibetan Buddhist term series of the interiors of Malaysian organisational perspective, the Icons, this exhibition included the equal employment opportunity (EEO) women that are designed to assist in better understanding and enjoyment • Space Odysseys: Sensation and yab yum meaning father-mother union homes plus a selection of works in Gallery acknowledges the needs and work of influential modernist painter statistics listed in a separate the professional development of of Asian Visual Arts and Culture. The Immersion (18 August – 14 October which symbolises the uniting of which Gill explores the intertwining interests of women as a direct Grace Crowley and sculptor Margel appendix of this report which Australian artists. Gallery recognises the crucial role 2001) An exhibition by leading wisdom and compassion. themes of culture and nature. occupational group and is supportive Hinder. The work of living Australian provides information of EEO groups • recognises the traditional gender which our understanding of Asian international and Australian • Belle Île Monet, Russell & Matisse in • Albertina – Old Master Drawings of strategies and initiatives that icon, Margaret Olly also featured within salary levels and employment imbalances on decision-making culture will play in the development of contemporary artists of large scale Brittany (24 November 2001 – 3 from Vienna From one of the largest assist the advancement of women in prominently in this important survey basis. The Gallery is committed to bodies and the implications of Asian Australian relations in the 21st installations that physically immerse February 2002) This exhibition and most valuable collections of the workplace. of great Australian artists. employment of staff based on representation on strategic century. or surround the viewer. revealed the extraordinary graphic art in the world, this exhibition • Ngurra Kulu (Going Home) selection on merit principles and the outcomes. There are four women on • 22% of Gallery staff are from non • Buddha: Radiant Awakening relationship of Claude Monet, will tell the unfolding story of the art of B) WOMEN’S INTERESTS AND THE (8 September 2001 – 7 April 2002) the eleven member Board of (10 November 2001 – 24 February Australian Impressionist John Peter drawing in Europe across three ARTS Gallery workforce is currently made English speaking backgrounds. This This exhibition comprised a number up of 49 % women. Under Trustees (36%). compares favourably with the national 2002) As Buddhism has evolved over Russell and Henri Matisse as they centuries. While the majority of exhibitions of works by leading indigenous time among different cultures there painted on the storm-tossed island of • Picasso: The Last Decades This staged by the Gallery include works employment on merit the employees D) SPECIFIC COMMITMENTS UNDER population figure of 15.5% (Australian women artists including Emily Kame benefit by having their capabilities THE ACTION PLAN FOR WOMEN Bureau of Statistics 1996 Census). emerged a multitude of Buddhas. This Bell-Île in north-western France. exhibition will feature over 80 works of art created by women artists the Kngwarreye, Ningura Napurrula and exhibition of sculptures, paintings and • The Centre for Asian Arts Studies produced by Pablo Picasso during the following exhibitions related to fully utilised and their skills There are no specific commitments • The Gallery increased the number of Eubena Nampitjin. expanded. Of the three General in the plan which refers to the Art community languages available to textiles with images from the three conducted regular lunchtime lectures last twenty years of his life (1953- women’s lives and history and/or • Biennale of Sydney 2000 (10 May – main schools of Theravada, as a part of the Gallery’s ongoing 1973) and is drawn from major featured work by specific women Manager positions, two are currently Gallery of New South Wales. assist Gallery staff and visitors via the 14 July 2002) The work of women filled by women and 61% of middle Community Language Allowance Mahayana and Vajrayana (or Tantric) commitment to cross cultural arts collection mostly in Europe, Japan and artists: artists featured prominently in this E) FURTHER INFORMATION ON focused on the pervading universality education. the United States. management positions are occupied WOMEN’S STRATEGIES Scheme. As at 30 June, 2002 the preeminent contemporary art event. by women which is indicative of the Gallery had staff officially recognised of Buddha across all times and across • My Le Thi (with Tim Johnson): yab Australian contributions to the event For further information on women geographical, cosmic and virtual yum (10 November 2001 – 13 January Gallery’s commitment to the specific and other programmes as able to offer assist in Hindi, included Simryn Gill with her Small advancement of women based on space. 2002) This collaborative installation Town at the Turn of the Century managed by the Art Gallery of New was named after the Tibetan merit. Further, approximately 19% of South Wales, please contract the series, Patricia Piccinini’s women took advantage of the Buddhist term yab yum, meaning provocative Still Life with Stem Cells Art Gallery on telephone number father-mother union and symbolising Gallery’s flexible work practices such (02) 9225 1700 and Bizarre New World, an odyssey of part time work, job sharing, the uniting of wisdom and by Suzanne Treister.

86 87 INDEX access 89 exhibitions risk management 24 acquisitions of works of art australian 14 research library 14, 89 australian 62 aboriginal & torres strait islander 15 regional 72 aboriginal & torres strait islander 62 asian 17 royal commission into asian 62 international 17 Aboriginal deaths in custody 85 international 62 financial summary 38 senior management profile 34 photography 63 financial statements 41 society 6, 24 administrative reporting requirements 81 foundation 25 staff list 75 aims and objectives 26 freedom of information 83 staff activities 77 art prizes, grants and scholarships 74 gallery shop 25 sponsors 24, 73 audiences 20 gifts & bequests (of art works) support 24 audit opinion 41 australian 64 trustees 3, 32 centenary fund 2, 25, 73 aboriginal & torres strait islander 65 venue hire 25 code of conduct 81 asian 65 visasia 24, 73 collection benefactors 73 international 67 visitors 72 collections grants received 74 visitors with special needs 85 australian 8, 12 guided tours 89 waste reduction 84 aboriginal & torres strait islander 8 highlights 1 women’s statement 86 asian 9 information technology 81 year in review 8 international 11 insurance 34 photography 12 investment 34 commercial activities life governors 73 conservation 31 loans to the gallery 68 consultants 81 loans by the gallery 68 consumer response 83 management profile 36 contact details 89 occupational health & safety 81 copyright 81 organisation structure 36 corporate governance 32 overseas travel 84 digital imaging project 22 parking 89 director’s statement 4 performance measures 26 disability plan (aged and) 85 president’s council 6 electronic service delivery 81 president’s statement 2 equal employment opportunity 82 publications available for sale 18, 74 energy management 81 publications by staff 18, 77 ethnic affairs statement 87 public transport 89 records management 81

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