Ngv Ar 2015 16

Total Page:16

File Type:pdf, Size:1020Kb

Ngv Ar 2015 16 ANNUAL REPORT 2015/16 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2015/16 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA CONTENTS NGV INTERNATIONAL OVERVIEW SUPPORT 180 St Kilda Road About the NGV 3 Affiliated groups 105 President’s foreword 4 2015/2016 Donors 107 Director’s review 6 NGV Foundation Members 111 THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square Strategic framework 10 Felton Society Members 117 Report against output targets 11 NGV Life Members 118 National Gallery of Victoria PO Box 7259 Emeritus Trustees and Foundation Board Members 119 Melbourne VIC 3004 2015/16 PERFORMANCE REPORT Partners 120 Australia +61 3 8620 2222 Bringing artworks to life 13 Connecting audiences 18 GOVERNANCE www.ngv.vic.gov.au Realising our potential 22 Council of Trustees 127 ISSN: 2206-4974 Sharing our vision 25 Council committees and working groups 129 Exhibitions 28 Organisational structure 130 Acquisitions 32 Staff statistics 131 ACCOUNTABLE OFFICER’S DECLARATION In accordance with the Financial Management Act 1994, Publications 48 Other corporate reports 133 I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year Additional information available on request 141 ending 30 June 2016. 2015/16 FINANCIAL REPORT Disclosure index 142 Five-year financial summary 55 Independent audit report 58 Financial statements 60 Notes to the financial statements 65 Janet Whiting AM President, Council of Trustees 25 August 2016 (front cover) Ai Weiwei with Forever Bicycles, 2015, at the media preview of Andy Warhol | Ai Weiwei. December 2015. Photo: Christian Markel Artwork © Ai Weiwei ABOUT THE NATIONAL GALLERY OF VICTORIA ORIGINS STATE COLLECTION Founded in 1861, the National Gallery of Victoria (NGV) is Australia’s The State Collection comprises approximately 70,000 works oldest public art gallery. illustrating the history and development of Australian, Indigenous and OVERVIEW international art, design and architecture in all media. GOVERNANCE The National Gallery of Victoria Act 1966 established the NGV as PRINCIPAL LOCATIONS a statutory authority which currently sits within the Department of The NGV’s St Kilda Road Gallery, designed by Sir Roy Grounds, Economic Development, Jobs, Transport and Resources. The Act opened in 1968. Since December 2003 the NGV has operated across provides for a Council of Trustees with overall responsibility for the two sites – NGV International on St Kilda Road, redesigned by Mario Gallery. The Council reports to the Minister for Creative Industries. Bellini; and The Ian Potter Centre: NGV Australia at Federation Square, designed by LAB Architecture Studio. COUNCIL OF TRUSTEES FUNCTIONS Section 13 (1) of the National Gallery of Victoria Act provides that the ADMISSION functions of the Council shall be to: Admission to the State Collection is free. Entry fees are charged for • control, manage, operate, promote, develop and maintain the some exhibitions. National Gallery land • maintain, conserve, develop and promote the State Collection of OPENING HOURS works of art NGV International • make material within the State Collection available to persons, 180 St Kilda Road departments and institutions in such manner and subject to such Open daily 10am–5pm conditions as the Council determines, with a view to the most advantageous use of the State Collection The Ian Potter Centre: NGV Australia • conduct public programs and exhibitions of material within Federation Square the State Collection Open daily 10am–5pm • carry out and make available such other services, including computers and other technologies, and the printing, publication and sale of books, information and reproductions in relation to pictures, works of art and art exhibits as the Council thinks fit • assist the promotion, organisation and supervision of art galleries and any body or association established for the promotion of art within Victoria • advise the Minister and these organisations on matters of general policy relating to art galleries • provide leadership in the provision of art gallery services in Victoria • carry out other functions as the Minister from time to time approves • carry out any other functions conferred on the Council under this Act. (opposite) Ai Weiwei in conversation with Virginia Trioli during the opening weekend of the exhibition Andy Warhol | Ai Weiwei. 2 3 PRESIDENT’S FOREWORD The strength of the NGV Collection and our ambitious exhibition I would also like to express my sincere thanks to fellow Trustees schedule are supported and enabled by the generosity of the Professor Su Baker, Leigh Clifford AO, Dr Susan Cohn, Peter Edwards, philanthropic and corporate community. The NGV Foundation Lisa Gay, Corbett Lyon, Vicki Pearce, Andrew Sisson and Michael plays a crucial role in the Gallery’s fundraising activities, and many Ullmer for the dedication and expertise they bring to this institution. significant donations made during the past twelve months have The Council Committees and Working Groups also contribute enriched the NGV Collection and supported specific Gallery projects. enormously to the NGV and I would like to thank the external members The 2015 NGV Annual Appeal successfully raised funds to acquire who volunteered their time and guidance: Caroline Coops, Jane Howard Arkley’s Actual fractual, 1994, and I thank everyone who Harvey, Stephen Ridgeway and Tam Vu on the Audit, Risk and supported the acquisition, in particular the Fox Family Foundation, Compliance Committee; Chris Pidcock on the Investment Committee; Robert Gould and Carol Sisson. Chris Thomas on the Remuneration and Nominations Committee; John Cunningham and Ian Tully on the Victorian Foundation for Living In December 2015 Mrs Krystyna Campbell-Pretty, in memory of Australian Artists Committee; and President of the NGV Foundation Harold Campbell-Pretty, generously provided funds for the Gallery Board Hugh Morgan AC and board members Bill Bowness, Krystyna to acquire a remarkable collection of 130 haute couture garments Campbell-Pretty, Nicole Chow, Philip Cornish, Katie Dewhurst, Paula and an extensive fashion archive that will transform the NGV’s fashion Fox AO, Morry Fraid, John Higgins, Joanna Horgan, Craig Kimberley collection and enable the research and display of key decades of OAM, Sarah Morgan, Dr Geoff Raby, Michael Tong and Kee Wong. French high fashion. Krystyna and the Campbell-Pretty family have also continued to support the Schools Access Program which The many positive outcomes the NGV has achieved over the past enables access to the Gallery for students from schools that year would not be possible without the support of the Victorian have not previously visited. Government, and on behalf of the Council of Trustees and the NGV’s executive management team we sincerely thank Victorian Premier, the The Loti and Victor Smorgon Fund has provided a lasting legacy to Hon. Daniel Andrew MP; the Minister for Creative Industries, Martin the NGV over many years, supporting numerous projects including the Foley MP; the Secretary of the Department of Economic Development, series of Federation Court Commissions which showcase important Jobs, Transport and Resources, Richard Bolt; and the Deputy On behalf of the Council of Trustees of the National Gallery of Victoria, A significant measure of the year’s accomplishments is the recording works by contemporary artists. In 2015 the Loti and Victor Smorgon Secretary, Creative Victoria, Andrew Abbott. I am pleased to present the NGV’s Annual Report for 2015/16. of 2.6 million visitors to the NGV during the period. This represents an fund enabled the commissioning of Rock melt, 2015, by Jamie North, increase of 15% on last year’s attendance and is a remarkable 72% The Dawn, 2014, by Emily Floyd, and We'll see how all reverberates, The NGV holds a special place in the cultural life of Melbourne, and It was an honour to be appointed to the role of President of the NGV higher than figures from five years ago. The steady growth in visitation 2012, by Carlos Amorales. we look forward to continuing to provide many exciting opportunities Council of Trustees in late 2015, and I have been delighted to work over this period is a testament to the bold vision that NGV Director for the community to engage with art, ideas and events in the alongside my fellow Trustees, the executive management team and Tony Ellwood and his team have delivered. This year we have reviewed The development of the NGV Collection has also been greatly year to come. NGV staff during what has been another extremely successful year and updated the strategic direction. The Strategic Direction 2016–19 enhanced by a number of bequests received during the period, at the Gallery. builds on the success delivered under the previous plan and will including a significant bequest from the Estate of Dorothy Grace Janet Whiting AM continue to guide the NGV’s mission of innovation and excellence. Elford. We also gratefully acknowledge the generous gift from Morry President, Council of Trustees I would like to begin by acknowledging my predecessor Bruce Fraid of Albert Tucker’s John Batman meets Eliza Callaghan, 1971, August 2016 Parncutt AO for his considerable contribution to the NGV. Bruce The scale of the Gallery’s undertakings would not be possible without and from Christine George of Roger Kemp's Centreform, 1986, both commenced as a Trustee in 2005 and after serving on the Council the support we receive from our broad community, and on behalf of donated through the Australian Government’s Cultural Gifts Program. of Trustees for seven years was appointed its President in 2012. the NGV Council of Trustees I would particularly like to thank our many In this capacity he was instrumental in the growth and success of friends, volunteers, donors, Members, Government and corporate Since 1904 the Felton Bequest has enabled the Gallery to make the Gallery, guiding it through a period of organisational change and partners who all contribute immeasurably to the success of the important acquisitions that have significantly shaped the NGV overseeing the development and implementation of the NGV’s new Gallery.
Recommended publications
  • AN EXAMINATION of VANCOUVER FASHION WEEK by Vana Babic
    AN EXAMINATION OF VANCOUVER FASHION WEEK by Vana Babic Bachelor of Arts in Political Science, European Studies, University of British Columbia, 2005 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF BUSINESS ADMINISTRATION In the Faculty of Business Administration © Vana Babic 2009 SIMON FRASER UNIVERSITY Summer 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Vana Babic Degree: Master of Business Administration Title of Project: An Examination of Vancouver Fashion Week Supervisory Committee: ________________________________________ Dr. Michael Parent Senior Supervisor Associate Professor Faculty of Business Administration ________________________________________ Dr. Neil Abramson Second Reader Associate Professor of International Strategy Faculty of Business Administration Date Approved: ________________________________________ ii Abstract This study proposes a close examination of Vancouver Fashion Week, a biannual event held in Vancouver, showcasing local and international talent. It is one of the many Fashion Weeks held globally. Vancouver Fashion Week can be classified in the tertiary market in terms of coverage and designers showcased. The goal of these fashion shows is to connect buyers, including but not limited to boutiques, department stores and retail shops, with designers. Another goal is to bring media awareness to future trends in fashion. The paper will begin with an introduction to Fashion Weeks around the world and will be followed by an industry analysis.
    [Show full text]
  • MELBOURNE RETAIL and HOSPITALITY STRATEGY 2013–2017 Year 3 Report 2015–16 Foreword
    MELBOURNE RETAIL AND HOSPITALITY STRATEGY 2013–2017 Year 3 report 2015–16 Foreword Melbourne’s retail and Retail and hospitality is one hospitality industries have of Victoria’s largest sectors. continued to thrive during It contributes more than $72 2015–16, underpinned by solid billion to our economy and employment, population and employs more than 500,000 visitation growth. people across the state. This Year 3 Report of the The sector includes everything Melbourne Retail and from food retailing including Hospitality Strategy 2013–17 supermarkets, restaurants outlines the specific measures and cafés, household goods, that the City of Melbourne, apparel, department stores, the Victorian Government and newsagents, pharmaceutical, the industries themselves have cosmetics and recreational undertaken to cement our global reputation as a culinary and goods. The sector is Victoria’s second largest employer and retail destination. it is essential for the state’s growth and prosperity. It also creates unique upstream and downstream economic benefits From 2013 to 2015, retail and hospitality spending within the by helping to generate activities in industries such as City of Melbourne grew by 16 per cent to $3.03 billion. The information technology and supply chains and logistics. largest share came from residents and city workers, who respectively contribute $1.34 billion and $1.17 billion annually. In an era where shifting demand and consumer preferences Our booming tourism industry is responsible for a portion are changing the retail sector worldwide, Melbourne and of this growth with Melbourne welcoming 11.3 million visitors Victoria continue to flourish. In 2016 we saw the opening in 2015–16, including a 9.3 per cent increase in international of St.
    [Show full text]
  • Ad Astra September 1978
    News-Sheet of the Geelong College Community RD 5TRR No. 40 SEPTEMBER 1978 THE CHANGING SCENARIO In a stage production the set designer is able to change the mood of the play by subtle variations from scene to scene with­ out disturbing the main set. And so it appears the same principle • operates in the educational scene. The adaption of many sections of the College to a wide variety of uses is quite a remarkable story and the purpose of this article is to indicate another significant change for which plans and esti mates were approved by the College Council at its meeting on August 17, 1978. In 1921 a suite of buildings was erected on the Aphrasia Street frontage, to be known as the Preparatory School; since 1960 it has been the 'Old Prep' and the 'Maths Centre' and other titles may be remembered. Lately it has been used by home econ­ Cut·owoy perspective drawing of the House of omics, craft, sculpture and mu sic but the Guilds section of the new building , to be situoted plans provide for a substantial change, as on the western side of the existing courtyard. indicated in the plan below. Th e eXisting 'buildings will be modified place the present prem ises of that name engineering, etc. It will provide, also, for to al low for the relocation of the art, will be erected to the west of th e existing expanded facilities for the music depart­ graphic communications and woodwork de­ buildings, taking in the old change room ! ment, a small aUditorium, two ensemble partments in premises that will be more toi let area, the tennis court and the rear rooms and many practice rooms.
    [Show full text]
  • Ngv Annual Report 2019 / 20
    ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV ANNUAL REPORT 2019 / 20 COUNCIL OF TRUSTEES OF THE NATIONAL GALLERY OF VICTORIA, AUSTRALIA NGV INTERNATIONAL 180 St Kilda Road THE IAN POTTER CENTRE: NGV AUSTRALIA Federation Square National Gallery of Victoria PO Box 7259 Melbourne VIC 3004 Australia +61 3 8620 2222 www.ngv.vic.gov.au ISSN: 2206-4982 RESPONSIBLE BODY’S DECLARATION In accordance with the Financial Management Act 1994, I am pleased to present the Council of Trustees of the National Gallery of Victoria’s Annual Report for the year ending 30 June 2020. Janet Whiting AM President, Council of Trustees 27 August 2020 (cover) KAWS American 1974– GONE 2019 (installation view) patinated and painted bronze 700.0 x 710.5 x 294.0 cm Commissioned by the National Gallery of Victoria, 2020 (2020.177) © KAWS CONTENTS OVERVIEW SUPPORT About the National Gallery of Victoria 5 Affiliated groups 137 President’s foreword 6 2019/20 Donors 140 Director’s review 8 NGV Foundation Members 146 Strategic framework 10 Felton Society Members 154 Report against output targets 11 NGV Life Members 156 Emeritus Trustees and Foundation Board members 157 2019/20 PERFORMANCE REPORT The Felton Bequest 157 Bringing art and design to life 13 Partners 158 Connecting audiences 20 Realising our potential 24 GOVERNANCE Building for the future 26 Council of Trustees 167 Sharing our vision 28 Council Committees and working groups 169 Exhibitions Listing 32 Workforce data 170 Acquisition Listing 36 Organisational structure 173 Publications Listing 64 Other corporate reports 174 Disclosure index 184 2019/20 FINANCIAL REPORT Five-year financial summary 71 Independent audit report 74 Financial statements 76 Notes to the financial statements 82 OVERVIEW ABOUT THE NATIONAL GALLERY OF VICTORIA ORIGINS STATE COLLECTION Founded in 1861, the National Gallery of Victoria (NGV) is The State Collection comprises approximately 73,000 works Australia’s oldest public art gallery.
    [Show full text]
  • The Demise and Transfiguration of Haute Couture
    008-021_INDUMENTA_01 29/1/09 14:19 Página 8 The demise Pablo Pena González Doctor of Art History. Professor of Design History and transfiguration for the Region of Madrid [email protected] of Haute Couture ABSTRACT: Contrary to the prediction prêt-à-porter is an industry. This article of Yves Saint-Laurent, Haute Couture does not address the necessary, eternal has not died. After two decades of death and universal profession of tailoring, throes, breathing tubes still pump life but rather the Parisian institution that, through its veins to ensure that it contin- one day in its youth, looked in the mir- ues to lead luxury market advertising. ror and said, “I am haute.” And since Of course, this is not the state we fash- this article may be of interest to people ion professionals, whether designers or outside the industry, I will begin by ex- writers, would wish for, nor do we ap- plaining what “haute” means as applied prove of the postmodern direction that to couture. recent Haute Couture has taken, which a. “Haute” means “expensive.” Haute is progressively sullying rather than glo- literally means “high” and, if we analyse rifying the profession of fashion design- it semantically, couture cannot be high ers. This article offers numbers, state- any more than it could be fat. The epi- 1 As quoted by the journalist Corinne Jeammet. ments and reflections made by the thet “high” was appended in a Unless otherwise indicated, all quotes protagonists of Parisian couture, enough metaphorical sense, and I think this was appearing in the article are taken from the to certify the debacle of the last aristo- done to mask its gory significance: high cratic art in history.
    [Show full text]
  • Unique Botanical Work Discovered
    - Unique botanical work discovered Mueller's mock-up for second 'Flora' A unique interleaved and bandworked version of tbe nallon's first botanical guide, Flora Australiensis, bas been discovered in tbe Monash Library. It is believed the 19-volume set, con­ The printed plates are from Mueller's taining hand-written notes and original other publications, including the Reglltered by Australia Poet - publication No. VBG0436 drawings, was being prepared by the 12-volume Fragmenta Phytographiae then Government Botanist of Austra/iae (in Latin), published by the NUMBER 6-88 AUGUST 6, 1986 Melbourne, Baron Ferdinand von Victorian Goverrtment between 1858 Mueller, as a mock-up for a second and 1882. edition. All the original drawings and pain­ Mueller. who was also the first direc­ tings have been identified in manuscript tor of the Melbourne Botanical and one hand in particular showed Gardens, had collaborated with British European style, Mrs Radvansky said. botanist, George Bentham (1800-1884) "We thought it might be Mueller's, r----------ii,<!I;:;::!!'2. in the writing of the seven-volume Flora and asked the herbarium for copies of Australiensis: A description 0/ the his handwriting and that of his plants of the Austra/ian territory. associates. But his IS years' involvement in the "We can now confirm that the writing collection, . identification, description was definitely his." and despatch of specimens was given Flora Australiensis is one of more scant recognition. than 700 items of early Australiana ac­ Rare Books librarian, Mrs Susan Rad­ quired during Monash's first 25 years. vansky, who discovered the unique set, The origins of many are obscure said it would not be surprising if Mueller because they arrived in boxloads and had been contemplating a second edition while the names of the donors were given George Bentham's prominence as noted.
    [Show full text]
  • Fashioning Arkley
    Fashioning Howard Arkley Keywords: Arkley / fashion / self-fashioning Abstract Melbourne painter Howard Arkley (1951-99) is best known for his images of suburban houses, but during his twenty-five-year-long career he explored a wide range of themes, including the human body and its embellishment. Fashion and textile design interested Arkley as forms of contemporary visual culture with popular, everyday and ‘functional’ dimensions. In the later 1970s, he recycled patterns derived from fabric and other everyday sources, as part of his investigation of the parallels and contradictions between abstraction and domestic decoration. In the early 1980s, he turned to figuration, incorporating references to Punk, graffiti, tattooing and other signs of ‘subcultural’ style; the body, in these works, became the site for contradictory forces. In 1984, Arkley made extensive plans for his own ‘Fashion Show’, and, even though this exhibition never eventuated, a clear sense of the works he planned for it may be gained from his detailed notes and sketches, and relevant source material extant in his studio collection. With these ideas still fresh in his mind, he came across the special fashion issue of Domus magazine, published in March 1985, which provided him with further inspiration. Alessandro Mendini’s Domus editorial, treating fashion as a medium whereby everyone can behave as an artist, surely struck a chord with Arkley, in light of his long-standing interest in dissolving distinctions between art and the everyday, and his own taste for idiosyncratic clothing and masquerade. Finally, Arkley’s own ‘self-styling’ is discussed, in connection with various images of and by him; and some consideration is given to the theoretical issue of ‘fashioning the self’ and its relationship to the construction of identity.
    [Show full text]
  • Melbourne-Metropolitan-Tramways-Board-Building- 616-Little-Collins-Street-Melbourne
    Melbourne Metropolitan Tramway Study Gary Vines 2011 List of surviving heritage places Contents Horse Tramways ...................................................................................................... 2 Cable Tram engine houses..................................................................................... 2 Cable Tram car sheds ............................................................................................. 6 Electric Tram Depots .............................................................................................. 8 Waiting Shelters ...................................................................................................... 12 Substations .............................................................................................................. 20 Overhead and electricity supply ............................................................................ 24 Sidings and trackwork ............................................................................................ 26 Bridges ..................................................................................................................... 29 Workshops ............................................................................................................... 32 Offices ...................................................................................................................... 32 Recreation buildings ............................................................................................... 33 Accommodation
    [Show full text]
  • Portrait Report
    IMMERSIVE ART PEDAGOGY: (RE)CONNECTING ARTIST, RESEARCHER AND TEACHER A project submitted in fulfilment of the requirements for the degree of PhD Geraldine M. Burke M.A. School of Education, College of Design and Social Context, RMIT University June 2013 Declaration DECLARATION I declare that: a) except where due acknowledgement has been made, the work is that of the author alone; b) the work has not been submitted previously, in whole or in part, to qualify for any other academic award; c) the content of the project is the result of work carried out since the official commencement date of the approved research program; d) any editorial work, paid or unpaid, carried out by a third party is acknowledged; e) ethics procedures and guidelines have been followed. Geraldine M. Burke 30 June 2013 ii Acknowledgements ACKNOWLEDGEMENTS Sincere thanks go to my Supervisors, Associate Professor Geoff Shacklock and Professor David Forrest. Together they offered considered and thoughtful advice while also challenging me to extend my research capacity within the parameters of the study. I thank them for their ongoing support across the years of my study. Thanks also to Professor Karen Malone, whose supervision in the early stages of my candidature encouraged me to take on this study in the first instance. Appreciation is also extended to the research participants whose generosity led to the sharing of artwork and stories that, in turn, made the study all the more meaningful. My gratitude is also extended to the project team with whom I worked while undertaking the Creative Junction Project. The project would not have been possible without their professionalism and dedication.
    [Show full text]
  • Heide Museum of Modern Art 2015 Annual Report Heide Museum of Modern Art 2015 Annual Report
    HEIDE MUSEUM OF MODERN ART 2015 ANNUAL REPORT Heide Museum of Modern Art 2015 Annual Report CONTENTS 1. STATEMENT OF PURPOSE & VALUES 1 2. HONORARY APPOINTMENTS 2 3. CHAIRMAN & DIRECTOR’S REPORT 3 4. CULTURAL PROGRAMMING 7 4.1 Exhibitions 7 4.2 Public Programs 15 4.3 Education 16 5. COMMERCIAL OPERATIONS 19 5.1 Store 19 5.2 Visitor Services 21 5.3 Membership 22 5.4 Event Hire 22 5.5 Café Vue at Heide 22 6. COLLECTION 25 6.1 Acquisitions 27 7. FacILITIES 37 7.1 Maintenance 37 7.2 Gardens 38 8. MarKETING & COMMUNIcaTIONS 41 9. DEVELOPMENT 45 9.1 Heide Foundation 45 9.2 Heide Director’s Circle 48 9.3 Grants 48 9.4 Development Committee 49 9.5 Heide Fellow 49 9.6 Annual Fundraising Dinner 49 9.7 Corporate Partnerships 50 9.8 Local Government Support 50 9.9 Sponsored Exhibitions 51 10. GOVERNANCE 56 10.1 Board 57 10.2 Heide Board Sub-Committees 59 10.3 Board Directors & Senior Management Personnel 60 11. STAFF & VOLUNTEERS 63 12. FINANCIAL STATEMENTS 66 13. NOTES TO THE FINANCIAL STATEMENTS 79 Cover image Gareth Sansom DIRECTORS’ DECLARATION 97 Religiosity á la Mode 2000 (detail) oil and enamel on canvas INDEPENDENT AUDIT REPORT 98 183.5 × 213.5 cm Heide Museum of Modern Art, Melbourne gift of Lion Capital Pty Ltd 2010 © the artist All images © the artist or their estates ii 1. Statement of Purpose & Values Heide Museum of Modern Art 2015 Annual Report STATEMENT Heide offers an inspiring, educational and thought-provoking OF PURPOSE experience of modern and contemporary art, architecture, gardens and social history.
    [Show full text]
  • Curriculum Vitae: Juan Davila
    1 CURRICULUM VITAE: JUAN DAVILA April 2020 BIOGRAPHY Born 1946 in Santiago, Chile Moved to Australia in 1974 Lives in Melbourne Artist, Editor of Art and Criticism Monograph Series in Melbourne STUDY 1951-1963 Colegio Verbo Divino, Santiago 1965-1969 Law School of the University of Chile 1970-1972 Fine Arts School of the University of Chile INDIVIDUAL EXHIBITIONS 1974 Latinamerican Artistic Coordination, CAL Gallery, Santiago, Chile 1977 Tolarno Galleries, Melbourne, Australia 1979 Latinamerican Artistic Coordination, CAL Gallery, Santiago, Chile 1981 Tolarno Galleries, Melbourne, Australia 1981 Hot Art, Video-Performance, Melbourne City Square, Australia 1982 Roslyn Oxley9 Gallery, Sydney, Australia 1983 Fable of Australian Painting, Tolarno Galleries, Melbourne, Australia 1983 Ned Kelly,Praxis, Fremantle, Australia 1983 Fable of Chilean Painting 1973/83, Sur Gallery, Santiago, Chile 1984 Adelaide Festival, Experimental Art Foundation, Adelaide, Australia 1984 Pieta, Performance Space, Sydney, Australia 1984 The Studio, Sydney College of the Arts, Painted by Penis, Sydney, Australia 1984 Davila, Paintings 1980/84, Sur Gallery, Santiago, Chile 1985 Roslyn Oxley9 Gallery, Sydney, Australia 1986 op. cit., Power Gallery of Contemporary Art, University of Sydney, Australia 1986 Picasso Theft, Avago Gallery, The Arts Workshop, University of Sydney, Australia 1987 Tolarno Galleries, Melbourne, Australia 1987 Bellas Gallery, Brisbane, Australia 1988 Roslyn Oxley9 Gallery, Sydney, Australia 1988 Centro Cultural de la Municipalidad de Miraflores,
    [Show full text]
  • Costume Institute Records, 1937-2008
    Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................
    [Show full text]