Queensland Art Gallery Board of Trustees Annual Report 2010–11 Report of the Queensland Art Gallery Board of Trustees

Total Page:16

File Type:pdf, Size:1020Kb

Queensland Art Gallery Board of Trustees Annual Report 2010–11 Report of the Queensland Art Gallery Board of Trustees 2010–11 Queensland Art Gallery Board of Trustees Annual Report 2010–11 Report of the Queensland Art Gallery Board of Trustees 16 September 2011 The Honourable Rachel Nolan, MP Minister for Finance, Natural Resources and The Arts GPO Box 611 BRISBANE QLD 4001 Dear Minister I am pleased to present the Annual Report 2010–11 for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual Report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be accessed online at www.qag.qld.gov.au/about_us/annual_reports Yours sincerely, Professor John Hay, AC Chair, Queensland Art Gallery Board of Trustees Contents Cover: 4 Introduction 80 Engagement with the Asia Pacific region The opening weekend of ‘Surrealism: The Poetry of • Vision • Asian and Pacific Collection Dreams’, showing Victor • Purpose • Australian Centre of Asia Pacific Art Brauner’s Loup-table • About the Queensland Art Gallery 82 Performance measures (Wolf-table) 1939,1947 | Donation of Jacqueline 83 Collection acquisitions Victor-Brauner 1982 | 7 Chair's overview 97 Exhibitions schedule and sponsors Collection: Musée national 101 Publications d'art moderne, Centre 11 Director’s overview Pompidou, Paris | © Victor 105 Statistical summary Brauner/ADAGP. Licensed 14 Background by Viscopy, Sydney, 2011 106 Financial performance 14 Government objectives • Summary of financial performance Inside cover: 15 Strategic plan 2010–15 Inside Céleste Boursier- • Budget versus actual results Mougenot’s from here 15 Operational plan 2010–11 to ear (v.13) 2010 sound • Financial statements installation for ‘21st 16 Outcomes • Certification of the financial statements Century: Art in the First • Independent auditor’s report Decade’ | Purchased 2011. 16 Institutional profile Queensland Art Gallery • Exhibitions 128 Proposed forward operations Foundation • Xstrata Coal Queensland Artists’ Gallery • Strategic plan 2011–16 Installation views of ‘Art, • National partnerships • Operational plan 2011–12 Love and Life: Ethel Carrick • Australian Cinémathèque and E Phillips Fox’. Photographs: Brad Wagner • National and International touring 131 Governance exhibitions 131 Management and structure • Business development • Organisational structure 29 Cultural tourism • Queensland Art Gallery Board • Partnerships of Trustees • Strategic tourism marketing • Executive management 39 Collection development • Queensland Art Gallery Foundation • Acquisition highlights • Audit and Risk Management Committee • Collection exhibition and display • Workplace Health and Safety highlights Committee • Collection resource lounge 136 Compliance • Publishing 137 Human resources • Collection management 138 Operations 61 Accessibility and education 140 Feedback form • Regional programs and services • Children’s Art Centre 141 Glossary • Public Programs • Gallery Members • Education • Online strategy Introduction Queensland Art Gallery Board of Trustees Annual Report 2010–11 5 Introduction Vision Increased quality of life for all Queenslanders through enhanced access to, understanding and enjoyment of, the visual arts, and furtherance of Queensland’s reputation as a culturally dynamic state. Purpose The Gallery’s after-hours significant national survey of contemporary Australian The Gallery’s Collection comprises more than 15 000 To be the focus for the visual arts in Queensland and The Gallery annually presents a program of Australian programming takes full art and highlights the extraordinary range, ambition and historical and contemporary Australian, Indigenous a dynamic and accessible art museum of international and international exhibitions, showcasing art works from advantage of GoMA’s achievement of contemporary practice. ‘Contemporary Australian, Asian, Pacific and other international works standing. a diverse range of artists as well as art movements of spectacular position on the Brisbane River Australia: Optimism’, was the first exhibition in the of art. historical importance and contemporary interest. Since series (15 November 2008 – 22 February 2009) and the About the Queensland Art Gallery becoming a two-site institution in 2006, the Gallery has second will open in early 2012. The Queensland Art Gallery is governed by the presented a number of major international exhibitions Queensland Art Gallery Board of Trustees. The Queensland Art Gallery (QAG) is Queensland's including: ‘Andy Warhol’, ‘Picasso & his collection’, The Queensland Art Gallery is the only state gallery premier visual arts institution. The driving philosophy of ‘American Impressionism and Realism: A Landmark in Australia to provide a comprehensive program of Queensland Art Gallery Board our institution is to connect art and people and in 2010 Exhibition from the Met’ and ‘Valentino, Retrospective: Collection-based travelling exhibitions, educational of Trustees the two-site Queensland Art Gallery was the most visited Past/Present/Future’. The Gallery’s contemporary art services and public programs to regional areas as part of art museum in Australia. exhibitions and programs have positioned GoMA as its core business. This year’s Regional Services program The Board is a statutory body. Its existence, functions and Australia’s leading contemporary art museum. included two travelling exhibitions and four public powers are set out in the Queensland Art Gallery Act 1987. Established in 1895 as the Queensland National Art programs which are profiled on pages 63–67. Gallery, the Gallery was housed in a series of temporary The Gallery's flagship project is the Asia Pacific Triennial For performing its functions, the Board has all the premises throughout its early history. It did not have of Contemporary Art (APT) series of exhibitions, the The Children’s Art Centre is recognised as an powers of an individual and may, for example, enter a permanent home until the opening of its current only major recurring international exhibition to focus international leader in developing interactive art projects into arrangements, agreements, contracts and deeds; architecturally acclaimed building as part of the Cultural exclusively on contemporary art of Asia, the Pacific and for children, as well as a dynamic children’s publishing acquire, hold, deal with and dispose of property; engage Centre at South Bank in 1982. Australia. Over the 20 years since the inception of this program. It is also well regarded for its innovation in consultants; appoint agents and attorneys; charge, and exhibition series, the Gallery has formed an internationally audience access, through presenting engaging, large- fix terms, for goods, services, facilities and information The second site, the Gallery of Modern Art (GoMA), significant collection of art from the Asia Pacific region scale public programs and integrating new technologies supplied by it; and do anything else necessary or opened in December 2006. GoMA focuses primarily on and has recently begun a series of country-specific to enhance visitor experience. desirable to be done in performing its functions. the presentation of art of the twentieth and twenty-first exhibitions from the Collection including ‘The China centuries. Project’ (2009) and ‘Unnerved: The New Zealand Project’ The Gallery’s Australian Cinémathèque presents curated Further information on the Queensland Art Gallery (2010). film programs and exhibitions exploring the important Management and Structure is available on page 131. lines of influence between the moving image and other ‘Contemporary Australia’ is the Gallery’s series of areas of visual culture. contemporary Australian art exhibitions. The series is a Chair's overview Queensland Art Gallery Board of Trustees Annual Report 2010–11 7 Chair’s overview During its 14-week exclusive The Queensland Art Gallery has continued its commitment Queensland and Minister for Reconstruction, and the season at the Gallery of to enhancing the cultural life of Queenslanders by new Minister for the Arts, Rachel Nolan, MP, Minister for Modern Art (7 August – providing access to, understanding and enjoyment of, the Finance, Natural Resources and The Arts. Our thanks 14 November 2010), ‘Valentino, Retrospective: visual arts, through an exceptional range of exhibitions, go to Ken Smith and John Bradley, former and current Past/Present/Future’ programs and publications in 2010–11. Directors-General, Department of the Premier and attracted more than Cabinet; Leigh Tabrett, PSM, Deputy Director-General, 200 000 visitors Guided by our philosophy of bringing people and art Arts Queensland; and the Executive and staff of Arts together, the Gallery has firmly established its position Queensland and Events Queensland for their support. We as a national leader in the presentation of modern and also extend our thanks to the Australian Government, the contemporary art and ideas. In 2010–11, we have Australia Council for the Arts, and Visions of Australia. continued to attract national and international visitors to the Gallery, recording 1 681 399 visitors across the two Santos’ landmark partnership with the Gallery, supporting sites — an increase of over 280 000 on last financial year. the annual summer series of exhibitions and the Children’s Art Centre is built on a mutually beneficial relationship ‘Valentino, Retrospective: Past/Present/Future’ attracted
Recommended publications
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • 1 AFANADOR, Ruven. Torero. with an Introduction by Hector Abad Faciolince
    1 AFANADOR, Ruven. Torero. With an introduction by Hector Abad Faciolince. Poems by Gloria Maria Pardo Vargas. (Thalwil/Zurich and New York): Edition Stemmle, (2001). Large 4to. Orig. boards. Dustjacket. Unpaginated. Copiously illustrated with full-page b/w photographic images, and text-illusts. Title-page printed in orange and black ink. Fine. $150 2 AMIS, Kingsley. The James Bond Dossier. London: Cape, (1965). 8vo. Orig. black cloth with blind-stamped stylised “007” on front cover. Spine gilt. Dustjacket designed by Jan Pienkowski, based on Richard Chopping’s famous trompe l’oeil Bond dustjackets. (160pp.). 1st ed. Tabular reference guide to the Bond novels at end. Some light foxing to endpapers, otherwise fine. $125 3 ANDERSON, D.G. Australia’s Contribution to the Development of International Civil Aviation. (Being) the Second Sir Ross and Sir Keith Smith Memorial Lecture delivered to the Adelaide Branch of the Royal Aeronautical Society - Australian Division. (Adelaide April 1960). 4to. Orig. printed wrapper. Unpaginated. Illustrated. Text printed in double-column. Ex-library copy. $50 4 ANGAS, George French. Savage Life and Scenes in Australia and New Zealand: Being an Artist’s impressions of Countries and People at the Antipodes. 2 vols. London 1847. (Facs. Adelaide 1969). 8vo. Orig.cloth. With col. frontispiece, title-vignettes, 12 full-page plates, and text-illusts. (Aust. Facsimile Editions, No. 184). Fine. The original prospectus loosely inserted. $100 5 ARNOLD, Matthew. The Scholar Gipsy & Thyrsis. London: Phillip Lee Warner, 1910. Large 4to. Orig. full gilt-illust. vellum with bevelled boards. Spine gilt titled. T.e.g. other edges uncut. (x, 68pp.).
    [Show full text]
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • Teacher's Notes
    Teacher’s Notes These teacher’s notes support the exhibition Cream: Four Decades of Australian Art. They act as a lesson plan, and provide before, during, and after gallery visit suggestions to engage your class with Australian modern art. This resource has been written to align with the draft version Australian Curriculum: The Arts Foundation to Year 10 – 2 July 2013 for Visual Arts as standard reference at the time of production. Used in conjunction with Rockhampton Art Gallery’s Explorer Pack, educators can engage students with concepts of artists, artworks and audience. The questions and activities are designed to encourage practical and critical thinking skills as students respond to artworks in Cream and when making their own representations. The Explorer Pack is free and available upon request to Rockhampton Art Gallery or via the host gallery. This education resource could not exist without the generous support of the Tim Fairfax Family Foundation and Rockhampton Art Gallery thanks the Foundation for their commitment to arts education for regional audiences. Rockhampton Art Gallery would also like to acknowledge the contribution of Education Consultant Deborah Foster. Cream: Four Decades of Australian Art The story of Rockhampton Art Gallery’s modern art collection is a tale of imagination, philanthropy, hard work and cultural pride. Lead by Rex Pilbeam, Mayor of the City of Rockhampton (1952–1982), and supported by regional businesses and local residents, in the mid-1970s the Gallery amassed tens of thousands of dollars in order to develop an art collection. The Australian Contemporary Art Acquisition Program, run by the Visual Arts Board of the Australia Council, would match dollar for dollar (later doubled) all monies raised locally.
    [Show full text]
  • Escape Artists Education
    ESCAPEartists modernists in the tropics education kit INTRODUC TION & H TEAC ERS NOTES Almost two years in development, Escape Artists: Modernists in the Tropics is the first exhibition by Cairns Regional Gallery to tour nationally. In this exhibition, you and your students will see how the tropical north of Australia has influenced Australia’s greatest artists, some of whom you will be familiar with, others less familiar. The artists featured in the exhibition are: • Harold Abbott • Valerie Albiston • Douglas Annand • Yvonne Atkinson • John Bell • Yvonne Cohen • Ray Crooke • Lawrence Daws • Russell Drysdale • Ian Fairweather • John Firth-smith • Donald Friend • Bruce Goold • Elaine Haxton • Frank Hinder • Frank Hodginson • Sydney Nolan • Alan Oldfield • Margaret Olley • John Olsen • Tony Tuckson • Brett Whitely • Fred Williams • Noel Wood The lure of an exotic, untouched, tropical paradise has a tradition in modern art beginning with Gaugin in Tahiti. It was this desire to discover and explore new worlds which attracted these artists to the Far North - a part of Australia like no other they had seen. Here they found a region of extraordinary, abundant natural beauty and a cultural pot pourri of indigenous inhabitants and people from all over the world. This exciting mixture of important artworks was assembled from major private and public collections by Gavin Wilson,curator of the successful Artists of Hill End exhibition at The Art Gallery of News South Wales. Escape Artists provides a significant look at the cultural and historic heritage of North Queensland and the rest of northern Australia. You and your students will find some pleasant surprises among the works in the exhibition.
    [Show full text]
  • Pdf, 469.88 KB
    Heritage Citation Selwyn Key details Also known as The Manse Addresses At 40 Dorchester Street, South Brisbane, Queensland 4101 Type of place House Period Victorian 1860-1890 Lot plan L21_RP127282 Key dates Local Heritage Place Since — 30 October 2000 Date of Citation — June 2015 Construction Roof: Corrugated iron; Walls: Brick - Painted Criterion for listing (A) Historical; (B) Rarity This house was constructed by 1881 and was used as a manse for the Congregational Church in South Brisbane. The manse became the residence of the church’s ministers, and was occasionally used to host social events. The manse remained in use by the church until 1964 when it served for a brief time as a community centre before being sold into private hands. The Manse remains in use as a private residence to this day. History The Congregational Church came to Queensland in the 1850s, with the establishment of churches at Ipswich and Brisbane. A South Brisbane parish was established relatively early, with a growing population and a popular minister ready to serve in the area. The first meeting of the South Brisbane church was held at the Mechanics Institute in Stanley Street on 9 July 1865. Its first permanent place of worship was established in Grey Street, Date of Citation — June 2015 Page 1 with the inaugural service held on 13 January 1867. South Brisbane was quickly growing into a popular residential suburb, and the South Brisbane Congregational Church attracted some of Brisbane’s prominent citizens, including banker Sir Alfred Charles Davidson and land agent Simon Fraser. The congregation reached out into the community, holding annual tea services and a series of public lectures.
    [Show full text]
  • Danks News Final
    Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm
    [Show full text]
  • Dragon Tails 2017 Hopes, Dreams and Realities
    5th Australasian conference on Chinese diaspora history & heritage Dragon Tails 2017 Hopes, Dreams and Realities Conference program Golden Dragon Museum Bendigo, Victoria, Australia 23-26 November 2017 0 Contents Conference program 4 Program - Timetable at a glance 4 Program in detail 5 Abstracts and speaker profiles 8 List of participants 25 Event Partner Conference Sponsors La Trobe Asia The Asia Institute La Trobe University The University of Melbourne www.latrobe.edu.au/asia arts.unimelb.edu.au/asiainstitute Conference Contacts For questions or problems during the conference, please see the Registration desk. You should also feel free to speak to the convenors. In case of emergencies, call Nadia Rhook 0409 807 516, Leigh McKinnon 0407 303 518, Paul Macgregor 0418 571 572 www.dragontails.org.au [email protected] Twitter: @dragontailsconf Hashtag #dtails17 Dragon Tails 2017 Hopes, Dreams and Realities 5th Australasian conference on Chinese diaspora history & heritage Golden Dragon Museum, Bendigo, Victoria, Australia 23-26 November 2017 Hopes and dreams have profoundly shaped the histories of Chinese people and their descendants in Australasia and abroad. This central theme of “Dragon Tails 2017: Hopes, Dreams and Realities” highlights not only the role of imagination in shaping the actions of Chinese-Australasians, but also the realities and challenges that Chinese-Australasians have historically encountered in pursuing their hopes and dreams. The Dragon Tails conferences promote research into the histories and heritage of Chinese people, their descendants and their associates, in Australasia (Australia and New Zealand). The conferences also encourage awareness of the connections of Chinese in Australasia with the histories of Chinese people, their descendants and their associates in other countries.
    [Show full text]
  • Annual Report 2010–11
    ANNUAL REPORT 2010–11 ANNUAL REPORT 2010–11 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Thapich Gloria Fletcher Dhaynagwidh (Thaynakwith) people The vision of the National Gallery of Australia is the Eran 2010 cultural enrichment of all Australians through access aluminium to their national art gallery, the quality of the national 270 cm (diam) collection, the exceptional displays, exhibitions and National Gallery of Australia, Canberra programs, and the professionalism of Gallery staff. acquired through the Founding Donors 2010 Fund, 2010 Photograph: John Gollings The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, (back cover) corporate governance, administration and financial and Hans Heysen business management. Morning light 1913 oil on canvas In 2010–11, the National Gallery of Australia received 118.6 x 102 cm an appropriation from the Australian Government National Gallery of Australia, Canberra totalling $50.373 million (including an equity injection purchased with funds from the Ruth Robertson Bequest Fund, 2011 of $15.775 million for development of the national in memory of Edwin Clive and Leila Jeanne Robertson collection and $2 million for the Stage 1 South Entrance and Australian Indigenous Galleries project), raised $27.421 million, and employed 262 full‑time equivalent staff. © National Gallery of Australia 2011 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.
    [Show full text]
  • Fantin-Latour in Australia
    Ann Elias Fantin-Latour in Australia Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Citation: Ann Elias, “Fantin-Latour in Australia,” Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009), http://www.19thc-artworldwide.org/autumn09/fantin-latour-in-australia. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Elias: Fantin-Latour in Australia Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Fantin-Latour in Australia by Ann Elias Introduction Australia is described as "a country of immigration"[1] and its non-indigenous people as "a cutting from some foreign soil."[2] This is an apt metaphor for a postcolonial population cut from British stock, then transplanted to the Antipodes in the eighteenth century, and augmented, changed, and challenged throughout the nineteenth century by migrations of European (British and other) and Asian nationals. The floral metaphor can be extended by speaking of migration and settlement in terms of grafting, hybridizing, and acclimatizing. In the early part of the nineteenth century, settlers viewed the landscape of Australia— including all flora and fauna—as "wild and uncivilised, almost indistinguishable from the Indigenous inhabitants."[3] The introduction, therefore, of flora and fauna from Britain was an attempt "to induce an emotional bond between Australian colonies and the mother country." [4] So too was the importation of art and artifacts from Britain, France, and other European countries, which was a further effort to maintain ties with the Old World.
    [Show full text]
  • THE HARVEST of a QUIET EYE.Pdf
    li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and .
    [Show full text]
  • Community Directory Volume I 2003 - 2016
    Standards Community Directory Volume I 2003 - 2016 The Standards Review Program has been developed by Museums & Galleries of NSW and Museums & Galleries Queensland and funded by Arts NSW and Arts Queensland. 2 Welcome to the Standards Community 2017 What is the Standards Review How do I use the Standards Program? Community Directory? This program, implemented by Museums & Galleries of NSW The Standards Community Directory features a profile of each (M&G NSW) in 2003, and since 2005 in partnership with museum and gallery that has gone through the Standards Review Museums & Galleries Queensland (M&G QLD), supports Program. The profile includes a description of each organisation, museums and galleries through a process of self-review and contact details and how they benefitted from participating in the external feedback. Standards Review Program. It provides an exciting opportunity for museums and galleries Each organisation listed in this directory: to assess their practices and policies against the National • Is promoting its unique profile to the “Standards Community” Standards for Australian Museums and Galleries. The program and wider audiences aims to establish a long term network for sustainable community • Is available to assist and answer any questions you may museums and galleries as well as acknowledging the hard work have as you undertake each stage of the Standards Review undertaken by volunteers and paid staff to maintain Australian Program heritage. • Is contactable via the details and hours as per their profile page What are the key components? • Will share with all other “Standards Community” members (including new members) their achievements and outcomes • Working with regional service providers to develop ongoing from participating in the Standards Review Program support for museums and galleries • Has provided words of support and encouragement to new • Self-assessment by participants guided by the National participants in the Standards Review Program.
    [Show full text]