Art Gallery of New South Wales Annual Report 2007–08 Contents The Hon Nathan Rees 2 Vision, purpose, pledge of service ART Premier and Minister for the Arts GALLERY Year in brief Parliament House NSW 4 Highlights Macquarie Street 6 Performance summary SYDNEY NSW 2000 7 Corporate plan and outcomes 12 President’s foreword 14 Director’s statement Dear Minister, 18 Collections 30 Exhibitions and audiences It is our pleasure to forward to you for presentation 40 Educational, community and regional activities to the New South Wales Parliament the Annual 50 Publications Report for the Art Gallery of NSW for the year 54 Building and environmental management ended 30 June 2008. 56 Individual giving This report has been prepared in accordance with the provision of the Annual Reports 57 Business development (Statutory Bodies) Act 1984 and the Annual Corporate governance Reports (Statutory Bodies) Regulations 2005. 58 Board of Trustees 61 Other Gallery entities 62 Senior management Yours sincerely, 64 Organisation structure Appendices 70 Sponsorship and philanthropy 71 Art prizes and scholarships 71 AGNSW publications for sale 72 Visitor numbers Steven Lowy Edmund Capon 73 Exhibition listings President Director 74 Aged and disability access programs and services 75 Aboriginal and Torres Strait Islander programs and services 76 Ethnic affairs priorities statement 20 October 2008 77 Overseas travel 78 Collection – purchases 81 Collection – gifts 85 Collection – loans 91 Staff, volunteers and interns listings 94 Staff publications, presentations and related activities 98 Customer complaints 99 Electronic service delivery 100 Compliance reporting Financial information 102 Financial commentary 104 Financial summary 105 Independent audit opinion 107 Financial statements 130 General access information 132 Index COVER: Jacques Blanchard Mars and the vestal virgin 1638, oil on canvas, 130 x 110.4 cm Purchased with funds resulting from a gift by James Fairfax AO and with the support of the Art Gallery Society of NSW 2007

Art Gallery of New South Wales Annual Report 2007–08

ART GALLERY NSW With over 1.35 million visitors this year, the Art Gallery of NSW Vision is one of Australia’s most popular art museums and a vital part ‘To maintain our reputation as an energetic, outgoing and accessible Australian art of Sydney’s cultural life. Since the Gallery’s genesis in the 1870s, institution, and at the same time strive to be a major international gallery of the world, our objective has been to collect and present to the public the continuing to inspire, interest and provide enjoyment to our increasingly diverse finest works of art available, with a special emphasis on the audiences.’ artistic traditions of Australia. The Gallery has been located at our Purpose present site in the Domain since 1885. The splendid old galleries, The Gallery’s core purpose is to maintain and designed by government architect Walter Liberty Vernon, display develop a collection of works of art, and to promote understanding and appreciation of the distinguished 19th-century Australian and early European art. Its governing legislation is the Art Gallery of New South Wales Act 1980. collections. The building extensions made to the Gallery The Gallery’s 2003–08 corporate plan sets in the 1970s and ’80s responded to the changing needs of out three mission goals: • To acquire, conserve and present to the both the collection and our audience, doubling the available public the finest works of art available, with exhibition space and celebrating the art of our time with special emphasis on the artistic traditions of Australia. extensive displays of modern and contemporary Australian, • To explore and inspire through our collection and exhibitions, the emotional and intellectual Aboriginal and Torres Strait Islander, and European art. resources of our audiences. The beautiful and contemplative Asian galleries, expanded in 2003, • To create a sense of belonging and provide our visitors with an enjoyable and enduring affirm the Gallery’s commitment to presenting the art and culture experience. of our region. This year the Gallery presented a program of The Gallery has developed and successfully implemented a variety of strategies to achieve over 38 exhibitions, accompanied by a diverse and stimulating these goals. In doing so, we work closely with our key stakeholders, such as the Art Gallery array of public and educational programs. Society of NSW and its approximately 20 000 members; the Art Gallery of NSW Foundation; The Art Gallery of NSW is a statutory body established under the Art Gallery of New South Museums & Galleries NSW; the Department of the Arts, Sport and Recreation; the NSW Wales Act 1980 and is a division, to the Department of the Arts, Sport and Recreation government; and other arts institutions. For more information, see the ‘Corporate plan and outcomes’ section (pages 7–9).

Pledge of service The Art Gallery of NSW aims to provide resources and experiences of the highest quality to all visitors to the Gallery (both physical and virtual) for the enjoyment and study of fine art. The Gallery recognises that the public has a right to expect that services will be provided without discrimination. We continuously seek to improve our service and we welcome feedback, both directly to staff and through regular surveys. For further access information, see p 130.

KOGANEZAWA Takehito Untitled 2007, neon, chair, approx 78 x 127 x 125 cm Gift of Geoff and Vicki Ainsworth 2007 © Koganezawa Takehito

2 ART GALLERY OF NSW ANNUAL REPORT 07–08

Year in brief Highlights

The 2007–08 financial year was very successful for the Gallery, with many important key outcomes. Through purchases and gifts, we acquired for our permanent collections 467 works of art valued at over $14 million. The exhibition program presented 38 new shows, ranging from smaller focus room displays to a major Australian artist’s retrospective which was toured interstate. At 1.356 million, visitor numbers were slightly higher than the previous year’s total of 1.301 million. More than 312 600 people attended the four ticketed exhibitions held this year and over 284 600 participated in public program activities. Collection acquisitions Exhibitions Part of the Gallery’s success as a vibrant The outstanding contemporary art event Sidney Nolan retrospective (2 November and engaging arts institution is the broad of the year was the gift to the Gallery of 2007 – 3 February 2008) tracked the long range of opportunities we provide for John Kaldor’s collection, valued at and successful career of one of Australia’s people to access, enjoy and learn about $30 million. most revered artists. Consisting of 116 works, displayed in strict chronology, the arts. This year we offered hundreds Sidney Nolan’s Hare in trap 1946 was the exhibition represented each critical of performances, courses, lectures, purchased with support from the Nelson phase of the artist’s work. This major curator talks, symposia, musical Meers Foundation, the Margaret Hannah exhibition was toured to the National concerts, films, family programs, school Olley Art Trust and the Art Gallery of Gallery of Victoria and the Queensland programs and daily guided tours of NSW Foundation. This work is a unique Art Gallery. exhibitions and collections. Many of stand-alone masterpiece with powerful these programs were free. autobiographical connotations. The arts of Islam: treasures from the Nasser D Khalili collection (22 June – To promote understanding of and Jacques Blanchard’s Mars and the vestal 23 September 2007) was a dazzling research on the arts, we published virgin was purchased with insurance exhibition for which the Gallery was the 10 major titles, including superb Art funds resulting from the theft in 2007 only Australian venue. Part of Professor Gallery of NSW collection handbooks of the 17th-century Frans van Mieris David Khalili’s private collection, and exhibition catalogues. Several of painting, supplemented by a substantial reputedly the world’s largest assemblage these books attracted strong distributed donation from the Art Gallery Society of Islamic art, this exhibition comprised sales internationally. of NSW. a selection of 350 pieces from the more The financial position of the Gallery David Hockney’s A closer winter tunnel, than 20 000 works in the collection. remains sound, with the NSW government February–March 2006, one of the artist’s contributing 60% of the $57 million in recent Yorkshire landscapes, was total revenues. The Gallery’s net assets purchased with assistance from Geoff totalled $998 million. and Vicki Ainsworth, together with the Some individual highlights for the Art Gallery of NSW Foundation and 2007–08 year include the following. funds from the Florence and William Crosby Bequest. • John Kaldor AM, in front of a work by Ugo Rondinone, speaks at the public announcement Rob and Jenny Ferguson and the of the gifting to the Art Gallery of NSW the Margaret Hannah Olley Art Trust John Kaldor Collection, 3 April 2008. purchased for the Gallery a Giorgio Morandi painting, Still life 1947. • Australian Folklore performer Gerard Cafe The Gallery now has three works by posed in front of Sidney Nolan’s Ned Kelly 1946, this artist, demonstrating the subtle National Gallery of Australia, gift of Sunday Reed range of his works. 1977 © National Australia of Australia. The Gallery acquired two significant • David Hockney, A closer winter tunnel, works through the Edward and Goldie February–March, 2006 oil on canvas, 6 panels, Sternberg Chinese Art Purchase Fund. 190.5 x 381 cm overall. Purchased with funds provided by Geoff and Vicki Ainsworth, the The first was a Qing painting, Embarking Florence and William Crosby Bequest and the on the journey, by Huang Yi, and the Art Gallery of NSW Foundation 2007 second was a celadon Ram-shaped © David Hockney candle holder of the Western Jin dynasty. • Children’s guide Mandy Palmer engaging students from Allambie Heights Primary School with questions about John Olsen’s Five Bells 1963.

4 ART GALLERY OF NSW ANNUAL REPORT 07–08 Publications Education Young audiences One sun one moon: Aboriginal art A very high participation rate in the Designed for children aged 3–5, Tours in Australia is perhaps the largest Gallery’s education programs for primary, for Tots is an innovative adventure tour publishing project ever undertaken by secondary and tertiary education incorporating practical art-making the Gallery. This landmark title provides audiences was achieved in 2007–08, activities and art appreciation for children the most comprehensive survey of with 103 505 student visitors to the and accompanying adults. The themed Aboriginal art currently available. Gallery. Innovative programs and tours draw on all aspects of the Gallery’s resources provided engaging educational permanent collection and are continually Photography collection is the fourth opportunities, allowing students to reviewed and developed. This year we in the Gallery’s collection series. This make the most of their time with us. were pleased to track the success of the book presents a history that focuses program as children successfully made upon the very significant contribution Our Critical Friends Teachers Advisory the transition from Tours for Tots to that photographers have made across Groups provided invaluable support independent participation in holiday the decades to Australian social history to the Gallery’s education programs. workshop programs. and cultural expression. These groups, comprised of teachers from a range of schools, shared their Bertram Mackennal is the only book Community involvement professional insights into classroom currently available on this acclaimed issues, teaching practice and the The highlight of the exhibition artist. Lavishly illustrated, the monograph Visual Arts curriculum, helping us to Translucent world: Chinese jade from addresses Mackennal’s life and art. develop new programs relevant to the the Forbidden City was the extraordinary It includes essays by eminent scholars, Gallery’s audience. interest it generated from the Chinese as well as a catalogue raisonné on community. Chinese-language tours CD-ROM which provides a comprehensive Volunteer guides offered on Saturdays attracted a larger resource on Mackennal and his work. audience than the total of the daily The enthusiasm and commitment of the English-language tours. A one-day Harold Cazneaux: artist in photography volunteer guides, currently numbering community event celebrating the Moon is the only major overview of Harold 115, continues undiminished. During Festival in October included several Cazneaux currently in print. Cazneaux 2007–08, the guides conducted a performances by instrumental, choral, was a luminary in Australian photographic remarkable 5743 tours of the permanent dance and tai chi groups, as well as circles, a pioneer whose aesthetic style collection and major temporary hands-on training in tying Chinese knots. and impressive output had an indelible exhibitions for a total of 69 833 Gallery The VisAsia Hing Yiu Mok Mandarin impact on photographic history in this visitors. These beneficiaries included language lecture was presented by country. 17 735 K–6 children participating in the Zhang Guangwen and Zhang Rong from popular art adventure tours. Regular the Palace Museum in Beijing. The training offered by the Gallery to symposium held in conjunction with the volunteer guides ensures that they are exhibition was supported by the up to date with information on new Australia-China Council and brought exhibitions, new acquisitions and related together a number of leading subjects, issues and events. international scholars to explore the importance of jade in Chinese culture.

ART GALLERY OF NSW ANNUAL REPORT 07–08 5 Year in brief Performance summary

Revenue 2007–08 Expenditure 2007–08 Net assets as at 30 June 2008 $57.3 million $39.5 million $998.2 million

Government Bequests & special Other operating Land & building recurrent income $10.1m 18% $17.8m 45% $160.6m 16% Personnel services funding $19.1m 48% $20.6m Merchandise sales 36% $4.5m 8% Plant, equip & other $19.5m 2%

Admissions Bequests & $2.6m 5% special funds $23.2m 2% Government Collection Other revenue capital funding Insurance Depreciation $795m 80% $5.8m 10% $13.6m 24% $0.5m 1% $2.1m 5%

UNIT NOTE 2003–04 2004–05 2005–06 2006–07 2007–08

Efficiency

Number of employees EFT 1 204 203 210 208 220 Opening days lost to industrial dispute 2 0 0 0 0 0 Hours lost to industrial disputes per employee 0 0 0 0 0 Days lost for workers compensation per employee 1.25 1.50 0.38 0.10 0.00 Average days sick leave per employee 4.00 5.00 2.70 5.00 5.68 Staff turnover rate 10% 12% 8% 8% 10%

Services Total number of visitors thousands 1513 1351 1690 1302 1,356 General admission 1228 1072 1257 1179 1,149 Whiteley Studio 7 9 81010 Touring exhibition 3 266 270 425 113 196 Art After Hours 4 73 61 63 62 62 Number of exhibitions 28 35 52 38 38 Value of exhibition program $m 5 890 232 890 921 1,145 Number of collection objects acquired during year 448 480 585 442 467 Value of collection objects acquired during year $ m 8.0 11.2 9.9 8.2 14.1

Financial Core business expenses $ m -19.2 -18.7 -20.0 -22.5 -21.3 Government funding – recurrent & liabilities assumed $ m 18.8 17.9 19.1 22.5 20.6 Net core business income (deficit) $ m -0.5 -0.8 -0.9 0.0 -0.7 Exhibition and visitor services net income $ m 6 1.4 1.6 3.9 1.5 2.5 Bequest & special funds net income $m 7 7.0 11.7 11.3 15.4 5.4 Government funding – capital $m 8 2.8 2.8 1.8 5.4 13.6 Depreciation / other minor items $ m -1.6 -2.5 -2.2 -1.9 -3.1 Surplus as per financial statements $m 9.5 12.9 14.1 20.5 17.7

Collection $ m 9 603.8 614.8 628.7 781.7 795.0 Land & building $m 10 126.0 133.5 133.5 133.5 160.6 Other $ m 23.2 25.0 28.5 42.4 49.3 Total assets $ m 753.0 773.3 790.7 957.6 1004.9 Total liabilities $ m 4.1 5.1 4.3 3.8 6.7 Net assets as per financial statements $m 748.9 768.2 786.4 953.8 998.2

Data in this table has not been subject to audit

Notes 1 Equivalent full-time (EFT) staff numbers over a 12-month average. Increases from 2005–06 5 Value reflects major Picasso (2002–03); Caravaggio (2003–04); Pissarro (2005–06); mainly reflect temporary exhibition-related casuals. Arts of Islam (2006–07) exhibitions 2 The Gallery is usually open to the public 363 days per year (closed Good Friday and 6 Includes exhibitions, Gallery Shop and venue hire activities. Christmas Day). In 2007–08 it was also closed on 7 September 2007 APEC holiday. 7 Includes Trust funds with controlled purpose, much of it for acquisition of works of art. 3 Includes regional NSW, interstate and overseas tours; 2005–06 had four major shows that 8 Special government capital funding received in 2007–08 for projects in later years. travelled to multiple venues – most years have only two shows travelling. 9 The Gallery’s collections were externally valued in 2006–07 4 Late opening each Wednesday until 9pm commenced 8 January 2003. 10 The Gallery’s building was revalued in 2007–08

6 ART GALLERY OF NSW ANNUAL REPORT 07–08 Year in brief Corporate plan and outcomes

Principal objectives This plan contains six major objectives: During 2007–08, the Gallery reviewed its corporate plan and the new plan will be The Gallery’s principal objectives as 1 Enhance and conserve the state’s art endorsed and effective for the five-year per the AGNSW Act 1980 are to: collection and heritage building. period commencing in 2008–09. • ‘develop and maintain a collection 2 Operate a varied, exciting and active of works of art’; and exhibition program to encourage visitors Measuring our performance and expand appreciation of art. • ‘propogate and increase knowledge The 2003–08 corporate plan includes 3 Provide education and research and appreciation of art’. a number of annual performance programs and services to an ever- measurement targets. The following broadening audience. Corporate goals table details a selection of the strategies, 4 Inspire and explore artistic attitude targets and performance outcomes In line with these principal objectives and and aspiration. achieved in 2007–08. our vision, the Gallery seeks to excel at what we do by continually improving our 5 Operate the Gallery in an efficient and service to the public and thus maintaining effective manner that encourages an our success as one of Sydney’s leading increasing level of public visitation. cultural institutions. In May 2003, the 6 Ensure effective funding sources for Board of Trustees endorsed a corporate the Gallery to support its acquisition plan for the five-year period 2003–08. program and expansion of services.

Strategy Key target Performance outcome

Increase acquisitions of Acquire suitable works for Major acquisitions include Sidney Nolan’s Hare in trap 1946; Jacques artworks – specifically the Gallery. Blanchard’s Mars and the vestal virgin; David Hockney’s A closer winter tunnel, ‘icons’ – and maintain February – March 2006; Giorgio Morandi’s Still life 1947; Antony Gormley’s high standards of Haft 2007; a Qing painting titled Embarking on the journey; and a rare ancient curatorial work and Gandharan Reliquary stupa. conservation. (Objective 1) Many other important works were acquired. In total, 467 works valued at $14.1 million were added to the collection. Also see Collections page 18.

Maintain and refurbish the Ongoing building The three-year $3.6 million program of building works funded by a NSW building in keeping with its maintenance in government in late June 2007 has commenced and is currently tracking on heritage value and its accordance with the plan, time and on budget. The replacement of escalators over three floors will be significance as a public including fire compliance. completed in 2008–09. Additional CCTV cameras and other electronic security venue (including the devices have also commenced roll-out and will be completed in 2008–09. Whiteley Studio). (Objective 1) A new five-year building maintenance program was developed for the Whiteley Studio and a $125 000 fire system upgrade was completed in April 2008.

The NSW government has allocated $27.6 million for the construction of a Resolve current storage purpose-built off-site collection storage facility. This project will include an issues with consolidation upgrade of our loading dock. Development approval for the new facility has of off-site rental space. been received from the council and the tender for construction of the facility will be issued before the end of 2008. Also see Building and environmental management page 54.

Exhibit and feature the Present major Gallery- Sidney Nolan retrospective tracked the long career of one of Australia’s most permanent collection in as curated exhibitions, with revered artists. The exhibition of 116 works, many rarely before seen in public, attractive a manner as success measured by contributed to a fresh experience for a younger generation and perhaps possible and develop critical and visitor rediscovery for those who felt they were familiar with the artist. significant temporary response, catalogues and exhibitions. financial viability. After three years of intensive research, the retrospective exhibition Bertram (Objective 2) Mackennal was the first major show to focus on Australia’s most successful international sculptor.

Harold Cazneaux: artist in photography featured a thematic arrangement of works that charted the visual and conceptual development of Cazneaux’s working life. Also see Exhibitions and audiences p 30.

ART GALLERY OF NSW ANNUAL REPORT 07–08 7 Year in brief Corporate plan and outcomes continued

Strategy Key target Performance outcome

Encourage loyalty and Continue to develop and Gallerykids programs for 3–5 year olds continued their popularity in 2007–08, longer-term commitment improve children’s and despite having no financial assistance from a sponsor for a third year running. among our visitors; family programs. New actors and performers were engaged, ensuring a fresh perspective and broaden the visitor base. engagement with art for loyal followers of our family programs. Of particular (Objectives 2, 3 and 4) note was an interactive show based on the exhibition Sidney Nolan retrospective, in which children could ‘shear sheep’, take part in a muster and play lagerphones as part of a bush band.

During the year, 29 630 people watched and participated in the performances and tours. Although lower than in 2006–07 (an anomaly due to the extraordinary success of Goddess: divine energy collaborative programs), this is nonetheless an increase over 2005–06 numbers. Also see Educational, community and regional activities p 40.

Work with the AGNSW In 2007–08, the Gallery established the Masterpiece Fund, with many Foundation and the Art patrons each pledging a minimum of $100 000 for the acquisition in 2008–09 Gallery Society to grow of Paul Cézanne’s Bords de la Marne. the membership and Also see Individual giving p 56. donor base. The Art Gallery Society remains Australia’s largest arts support organisation, and the great majority of the Gallery’s 320 volunteers are members of the society. In 2007–08, the volunteer guides provided over 58 000 hours of guided tours to just under 70 000 visitors. Also see the Educational, community and regional activities p 40.

Expand the Gallery profile Further develop Asian Art speaks Japanese is an education kit investigating key artworks from the by establishing a ‘centre exhibitions, lectures, collection relevant to the NSW Japanese language syllabus. This extensive of excellence’ in Asian art acquisitions and other resource highlights 16 key artworks from the collection with a CD-ROM without detracting from programs. containing task sheets for middle years and senior secondary Japanese the Gallery’s objective of language students; audio files; and a presentation of images to support the covering all categories text. Produced in partnership with the Japan Foundation, Art speaks Japanese of art. was launched at the Gallery in February 2008. (Objective 1) A raft of innovative education programs and resources was developed in support of The arts of Islam exhibition, with a specific focus on Islamic schools and schools with large populations of Islamic students. Programs included children’s holiday workshops, exhibitions tours, study morning presentations and a K–12 teachers preview. A major online education kit incorporating visual arts and studies of religion was also produced, along with a children’s trail. These programs promoted investigations of the exhibition and further classroom study.

Lend and borrow works Regional program to be Significant loans from the Gallery’s permanent collections were made this year of art; support regional continued. to the National Portrait Gallery, Penrith Regional Gallery, the National Gallery galleries in their of Australia and Queensland Art Gallery, each staging major exhibitions on endeavours. Australian artists John Brack, Peter Upward, Richard Larter and Kenneth (Objectives 2 and 4) Macqueen, respectively. Two touring exhibitions – Cuisine and country, commissioned by Orange Regional Gallery, and Harbourlife: Sydney Harbour from the 1940s to recent times, organised by Manly Regional Art Gallery and Museum – borrowed extensively from the Gallery’s collection of 20th-century Australian art.

With funding provided by Visions of Australia, the 9 shades of Whiteley: regional tour has been in development over the past year. Beginning in July 2008, the exhibition will tour to six regional galleries across three states, including Lismore Regional Gallery, New England Regional Gallery, Maitland Regional Gallery and Bathurst Regional Gallery. Also see Educational, community and regional activities p 40.

8 ART GALLERY OF NSW ANNUAL REPORT 07–08 Strategy Key target Performance outcome

Conduct public programs; Enhance public and The overall participation of 103 505 people in our education audiences – disseminate information education programs for kindergarten to tertiary students, teachers and lecturers – during 2007–08 on art; and contribute to the community. was only slightly below last year’s record attendance of 104 482. However, scholarship for further during the year the Gallery did implement a capacity limit of 1500 school enjoyment and students per day to ensure that sufficient resources were available to appreciation of art, adequately support and manage these groups. particularly with young people. The 2007–08 education programs, held both at the Gallery and externally, (Objective 3) once again focused on further developing the skills of gallery educators, volunteer guides, regional gallery staff, university trainee teachers and practising teachers in the classroom. A total of 24 professional development programs for more than 1793 teachers and educators were delivered, a 49% increase over the previous year. Also see Educational, community and regional activities p 40.

Inspire and explore artistic Focus on quality of One sun one moon: Aboriginal art in Australia, perhaps the most ambitious attitude and aspiration. research, interpretation, publishing project ever undertaken by the Gallery, was published in July 2008 (Objective 4) publication, exhibition and and provides the most comprehensive survey of Aboriginal art available. events. (Produce at least two major collection- The Gallery’s policy of publishing the collection in depth also continued with based publications.) the Photography collection and Brett Whiteley: studio, bringing the number of collection-based handbooks published in recent years to five major titles.

Hardcopy education kits were produced to accompany the exhibitions Bertram Mackennal, Sidney Nolan retrospective and Harold Cazneaux. These kits are an important education resource and downloadable versions are freely available from the Gallery’s website. Also see Publications p 50.

A total of $157 800 in prizes, scholarships and awards was presented during 2007–08, with 10 tenancies in two Paris studios also granted. During 2007–08, the Archibald, Wynne and Sulman Prize money was generously increased by the sponsors. Also see Art prizes and scholarships appendix p 71.

Manage the Gallery Ensure visitor access and The Gallery was fully operational 363 days of the year, with no disruption to operations effectively. enjoyment; ensure no services. The Gallery was closed on 7 September 2007 for the APEC public (Objective 5) disruptions to service. holiday.

During 2007–08 the Gallery recorded just over 1.354 million visitations, which was 4% higher than last year’s attendance total. The Gallery presented 38 exhibitions during 2007–08, the same number as last year.

Meet customer needs by Art After Hours (AAH) to The AAH evenings attracted 61 840 visitors this year. Audience numbers improving service levels. be continued. attending the 6.30pm celebrity talks throughout the year were in excess of (Objectives 3 and 5) 14 600, while curatorial talks at 5.30pm engaged visitors directly with the Gallery’s collection.

Develop electronic In the last year, eight new education kits were presented solely online or in educational programs. an extended format. These kits included The arts of Islam, August Sander, Living black, Adam Cullen, Taisho- chic, Harold Cazneaux, The Brett Whiteley Travelling Art Scholarship exhibition and Archibald Prize 08: portraiture and the prize. During the year, 32 135 education kits were downloaded.

In 2007–08, iPod tours of the Gallery’s collection were under development. These programs will be launched in 2008–09 to coincide with the publication of the director’s highlights book.

ART GALLERY OF NSW ANNUAL REPORT 07–08 9 Year in brief Corporate plan and outcomes continued

Strategy Key target Performance outcome

Implement state-of-the-art Digitisation of collection. During 2007–08, further progress was made in digitising images of the technology and corporate Gallery’s collection works. More than 12 300 images (approximately 40% systems. of the collections) are now available for viewing via the Gallery’s website. Text details of 100% of the Gallery’s collections are freely available online.

Manage staff resources High morale and Staff morale continues to be high. There were no major work disputes during effectively to ensure high professionalism with the year and no time was lost to industrial disputation. At 5.68%, sick leave employee morale, high minimal industrial issues was only marginally higher than last year’s figure of 5%. skill levels and support for and staff grievances. continued expansion. (Objective 5) Staff training and Professional standards for staff were maintained, although further development. development was limited again this year due to fiscal constraints. However, some staff undertook training on OHS awareness courses.

Effective use of Secure sustainable The Gallery’s core business continued to be a ‘deficit’ budget; however, the government funding and funding for core business shortfall has been underpinned in 2007–08 by improved earnings from improve government operations via a three-year exhibitions and visitor services providing a net surplus overall. relations. funding plan with agreed (Objective 6) deliverables.

Manage operations While the Gallery was successful in being granted significant capital funding within budget. for the off-site collection storage facility, the NSW government has yet to approve the essential recurrent allocation to operate this new facility. This matter is being pursued by the Gallery.

Sponsorship funding, as anticipated, was consolidated in 2007–08, generating $1.6 million (down from $2.2 million last year).

Increase funding from Develop and grow Total revenue, excluding NSW government contributions, was down from bequests, donations and benefaction and visitor last year (mainly due to the extraordinary level of bequest in 2006–07), but sponsorships. services income. still successfully underpinned core business operations as noted above. This (Objective 6) Strengthen funding base provided a surplus result and contributed towards art acquisitions. The Gallery for acquisitions. revenue from bequests was $10.1 million and donations, exhibitions, visitor services and other revenue totalled $13 million. Also see Financial commentary page 102.

Manage membership and Maintain and increase Fundraising entities – AGNSW Foundation, VisAsia and Brett Whiteley structures of all entities membership of fundraising Foundation – all generated earnings and enhanced their capital base in (Trust, Foundation, Art programs. 2007–08. The AGNSW Foundation capital base reached $28 million as at Gallery Society, Brett 30 June 2008 (up from $26 million last year). In 2007 the Art Gallery Society Whiteley Foundation, made its first ever $1 million surplus. VisAsia and other fundraising programs). (Objective 6)

‘I have visited Australia every year for 12 years. The NSW Art Gallery is the most interesting, stimulating and relaxing place in all Australia. I love it.’ Gallery visitor, 14 October 2007

Jacques Blanchard Mars and the vestal virgin 1638 (detail), oil on canvas, 130 x 110.4 cm. Purchased with funds resulting from a gift by James Fairfax AO and with the support of the Art Gallery Society of NSW 2007

10 ART GALLERY OF NSW ANNUAL REPORT 07–08

President’s foreword

I am pleased to report on what was The Lost Buddhas in August and Monet 2007–08. These funds are devoted to another busy and productive year for the and the Impressionists opening in mid improving the Gallery’s permanent Gallery in all areas of its operations. But October. collections. I would like to acknowledge this year saw a particularly important the role of trustee Prof Janice Reid AM, development for the long-term future of Benefaction, philanthropy and chair of the Acquisitions and Loans the Gallery. art acquisitions Sub-Committee, for her contribution during the year. In a move that will ultimately benefit all The support of benefactors is integral to those who visit the Gallery and the the Gallery’s ability to grow its collection. Sponsorship and corporate This year I am pleased to report that collection itself, the state government support has agreed to provide funding to create a major benefactor, former trustee and a new storage facility. The implications long-time friend of the Gallery, John The Gallery values the generous support of this development are difficult to Kaldor AM, pledged to donate his it receives from the corporate sector overstate. At present, only a small $30 million contemporary collection to through direct donations and sponsorships. percentage of our total collection is on the Gallery. About $10 million will be In the past year we continued to receive display due to limited space within the donated initially, with the balance of support from principal sponsors, including gallery building. The new facility will free the works being loaned to the Gallery Delta Electricity, Ernst & Young, JPMorgan, up space for the existing collection, as with a view to donation of the whole Macquarie Capital, Myer, Optimal well as provide more room and flexibility collection over the course of John’s Fund Management, Qantas and UBS. in the staging of major exhibitions. In lifetime or from his estate. To our The Gallery’s longest-serving sponsor, addition, without the commitment to a knowledge, this is the single largest Qantas, has renewed its commitment new storage facility it is doubtful that donation of artworks yet made to an for a further three years, taking the recent major bequests to the Gallery Australian art museum and one which partnership to its 16th consecutive would have been possible. There is will materially improve the range and year. The Gallery is very proud of its further information about this milestone quality of our contemporary collection. longstanding relationships and is most development later in this report. appreciative of the continuing support Some other major contributors this it receives from the corporate sector. This year’s exhibition program continued year included the late Florence Mae The Gallery also receives substantial the Gallery’s tradition of providing its Crosby, Geoff and Vicki Ainsworth, support from members of the President’s audience with a diverse, engaging and the Belgiorno-Nettis family, the Nelson Council and VisAsia Council. The funds high-quality range of works and more Meers Foundation, and Rob and Jenny raised by these bodies sustain many exciting exhibitions are planned for the Ferguson. The continuing generosity of of the Gallery’s wonderful programs, year ahead. people and organisations such as these is critical to providing the resources in particular the exhibitions program. Institutions like the Art Gallery of NSW to grow our collections and support Council members also provide a vital depend on the goodwill and generosity selected activities. source of business expertise and advice. of many in the community, from those I look forward to working with them to who volunteer as guides through to I’m pleased to say that with the help develop further their level of engagement those who make major financial of our benefactors, the Gallery was with the Gallery. contributions, or bequeath important successful in securing two major works or collections to the Gallery. paintings – David Hockney’s six-panel NSW government contribution This has been a particularly important A closer winter tunnel, February–March During the year, the NSW government year in this respect. 2006 and Giorgio Morandi’s Still life agreed to provide $27.6 million for the 1947. These are among a total of 467 construction of an off-site collection Performance artworks, valued at $14.1 million, which storage facility at Lilyfield. The were acquired during 2007–08. Our outstanding exhibition program development plans for the off-site continued to produce successful results, The New South Wales Treasury Managed facility have been approved by council especially the major exhibitions Sidney Fund reimbursed the Gallery for the value and building work will commence in Nolan retrospective, Translucent world: of the painting A cavalier (self portrait) 2009. This project will also involve an Chinese jade from the Forbidden City stolen last year. These funds, together with upgrade of the Gallery’s existing loading and Taisho- chic: Japanese modernity, a contribution from the Art Gallery Society dock to help manage the traffic between nostalgia and deco. The annual Archibald, of NSW and other benefactors, enabled these two major sites, as well as an Wynne and Sulman prizes never fail to the Gallery to purchase an excellent extensive conservation and registration attract a strong following, with the painting of the same genre by Jacques exercise in preparing and packing our Archibald this year reaching a record Blanchard, Mars and the vestal virgin collections for relocation to the new attendance of 151 900. The Gallery’s 1638. The decision on the replacement facility in 2010. As mentioned earlier, other audience activities all performed work was taken in consultation with the the storage facility will enable us to well – especially public and education original benefactor of the stolen painting, display more of our existing collection programs, Art After Hours, and visitor Mr James Fairfax AO. and, together with the generous donation facilities such as the shop and venue hire by the Belgiorno-Nettis family which As always, the Art Gallery of NSW departments. Overall attendance for the led to the creation of the contemporary Foundation and the Art Gallery Society galleries on level 2, will enable us to year reached 1.35 million. of NSW continue to be major supporters accept the gift by John Kaldor of his The Gallery has already commenced of the Gallery, contributing $1.5 million important contemporary collection, its 2008–09 exhibition program, with and $600 000 respectively during as well as other major gifts.

12 ART GALLERY OF NSW ANNUAL REPORT 07–08 I would like to acknowledge the for the leadership role she has played leadership of trustee Guido Belgiorno- in funding the acquisition of Bords de Nettis AM and the great assistance that la Marne. former trustee John Morschel has lent to this project. Thanks This year the Gallery has put in place Security, risk management important building blocks for the long and governance term. I would like to take this opportunity The Gallery’s security technology and to acknowledge the support of the NSW procedures were reviewed in detail government, and in particular the personal during the year. interest taken in our work by the former Premier, the Hon Morris Iemma, and the The security management structure former Minister for the Arts, the Hon was revised and a new team of highly Frank Sartor AO, both of whom played a qualified senior personnel was appointed. critical role in the plans for the Gallery’s Other improvements have also been new storage facility. I look forward to introduced, with additional access working with the new Premier and Minister Steven Lowy controls and procedural changes. President Additional funding has been allocated for the Arts, the Hon Nathan Rees, MP. Art Gallery of NSW Trust to enable the upgrade of the technology Our benefactors, donors and volunteers of our security systems and will be all contribute magnificently to what is 15 October 2008 carried out over the next 6–12 months. one of our state’s most treasured and There was also a renewed emphasis on popular institutions, and on behalf of the risk management this year. Under the Board of Trustees I extend our gratitude. guidance of trustee David Baffsky AO, I would like to commend the Director, the Trust’s risk management committee Edmund Capon, and all members of the has reviewed various aspects of the Gallery staff for their commitment and Gallery’s operations to ensure appropriate professionalism which, together with our controls and policies are in place to excellent collection, create an exciting address identified risks. and vibrant environment at the Gallery. During the year, the Gallery redefined the My thanks are also extended to Carol roles of the general managers to create Mills, the new Director-General of the a new deputy director and two assistant Department of Arts, Sport and Recreation, director positions to better reflect the for her keen interest in and support of increased level of activity and complexity the Gallery. of Gallery operations, financial and other My fellow trustees again gave generously resource management. of their time and expertise, particularly Cézanne acquisition 2008–09 the vice president, Sandra McPhee, and the chairman of the Finance Committee, In September 2008 the Gallery announced Peter Young AM. I would also like to the acquisition of Paul Cézanne’s farewell and thank Irene Lee, whose term Bords de la Marne c1888. A fundraising as trustee expired in December 2007, campaign led by the Art Gallery of and welcome new trustee Eleonora NSW Foundation, without which such Triguboff, who commenced her first term ambitious and worthy plans could not be in August 2008. contemplated. Many benefactors have already contributed to this purchase, I have truly enjoyed my first full year as including veteran supporter and friend of president and I look forward to working the Gallery, Margaret Olley AC, who has with the trustees and the Gallery’s contributed $1 million. At $16.2 million, senior management team during what this purchase will be the largest single promises to be another successful and acquisition by the Gallery to date, perhaps exciting year, in which we will celebrate the largest in Australia, and has been Edmund Capon’s 30th year as Director made to mark two important milestones and the 25th year of the Art Gallery in the history of the Gallery – the 30th of NSW Foundation. anniversary of the appointment of Edmund Capon AM OBE as director and the 25th anniversary of the establishment of the Art Gallery of NSW Foundation, both of which the Gallery will be celebrating in the year ahead. I would like to acknowledge especially the chair of the foundation, Rowena Danziger AM,

ART GALLERY OF NSW ANNUAL REPORT 07–08 13 Director’s statement

In quite another context, I was recently David Hockney acquisition inner spirit; from Giorgio Morandi’s writing of my ruminations on what seems quiet but endlessly absorbing Still life Perhaps surprisingly, acquisitions on the to be the condition of perversity inherent 1947, purchased with funds provided whole are seldom likely to arouse great in us humans. That context was one of by Rob and Jenny Ferguson and public concern or controversy. This year proposing the great work of art as an Margaret Olley, which joins our other I must acknowledge that one of our immortal testament to our imagination two Morandi still-life paintings in more contentious purchases was and aspiration, and thus as an object of perfect harmony, to Sidney Nolan’s David Hockney’s A closer wind tunnel, contemplation; and that we, as an art Hare in trap. Quizzical, autobiographical February–March, a six-panel work of museum, should therefore be a place and anxious as ever, this Nolan work 2006 executed upon the artist’s return of contemplation. Then I go into the was purchased with the assistance of to his native Yorkshire after decades galleries on what we might describe as the Nelson Meers Foundation and in the sunnier and hedonistic climes a ‘quiet day’ and feel that we must have Margaret Olley. of California. There, on the dales, in failed to meet public expectation. We feel the often doleful light of leaden skies, Among the Aboriginal works acquired, happier when the place is a throbbing Hockney celebrated that sturdy landscape I want to make special mention of mass of visitors; that is a circumstance with colours of uncompromising Makinti Napanangka’s work Untitled, in which the art of contemplation is much confidence and brushstrokes of equal not only because of its vigorous colours harder to fulfil. How contrary we are. flair and certainty. The result: paintings and staccato stripes that echo the The John Kaldor collection that are in my view the most spirited, dynamics of the land with such honest and open-hearted celebrations of contemporary energy, but also because There was, however, much to contemplate the Yorkshire landscape that it is possible it was purchased for the Gallery in at an event in the Gallery on Thursday to imagine. memory of one of our most dedicated 23 April 2008. On that day it was and enthusiastic supporters, the late So why contentious? That, I suppose, announced that the Gallery was to James Agapitos OAM, whose impish is because of the lingering doubts about receive the most substantial private demeanour and eternal optimism Hockney generated in 1999 by our benefaction in its history: the international brought a smile to all our faces. This National Gallery’s purchase of A bigger contemporary art collection of John is a painting that truly reflects James’s Grand Canyon, another multi-panelled Kaldor. Simply put, the Kaldor collection endless joy and goodwill. is by far the most significant assembly and very large work of 1998. With its of late 20th-century avant-garde art in surprising – nay, startling – colours, it is, Asia had, well, perhaps a more the country, and its impact upon the to be honest, more visually assaulting reflective year on the acquisition front. presence, vision, future and reputation of than it is visually satisfying. But one can Two works demonstrate the increasing our Gallery is incalculable. But above all become accustomed to such things, and breadth of the Gallery’s varied it is a collection comprising some 260 while A closer wind tunnel may appear representation of the arts of Asia. A works by artists such as Christo, Jeff to have a not-dissimilar hint of bombast, very rare Gandharan reliquary stupa Koons, Bill Viola, Robert Rauschenberg, it is altogether a more lyrical and from the Kushan period, 1st–3rd Sol LeWitt, Gilbert and George, Richard harmonious work that, above all, century, fashioned in crystal and Long, Andreas Gursky, Thomas Demand, resonates with authenticity. It is indicative containing a small gold stupa, is a quiet Nam Jun Paik and many others, and it of Hockney’s maturity and skill that this but evocative relic and a work of art. It reflects the vision, imagination and work is painted so vividly and freshly and is amazing to think that this exquisite assured perspicacity of a single and with such emotional clarity; there are no and delicate object should have extraordinary mind: that of John Kaldor. detectable signs of revision or hesitation survived more or less intact for some even though this, like others in the 1800 years and now joins a number of It is indeed hard to quantify the effect series, was painted not in the studio other works of Gandharan Buddhist that such vision and benefaction is but out in the very landscape it depicts. sculpture in the Gallery collection. The bringing to our Gallery and its future. I find it a hugely refreshing picture, one second work is a stunning and One certain consequence is the need for that lacks any kind of ideology; it is, oversized double-page spread in the more public gallery space in which to blissfully, in no need of interpretation. form of traditional Persian miniature display works from the Kaldor collection. We are indebted to Geoff and Vicki painting by the Pakistani-born artist This, too, is to happen, due to another Ainsworth together with the Florence Shahzia Sikander. Rendered in demonstration of generosity: the provision and Martin Crosby Bequest and the Art gouache, gold leaf and silk screen, it of funds by the Belgiorno-Nettis family, Gallery of NSW Foundation for making adheres to the traditional format and whose association with the Gallery and this acquisition possible. aesthetic, and indeed content, with its the Biennale of Sydney goes back over flower motifs, trees, birds, deer and 35 years. With these funds, the Gallery Growing a vital collection those distinctively linear rocks, and in will transform its art collection storage There have, of course, been many the gentle exuberance of its colours, space into 1000 square metres of other notable acquisitions in the course yet is transported fully into the galleries for the display of contemporary of the year across all of the Gallery’s contemporary world. This purchase was art. All this will take a couple of years or collecting interests, from Jacques funded by VisAsia and with the more, but in the meantime, with the NSW Blanchard’s ravishing Mars and the proceeds from The arts of Islam government, we will be constructing an vestal virgin to Antony Gormley’s fundraising dinner. It was a most off-site collection storage facility: what intriguing manifestation of the ever- appropriate acquisition, which leads to a wonderful accommodation of private vulnerable and emotional human figure – addressing that spectacular and timely patronage and government investment not in the conventional, recognisable event in the Gallery’s calendar, towards a rich and sustaining outcome. form but as a sublimely articulated The arts of Islam exhibition.

14 ART GALLERY OF NSW ANNUAL REPORT 07–08 Makinti Napanangka Untitled 2007, synthetic polymer paint on canvas, 183 x 153 cm. Purchased with funds donated in memory of James Agapitos OAM 2007 © Makinti Napanangka. Courtesy Aboriginal Artist Association

ART GALLERY OF NSW ANNUAL REPORT 07–08 15 • The new off-site collection storage facility.

The arts of Islam It has been a long-held ambition of mine to stage a substantial exhibition of the arts of Islam and I am much indebted, as we all are, to the remarkable David Khalili for allowing us to borrow the most beautiful, rare and fascinating works of Islamic art from his collection – the most renowned private collection of Islamic art in the world. It was a revelation to many people that a wealth of material culture, indeed art, that we had simply accepted into the universal annals of art was in fact created in the service of the Islamic faith. Among the splendid array of works from the 7th to the 19th centuries – the Qu’rans, calligraphies, miniatures, textiles, ceramics, lacquers and sumptuous Mughal jewellery – there were many unique works, and I still wonder if the many thousands of visitors who saw this exhibition realise quite how fortunate they were. Among all those treasures, the one I kept returning to with absolute delight was the ten pages of the renowned ‘Houghton’ Shahnamah, created in Tabriz in the 1520s, and arguably the finest Persian manuscript ever made, with its meticulous detail, refined ornament, • Rustam, aided by his horse Rakhsh, slays a dragon, from the ‘Houghton’ Shahnamah, Iran, Tabriz 1520s. exquisite colours and sumptuous © 2007 The Khalili Family Trust. From the exhibition The Arts ornamentation. How could anybody not of Islam: treasures from the Nasser D Khalili Collection. be entranced and enthralled by these

16 ART GALLERY OF NSW ANNUAL REPORT 07–08 masterpieces of detail and composition, support and belief. To our president of history, narrative and poetry? In the Board of Trustees, Steven Lowy, retrospect I think this was one of the and to our trustees, my special thanks. most significant exhibitions this Gallery Few out there in the corporate world of has ever undertaken in allowing us business and finance are busier and in and our audiences a glimpse into this more demand than he, but Steven Lowy immensely cultured, developed and dedicates inordinate time, thought and articulate world of Islamic arts. Our concern for the Gallery and we all thanks to Westfield and the National appreciate that support of our president Australia Bank for generously supporting and trustees greatly. My thanks of course the exhibition. to our former Minister for the Arts, Frank Sartor AM, to our director-general Carol A diverse program Mills, and to then acting deputy director The Gallery’s exhibition program was of Arts NSW, Hugo Leschen, for their as active as ever and there is no doubt courteous support and advocacy. that the Ernst & Young-sponsored Sidney We never, ever forget or overlook that. While we reckon we earn our keep and Nolan retrospective was a milestone. Edmund Capon maintain our value to the community, History has shown time and time again Director that Sid Nolan was a maverick and hard it is the community at large to which indeed to pin down. I put the challenge we are beholden. 17 October 2008 to our head curator of Australian art, Barry Pearce: ‘Let’s try to distil this Masterpiece fund productive, eloquent but mischievous There is much to look forward to in the genius into a simple exhibition immediate future, but it is never quite experience’. It was a challenge and I a case of plus ça change, plus c’est certainly think the door is ever open to la même chose. First, our Cézanne further exploration of Sidney Nolan but, painting, which was a prize target for having said that, I’m equally sure our the collection when we launched the Nolan retrospective was the most Foundation 25 years ago. Bords de informative, concise and persuasive la Marne is an acquisition of immense exploration of this definitive artist in the significance and I record my thanks history of Australian art thus far. to all who have made this milestone acquisition possible. As I have said on I enjoy all our exhibitions; I enjoy the occasion, every cent invested in this pace of our program which results in the painting will be paid and repaid for years ever-changing pattern of events in the and decades to come, via the tens of Gallery, from the smaller but nonetheless thousands of people – indeed, hundreds lively and topical events such as Scott of thousands – who will enjoy it year Redford and the ever-inspirational Bill in, year out. Orchestrating the Viola (this in conjunction with Kaldor Art private benefaction through the new Projects), to the more quietly absorbing masterpiece fund which has supported shows such as August Sander and those this acquisition are our Foundation compelling photographs. But I am fully chairman, Rowena Danziger, and our aware that a program with this level of Benefaction manager, Jane Wynter, who activity imposes great demands on our have worked with the greatest care, resources. It makes me realise and diplomacy and persuasive tact. I also appreciate that all our wonderful works look forward to the immediate prospect of art, our splendid building, our of the Lost Buddhas and the Monet and exhibitions and our activities could not the Impressionists exhibitions, and more happen without our people. new escalators – seldom a dull moment My thanks but always time for contemplation. So my thanks, as ever, go to the staff so ably led by our senior members: Tony Bond; Anne Flanagan; Rosemary Senn; Belinda Hanrahan; the head curators of Australian and Asian art, Barry Pearce and Jackie Menzies; and Brian Ladd, head of Public Programs, among many others. Thank you as ever to our volunteer guides, task force, community ambassadors, and the president, board and staff of the Art Gallery Society, our greatest body of widely declared public

ART GALLERY OF NSW ANNUAL REPORT 07–08 17 Collections

The Gallery’s first principal objective is to ‘develop and maintain a collection of works of art’. In keeping with this goal, our collections were further developed in 2007–08 through purchases and donations across all of the collection departments, with the addition of 467 works of art valued at over $14.1 million. The John Kaldor gift of his contemporary had the same eyes, and this beautiful Jacques Blanchard collection is a major highlight in the and enigmatic painting, revered by The major acquisition for the Gallery’s Gallery’s acquisition history. While most scholars and admirers as one of the pre-1900 European art department was acquisitions this year were for existing artist’s finest works, can surely be read Jacques Blanchard’s painting Mars and areas of collecting, gifts of objects from as a self-portrait. Hare in trap was the vestal virgin, which was purchased the greater Asia sphere, such as offered for purchase following its with insurance funds resulting from the Uzbekistan, have expanded the selection for the Sidney Nolan theft last year of the Frans Van Mieris parameters of our Asian collections. This retrospective exhibition, where it was painting and supplemented by a section of the report details some of the hung together with a group of paintings substantial donation from the Art Gallery significant paintings, sculptures and from the legendary Ned Kelly series. Society of NSW. This picture was works on paper acquired during the year selected after an extensive search for a which helped to build and enhance our Tom Roberts suitable replacement to the lost 17th- permanent collections. As a result of generous funding provided century Dutch painting. It is one of the by the Gleeson O’Keefe Foundation, Tom John Kaldor Collection finest surviving works of the important Roberts’ Fog, Thames embankment 1884 French painter Jacques Blanchard The outstanding contemporary art event joins three 9 by 5 panels by Roberts and (1600–38), who was partly responsible of the year was the gift of John Kaldor’s fellow Australian impressionist painters for modernising the French school of collection to the Gallery. Our existing Arthur Streeton and Charles Conder. painting in the 17th century. international contemporary collection Completed while the artist was studying began in 1984 with funds from the in London, this exquisite work takes as David Hockney Mervyn Horton Bequest. At that time, its subject matter London’s great Geoff and Vicki Ainsworth, together with the Gallery decided not to try to build waterway, with Westminster Bridge the Art Gallery of NSW Foundation and a history of contemporary art, but rather and the Houses of Parliament faintly funds from the Florence and William to start collecting the most compelling glimmering purplish blue through the Crosby Bequest, brought another major works of the present. Various important fog – a scene which had been painted, work to the Gallery this year. David precedents were therefore always from almost the exact same vantage Hockney’s A closer winter tunnel, notable by their absence, including point, by the great French master Claude February–March 2006 is one of the minimalism and post-Duchampian Monet in 1871. This panel was among Yorkshire landscapes that the artist has material practices epitomised by artists a group depicting views of the Thames begun to paint in recent years. such as Christo and Robert which Roberts kept as a memento when Rauschenberg. This is precisely the area he returned to Australia in 1885. It was The Ainsworths also commissioned a in which the Kaldor collection is richest. included in one of the most crucial beautiful new neon work, Untitled 2007, The conjunction of the two very exhibitions in Australian art history, the by the Japanese artist Takehito compatible collections will enable the 9 by 5 impressions exhibition, held at Koganezawa on our behalf, and Gallery to present a history of Buxton’s Gallery in Melbourne in 1889. contributed substantially to the purchase contemporary art since the late 1950s in Roberts had gained significantly from his of a work by Anton Henning, Portrait a way not previously possible in Australia. study abroad, in particular from the work no 236 2007. Henning is an artist that This generous gift gave impetus to our of renowned American artist James Geoff Ainsworth has long sought to bring negotiations with the NSW government McNeil Whistler. It was Whistler’s May to the Gallery’s attention, and this work to fund our off-site storage collection 1880 exhibition in London, Notes – was selected from the artist’s recent facility, allowing us to create within our harmonies – nocturnes, which inspired exhibition in Berlin. building a new John Kaldor Gallery, in Roberts and his fellow artists to stage The Ainsworths also initiated a three- which this history of contemporary art the 9 by 5 show. This panel now joins its year project to acquire contemporary can be adequately displayed. companions in a display case in the photography from southern California. central old courts, where it has become The first acquisitions have been made Sidney Nolan part of our public heritage. and include major pieces by Sharon Nolan’s Hare in trap 1946 was purchased Giorgio Morandi Lockhart, Ken Gonzales-Day, Catherine with support from the Nelson Meers Opie, Alan Sekula and Shannon Ebner. Foundation, the Margaret Hannah Olley Another great Giorgio Morandi picture With the exception of Sekula, none of Art Trust and the Art Gallery of NSW entered the Gallery’s collection this year. these artists have been represented in Foundation. Painted two years after the Still life 1947 was purchased with funds the collection until now. This project will artist’s desertion from the army in 1944, provided by Rob and Jenny Ferguson result in an important collection of Hare in trap is a unique, stand-alone and the Margaret Hannah Olley Art Trust. contemporary American photography masterpiece of powerful autobiographical This painting now brings our being exhibited in 2011. connotation. Nolan himself suggested representation to three Morandi works, that the colour of the hare’s eye relates providing a very good representation of to his father, whom he took on a car trip the subtle range of this artist’s work. to northern Victoria to see the background Reliquary stupa 1st–3rd century CE, crystal; in 3 sections; with landscape of the Kelly series he had square gold parapet and 8 gold and pearl chains already begun. They saw a hare caught suspended from lowest parasol (chattra) of the six in a trap and, as the artist turned back to surmounting the drum; an additional cylindrical look at his father, the latter’s blue eyes bronze container containing relics (one crystal drop; struck him vividly. But of course Nolan two gold rings; a gold stupa; and a finely wrought gilt six petal flower), height 28cm. Purchased 2007

ART GALLERY OF NSW ANNUAL REPORT 07–08 19 Sidney Nolan Hare in trap 1946, Ripolin enamel on hardboard, 90.5 x 121.5 cm. Purchased with funds provided by the Nelson Meers Foundation, the Margaret Hannah Olley Art Trust, and the Art Gallery of NSW Foundation 2007 © The Trustees of the Sidney Nolan Trust

Tom Roberts Fog, Thames Embankment 1884, oil on paperboard, 13.1 x 21.7 cm Purchased with funds provided by the Gleeson O’Keefe Foundation 2008

20 ART GALLERY OF NSW ANNUAL REPORT 07–08 David Hockney A closer winter tunnel, February–March 2006, oil on canvas, 6 panels, 190.5 x 381 cm overall. Purchased with funds provided by Geoff and Vicki Ainsworth, the Florence and William Crosby Bequest and the Art Gallery of NSW Foundation 2007 © David Hockney

Giorgio Morandi Still life 1947, oil on canvas, 36 x 45 cm. Purchased with funds provided by Rob and Jenny Ferguson and the Margaret Hannah Olley Art Trust 2007 © Giorgio Morandi/SIAE. Licenced by Viscopy, Australia

ART GALLERY OF NSW ANNUAL REPORT 07–08 21 Chinese Art Fund The Gallery acquired two significant works for the Chinese collection through the Edward and Goldie Sternberg Chinese Art Purchase Fund. The first was a Qing painting, Embarking on the journey, by Huang Yi (1744–1801), a well-known painter and calligrapher renowned for reinvigorating calligraphic scripts and inscriptions such as those often found on bronzes of the Shang and Zhou dynasties. The hanging scroll depicts a lone hooded traveller walking through a dominating, mountainous landscape, with the calligraphy at the top left by Huang Yi making reference to his travels. The second acquisition was a celadon Ram-shaped candle holder of the Western Jin dynasty (265–316 CE). An excellent rendition of a watchful ram, its legs tucked underneath its body, with incised lines carefully outlining the muscular features of the hind legs, this piece exemplifies the lively animal forms popular at the famous Yue kilns of southern China.

Chinese textiles The ongoing support of Chinese textiles by Judith and Ken Rutherford continued this year with their donation of four Chinese Cheat’s handkerchiefs, intriguing silk squares with excerpts from the Confucian classics closely written on both sides, as well as one example of lining with excerpts from the Confucian texts. Such rare and delicate pieces, minutely handwritten with tiny script texts that were required reading for anyone desirous of passing through China’s rigorous examination system, could be smuggled into the examination room and used for cheating in examinations.

Albert Tucker As part of a promised gift by Albert Tucker’s widow, Barbara Tucker, the Gallery’s representation of the depth and diversity of Tucker’s robust vision has been greatly enhanced through the donation of the painting Gift bearers 1955. Tucker was a major figure in 20th- century Australian art and a key member of the Angry Penguins who associated with artists of the Antipodean generation of Melbourne figurative painters. Painted HUANG Yi the year after Tucker and Sidney Nolan Embarking on the journey, hanging scroll, ink on paper, 59.4 x 26.8 cm had exhibited together at the Foreign Edward and Goldie Sternberg Chinese Art Purchase Fund 2008 Press Club in Rome, Gift bearers represents a substantive shift from the works the painter had produced during WWII and until his departure from Australia in 1947.

22 ART GALLERY OF NSW ANNUAL REPORT 07–08 David Aspden This year the Gallery has also been the privileged recipient of a substantial group of paintings and works on paper by one of the leading figures of 1960s Sydney abstraction, David Aspden, who passed away in 2005. Through both purchase and donation by the artist’s widow, Karen Aspden, the Gallery was fortunate to have secured 5 paintings and 53 works on paper in various media for the collection. The Gallery plans to produce an exhibition and related publication on the Aspden collection in 2010.

Rodney Pople North south runway, Sydney airport 2008 by Rodney Pople, one of the outstanding finalists for this year’s Wynne Prize, is a mysterious, spectral image of a rainy night at Sydney airport. The work is beautifully painted in a monochrome palette relieved by a horizontal slash of rich ochre and is the first work by this artist to be acquired for the collection. Albert Tucker Gift bearers 1955, oil on hardboard, 89 x 97 cm. Gift of Barbara Tucker in memory Peter Kingston of James Agapitos OAM 2007 © Barbara Tucker A welcome addition to the collection is the donation by Sydney artist Peter Kingston of his whimsical sculptural assemblage Australia -v- England chess set 1976–78, which pits an assortment of cultural icons from Australia’s literary, musical and filmic history in opposition to the British Royal establishment. Already much beloved by the Gallery’s volunteer guides, the work has proven to be a captivating tour de force.

John Peter Russell A major highlight in the area of prints and drawings this year was the purchase of John Peter Russell’s Study for ‘Lot’s wife’ 1886. Born in Sydney, expatriate John Russell was the only Australian artist to have worked in close association with some of the most important artists in France at the end of the 19th century, including Auguste Rodin, Claude Monet, Vincent van Gogh and Henri Matisse. This remarkable drawing is of Marianna Rodney Pople Antonietta Mattiocco – an artist’s model, North south runway, Sydney airport 2008, oil on linen, 182.7 x 243.9 cm Russell’s lover and eventually his wife. D G Wilson Bequest Fund 2008 © Rodney Pople Revealing a classic monumentality that the artist would have seen in the studio of Rodin (for whom Marianna also modelled), it is an intimate study of the woman he loved and makes a particularly fine addition to the Gallery’s collection of 19th-century drawings.

ART GALLERY OF NSW ANNUAL REPORT 07–08 23 Martin Lewis Lorraine Connelly-Northey Pintupi women Martin Lewis was one of the few The acquisition of a group of four 2008 With the assistance of Papunya Tula Australian-born artists to establish a sculptures by Lorraine Connelly-Northey, Artists and Christopher Hodges, two serious reputation in America, excelling from Swan Hill, was supported by the paintings by Pintupi women artists were at urban images of life in the modern Women’s Art Group. The apparent selected to honour the fondly remembered city. The Gallery acquired his drawing delicacy of these woven objects belies long-time Gallery supporter James Milson’s Point and Circular Quay c1900, their construction with rusting wire, mesh, Agapitos OAM. Makinti Napanangka which was made prior to moving to an exhaust pipe and chimney flue – the and Doreen Reid Nakamarra represent America, when he was in Sydney around found detritus of farming communities the senior and younger generations, 1900. The product of close observation, where the artist lives. respectively, of Papunya Tula artists. it reveals the artist’s burgeoning interest The acquisition of these exceptional in urban subject matter, as well as his Christian Thompson works, both Untitled 2007, was made precocious talent. This is an especially The photographic series Emotional possible by the generosity of Mr welcome addition to the collection for striptease 2003 by Melbourne-based Agapitos’ close friends. The paintings its strong links to Sydney and its artist Christian Thompson was also were ‘welcomed’ to the Gallery by connection with our early drawings of acquired for the Gallery by the Women’s director Edmund Capon, senior curator the city by Lloyd Rees and Sydney Art Group. This group of 10 large-scale Hetti Perkins and Ray Wilson OAM, Ure Smith. digital prints will feature in the who thanked the donors and warmly forthcoming exhibition Half light: acknowledged Mr Agapitos’ support for Tony Albert portraits from black Australia. the arts and his particular enthusiasm A significant number of the acquisitions for Aboriginal art. were supported by the Aboriginal Destiny Deacon Collection Benefactors Group, including and Michael Riley Utopia community a major installation work by emerging In the late 1980s, the painters of the A number of acquisitions made this year Girramay artist Tony Albert. Headhunter Utopia community north-east of acknowledged artists who have achieved 2007 was hung in the exhibition Mparntwe (Alice Springs) asserted their international renown. The acquisition Living black and proved immensely presence in the Australian art world. of Destiny Deacon and Michael Riley’s popular with audiences. The work This year the Gallery was gifted an collaborative film I don’t wanna be a features the word ‘hunter’ spelt out extraordinary collection of the distinctive bludger 1999 was highly appropriate, on a massive scale in vintage Aboriginal sculptures that also played a role in given that the work was originally kitsch ephemera. Yanjirlpirri Jukurrpa bringing this community to national commissioned by the Gallery for Living (Star Dreaming) 2007 by senior Warlpiri attention. The 18 figures that comprise here now, Australian perspecta 1999. artist Paddy Japaljarri Sims, from the gift were collected by Christopher This quirky Indigenous ‘sitcom’ has the central Australian community of Hodges and Helen Eager, who were early proved a popular work with audiences Yuendumu, is among the artist’s most supporters of the Utopia art movement in the Yiribana Gallery. significant recent works purchased by during this period. Several of the works the Gallery. Desert artists were exhibited at the Gallery in Australian perspecta 1991. A further gift was Kresna Cameron Kinyu 2007 is one of the most ambitious accepted from Margaret Tuckson, who works by another senior desert artist, The experimental work of young artist offered Rosella Namok’s painting That Eubena Nampitjin, from the community Kresna Cameron, from the remote day 1999 after a long-term loan. This of Wirrimanu (Balgo) in Western Australia. Aboriginal community of Warburton in work by one of the leading artists of the At almost three metres in length, this Western Australia, was also acquired. Lockhart River ‘gang’ is an important landmark painting is on par with the The group of three digital print lightboxes addition to the collection. Gallery’s major work by the late Emily from 2007, No I never, Come and sniff Kam Ngwarray. Tjungu Palya Artists is and Help, help, help, help, featured an emergent Western Desert art centre socially pertinent narrative episodes and the Gallery was fortunate to acquire based on the artist’s personal experience. an impressive painting, Minyma Tjuta The acquisition of these works drew Tjukurpa 2007, by Wingu Tingima, one on funds provided by the Warawara of its senior artist members, who was Department of Indigenous Studies at born in the 1930s. Macquarie University as a result of the collaborative education programs run with the Gallery in previous years.

24 ART GALLERY OF NSW ANNUAL REPORT 07–08 John Peter Russell Study for ‘Lot’s wife’ 1886, pencil, white chalk highlights on laid paper on thin card, 52.2 x 36.1 cm. Purchased with funds provided by the Gil and Shay Docking Drawing Fund 2007

Paddy Japaljarri Sims Yanjirlpirri Jukurrpa (Star Dreaming) 1961, 2007, synthetic polymer paint on canvas, 213 x 122 cm. Purchased with funds provided by the Aboriginal Collection Benefactors Group 2008 © Paddy Japaljarri Sims. Licensed by Viscopy, Australia

Christian Bumbarra Thompson Untitled 2003, Pegasus digital print, 107.6 x 95.4 cm D G Wilson Bequest Fund 2008 © Christian Bumbarra Thompson

ART GALLERY OF NSW ANNUAL REPORT 07–08 25 Colombian artists Doris Salcedo’s Untitled 2007 complements her work Atrabiliarios, first shown in the Biennale 1992 and then acquired in 1997. Both these works act as memorials for those who have disappeared in the ongoing civil strife in the artist’s native Colombia. Maria Elvira Escallón is another Colombian artist whose work has been added to the collection this year. From the inside 2003, her large photographic and video installation, documents the traces of people trying to escape a building that had been blown up by terrorists. The photos capture marks of their fingers on elevator doors and along stair rails as they groped their way in the dark sooted corridors.

Contemporary collection The Contemporary Collection Benefactors program continued its exceptional support, enabling the Gallery to purchase many key works. These included, from a solo exhibition in the contemporary project space, So she said 2007, a ‘sculptural situation’ by Sydney artist Gail Hastings. Four photographs by Scott Redford greatly expanded our Doris Salcedo representation of this artist’s work and Untitled 2007, wood, concrete, metal and fabric, 189 x 233 x 82.5 cm his investigations into queer politics, pop Purchased 2007 © Doris Salcedo and art history. Brook Andrew’s Ngajuu ngaay nginduugirr (I see you) 1998, a stunning neon and photographic piece, reveals ideas about identity and cultural memory. In this work, the blue/white neon text is in Wiradjuri, the language of the artist’s mother’s ancestors, and spells out ‘I see you’. The phrase refers to visibility and invisibility, suggesting an exchange of cultural gazes within the gallery space. Three screenprints by Neil Emmerson called wood nymph triptych (the heart is a lonely hunter) 3 2006 explore the artist’s interest in masculinity and the military. Adam Cullen’s Comedic relief 2000 is a fine example of the artist’s reduced but powerful visual language, where graphic lines are coupled with expressive pours of paint.

Antony Gormley Antony Gormley’s striking steel figure Haft 2007 was a significant purchase by Ken Gonzales-Day the Art Gallery of NSW Foundation. The At daylight the miserable man got carried to an oak 2002, printed 2007 Gallery acquired the first of Gormley’s Chromogenic photograph, 127 x 183 cm. Gift of Geoff and Vicki Ainsworth 2008 © Ken Gonzales-Day famous ‘field’ works, which were made while he was an artist-in-residence at the Gallery in 1989. Haft represents another strand in his work that traces the artist’s

26 ART GALLERY OF NSW ANNUAL REPORT 07–08 own body in ways that make us commissioned by a person of wealth. complete the figure in our imagination. The figures depicted with individual facial In this case, the figure is made up of features are testament to the skill of the rectangular blocks of steel that hold artists and their vibrant imagination. together as if in a magnetic force field. In spite of its pixilated appearance, it is Tale of Genji possible to detect very intimate and Two album leaves from the late 17th precise human gestures. century, titled Chapter Usugumo from the Tale of Genji with accompanying poem, Bonita Ely by Sumiyoshi Gukei (1631–1705), were A substantial and important gift from artist generously given to the Gallery by Klaus Bonita Ely was her work The Murray’s Naumann. This work, a Tosa school edge. The Murray River as a subject has narrative painting, depicts chapter 19 of recurred in Ely’s practice since the 1970s, the Tale of Genji, portraying the distressing and this new body of work retraces her departure scene between Lady Akashi journeys along the river from 30 years and a young girl. Accompanying this leaf ago. Recreating the small interventions is another with seven lines of text from she made on the banks at various points, the same chapter. Additionally, through Rebecca Ann Hobbs High 2006, printed 2008, lightjet print, 50 x 50 cm this work documents the journey and the the Yasuko Myer Bequest Fund, the Purchased with funds provided by the Photography changing nature of the river. Japanese collection was enriched with Collection Benefactors Program 2008 prints by Utagawa Kunisada (1786–1864), © Rebecca Ann Hobbs Photography collection representative of some eight chapters The fundraising dinner of the Photography from the Tale of Genji. All the works with Collection Benefactors was a success, Genji as a subject will make a great with acquisitions including works by contribution to the upcoming collection- many contemporary Australian artists based exhibition Genji – the world of who are now represented in the collection the shining prince, scheduled for the for the first time, including Jane Burton, end of 2008. Glen Sloggett and Rebecca Ann Hobbs. In addition, new works by Darren Shinto deities Sylvester and Simryn Gill were acquired. Two pairs of Male and female Shinto deities from the Heian period (794–1185) Greg Leong were acquired for the Gallery by the Contemporary Asian works were also Asian Collection Benefactor Funds and acquired, including a work by the D G Wilson Bequest Fund. Carved Australian–Chinese artist Greg Leong, from wood, these anthropomorphised Opera frock for a giant Chinese Shintô gods known as kami are Australian warrior diva 2003. This represented as court nobles, the men costume is reminiscent of traditional in tall caps and sceptres and women Qing garments but on closer inspection coiffed in Tang style and robed. addresses issues pertaining to Furthermore, the growing screen multiculturalism in Australian society. collection was supplemented with the It makes reference not only to the local 18th-century work Quails and pampas representations of Chinese culture, but grass, a single six-fold screen given by also to a historical Chinese past, which an anonymous donor. makes for an interesting juxtaposition with the Qing textiles already in the Korean hanging scroll Chinese collection. The small holding of Korean works is gradually being enhanced. A hanging Japanese screens scroll painting, Seven star spirits The Gallery was fortunate to acquire a (‘ch’ilseungtaeng’) 1931 was purchased pair of six-fold screens by the Iwasa with the assistance of the Asian Collection Matabei school. Dating to the mid 17th Benefactors Fund. In this work, the century, The tale of Genji was purchased Buddha Amitabha is portrayed surrounded with the assistance of the Diana Dorothea by seven Buddhas associated with the Bennett Fund. The work is based on seven stars of the Big Dipper, which were five scenes from the inspirational classic venerated by Korean shamanism, and Japanese novel by the same name, then absorbed by Korean Buddhism. written by Lady Murasaki Shikibu in the early 11th century. In its lavish and Antony Gormley opulent use of gold leaf and mineral Haft 2007, mild steel blocks, 165 x 48 x 60 cm Art Gallery of NSW Foundation Purchase 2008 pigments, this artfully composed work © Antony Gormley suggests that the piece may have been

ART GALLERY OF NSW ANNUAL REPORT 07–08 27 Iwasa Matabei School Tale of Genji mid 17th century, pair of six-fold screens; ink and colour on paper, 91.5 x 271.2 cm each Purchased with the assistance of the Diana Dorothea Bennett Fund 2007

Utagawa KUNISADA, Ando- /Utagawa HIROSHIGE Yuki no niwa (Garden scene in snow) 1854, triptych; colour woodblock print, 36.4 x 76.2 cm Yasuko Myer Bequest Fund 2007

28 ART GALLERY OF NSW ANNUAL REPORT 07–08 Reliquary stupa created Kathleen Buchanan May woman’s coat c1900s, is a good example Bequest, which funds Australian still life of a garment worn and produced by The importance of the growing South in watercolour. women of this region. In memory of Dee, and Southeast Asian collection is readily the Dee Court Fund was established seen in the number of rare and important The Gallery also purchased the first and with it several works were acquired, works the Gallery acquired this year. One major drawing by Wendy Sharpe to enter including attractive pieces of silver of the most important works purchased the collection, Red dress 2007, which jewellery from the Miao people of Yunnan was the rare ancient Gandharan was exhibited in the Dobell Prize for province in China and a rare complete Reliquary stupa from the 1st–3rd century. Drawing 2007. baby carrier. The stupa, originally a funeral mound to From the bequest of the late Miss Dorothy commemorate a great person and their Dr John Yu and Dr George Soutter also Scharf of London, two important drawings relics, became a symbol synonymous donated a complete set of Acts of mercy entered the collection: John Constable’s with the Buddha. This particular piece is 1831, engraved by F C Lewis after Stoke-by-Nayland Church c1814, and a small votive stupa made of crystal with designs by John Flaxman. These very Thomas Gainsborough’s Trees by a pool a hollowed-out internal chamber that fine examples of English neoclassicism early 1750s. With funds made available holds a small bronze reliquary containing were presented together with a colour by the Parramore Bequest, a significant a small gold stupa, gold rings and a lithograph, Boy by a dingy 1949, by the example of French realism was jewel. This stupa is a unique and valuable leading English neo-romantic printmaker purchased in the form of Jean-François addition to the collection, most likely Keith Vaughan. Drs Yu and Soutter also Millet’s etching of The gleaners 1855–56. having survived intact only through being donated a collection of Australian prints Also purchased was a rare drypoint by interred within another larger stupa. and drawings from their collection. the German expressionist Rolf Nesch, Bhagavata Purana Elbchaussee 1931, and an outstanding The Gallery also acquired a group of first state impression of The flight into lithographs and related works by Lloyd Also purchased was the North Indian Folio Egypt 1855 by the French romantic Rees, given by the artist’s son and from a dispersed series of the Bhagavata printmaker Rodolphe Bresdin. daughter-in-law, Alan and Jancis Rees; Purana, c1520–30. The Bhagavata Purana a substantial anonymous gift of three of Younger Australian photographers have consists of 18 000 verses which were Bill Henson’s 1992–93 ‘cut screens’; also made their way into the collection. composed in 900 CE. This folio, relating a number of works by Conrad Martens, Artists Paul Ogier and Tim Silver are now to book 10 (which records the life of the Charles Conder, Adrian Feint and Ralph represented for the first time, with blue-skinned Krishna), is in the bold Trafford-Walker, given by Richard King; exemplary works which look at notions colours and rich patterns characteristic of and generous gifts by artists Kevin to do with landscape, its construction this early and important pre-Mughal Hindu Connor and Jan Riske of their own and decay. Also, young Sydney painter style of painting. No Indian collection is drawings. considered complete without a piece Nigel Milsom is now represented in our from this series, and as such it is a very collections. Another generous supporter, Ms Nancy important addition to our Indian collection. Lee, a descendant of the high-ranking The Rudy Komon Fund enabled the The Rajasthani work The levels of hell, scholar official Duan Fang (1861–1911), purchase of Ruark Lewis’s sculptural an early 19th-century concertina album, donated a number of calligraphy works installation Raft 1995, originally shown in depicts imagery of the torments by him and other scholar officials, along the Gallery’s contemporary project space encountered in hell as envisaged in the with some calligraphic rubbings from that year. Jain religion, one of the main faiths of India. Han dynasty vessels. Other important gifts Other important purchases In response to The arts of Islam exhibition, With generous funds provided by the a number of generous donors gave annual fundraising dinner, the Gallery was works to enhance our very small holding able to acquire an Indonesian Cloth with of works from the Middle East, including Islamic inscriptions from the 20th century. a gift from Marea Gazzard of an Abbasid Made of batik, the cloth could be worn, lustreware bowl of the 10th century. This or used as a temporary coffin cover or rare bowl, decorated with distinct Islamic ceremonial banner. A contemporary style designs, still has its lustre and is in painting/mixed-media piece by the well- fine condition. known contemporary Pakistan/American artist Shahzia Sikander (b1969), The Over the years, Dr John Yu and Dr illustrated page (edition #2) 2005–07, George Soutter have continuously made was also purchased. This work plays a major contribution to our growing around with Sikander’s ideas about the Indonesian textile collection. This year Persian miniature and her ideas of they assisted in introducing to the abstraction, yet on an extraordinarily collection textiles from the Uzbekistan large scale. region. One of these pieces was given in fond memory of Dee Court, a well-known Other important purchases included two advocate of Asian art in Australia, who works by Kevin Lincoln, Still life with box unexpectedly passed away while leading 1989 and House by a canal 5 2006, a tour to north-western India in January purchased with funds from the newly 2008. The piece, a Yellow ground

ART GALLERY OF NSW ANNUAL REPORT 07–08 29 Exhibitions and audiences

The Gallery’s second principle object is ‘to propagate and increase knowledge and appreciation of art’ which we successfully delivered through our exhibition and audience programs. This year the Gallery staged 45 exhibitions (38 new with 7 continued from 2006–07) of which only 5 had an admission charge, attracting over 318 800 visitations. The scholarship of our curatorial staff Sidney Nolan retrospective has enabled many of the 2007–08 major This exhibition tracked the long and exhibitions to be developed in-house, successful career of one of Australia’s generally after many years of extensive most revered artists. Consisting of 116 research. The vital value of our key works, the retrospective underlined the human resources is ably demonstrated evolution of Nolan’s vision, from its as the Gallery continues to present genesis in St Kilda during the late 1930s exhibitions and supporting public to the United Kingdom a half century programs of excellence, providing the later, when the artist finally realised his people of New South Wales with many passion for large-scale spray-painted wonderful opportunities to engage with abstractions. Many of the paintings had some of the finest visual art from across rarely before been seen in public, thus Australia and around the world. contributing to a fresh experience for The arts of Islam: treasures from younger generations and perhaps the Nasser D Khalili Collection rediscovery for those who may have felt they were already familiar with the The Gallery was the only Australian artist’s work. venue for this dazzling exhibition, which The paintings were displayed in strict opened in late June and continued chronology, representing each critical through late September 2007. The phase in the artist’s work, from the exhibition comprised 350 objects St Kilda and Wimmera themes through selected from the more than 20 000 the first Ned Kelly series; central and works in the private collection of northern Australian landscapes and Professor David Khalili, which is • David Khalili speaking at the Gallery. The arts of explorer subjects; African, Antarctic reputedly the world’s largest collection Islam: treasures from the Nasser D Khalili Collection and European paintings; and Chinese- of Islamic art. These works included (22 June – 23 September 2007) and Australian-inspired abstractions. illuminated manuscripts; minutely The epicentre of the retrospective was, detailed and exquisitely coloured Persian however, the historic conjoining in two and Ottoman paintings; blue and white semicircles – echoing Monet’s famous ceramic wares; enamelled objects from waterlily murals in Paris – of the multi- Mughal India; and rugs and textiles panel paintings Riverbend 1964–65 and from all periods of many diverse Muslim Riverbend II 1965–66, whereby the visitor cultures. The objects were breathtakingly became immersed in Nolan’s dreamlike beautiful and astonishingly varied. return to the inner landscape of his Among several stunning highlights childhood, made indelible long before he were 10 folios from the early 16th- gained a reputation as one of Australia’s century ‘Houghton’ Shahnamah greatest artists. (The book of kings), and the important early 14th-century Iranian Compendium The exhibition entrance was flanked of chronicles (Jami’ al-tawarikh). on one side by a theatrette screening • Barry Pearce, head curator, Australian art, with Nolan in his own words, a short film on The exhibition was particularly timely, Lady Mary Nolan and Edmund Capon, director. the artist produced by Catherine Hunter, as the non-Muslim world hungers to Sidney Nolan retrospective (2 November 2007 – and on the other by a glass cabinet 3 February 2008) know more of the great histories and containing a collection of the artist’s cultures of the countries that comprise painting tools from the 1950s. These the Muslim world. Volunteers from the tools came from Nolan’s deserted studio Islamic community association Affinity at Wahroonga and were donated to the Intercultural Foundation conducted Gallery by his daughter, Jinx Nolan. Two ‘The exhibition – the first large a program titled ‘101 questions about of Nolan’s diaries from 1949 and 1952 Islam’, which provided a free information scale retrospective since Nolan’s were also displayed. service on Wednesday nights and death in 1992 – is brilliant, weekends for our visitors with questions The Sidney Nolan Symposium, held surprising and urgent.’ about the Islamic faith. More than on Saturday 3 November 2007, Sebastian Smee, national art critic, on the 75 000 visitors attended the exhibition considered such themes as Nolan’s Sidney Nolan exhibition, The Weekend Australian, and accompanying public events, poetic and philosophical sources, 3–4 November 2007 demonstrating the relevance of the his time at Heide in the company of show as well as its quality. the Reeds, and his relationships with the wider Australian avant-garde. The symposium provided a fascinating Bill Viola context for the deeper understanding Fall into Paradise 2005, video /sound installation. of this remarkable exhibition, with colour high-definition video projection, five channels of sound with subwoofer. 320 x 427 cm, 9.58 min. speakers including Edmund Capon, © Bill Viola. From the exhibition Love/Death: the director of the Gallery; Barry Pearce, Tristan project (9 April – 26 July 2008) head curator of Australian art and

ART GALLERY OF NSW ANNUAL REPORT 07–08 31 • Sidney Nolan retrospective (2 November 2007 – 3 February 2008)

Harold Cazneaux The wheel of youth 1929, gelatin silver photograph, 34.6 x 28.3 cm. Gift of the Cazneaux family 1975. From the exhibition Harold Cazneaux: artist in photography (5 June – 10 August 2008)

Bertram Mackennal Diana wounded 1907, marble, 147.3 x 81.9 x 62.2 cm. On loan from the Tate Gallery Presented by the Trustees of the Chantrey Bequest 1908. From the exhibition Bertram Mackennal: the fifth Balnaves Foundation Sculpture Project (17 August – 4 November 2007)

32 ART GALLERY OF NSW ANNUAL REPORT 07–08 exhibition curator; Dr Janine Burke, Bertram Mackennal: the fifth Translucent world: Chinese jade art historian; and Dr Richard Haese, Balnaves Foundation Sculpture from the Forbidden City senior lecturer in art history at La Trobe Project University. This exhibition featured 185 jade works After three years of intensive research, from the collection of the Palace An introductory lecture series titled the retrospective Bertram Mackennal Museum in Beijing. Focused on the Dreamers: Australian painters and the was the first major exhibition to focus on theme of nature, the works in the poetic imagination drew together a diverse Australia’s most successful international exhibition reflected the reasons why group of speakers – academics, curators, sculptor. This show was generously an enduring reverence was paid to painters, poets and composers – to supported by the Neil and Diane this ‘heavenly’ stone. The jade objects reveal the poetic sources and aspirations Balnaves Foundation as the fifth spanned China’s Neolithic period to which have nourished individual creators Balnaves Foundation Sculpture Project. the Qing dynasty and depicted subjects in Australia. Beginning and ending with The exhibition featured 60 domestically ranging from real and imagined creatures, talks and performances devoted to the scaled sculptures, along with extensive such as turtles and dragons, to the flora remarkable imagination of Sidney Nolan, archival material and large-scale and fauna gradually introduced after each week brought a particular focus to photographic documentation addressing the Tang dynasty, to later depictions of the work of a different artist central to the Mackennal’s role as a sculptor of major complex landscapes carved on large rich and varied narrative landscape of public works within the British Empire. jade pieces. An outstanding object, so modern Australian painting. Each session important that it will probably never again commenced with a keynote lecture and Bertram Mackennal (1863–1931) was be allowed to leave China, was the jade a diverse program of panel discussions, arguably the most successful of all artists boulder commissioned by the Emperor literary readings and musical recordings. who left Australia for Europe in the latter Qianlong in 1787, which was skilfully The series was extremely well attended, decades of the 19th century, seeking carved in the round with a scene with a performance of Barry Pearce’s work opportunities and an international depicting the nine elders of Huichang. opening lecture, ‘Planet Sid’, repeated reputation. Indeed, Mackennal was the The exhibition extensively illustrated due to popular demand. most internationally prominent of our the many uses of jade, from ceremonial artists until the extraordinary successes implements to treasured ornaments, The Gallery also conducted a diverse of Sidney Nolan from the 1950s. The while highlighting the techniques range of exhibition talks, celebrity high regard in which Mackennal was held involved in its carving. presentations and lectures, which took in his day is reflected in the sculptor’s place every Wednesday evening through success as an exhibitor at the Royal A highlight of this exhibition was the the Art After Hours program. A children’s Academy and the Paris Salon; his extraordinary interest it generated in the trail and a series of holiday workshops appointment as a Royal Sculptor under Chinese community. Chinese-language were available for family groups the patronage of George V; and his role tours offered on Saturdays attracted an throughout the duration of the exhibition, as the first Australian artist elected a audience larger than the combined total and an interactive Australian Folklore member of the Royal Academy, the first of daily English-language tours. A one- Performance ran for a week in January, to have work purchased for the British day community event celebrating the using stories and music to bring nation and the first to be knighted. Moon Festival in October 2007 included Australian legends and heroes to life. several performances by instrumental, A range of innovative and popular floor choral, dance and tai chi groups, as The Westerns: outlaws and outsiders talks, lectures and education programs well as hands-on training in tying film series featured Westerns focusing were presented in support of the Chinese knots. The VisAsia Hing Yiu on the lives of semi-nomadic wanderers, exhibition, including Art After Hours Mok Mandarin-language lecture was outlaws and outsiders, often depicting lectures given by the Gallery’s exhibition presented by Zhang Guangwen and the discordance of the land, people, curator, Deborah Edwards; British Zhang Rong from the Palace Museum history and mythology. The series historian Roger Neill; Australian sculptor in Beijing. The symposium held in presented a rare opportunity to view Noel Hutchinson; and New Zealand conjunction with the exhibition was Westerns as they were intended to be numismatist Mark Stocker. The supported by the Australia-China Council seen – on the big screen. exhibition was also accompanied by and gathered a number of leading In Sydney the Nolan exhibition attracted a comprehensive monograph on the international scholars to explore the almost 65 000 visitors before being artist published by the Gallery. This importance of jade in Chinese culture. toured to the National Gallery of Victoria, was the first publication of its kind: where 59 417 visitors welcomed this accompanying it was a CD-ROM Harold Cazneaux: artist in most celebrated of expatriates back to containing a fully illustrated catalogue photography the city of his birth. The exhibition also raisonné of Mackennal’s works, both This photography exhibition was more travelled to the Queensland Art Gallery, domestic and civic. than three years in development, where by the end of June 2008 another The very popular Mackennal involving intensive research in Australia 23 000 visitors had experienced the retrospective drew more than 30 000 and internationally. The exhibition retrospective. visitors in Sydney. The exhibition provided an unprecedented opportunity subsequently travelled to the National to re-assess this Australian artist’s Gallery of Victoria in the artist’s oeuvre, including for the first time a hometown of Melbourne, where at it biography of the artist’s life and a attracted great interest, critical acclaim comprehensive bibliography. Arranged and similar attendance levels. within themes, the photographs in the

ART GALLERY OF NSW ANNUAL REPORT 07–08 33 exhibition charted the visual and conceptual development of Cazneaux’s working life, revealing his creative flair for composition and subject, his fascination with light, and his passionate belief in photography as art. The display was supported by a public lecture presented by Robert McFarlane and an education kit produced by the Gallery. We also welcomed the benefaction of Dick and Pip Smith, as Dick is Cazneaux’s grandson.

Jan Senbergs: from screenprinter to painter This Project Space exhibition comprised a generous selection of Jan Senbergs’ screenprints, presented within the context of his work as a whole. The presentation underlined the central importance of prints to the artist’s evolution into a remarkable, idiosyncratic • China, Qing dynasty, 18th century, Emperor’s throne set. Collection of the Palace Museum, Beijing. and admired draughtsman and painter. Translucent world: Chinese jade from the Forbidden City (29 August – 11 November 2007) Born in Latvia in 1939, Senbergs is one of Australia’s best-known contemporary artists. Showcased in the exhibition were screenprints reflecting the artist’s fascination with technology, along with a number of paintings related closely to the prints. Also on view was a group of Senbergs’ most powerful paintings, including works dating from the 1960s to the most recent.

Taisho- chic: Japanese modernity, nostalgia and deco One of the most successful exhibitions of the year was Taisho- chic, which featured approximately 70 paintings, prints and textiles of the Taisho- and Showa periods from 1912 to the 1930s. Most of the works were from the collection of the Honolulu Academy of Arts. The exhibition highlighted the influence of Western modernity on Japan, particularly through the role of women as the modern girl (modan gaaru) and the traditional girl (bijinga). Rare screens of celebrated • Taisho- chic: Japanese modernity, nostalgia and deco (22 May – 3 August 2008) people of the time – such as the film star Irie Takako in Nakamura Daizaburo’s Woman 1930, who is depicted on a Western-style chaise lounge wearing ‘The combination of Taisho- chic and a red kimono – give a sense of the art deco and impressionistic influences the Cazneaux survey makes for a of the times. The display also included compelling reason to visit the AGNSW.’ other works reflecting the interest in John McDonald, art critic, Sydney Morning Herald 19 July 2008 art deco design of the time, including stunning kimonos with colourfully bold and abstract motifs, as well as decorative art objects, such as cup and saucer sets made of glass from the Mitsukoshi Department Store. The exhibition was accompanied by

34 ART GALLERY OF NSW ANNUAL REPORT 07–08 a successful one-day symposium which Poignant taken during rehearsals, included a presentation by Patricia together with images he made in Arnhem Salmon, who originally collected most of Land in the 1950s. These photographs the objects. During June 2008, eight fully were inspirational to Nolan’s designs subscribed Japanese tea ceremonies in and to the overall production of the the Gallery’s tea room were offered to ballet, which was choreographed by members of the Art Gallery Society of Sir Kenneth Macmillan. The photographs, New South Wales. While a staple feature on loan from the Axel Poignant Archive of the school program, the tea ceremony in London, were complemented by four had not been offered to the general of Nolan’s magnificent original designs, public for several years. which are held in a private collection. An online catalogue – featuring Australian Collection Focus Room reproductions of all the exhibited An exciting future development for the works; an essay by the curator; and Australian Collection Focus Room was an interview with Poignant’s widow, Dr Roslyn Poignant – proved popular, • Boomalli: 20 years on (1 September – 28 October the notification of the Susan Chandler 2007) Bequest. Some eight years ago, with more than 700 downloads. Ms Chandler was inspired by the A spectacular feature of this exhibition curatorial concept of the Focus Room was a re-creation of Nolan’s Moonboy and advised the Gallery of her wish to backcloth, magnificently installed support it financially. Her bequest of by Gallery painters Michael Brown, around $1.5 million will be realised in Don Brown, Alan Hopkinson and 2008–09 and will enable a new era of Daniel Green. In a first for Focus Room research, conservation, display and exhibitions, the show travelled to the publication of the Gallery’s Australian art State Library of Queensland. collections. Charles Bayliss: landscape This year the Australian Collection Focus photographer Room continued its successful program of displays with continuing support The Focus Room featured a selection from Macquarie Bank. The following four of photographs by Charles Bayliss. exhibitions were presented, drawing on Renowned for his pioneering work in the diverse collections of the Australian panoramic and landscape photography, Department and, on occasion, borrowing Bayliss is considered a leading figure works from important private collections. in Australia’s photographic heritage. This display presented two substantial • Indigenous connections: Nolan’s ‘Rite of spring’ – photographs by Alex Poignant (2 November 2007 – Boomalli: 20 years on portfolios of the artist’s photographs 3 February 2008) that picturesquely document aspects This exhibition celebrated the 20th of pastoral life and landscape along the anniversary of the establishment of Darling River and Riverina districts in Boomalli Aboriginal Artists Co-operative. the late 1880s. The presentation brought together works from the Gallery’s collection by founding Judy Cassab: landscapes from members of the co-operative, including the collection photographs, films, paintings and works on paper by leading Indigenous artists Finally, the work of émigré artist Judy Bronwyn Bancroft, Brenda L Croft, Fiona Cassab, who arrived in Sydney in 1951, Foley, Arone Raymond Meeks, Tracey was featured in a display comprising Moffatt, Michael Riley and Jeffrey a selection of drawings, watercolours Samuels. An online catalogue of the and paintings. These works from the exhibition is available as a free download permanent collection spanned more from the Gallery’s website. than four decades, from 1959 to 2003. Born in Vienna in 1920, Cassab quickly Photographs by Axel Poignant established a reputation in Australia as a portrait painter. However, it was her In a remarkable installation, and in experience of central Australia in the conjunction with the Nolan retrospective, late 1950s that first made her feel fully Indigenous connections: Nolan’s ‘Rite of at home in this country. Revealing the spring’ – photographs by Axel Poignant artist’s exultation in the forms and introduced visitors to another aspect of colours of the landscape, this exhibition the genius of Sidney Nolan. In 1962 placed Cassab as one of the leading London’s Royal Ballet premiered a new artists of her generation painting in production of Stravinsky’s Rite of spring, Australia today. with décor and costumes designed by Nolan. This Focus Room show featured a selection of photographs by Axel

ART GALLERY OF NSW ANNUAL REPORT 07–08 35 One sun one moon: Aboriginal art in Australia One sun one moon was presented in conjunction with the launch of the Gallery’s major publication of the same name. The exhibition featured works from the collection that were featured in the book, demonstrating the diversity of Indigenous art practice. From a late 19th-century pen-and-ink drawing by Tommy McRae to recent works, One sun, one moon included art in a range of media by artists from across the country. Mawalan Marika and Munggurrawuy Yunupingu’s acclaimed figurative sculptures of ancestral beings were displayed in the company of • Del Kathryn Barton, winner of the 2008 Archibald Prize, with her work You are what is most ceremonial objects from central Arnhem beautiful about me, a self portrait with Kell and Arella. From the exhibition Archibald, Wynne and Land. Early Papunya boards and works Sulman Prizes 2008 (8 March – 18 May 2008) by the celebrated artist Rover Thomas highlighted the extraordinary breadth of Aboriginal culture in Australia. Distinctive Balangjangalan sculptures by the late Rembarrnga artist Paddy Fordham Wainburranga paid tribute to the artist, who was the author of the phrase from which the exhibition and book took their title: ‘All over the world nobody different family, all the same family. One sun, one moon …’.

Living black This exhibition took its title from the award-winning book of the same name by the late artist, playwright, poet and curator Kevin Gilbert. The exhibition explored different experiences of ‘living black’ in contemporary Australia. Several new acquisitions were on display, James Angus including major works by established Bugatti Type 35 2006, steel, aluminium, fibreglass, rubber, leather, automotive lacquer, artists such as Mabel Juli, Eubena 193 x 115 x 366 cm. Purchased with funds provided by Andrew Cameron, the Contemporary Collection Benefactors and the Rudy Komon Memorial Fund 2006 Nampitjin, Destiny Deacon and Michael © James Angus. Courtesy Roslyn Oxley9 Gallery. From the exhibition Biennale of Riley. The work of emerging artists Sydney 2008: revolutions – forms that turn (18 June – 7 September 2008) such as Tony Albert and Daniel Boyd demonstrates the rise of a younger generation of artists who are making an important contribution to the cultural diversity of Australian, and Indigenous, art.

9 shades of Whiteley This exhibition, a mini-retrospective held at the Brett Whiteley Studio, traced the artist’s life and career from his earliest work in 1955 with Self portrait at 16,to just a few months before his death with Port Douglas, far north Queensland 1992.

Tony Albert Headhunter 2007, synthetic polymer paint and vintage Aboriginal ephemera, 110 x 370 cm overall. Purchased with funds provided by the Aboriginal Collection Benefactors Group 2007 © Tony Albert. Courtesy Jan Manton Art. From the exhibition Living black (20 December 2007 – 16 November 2008)

36 ART GALLERY OF NSW ANNUAL REPORT 07–08 Archibald Prize 08 influences; the Rajputs, with paintings back to Mongol times. This show was produced for the Hindu rulers of followed by a beautiful installation by The Archibald, Wynne and Sulman Prizes independent kingdoms in Rajasthan; and Gary Carsley of large-scale vinyl prints presented together this year attracted the Rajput principalities in the Punjab and moving imagery of parks and a record 151 900 visitors. The Archibald Hills. Another section of the exhibition landscapes created in a wood-grain Prize, valued at $50 000, was won by displayed works created during British palette. Jon Rose and Hollis Taylor Australian artist Del Kathryn Barton for colonial rule. Included in the exhibition surprised us with a complex and her work entitled You are what is most were some of the Gallery’s more groundbreaking interactive installation, beautiful about me, a self portrait with important recent acquisitions, including Sphere of influence, an interactive ball Kell and Arella. More information on all Lotus-clad Radha and Krishna, which game which included live performances the prize winners, including the People’s portrays the Hindu god Krishna with his and formed a passionate plea for the Choice winner, can be found in this beloved Radha covered in lotus petals. future of the planet. And Scott Redford report’s ‘Art prizes and scholarships’ impressed with a refined installation of appendix. The Archibald Prize lends Biennale of Sydney 2008 surfboard paintings. itself well to the celebrity speaker The 2007–08 year culminated with the program, and this year we invited sitters Bill Viola and artists to be interviewed, along opening of the Biennale of Sydney 2008, with famous faces with a passion for art. Revolutions: forms that turn. The subtle In April 2008, John Kaldor Art Projects, These speakers were invited to share and cunning deployment of historical in association with UBS and Andrew their opinions of the Archibald finalists avant-garde works with the very new Cameron, sponsored a free public talk with the Art After Hours audiences. made this one of the most interesting at the Gallery by the internationally This year Casey Bennetto, the writer, Biennales for some time. The Gallery acclaimed video artist Bill Viola. The talk director and performer who is best acquired several works to lend to was presented in conjunction with the known as the creator of the Australian the Biennale and is considering acquiring artist’s Tristan project, which was shown musical Keating!, wrote and performed other works that were featured in the in two parts – at the Gallery (where two Archibald Prize songs for Art After exhibition. We also re-created for the The fall into paradise was premiered) Hours. Scientist, author, Australian of Biennale our major Lawrence Weiner and at St Saviours Church in Redfern. the Year 2007 and previous Archibald installation over the escalators leading Viola’s main presentation, an in- Prize sitter Tim Flannery gave a moving to level 2. The Biennale always involves conversation with Gallery director verbal portrait of Robert Hannaford, a hectic schedule of events and this Edmund Capon, was oversubscribed. the artist who painted his portrait in year was no exception, with the Gallery Viola generously conducted a second 2006. Archibald finalists gave fascinating developing a program of almost daily session directed at tertiary students, insights into the artistic process and events, including artist talks, lectures, which featured a question-and-answer the drama of submitting a work for performances and a two-day symposium. session conducted by Viola and his this famous prize to big Wednesday- The film program presented at the creative partner, Kira Perov. These talks night crowds. Gallery was undoubtedly a highlight were filmed and posted on the Gallery’s of the Biennale. website. Modern British watercolours and drawings Adam Cullen: let’s get lost The photographs of August Sander Coinciding with the completion of major The first survey of the artist’s work ever conservation work on those areas of held in a major gallery, this exhibition This remarkable exhibition of works the Gallery’s collections, this exhibition highlighted the significance of Adam by August Sander from the collection of featured 40 drawings and watercolours. Cullen’s work. Visitors gained a the J Paul Getty Museum in Los Angeles Many of these works were acquired comprehensive perspective on the was the first time Sander’s work had early in our history but have rarely been practice of this important Australian been seen in Australia in depth. The displayed. The exhibition spanned artist. While Cullen is best known for his contemporary relevance of the artist’s 50 years of innovation in British art, paintings, this exhibition also included photography project was well noted. with an emphasis on artists of the early ‘grunge’ sculptures to introduce The exhibition was supported by a series 1930s and ’40s, and included works key themes of Cullen’s work. Many of talks and lectures on Sander’s work by Graham Sutherland, John Piper, public events supported the exhibition, and this critical period in German cultural Edward Burra, Ben Nicholson and including a series of floor talks; musical history, which were presented by Dame Barbara Hepworth. performances; stimulating and humorous Australian experts. discussions with several artists who have Intimate encounters: Indian painted Adam for the Archibald Prize paintings from Australian exhibition; curatorial talks with the artist himself; and an education kit produced collections by the Gallery, which is available as a This beautiful exhibition featured more free download from the Gallery’s website. than 70 works from the Gallery’s collection of Indian art and from other Contemporary art projects public and private collections within The year’s contemporary art series began Australia. The presentation included with an ambitious project by Claire Healy works from the Mughal dynasty and Sean Cordiero, which traced their (1526–1885) created amid strong Islamic ‘paper trail’ and its bureaucratic origins

ART GALLERY OF NSW ANNUAL REPORT 07–08 37 Mountains and streams: Chinese Australian bookbinders paintings from the NGV Asian The Gallery’s Research Library hosted collection this year’s Australian bookbinders This exhibition of 40 works from the exhibition. In the world of digital National Gallery of Victoria’s collection of publishing, the artisan bookbinder could Chinese art spanned the 14th century to well be an endangered species. Annual the present. These paintings, many of exhibitions of the bookbinders’ art have which were by important Chinese been held since 1997, providing a painters, were poetic depictions of showcase for the skill and creativity of mountains, streams and uninhabited practitioners. This was the first time the forests. The notion of searching for exhibition has been held at our Gallery. picturesque places first became popular with Daoist poets and painters, with Film at the Gallery pictorial representations of landscape Film at the Gallery programs are becoming a mainstay of the Chinese screened in the Gallery’s Domain Theatre artistic vision. The exhibition was the on Wednesdays and Sundays at 2pm, centre of free events in celebration of and on Wednesday nights at 7.15pm Chinese New Year in February 2008, with as part of Art After Hours. This year saw a day of lectures focused on the theme the continuing popularity of Film at the of Chinese landscape and contemporary Gallery in its regular Wednesday and artists, and including a brush-and-ink Sunday time slots, with additional artist painting Year of the Rat images for screenings of experimental works on August Sander visitors, a hip-hop performance by young selected Saturdays achieving a new Country girls 1925, The J Paul Getty Museum, Asian dancers, and storyteller Aditi and audience and a loyal following. The film Los Angeles. from the exhibition Extraordinary her rickshaw. program drew a substantial total of images of ordinary people: the photographs of 30 863 attendances for the year. August Sander (17 November – 3 February 2008) Kitty Kantilla Particularly popular with audiences was The National Gallery of Victoria’s survey the series The Iranian new wave, which exhibition highlighted the work of Kitty screened in conjunction with The arts of Kantilla (Kutuwalumi Purawarrumpatu), Islam: treasures from the Nasser D Khalili a leading Tiwi artist. Kantilla’s work in Collection. This series explored a decade sculpture, painting and printmaking over of Iranian cinema (1997–2007) and the last decades of the 20th century highlighted the distinctive social and brought her distinctive island culture to political concerns of these films, as well a national audience. Featuring a number as their unique poetics and aesthetics. of significant works from the Gallery’s With 35mm prints imported from Iran, own collection, and accompanied by this was a rare opportunity for Gallery exhibition films and a monograph, the audiences to see some of Iran’s most exhibition proved extremely popular with recent and vital cinema. The series ran Gallery audiences. for three months and attracted 8100 viewers. Michael Riley: sights unseen A special event was the rare screening of In early 2008, the National Gallery of • Adam Cullen with his painting Disgrace 2003, the Indian silent film Shiraz (directed by from the exhibition Adam Cullen: let’s get lost Australia’s travelling exhibition Michael Franz Osten, 1928) during The arts of (15 May – 27 July 2008) Riley: sights unseen was displayed at our Islam. Screened in conjunction with the Gallery as the last venue of the national Art Gallery Society of NSW, this visually tour. The artist’s strong connection to sumptuous historical romance played Sydney is evident in his work as a to a sell-out audience in the Domain photographer, filmmaker and founding Theatre. The Gallery presented the film member of Boomalli Aboriginal Artists in a new 35mm print recently made by Co-operative. Riley’s photographs the National Film and Sound Archive in include black-and-white portraits, large- Canberra. The internationally renowned scale conceptual works, and the critically musical duo Dva (Linsey Pollak and Tunji acclaimed series Sacrifice 1993. The Beier) performed an original score on exhibition was accompanied by a percussive and hybrid wind instruments. comprehensive monograph, film program and archival material. The series The cinema of Yasujiro Ozu, presented in conjunction with Taishô chic, was the result of a collaboration between the Gallery and the Japan Foundation. Ozu is considered the Japanese master of lyric melodrama. Rare 35mm prints of some of his most

38 ART GALLERY OF NSW ANNUAL REPORT 07–08 highly regarded works were lent to the Gallery by the Japan Foundation in Tokyo. The series included Tokyo story (1953), Floating weeds (1959) and Early spring (1956), attracting 2600 viewers during its four-week season.

Exhibitions planned for 2008–09 The exhibition Monet and the Impressionists is planned as the highlight of the Gallery’s 2008–09 program. This show, which will be one of the finest exhibitions of impressionist art ever held in Australia, will open at the Gallery in mid October 2008 and runs until 26 January 2009. Sydney will be the only Australian venue. Drawn from the permanent collection of the Museum of Fine Arts in Boston, the exhibition will include 29 works by Claude Monet alongside other masterpieces by Renoir, Pissarro, Cézanne, Degas, Sisley and other artists. Most of the paintings have never before been seen in Australia. The exhibition will be accompanied by an extensive public program of events, including art lectures, curatorial exhibition talks, guide tours, a film program and • Australian bookbinders exhibition displayed in the Gallery’s Research Library (18 June – 3 October 2008) holiday activities for families. Preparation is also underway for Australian Collection Focus Room exhibitions on Tom Arthur’s sculpture The fertilization of Drako Vülen’s cheese pizza 1975 and Sydney Long’s Pan 1898. A major retrospective on expatriate artist Rupert Bunny (1864–1947) is scheduled to open at the Gallery in November 2009. This will be the first exhibition in two decades to focus on this artist. Bunny, who lived most of his artistic life in France, was the most cosmopolitan of all Australian artists to work overseas during an era when Australians made strenuous attempts to master European styles. Intensely Dutch, a survey of mid to late 20th-century Dutch artists with some Australian connections, is also well into its final development stage. A major exhibition featuring the work of Tim • Film still from The day I became a woman, dir: Marziyeh Meshkini (2000), Shabnam Toloui as Ahoo, Johnson is in development for 2009. courtesy Sheherazad Media International Also in planning is an exhibition of work by contemporary Australian artists, presented in partnership with Asialink, which will tour Asia. ‘Robert Herbert – films are consistently terrific … well done’ Visitor’s compliment to the Gallery’s film program coordinator, 27 March 2008

ART GALLERY OF NSW ANNUAL REPORT 07–08 39 Educational, community and regional activities

Further delivering against our principle object ‘to propagate and increase knowledge of art’ are our education, community and regional activities. During 2007–08 the Gallery had attendance of over 103 505 students; over 29 630 people enjoying our families programs and over 24 350 people attracted to the regional NSW tour of the Archibald Prize 07.

Educational programs and Primary, secondary and tertiary selected from a range of schools, including activities student participation public and private, co-educational and single-sex, metropolitan and regional. The Gallery is recognised as a leader in Special exhibitions Tertiary Permanent The groups met regularly throughout the innovative and high-quality education 52 948 51% 3 684 4% Primary collection year and provided32 519 31% invaluable feedback programs for teachers and students at all 50 557 49% on Gallery education programs, stages of the education continuum – in resources and initiatives. Their professional NSW, across Australia and, increasingly, insights into classroom issues, teaching internationally. A very high participation practice and the Visual Arts curriculum rate in Gallery education programs for helped in the development of new primary, secondary and tertiary audiences education programs. (students, teachers and lecturers) was Secondary achieved in 2007–08, with 103 505 Critical67 302 65% Friends also gave presentations student visitors to the Gallery. Of these, Special exhibitions and at teacher professional development 52 948 (51%) engaged with special permanent collection engagement days, Operation Art teachers enrichment exhibitions while 50 557 (49%) engaged day, the biannual teacher–lecturer Special exhibitions Tertiary with the permanentPermanent collection. Inventive training course, and Focus Fest and 52 948 51% 3 684 4% Primary and relevantco programsllection and resources 32 519 31% other student programs. In addition, they 50 557 49% encourage these audiences to experience provided content for a wide range of the Gallery as a major education site, resources, including education kits and and to maximise their time with us. the education website. The Gallery’s education strategy Artside-In Metropolitan emphasises the Visual Arts curriculum, focusing on our collections and Now in its fifth year, Artside-In is a Secondary unique three-stage outreach program exhibitions, but also encompasses the 67 302 65% study of languages, history, science, designed to engage disadvantaged NSW English, religion, mathematics and senior secondary Visual Arts students Indigenous cultures. Other important Leadership in visual arts (years 10–12) who would otherwise education initiatives involve gifted education, professional have limited opportunity to access the Gallery’s collection, exhibitions and and talented students, students development and training with disabilities, and disadvantaged services. Stage 1 is held at the Again this year, the Gallery’s education metropolitan and regional students participating schools and Stage 2 at coordinators delivered a diverse range in access programs. the Gallery, while Stage 3 offers a of visual arts education training and mentorship placement at the Gallery Audiences by program professional development programs. for a selected student from each school. These on-site and off-site programs 2007–08 programs % Visitors helped to augment the skills of Gallery The programs allows students who are Art After Hours – educators, volunteer guides, regional disadvantaged by geographic, economic celebrity speakers 5 14 620 gallery staff, university trainee teachers and cultural factors to participate in the Exhibitions & collection talks, and classroom teachers. culture of the Gallery and the wider art including AAH 1 3 420 world, making valuable connections to Exhibitions lectures A total of 24 programs served more than the Visual Arts syllabus while discovering & symposia 1 4 238 1793 teachers and educators in 2007–08, more about arts careers and potential a 49% increase in participants over the Film 11 30 863 professional pathways for their futures. previous year. Eighteen of these programs Since its inception, Artside-In has been Sunday concerts 3 8 620 were initiated and presented by the supported by the Caledonia Foundation. Children & family programs 10 29 630 Gallery, while the other six were hosted A total of 340 students and 18 teachers Access 1 2 263 on-site and incorporated lectures by the participated in the three stages of Adult tours by Gallery’s education coordinators. Our Artside-In during 2007–08, bringing the Volunteer Guides 18 52 098 education coordinators were also invited total participation since 2003 to 1324 Courses 9 25 317 to participate in four externally organised students and 110 teachers. This year’s K–6 Schools (incl 17 735 programs for teachers and educators, participants were from four schools, on tours given by Volunteer where they gave presentations on the including Sarah Redfern High School Children’s Guides) 11 32 519 NSW visual arts syllabus and on the (Minto), Strathfield South High School, 7–12 schools 24 67 302 Gallery’s programs, resources and Doonside Technology High School and philosophy with regard to education. Tertiary 1 3 684 Tempe High School. Brett Whiteley Studio 4 10 054 Critical Friends: Teachers Four students were accepted for this TOTAL 100 284 628 Advisory Groups year’s Stage 3 mentorship program. This exciting and inspiring stage of the Our two Critical Friends Teachers program incorporated visits to key Advisory Groups form a core component Sydney art-world destinations, including • Chooky Dancers, a group of young men and of the Gallery’s education programs. the studios of artists Hitesh Natawalla boys from Elcho Island, perform their renowned interpretation of Zorba the Greek in the Gallery’s Together the groups comprise eight K–6 and James Powditch, Sotheby’s Auction main court. teachers and ten years 7–12 teachers House, the National Art School, Brett

ART GALLERY OF NSW ANNUAL REPORT 07–08 41 Whiteley Studio, and the home of Wendy Whiteley in Lavender Bay. A core component of Stage 3 is mentoring from Gallery staff in the curatorial, public programs, conservation and registration departments. As part of the Gallery’s ongoing commitment to developing innovative and stimulating approaches to art education, we have undertaken a longitudinal assessment of Artside-In and its outcomes. An extensive analysis has been made of all pre- and post-visit evaluation data from participating teachers and students from 2003 to the present day, with the results to be published in late 2008. Details about the regional extension program, Artside-In Moree, which took place in 2007, are included below under ‘Regional activities’.

International lecture series This year the Gallery presented an important international lecture series featuring visiting artists and writers. These events attracted full houses. On 30 July 2007, in association with the University of Technology, Sydney, controversial French performance artist Orlan gave a free public lecture in the Domain Theatre titled ‘This is my body, this is my software: between Western culture and non-Western culture’. The award-winning Matisse biographer Hilary Spurling, who was touring Australia in collaboration with the National Portrait Gallery in Canberra, gave two very successful talks at the Gallery on 4 October 2007. The first, a ticketed event in the Domain Theatre under the aegis of the Art Gallery Society, took the form of an in-conversation with Professor Roger Benjamin of the University of Sydney. This was followed the next day by a free public lecture, ‘Matisse’s • Children’s guide Mandy Palmer and students from Allambie Heights Primary School viewing various works the Gallery’s collections. women’, in the Centenary Auditorium. On 10 October 2007, in association with the College of Fine Arts (UNSW) and the University of Queensland, Dr James Meyer of Emory University in Atlanta ‘Elaine Russell was a wonderful storytelling presented a lecture in the Domain Theatre. Titled ‘Entropy as monument’, experience. I come every holidays to the this presentation considered the legacy children’s programs and they just keep getting of Robert Smithson with regard to better and better.’ contemporary artistic practice. Visitor’s compliment to Aboriginal artist, author and storyteller, John Kaldor continued his support of Elaine Russell, 14 April 2008 major international artist projects with the sponsorship of a free public talk by Christo and Jeanne-Claude, held at the

42 ART GALLERY OF NSW ANNUAL REPORT 07–08 • Artist and performer Elaine Russell sharing a story with a young audience as part of our free public programs.

Gallery on 15 December 2007, in which Brett Whiteley Studio the continuing and significant support of the artist-duo discussed two of their Wendy Whiteley in the programming and During 2007–08, the Brett Whiteley Studio current projects. promotion of the studio. hosted 2302 school visitors. This is an In April 2008, John Kaldor Art Projects, outstanding result, representing an Prints, Drawings and in association with UBS and Andrew increase of 13% over the previous year Photography Study Room Cameron, sponsored a free public talk and making it the most successful year at the Gallery given by internationally for education audience attendance since For many visitors, the Prints, Drawings acclaimed video artist Bill Viola. This the studio opened in 1995. New education and Photography Study Room is a key program was offered in conjunction with audiences were gained from regional destination and an integral component Viola’s Tristan project, which was exhibited NSW and interstate schools, including in to the gallery experience. This year in part on the Gallery’s lower level 2 and Victoria, South Australia and the Northern approximately 1250 visitors utilised the in part at St Saviours Church in Redfern. Territory. Discussion tours, drawing study room to access the Gallery’s large Correctly anticipating that his main workshops and Studio Zoo, led by the collection of works on paper. It continues presentation – an in-conversation in the Gallery’s teacher–lecturers, remain highly as an essential facility, allowing artists, Domain Theatre with Edmund Capon – sought-after programs that allow primary, students, museum and gallery would be oversubscribed, the artist secondary and tertiary students to engage professionals, and interested members of generously offered to conduct a second with Brett Whiteley’s work and studio. the public to access and research these session for tertiary students, which was important collections. With weekly group A very successful open house and talk held immediately after the advertised main visits from universities, TAFE colleges, were held at Wendy Whiteley’s Lavender event. This question-and-answer session, art centres, and primary and secondary Bay home in March 2008. This talk was conducted by Viola and his creative schools, the study room remains one of organised by the studio in consultation partner, Kira Perov, also proved a great the Gallery’s central educational resources. with the Newcastle Region Art Gallery success. The talks were filmed, edited and and was attended by 60 people. The posted on the Gallery’s website, providing Gallery acknowledges with appreciation an excellent educational resource.

ART GALLERY OF NSW ANNUAL REPORT 07–08 43 Community activities The number of repeat visitors to our holiday and children’s programs is noteworthy. The progression of children from one program to another, as they grow older, was particularly evident this year and is a very pleasing result of our efforts to provide a continuum of engagement for visitors of all ages.

Tours for Tots Tours for Tots is an innovative adventure tour for children aged 3–5 accompanied by an adult carer. Offered twice daily on the last Tuesday of every month, the program incorporates practical art- making activities and art appreciation as an interactive learning experience for both the child and the adult. The themed tours, which draw upon all aspects of the Gallery’s permanent collection as a stimulus, are continually reviewed and developed. We have tracked a few children who have participated in the program since its inception and who have now transitioned to independent participation in holiday workshop programs. It has been gratifying for Gallery staff to evaluate the skills these children have developed and their confidence in articulating ideas about art. The Tours for Tots program has been sold out for every session since its • A free performance by Etcetera Duo as part of the Gallery’s regular school holidays program. inception and has continued to grow in popularity. A large number of people are on a waiting list in anticipation of the new program for 2008–09. Due to this ‘Absolutely fantastic choice to engage a range of children and popularity, we instituted a trial policy in adults. We always look out for your free performances in the 2007–08 that allowed participants to book only up to three sessions per year, school holidays because they are so good. My 13-year-old son so that as many children as possible likes to join in as much as his younger sister and brother. could benefit from the program. No Well done and thank you.’Gallery visitor, 18 April 2008 negative results were encountered in this trial and new participants have thrived as a result. Tours for Tots has been noted during early childhood courses in TAFE institutions. The program coordinator gave a presentation to trainee students from Meadowbank TAFE in May 2008, discussing the merits of the program, how to source ideas and how to talk to children about art. This presentation will now be incorporated into the college’s early childhood course each year.

44 ART GALLERY OF NSW ANNUAL REPORT 07–08 Gallerykids Designed especially for 3–5-year-olds, the Gallerykids program is linked closely to our exhibitions. This year new actors and performers were engaged to provide a fresh perspective and promote engagement with art for loyal followers of our family programs. Of particular note was an interactive show based on the exhibition Sidney Nolan retrospective, in which children could ‘shear sheep’, take part in a muster and play lagerphones as part of a bush band.

Children’s trails Four trails were produced in 2007–08, including for the temporary exhibitions The arts of Islam: treasures from the Nasser D Khalili collection and Sidney Nolan retrospective. Another trail was developed for the Yiribana Gallery collection in conjunction with the exhibition Living black, while the fourth, • Gerard Cafe ‘shearing sheep’ as part of the free Gallerykids Sunday program for 3–5 year-olds. Cool Contemporary, focuses on the Gallery’s contemporary collection. Children’s trails combine looking at and interpreting art with practical drawing activities for children aged 5 and older. Ideas for at-home activities are included in every trail, encouraging children to extend their Gallery experience beyond the day of the visit. This year, interactive elements within the trails, such as Ned Kelly’s mask, have been included to encourage role-playing fun. All trails are made available on the Gallery’s website and mini-sites as downloadable A4 sheets. New trails will be developed across the Gallery’s permanent collection in 2008–09.

Australian Folklore One of the biggest successes of 2007–08 was a special program called Australian Folklore. Musician and • Children’s trail brochures. performer Gerard Cafe developed a special show for the exhibition Sidney Nolan retrospective and even designed his Ned Kelly costume to resemble the ‘The public access and equity is absolutely fantastic. I bring armour as depicted in Nolan’s painting. my child and nephew and nieces every holiday. What the The performance also contextualised many of the scenes depicted in the gallery offers is so special, the standard consistently excellent. Heidelberg paintings in the Gallery’s Old It is always thoughtful and engaging.’ Gallery visitor, 12 October 2007 Courts. It was extremely popular with audiences of all ages, and children were able to participate actively through interactive singing, storytelling, games and music. Due to its popularity and relevance to the Gallery’s permanent collection, Australian Folklore will become a regular feature of the Sunday programs in the future.

ART GALLERY OF NSW ANNUAL REPORT 07–08 45 Performers Gallerykids website Art After Hours The regular 2.30pm Sunday performers The web presence of the Gallerykids Art After Hours attracted a total of 61 and the 1.30pm school holiday program continues with its own special 840 visitors to the Gallery during 2007- performers continued their popularity this mini-site, www.gallerykids.com.au, 08, with people taking pleasure in the year. The positive effect of themed devoted to performances, tours, convenience and stimulation of these programs is still evident in the collected workshops and activities for young engaging programs and late night statistics for this time period. A focus on children and families. The website, which openings. The depth of the Gallery’s exhibitions and their themes has includes photographs and images of exhibition program prompted a broad provided performers with a positive performers and characters, will continue community focus in the programming framework in which to work and has to be updated regularly. of the events with a diverse range of enabled audiences to develop a greater celebrity speakers from various understanding of the art on display while Volunteers community groups including the enjoying a holistic experience. The enthusiasm and commitment of the Islamic community for Arts of Islam and representatives from the Chinese New performances were commissioned volunteer guides, currently numbering community for Translucent World. for the Gallerykids program to link 115, continues undiminished. During Speakers in association with our directly with the Gallery’s temporary 2007–08, the guides provided a Australian exhibitions included exhibition program: Open Stage remarkable 5743 tours of the permanent representatives from the Aboriginal designed interactive storytelling/drama collection and major temporary community. Our celebrity speakers are performances based upon the exhibition exhibitions to 69 833 Gallery visitors. drawn from a range of professional An incomplete world: works from the This large number incorporates both backgrounds including journalism, UBS Art Collection; storytellers from 52 098 adults and 17 735 K–6 students literature, music, politics, comedy, Sydney’s Islamic community were invited on the ever-popular young children’s art theatre, sport and television. We are to tell stories from The Arabian nights adventure tours. Regular training offered very grateful to these speakers and and Middle Eastern history in conjunction by the Gallery to the volunteer guides performers as they generously and with The arts of Islam: treasures from ensures that they are up to date with enthusiastically contribute their time the Nasser D Khalili collection; Chinese information on new exhibitions, new and expertise to the program. acrobats and storyteller Bronwyn acquisitions and related subjects, issues Vaughan developed performances for and events, while also honing their Over 17 525 visitors participated in Translucent world: Chinese jade from communication skills for our board Art After Hours curatorial and celebrity the Forbidden City; the Etcetera Duo audiences. talks and performances. Gallery staff and staged an illusion and magic show based visiting professionals gave 82 exhibition on the Archibald Prize 08; and Aboriginal Children’s holiday workshops talks, sharing their experience and artist and author Elaine Russell gave Workshops were held in all four of the inside knowledge of the exhibitions and readings and told stories to connect holiday periods in 2007–08 and were collections with the Wednesday evening with the exhibition Michael Riley: sights fully booked each time, with many more audience. There were 15 exhibition unseen. All of these programs generated Gallery visitors hoping to fill any spaces lectures delivered in the 7.30pm timeslot enthusiasm and excitement from the left if someone was unable to attend on in the Centenary Auditorium and these audience and brought to life the artworks their booked day. The following programs presentations provided opportunities for in these exhibitions and throughout were presented during the year: July visitors to engage in greater depth with the Gallery. 2007, Islamic treasure boxes linked to the curatorial and academic substance The arts of Islam: treasures from the of the exhibitions. Collection Character Tours Nasser D Khalili collection; October 2007, The Character Tours continued their clay relief sculptures linked to Translucent Sunday Concerts appeal and attracted large audiences. world: Chinese jade from the Forbidden The Sunday Concerts, presented by The Queen of Sheba performed in July City and figurative sculptures linked to students from the Australian Institute of and August 2007 and the Tomb Guardian Bertram Mackennal; January 2008, Music (AIM), were held over three series performed in September and October landscape paintings and Ned Kelly prints from July 2007 to June 2008. Inspired 2007, including a holiday season. A new linked to Sidney Nolan retrospective; and by the Gallery’s temporary exhibition performer was engaged to play Gert April 2008, collaged self-portraits linked program, the concerts attracted 8450 by Sea. Her tenure coincided with the to the Archibald Prize 08, and layered people in 2007–08. Each Sunday, an exhibition Sidney Nolan retrospective landscape and figurative works linked average of 300 people experienced the and was particularly popular with to Michael Riley: sights unseen. ambience of the Old Courts and enjoyed Sydneysiders and tourists alike during This program has continued to attract the free performances. Students, staff the January 2008 school holidays. large numbers of 5–8-year-olds, with and associates of AIM also enjoyed Unfortunately, due to a lack of sponsorship many children participating in each performing in the Gallery. The opportunity funding for the family programs, the holiday period. Participation by children to perform for large audiences on a Character Tours have been pared back aged 9–13 increased during the year. The regular basis is extremely beneficial until a new funding source becomes family session workshops, which enable to their development as musicians. available. However, Ngununy, the cheeky children aged 3–5 and their parents to This successful collaborative format fruit bat, was revised and refreshed for share active learning experiences, have will continue into 2008–09. NAIDOC week in July 2008. continued to be extremely popular and are always the first sessions to book out.

46 ART GALLERY OF NSW ANNUAL REPORT 07–08 Art + Soul Research for the proposed documentary series on Aboriginal and Torres Strait Islander art, Art + Soul, is continuing, with the writing of the series having begun this year. The series is being developed in association with Hibiscus Films and has been supported by the Australian Broadcasting Commission and the Australian Film Commission.

Whiteman got no dreaming 2008 The Gallery provided advice and support to artist Michael Rakowitz to realise Whiteman got no dreaming 2008. This work was installed at the Redfern Community Centre for one week in June 2008, prior to its installation in the Gallery’s vestibule as part of the Biennale of Sydney 2008 exhibition. • Art After Hours exhibition talk. Anthony Bond, head curator of international art, gives a free talk on the Anselm Kiefer exhibition. Background: Anselm Kiefer, Palm Sunday 2006 (detail) © Anselm Kiefer Australian Indigenous Artists Archive (AIAA) Over the year, the Gallery has continued to build the resources of the AIAA. Work has begun on digitising the early records of the Papunya Tula artists company. Fourteen interviews were conducted with Half light exhibition artists and regular contributions of material are being received for the Michael Riley archive. The extensive film resources have been partly annotated and we plan to digitise the collection and catalogue.

Community events support The Gallery regularly donates exhibition tickets to support events conducted by a variety of community organisations. This activity promotes awareness of the Gallery and reaches out to new audiences in under-served sectors of the community. Family tickets to exhibitions are donated for a range of purposes, including fundraising and prizes for organisations such as schools, TAFEs • Art After Hours free celebrity talk. Australian actor, writer, singer and comedian, Jonathan Biggins, interviews Archibald finalists, Neil Evans and Rodney Pople, in association with the 2008 Archibald and colleges, parents and friends groups, prize. Background: Michael Johnson, After Sirius 1987–88 (detail). Purchased with assistance from the hospitals, welfare groups, charities, Moët & Chandon Art Acquisition Fund 1988. © Michael Johnson sporting clubs, migrant centres and community groups. During 2007–08, more than 50 organisations were supported by the Gallery in this way. ‘Big thank you to Keith for opening our eyes to Aboriginal Art.’ Visitor’s compliment to Keith Potten, Art Gallery Society of NSW volunteer guide, June 2008

ART GALLERY OF NSW ANNUAL REPORT 07–08 47 Regional activities Grafton Regional Gallery Loans to regional Archibald Prize 07 touring exhibition gallery exhibitions 7353 visitors 16 AUG – 23 SEP 07 Moree Plains Gallery Artside-In Moree education program Muswellbrook Art Centre MAY & NOV 07 Manning Regional Art Gallery Three works in James Clifford: a Archibald Prize 07 touring exhibition retrospective 28 MAR – 18 MAY 08 8330 visitors 8 JULY – 12 AUG 07

Newcastle Regional Art Gallery Three works in Lucien Freud: about men 25 AUG – 14 OCT 07 14 works in Tracing the meridian: the drawings of William Dobell 15 DEC – 10 FEB 08 Moree Grafton Three works in Whiteley’s garden 16 FEB – 4 MAY 08

Hawkesbury Regional Gallery Five works in Bloodlines: art and the horse 2 AUG – 14 OCT 07

Broken Hill Taree 16 works in Artists as social commentators Muswellbrook and activists 1946–2006 8 FEB – 30 MAR 08

Newcastle Lewers Bequest & Penrith Regional Orange Windsor Art Gallery

Penrith Sydney Three works in Frozen gestures: the art Campbelltown Griffith and philiosophy of Peter Upward Wollongong 20 OCT – 2 DEC 07

Manly Regional Art Gallery & Museum 16 works in Artists as social commentators and activists 1946–2006 6 SEPT – 28 OCT 07

Bega 17 works in Harbourlife: Sydney Harbour form the 1940s to recent times 30 NOV 07 – 13 JAN 08

Macquarie University Art Gallery 17 works in Harbourlife: Sydney Harbour form the 1940s to recent times Broken Hill Regional Art Gallery 23 JAN – 8 MAR 08 Archibald Prize 07 touring exhibition 2422 visitors 21 DEC 07 – 31 JAN 08 Hazelhurst Regional Gallery & Arts Centre Griffith Regional Gallery One work in Lines in the sand: Botany Bega Regional Art Gallery Regional gallery education officer Bay stories from 1770 Archibald Prize 07 touring exhibition 28 MAR – 11 MAY 08 mentorship 2553 visitors 28 SEP – 3 NOV 07

Orange Regional Art Gallery Campbelltown Arts Centre Archibald Prize 07 touring exhibition Wollongong Regional Gallery One work in News from Islands 3694 visitors 9 NOV – 16 DEC 07 Gallery education officers course 8 JULY – 12 AUG 07

48 ART GALLERY OF NSW ANNUAL REPORT 07–08 Artside-In Moree program will include key Gallery HSC Study Days education staff and artists reprising Artside-In Moree was a unique outreach This annual program involves year components of the original program. program targeting disadvantaged high 11 students from schools in Western school students in the Moree region of Gallery Educators Course Sydney, South-western Sydney and the NSW. Many of the participating students Hunter Valley/Central Coast. The were new to studying visual arts or had The Gallery Educators Course, the only program continued to be extremely only limited exposure to it. Many students one of its kind presented by any Australian popular, with 516 year 11 students and who were interested in visual art had not gallery, is an intense four-day program 40 teachers, drawn from 35 NSW high been to a gallery before and had never immersing participants in understandings schools, participating in 2007–08. This met an artist. Funded by the Arts NSW of the collection; working with original art represents an increase of 26% over the ConnectED program as a best practice objects; and gallery education practice previous year, reinforcing the important model in visual arts education, the two- and strategies. The course, which is contribution the Gallery makes towards week program incorporated a teachers supported by a comprehensive reader, HSC outcomes for senior Visual Arts day and students art camp at the Moree is also made available to regional gallery students. Plains Gallery, followed by a week in the education officers and Visual Arts head The HSC Study Days present an intensive Sydney professional art world. teachers, with one education officer participating from Wollongong Regional one-day program targeting students who The program concluded back at the Gallery. An ongoing initiative involves are disadvantaged in their preparation for Moree Plains Gallery in November 2007 integrating the course into the Regional the HSC Visual Arts written examination, with curatorial workshops for the Gallery Education Officer Mentorship, due to their lack of access and proximity participating students, as well as an a joint program between the Gallery to direct experiences with art galleries, exhibition of artworks produced at the and Museums & Galleries NSW. In 2008, artists and works of art. One HSC Study art camp. The exhibition was officially the mentorship was awarded to Monica Day was programmed for each of three opened by the mayor of Moree and Armanini, education officer at Griffith targeted education regions: Western brought a large and diverse visitor Regional Gallery, who spent two weeks Sydney (195 students), South-western audience to the Moree Plains Gallery. working at the Gallery and participating Sydney (151 students) and Hunter/Central That gallery’s director was pleasantly in the course. Coast (170 students). Featuring surprised at the strong visitation and, workshops with the Gallery’s education as a result, extended the one-week Collection loans officers, syllabus experts, the editor of exhibition to three weeks, allowing Art & Australia and artist Ben Quilty, the This year the Gallery made loans from its nearly 2000 people to attend. program aimed to help students develop permanent collections for four major their critical, analytical and writing skills. A key component of Artside-In Moree regional exhibitions focusing on Australian was the production of a documentary film artists. These artists included John Brack Regional exhibition tours about the program and the experiences at the National Portrait Gallery, Peter of those who participated in it. This film Upward at the Penrith Regional Gallery, During 2007–08 the Archibald Prize 07 can be viewed in its entirety (35 minutes) Richard Larter at the National Gallery of toured to Manning River, Grafton, Bega, or as an edited version (10 minutes) on Australia and Kenneth Macqueen at the Orange and Broken Hill, attracted over the Artside-In website at www.artgallery. Queensland Art Gallery. The Gallery also 24,350 people to these five NSW regional nsw.gov.au/ed/712/ artsidein. made extensive loans from its 20th- venues. Next year’s tour of the Archibald century Australian art collection to enrich Prize 08 is planned for another five NSW Several successful outcomes for the travelling exhibitions Cuisine and regional venues being Goulburn, students and some new initiatives have country, commissioned by Orange Bathurst, Lake Macquarie, Port been achieved as a direct result of Regional Gallery, and Harbourlife: Sydney Macquarie and Lismore. Artside-In Moree. Three students who Harbour from the 1940s to recent times, participated in the program have made With funding provided by Visions of organised by Manly Regional Art Gallery notable progress: one has transferred to Australia, the 9 shades of Whiteley: and Museum. Three iconic paintings – Newtown Performing Arts High School to regional tour has been in development Arthur Streeton’s Fire’s on, W C further pursue his focus on the visual and over the past year. This will be the first Piguenit’s The flood in the Darling 1890 performing arts; another secured a highly time that a Brett Whiteley Studio and Eugene von Guérard’s Milford competitive place on the Young exhibition has toured to regional Australia Sound, New Zealand – were lent to the Endeavour Program; and the third gained since the studio opened in 1995. National Gallery of Australia for the admission to East Sydney Design TAFE Beginning in July 2008, the exhibition will exhibition Turner to Monet: the triumph to study fashion design. tour to six regional galleries across three of landscape. states, including Lismore Regional In addition, a Visual Arts teachers All regional galleries in NSW are included Gallery, New England Regional Gallery, network has been initiated by the in the libraries exchange program, Maitland Regional Gallery and Bathurst participating teachers and the NSW DET whereby they receive copies of the Regional Gallery. The exhibition includes regional arts consultant. This group Gallery’s publications free of charge. 20 key Whiteley works, including The includes staff from Moree Plains Gallery, balcony 2 and the Archibald-winning Self which also hosts the meetings. Tamworth portrait in the studio. High School has secured funding for a senior visual arts student camp to be held in October 2008. Based on the Artside-In Moree model, the two-day

ART GALLERY OF NSW ANNUAL REPORT 07–08 49 Publications

The Gallery’s publications, particularly the collection series handbooks, are another key strategy to ensure we achieve our principle object ‘to propagate and increase knowledge and appreciation of art’. The Gallery’s publications, especially Publication awards AUSTRALASIAN REPORTING AWARDS the collection series handbooks, are The high quality of our publications was Silver Award another key strategy to ensure we recognised during the year, with the Art Gallery of New South Wales achieve our principle object ‘to Gallery being presented with the Art Gallery of New South Wales 2007 propagate and increase knowledge following awards. annual report and appreciation of art’. Coordination: Trish Kernahan; designer: ART ASSOCIATION OF AUSTRALIA AND Mark Boxshall This year saw the publication of ten NEW ZEALAND AWARDS major new titles, including a landmark To receive a Silver Award, a report must Aboriginal art title and several standout 2007 AAANZ Melbourne University Prize for provide quality coverage of most of the titles on Australian artists. The Gallery’s the Best Large Catalogue ARA criteria; satisfactory disclosure of key policy of publishing the collection in Winner aspects of its business; and outstanding depth also continued with Photography Jackie Menzies OAM, Goddess: divine disclosure in at least one major area. collection and Brett Whiteley: studio energy, Art Gallery of NSW bringing the total of collection-based Judges’ comments: handbooks published in recent years to five major titles. ‘This magnificent catalogue is the product of an international collaboration spanning One sun one moon: Aboriginal art in several years and involving scholars over Australia is perhaps the largest publishing many continents. Supported by the project ever undertaken by the Gallery, Australian Research Council and the bringing together for the first time the Gordon Darling Foundation, this catalogue, most celebrated Aboriginal artists and and the exhibition that accompanied it, are their work. This magnificent and outstanding examples of global scholarly comprehensive publication has attracted endeavour of the highest international standard. There are many exhibitions and strong distributed sales in both Europe catalogues involving collaboration on this and North America. scale but relatively few are the result of There was a strong focus this year on initiatives originating in Australia, driven by Australian art, with several Australian art local initiative. The judges wish to titles published to support the exhibitions congratulate Jackie Menzies for her role in program. The largest of these was Sidney the production of this fine exhibition and catalogue and the Art Gallery of New South Nolan retrospective, published in both Wales for their role in producing another hard and soft covers, which provides the outstanding major exhibition catalogue.’ most accessible view yet of Nolan’s development and legacy as one of Australia’s most important artists. Bertram Mackennal, published with a catalogue raisonné CD-ROM, continued the acclaimed monograph series which includes Robert Klippel and Margaret Preston. Harold Cazneaux: artist in photography is the only overview on Cazneaux’s work in print. Jan Senbergs: complete screenprints 1960–1988 is the only title available on this key aspect of Senbergs’ work. Adam Cullen: let’s get lost, which focuses on Cullen’s painting and sculpture work from the early 1990s until now, continues the Gallery’s commitment to publishing on contemporary Australian art. The Gallery also published the latest edition of the Archibald Prize catalogue, Archibald 08. This broke all sales records for previous years. The Gallery continued its engagement with Asian art with the publication of Translucent world: Chinese jade from the Forbidden City, which provides a rich overview of the history and significance of jade carving in China.

ART GALLERY OF NSW ANNUAL REPORT 07–08 51 Titles published in 2007–08 Harold Cazneaux: artist in photography Translucent world: Chinese jade from Natasha Bullock the Forbidden City Adam Cullen: let’s get lost 2008, 178pp, pb, 137 duotone images Dr Yang Liu Wayne Tunnicliffe This book is the only major overview of 2007, 229pp, pb, 225 colour images 2008, 108pp, pb, 45 colour images Harold Cazneaux currently in print. Translucent world is a unique Adam Cullen is a unique figure in Cazneaux was a luminary in Australian presentation of Chinese jade from the contemporary Australian art, a larger- photographic circles, a pioneer whose outstanding collection of the Palace than-life artist whose abrasive yet aesthetic style and impressive output Museum in Beijing. The catalogue expressive paintings are a confronting had an indelible impact on photographic focuses on jades in forms inspired by view of contemporary life. His often history in this country. nature, with 80% of the works having satirical works are a form of social never before been published. It is Jan Senbergs: complete screenprints allegory, a cutting portrait of our national thoroughly representative of all periods 1960–1988 psyche caught in a suspended state of of Chinese jade carving, from Neolithic Hendrik Kolenberg development. times to the Qing dynasty (164–1912). 2008, 80pp, pb, 74 colour images Archibald 08 This book comprises a generous 2008, 54pp, pb, 40 colour images selection of Jan Senbergs’ screenprints, This year’s Archibald Prize catalogue has presented within the context of his work been the most popular yet, reflecting the as a whole, underlining their central great interest from the public in this importance to his evolution into a year’s entries. remarkable, idiosyncratic and admired draughtsman and painter. Bertram Mackennal Deborah Edwards One sun one moon: Aboriginal art in 2007, 216pp, hb, 216 colour and black-and- Australia white images Hetti Perkins This is the only book currently available 2007, 368pp, hb, 240 colour images on Bertram Mackennal, one of Australia’s This landmark title, based on three major greatest sculptural artists. Lavishly collections – the Art Gallery of NSW; the illustrated, the monograph addresses Holmes à Court Collection, Heytesbury; Mackennal’s life and art. It includes and the Museum and Art Gallery of the essays by eminent scholars in Britain, Northern Territory – provides the most America, Australia and New Zealand. comprehensive survey of Aboriginal art A catalogue raisonné on CD-ROM currently available. accompanies the monograph, providing Photography collection an inclusive and comprehensive resource Judy Annear on the artist and his work. 2007, 360pp, pb, 320 colour and black-and- Brett Whiteley: studio white images 2007, 180pp, pb, 174 colour images The fourth in the Gallery’s collection The fifth in the Gallery’s collection series series, this book provides a superb focuses on Brett Whiteley, one of introduction to the history of photography. Australia’s most celebrated, enigmatic The book presents a survey that focuses and controversial artists. Yet apart from upon the very significant contribution a monograph, little has been published that photographers have made to to provide insight into Whiteley and his Australian social history and cultural work. This attractively designed and expression. Included is a very useful lavishly illustrated book captures the further reading list. essence of the artist through extensive Sidney Nolan retrospective photography of him and his studio, Barry Pearce giving direct and intimate insight into 2007, 272pp, pb & hb, 178 colour images his artistic practice. The book brings This retrospective, consisting of into print for the first time a significant approximately 116 paintings, presents amount of previously unpublished Nolan’s work in chronological order, from primary source material, including its genesis in St Kilda during the late photographs, interviews, thoughts, 1930s to the United Kingdom half a recollections, notebook entries and century later. The book provides a clear sketches. view of where the artist’s intentions took him, with quite startling logic, in his last years. Nolan needed to look backwards to move forward, pinpointing ideas that had always remained deeply imbedded in his painterly consciousness.

52 ART GALLERY OF NSW ANNUAL REPORT 07–08 Education kits and online exhibitions Bertram Mackennal at the resources National Gallery of Victoria and Sidney Nolan retrospective at the National The Gallery produced 12 new education Gallery of Victoria and Queensland kits in 2007–08. The strategic mix of Art Gallery. hardcopy and online formats continued to prove popular and valuable to the Language education kits education audience, with more than The Gallery’s collection education kits 10 000 copies of the kits taken up by are an important visual arts resource. our audience. In 2007–08, two innovative new kits Hardcopy education kits were produced exploring Japanese and Italian works to accompany the exhibitions Bertram in the collection were produced for Mackennal, Sidney Nolan retrospective students studying Japanese and Italian and Harold Cazneaux. These kits remain languages in NSW schools. an important hands-on resource for Art speaks Japanese and Art speaks education audiences, and are also made Italian are significant teaching resources. freely available to the general public for They comprise 16 A4 colour images of download from the Gallery’s website. key artworks, with text in both English This strategy ensures that the resources, and the focus language. In a first for and their related exhibitions, are the Gallery’s education resources, the accessible to all education audiences, kits include a CD-ROM with printable especially those in regional NSW. language task sheets, support Collectively, 4500 printed copies and information related to each artwork 1945 downloads of the education kits and syllabus, audio files, a PowerPoint were distributed in 2007–08. presentation of the key artworks for use During the year, eight new education in the classroom, and a short video kits were presented solely online or in introduction to the Gallery. These exciting an extended format: The arts of Islam, resources were the result of successful August Sander, Living black, Adam partnerships with the NSW Department Cullen, Taishô chic, Harold Cazneaux, of Education and Training and other The Brett Whiteley Travelling Art key organisations, including the Japan Scholarship exhibition and Archibald Foundation (Art speaks Japanese) and Prize 08: portraiture and the prize. During Co As It and the Consulate of the Italian the year, an amazing 32 135 education Government (Art speaks Italian). kits, both current and archived, were downloaded. This phenomenal success Online catalogue publications underscores the longevity, quality and This year the Gallery also extended its value of these education resources, as online publications with the production well as reinforcing the importance of of two catalogues on Aboriginal art, the internet in reaching audiences and Boomalli: 20 years on (14 pages) and promoting education. Indigenous connections (35 pages). These new titles bring this category • Japanese and Italian language education kits. The annual Archibald Prize: portraiture of free publication to a total of four and the prize online education kit proved catalogues, which are available on popular again with this year’s edition. the ‘Collection’ section of our website. The important contribution of leading The titles are published as free teachers in the production of this downloadable PDF documents in a education kit continued the Gallery’s choice of either high or low resolution. ongoing strategy to incorporate the The publications include introductory professional skills of classroom teachers essays written by the Gallery’s assistant in improving our education resources. curators, illustrated entries on selected This project also formed part of a works of art, biographical notes on continuing partnership between the related artists, and suggested further Gallery and Museums & Galleries NSW, reading. Also this year, the online link the agency that tours the Archibald Prize to Indigenous connection was made exhibition regionally. During this tour, the available on the State Library of kit is used as a key resource at each Queensland’s official website when venue throughout regional NSW and this Australian Collection Focus Room Victoria. exhibition travelled to Brisbane. Education kits, both hardcopy and online, are also a key component of the Gallery’s other touring exhibitions. During the year, education kits accompanied the

ART GALLERY OF NSW ANNUAL REPORT 07–08 53 Building and environmental management

Major building projects • Off-site collection storage facility: Education entrance commence building in January 2008 and The NSW government has approved The ongoing success of the Galley’s complete in November 2009. significant capital funding for several education programs is due in part to our major building projects which will be • Loading dock upgrade: commence ability to overcome challenges related to undertaken by the Gallery over the next construction in June 2009 and complete working with large education audiences two to three years. in September 2009. in the Gallery environment. For many years, the inadequate facilities for entry The largest project is a $27.6 million • Escalator replacement: commenced to the building and for cloaking have purpose-built off-site collection storage stage 1 in April 2007 and complete stage been problematic. In 2008, this issue was facility. At 5000 square metres, this 3 in February 2009. addressed by creating a specific education critical facility will address the risks of entrance, located on the eastern side of damage to collection objects that are • John Kaldor Gallery for contemporary the building, on lower level 3. This facility, currently overcrowded in the Gallery’s art: commence design in August 2008 allowing students to enter via the on-site collection storage. Relocating the and complete construction in early 2011. Yiribana Gallery, was initially trialled collection has the added benefit of (Note: the construction component of between February and June 2008, the freeing up space within our building for this project cannot begin until the peak schools visitation time. refurbishment as a new gallery, the John collections stored on-site are transferred Kaldor Gallery for contemporary art, to the new off-site storage facility.) The new facility incorporates improved which will showcase the fastest growing • Security technology upgrades: procedures for entering the building and area of our collection. With the new commence design in July 2008 and cloaking, supported by education facility comes the need to upgrade our complete in September 2009. assistants. These new staff members building’s loading dock to meet the are specifically trained to manage the increased traffic volume between the two The Gallery’s ongoing routine building education audience and the daily main sites. This upgrade will also provide maintenance program will also continue operations of the education entrance. dual road access, with a separate throughout this period. While there are still important curatorial pedestrian pathway and improved Over the next three years, this building challenges to resolve within the Yiribana recycling management systems. program will have a total cost in excess Gallery as a result of the increased volume of audience within the space, During the year, several major plant of $40 million. This program is being the education entrance has produced replacement and upgrade projects have overseen by the Building Project Control significant benefits for the Gallery as a commenced. These include the staged Group (a subcommittee of the Trust), whole. We have had positive feedback replacement of the escalators, which are which reports regularly on progress to from teachers, students, the general essential for moving visitors throughout the bimonthly Board of Trustee meetings. public and Gallery staff alike. As a result, the four levels of our building. Another We are confident that we will be able to the trial has been extended until April key project is the upgrade to our security delivery this ambitious program both on 2009 to further assess the facility’s technology, including electronic tagging time and within budget. impact on the education audience, the of artworks, new CCTV cameras and The building program is large but Gallery and, in particular, the Yiribana improvements to the Security Control manageable, and we do not anticipate Gallery over a full year’s cycle. Room. any interruptions to our general opening Careful planning has been undertaken so hours during this period. However, Brett Whiteley Studio that disruptions are minimal and we can access within the building will be limited The studio, which is owned by Arts NSW continue to present major exhibitions, on some floors for several weeks during and managed by the Gallery, was closed such as Monet and the Impressionists, the 2008–09 year: lower level 2 galleries for three weeks in April and May 2007 which is scheduled to open on 11 October will close to the general public from while we installed a new fire suppression 2008. The timetable for our building 12 November through to 23 December system that will help ensure the safety program is as follows: 2008; and visitor access to the Prints of the collection presented at the and Drawing Study Room on lower level studio. Also, a new five-year building 2 and the Domain Theatre and Art maintenance program for the studio Gallery Society on lower level 3 will be has been developed for the period via the lift and fire stairs as needed. The beginning 2008–09. society’s lounge will close to members from 12 January to 8 February 2009 while the kiosk is upgraded, the parquetry flooring sanded and the lounge area painted. A temporary members lounge will be located adjacent to the Yiribana Gallery on lower level 3, operating with limited food service. As part of the building program, these facilities for visitors will be significantly enhanced.

54 ART GALLERY OF NSW ANNUAL REPORT 07–08 Energy management Water The Conservation Department recycles its paper and cardboard offcuts During 2007–08, the Gallery’s heritage The average kilolitre per day (kL/d) water internally. Used toner cartridges are building attracted an average visitor rate usage fell from 102kL/d in 2006–07 to sent for recycling, with approximately of more than 3600 people per day. The 93kL/d in 2007–08. This was a total 180 cartridges being recycled in use of energy, and especially water, very volume of 3285 kilolitres of water saved 2007–08. A new battery recycling much reflects the volume of general during the year – enough to fill an Olympic initiative was also introduced during the public activity in the building throughout swimming pool. year. The Research Library and Gallery the year and has definite peaks linked Shop continue to reuse cardboard boxes directly to major exhibition periods. Motor vehicle fleet for packaging interlibrary loans and filling This year, through its active management The Gallery has a small fleet of motor visitor and e-commerce merchandise of utilities, the Building Services vehicles – three sedans, one station orders. All food and beverage services Department has achieved reductions in wagon, a utility truck and a two-tonne are handled by our contract caterer, consumption across all utilities – water, truck. Maintenance of the motor vehicle Trippas White, which ensures that all electricity and gas. In view of the slightly fleet is undertaken in accordance with glass bottles from the food outlets and increased visitor numbers during the the NSW government fleet management functions are appropriately recycled. year, this reduction is a pleasing policy, including the purchasing of fuel- Glass and plastics recycling bins have achievement and one which has helped efficient cars. been installed in the staff kitchens. offset our increasing utilities costs. The Gallery’s motor vehicle procedures The IT Department participates in the The Gallery will commission external provide guidelines for environmentally ReConnect.NSW program, a whole-of- experts in 2008–09 to report on sound driving. From August 2007, all government initiative which enables improvements to plant and equipment for staff driving the fleet vehicles were the donation of redundant computers mechanical and electrical services, directed to use E10 unleaded petrol to not-for-profit organisations and including a chiller investigation report. when refuelling. Efficiency savings are disadvantaged individuals. This year the We envisage that with critical plant applied against the constantly increasing Gallery donated more than 30 items – replacement upgrades, further cost of petrol. During 2007–08 there was including computers, faxes and improvements in our energy efficiency a decrease in fuel usage of over 3%. scanners – to the Wesley Mission. may be achievable. Reduced generation of waste Recycled content Electricity The development of the Gallery’s intranet In cooperation with our caterer, To ensure the Gallery’s environmental to replace previously paper-based environmentally friendly takeaway conditions meet international museum systems continued in 2007–08. New cardboard cups were introduced to standards for temperature and humidity, ‘log a job’ features were implemented, replace styrofoam cups. The Gallery electricity usage is monitored very closely allowing staff to book work by, or report continues to use other recycled paper to achieve minimum consumption while problems to, our Building Services and products, including toilet rolls and paper maintaining the required conditions. Our Audio Visual Services departments. The towels. We also continue to use plain electricity usage currently comprises a 6% information available in the intranet’s A4 paper with 50% recycled content, green energy component. We anticipate policy and procedures section was also while all envelopes purchased are that this green power percentage will be increased during the year, giving staff recycled stock. Toner cartridges increased during 2008–09. easy online access to information purchased for printers have recycled relevant to their work. components. The caterer ensures that The average daily electricity consumption soft drinks and juices are purchased in has been reduced from 23 417 kilowatt The Gallery’s eNewletter, Artmail, currently recyclable glass containers hours in 2006–07 to 22 840 kilowatt has more than 110 000 subscribers, up (approximately 10 tonnes), and a number hours in 2007–08. During the year this from 100 000 in 2006–07. This cost- of suppliers are already using refillable equated to a reduction in the Gallery’s effective electronic news system containers to deliver products such as carbon footprint by over 230 tonnes – provides information to the general surface cleaners and detergents. equivalent to eliminating the greenhouse public and professional media sources. gas emissions created by 53 large cars. Resource recovery initiatives Gas A designated recycling mini-skip is located The average daily consumption of gas on the loading dock for recycling all paper has been reduced from 107 gigajoules products, including flattened cardboard ‘Without a doubt this is the most in 2006–07 to 103 gigajoules per day boxes. Every office and workstation is beautifully laid out art museum in 2007–08. This was a saving of 1460 issued with a recycling bin, which is we have ever seen – and we have collected regularly by the cleaners. gigajoules for the year – equivalent to lived for years in New York City.’ a carbon emission reduction from In 2007–08, the Gallery presented 38 Gallery visitor from Florida, USA, 21 January 2008 planting six trees. temporary exhibitions. Wherever possible, construction and display materials are reused for exhibitions. All excess steel, wire, and workshop and building materials are sent to an external recycler.

ART GALLERY OF NSW ANNUAL REPORT 07–08 55 Individual giving

Art Gallery of NSW Foundation Collection benefactor and other For information about acknowledgement and opportunities for involvement The Art Gallery of NSW Foundation support groups with the Gallery, please contact the continues to raise funds to support the Many departments within the Gallery benefaction manager. Donations to Gallery’s acquisition program. The have their own support groups to help the Gallery and foundation are tax foundation’s policy is to invest its capital raise funds either for their collections deductable. (donations and bequests) and use the or, in the case of the Library and income to purchase works of art for the Conservation Department, for special Gallery’s permanent collection. projects. Members of all groups who Since inception, the foundation has pledge a minimum commitment of $1500 contributed over $26 million to the per year for four years are listed within Gallery’s collection (this has increased the foundation. For a full list of members, in value to over $56 million) and has please see the Art Gallery of NSW accumulated over $28 million in funds Foundation’s annual report. under investment. This is an astounding The support groups are as follows: $84 million in value brought to the Gallery as a result of the tireless efforts • Aboriginal & Torres Strait Islander Art of foundation donors and benefactors – Department: Aboriginal Collection Jane Wynter BA LLB in particular, the Foundation Trustees, Benefactors (ACB) Benefaction Manager past and present. The foundation • Asian Art Department: Email: [email protected] publishes its own annual report, where VisAsia/acquisitions Telephone: (02) 9225 1818 further details of its activities can be • Asian exhibition and education found. A copy of this report is available programs: VisAsia on the Gallery’s website in the ‘About us’ • Australian Art Department section (www.artgallery.nsw.gov.au/ aboutus/annual_reports). • Australian Contemporary Art Department: Contemporary Collection Centenary Fund Benefactors (CCB) The Centenary Fund was established in • Australian Prints, Drawings & 2000. Patrons of the fund have each Watercolours Department (PDW) pledged $100 000 to enhance the Gallery’s • Conservation Department: Friends buildings. This amount is payable in cash of Conservation over a nominated period of time, with the • Curatorial support: Women’s Art balance (if any) payable from the patron’s Group (WAG) estate. The fund’s major project to date has been the building of the Gallery’s • Photography Department: Photography Centenary Auditorium. Collection Benefactors (PCB) • Foundation: Art Gallery of A full list of Centenary Fund patrons NSW Foundation can be found in the ‘Sponsorship and philanthropy’ appendix page 70. • International Art Department • Public Programs Masterpiece Fund • Research Library & Archive: The Masterpiece Fund was established in Friends of the Library 2007 and its patrons have each pledged Acquisitions made, or projects a minimum of $100 000. There are four undertaken by, these groups are reported levels of Masterpiece Fund patrons: in the biannual foundation newsletter. $100 000; $250 000; $500 000 and $1 million. The first acquisition to be supported by the Masterpiece Fund will be Paul Cézanne’s Bords de la Marne c1888, which the Gallery will acquire in 2008. A list of Masterpiece Fund patrons can be found in the ‘Sponsorship and philanthropy’ appendix page 70.

56 ART GALLERY OF NSW ANNUAL REPORT 07–08 Business development

The past year has been a year of VisAsia Council The Art Gallery of NSW offers unique sponsorship consolidation and retention, opportunities to align the corporate Building on the success model of the with the continuation of several multi- community with an iconic national President’s Council, the VisAsia Council year partnerships. The Gallery is institution, its extensive exhibition and was established in 2001 to connect tremendously grateful to our ongoing events program, and its magnificent companies with Asian art and culture. principal sponsors Ernst & Young, for permanent collection. This Gallery has the largest specialist their sponsorship of the national tour of Asian art department of any museum in Sponsorship provides an imaginative and Sidney Nolan retrospective; JPMorgan, Australia. The establishment of the creative way for businesses to build their for their second year as sponsors of the VisAsia Council is an acknowledgement brand identity and to engage with their Brett Whiteley Studio; Macquarie Capital, of Australia’s proximity to and growing staff and clients in a style that sets them who once again sponsored the Gallery’s involvement with the cultures of Asia. apart from their competitors. The Gallery Australian Art Focus Room; Myer, for VisAsia assists the Gallery with its prides itself on its ability to create true their third year as principal sponsor of commitment to promote and cultivate partnerships. The Business Development the Archibald, Wynne and Sulman Prize a better understanding and enjoyment team works with its corporate partners exhibitions; Qantas, who completed their of Asian art and culture within Australia. to develop and deliver a tailored program 13th year as official airline and principal of benefits that fulfil specific entertaining sponsor of the Yiribana Gallery; and During the past financial year, Professor and corporate relations requirements. UBS, for their second year supporting Jeffrey Riegel from the University of the level 2 contemporary galleries Sydney joined the VisAsia Council. Throughout each sponsorship, the program. In addition, we thank our Gallery’s Business Development team The VisAsia Council is chaired by generous and loyal supporters City of continues to evaluate the benefits John Yu AC. At 30 June 2008, there Sydney, Clayton Utz, Delta Electricity, provided to ensure that sponsors are were 18 VisAsia Council members. Host, JCDecaux, Johnson Pilton Walker, receiving maximum value from their Optimal Fund Management, Porter’s A full list of VisAsia members can be investment. Paints, SBS Radio, Sofitel Sydney found in the ‘Sponsorship and With all the amazing changes to the Wentworth and The Sydney Morning philanthropy’ appendix page 70. Herald. building and the exciting program of upcoming exhibitions, there has never President’s Council been a better time to be involved with ‘Thank you for putting on the the Art Gallery of NSW. The President’s Council was established in 1995 to offer companies a personal free performances – storytelling For more information, please contact: association with the Gallery. The council that brings such life into the furthers the tradition of corporate paintings … I am so grateful to partnership and patronage, and aims to create a corporate network which the sponsors who have allowed attracts and retains the continuing the community to engage our support of the business community. children with such joy in a place Funds raised through membership of significance.’ fees are devoted exclusively to the Gallery visitor, 10 July 2007 sponsorship of exhibitions and public programs. In recent years, the President’s Council has greatly contributed to the success of the Leith Brooke Gallery’s exhibition program and its Head of Business Development ability to confidently plan extensive and Email: [email protected] stimulating exhibitions into the future. Telephone: (02) 9225 1829 During the past financial year, Glenn Poswell from Ellerston Capital Limited joined the President’s Council. The President’s Council is chaired by Steven Lowy, president of the Art Gallery of NSW Board of Trustees. At 30 June 2008, there were 35 President’s Council members. A list of President’s Council members can be found in the ‘Sponsorship and philanthropy’ appendix page 70.

ART GALLERY OF NSW ANNUAL REPORT 07–08 57 Corporate governance

Steven Lowy Sandra McPhee David Baffsky Guido Belgiorno-Nettis Anne Fulwood Irene Lee PRESIDENT VICE PRESIDENT MEMBERS

Board of Trustees PRESIDENT MEMBERS The Board of Trustees of the Art Gallery Mr Steven M Lowy Mr David Baffsky AO of NSW is constituted under Part 2 B Comm (Hons) David Baffsky is honorary chairman of (sections 5–10) of the Art Gallery of Steven Lowy was appointed managing Accor Asia Pacific, which is the largest New South Wales Act 1980. Section 6 director of Westfield Holdings in 1997 and hotel management company in the Asia stipulates that: ‘the Trust shall consist currently serves as group managing director Pacific; a director and life member of the of 11 trustees who shall be appointed of the Westfield Group. Prior to joining Tourism Task Force; and a director of by the NSW Governor on the Westfield in 1987, he worked in investment Tourism Asset Holdings, the Indigenous recommendation of the Minister for banking in the USA. Mr Lowy is chairman Land Corporation, Ariadne Australia Ltd the Arts and at least two of whom shall of the Victor Chang Cardiac Research and Singapore Airport Terminal Services Institute; a director of the Lowy Institute for P/L. In 2004 Mr Baffsky was appointed to be knowledgeable and experienced International Policy; a member of the Prime the federal government’s National Tourism in the visual arts’. The two trustees Minister’s Business–Government Advisory Infrastructure Investment Consultative that currently fulfil this requirement Group on National Security; and chairman Group and the Business Government are Australian artists Lindy Lee and of the Board of Management for the Advisory Group on National Security. Imants Tillers. Associate Degree of Policing Practice In 2007 he was appointed to the federal Trustees are appointed for a term not in New South Wales. government’s Northern Australia Land and exceeding three years and may be Initial date of appointment 1 January 2006; Water Taskforce and the Prime Minister’s Community Business Partnership. In June re-appointed following the expiry of the expiry of current term 31 December 2008. 2001 he was awarded Officer in the appointed term, but no trustee shall General Division of the Order of Australia. hold office for four consecutive terms. VICE PRESIDENT Mr Baffsky was awarded the Centenary Trustees do not receive any remuneration Ms Sandra McPhee Medal in 2003 and was the 2004 Asia for their board activities. Dip Ed, FAICD Pacific Hotelier of the Year. Sandra McPhee has extensive experience Initial date of appointment 1 January 2006; as a non-executive director and senior expiry of current term 31 December 2008. executive in a range of consumer-oriented industries, including retail, tourism and Mr Guido Belgiorno-Nettis AM aviation, most recently with Qantas Airways B Eng (Civil), MBA Limited. Ms McPhee is a director of AGL Energy Limited, Australia Post and St Guido Belgiorno-Nettis is the joint Vincents and Mater Health; a former deputy managing director of Transfield Holdings chairman of South Australian Water; and Pty Ltd and Associated Companies; a a former director of Coles Group Limited, director of Transfield Services Limited and Perpetual Limited, Primelife Corporation, Middle Harbour Yacht Club; and chairman Tourism Council Australia and CARE of the Australian Chamber Orchestra. Australia. In 2005 he was awarded the Australian Graduate School of Management’s Initial date of appointment 1 January 2004; Distinguished Alumni Award for leadership expiry of current term 31 December 2010. and innovation in business services. Mr Belgiorno-Nettis was made a member of the Order of Australia in the General Division on Australia Day 2007 for service both to the construction industry, particularly through the management of large infrastructure projects, and to the arts in executive and philanthropic roles. Initial date of appointment 1 January 2007; expiry of current term 31 December 2009.

58 ART GALLERY OF NSW ANNUAL REPORT 07–08 Lindy Lee Janice Reid John Schaeffer Imants Tillers Peter Young

Ms Anne Fulwood 1992 she has participated in group Mr Imants Tillers Anne Fulwood established her career in exhibitions in Canada, China, Hong Kong, B Sc (Arch), D Litt (honoris causa) television journalism before moving into Japan, Malaysia and Australia. She is a Imants Tillers is a visual artist, writer and corporate and media consultancy. She has former board member of Artspace and the curator. Since 1973 he has had solo previously served on the Council for Australian Centre of Photography; former exhibitions in Australia, Germany, Finland, Australian Honours, the Film and Literature president of the Asian Australian Artists Italy, Latvia, Mexico, New Zealand, Spain, Board of Review, the National Film and Association; and former deputy chair of the Switzerland, the UK and the USA. In 2006 Sound Archive (ScreenSound Australia) Visual Arts and Craft Fund, Australia Council. a major survey of his work, Imants Tillers: and the Luna Park Reserve Trust. Initial date of appointment 1 January 2006; one world many visions, was held at the Ms Fulwood is a current board member expiry of current term 31 December 2008. National Gallery of Australia. His public of The Eye Foundation, a research funding commissions include the dome of the initiative within the Royal College of Federation Pavilion in Centennial Park, Professor Janice Reid AM Ophthalmologists. Her most recent Sydney; the Founding Donors commission FASSA, B Sc, MA, MA, PhD appointment was by the prime minister to at the Museum of Contemporary Art, the role of Commonwealth spokesperson Janice Reid is vice-chancellor of the Sydney; and The attractor and Eight for the APEC 2007 Taskforce in July 2007. University of Western Sydney. She is a women sculptures at Overflow Park, member of the board of UniSuper Ltd, the Initial date of appointment 1 January 2002; Sydney Olympic Park. Awards and Salvation Army Greater Western Sydney expiry of current term 31 December 2010. international prizes include the Gold Prize Advisory Board, the Non Clinical Excellence at the Osaka Painting Triennale in 1993 Commission, the governing board of the and a Doctor of Letters honoris causa Ms Irene Lee OECD program on Institutional Management from the University of New South Wales until 31 December 2007 in Higher Education and the Kedumba in 2005 for ‘his long and distinguished BA (History of Art), barrister-at-law Drawing Award Trust. She is a former member contribution to the field of arts’. of the board of Integral Energy and the Irene Lee has held senior positions in Initial date of appointment 1 January 2001; Federal Council on Australia–Latin American investment banking and funds management expiry of current term 31 December 2009. over the past 20 years. She is executive Relations; a former chair of the Australian chairman of Mariner Bridge Investments Institute of Health and Welfare; a former Limited and a non-executive director of trustee of the Queensland Museum; a former Mr Peter Francis Young TEN Network Holdings Limited, QBE deputy chair of the Queensland Institute of B Sc, MBA Insurance Group Limited and ING Bank Medical Research; and a former chair of the Peter Young is senior advisor to ABN (Australia). Ms Lee is also a member of the National Review of Nursing Education. Ms AMRO Group (Australia and New Zealand); Takeovers Panel, the Advisory Council of Reid is a recipient of the Wellcome Medal chairman of Delta Electricity, Export JPMorgan Australia and the Executive and Centenary Medal, and a fellow of the Finance and Insurance Corporation, Council of the UTS Faculty of Business. Australian Academy of Social Sciences. Transfield Services Infrastructure Fund and Initial date of appointment 1 January 2002; Initial date of appointment 1 January 2004; AIDA Fund Ltd (London); and a director of expiry of term 31 December 2007. expiry of current term 31 December 2009. Fairfax Media, the Australian Business Arts Foundation, the Sydney Theatre Company and the Great Barrier Reef Research Mr John Schaeffer AO Dr Lindy Lee Foundation. He is a former chairman of Dip Ed (Art, Secondary School), BA (Visual John Schaeffer was awarded the Order of National Rail Corporation; a former director Arts), Post Grad Dip (Painting), PhD (Art Australia in 2003. He is a member of the of the New South Wales State Transit Theory) National Gallery of Australia and Foundation Authority and the New South Wales Lindy Lee is a senior lecturer at Sydney Board; a Life Governor of the Art Gallery Maritime Services Board; and a former College of the Arts, University of Sydney. She of NSW; a former board member of the member of the Takeovers Panel. National Portrait Gallery; and a former is also an artist whose works are held in the Initial date of appointment 13 August 2001; president of the Australian Building Services collections of the National Gallery of Australia expiry of current term 31 December 2009. and the state galleries of New South Wales, Association and the World Federation of South Australia and Western Australia, as Building Service Contractors. well as major corporate collections. Ms Lee Initial date of appointment 13 August 2001; has been featured in many solo exhibitions expiry of current term 31 December 2009. since 1985, including in Adelaide, Brisbane, Melbourne, Sydney and Singapore. Since

ART GALLERY OF NSW ANNUAL REPORT 07–08 59 Trustee meetings FINANCE AND AUDIT SUB-COMMITTEE STRATEGY AND DEVELOPMENT SUB-COMMITTEE The Finance and Audit Sub-Committee oversees all financial aspects of the Gallery, The Strategy and Development Sub- ATTENDANCES AT BOARD OF TRUSTEE including budgeting, monitoring Committee considers strategies for the MEETINGS performance and ensuring stewardship of long-term objectives of the Gallery as There were six meetings of the Trust during the assets. All audit matters are also tabled a major New South Wales cultural the period July 2007 to June 2008. Trustee with the sub-committee. institution into the 21st century. attendances were as follows: Steven Lowy, Trust members: Peter Young (chair); Irene Trust members: Guido Belgiorno-Nettis chair (6/6); Sandra McPhee (5/6); David Lee (until December 2007); Steven Lowy. (chair); Steven Lowy; David Baffsky. Staff: Baffsky (4/6); Guido Belgiorno-Nettis (5/6); External members: Bruce Cutler, partner, Edmund Capon, director; Anne Flanagan, Anne Fulwood (5/6); Irene Lee (1/3 to Freehills; Jillian Broadbent, former Art deputy director. December 2007); Lindy Lee (3/6); Janice Gallery of NSW trustee and current chair, Reid (6/6); John Schaeffer (6/6); Imants Art Gallery of NSW Foundation Finance There were three meetings of the Strategy Tillers (6/6); Peter Young (4/6). Committee (until December 2007); Dr Mark Development Sub-Committee in 2007–08. Nelson (from January 2008). Staff: Edmund Attendances were as follows: Guido Capon, director; Rosemary Senn, assistant Belgiorno-Nettis (3/3); Steven Lowy (3/3); TRUST SUB-COMMITTEES director, Finance and Resources. David Baffsky (3/3); Edmund Capon (3/3); Anne Flanagan (3/3). The sub-committees generally comprise a There were six meetings of the Finance and subset of board members based on their Audit Sub-Committee during 2007–08. respective areas of interest and expertise. Attendances were as follows: Peter Young SPONSORSHIP SUB-COMMITTEE Relevant senior staff members and other (6/6); Irene Lee (2/3 until December 2007); experts are included as appropriate. The Steven Lowy (4/6); Bruce Cutler (3/6); Jillian The Sponsorship Sub-Committee is sub-committees are responsible for Broadbent (1/3 to December 2007); Mark responsible for supporting the Gallery’s monitoring their respective areas and Nelson (3/3 from January 2008); Edmund efforts in raising corporate funding for its making recommendations to the full board Capon (6/6); Rosemary Senn (6/6). various activities. for approval or otherwise. They usually Trust members: Anne Fulwood; Sandra meet within the week before the main board McPhee; John Schaeffer; Peter Young. meeting, at which the minutes of their RISK MANAGEMENT SUB-COMMITTEE External members: David Gonski, partner, meetings are tabled. The Risk Management Sub-Committee is Freehills and former Art Gallery of NSW responsible for overseeing and providing Trust president; Deeta Colvin, director, guidance on both strategic and operational corporate relations and events, PBL Media; ACQUISITIONS AND LOANS Daniel Gauchat, former vice president, Korn SUB-COMMITTEE risk management matters and submitting reports and recommendations to the main Ferry International; Scott Walters, financial The Acquisitions and Loans Sub- board to enable it to discharge its advice leader, Mercer Wealth Solutions. Committee plays an important role in responsibilities in this regard. Staff: Edmund Capon, director; Belinda overseeing the Collections Policy. Hanrahan, marketing director; Leith Brooke, It considers curatorial proposals on Trust members: David Baffsky (chair); Guido head of Business Development. There were acquisitions, gifts, inward and outward Belgiorno-Nettis. External member: Bruce no meetings of the Sponsorship Sub- loans and (if applicable) de-accessions. Cutler, partner, Freehills. Staff: Edmund Committee held during the 2007–08 period. Based on these considerations, Capon, director; Anne Flanagan, deputy recommendations are made to the director; Rosemary Senn, assistant director, board for approval. finance and resources; Trish Kernahan, manager, Administration and Strategy; Tony Trust members: Janice Reid (chair); Anne Morris, head of Security (ex-officio from Fulwood; Irene Lee (until December 2007); February 2008). Lindy Lee; John Schaeffer; Imants Tillers. External member: John Yu, former Art There were four meetings of the Risk Gallery of NSW Trust vice president. Staff: Management Sub-Committee during Edmund Capon, director; Anthony Bond, 2007–08. Attendances were as follows: assistant director, Curatorial Services; David Baffsky (4/4); Guido Belgiorno-Nettis Donna Brett, project officer, Curatorial (3/4); Bruce Cutler (3/4); Edmund Capon Services. (4/4); Anne Flanagan (4/4); Rosemary Senn (4/4); Trish Kernahan (4/4); Tony Morris There were six meetings of the Acquisitions (2/2). and Loans Sub-Committee during 2007–08. Attendances were as follows: Janice Reid (6/6); Anne Fulwood (3/6); Irene Lee (2/3 to December 2007); Lindy Lee (6/6); John Schaeffer (5/6); Imants Tillers (5/6); John Yu (6/6); Edmund Capon (6/6); Anthony Bond (6/6); Donna Brett (6/6).

60 ART GALLERY OF NSW ANNUAL REPORT 07–08 Other Gallery entities has a separate legal structure established NSW Foundation also has a Finance by a Trust Deed or incorporated with a Sub-Committee, which monitors the funds The Gallery is responsible for providing Memorandum and Articles of Association. invested. The support provided by the administrative support to three other entities, Each has a board of trustees/directors, Gallery includes management, finance, namely the Art Gallery of NSW Foundation, as determined by its enabling legislation. corporate secretariat and general the Brett Whiteley Foundation and the The board meetings are generally held administrative services. VisAsia Council. Each of these entities on a quarterly basis. The Art Gallery of

Art Gallery of NSW Trust President: Steven Lowy Director: Edmund Capon Staff: 211 (FTE) Net assets: $998.2 million as at 30 June 2008

• Bequest and Special Funds • The Centenary Fund • The President’s Council • Collection Benefactor Groups: Photography Collection Benefactors (PCB), Contemporary Art Gallery Society Collection Benefactors (CCB), Conservation Benefactors, Aboriginal Collection Benefactors (ACB), of NSW Australian Prints, Drawings & Watercolours Benefactors (PWD), Research Library and Archive/ President: Michael Feneley Friends of the Library Executive Director: Barbara Penson Value: $1.57 million as at end December 2007 Established in 1953 Membership: 18 298 Art Gallery of NSW Foundation VisAsia Brett Whiteley (including joint memberships Chairman: Rowena Danziger Controlled Entity Foundation as at 30 June 2008) Premier & Donor – 1233 Value: $30 million as at 30 June 2008 VisAsia Council Chairman: John Meacock Established in 1983 Standard – 9150 Chairman: John Yu Value: $0.1 million as at Contempo – 956 6 AGNSW representatives Value: $1.1 million as at 30 June 2008 Country – 2304 on the Board 30 June 2008 Established in 1994 Overseas – 40 Established in 1999 2 AGNSW representatives Corporate – 190 7 AGNSW representatives on the Board School & Student – 1021 on the Board Subsidised – 298

Non controlled entity. Controlled entity. Non controlled entity. A separate legal entity Enabling legislation: Art Gallery of NSW Enabling legislation: Enabling legislation: Brett controlled and operated by the Foundation Deed 1983 with subsequent VisAsia Constitution 1999; Whiteley Agreements 1994; society’s council and amendments. incorporated entity. incorporated entity. members. ABN/Gift Deductible status. ABN/Gift Deductible status. ABN/Gift Deductible status. The Art Gallery Society of NSW produces it own annual Purpose: To raise funds through donations Purpose: To promote Asian Purpose: To promote and report. Edmund Capon and and bequests, invest funds and use the arts and culture. encourage knowledge and Janice Reid are Art Gallery of income to acquire major artworks for the Board of directors comprises: appreciation of the work of the NSW Trust representatives on Gallery. Since inception, the foundation late Brett Whiteley. Art Gallery of NSW the society’s council. has contributed over $24 million to the Board of directors comprises: Gallery’s collection and has accumulated representatives: John Yu over $30 million in funds under investment. (chair), former Art Gallery of Independent representative: NSW trustee; Edmund Capon, John Meacock (chair). Board of trustees comprises: director; Jackie Menzies, head Art Gallery of NSW Art Gallery of NSW representatives: Rowena curator of Asian art; Sabrina representatives: Brian Ladd, Danziger (chair); Jillian Broadbent (deputy Snow; three vacant positions. head of Public Programs; Jane chair); Michael Feneley; Julien Playoust; Director/member Wynter, Benefaction manager. Denyse Spice; one vacant position. representatives: Steve Burdon; Brett Whiteley Estate NSW government representatives: Mark Philip Cox; Stephen Menzies; members: Wendy Whiteley; Nelson; Ray Wilson. Judith Rutherford; Vicki Anna Schwartz. Liberman. Donor representatives: Geoff Ainsworth; The Brett Whiteley Foundation Brian France; Fraser Hopkins; Catriona VisAsia has its own audited has its own audited financial Mordant; Reg Richardson; Susan Rothwell; financial statements, which statements, which are lodged Isaac Wakil; Peter Weiss. are lodged with the Australian with the Australian Securities Finance Sub-Committee: Jillian Broadbent Securities and Investments and Investments Commission (chair); Geoff Ainsworth; Brian France; Commission (ASIC). Being (ASIC). Mark Nelson; Julien Playoust. a controlled entity, it is also consolidated into the financial The Art Gallery of NSW Foundation has statements of the Art Gallery its own published annual report, which of NSW. is available free on the Gallery’s website.

ART GALLERY OF NSW ANNUAL REPORT 07–08 61 Senior management

Edmund Capon Anne Flanagan Anthony Bond Rosemary Senn Belinda Hanrahan

Edmund Capon Anne Flanagan Rosemary Senn AM, OBE, M Phil Dip Int Design, Dip Ed, Dip Vis Arts B Comm, FCPA, MAICD Dip Director and Chief curator Deputy director Assistant director, Finance and Resources Edmund Capon took up his appointment Anne Flanagan joined the Gallery in 1992. Rosemary Senn joined the Gallery in 1998. as director of the Art Gallery of NSW in Her academic background includes visual She is a fellow of the Australian Society November 1978 following his arrival from arts, interior design and education. For the of Certified Practising Accountants and London, where, for the previous five years, last 23 years she has worked within arts holds a Bachelor of Commerce from the he held the position of assistant keeper, organisations, including the Crafts Council University of Melbourne. She also holds Far Eastern Section, Victoria & Albert of NSW, Powerhouse Museum, Biennale qualifications in company directorship and Museum. Mr Capon attained a Master of Sydney, Australian Bicentennial taxation matters and spent several years of Philosophy degree in Chinese art and Authority and Historic Houses Trust of in the commercial sector. archaeology (including language) from the New South Wales. Ms Senn is the chief financial officer and London University (Department of Oriental Ms Flanagan is responsible for three key company secretary for the Trust, the Art and African Studies) with his thesis ‘The areas: building and facility management, Gallery of NSW Foundation, VisAsia and interdependence of Chinese Buddhist including building services, mechanical the Brett Whiteley Foundation. She is also sculpture in bronze and stone from AD 386 and off-site storage planning; exhibitions, responsible for human resources; strategic to 581’. He is a recognised world expert in including exhibition management, planning; legal services; government his particular field. exhibitions registration, installation, audio relations and records management; In 1994 Mr Capon was made a member of visual, workshop, stores, graphics and information communication technology; the Order of Australia and in 2000 he was multimedia design, information and and visitor services, which includes the awarded a Doctor of Letters honoris causa ticketing; and security and gallery services. Gallery Shop, venue hire and management from the University of New South Wales of the catering contract. and a Chevalier of Arts and Letters from the French government. In 2004 he was Anthony Bond appointed adjunct professor in the B Ed (Hons) Belinda Hanrahan Department of Chinese and Indonesian Assistant director, Curatorial Services B Comm Studies at the University of New South Anthony Bond joined the Gallery in 1984 Director, Marketing Wales. He is a member of the Council of as curator of contemporary art. In January Belinda Hanrahan joined the Gallery in Australian Art Museum Directors (CAAMD). 1995 he was appointed to the senior November 1992. Prior to this she worked management team. Mr Bond is responsible in marketing management for Unilever for curatorial services. He currently and Johnson & Johnson for 10 years, oversees the Gallery’s curatorial later forming her own marketing training departments: conservation, registration, consultancy. She holds a Bachelor of public programs, research library and Commerce from the University of New archive, photography studio/digitisation South Wales. and copyright. He is also the Gallery’s Ms Hanrahan is responsible for the Gallery’s head curator, Western Art, with special Marketing Department, which encompasses responsibility for 20th-century and marketing, tourism and media relations. contemporary international collections. He was formerly director of Wollongong City Gallery and assistant director of the Art Gallery of Western Australia. Mr Bond’s curatorial specialisation is in 20th-century and contemporary international art. His recent major projects include curating Trace, the inaugural Liverpool Biennial in England (1999); Body, an exhibition tracing aspects of realism in art from the mid 19th century (1997); and the Self portrait exhibition in conjunction with the London Portrait Gallery (2006).

62 ART GALLERY OF NSW ANNUAL REPORT 07–08 Jackie Menzies Barry Pearce

Jackie Menzies Barry Pearce Summary senior officer positions OAM, BA (Hons), MA Dip Art Ed Head curator, Asian Art Head curator, Australian Art No of Positions Jackie Menzies was appointed the Gallery’s Barry Pearce is the head curator of one senior held by first curator of Asian Art in 1990. She is of the Gallery’s three main curatorial Position level positions women now the head curator of one of the three departments. He is responsible for 2006–07 main curatorial departments into which the exhibitions of Australian art and for related Gallery’s collections are streamed. Ms programs. Before coming to the Gallery Senior executive service 4 1 0 Menzies is responsible for the Asian art in 1978, he began his art museum career Senior officer 3 1 0 exhibitions and related programs within the at the Art Gallery of South Australia, then Senior officer 2 2 2 Gallery. She is a director of VisAsia and a lived for four years in London, where he Senior officer 1 3 2 member of the Gallery’s exhibitions and was a Harold Wright scholar at the British 2007–08 publications committees. Museum’s Department of Prints and Drawings. He then served as curator of Senior executive service 4 1 0 Her most recently curated large exhibition Senior executive service 3 1 1 was Goddess: divine energy in 2006, the prints and drawings at the Art Gallery of South Australia and as curator of paintings Senior officer 3 2 1 catalogue for which was awarded the Art Senior officer 1 3 2 Association of Australia and New Zealand at the Art Gallery of Western Australia. 2007 prize for best large catalogue with He is a former director of the Brett Whiteley the citation (in part) ‘… this catalogue, and Foundation and the current manager of the exhibition that accompanied it, are the Brett Whiteley Studio. Mr Pearce also outstanding examples of global scholarly acts as a curatorial advisor to the New endeavour of the highest international England Regional Art Museum in Armidale, standard’. In 2008 Ms Menzies was the S H Ervin Gallery in Sydney and the awarded the Medal of the Order of Australia Lismore Regional Gallery. for ‘the study, preservation and promotion Since joining the Gallery staff, Mr Pearce of Asian art in Australia, particularly through has curated many Australian exhibitions, curatorial roles at the Art Gallery of NSW’. including definitive retrospectives of some of Australia’s most significant artists. Most recently, he curated the 2007–08 exhibition Sidney Nolan retrospective, which also toured to the National Gallery of Victoria and the Queensland Art Gallery. He is the author of major catalogue publications accompanying these exhibitions and several important books across the range of Australian art, in particular monographs of 20th-century painters, and an accomplished lecturer in his field.

ART GALLERY OF NSW ANNUAL REPORT 07–08 63 Organisation structure Director and Chief curator

The Gallery’s senior management team comprises the director, deputy director and two assistant directors. Executive and Marketing director Head of business Benefaction The head of each of these divisions reports curatorial support development manager to the director. Within the divisions, activities are divided into departments, Marketing which are the responsibility of the relevant Tourism department head. Media relations

Deputy director

Building and facilities Exhibitions Security and management Gallery services

Building Exhibition management Security Mechanical Exhibitions registration Gallery services Off-site storage planning Installation group Audio visual Workshop and stores Graphics and multimedia design Information and ticketing

Assistant director, curatorial

Curator special Australian art Asian art Western art exhibitions Public programs Painting and China Pre 1900 Research library and archive sculpture India Modern and Registration Prints, drawings Japan contemporary and watercolours Conservation South East Asia Photography Aboriginal and Prints, drawings Photography studio Torres Strait and watercolours Whiteley Studio Islander art Copyright

Assistant director, finance and resources

Information communication Venue management Government relations technology Gallery shop including records Finance management Human resources Corporate secretariat and legal

64 ART GALLERY OF NSW ANNUAL REPORT 07–08 Senior management restructure Asian art; Curator, Japanese art; Head Mr Morris has a strong background in of Public Programs; Curator, Special the management of security and visitor A review was undertaken of the Gallery’s Exhibitions, and a minute secretary. service roles, with experience in managing senior management. Two new positions operations at a number of Westfield have been created: deputy director Restructure of the Security and Shopping sites. He has been charged (replacing the former position of general with strengthening the security services manager, Exhibitions and Building); and Gallery Services Division of the Gallery, including the introduction of assistant director, Finance and Resources The Gallery also reviewed the structure upgrades to electronic security and a suite (replacing the former position of general and operations of the Security and Gallery of training programs to enhance the skills manager, Finance and Management Services departments with a view to of existing staff. Services). With the creation of these two improving the relationship and performance positions, a core management group of these two sections. It was determined The next appointment was to the new has been formed to determine and drive that the two departments would be role of deputy, Gallery Services. Benjamin the strategic direction of the Gallery. combined. A new divisional management Goodwin was appointed to this role in April The core management group consists structure was created to drive cultural 2008. Mr Goodwin has a solid background of the director; deputy director; assistant change through the integration of the in managing operational staff through his director, Curatorial Services; and two sections. experience at Rail Corp. assistant director, Finance and Resources. The implementation of the restructure The division’s restructure was completed Management committees commenced with the appointment of in 2007–08 with the appointment of four Anthony Morris as head, Security and team leaders overseeing the operation of GENERAL GALLERY MANAGEMENT Gallery Services in early February 2008. Gallery Services. COMMITTEE The General Gallery Management Staff profile Committee oversees the operations of the Gallery and is charged with ensuring 30 June 30 June 30 June 30 June 30 June all gallery responsibilities and activities FTEs average over 12 months 2004 2005 2006 2007 2008 are properly fulfilled. Members of this Building services, security committee are to ensure that information and Gallery officers 60 59 60 60 63 from the committee’s deliberations is Curatorial services 54 50 48 48 56 delivered to all staff. This committee Curatorial 22 24 27 32 32 meets six times per year. Exhibition/display 23 23 25 23 25 Members: Director; Deputy director; Finance and Assistant director Curatorial; Assistant management services 18 18 18 18 18 director Finance & Resources; representatives of the 3 curatorial Visitor services 14 15 16 14 15 departments (as nominated by the Head Marketing and business Curators); Director, Marketing; Head development 13 14 16 13 11 of Public Programs; Head of Security; Total 204 203 210 208 220 Head of Conservation; Senior manager, Exhibitions; Art Gallery Society Executive Director; Manager, Retailing and Publishing; This table shows full-time equivalent (FTE) • a number of staff in key operational Senior registrar, Collections; Benefaction staff numbers for employees working at the positions being replaced while on paid manager; and a minute secretary. Art Gallery of NSW and the Brett Whiteley maternity leave, resulting in a number of Studio. cases where two employees are being paid to fill one position; and CURATORIAL COMMITTEE Over the last 12 months, the Gallery’s staff The Curatorial Committee is a broadly numbers have increased for a number of • an increase in staff employed temporarily based forum for more general discussion strategic reasons, including: on specific curatorial or conservation projects paid from non-government funding. and debates covering all curatorial • Gallery officer department staff numbers matters, with special reference to exhibition have been maintained at maximum levels performance and priorities; also acquisitions, throughout the full financial year; programming and conservation. This committee meets four times per year. • an increase in staff employed temporarily to plan the off-site collection storage Members: Director; Deputy director; facility and to commence packing of the Assistant Director Curatorial; Head Curator, collections for relocation to this new facility; Australian art; Senior curator, Australian Prints, Drawings and Watercolours; Senior Curator, Aboriginal and Torres Strait Islander art; Senior curator, Australian art; Curator, Australian prints; Senior curator, European art; Senior curator Photography; Senior curator, Contemporary art; Curator, European Prints, Drawings and Watercolours; Curator, Contemporary art; Head curator, Asian art; Curator, Chinese art; Curator, South and Southeast

ART GALLERY OF NSW ANNUAL REPORT 07–08 65 Risk management awareness training program has also for the next two years. Areas to be audited been developed, with training commencing in 2008–09 include occupational health and During 2007–08, the board’s Risk in July 2008. This program will be fully safety, collection acquisition and disposal Management Sub-Committee reviewed risk rolled out to all front-of-house staff over management, security and workforce analysis of occupational health and safety; the next 12 to 18 months. In June 2008, planning. operations of the Brett Whiteley Studio; the Gallery was granted $1.8 million, which and access to the Gallery for people with will be used to complete the recommended Insurance disabilities. The Risk Management Sub- BRI security technology upgrades. Committee also played a major role in As a New South Wales statutory authority, Work on this major project has already overseeing the security review (see below). the Gallery is covered under the Treasury commenced and is scheduled to be In addition, the committee reviewed the Managed Fund (TMF), a government completed by December 2009. procedures for external contractors, and self-insurance scheme. The $1.3 million claim for a stolen artwork was finalised approved the investment policy and Audits Finance and Audit Sub-Committee charter. during 2007–08, with a replacement Internal audit reviews were conducted painting purchased. There were no new Security review during the year on the Public Programs major claims. department; the Gallery Shop; building During the year, a major security review maintenance; and compliance with Legal was undertaken by Business Risks legislation and policy requirements. International (BRI). Their recommendations There were no legal matters or legislative The audit findings were generally positive, included security technology upgrades changes during 2007–08 which impacted with ratings of adequate controls or better. and a review of operational procedures. the Gallery’s operations. The above reviews were conducted by The Gallery implemented as many of these Deloitte, with the cost of the program being recommendations as was feasible with borne by Arts NSW of behalf of all New existing resources during 2007–08. In South Wales arts portfolio agencies. addition, the Gallery implemented a restructure of the Security and Gallery During the year, the internal auditors Officers division, which resulted in a new undertook a business-wide risk analysis of senior security management team being the Gallery, with a view to the findings appointed. An extensive security staff being used to develop the audit program

EEO statistics

Parliamentary annual report tables A Trends in the representation of EEO groups % of total staff EEO group Benchmark or target 2005 2006 2007 2008 Women 50% 53% 51% 53% 53% Aboriginal people and Torres Strait Islanders 2% 2.5% 1.8% 2.2% 1.7% People whose first language was not English 20% 19% 20% 19% 24% People with a disability 12% 3% 2% 3% 2% People with a disability requiring work-related adjustment 7% 1.1% 0.4% 0.4% 0.4%

B Trends in the distribution of EEO groups Distribution index EEO Group Benchmark or target 2005 2006 2007 2008 Women 100 113 117 117 100 Aboriginal people and Torres Strait Islanders 100 n/a n/a n/a n/a People whose first language was not English 100 93 90 90 98 People with a disability 100 n/a n/a 114 na People with a disability requiring work-related adjustment 100 n/a n/a n/a n/a

Notes: 1 Staff numbers are as at 30 June. 2 Excludes casual staff 3 A distribution index of 100 indicates that the centre of the distribution of the EEO group across salary levels is equivalent to that of other staff. Values less than 100 mean that the EEO group tends to be more concentrated at lower salary levels than is the case for other staff. The more pronounced this tendency is, the lower the index will be. In some cases the index may be more than 100, indicating that the EEO group is less concentrated at lower salary levels. The distribution index is automatically calculated by the software provided by ODEOPE from the NSW Department of Premier and Cabinet. 4 The distribution index is not calculated where EEO group or non-EEO group numbers are less than 20.

66 ART GALLERY OF NSW ANNUAL REPORT 07–08 Policy development Occupational health and safety The AGNSW Occupational Health and Safety (OH&S) Committee is an internal During the year, a new corporate plan was The Gallery’s injury management process advisory body that undertakes workplace drafted and will be finalised in 2008–09. is effective in returning workers to inspections; reviews procedures and The new corporate plan will cover the next pre-injury duties as quickly as possible. practices; and, where appropriate, makes five-year period from 2008–09 to 2012–13 This is reflected in reduced time lost and recommendations to management for and reflects the major building program to the capacity of the Gallery to provide improvements to minimise OH&S workplace be undertaken during this period. suitable duties and gradual return-to-work risks. Bimonthly reports on the incidence of programs, thereby minimising time lost. accidents, workers compensation claims, Preventative measures, such as winter flu Employee remuneration and and workplace inspection reports and injections and exercise classes, are made staff benefits associated recommendations are reviewed available to all staff. We actively implement by the committee and the Trust’s risk The final pay increase of 4% from the injury management by maintaining contact management committee before being Public Sector Salaries Award was paid with injured workers, treating doctors forwarded to the board. to all staff in July 2007. This award expired and insurers. in June 2008. Negotiations are currently being undertaken between the NSW Department of Premier and Cabinet and Four-year OH&S comparative data related unions to produce an updated Crown Employees Award, which is 2004–05 2005–06 2006–07 2007–08 anticipated to be effective from 1 July 2008. Number of work-related injuries resulting The Gallery offers employees the in workers compensation claims 12 8 6 9 opportunity to salary sacrifice selected Number of work-related illnesses 0 0 0 0 items as part of their salary packaging Prosecutions under the Occupational in line with NSW government guidelines. Health and Safety Act 2000 0000 Discounts are available for staff at retail outlets in the Gallery. The Domain car park offers special rates for Gallery staff and visitors. The Gallery offers employees a confidential external counselling service. The service is available to all staff and their immediate family. It provides counselling on a range of issues, including interpersonal relationships, financial planning, stress and critical incident debriefing. The current provider of counselling services to the Gallery is the OSA Group. Industrial relations There were no industrial disputes during 2007–08. The Gallery’s Joint Consultative Committee (JCC), comprising management and staff representatives, continued to meet on a regular basis to address staff related issues. Privacy management During 2007–08, there were no internal reviews conducted by or on behalf of the Gallery under Part 5 of the Privacy and Personal Information Protection Act 1988 (PPIP Act). The Gallery’s designated privacy officer, in accordance with the provision of the PPIP Act, can be contacted at: Human Resources Art Gallery of NSW Art Gallery Road The Domain, Sydney NSW 2000 Telephone: (02) 9225 1795 Fax: (02) 9226 1622

ART GALLERY OF NSW ANNUAL REPORT 07–08 67 The levels of Hell early 19th century, concertina album, gouache on paper; 62 folios comprising 58 full page illustrations in red, blue, green, yellow, black and white + 4 fly leaves, Prakrit in black Devanagari script; bound in beige canvas cover with scalloped flap and tie, 16 x 30.5 cm (overall). Purchased 2008

68 ART GALLERY OF NSW ANNUAL REPORT 07–08 Principal sponsors

Exhibition program partners

ART GALLERY NSW VisAsia PRESIDENT’S COUNCIL

Ongoing support sponsors

JPW JOHNSON PILTON WALKER

Media partners

Government partners ART GALLERY NSW

Art Gallery of NSW Art Gallery Road The Domain NSW 2000

Administration switchboard (02) 9225 1700 Information desk (02) 9225 1744 Recorded ‘What’s on’ information (02) 9225 1790 TTY (02) 9225 1808 General facsimile (02) 9225 1701 Email: [email protected] www.artgallery.nsw.gov.au

Art Gallery of NSW Financial statements 07–08

Financial commentary 102 Financial summary 104 START OF AUDITED STATEMENTS Independent audit opinion 105

Statutory financial statements for the year ending 30 June 2008: Trustees statement 107 Income statement 108 Statement of recognised income and expense 108 Balance sheet 109 Cash flow statement 110 Notes to and forming part of the financial statements: Note 1: Summary of significant accounting policies 111 Note 2: Income 118 Note 3: Expenses 119 Note 4: Current assets – cash and cash equivalents 120 Note 5: Current assets – trade and other receivables 120 Note 6: Current assets – inventories 120 Note 7: Current assets – land and buildings held for sale 120 Note 8: Non-current assets – financial assets at fair value through profit and loss 120 Note 9: Restricted assets 121 Note 10: Current/non-current liabilities – trade and other payables 121 Note 11: Non-current assets – property, plant and equipment 122 Note 12: Changes in equity 123 Note 13: Controlled entities 124 Note 14: Reconciliation of the surplus for the year to net cash flows from operating activities 124 Note 15: Non-cash financing and investing activities 125 Note 16: Financial instruments 125 Note 17: Post balance date events 126 Note 18: Contingent liabilities 126 Note 19: Commitments for expenditure 127 Note 20: Results of fundraising appeals 127 Note 21: Accounting standards issued but not yet effective 128

END OF AUDITED FINANCIAL STATEMENTS

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 101 Financial commentary

Financial performance Government contribution Financial stewardship The Gallery has had another good year, The NSW government’s recurrent The Gallery applies rigorous budgetary with most of its programs yielding good contribution comprised 47% of our and expenditure control to ensure results. The financial surplus for the year operating revenues in 2007–08. However, stewardship of assets, cash flow was $17.7 million, reflecting mixed the inclusion of the government’s capital management and revenue enhancement. results due to some abnormal events as contribution for the proposed off-site Our accounting and management noted below, in order of importance. storage facility and other building works reporting system enables us to produce increased the government contribution to timely reports on a cost centre and • An abnormally high capital contribution 60% of total revenues. business activity level, so that ($11.8 million) from the NSW government management, the Board of Trustees and for construction of an off-site storage Donations and bequests/taxation the NSW government can monitor facility and a security upgrade. For incentives financial aspects of the Gallery and direct accounting purposes, this capital During the year, the Gallery acquired over resources in a punctual and effective contribution is classified as revenue in $14 million of artworks, of which $1.7 way. The Gallery prides itself in providing this financial year, although the work will million was gifts of artworks. This is made its monthly results within five working be undertaken over future years. possible by the substantial contribution days of the close of the month. This year we are in the process of implementing a • A one-off payment ($4.3 million) to the each year from donors and benefactors. new budgeting module on our SunSystems Art Gallery of NSW Foundation in This year the Art Gallery of NSW accounting package, which will improve 2007–08, being the proceeds from the Foundation and the Ainsworth family contributed over $2 million towards David the efficiency and effectiveness of our sale of a property bequeathed to the Hockney’s six-panel painting A closer budgeting process in the coming year. Gallery by Mrs Yvonne Buchanan May in winter tunnel, February–March 2006. the prior year. It was a condition of the The final instalment, due next year, will be Fixed assets bequest that the proceeds be transferred funded from the Florence Mae Crosby The Gallery has over $998.2 million worth to the foundation. This resulted in a bequest. Other donations were received of net assets, comprising $795.0 million higher than normal expense in 2007–08, in support of various initiatives, such in artworks and the library collection, but was offset by a higher than normal as scholarships, prizes and research. $160.6 million in land and building and bequest income in the prior year when The Taxation Incentives for the Arts $49.3 million in other minor assets, offset the bequest was received. Scheme (TIAS) has created a major by $6.7 million of liabilities. During the • Improved earnings ($2.5 million) overall incentive for artists and donors to year the building was valued at fair value provide gifts of artworks to the Gallery. for our exhibitions and visitor services. by a senior quantity surveyor from the These contributions are a significant This assisted in offsetting the core Department of Commerce, resulting in an resource for the acquisition of artworks business deficit, which had budget cuts increase of $26.6 million, which was and for special projects which would and cost pressures, and left a surplus recorded in the asset revaluation reserve. not otherwise have been feasible. which will be put towards the purchase Investments of artworks. Subject to the conditions of individual bequests, a component of the donations The Gallery’s policy is to invest its • Negative investment income which may be preserved as a capital base. At bequests and special funds in a portfolio arose from a downturn in the equity the end of June 2008, the total amount of comprising term deposits and TCorp’s markets. The Gallery holds some of its bequests and special funds amounted to Hour Glass facilities – in particular, the bequests and special funds in the NSW $23.1 million, much of which was given to medium- and long-term growth facilities. government TCorp medium- and long- the Gallery for specific purposes (primarily These investments are in accordance with term investment facilities. The returns art acquisitions and other projects, such NSW Treasury requirements under the were negativeOther funding this year, sourc but stilles as art prizes andBe awarquestsds). and These spec consistial funds of –Public receipts Authorities (Financial Arrangements) performed better than benchmarks. more than 90 bequests and special funds. Act 1987, which confines investments to

Value of art acquisitions Bequests & special income Over $50 million worth in the past 5 years $70.7 million received over 5 years

$50m Other revenue $1.1m $40m Investment earnings $7.7m $30m Donations of artwork and property $19.3m $20m

0 $10m Cash donations O and bequests $42.6 m 03–04 04–05 05–06 06–07 07–08

102 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08

m

V term deposits with approved banks and The food and beverage services provided The NSW government announced financial institutions and TCorp, the for visitors include a café, a restaurant in October 2008, the salary award government investment facility. and a kiosk in the members lounge. increases of 4% per annum over the The Gallery also makes its function next three years, backdated to July 2008. A large proportion of our funds ($35.3 spaces available for hire by corporate The increase which will be only partially million, 78% as at 30 June 2008) is held guests, with more than 300 events held funded by government will require in cash, which enabled us to achieve in 2007–08. We are pleased to say that some major savings to be made over 7.40% pa (weighted average) on bank our caterer, Trippas White Catering Ltd, the next few years. Nevertheless, the deposits (compared with the benchmark has won the National Restaurant & Gallery continues to be committed to of 7.34%). However, the equity investment Catering Award for Site Contract Caterer maintaining a high level of performance returns during 2007–08 reflected the in October 2007. At the time of writing and will work towards improving the decline suffered by the global market, this report, we are also pleased to delivery of cultural services to the NSW resulting in a return of –0.57% on TCorp’s announce that Trippas White Catering community and beyond. medium-term facility (compared with the Ltd won the competitive market tender benchmark of –0.79%) and –10.27% to continue to provide catering contract The budget summary below is in on TCorp’s long-term facility (compared services commencing on 1 August 2008 accordance with the New South Wales with the benchmark of –10.51%). The for a five-year term, with an option for government’s 2008–09 budget. This benchmarks quoted are sourced from the a further three years. differs slightly from the internal budgets, TCorp Hour Glass Facility Performance which have more stringent targets. Summary for June 2008. Looking forward Budget summary for 2008–09 The Gallery also manages investments The next and following years will see a on behalf of its related entities, primarily major capital building program, the key Revenue $m the Art Gallery of NSW Foundation component of which will be the off-site ($28.6 million), with smaller amounts for NSW government funding – facility for which the NSW government recurrent 20.5 the Brett Whiteley Foundation ($179 400) allocated funding of $27.6 million NSW government funding – and the VisAsia Council ($1.1 million). (the first capital funding instalment capital 5.8 The investment returns on the Art Gallery of $10 million was received in 2007–08). of NSW Foundation funds were negative Other works include special projects Other revenue 17.5 this year with the downturn in equity to upgrade escalators, security and 43.8 markets. the loading dock, among many smaller projects. We anticipate a patchy year Expenditure Visitor services ahead with building works which may Personnel 19.5 Our visitors continue to enjoy the limit the level of activity in the Gallery Insurance 0.6 facilities of the Gallery, including the but this will be offset by good visitor Gallery Shop, our food and beverage support for the Monet exhibition and Depreciation 2.3 services in the cafe and restaurant, and related activities. Other operating 17.2 venue hire functions, which complement In September 2008, the Gallery made 39.6 their experience at the Gallery. a major acquisition Paul Cezanne’s Surplus 4.2 The shop provides high-quality art books, Bords de la Marne at a cost of catalogues and art-inspired merchandise, $16.2 million. The finance committees Note: The figures quoted in the financial such as prints and posters, relating to of the AGNSW Trust and AGSNW commentary have not been subject to audit. the Gallery’s collection and temporary Foundation worked together to put exhibitions. The largest art museum forward a funding package and lock bookstoreGovern in Australia,ment funding the shop saw in exchanges rates to limit theOther foreign funding sources close to $4.5 million in sales this year. currency variation exposure.

Government funding 1.7m Other funding sources 1.6m 1.5m $40m Additional capital $30m for on1.4me-off major building1.3m project $30m 1.2m Bequest and 1.1mCapital $20m special funds 1m $20m Liabilities Exhibition 0.9massumed admissions 0.8m $10m Recurrent $10m 0.7m Visitor services and other

03–04 04–05 05–06 06–07 07–08 03–04 04–05 05–06 06–07 07–08

1 million

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 103

m Financial summary

Five-year Average UNIT 2003–04 2004–05 2005–06 2006–07 2007–08 total p.a. Total visitors – incl touring/Studio million 1.51 1.35 1.69 1.30 1.35 7.21 1.44

Artworks purchased $’m $5.2 $9.0 $7.7 $4.7 $12.4 $39.1 $7.8 Donations of artworks $’m $2.8 $2.2 $2.2 $2.7 $1.7 $11.6 $2.3 Total works of art acquired $’m $8.1 $11.2 $9.9 $7.4 $14.1 $50.7 $10.1

Exhibition admission revenue $’m $2.9 $1.6 $3.8 $1.9 $2.6 $12.8 $2.6 Merchandise, books & publications sales $’m $4.0 $3.6 $5.2 $4.0 $4.5 $21.3 $4.3 Other services/activities $’m $3.3 $1.6 $2.7 $1.9 $2.4 $11.9 $2.4 Bequests & special funds $’m $7.6 $12.4 $11.3 $16.0 $10.1 $57.4 $11.5 Other grants & contributions/other misc $’m $3.4 $3.2 $4.6 $5.7 $3.4 $20.4 $4.1 Total revenue from exhibitions, visitor services and benefaction $’m $21.2 $22.4 $27.5 $29.5 $23.1 $123.7 $24.7

Personnel expenses $16.0 $16.8 $17.9 $17.3 $19.1 $87.1 $17.4 Depreciation $2.3 $2.3 $2.2 $2.1 $2.1 $11.0 $2.2 Insurance $2.3 $1.1 $1.7 $3.3 $0.5 $8.8 $1.8 Other operating expenses $12.7 $10.1 $12.5 $14.2 $17.8 $67.3 $13.5 Total operating expenses $’m $33.3 $30.2 $34.3 $36.9 $39.5 $174.2 $34.8

Recurrent appropriation $’m $16.9 $15.8 $18.3 $21.4 $19.6 $92.0 $18.4 Liabilities assumed by government $’m $1.9 $2.1 $0.8 $1.1 $1.0 $6.8 $1.4 Capital appropriation/other $’m $2.8 $2.8 $1.8 $5.4 $13.6 $26.3 $5.3 Total government grants $’m $21.6 $20.7 $20.8 $27.9 $34.2 $125.1 $25.0

Total revenue $’m $42.8 $43.1 $48.4 $57.4 $57.3 $248.9 49.8

Government’s recurrent contribution as % of operating revenue 47% 44% 41% 43% 47% 44% 44% Government contribution as % of total revenue 50% 48% 43% 49% 60% 50% 50%

Net surplus $’m $9.5 $12.8 $14.1 $20.5 $17.7 $74.7 14.9

Employees – effective full-time (EFTs) number 200 203 210 208 220 Average salary per head (EFT) $’000 $80 $83 $85 $83 $87

Net cash flows $’m $1.3 -$0.9 $5.5 $4.6 $13.8

NET ASSETS $’m $748.9 $768.2 $786.4 $953.8 $998.2

Data in this table has not been subject to audit

104 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 105 106 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Statutory financial statements For the year ended 30 June 2008

STATEMENT IN ACCORDANCE WITH SECTION 41C (1C) OF THE PUBLIC FINANCE AND AUDIT ACT 1983

Pursuant to Section 41C (1C) of the Public Finance and Audit Act 1983 and in accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales Trust, 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 Public Finance and Audit Regulation 2005, applicable Australian Accounting Standards and the Treasurer’s Directions;

(b) In our opinion, the financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June 2008 and the financial performance for the year then ended.

Further, we are not aware of any circumstances which would render any particulars included in the financial statements misleading or inaccurate.

S Lowy E G Capon President Director

P Young R Senn Chairman Secretary & Assistant Director Finance and Audit Committee Finance & Resources

Dated: 14 October 2008

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 107 ART GALLERY OF NEW SOUTH WALES TRUST Income statement For the year ended 30 June 2008

2008 2007 $’000 $’000 Notes Group Group

Income Sale of goods and services 2(a) 9,168 7,819 Grants and contributions 2(b) 47,708 47,164 Investment and other income 2(c) 379 2,432 Total income 57,255 57,415

Expenses Operating expenses Personnel services costs 3(a) 19,136 17,293 Other operating expenses 3(b) 18,268 17,493 Depreciation 3(c) 2,115 2,148 Total expenses 39,519 36,934

SURPLUS FOR THE YEAR 17,736 20,481

Statement of recognised income and expense For the year ended 30 June 2008

Net increase in property, plant and equipment asset revaluation reserve 12 26,608 146,982

TOTAL INCOME AND EXPENSE RECOGNISED DIRECTLY IN EQUITY 26,608 146,982

Surplus for the year 17,736 20,481

TOTAL INCOME AND EXPENSE RECOGNISED FOR THE YEAR 12 44,344 167,463

The accompanying notes form part of these financial statements

108 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Balance sheet As at 30 June 2008

2008 2007 $’000 $’000 Notes Group Group

ASSETS Current assets Cash and cash equivalents 4 35,383 21,547 Trade and other receivables 5 1,537 2,843 Inventories 6 1,243 1,492 Land and buildings held for sale 7 – 4,932 Total current assets 38,163 30,814

Non-current assets Financial assets at fair value through profit and loss 8 9,617 10,242 Property plant and equipment 11 Land 17,250 17,250 Buildings 143,355 116,208 Plant and equipment 1,501 1,354 Collection assets 795,023 781,740 Total property, plant and equipment 957,129 916,552 Total non-current assets 966,746 926,794 Total assets 1,004,909 957,608

LIABILITIES Current liabilities Trade and other payables 10 6,707 3,749 Total current liabilities 6,707 3,749

Non-current liabilities Trade and other payables 10 14 15 Total non-current liabilities 14 15 Total liabilities 6,721 3,764

Net assets 998,188 953,844

EQUITY Reserves 12 326,067 299,715 Accumulated funds 12 672,121 654,129

Total equity 998,188 953,844

The accompanying notes form part of these financial statements

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 109 ART GALLERY OF NEW SOUTH WALES TRUST Cash flow statement For the year ended 30 June 2008

2008 2007 $’000 $’000 Notes Group Group

CASH FLOWS FROM OPERATING ACTIVITIES Payments Personnel services (17,954) (16,211) Other (19,094) (18,648) Total payments (37,048) (34,859)

Receipts Sale of goods and services 9,363 7,940 Interest received 2,479 2,264 Grants and contributions 43,106 36,307 Other 5,031 3,094 Total receipts 59,979 49,605

NET CASH FLOWS FROM OPERATING ACTIVITIES 14 22,931 14,746

CASH FLOWS FROM INVESTING ACTIVITIES Proceeds from sale of property, plant and equipment 4,893 83 Purchases of property, plant and equipment (13,308) (7,515) Purchases of investments (680) (2,755)

NET CASH FLOWS FROM INVESTING ACTIVITIES (9,095) (10,187)

NET INCREASE/(DECREASE) IN CASH AND CASH EQUIVALENTS 13,836 4,559 Opening cash and cash equivalents 21,547 16,988

CLOSING CASH AND CASH EQUIVALENTS 4 35,383 21,547

The accompanying notes form part of these financial statements

110 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (a) Reporting entity The Art Gallery of New South Wales Trust (the Gallery) and its controlled entity, as a reporting entity, (together, the Group), comprises all the activities under the Gallery’s control including the Gallery’s exhibitions, merchandising, venue hire and catering as well as the activities of its controlled entity, the Australian Institute of Asian Culture and Visual Arts (VisAsia). Other entities associated with the Gallery but not controlled by the Gallery and hence not consolidated include the Art Gallery of New South Wales Foundation and the Brett Whiteley Foundation. In the process of preparing the consolidated financial statements for the economic entity consisting of the controlling and controlled entities, all inter-entity transactions and balances have been eliminated. The presentation adopted does not include a separate column for the parent entity in view of the immateriality of the controlled entity. The financial statements of VisAsia are disclosed separately under note 13. The Art Gallery of New South Wales Trust is a statutory body of the New South Wales State government. The Gallery is a not-for-profit entity (as profit is not its principal objective) and it has no cash generating units. The Group is consolidated as part of the NSW Total State Sector Accounts. These consolidated financial statements have been authorised for issue by the Board of Trustees on 14 October 2008.

(b) Basis of preparation The Gallery’s financial report is a general purpose financial report, which has been prepared in accordance with: • applicable Australian Accounting Standards and interpretation; • the requirements for the Public Finance and Audit Act 1983, the Public Finance and Audit Regulation 2005; and • the Treasurer’s Directions. Property, plant and equipment, collection assets and financial assets at ‘fair value through profit or loss’ are measured at fair value. Other financial statements items are prepared in accordance with historical cost convention. Judgements, key assumptions and estimates that management have made are disclosed in the relevant notes to the financial statements. All amounts are rounded to the nearest one thousand dollars and are expressed in Australian currency.

(c) Changes to accounting policy There were no changes to accounting policy this year.

(d) Statement of compliance The consolidated financial statements and notes comply with Australian Accounting Standards and interpretation. The Group has adopted all of the new and revised standards and interpretations issued by the Australian Accounting Standards Board (AASB) that are relevant to its operations and effective from the current annual reporting period.

(e) Income recognition Income is measured at the fair value of the consideration or contribution received or receivable. Additional comments regarding the accounting policies for the recognition of income are discussed below: (i) Sale of goods Revenue from the sale of goods is recognised as revenue when the Gallery transfers the significant risks and rewards of ownership of the assets. (ii) Rendering of services Revenue is recognised when the service is provided. Royalty revenue is recognised in accordance with AASB 118 Revenue on an accrual basis in accordance with the substance of the relevant agreement.

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 111 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

(iii) Investment income Interest income is recognised using the effective interest method as set out in AASB 139 Financial Instruments: Recognition and Measurement. TCorp Hour-Glass distributions are recognised in accordance with AASB 118 Revenue when the Gallery’s right to receive payment is established. The movement in the fair value of the Hour-Glass Investment facilities incorporates distributions receivable as well as unrealised movements in fair value and is reported as ‘Investment income’. (iv) Grants and contributions Grants and contributions include donations and grants from Department of Arts, Sports and Recreation. They are generally recognised as income when the Gallery obtains control over the assets comprising the grants and contributions. Control over grants and contributions is normally obtained when the obligations relating to the receipt have been met and in the case of donations upon receipt of cash.

(f) Personnel services and other provisions (i) Personnel services arrangements The Gallery and the Department of Arts, Sports and Recreation (DASR) entered into a memorandum of understanding effective from 1 July 2006 which sets out the arrangements for employment and payment of staff working at the Gallery which are considered employees of the DASR. All payments to personnel and related obligations are done in the DASR name and ABN and are classified as ‘Personnel services costs’ in these financial statements. (ii) Personnel services – salaries and wages, annual leave, sick leave and on-costs Based on the memorandum of understanding with DASR, liabilities for personnel services are stated as liabilities to the service provider DASR. Salaries and wages (including non-monetary benefits), annual leave and paid sick leave that fall due wholly within 12 months of the reporting date are recognised and measured in respect of employees’ services up to the reporting date at undiscounted amounts based on the amounts expected to be paid when the liabilities are settled. If applicable, long-term annual leave that is not expected to be taken within twelve months is measured at present value in accordance with AASB 119 Employee Benefits. Market yields on government bonds are used to discount long-term annual leave. Unused non-vesting sick leave does not give rise to a liability, as it is not considered probable that sick leave taken in the future will be greater than the benefits accrued in the future. The outstanding amounts of payroll tax, workers’ compensation insurance premiums and fringe benefits tax, which are consequential to the provision of personnel services by DASR, are recognised as liabilities and expenses where the personnel services to which they relate have been recognised. (iii) Long service leave and superannuation In the financial statements of DASR, the liabilities for long service leave and defined benefit superannuation are assumed by the Crown Entity. Consequently the Gallery accounts for the equivalent expense and income in its financial statements to reflect this provision of personnel services. Long service leave is measured at present value in accordance with AASB 119 Employee Benefits. This is based on the application of certain factors, specified by NSW Treasury to employees with 5 or more years of service, using current rates of pay. These factors were determined based on an actuarial review to approximate present value. The superannuation expense for the financial year is determined by using the formulae specified in the NSW Treasury Circular TC 08-3. The expense for certain superannuation schemes (ie Basic Benefit and First State Super) is calculated as a percentage of the employees’ salary. For other superannuation schemes (ie State Superannuation Scheme and State Authorities Superannuation Scheme) the expense is calculated as a multiple of the employees’ superannuation contributions.

112 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

(g) Insurance The Gallery’s insurance activities are conducted through the NSW Treasury Managed Fund Scheme of self insurance for government agencies. The expense (premium) is determined by the Fund Manager based on past claim experience, asset values and risk.

(h) Accounting for the Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except where: • the amount of GST incurred by the Gallery as a purchaser that is not recoverable from the Australian Taxation Office is recognised as part of the cost of acquisition of an asset or as part of an item of expense: and • receivables and payables are stated with the amount of GST included. GST is included on a gross basis in the cash flow statement as operating cash flows. The GST component of cash flows arising from investing and financing activities are also classified as operating cash flows.

(i) Acquisitions of assets The cost method of accounting is used for the initial recording of all acquisitions of assets controlled by the Gallery. Cost is the amount of cash or cash equivalents paid or the fair value of the other consideration given to acquire the asset at the time of its acquisition or construction or where applicable the amount attributed to that asset when initially recognised in accordance with the specific requirements of Australian Accounting Standards. Gifts of artworks or works acquired at no cost or for nominal consideration are initially recognised at their fair value at the date of acquisition and brought to account as assets and revenues for the period. Fair value is the amount for which an asset could be exchanged between knowledgeable, willing parties in an arm’s length transaction. Where payment for an asset is deferred beyond normal credit terms, its cost is the cash price equivalent ie the deferred payment amount is effectively discounted at an asset-specific rate.

(j) Capitalisation thresholds Property, plant and equipment and intangible assets costing $5,000 and above individually (or forming part of a network costing more than $5,000) are capitalised.

(k) Revaluation of property, plant and equipment Physical non-current assets are valued in accordance with the ‘Valuation of Physical Non-Current Assets at Fair Value’ Policy and Guidelines Paper (TPP07-1). This policy adopts fair value in accordance with AASB 116 Property, Plant and Equipment and AASB 140 Investment Property. Property, plant and equipment is measured on an existing use basis where there are no feasible alternative uses in the existing natural, legal, financial and socio-political environment. However in the limited circumstances where there are feasible alternative uses assets are valued at their highest and best use. Fair value of property, plant and equipment is determined based on the best available market evidence including current market selling prices for the same or similar assets. Where there is no available market evidence the asset’s fair value is measured at its market buying price, the best indicator of which is depreciated replacement cost. The Gallery revalues each class of property, plant and equipment at least every five years or with sufficient regularity to ensure that the carrying amount of each asset in the class does not differ materially from its fair value at reporting date. Details of the last revaluations are shown at note 11 and were based on independent assessments. Non-specialised assets with short useful lives are measured at depreciated historical cost as a surrogate for fair value. When revaluing non-current assets by reference to current prices for assets newer than those being revalued (adjusted to reflect the present condition of the assets) the gross amount and the related accumulated depreciation are separately restated. For other assets any balances of accumulated depreciation at the revaluation date in respect of those assets are credited to the asset accounts to which they relate. The net asset accounts are then increased or decreased by the revaluation increments or decrements. Revaluation increments are credited directly to the asset revaluation reserve except that, to the extent that an increment reverses a revaluation decrement in respect of that class of asset previously recognised as an expense in the surplus/deficit, the increment is recognised immediately as revenue in the surplus/deficit.

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 113 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

Revaluation decrements are recognised immediately as expenses in the surplus/deficit, except that, to the extent that a credit balance exists in the asset revaluation reserve in respect of the same class of assets, they are debited directly to the asset revaluation reserve. As a not-for-profit entity revaluation increments and decrements are offset against one another within a class of non-current assets but not otherwise. Where an asset that has previously been revalued is disposed of any balance remaining in the asset revaluation reserve in respect of that asset is transferred to accumulated funds.

(l) Impairment of property, plant and equipment As a not-for-profit entity with no cash generating units, the Gallery is effectively exempted from AASB 136 Impairment of Assets and Impairment Testing. This is because AASB 136 modifies the recoverable amount test to the higher of fair value less costs to sell and depreciated replacement cost. This means that for an asset already measured at fair value, impairment can only arise if selling costs are material. Selling costs are regarded as immaterial.

(m) Assets not able to be reliably measured The Gallery does not hold any assets other than those recognised in the balance sheet.

(n) Depreciation of property, plant and equipment Except for certain heritage assets, depreciation is provided for on a straight-line basis for all depreciable assets so as to write off the depreciable amount of each asset as it is consumed over its useful life to the Gallery. All material separately identifiable component assets are depreciated over their shorter useful lives. Land is not a depreciable asset. Certain heritage assets have an extremely long useful life including original art works and collections and heritage buildings. Depreciation for those items cannot be reliably measured because the useful life and the net amount to be recovered at the end of the useful life cannot be reliably measured. In these cases depreciation is not recognised. The decision not to recognise depreciation for these assets is reviewed annually. Depreciation rates for each category of depreciable assets are as follows: Plant and equipment 7–20% Motor vehicles 20% Furniture and fittings 20% Office equipment 33% Computer equipment 33% Catering equipment 20% Other equipment 20% Building infrastructure 3–7% These rates are reviewed annually to ensure they reflect the assets’ current useful life and residual values.

(o) Maintenance Day-to-day servicing costs or maintenance are charged as expenses as incurred except where they relate to the replacement of a part or component of an asset in which case the costs are capitalised and depreciated.

(p) Leased assets The Gallery does not have any assets subject to finance leases. Operating lease payments are charged to the Income Statement in the periods in which they are incurred.

(q) Inventories The Gallery’s inventories are held for sale and are stated at the lower of cost and net realisable value. Cost is calculated using the weighted average cost or ‘first in first out’ method. The Gallery does not have any inventories acquired at no cost or for nominal consideration. Net realisable value is the estimated selling price in the ordinary course of business less the estimated costs of completion and the estimated costs necessary to make the sale.

114 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

(r) Financial instruments policies The Gallery’s principal financial instruments policies and the main risks arising from financial instruments are outlined below together with the Gallery’s objectives, policies and processes for measuring and managing risk. Further quantitative and qualitative disclosures are included throughout this financial report. These financial instruments arise directly from the Gallery’s operations or are required to finance its operations. The Gallery does not enter into or trade financial instruments for speculative purposes and does not use financial derivatives. (i) Financial instruments (a) Cash & term deposits Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and received monthly at the normal commercial rate. The Gallery has placed funds in bank deposits ‘at call’ or for a fixed term. The interest rate payable is negotiated initially and is fixed for the term of the deposits. These term deposits are usually held to maturity. The fair value includes the interest accrued as at 30 June each year. (b) Trade and other receivables Trade and other receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market. These financial assets are recognised initially at fair value, usually based on the transaction cost or face value. Subsequent measurement is at amortised cost using the effective interest method less an allowance for any impairment of receivables. All trade debtors are recognised as amounts receivable at balance date. Collectability of trade debtors is reviewed on an ongoing basis. Procedures as established in the NSW Treasurer’s Directions are followed to recover outstanding amounts including letters of demand. Debts which are known to be uncollectible are written off. An allowance for impairment is raised when there is objective evidence that the entity will not be able to collect all amounts due. Any changes are accounted for in the income statement when impaired, derecognised or through the amortisation process. The evidence included past experience and current and expected changes in economic conditions and debtors credit ratings. No interest is earned on trade debtors. The carrying amount approximates fair value. Sales are made on 30 day terms. Short-term receivables with no stated interest rate are measured at the original invoice amount where the effect of discounting is immaterial. (c) Investments In accordance with the Investment Policy and in line with NSW Treasurer’s Direction the only equity based investments permitted are in TCorp, a government approved investment fund. The Gallery determines the classification of its investments after initial recognition and when allowed and appropriate, re-evaluates this at each financial year end. Fair value through profit or loss – the Gallery investments in TCorp Hour-Glass medium and long term facilities are classified as ‘at fair value through profit or loss’ based on its investment strategy. The Gallery’s investments are represented by a number of units in managed investments within the facilities. Each facility has different investment horizons and comprises a mix of asset classes appropriate to the investment horizon. The fair value of these investments is determined by reference to quoted current bid prices at the close of business on the balance sheet date. Any change in unit price impacts directly on profit (rather than equity). The movement in the fair value of the Hour-Glass Investment facilities incorporates distributions receivable as well as unrealised movements in fair value and is reported in the line item ‘Investment income’. These investments are generally able to be redeemed with 24 hours notice. The value of the investments represents the Gallery’s share of the value of the underlying assets of the funds and is stated at fair value based on the market value. TCorp appoints and monitors fund managers and establishes and monitors the application of appropriate investment guidelines. (d) Held to maturity investments & available for sale investments The Gallery does not have any financial assets in these categories.

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 115 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

(e) Payables These amounts represent liabilities for goods and services provided to the Gallery and other amounts including interest. Trade and other payables are recognised initially at fair value usually based on the transaction cost or face value. Subsequent measurement is at amortised cost using the effective interest method. Short-term payables with no stated interest rate are measured at the original invoice amount where the effect of discounting is immaterial. (ii) Risk management The Gallery’s Risk Management Committee has overall responsibility on behalf of the Board for the establishment and oversight of risk management and reviews and recommends policies for managing each of these risks. Risk management policies are established to identify and analyse the risks faced by the Gallery, to set risk limits and controls and to monitor risks. Compliance with policies relating to financial matters is managed by the Finance and Audit Committee and reviewed by the Risk Management Committee on a periodic basis. The Gallery’s Investment Policy and its Financial Management Risk Analysis were endorsed by the Finance and Audit Committee, the Risk Management Committee and the Board of Trustees during 2007 and 2008. The risk management analysis reviewed the major risks associated with the financial instruments ie credit, liquidity, market, interest rate, currency and other risks. Risk impact area and implications arising from each risk factor is analysed and a risk rating has been assigned. The likelihood and the consequences of each risk were analysed and the controls and risk mitigation strategies confirmed. (a) Credit risk Credit risk arises when there is the possibility of the Gallery’s debtors defaulting on their contractual obligations resulting in a financial loss to the Gallery. The maximum exposure to credit risk is generally represented by the carrying amount of the financial assets (net of any allowance for impairment). The Gallery is not materially exposed to concentrations of credit risk to a single trade debtor or group of debtors. NSW Treasurer’s Directions are followed to recover outstanding amounts including letters of demand. The credit risk for trade debtors is the carrying amount (net of any allowance for impairment). No collateral is held by the Gallery. The Gallery has not granted any financial guarantees. Credit risk associated with the Gallery’s financial assets, other than receivables, is managed through the selection of counterparties and establishment of minimum credit rating standards. In accordance with the Gallery’s Investment Policy cash and term deposits will only be made in those banks and building societies approved by the Reserve Bank/Australian Prudential Regulatory Authority (APRA) and included in the ‘AGNSW Approved List’ all of which have A ratings or better and no more than 20% of the Gallery’s funds or $6 million (whichever is the smaller) to be invested in any one institution. The Finance and Audit Committee during 2007/08 resolved to confine the deposits to the major banks as an added precaution in the current economic climate. Gallery deposits held with NSW TCorp are guaranteed by the State. The value that best represents the maximum credit risk exposure is the fair value. (b) Liquidity risk Liquidity risk is the risk that the Gallery will be unable to meet its payment obligations when they fall due. The Gallery continuously manages risk through monitoring future cash flows and maturities planning to ensure adequate holding of high quality liquid assets. The Gallery has no loans or overdrafts and no assets have been pledged as collateral. An overdraft facility is not considered necessary as arrangements have been put in place to call in term deposits at short notice if needed. A penalty of reduced interest rate may sometimes be incurred. The liabilities are recognised for amounts due to be paid in the future for goods or services received whether or not invoiced. Amounts due to suppliers (which are unsecured) are settled in accordance with the policy set out in the NSW Treasurer’s Direction 219.01. If trade terms are not specified, payment is made no later than the end of the month following the month in which an invoice or a statement is received. (c) Market risk Market risk is the risk that the fair value or future cash flows of a financial instrument will fluctuate because of changes in market prices. The Gallery endeavours to limit the market risk by investing in NSW TCorp funds which provide diversification through asset allocation over a spread of financial assets (cash, bonds, fixed interest securities and equities) over medium and long term investment horizons. NSW TCorp is required to act in the best interest of the unit

116 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

holders and to administer the investments accordingly. Notwithstanding these controls market risk is inevitable in the equity markets, which is subject to global volatility. (d) Currency risk Currency risk is managed by taking out forward cover on foreign currency contracts as soon as the liability arises. (e) Interest rate risk Interest rate risk is limited as the Gallery only enters into fixed interest terms on its term deposits. The Gallery has no interest bearing liabilities and therefore is not exposed to interest rate risk on borrowings. (iii) Fair value Financial instruments are measured at amortised cost, with the exception of TCorp Hour-Glass facilities, which are carried at fair value. As discussed, the value of the Hour-Glass investment is based on the Gallery’s share of the value underlying assets of the facility based on the market value. However the fair value of the other classes of financial instruments approximates their carrying value. (iv) Impairment of financial assets All financial assets, except those measured at fair value through profit and loss, are subject to an annual review for impairment. An allowance for impairment is established when there is objective evidence that the Gallery will not be able to collect all amounts due. Any reversals of impairment losses are reversed through the income statement where there is objective evidence. (v) De-recognition of financial assets and liabilities A financial asset is de-recognised when the contractual rights to the cash flows from the financial assets expire; or if the Gallery transfers the financial asset: • where substantially all the risks and rewards have been transferred; or • where the Gallery has not transferred substantially all the risks and rewards, if the entity has not retained control. Where the Gallery has neither transferred nor retained substantially all the risks and rewards or transferred control, the asset is recognised to the extent of the Gallery’s continuing involvement in the asset. A financial liability is derecognised when the obligation specified in the contract is discharged or cancelled or expired.

(s) Current assets held for resale Current Assets held for sale are recognised at lower of carrying amount and fair value less costs to sell. These assets are not depreciated while they are held for sale.

(t) Bequests and special funds The Gallery receives monies and gifts of works of art. The aggregate of these contributions received for the year has been stated as revenue in the ‘Bequest and Special Funds’ Revenue and Expenditure Statement in note 12(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.

(u) Trustee benefits No trustee of the Gallery has entered into a material contract with the Gallery or the consolidated entity since the end of the previous financial period and there are no material contracts involving trustees’ interests existing at the end of the period.

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

(w) 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. Services provided by volunteers are calculated using the actual hours worked at an average museum guide salary rate – refer to note 15.

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 117 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group 2 INCOME (a) Sale of goods and services Sale of goods Merchandise, book and publication sales 4,510 3,989 Rendering of services Admission fees 2,634 1,944 Venue hire and catering 1,182 1,021 Other 842 865 4,658 3,830 9,168 7,819

(b) Grants and contributions From DASR: Recurrent grants 19,632 21,440 Capital grants 13,570 5,370 Personnel services benefits and liabilities provided free of charge by DASR 967 1,102 34,169 27,912

From other institutions and individuals: Donations – cash 8,521 7,446 Sponsorship – cash 1,161 1,666 Grants – other 222 385 Sponsorship – in kind 353 539 Donations works of art 1,666 2,706 Other donations – in kind * – 4,932 Value of services provided by volunteers – note 3(b) 1,616 1,578 13,539 19,252 47,708 47,164

* Included in other donations in 2007, is the value of a block of units, bequeathed to the Gallery by the late Ms Yvonne Diana Buchanan May on 14 June 2007. Refer also note 7.

(c) Investment and other income Investment income TCorp Hour-Glass investment facilities (592) 1,094 Interest 1,763 1,045 Rental income – 8 1,171 2,147

Insurance recoveries – 1,647 Workers compensation recovery 40 45 40 1,692

Gain/(loss) on disposal of non-current assets Proceeds from disposal 4,893 41 Written down value of assets disposed (5,725) (1,448) (832) (1,407) 379 2,432

118 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group 3 EXPENSES (a) Personnel services costs Salaries and wages (including recreation leave) 15,637 13,969 Superannuation – defined benefit plans * 452 531 Superannuation – defined contribution plans 1,107 990 Long service leave * 488 539 Workers’ compensation insurance 386 298 Payroll tax on superannuation * 27 32 Other payroll tax and fringe benefit tax 1,039 934 19,136 17,293

* These are provided free of charge by DASR and a corresponding amount is also shown as grants and contributions. There were no personnel services costs capitalised and excluded from above.

(b) Other operating expenses Auditor’s remuneration – audit or review of the financial statements 67 61 Cost of sales 2,756 2,278 Travel and accommodation 771 769 Operating lease rental expense – minimum lease payments 188 178 Maintenance (refer reconciliation below) 552 524 Insurance 506 3,305 Consumables 758 662 Exhibition fees and related costs 927 1,570 Fees – general professional 670 597 Freight, packing and storage 960 1,577 Marketing and promotion 860 1,262 Printing/graphics 361 295 Property expenses 1,542 1,532 Value of services provided by volunteers – note 2(c) 1,616 1,578 Donation to AGNSW Foundation * 4,343 – Other 1,391 1,305 18,268 17,493

* This is the proceeds from the sale of the block of units bequeathed by the late Ms Yvonne Diana Buchanan May.

Reconciliation – total maintenance Maintenance expense as above 552 524 Employee related maintenance expense included in note 3(a) 374 354 Total maintenance expenses included in note 3(a) & 3(b) 926 878

(c) Depreciation expense Buildings 1,545 1,568 Plant and equipment 570 580 2,115 2,148

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 119 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group 4 CURRENT ASSETS – CASH AND CASH EQUIVALENTS Cash at bank and on hand 619 3,656 Short term deposits 34,764 17,891 35,383 21,547

For the purpose of the cash flow statement, cash includes cash at bank, cash on hand and short term deposits. Cash and cash equivalent assets recognised in the balance sheet are reconciled at end of the financial year to the cash flow statement as follows: Cash and cash equivalents (per balance sheet) 35,383 21,547 Closing cash and cash equivalents (per cash flow statement) 35,383 21,547

Refer note 1(r) for details regarding credit risk, liquidity risk and market risk arising from financial instrument.

5 CURRENT ASSETS – TRADE AND OTHER RECEIVABLES Trade debtors (sale of goods and services) 173 373 Less: allowance for impairment – (10) Accrued income 412 2,025 Other debtors 281 207 Prepayments 671 248 Total trade and other receivables 1,537 2,843

Trade Debtors Trade Debtors Movement in the allowance for impairment Balance at 1 July (10) (11) (Increase) / decrease in allowance recognised in income statement 10 1 Balance at 30 June – (10)

6 CURRENT ASSETS – INVENTORIES Held for resale Stock on hand – at cost 1,243 1,492

7 CURRENT ASSETS – LAND AND BUILDINGS HELD FOR SALE Land and buildings at valuation – 4,932 The block of units bequeathed to the Gallery by the late Ms Yvonne Diana Buchanan May in June 2007 was sold during the financial year 2007–08.

8 NON-CURRENT ASSETS – FINANCIAL ASSETS AT FAIR VALUE THROUGH PROFIT AND LOSS TCorp Hour-Glass investment – medium term and long term facilities 9,617 10,242

120 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group 9 RESTRICTED ASSETS Investments in the following are restricted use assets to the extent that they represent bequests and donations held by the Gallery to be used in accordance with the deed of trust or other documents governing these funds – refer also note 12(b): Bequest and special fund Land and buildings at valuation – 4,932 Short term deposits 13,571 12,249 TCorp Hour-Glass investment – medium term and long term facilities 9,617 10,242 23,188 27,423

10 CURRENT / NON-CURRENT LIABILITIES – TRADE AND OTHER PAYABLES Trade creditors 2,884 2,040 Capital creditors 1,903 – Creditors personnel services: Accrued salaries and wages 308 127 Recreation leave 1,335 1,306 Long service leave on-costs 291 291 6,721 3,764

Current 6,707 3,749 Non-current 14 15 6,721 3,764

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 121 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

11 NON CURRENT ASSETS – PROPERTY, PLANT AND EQUIPMENT Plant and Collection Land Buildings equipment assets Total $’000 $’000 $’000 $’000 $’000 At 1 July 2006 Gross carrying amount 17,250 137,404 9,211 628,742 792,607 Accumulated depreciation and impairment – 21,207 7,689 – 28,896 Net carrying amount 17,250 116,197 1,522 628,742 763,711

At 30 June 2007 Gross carrying amount 17,250 138,983 8,408 781,740 946,381 Accumulated depreciation and impairment – 22,775 7,054 – 29,829 Net carrying amount 17,250 116,208 1,354 781,740 916,552

At 30 June 2008 Gross carrying amount 17,250 168,785 9,005 795,023 990,063 Accumulated depreciation and impairment – 25,430 7,504 – 32,934 Net carrying amount 17,250 143,355 1,501 795,023 957,129

Reconciliation A reconciliation of the carrying amount of each class of property, plant and equipment at the beginning and end of the each reporting period are set out below: Year ended 30 June 2007 Fair value at 1 July 2006 17,250 116,197 1,522 628,742 763,711 Additions/transfers – 1,579 433 7,443 9,455 Disposals – – (21) (1,427) (1,448) Depreciation expense – (1,568) (580) – (2,148) Net revaluation increments less revaluation decrements – – – 146,982 146,982 Net carrying amount at 30 June 2007 17,250 116,208 1,354 781,740 916,552

Year ended 30 June 2008 Fair value at 1 July 2007 17,250 116,208 1,354 781,740 916,552 Additions/transfers – 2,084 735 14,057 16,876 Disposals – – (18) (774) (792) Depreciation expense – (1,545) (570) – (2,115) Net revaluation increments less revaluation decrements – 26,608 – – 26,608 Net carrying amount at 30 June 2008 17,250 143,355 1,501 795,023 957,129

Land was revalued in 2005 at fair value by a registered valuer from the NSW Department of Commerce. The Gallery’s building was revalued in December 2007 at fair value by a senior quantity surveyor from the NSW Department of Commerce. Library collection was valued in 2006 by Mr Simon Taaffe, accredited valuer for the Taxation Incentives for the Arts Scheme for Australian books, including artists’ books, manuscripts etc after 1900 at fair value. Other art works in the collection were valued in 2007 by Mr Simon Storey MAVA, at fair value. The increase in value is recorded in the asset revaluation reserve. These values do not differ materially from their fair values at reporting date.

122 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

12 CHANGES IN EQUITY Asset Accumulated revaluation funds total reserve Total equity $’000 $’000 $’000 (a) Balance as at 1 July 2006 632,910 153,471 786,381

Changes in equity – other than transactions with owners as owners Surplus for the year 20,481 – 20,481 Increment on revaluation of non-current assets – 146,982 146,982 Total 20,481 146,982 167,463 Transfers within equity 738 (738) – Balance as at 30 June 2007 654,129 299,715 953,844

Changes in equity – other than transactions with owners as owners Surplus for the year 17,736 – 17,736 Increment on revaluation of non-current assets – 26,608 26,608 Total 17,736 26,608 44,344 Transfers within equity 256 (256) – Balance as at 30 June 2008 672,121 326,067 998,188

Asset Revaluation Reserve The asset revaluation reserve is used to record increments and decrements on the revaluation of non-current assets. This accords with the Gallery’s policy on the ‘Revaluation of Property, Plant and Equipment’ as discussed in note 1(k).

2008 2007 $’000 $’000 Group Group (b) Bequests and special purpose funds Included in the total accumulated funds is an amount attributed to the bequests and special purpose funds as follows: Revenue Sale of goods and services 6 7 Investment income 229 1,706 Grants and contributions 9,732 14,305 Other income 139 – 10,106 16,018

Expenditure Personnel services costs 214 241 Other 4,863 392 5,077 633 Surplus for the year 5,029 15,385

Equity Opening balance 27,423 17,885 Transfers 1 749 Art acquisitions (9,265) (6,596) Surplus for the year 5,029 15,385 Closing balance 23,188 27,423

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 123 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

13 CONTROLLED ENTITIES The Australian Institute of Asian Culture and Visual Arts Ltd (VisAsia) The principal activities of VisAsia is the raising of funds for the promotion of an understanding and appreciation of Asian culture through the arts. As a controlled entity of the Art Gallery of New South Wales Trust, the operating result, assets and liabilities have been incorporated into the Trust’s financial statements.

2008 2007 $’000 $’000 VisAsia VisAsia Income statement Income Interest income 74 68 Donations 261 295 335 363

Expenses Other 315 206 SURPLUS FOR THE YEAR 20 157

Balance sheet Cash and cash equivalents 1,161 1,128 Trade and other receivables 12 25 Trade and other payables (5) (5) Net assets 1,168 1,148

Accumulated funds 1,168 1,148 Total equity 1,168 1,148

These amounts, net of inter-entity transactions and balances, have been included within the financial statements of the Group under the corresponding classifications.

2008 2007 $’000 $’000 Group Group 14 RECONCILIATION OF THE SURPLUS FOR THE YEAR TO NET CASH FLOWS FROM OPERATING ACTIVITIES Surplus for the year 17,736 20,481 Net (gain)/loss on sale of non-current assets 832 (240) Depreciation 2,115 2,148 (Increase)/decrease – other financial assets 1,305 294 Gifts of works of art (1,666) (2,706) Bequest of property – (4,932) Increase/(decrease) in trade and other payables 1,054 230 (Increase)/decrease in trade and other receivables 1,306 (207) (Increase)/decrease in inventories 249 (322) Net cash flows from operating activities 22,931 14,746

124 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group 15 NON-CASH FINANCING AND INVESTING ACTIVITIES The following non-cash transactions are included in the financial statements for the year: Donations of assets – brought to account by creating an asset and crediting non-cash donations Works of art 1,666 2,706 Other property – 4,932 The following items are brought to account as expenses in the income statement and are credited as income in the form of non-cash sponsorships, non-cash donations or services provided free of charge: Services provided by volunteers 1,616 1,578 Advertising, freight, accommodation, travel, legal fees and similar expenses 353 539

16 FINANCIAL INSTRUMENTS The Gallery’s principal financial instruments are outlined below.

(a) Financial instrument categories Carrying Carrying Financial assets Note Category amount amount Trade debtors Not past due 165 350 Past due < 3 months 8 23 5 Trade debtors – total 173 373

The Gallery is not materially exposed to concentrations of credit risk to a single trade debtor or group of debtors. There are no impaired debtors as at 30 June 2008.

Financial assets At fair value through profit or loss at fair value 8 designated as such upon initial recognition 9,617 10,242

Term deposits The securities at balance date were earning an average interest rate of 7.8% (2007 6.6%) and over the year the weighted average interest rate was 7.4% (2007 6.8%) on a weighted average balance of $23,758,000 (2007 $15,482,000). Hour-Glass Investment facilities The Gallery has investments in the following TCorp Hour-Glass Investment facilities. The Gallery’s investments are represented by a number of units in managed investments within the facilities.

Investment Investment 2008 2007 Facility sectors horizon $ $ Medium term growth facility cash 4 years to 7 years 4,374 4,399 Long term growth facility cash 7 years and over 5,243 5,843 Total 9,617 10,242

The unit price of each facility is equal to the total fair value of net assets held by the facility divided by the total number of units on issue for that facility. Unit prices are calculated and published daily.

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 125 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group (b) Sensitivity analysis Change in unit price % Impact on profit / loss Medium term growth facility +/- 7.50 328 330 Long term growth facility +/- 15.00 786 876

Returns % Medium term growth facility Achieved (0.57) 8.48 Benchmark (0.79) 8.77 Long term growth facility Achieved (10.27) 13.80 Benchmark (10.51) 14.76

2008 2007 $’000 $’000 Group Group Payables Financial liabilities Trade and other payables – non-interest bearing 6,721 3,764 The table below summarises the maturity profile of the Gallery’s financial liabilities.

Maturity dates < 1 yr 1–5 yr > 5 yrs 2008 payables Accrued salaries 308 – – Wages and on costs 1,612 14 – Creditors 3,340 – – 5,260 14 –

2007 payables Accrued salaries 127 – – Wages and on costs 1,582 15 – Creditors 1,046 – – 2,755 15 –

17 POST BALANCE DATE EVENTS In September 2008, the Gallery acquired a major iconic work of art by Paul Cézanne Bords de la Marne c1888 (A$16.2m) funded by a fundraising campaign and contributions from the AGNSW Foundation, the Art Gallery Society and other benefactors.

18 CONTINGENT LIABILITIES The Treasury Managed Fund normally calculates hindsight premiums each year. However in regard to workers compensation the final adjustment calculations are in arrears. There are no other contingent liabilities (2007 nil).

126 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

2008 2007 $’000 $’000 Group Group 19 COMMITMENTS FOR EXPENDITURE (a) Capital commitments There are no material capital commitments outstanding as at 30 June 2008 (2007 $5.3m).

(b) Other expenditure commitments There are no material other expenditure commitments outstanding as at 30 June 2008 (2007 nil).

(c) Operating lease commitments Future non-cancellable operating lease rentals not provided for and payable: Not later than one year 166 161 Later than one year and not later than 5 years 394 546 Total (including GST) 560 707

The total operating lease commitments above include input tax credits of $50,900 (2007 $64,200) that are expected to be recovered from the Australian Taxation Office. There were no other contingents assets as at 30 June 2008. The Gallery leases a number of industrial units for off site storage. Lease rentals (including GST) are payable to the lessors monthly in advance. Bank guarantees have been taken in lieu of security deposits.

20 RESULTS OF FUNDRAISING APPEALS The Gallery receives many donations of cash and artworks as a result of its day to day activities. In addition, fundraising dinners and other special fundraising events were conducted during the year and the results are as follows: Donation – in cash 280 504 Sponsorship – in cash 25 32 Sponsorship – in kind – 3 Other fundraising 198 138 Gross income from fundraising A 503 677

Cost of fundraising B 166 97 Net surplus from fundraising C 337 580

Cost of services provided D 130 208 Transferred to/(from) accumulated funds 207 372 337 580

The following ratios are provided: Cost of fundraising to gross income from fundraising B/A 33% 14% Net surplus from fundraising to gross income from fundraising C/A 67% 86% Cost of services provided to total expenditure D/(B+D) 44% 68% Cost of services provided to gross income from fundraising D/A 26% 31%

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 127 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements for the year ended 30 June 2008

21 ACCOUNTING STANDARDS ISSUED BUT NOT YET EFFECTIVE The Gallery did not early adopt any new accounting standards and interpretations that are not yet effective. At the date of authorisation of the financial statements, the following Standards and Interpretations were on issue and applicable to the Gallery, but not yet effective: AASB 8 ‘Operating Segments’ that is operative for 31 December 2009 and 30 June 2010 year ends AASB 101‘Presentation of Financial Statements’, that is operative for 31 December 2009 and 30 June 2010 year ends AASB 123 ‘Borrowing Costs’ that is operative for 31 December 2009 and 30 June 2010 year ends AASB 127 ‘Consolidate and Separate Financial Statements’ (Revised), that is operative for 31 December 2009 and 30 June 2010 year ends AASB 1004 ‘Contributions’ that is operative for 30 June 2009 and 31 December 2010 year ends AASB 1049 ‘Whole of Government and General Government Sector Financial Reporting’ that is operative for 30 June 2009 and 31 December 2010 year ends AASB 1050 ‘Administered Items’ that is operative for 30 June 2009 and 31 December 2010 year ends AASB 1052 ‘Disaggregated Disclosures’ that is operative for 30 June 2009 and 31 December 2010 year ends Interpretation 14 ‘ The Limits on a Defined Benefit Asset, Minimum Funding Requirements and their Interaction’ that is operative for 30 Decembere 2008 and 30 June 2009 year ends The Gallery has assessed the impact of these new standards and interpretations and considers the impact to be insignificant.

END OF AUDITED FINANCIAL STATEMENTS

128 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 129 General Exhibitions and Photography Visitors with information events information Photography of the permanent special needs The free regular publication collection, with the exception of Wheelchairs are available at the Exhibitions and Events is available works in the Yiribana Gallery, is Gallery’s rear entrance, where there from the Gallery. This booklet details allowed by members of the public is a ramp and an elevator giving providing no flash or tripods are Access current exhibitions and public access to most parts of the Gallery. program events, including films, used. Quality photographs of the The Gallery’s rear carpark has The Gallery is open every day lectures and performances. collection, including works from the two designated spaces for the except Easter Friday and Christmas An email newsletter covering Yiribana Gallery, can be obtained disabled, but it is advisable to Day between the hours of 10am exhibitions, courses, lectures, from the Gallery’s image confirm availability by phoning and 5pm. The Gallery is open late special events, films and workshops reproduction officer. Photography (02) 9225 1775. The Domain each Wednesday night until 9pm. is published monthly. Register for for publication or other commercial Theatre and Centenary Auditorium As a one-off during APEC, the this information service on our purposes is allowed only after are fitted with audio induction-loop Gallery was closed for the public website (www.artgallery.nsw.gov.au/ written application to the Gallery. systems and an FM-transmitter holiday on Friday, 7 September aboutus/artmail) or email us at Inquiries phone (02) 9225 1798. system is used for guided tours 2007. General admission is free. [email protected] and let us if requested. Signing Art tours Entry fees may apply to a limited know you want to subscribe. conducted for deaf people, using number of major temporary Gallery shop Auslan, are held on the last exhibitions. Open daily, 10am to 5pm, Sunday of every month at 1.30pm Research library Wednesday night until 8.45pm, (excluding December/January). the Gallery Shop offers the finest Guided tours and archive The service is free apart from range of art books in Australia exhibition entry fees, if applicable. Volunteer guides offer a range of The Gallery’s Research Library and and also specialises in school and free guided tours of the collection Archive is open Monday to Friday library supply. The shop stocks and major exhibitions. between 10am and 4pm (excluding an extensive range of art posters, Membership public holidays) and until 8.45pm cards, replicas and giftware. General tours: daily one-hour tours each Wednesday night. The Library You are invited to join the Art Gallery revealing highlights of the collection Inquiries phone (02) 9255 1718. Society of NSW and share in the is located on the ground floor level A range of merchandise is and the Gallery. Monday, 1pm and and has the most comprehensive many pleasures of membership. 2pm; Tuesday to Sunday, 11am, also available online Stay informed about what’s on collection of fine art books in NSW. (www.artgallery.nsw.gov.au/shop). 1pm and 2pm. Inquiries phone (02) 9225 1785. in the Gallery, choose from over Yiribana tours: of the Aboriginal and 200 special events and enjoy The Library provides a free Opinion, membership privileges and Torres Strait Islander gallery. Conservation and Identification Cafe and restaurant Tuesday to Sunday, 11am. priorities all year long. Inquiries Service (excluding valuations) every The cafe is situated on lower level 1 phone (02) 9225 1878. Asian galleries tours: daily, 12 noon. Thursday, 10am to 12 noon. and is open daily, 10am to 4.30pm, Community Ambassador tours: Wednesday night until 8.45pm Asian-language tours of the operating as the Arts Bar. The 2008 Annual report Study room for permanent collection: Japanese – restaurant is situated on the ground Report coordinator – Trish Kernahan Fridays, 11am; Mandarin – prints, drawings and floor and is open daily, 11am to Text editor – Michelle Nichols Tuesdays and Thursdays, 10.30am; photography 4.30pm. For restaurant bookings Designer – Mark Boxshall Vietnamese – first Saturday of each phone (02) 9225 1819. Photography – Jenni Carter, month, 11am. The Study Room for Prints, Drawings and Photography, located The Gallery is also available for Diana Panuccio, Mim Stirling, Signing Art: Auslan-interpreted on level 2, is open to the public private exhibition viewings and Chilin Cieng, Carley Wright tours. Last Sunday of each month weekdays, 10am to 4pm, excluding functions in the evenings. For venue Copyright – Michelle Andringa (excluding December/January), public holidays. The Study Room hire inquiries phone the Gallery’s 1.30pm. assistant will attend to and venue manager on (02) 9225 1836. In Touch at the Gallery: sensory supervise visitors. Appointments are exploration tours for the blind and advisable but not essential. School vision impaired. Available for booked groups are welcome. Inquiries groups or individuals at any time phone (02) 9225 1758. during Gallery opening hours. Two weeks’ notice required. Private groups: tours tailored to the Brett Whiteley Studio needs of groups. During Gallery Located at 2 Raper Street, Surry hours or with private evening Hills, the Brett Whiteley Studio is functions. Inquiries phone (02) 9225 open Saturdays and Sundays, 1800. 10am to 5pm, except Christmas Day. On Thursday the studio is open by appointment for education groups. Admission is free. Inquiries phone (02) 9225 1740.

130 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 Public transport Contact information Buses: the 441 bus route stops at Physical and postal address: the Gallery en route to the Queen Art Gallery of New South Wales Victoria Building. The service runs Art Gallery Road every 20 minutes on weekdays The Domain NSW 2000 and every 30 minutes on weekends. Call the STA on 131 500 or visit Telephone: www.131500.info for more details. Administration switchboard Art After Hours bus: a free courtesy (02) 9225 1700 minibus operates 7pm to 9.30pm Information desk (02) 9225 1744 every Wednesday night. It makes its Recorded ‘What’s on’ final run from the Gallery at 9.15pm. information (02) 9225 1790 The bus loops down past Mrs TTY (02) 9225 1808 Macquarie’s Chair, then on to the General facsimile (02) 9225 1701 Domain Parking Station, Wilson Parking Station (Sydney Hospital) Email: and Martin Place train station. [email protected]

Trains: closest train stations are Website: St James and Martin Place. www.artgallery.nsw.gov.au

MARTIN PLACE Parking

STATION There is limited metered parking outside the Gallery and additional metered parking in Mrs Macquarie’s Road. The Domain Parking Station is open daily with a special discount Sydney rate of $12 for 3 hours (weekdays Tower P ST JAMES Domain only) for visitors to major exhibitions STATION Parking with admission charges. Just have Station your parking ticket stamped by our staff at the information desk on the ground floor.

ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08 131 D M T Index Desert artists 24 Major building projects 54 Taisho- chic: Japanese modernity, Deacon, Destiny 24 Masterpiece fund 17, 56 nostalgia and deco 34 Director’s statement 14 Mackennal, Bertram 33 Tale of Genji 27 A Modern British watercolours and The arts of Islam 16, 31 Aboriginal and Torres Strait Islanders E drawings 37 Titles published in 2007-08 52 programs 75 Education 5 Morandi, Giorgio 19 Thompson, Christian 24 Access information 130 Education entrance 54 Motor vehicle fleet 55 Touring exhibitions 73 AGNSW publications listing 71 Educational, community and regional Mountains and streams: Chinese Tours for Tots 44 Aged and disability access 74 activities 40 paintings from the NGV Asian Translucent world: Chinese jade Albert, Tony 24 Education kits and online resources collection 38 from the Forbidden City 33 Archibald Prize 08 37 53 Trustee meetings 60 Art After Hours 46 Education programs and activities 41 N Trustees 58 Art Gallery of NSW Foundation 56 EEO statistics 66 9 shades of Whiteley 36 Tucker, Albert 22 Art prizes, grants and scholarships 71 Electricity 55 Nolan, Sidney 19, 31 Art + Soul 47 Electronic service delivery 99 Nolan retrospective 41 U Arts of Islam 33 Ely, Bonita 27 NSW government contribution 12 Utopia community 24 Artside-In Metropolitan 41 Employee remuneration and staff Artside-In Moree 49 benefits 67 O V Aspden, David 23 Energy management 55 Occupation health and safety 67 VisAsia council 57 Audits 66 Ethnic affairs priorities statement 76 One sun one moon: Aboriginal art Vision 2 Audiences by program 2007-08 41 Exhibition listing 73 in Australia 36 Visitor numbers 72 Australian bookbinders 38 Exhibitions and audiences 30 Online catalogue publications 53 Viola, Bill 37 Australian Collection Focus Room 35 Exhibitions planned for 2008–09 Organisational structure 64 Volunteer guides 5 Australian folklore 45 39 Other Gallery entities 61 Volunteers 46 Australian Indigenous Artists Archive Other important gifts 29 (AIAA) 47 F Other important purchases 29 W Films at the Gallery 38 Overseas travel 77 Water 55 B Financial commentary 102 Whiteley Studio 41, 54 Bayliss, Charles 35 Financial summary 104 P Whiteman got no dreaming 2008 Balnaves Foundation Sculpture Financial statements 107 Performance 12 47 Project 33 Performance summary 6 Benefaction, philanthropy and art G Performers 46 Y acquisition 12 Gallery Educators Course 49 Photography collection 27 Young audiences 5 Bhagavata Purana 29 Gallerykids 45 Pintupi women 24 Biennale of Sydney 2008 37 Gallerykids website 46 Pledge of service 2 Blanchard, Jacques 19 Gas 55 Poignant, Alex 35 Boomalli: 20 years on 35 Gormley, Antony 25 Policy development 67 Building and environmental Growing a vital collection 14 Pople, Rodney 23 management 54 President’s council 57 Business development 57 H President’s foreword 12 Highlights 4 Prints, Drawings and Photography C Hockney, David 14, 19 Study Room 43 Cameron, Kresna 24 HSC study days 49 Privacy management 67 Cassab, Judy 35 Publication awards 51 Cazneaux, Harold 33 I Publications 5, 50 Centenary fund 56 Independent auditor’s opinion 105 Purpose 2 Cézanne acquisition 2008–09 13 Individual giving 56 Children’s holiday workshops 46 Industrial relations 67 R Children’s trails 45 Insurance 66 Recycle content 55 Chinese Art Fund 22 International lecture series 42 Reduction generation of waste 55 Chinese textiles 22 Intimate encounters: Indian paintings Regional activities 48 Collection benefactors and other from Australian collections 37 Regional exhibition tours 49 support groups 56 Reliquary stupa 29 Collection Character Tours 46 J Riley, Michael 24, 38 Collection – gifts 81 Japanese screens 27 Risk management 66 Collection – loans 49, 85 John Kaldor Collection 14, 19 Roberts, Tom 19 Collection – purchases 78 Resource recovery initiatives 55 Collections 18 K Russell, John Peter 23 Colombian artists 26 Kantilla, Kitty 38 Community involvement 5 Kingston, Peter 23 S Community activities 44 Korean hanging scrolls 27 Sander, August 37 Community events support 47 Security, risk management and Compliance reporting 100 L governance 13 Connelly-Northey, Lorraine 24 Language education kits 53 Security review 66 Contact information 131 Legal 66 Senbergs, Jan 36 Contemporary art projects 37 Leadership in visual arts education, Senior management 62 Contemporary collection 26 professional development and Shinto deities 27 Corporate plan and outcomes 7 training 41 Sponsorship and corporate Critical Friends: Teachers Advisory Leong, Greg 27 support 12 Groups 41 Lewis, Martin 24 Sponsorship and philanthropy 70 Cullen, Adam 37 Living Black 36 Staff publications, presentations Customer complaints 98 and related activities 94 Staff, volunteers and interns listing 91 Sunday concerts 46

132 ART GALLERY OF NSW FINANCIAL STATEMENTS 07–08

Art Gallery of NSW Appendices 07–08

Sponsorship and philanthropy 70 Art prizes and scholarships 71 AGNSW publications for sale 71 Visitor numbers 72 Exhibitions listing 73 Aged and disability access programs and services 74 Aboriginal and Torres Strait Islander programs and services 75 Ethnic affairs priorities statement 76 Overseas travel 77

Collection – purchases 78 Collection – gifts 81 Collection – loans 85

Staff, volunteers and interns listings 91 Staff publications, presentations and related activities 94 Customer complaints 98 Electronic service delivery 99 Compliance reporting 100

ART GALLERY OF NSW APPENDICES 07–08 69 SPONSORSHIP AND AO & Frank O’Keefe; Michael Aussie Home Loans; Bruce Fink, almost $1.1 million, which has been Gleeson-White AO; David Gonski Bickham Court Group; Michael received; and the Gallery has been PHILANTHROPY AC; Mollie Gowing; Shosuke Ihlein, Brambles; Danny Goldberg, notified by the Estate of the late Idemitsu; James Leslie AC MC; Dakota Corporation; Giam Margaret Mary Jones, but Frank Lowy AC; John Morschel; Swiegers, Deloitte Touche distribution of the bequest has not Sponsors Rupert Murdoch AC; Kenneth Myer Tohmatsu; Chum Darvall, Deutsche yet been finalised. The Estate of the at 30 June 2008 AC DSC; J Hepburn Myrtle CBE; Bank AG; Glenn Poswell, Ellerston late Yvonne Diana Buchanan May Avant Card: Support sponsor: Margaret Olley AC; Max Sandow Capital Limited; James Millar, Ernst last year bequeathed a property in general AM; John Schaeffer AO; Julie & Young; David Kirk, Fairfax; Bruce Rose Bay to the Gallery, with the Schaeffer; Goldie and Edward K Cutler, Freehills; Clark Perkins, condition that should it be sold, City of Sydney: Support sponsor: Sternberg AM; Fred Street AM; Goldman Sachs JBWere; proceeds are to go to the AGNSW Archibald 08, Sidney Nolan Diana Walder OAM; Neville Wran Emmanuel Pohl, Hyperion Asset Foundation and a $10 000 annual retrospective AC QC; and John Yu AC. Management; David Gonski AC, art prize is to be established. The Clayton Utz: disability access Investec; Peter Ivany AM, Ivany property was sold and the funds of programs partner Investment Group; Stephen $4 million were transferred to the Delta Electricity: Support sponsor: Centenary Fund O’Connor, JCDecaux Australia; AGNSW Foundation this year. Sidney Nolan retrospective, Harold Patrons of the Centenary Fund as at Damian Roche, J.P. Morgan; Chris Cazneaux 30 June 2008: Jordan AO, KPMG; Gary Reidy, Grants Ernst & Young: Principal sponsor: Claire Armstrong; Alex & Vera Korn/Ferry; John C Conde AO, Sidney Nolan retrospective Boyarsky; Jillian Broadbent AO & MBF Australia; Scott Walters, During the year the following grants Mercer Wealth Solutions; Bill were received: Host: Support sponsor: general Olev Rahn; Joanna Capon OAM; Judy Cassab AO CBE; David & Wavish, Myer; Paul O’Sullivan, Gordon Darling Foundation – JCDecaux: Media sponsor: The arts Michelle Coe; Kenneth Coles AM & Optus; Tony Harrington, travelling expenses for the head of Islam, Sidney Nolan retrospective Rowena Danziger AM; Jenny PricewaterhouseCoopers; Geoff curator, Asian Art, to visit Indonesia Johnson Pilton Walker: Exhibition Ferguson; David Gonski AC & Orli Dixon, Qantas Airways; Paul Fegan, to scope collection loans for an design partner: The arts of Islam Wargon; In memory of Aida Gordon; St.George Bank; Justin Miller, Sotheby’s; Luca Belgiorno-Nettis, exhibition of Southeast Asian art: JPMorgan: Principal sponsor: Yvonne & Christopher Gorman; Alex Transfield Holdings; Philip $7000 Brett Whiteley Studio Holland; Peter & Sharon Ivany; Nettie & Peter Joseph OAM; Anne Coleman, UBS AG Australia; Department of Foreign Affairs and Macquarie Capital: Principal Landa; Michelle & John Landerer Ilana Atlas, Westpac Banking Trade – visit to Australia of Jens sponsor: Australian Collection CBE AM; Geoffrey & Deborah Levy; Corporation; and Bruce McComish. Hoffman to attend the Biennale of Focus Room Elizabeth Longes; David Lowy; John Sydney under the International Myer: Principal sponsor: Archibald, & Jane Morschel; Roslyn Packer Cultural Visits Program: $20 000 Wynne and Sulman Prizes AO; Bridget Pirrie & Stephen Grant; VisAsia Council Department of Immigration and National Australia Bank: Principal Steven & Lisa Pongrass; John L Members of the VisAsia Business Citizenship – The arts of Islam sponsor: The arts of Islam Sharpe; Brian Sherman AM; Dr Council as at 30 June 2008: Gene Sherman; Geoffrey Susskind; schools project in New South Wales: Porter’s Original Paints: Official John Yu AC, Chairman. Michael & Eleonora Triguboff; $10 000 paint supplier Mark Warren, Australia Post; Bill Malcolm & Lucy Turnbull; and Phillip US Embassy – August Sander President’s Council of the Art Ferris AC, CHAMP Private Equity; Wolanski AM. exhibition: $4576 Gallery of NSW: Major exhibitions Philip Cox AO, Cox Richardson; program partner Penny Bingham-Hall, Leighton Holdings; Nick Curtis, Lynas Qantas Airways: Principal sponsor: Masterpiece Fund Corporation; Matthew Banks, Yiribana Aboriginal and Torres Strait Patrons of the Masterpiece Fund as Macquarie Bank; Seng-Huang Lee, Islander Gallery, Official airline: at 30 June 2008: Mulpha Australia; Stephen Knight, The arts of Islam, Sidney Nolan Geoff & Vicki Ainsworth; Antoinette NSW TCorp; Warwick Johnson, retrospective Albert; Neil & Diane Balnaves; Optimal Fund Management; Sofitel Sydney Wentworth: Richard A Blair; Jillian Broadbent Terry Fern, Petsec Energy; Robyn Support sponsor: Archibald, Wynne AO; The Clitheroe Foundation; Norton & Stephen MacMahon, The and Sulman Prizes, Sidney Nolan Rowena Danziger AM & Ken Coles George Institute; John Saunders, retrospective AM; Brian & Philippa France; Chris The Linden Group; Jeffrey Riegel, The Sydney Morning Herald: Media & Judy Fullerton; The Greatorex The University of Sydney; David sponsor: Sidney Nolan retrospective Foundation; Fraser & Victoria Goodman, University of Hopkins; Wal & Denise King; Mark & Technology Sydney; Michael UBS: Contemporary galleries Louise Nelson; Guy Paynter; Sternberg, Valiant Hire; William program partner Playoust Family Foundation; Susan Clark; and Michael Hawker. VisAsia Council: Asian exhibition & Garry Rothwell; John Schaeffer program sponsor AO; Max & Nola Tegel; Peter Weiss Westfield: Principal sponsor: AM & Doris Weiss; Ray Wilson OAM Bequests & the late James Agapitos OAM. The arts of Islam The following bequests were received and/or notified during the financial year: Life Governors President’s Council Susan Chandler’s bequest is Members of the President’s Council The Gallery has acknowledged the estimated at $1.6 million and is as at 30 June 2008: significant support of the following intended to support the Australian individuals by appointing them as Steven Lowy, President. Collection Focus Room; Thelma Life Governors: Peter Young, ABN AMRO; David Jean Hill bequeathed artworks Franco Belgiorno-Nettis AC CBE; Baffsky AO, Accor Asia Pacific; which will be assessed as potential Joseph Brender AO; Jillian Roger Allen, Allen & Buckeridge; acquisitions for the permanent Broadbent AO; Ken Cowley AO; The Hon Warwick Smith, ANZ collections; the Florence May James Fairfax AO; James Gleeson Banking Group; John Symond AM, Crosby bequest left the Gallery

70 ART GALLERY OF NSW APPENDICES 07–08 ART PRIZES AND Scholarships AGNSW • Man Ray, Annear, pb $30 SCHOLARSHIPS PUBLICATIONS • Margaret Olley, revised edition, THE BASIL AND MURIEL HOOPER Pearce, hb $60 SCHOLARSHIP FOR SALE • Nineteenth century Australian Art prizes These scholarships, valued at watercolours drawings & pastels, $4000 each, are available each The Archibald, Wynne and Sulman • Adam Cullen: let’s get lost, Kolenberg, hb $45 year to fine art students attending Prize competitions, sponsored by Tunnicliffe, pb $30 • One sun one moon: Aboriginal recognised schools in New South Myer, were held in February 2008. art in Australia, Perkins, pb $120 Wales to assist with the costs of • Adventures with form in space: In 2007–08, the winner’s prize fees, materials and general living the fourth Balnaves Foundation • Orientalism: Delacroix to Klee, money was generously increased: expenses. One scholarship was Sculpture Prize, Tunnicliffe, pb $35 Benjamin (ed), pb $45 Archibald from $35 000 to $50 000; awarded to Alexandra Byrne. • An incomplete world: works from • Photography collection, Annear, Wynne from $15 000 to $25 000; the UBS Art Collection, Tunnicliffe, pb $45 and Sulman from $10 000 to THE ELIOTH GRUNER PRIZE pb $45 $20 000. A total of 1973 entries • Poetic Mandarin, Liu, pb $20 The 2007 prize of $1000 for the best were received, 100 of which were • Anne Landa Award 2006, landscape in oil by an art student • Pre-Raphaelites and Olympians, selected for display. The Dobell Tunnicliffe, pb $25 was awarded to Catherine Moore. Beresford, pb $20 Prize for Drawing, sponsored by the • Archibald 05, pb $16 • Rayner Hoff: this vital flesh, Sir William Dobell Art Foundation, THE ROBERT LE GAY BRERETON • Archibald 06, pb $16 Edwards, pb $30.80 was held in September 2007. Of MEMORIAL PRIZE the 515 entries received, 45 were • Archibald 07, pb $16 • Robert Klippel, Edwards, pb $50 This prize, which aims to promote selected for display. • Archibald 08, pb $16 • Sidney Nolan, Pearce, hb $80, and encourage the art of draughts- pb $50 • Asian collections, Menzies, pb $45 ARCHIBALD PRIZE manship, is available each year to art students. The 2007 prize of • Self portrait: Renaissance to The prize of $50 000 for portraiture • Australian drawings, Kolenberg, $800 was awarded to Nicole Kelly. contemporary, Bond, pb $45 was awarded to artist Del Kathryn pb $40 • Still life, Tunnicliffe, pb $25 Barton for her work You are what DYASON BEQUEST • Belle Ile: Monet, Russell and is most beautiful about me, a self Matisse in Brittany, Prunster, hb $25 • Tradition today: Indigenous art in portrait with Kell and Arella. The Administered under the terms of the Australia, Perkins, pb $40 will of the late Miss Anthea Dyason, • Bertram Mackennal, Edwards, Archibald Prize: People’s Choice pb $80 • Translucent world: Chinese jade competition, which asks the viewing the bequest provides grants of $5000 from the Forbidden City, Liu, • Brett Whiteley: studio, Pellow, public to vote for their favourite to Australian art students who have pb $45 already won travelling scholarships, pb $45 entry, was won by artist Vincent • True stories: artists of the East Fantauzzo for his work Heath. to enable them to better study • Caravaggio: darkness and light, architecture, sculpture or painting in Kimberley, DVD $30 Fantauzzo received $2500 and a Capon, pb $40 countries other than Australia and $1000 Myer gift card, as did the • What colour is that?, Keeler-Milne, New Zealand. An award of $5000 • Celestial silks: Chinese religious pb $18.95 Gallery patron whose vote for the was made to collaborative artists and court textiles, Rutherford & winning entry was drawn from a • What number is that?, Keeler- Wendy Wilkins and Wesley Hill. Menzies, pb $35 barrel containing all votes cast for Milne, pb $18.95 • Charles Conder, Galbally, pb $45 the winning artist. BRETT WHITELEY TRAVELLING • Contemporary: Art Gallery of New Bold denotes new titles in 2007–08 ART SCHOLARSHIP WYNNE PRIZE South Wales contemporary This scholarship was established The prize of $25 000 for an collection, Tunnicliffe, hb $45 to provide young artists with an Australian landscape or figure opportunity to travel to Europe and • Crossing country: the alchemy of sculpture was awarded to artist further their artistic interests. The western Arnhem Land art, Perkins, Joanne Currie Nalingu for her scholarship includes a financial pb $50 work The river is calm. award and access to the Art Gallery’s • Crossing country: the alchemy of SIR JOHN SULMAN PRIZE Paris Studio for a period of three western Arnhem Land art, DVD, months. It is a memorial to the late $30 The prize of $20 000 judged by Brett Whiteley, who in his youth was artist Robert Owen was awarded to • Dancing to the flute, Menzies, encouraged in his artistic endeavours pb $44 artist Rodney Pople for his work by winning a similar scholarship. Stage fright. Special thanks are given to Beryl • Dobell Drawing Prize, 2nd edition, Whiteley, the artist’s mother, for Kolenberg, pb $22 DOBELL PRIZE FOR DRAWING providing the generous donation • Giacometti: sculptures, prints and The $20 000 prize, judged by Colin to fund the scholarship. The 2007 drawings, Capon, pb $45 Lanceley, was awarded to artist Ana scholarship of $25 000 was • Gifted: Mollie Gowing Collection, Pollak for her work Mullet Creek. awarded to artist Nathan Hawkes. Perkins, pb $12 ANNE LANDA AWARD STUDIOS IN PARIS • Goddess: divine energy, Menzies, pb $50 This award has been established in The Gallery allocated tenancy to two honour of Anne Landa, a trustee of art studios, the Moya Dyring Studio • Harold Cazneaux: artist in the Art Gallery of NSW, who died in and the Dr Denise Hickey Memorial photography, Bullock, pb $45 2002. The award is made through a Studio, which it leases at the Cité • Jan Senbergs: complete screen biennial series of exhibitions for Internationale des Art in Paris. prints 1960–1980, Kolenberg, moving image and new media work, The studios were occupied during pb $25 each offering an acquisitive award of the year by Peter Wegner, Elizabeth $25 000. The exhibition is by Gower, Michael Bell, Wendy Sharpe, • Jeffrey Smart, Capon & Pearce, invitation only and is not open to Stephen Cramb, Maria Fraser, pb $45, hb $66 applications. The next exhibition will Madeline Donovan, Petrina Hicks, • Let’s face it: history of the open in May 2009. Craig Waddell and Lisa Coleman. Archibald Prize, Ross, pb $50

ART GALLERY OF NSW APPENDICES 07–08 71 VISITOR NUMBERS

Monthly visitors

Total visitors Domain BW Studio Touring Average daily Month 2003–04 2004–05 2005–06 2006–07 2007–08 2007–08 2007–08 2007–08 Domain 07–08 July 85 229 115 194 95 690 113 979 121 745 113 292 945 7 508 3655 August 87 094 102 579 112 172 115 769 98 682 93 680 1 017 3 985 3022 September 93 306 100 238 91 764 93 398 85 902 79 741 985 5 176 2658 October 97 974 111 954 97 960 96 840 70 786 67 760 850 2 176 2186 November 88 898 93 854 130 102 82 506 81 415 77 338 907 3 170 2578 December 129 554 144 923 189 628 84 514 86 642 68 873 503 17 266 2222 January 177 706 123 277 231 202 105 646 121 333 102 213 729 18 391 3297 February 145 421 96 651 126 184 88 781 114 862 94 097 1 012 19 753 3245 March 131 793 101 521 145 393 166 828 165 731 148 789 1 190 15 752 4800 April 183 494 88 190 196 936 126 471 146 874 128 846 215 17 813 4295 May 181 84 151 085 157 541 94 058 113 014 91 170 907 20 937 2941 June 111 066 121 988 116 295 131 623 147 264 83 596 794 62 874 2787 YTD TOTAL 1 512 819 1 351 454 1 690 867 1 300 413 1 354 250 1 149 395 10 054 194 801

Paid exhibition program Australian art museum benchmarks

Exhibition Months Visitors The Council of Australian Art Museum In a year which included Directors (CAAMD) * declared the extraordinary instances of The arts of Islam July–Sept 69 630 2007–08 financial year one of the philanthropy and benefits, the Translucent world Aug– Nov 13 080 most successful ever for Australia’s biggest single gift to a gallery ten leading state and national was the John Kaldor Collection Sidney Nolan Nov–Feb 64 776 museums. This is the first year that gift to the Art Gallery of NSW. Archibald, Wynne & Sulman prizes March–May 151 900 CAAMD has benchmarked their art Taisho- chic May–June 13 285 museums’ combined achievements; something the directors plan to TOTAL 312 671 continue in the future.

Annual visitor numbers 1999 to 2008 KPI for 2007–08 Combined AGNSW Total visitations: 6.6 million 1.35 million Annual total visitor numbers 1999 to 2008 Total attendance at exhibitions toured by the museums 1.3 million 196 097

1.7 Total attendance at exhibitions held at major galleries (paid entry only) 3 million 312 671 1.6 Most popular paid exhibitions: 1.5 million Andy Warhol, QLD 232,389 1.4 Turner to Monet, VIC 180,173 Archibald Prize 08, NSW 151,900 1.3 Total value of acquisitions 1.2 added to collections $64 million $14.1 million 1.1 1 9 0 4 5 2 7 6 8 3 0 9 0 0 0 0 0 0 0 0

07 – – – – – – – – – 1 million * CAAMD06 is the– – peak body for the Australia, Art Gallery of Western 0 8 9 3 4 1 6 5 7 – 2

08 0 9 9 0 0 0 0 0 0 state and07 national0 art galleries and Australia, Queensland Art Gallery, 0.9 7

0 0

comprises the National– Gallery of Museum of Contemporary Art,

0.8 6

Australia, National0 Portrait Gallery, Tasmanian Museum and Art Gallery National Gallery of Victoria, Art and Museum, and Art Gallery of the Gallery of NSW, Art Gallery of South Northern Territory.

72 ART GALLERY OF NSW APPENDICES 07–08 EXHIBITIONS LISTING

AGNSW AGNSW Dates Department Exhibition Ticketed Tour Catalogue 03.07.07–02.12.07 Australian: Indigenous One sun one moon • 07.07.07–14.10.07 Western Pop prints 16.07.07–27.09.07 Library Australian bookbinders 28.07.07–14.10.07 Western Photography The surreal aesthetic 28.07.07–14.10.07 Western: Works on Paper Modern British watercolours and drawings 16.08.07–14.10.07 Western: Contemporary Claire Healy & Sean Cordeiro: the paper trail • 17.08.07–04.11.07 Australian Bertram Mackennal: the fifth Balnaves Foundation Sculpture Project • • 24.08.07–04.11.07 Australian Dobell Prize for Drawing 2007 29.08.07–11.11.07 Asian Translucent world: Chinese jade from the Forbidden City •• 01.09.07–28.10.07 Australian: Indigenous Boomalli: 20 years on • 03.10.07–07.12.07 Library Peter Lyssiotis: ‘Outside of a dog …’ a survey exhibition – 25 years of book arts 09.10.07–28.10.07 Public Programs Operation art 2007 25.10.07–09.12.07 Western: Contemporary Gary Carsley: scenic root 02.11.07–03.02.08 Australian Sidney Nolan retrospective ••• 02.11.07–03.02.08 Australian Indigenous connections: Nolan’s ‘Rite of spring’ – photographs by Axel Poignant • • 17.11.07–03.02.08 Western: Contemporary Extraordinary images of ordinary people: the photographs of August Sander 22.11.07–25.11.07 Western: Contemporary Jon Rose: sphere of influence – an interactive ball game • 24.11.07–09.03.08 Western: Photography Yasumasa Morimura: seasons of passion/a requiem: Mishima 29.11.07–10.02.08 Asian Mountains and streams: Chinese paintings from the National Gallery of Victoria Collection 07.12.07–20.01.08 Australian: Indigenous Kitty Kantilla 13.12.07–24.03.08 Western: Contemporary Scott Redford: blood disco • 20.12.07–16.11.08 Australian: Indigenous Living black 02.02.08–30.03.08 Public Programs Artexpress 08 09.02.08–25.05.08 Australian Charles Bayliss: landscape photographer 13.02.08–07.03.08 Library The artist in the director: the art of directors of the Art Gallery of New South Wales 22.02.08–04.05.08 Asian Intimate encounters: Indian paintings from Australian collections 22.02.08–27.04.08 Australian: Indigenous Michael Riley: sights unseen 08.03.08–18.05.08 Australian Archibald, Wynne and Sulman Prizes 2008 ••• 12.03.08–30.05.08 Library Searching for Asphodels: artists in the Mediterranean 22.03.08–09.04.08 Western: Contemporary A focus on contemporary 05.04.08–25.05.08 Australian Jan Senbergs: from screenprinter to painter • 10.04.08–27.07.08 Western: Contemporary Bill Viola: the Tristan project 15.05.08–27.07.08 Western: Contemporary Adam Cullen: let’s get lost • - 22.05.08–03.08.08 Asian Taisho chic: Japanese modernity, nostalgia and deco •• 29.05.08–31.08.08 Australian Judy Cassab: landscapes from the collection 05.06.08–10.08.08 Western: Contemporary Harold Cazneaux: artist in photography • 18.06.08–07.09.08 Western: Contemporary Biennale of Sydney 2008: revolutions – forms that turn 18.06.08–03.10.08 Library Australian bookbinders exhibition

Touring exhibitions

Dates Venue Location Exhibition Attendance 18.05.07–01.07.07 Myer Sydney, NSW Archibald Prize 07 816 08.07.07–12.08.07 # Manning Regional Art Gallery North Coast, NSW Archibald Prize 07 8 330 16.08.07–23.09.07 # Grafton Regional Gallery Grafton, NSW Archibald Prize 07 7 353 28.09.07–03.11.07 # Bega Regional Art Gallery Bega, NSW Archibald Prize 07 2 553 09.11.07–16.12.07 # Orange Regional Art Gallery Orange, NSW Archibald Prize 07 3 694 30.11.07–24.02.08 National Gallery of Victoria Melbourne, VIC Bertram Mackennal: the fifth Balnaves Foundation Sculpture Project 45 990 21.12.07–31.01.08 # Broken Hill Regional Art Gallery Broken Hill, NSW Archibald Prize 07 2 422 22.02.08–18.05.08 National Gallery of Victoria Melbourne, Vic Sidney Nolan retrospective 59 417 31.05.08–29.06.08 # Bendigo Art Gallery Bendigo, Vic Archibald Prize 08 40 577 06.06.08–30.06.08 * Queensland Art Gallery Brisbane, Qld Sidney Nolan retrospective 23 649 16.06.08–30.06.08 * State Library of Queensland Brisbane, Qld Indigenous connections: photographs by Axel Poignant 1 296 # Tour organised in association with Museums & Galleries NSW. * Exhibitions continued until 28 September 2008.

ART GALLERY OF NSW APPENDICES 07–08 73 AGED AND Visitors who are deaf and Children with an Employment practices DISABILITY ACCESS hearing impaired intellectual disability The Gallery is committed to equal opportunity principles for The Gallery engages sign language The Gallery’s Da Vinci Program is an PROGRAMS AND recruitment and general interpreters for the regular advertised initiative involving a specially employment practice. Of staff SERVICES guided tours and in association with designed program for students with working at the Gallery, 2% have a Deaf Awareness Week. mild to moderate intellectual disability and 0.4% require some disabilities. This program provides The Gallery is committed to Groups of visitors who are deaf and form of adjustment to the students with the opportunity to providing people with disabilities who make bookings are provided workplace. excellent access to services, the with sign language interpreters free experience art through stimulating building, information and of charge. and fun-filled workshops which opportunities. include discussion, role-play and the The TTY number, (02) 9225 1711, use of sensory materials. In 2006–07 the Gallery entered into is listed in the Telstra TTY directory. a three-year partnership with The Gallery provides free monthly Clayton Utz to present a series of Auslan guided tours. The Gallery General access programs specifically for conducts Signing Art, Auslan- visitors with disabilities. This Communications interpreted free performances which partnership is designed to allow The Gallery’s official website incorporate mime, puppetry and people with disabilities to enjoy (www.artgallery.nsw.gov.au) can improvisation to create vibrant and cultural experiences at the Gallery display large-print screen versions diverse educational entertainment. specifically through ‘touch’ and of all information. During the year, four of the Art After ‘sensory’ tours. Hours 6.30pm celebrity talks were The website incorporates Highlighted below are initiatives supported with Auslan interpreters. myVirtualGallery, which enables the undertaken by the Gallery. public to create their own online The Domain Theatre is equipped exhibition using works from the with audio-induction loop facilities Gallery’s collections. This website for all lectures and films. Visitors with a physical provides people with limited mobility disability An FM microphone system for the opportunity to have an hearing aid users is available on interactive arts experience. There are four dedicated disabled request for guided tours. parking spaces available at the front Staff training of the Gallery and two at the rear. Information and awareness sessions Special arrangements are also Visitors who are visually are held for staff and volunteer made for bus parking. Access to impaired guides, with particular reference to the spaces at the rear of the Gallery servicing visitors with special needs. is via the service road on the The In Touch at the Gallery program Some volunteer guides and staff southern side of the building. From provides people who are visually have undertaken introductory the rear of the Gallery, access to all impaired the opportunity to explore courses in sign language. exhibitions, displays, and public and works through touch. Specially A designated education officer administrative areas is by way of trained volunteer guides help visitors manages the Gallery’s accessible ramps and lifts and is signposted. experience the tactile qualities of marble, bronze and stone and arts programs and facilities for A wheelchair-accessible bus (route discover the stories and ideas people with disabilities. 441) runs from the Queen Victoria surrounding these unique objects. Helpers Building to the Gallery. Telephone The touch tour program will include 13 15 00 or visit www.131500.info General entry to the Gallery is free a component of audio description, for timetable details. to all visitors. However, where entry to be used in conjunction with fees are charged for major The Domain Theatre and Centenary existing tours and to complement temporary exhibitions, helpers Auditorium have access space selected temporary exhibitions. accompanying visitors with designed for wheelchair users. These tours can include art-making disabilities are admitted free of The Gallery provides wheelchairs, workshops to expand the charge. which are available from Security. experience of enjoying art. The Gallery has developed a sensory Information and publicity All exhibition spaces are accessible trolley, which includes tactile The free regular publications by lift. materials and props that Exhibitions and Events are available Toilets for visitors with disabilities are complement the In Touch tours of at the ground-floor information located throughout the building on the Gallery. desk. These booklets contain the upper level, level 1 and level 3. The main visitors elevator, servicing information for visitors with special lower level 1, the ground floor and needs. Currently, Exhibitions and the upper level, has voice Events are mailed to over 4000 notification of floor and access interested individuals and information, as well as Braille floor organisations. buttons. Free brochures on the accessible arts programs are also available at the information desk.

74 ART GALLERY OF NSW APPENDICES 07–08 ABORIGINAL AND Michael Riley: sights unseen Resources Throughout the year, guided tours (22 February – 27 April 2008): this were conducted for Aboriginal Last year the Gallery launched the TORRES STRAIT exhibition revealed the prolific people to assist in strengthening Manioo workshop. ‘Manioo’ is an talents of a quiet observer whose their appreciation of Aboriginal art ISLANDER Eora word meaning ‘to pick up photomedia – including black-and- and artists. PROGRAMS AND anything’. This free workshop has white portraiture, video, digital been designed by the Gallery Several years ago, as part of SERVICES media and film – continues to have specifically to support and Collection Character Tours, the a profound effect on Australia’s encourage underachieving gifted character of Ngununy, the cheeky contemporary representation and The Gallery organises many K–6 students in an effort to meet fruit bat, was created to take visitors comprehension of Indigenous activities which are designed to their intellectual, artistic, social and on a lively tour of Aboriginal art, Australia. In conjunction with the introduce Aboriginal and Torres emotional needs using the Gallery’s creating a greater understanding of exhibition, the Gallery screened Strait Islander visitors and others to permanent collection as a key key artworks from the collection. a series of films dedicated to the history and culture of Indigenous resource within this ‘special Unfortunately, due to lack of Aboriginal trackers and their peoples of Australia, including environment’. The workshop is sponsorship funding for family relationship to early settlers and temporary exhibitions, public designed for disadvantaged children programs, the character tours felt pioneers in Australia. This series program events and the permanent from differing backgrounds, with a the pinch and have been pared was called Trackers, and films collection on view in the Yiribana focus on Indigenous children. back until a new funding source can included The proposition (directed Gallery, the largest display focused Indigenous artists who have works be made available. However, by John Hillcoat, 2006), The tracker on Aboriginal art in the Southern in the Gallery’s permanent collection Ngununy was revised and refreshed (directed by Rolf de Heer, 2002), Hemisphere. talked to students about their work for NAIDOC Week in July 2008. Wind (directed by Ivan Sen, 1999) and assisted them with art making. This year the Gallery mounted a and One night the moon (directed Strengthening our archive of significant number of exhibitions by Rachel Perkins, 2001). Children’s Art Trails are an innovative Indigenous art, the Aboriginal and which celebrated the work and and interactive education resource, Torres Strait Islander Art Department influence of Aboriginal and Torres combining looking at and continued to film interviews with Strait Islander artists in Australia. Selected highlights of interpreting specific artworks with Indigenous artists, as well as Boomalli (1 September – staff and public activities drawing and writing activities. This collect documentary materials on 28 October 2007): to celebrate year an art trail was designed in Indigenous art. the 20th anniversary of the The year 2008 has been particularly conjunction with the Living black And, finally, the Aboriginal Collection establishment of Boomalli Aboriginal significant for the profile of exhibition. Benefactors Group continued to Aboriginal culture. On 13 February Artists Co-operative, this exhibition A major Aboriginal art publication, raise funds specifically for the brought together works from the 2008, Gallery staff attended a live acquisition of Indigenous art. screening of the National Apology to One sun one moon, was launched Gallery’s collection by founding in July 2007. More information members of the co-operative. the Stolen Generations, held in the Centenary Auditorium. about this wonderful book can be One sun one moon (3 July – found in the ‘Publications’ section 2 December 2007): this exhibition On 3 April 2008, the Aboriginal flag of this report. was raised in front of the Gallery. celebrated a complex and intriguing Three Indigenous teacher–lecturers heritage, and one which is It is now permanently flown in that prominent position. successfully completed the biannual continually responsive to historical Gallery Educators Course, joining change and social circumstance. Aboriginal and Torres Strait Islanders the Gallery’s Education team and Kitty Kantilla (7 December 2007 – represent 1.7% of the Gallery’s adding an important dimension to 20 January 2008): this major workforce, which is just under the education program delivery related retrospective from the National NSW government’s Two Ways to the Yiribana Gallery and Gallery of Victoria paid tribute to the Together public sector employment Aboriginal and Torres Strait Islander renowned Tiwi artist Kitty Kantilla target of 2%. art. (Kutuwalumi Purawarrumpatu) and One of the most remarkable events Throughout the year, the volunteer highlighted her extraordinary artistic to have happened recently at the guides received ongoing training vision, from works on paper and Gallery took place on Saturday, that specifically focused on the canvas to bark paintings and 14 June 2008, in association with Aboriginal and Torres Strait Islander sculptures. Reconciliation Week and Living art collection. This important training Living black (20 December 2007 – black. The Aboriginal dance troupe goes beyond the artwork in the 16 November 2008): taking its title the Chooky Dancers (Indigenous Gallery, introducing guides to the from the award-winning book of the men from Elcho Island in the many social and political issues same name by the late artist, Northern Territory) gave two surrounding the production of playwright, poet and curator Kevin performances of a collection of their Indigenous art in Australia. The Gilbert, this exhibition explored the dances, including a world-famous training aims to continue the different experiences of ‘living black’ version of ‘Zorba the Greek’. development of the volunteer in contemporary Australia and Sixteen hundred people crowded guides, ensuring they are up to date featured new major acquisitions. into the central court to watch the with the dynamic nature of The Gallery conducted daily guided Chooky Dancers, and film of the Indigenous art and culture. tours in conjunction with the Living event has been made available via the Gallery website and YouTube. One-hour educational tours of the black exhibition. Yiribana Gallery designed for kindergarten to secondary school children, for tertiary students and for special needs groups are conducted regularly.

ART GALLERY OF NSW APPENDICES 07–08 75 ETHNIC AFFAIRS Translucent world: Chinese jade education kits included Adventures As at 30 June 2008, the Gallery had from the Forbidden City in Asia and the new language staff officially designated as able to PRIORITIES (29 August – 11 November 2007) worksheet series Art speaks: offer assistance in Hindi, Cantonese, STATEMENT was a unique presentation of Japanese and Art speaks: Italian. Polish, German, Italian, Mandarin, Chinese jade from the outstanding The rapidly expanding collection of Spanish and Indonesian. An annual collection of the Palace Museum, online education kits has enabled calendar of significant religious and The Gallery is committed to the Beijing. The exhibition included wider access to a culturally diverse holy days was circulated to all principles of multiculturalism, as more than 180 works representing range of educational resources. supervisors to enable scheduling of outlined in section 3 of the all periods of Chinese jade carving, There are now 34 online education employees’ commitments to meet Community Relations Commission from Neolithic times to the Qing kits freely available for download their religious obligations. and Principles of Multiculturalism dynasty. The key object was a from the Gallery’s website at Act 2000. marvellous carved jade mountain, www.artgallery.nsw.gov.au/ed/ The NSW government has identified more than one metre high, depicting resources/ed_kits Ethnic affairs priority the nine elders of Huichang, four key objectives for respectful • Children’s Art Trails: this innovative goals for 2008–09 commissioned by the Emperor intercultural community relations: development in interactive The Gallery’s 2008–09 program of Qianlong in 1787. leadership, community harmony, education for children combines major exhibitions and associated access and equity, and economic Intimate encounters: Indian looking at and interpreting specific educational programs will continue and cultural opportunities. paintings from Australian collections artworks with drawing and writing to reflect and promote cultural In working to achieve these (22 February – 4 May 2008) was activities. Current art trails for diversity and harmony. drawn from collections throughout objectives, the Gallery presents children include The arts of Islam, • The lost Buddhas features superb Australia, both public and private. exhibitions, public and education Goddess: divine energy, Giacometti stone sculptures, some dating to The exhibition of approximately 70 programs, and other initiatives and Pissarro. the 6th century. The discovery of objects surveyed the major schools developed during the year which are • Film: special film series were these Buddhist figures at the site of of Indian painting, highlighting the listed in the outcomes below. devised and presented in a long-destroyed temple in China is rich interactions that inspired each association with major exhibitions, considered an archaeological find tradition. including Translucent world: Chinese on par with the First Emperor’s Ethnic affairs priority Taishô chic: Japanese modernity, jade from the Forbidden City and terracotta soldiers. Lost for over outcomes 2007–08 nostalgia and deco Intimate encounters: Indian 800 years and on display for the (22 May – 3 August 2008) captured paintings from Australian collections. first time outside of China, the the balance between modernity and Particularly popular was the film sculptures will be on view only at EXHIBITIONS nostalgia, the clash and the series The Iranian new wave, which the Gallery. embrace. The exhibition featured The following exhibitions included in screened in conjunction with The • Monet and the Impressionists paintings, prints, textiles and the 2007–08 exhibitions program arts of Islam exhibition. includes 29 works by Claude decorative arts from the period, reflected and promoted cultural Monet, alongside masterpieces by ranging from prints of coolly diversity. Cézanne, Degas, Pissarro, Renoir, sophisticated young women, to PROMOTION AND RESOURCES The arts of Islam: treasures from Sisley and other artists. The Gallery bold kimonos with abstract patterns Selected exhibitions and special the Nasser D Khalili collection will be the only Australian venue that reinterpreted traditional motifs, events were advertised in various (22 June – 27 September 2007) for this extraordinary exhibition of to sleek glassware that represented multicultural publications, including was a major exhibition consisting impressionist paintings from the the latest in art deco chic. Indian Link and Oziran. The Gallery of more than 350 rare and beautiful Museum of Fine Arts, Boston. regularly advertises on SBS in pieces of Islamic art from the Khalili • Genji: the world of the Shining various languages, including EDUCATIONAL AND Prince celebrates the 1000th Collection, including illuminated Mandarin, French, Arabic, Hindi, ENTERTAINING PUBLIC anniversary in 2008 of Japan’s manuscripts and Qur’ans, colourful Punjabi and Vietnamese. ceramics and enamelled objects. PROGRAMS oldest novel, the Tale of Genji. This This significant exhibition, the finest The ongoing presentation of a The Gallery continues to provide exhibition will feature approximately display of the arts of the Islamic dynamic and culturally varied series management services support 70 works displaying the imaginative world ever seen in Australia, offered of public and education programs to VisAsia, which promotes and power of Japanese artists in a rare opportunity to experience reflects the Gallery’s commitment to cultivates a better understanding adapting and translating this the rich and diverse artistic making the collection and temporary and enjoyment of Asian arts and timeless and popular tale. culture. achievements of the 7th to the exhibitions readily accessible to the The Gallery will present public and early 20th centuries. public. The Gallery’s guide maps were education programs supporting The photographs of August Sander • Art After Hours: special programs updated during the year and are both exhibitions and associated available in Japanese, Mandarin (17 November 2007 – 3 February held every Wednesday night include events in 2008–09, including the and Korean, Italian, French, Spanish 2008) featured 158 photographs performances, talks, films and lecture series Arts of Asia: literature and German. This year the Gallery documenting Sander’s interest in music, with many of these events and legend 2, Monet’s world and released an Arabic guide map in typologies and his aim to produce highlighting and exploring cultural Decoding the Baroque I as conjunction with The arts of Islam a definitive ‘atlas’ of the German diversity. individual lunchtime and evening exhibition, which attracted a lot of people. The exhibition was shown • Arts of Asia: this lunchtime lecture lectures. Art adventure tours will first-time visitors to the Gallery. only in Sydney. series invited leading curators and be conducted in conjunction with various exhibitions focusing on Ishiuchi Miyako: mother’s scholars to explore the inspiration and influence of the word in the arts people and their cultural beliefs. (24 May – 5 August 2007) GALLERY EMPLOYEES of China and Japan. The Gallery will continue to present showcased photographs by noted This year, 27% of the Gallery’s a culturally diverse range of films. artist Ishiuchi Miyako, reconstructing • Decoding the Baroque: this sold- employees indentified as coming The Gallery will also continue to the show she presented at the out lecture series continued to from non-English-speaking encourage staff to participate in the Japan Pavilion at the Venice explore the development of Western backgrounds, which exceeds the Community Language Allowance Biennale in 2005. One of the culture through the examination of NSW government target of 20%. Scheme and to extend the range Biennale’s highlights, it contained works by artists such as Bernini, A number of employees who speak of languages currently represented. a series of moving photos of the Caravaggio and Velazquez. community languages assist other artist’s deceased mother’s personal • Education kits and language staff and visitors, earning a belongings. worksheets: this year the printed Community Language Allowance.

76 ART GALLERY OF NSW APPENDICES 07–08 OVERSEAS Jackie Menzies, head curator, Anne Flanagan, general manager, Asian Art Exhibitions and Building TRAVEL Kuala Lumpur, Singapore and Europe, 15–28 April 2008 Indonesia, 27 October to 24 Present paper at the International Donna Brett, project officer, November 2007 Exhibition Conference in Bonn. Curatorial Services Research an exhibition of early Terence Maloon, senior curator, Europe, 27 July and 3–4 September Javanese Buddhist and Hindu art; Special Exhibitions 2007 investigate venues for future Europe and UK, 24 April to 29 May Meetings to discuss exhibition loans Australian art. and 18–28 June 2008 and collections management. Judy Annear, senior curator, Research, identify and negotiate Sun Yu, conservator, Asian Art Photography loans for Paths to abstraction and China, 6–16 August 2007 Korea, 28 October to 7 November conduct a tour for AGS. Condition report on works from the 2007 Richard Beresford, senior curator, Translucent world exhibition on Courier Sander work. European Art return to the Palace Museum. Jacqueline Strecker, curator, UK and The Netherlands, 4–23 May Brian Ladd, head, Public Programs Special Exhibitions 2008 Europe, 18–24 August 2007 Germany, 2–24 November 2007 Courier return of painting by Sir Invited to speak at ICOM General Research and develop an exhibition John Everett Millais and continue Conference. research on collection. on the art of the Weimar Republic. Natasha Bullock, curator, Jacqueline Strecker, curator, Charlotte Cox, registrar, Exhibitions Contemporary Art Special Exhibitions USA, 7–16 November 2007 UK and Europe, 19 August to USA, 25 May to 13 June 2008 Attend Australasian Registrars 14 September 2007 Research and develop an exhibition Symposium in Chicago. Courier return of Untitled (old on the art of the Weimar Republic. woman in bed) and undertake Richard Beresford, senior curator, Denise Faulkner, book buyer, exhibition research. European Art Gallery Shop UK, 10 November to 3 December Terence Maloon, senior curator, USA, 28 May to 4 June 2008 Special Exhibitions 2007 Attend Book Expo America and visit USA and Europe, 1 September to Inspect and, if satisfactory, courier key museum stores in Los Angeles. 9 November 2007 proposed acquisition to Sydney; Belinda Hanrahan, director, Research for Abstraction and continue research on collection and Marketing Claude Monet exhibitions. research catalogue entries for UK, Europe and USA, 20 June to 8 proposed Devotion exhibition. Kristel Smits, conservator, Paintings July 2008 UK, 11–22 September 2007 Karen Hancock, graphic designer Attend marketing conference in Courier two Millais paintings to Hong Kong and China, 15–24 Venice and meet with heads of TATE, London and courier to November 2007 marketing in major galleries. Sydney of works by Nolan for Supervise printing of Brett Whiteley: Chaya Chandrasekhar, curator, exhibition. studio handbook. South and Southeast Asian Art Liu Yang, curator, Chinese Art Sun Yu, conservator, Asian Art India, 29 June to 25 July 2008 Honolulu, 13–19 September 2007 China, 16–29 November 2007 Develop and research three Present research paper at Condition report on works from the exhibitions for the AGNSW. international symposium on 19th- Translucent world exhibition on and 20th-century Chinese painting return to the Palace Museum. and calligraphy. Charlotte Cox, registrar, Exhibitions Tristan Sharp, senior coordinator, USA, 6–13 February 200 Education Programs Courier return of August Sander USA and Europe, 16 September to exhibition to the J Paul Getty 2 October and 8–15 October 2007 Museum in Los Angeles. Research leading art museum and school partnerships. Peter Raissis, curator, European Charlotte Cox, registrar, Exhibitions Prints, Drawings and Watercolours Abu Dhabi, 2–7 October 2007 Europe, 11–28 February 2008 Courier works from The arts of Islam Courier Vlaminck’s The red roofs to exhibition. Palais de Luxembourg, Paris and undertake research for two Alan Lloyd, head, Conservation exhibitions. Abu Dhabi, 7–14 October 2007 Courier works from The arts of Islam Stewart Laidler, senior conservator, exhibition. Paintings Charlotte Davy, senior registrar, Italy, 19–29 February 2008 Exhibitions Courier Francis Bacon’s Study for Abu Dhabi, 8–14 October 2007 self-portrait to Palazzo Reale and Courier for works from The arts of Skira Editore. Islam exhibition. Anthony Bond, head curator, Khanh Trinh, curator, Japanese Art International Art Japan, 25 October to 7 November Europe, 27 February to 20 March 2007 2008 Research exhibitions on Japanese Research and development of two contemporary art (2009), Lovers major exhibitions for 2011 and (2009) and Garden paintings (2010). beyond.

ART GALLERY OF NSW APPENDICES 07–08 77 COLLECTION – Martin Lewis (Australia, 2007, digital print lightbox; Come Wingu Tingima (Australia, b1930s), 1881–1962), Street booth in Tokyo, and sniff 2007, digital print lightbox; Minyma Tjuta Tjukurpa 2007, PURCHASES New Years Eve (1927), drypoint, Help help help help 2007, digital synthetic polymer paint on canvas. printed in black ink on cream wove print lightbox. Purchased with funds Purchased 2007 paper. Purchased with funds provided by Warawara Department Dates of works given in brackets are SUB TOTAL 27 WORKS estimates. Titles in brackets are provided by the Australian Prints, of Indigenous Studies, Macquarie descriptions rather than titles Drawings and Watercolours University 2008 assigned by artists. Benefactors Fund 2007 Lorraine Connelly-Northey TOTAL AUSTRALIAN ART Kevin Lincoln (Australia, b1941), (Australia, b1962), 4 woven string DEPARTMENT 50 WORKS 1 drawing and 1 watercolour: Still bags: Narrbong (string bag) 2008, Australian art life with box 1989, watercolour, rusted mesh fencing wire; Narrbong charcoal, pastel on white Johannot (string bag) 2007, rusted chicken- Asian art coupe tie wire; Narrbong (string David Aspden (Australia, paper; House by a canal 5 2006, bag) 2007, rusted exhaust pipe and 1935–2005), 1 painting and 8 watercolour on paper. Kathleen fencing wire; Narrbong (string bag) AUSTRALIA drawings: Loneliness of the long Buchanan May Bequest Fund 2008 2008, rusted chimney flue and Greg Leong (Australia; Hong Kong, distance painter (1986), oil on Sidney Nolan (Australia; United fencing wire. Purchased with funds b1946), Opera frock for a giant canvas; Brazil revisited (late 1990s), Kingdom, 1917–92), Hare in trap provided by the Women’s Art Group Chinese Australian warrior diva synthetic polymer paint on white 1946, Ripolin enamel on hardboard. 2008 2003, various brocades and fabrics, wove paper; Black light no 5 (1976), Purchased with funds provided by heat transfer prints. Roger Pietri synthetic polymer paint on ivory the Nelson Meers Foundation, the Destiny Deacon (Australia, b1957), Fund 2008 wove paper; Breakaway no 2 1976, Margaret Hannah Olley Art Trust Michael Riley (Australia, synthetic polymer paint wash, black and the Art Gallery of New South 1960–2004), I don’t wanna be a SUB TOTAL 1 WORK ink on paper; Silent music II 1976, Wales Foundation 2007 bludger 1999, colour DVD, sound, synthetic polymer paint on white 30 minutes. Purchased with funds Rodney Pople (Australia, b1952), CHINA wove paper; Blues in three provided by the Aboriginal North south runway, Sydney airport Collection Benefactors Group 2008 movements 1976, synthetic polymer 2008, oil on linen. D G Wilson Ram-shaped candle holder Western paint on white wove paper; Red Bequest Fund 2008 Jack Maranbuma (Australia, born Jin dynasty 265–316 CE, celadon violet (1976), synthetic polymer c1932), Hollow log bone coffin, stoneware. Edward and Goldie Tom Roberts (Australia, 1856–1931), paint on white wove paper; Drawing natural pigments on bark. Sternberg Chinese Art Purchase Fog, Thames embankment 1884, (yellow and orange) (1976), Purchased with funds provided by Fund 2007 oil on paperboard. Purchased with synthetic polymer paint on white Warawara Department of funds provided by the Gleeson Miao people, 4 pieces of jewellery, 5 wove paper; untitled (muted Indigenous Studies, Macquarie O’Keefe Foundation 2008 textiles and 2 tools for batik making: landscape) (c1972), synthetic University 2007 Dragon ball necklace 1900s, silver; polymer paint on white wove paper. Clan Rodda (Australia, b1935), Doreen Reid Nakamarra (Australia, Embossed headdress comb 1900s, Patrick White Bequest Fund 2008 2 drawings: Dancer 2005, pencil on born c1955), Untitled 2007, off-white cartridge paper; Male silver; Large silver dress fastener Judy Cassab (Australia, b1920), synthetic polymer paint on canvas. dancer 2005, pencil on white laid hook with ornamentation 1900s, Anandamai Ghat 2002, pencil, Purchased with funds donated in silver; Layered rounds of necklace paper. Thea Proctor Memorial Fund memory of James Agapitos OAM watercolour on paper. Purchased 1900s, silver; Dark blue and purple 2008 2007 with funds provided by the embroidered baby carrier complete John Peter Russell (Australia, Australian Prints, Drawings and Eubena Nampitjin (Australia, born with original long straps 1900s, silk 1858–1930), Study for ‘Lot’s wife’ Watercolours Benefactors Fund c1925), Kinyu 2007, synthetic embroidery on cotton; Baby carrier 1886, pencil, white chalk highlights 2007 polymer paint on canvas. Purchased embroidered with orange butterfly on laid paper on thin card. eX de Medici (Australia, b1949), with funds provided by the Patricia design 1900s, silk embroidery on Purchased with funds provided by United spectres #3 2007, hard- Bernard Bequest Fund and the Don cotton; Yellow embroidered cape the Gil & Shay Docking Drawing Mitchell Bequest Fund 2007 ground etching, black ink on six 1900s, silk embroidery on cotton; Fund 2007 sheets of white wove paper. Makinti Napanangka (Australia, Red diamond checks belt 1900s, Purchased with funds provided by Wendy Sharpe (Australia, b1960), born c1930), Untitled 2007, synthetic silk embroidery; Shaman or leader’s the Art Gallery Society of New Red dress 2007, charcoal, pastel polymer paint on canvas. Purchased robe with blue and white designs South Wales Contempo Group on paper. Purchased with funds with funds donated in memory of 1900s, silk embroidered on cotton; 2007 provided by the Gil & Shay Docking James Agapitos OAM 2007 Pen for batik designs 1900s, wood, Drawing Fund 2007 Petr Herel (Australia, b1943), Jean Marie Orsto (Australia, b1962), metal; Pen for batik designs 1900s, Tardieu, the truth about monsters SUB TOTAL 23 WORKS Miyinga jilamara 2008, diptych: wood, metal. Roger Pietri Fund (letter to a visionary engraver) natural ochres on canvas. 2008 Purchased with funds provided by (2007), bound artist’s book: 19 HUANG Yi (China, 1744–1801), Aboriginal and Torres the Aboriginal Collection leaves; 1 etching and aquatint, Embarking on the journey, hanging black and sepia ink; 13 leaves Benefactors Group 2008 Strait Islander art scroll, ink on paper. Edward and containing letterpress text; 2 leaves Paddy Japaljarri Sims (Australia, Goldie Sternberg Chinese Art containing letterpress etching born c1917), Yanjirlpirri Jukurrpa Tony Albert (Australia, b1981), Purchase Fund 2008 reproduction. Thea Proctor (Star Dreaming) 1961, 2007, Headhunter 2007, synthetic polymer Memorial Fund 2008 synthetic polymer paint on canvas. SUB TOTAL 13 WORKS paint and vintage Aboriginal Martin Lewis (Australia, Purchased with funds provided by ephemera. Purchased with funds the Aboriginal Collection 1881–1962), Milsons Point and provided by the Aboriginal INDONESIA Circular Quay c1900, pencil on Benefactors Group 2008 Collection Benefactors Group 2007 Java, Cloth with Islamic inscriptions paper, from a sketchbook. Christian Bumbarra Thompson 1900s, blue ground cotton batik. Purchased with funds provided by England Banggala (Australia, born (Australia, b1978), 10 untitled Purchased with funds provided by the Gil & Shay Docking Drawing c1925–2001), untitled (triangular photographic prints from the series the VisAsia Dinner Fund to Fund, Judy Cassab, Sue Hewitt, pandanus skirt) 1988, natural Emotional striptease 2003, Pegasus John Keightley, Lesley O’Shea and pigments on bark. Purchased 2007 digital print, 12 all of the same commemorate The arts of Islam Joe Penn, Alan and Jancis Rees, Kresna Cameron (Australia, name. D G Wilson Bequest Fund exhibition 2008 and Joy West 2007 b1982), 3 photographs: No I never 2008 SUB TOTAL 1 WORK

78 ART GALLERY OF NSW APPENDICES 07–08 JAPAN suspended from lowest parasol Modern and Gail Hastings (Australia, b1965), So Male and female Shintô deities (chattra) of the six surmounting the contemporary art she said 2007, enamel on plywood, 900s–1000s, Heian period drum, an additional cylindrical acrylic on linen and canvas, framed 794–1185, cypress wood with bronze container containing relics watercolour and pencil on paper. traces of polychromy. Asian (one crystal drop, two gold rings, a Brook Andrew (Australia, b1970), Contemporary Collection Collection Benefactors Fund 2008 gold stupa and a finely wrought gilt Ngajuu Ngaay Nginduugirr (I see Benefactors 2007 six-petal flower). Purchased 2007 you) 1998, diptych: neon and Male and female Shintô deities Anton Henning (Germany, b1964), transparency face mounted on 1100s, Heian period 794–1185, Shahzia Sikander (Pakistan; United Portrait no 236 2007, oil on canvas cypress wood with traces of States of America, b1969), The acrylic. Contemporary Collection with lightframe. Purchased with polychromy. D G Wilson Bequest Fabric Workshop and Museum Benefactors 2007 with the funds provided by Geoff and Vicki assistance of Anonymous, Mark Fund 2008 (United States of America, est. Ainsworth and the Mervyn Horton Baxter, Luca & Anita Belgiorno- 1977), The illustrated page (edition Bequest Fund 2008 Iwasa Matabei School, Tale of Nettis, Peter Braithwaite, Kemsley #2) 2005–07, gouache, gold leaf, Genji mid 1600s, Edo (Tokugawa) Brennan & Stephen Buzacott, Roger Hilton (England, 1911–75), silkscreen. Purchased with funds period 1615–1868, pair of six-fold Andrew Cameron, Trevor & Carole Figure 1970, charcoal. Purchased provided by the VisAsia Dinner Fund screens, ink and colour on paper. Chappell, Jen Dowling & James Hill, under the terms of the Florence to commemorate The arts of Islam Purchased with the assistance of Rob Gould, Stephen Grant & Turner Blake Bequest 2007 the Diana Dorothea Bennett Fund exhibition and the Asian Collection Bridget Pirrie, Ginny Green, David David Hockney (England, b1937), 2007 Benefactors Fund 2008 Kent, Robyn Norton & Stephen A closer winter tunnel, Feb–Mar Utagawa KUNISADA (Japan, SUB TOTAL 2 WORKS MacMahon, Nicola Pain & Michael 2006, oil on canvas, 6 panels. 1786–1864), Chapter 3 Shell of the Harris, Lisa Paulsen, Sue Salmon, Purchased with funds provided by locust from the series Romantic Penelope Seidler, Bernard Shafer, Geoff and Vicki Ainsworth, the THAILAND reminiscences of Genji 1857–61, John Sharpe, Vivienne Sharpe, Florence and William Crosby Edo (Tokugawa) period 1615–1868, Northern Thailand, Black water Stephen Solomons, Miriam & Les Bequest and the Art Gallery of New ôban diptych, colour woodcut. bottle 1900s, earthenware. Roger Stein, Rachel Verghis, Michael South Wales Foundation 2007 Yasuko Myer Bequest Fund 2007 Pietri Fund 2008 Whitworth & Candice Bruce, Ruark Lewis (Australia, b1960), Corinne & John Young Utagawa KUNISADA (Japan, SUB TOTAL 1 WORK Paul Carter (Australia, b1951), Raft 1786–1864), Andô/Utagawa John Beard (Wales; Australia, 1995, stenciled hexaglot text in HIROSHIGE (Japan, 1797–1858), b1943), Janet Laurence 2007, oil pencil graphite on chalk gesso ‘Yuki no niwa’ (Garden scene in VIETNAM and wax on linen. Purchased 2007 ground inscribed on rafters with snow) from the series ‘Azuma Genji’ Yao people, 2 textiles: Woman’s Ian Burn (Australia; United States of underframes (28 sets, each 120cm 1854, Edo (Tokugawa) period embroidered cross stitch garment America, 1939–93), ‘Artists think …’ square), silk drapes and audio 1615–1868, triptych, colour with leaf pattern 1900s, cotton, no 1 1993, oil, card, wood (three soundtrack (42 minutes). Rudy woodblock print. Yasuko Myer beads; Embroidered Yao magician’s parts). Rudy Komon Memorial Fund Komon Memorial Fund 2008 Bequest Fund 2007 robe with numerous symbols 2007 Nigel Milsom (Australia, b1975), 2 SUB TOTAL 5 WORKS 1900s, silk embroidered on cotton. Adam Cullen (Australia, b1965), paintings: untitled (the incident) Roger Pietri Fund 2008 Comedic relief 2000, synthetic 2007–08, oil on linen; untitled (the KOREA SUB TOTAL 2 WORKS polymer paint on canvas. incident) 2007–08, oil on linen. Seven star spirits (ch’ilseungtaeng) Contemporary Collection Contemporary Collection Benefactors 2008 with the generous Benefactors 2008 1931, hanging scroll, ink and VIETNAM/LAOS assistance of Richard & Chrissie mineral colour on cloth. Purchased Giorgio Morandi (Italy, 1890–1964), Border of Vietnam and Laos, Co’tu Banks, Peter Braithwaite & Gary with the assistance of the Asian Still life 1947, oil on canvas. area, Metal beaded woven textile Linnane, Stephen Buzacott & Collection Benefactors Fund 2008 Purchased with funds provided by 1900s, metal. Roger Pietri Fund Kemsley Brennan, Andrew Rob and Jenny Ferguson and the SUB TOTAL 1 WORK 2008 Cameron, Joseph Catanzariti, Trevor Margaret Hannah Olley Art Trust Chappell, Fran Clark, Peter English, SUB TOTAL 1 WORK 2007 INDIA Robert Gould, Ginny Green, Julian & Stephanie Grose, James Hill & Jen Bruce Nauman (United States of North India, probably Uttar Pradesh, TOTAL ASIAN ART DEPARTMENT Dowling, Davina Jackson & Chris America, b1941), 2 DVDs: Revolving Folio from a dispersed series of the 29 WORKS Johnson, Vasili Kaliman, Stephen upside down 1969, black and white ‘Bhagavata Purana’ c1520–30, McMahon & Robyn Norton, Jan single-channel video, sound, 61 opaque watercolour on paper. Minchin, Morna Seres & Ian Hill, minutes; Lip sync 1969, black and Purchased 2007 European art pre-1900 Vivienne Sharpe & Tim McCormick, white single-channel video, sound, Rajasthan, The levels of hell early Lucy Turnbull, Rachel Verghis, Ray 57 minutes. Mervyn Horton Bequest 1800s, concertina album, gouache Wilson Fund 2007 on paper; 62 folios comprising 58 Jacques Blanchard (France, Neil Emmerson (Australia, b1956), Rolf Nesch (Germany, 1893–1975), full-page illustrations in red, blue, 1600–38), Mars and the vestal wood nymph triptych (the heart is a green, yellow, black and white plus virgin, oil on canvas. Purchased with Elbchaussee 1931, drypoint. lonely hunter) 3 2006, colour 4 fly leaves, Prakrit in black funds resulting from a gift by James Purchased 2007 screenprint on Dutch etching paper. Devanagari script; bound in beige Fairfax AO and with the support of Scott Redford (Australia, b1962), 4 Contemporary Collection canvas cover with scalloped flap the Art Gallery Society of NSW photographs from the series Urinals: Benefactors 2008 and tie. Purchased 2008 2007 Surfers Paradise, Broadbeach, Valie Export (United States of SUB TOTAL 2 WORKS Rodolphe Bresdin (France, Fortitude Valley 2000–01, 2000–01: America, b1940), Touch cinema 1822–85), The flight into Egypt Urinal Broadbeach A 2000–01, type 1969, black and white single- 1855, lithograph. Purchased 2008 C photograph; Urinal Broadbeach B PAKISTAN channel video, sound, 1:08 minutes. 2000–01, type C photograph; Urinal Jean-François Millet (France, Swat Valley, ancient Gandhara, Mervyn Horton Bequest Fund 2007 Fortitude Valley A 2000–01, type C 1814–75), The gleaners 1855–56, Reliquary stupa 1–200s, Kushan Antony Gormley (England, b1950), photograph; Urinal Fortitude Valley period c50 – early 400s, crystal, etching. Parramore Purchase Fund Haft 2007, mild steel blocks. Art D 2000–01, type C photograph. in 3 sections, with square gold 2007 Gallery of NSW Foundation Contemporary Collection parapet and 8 gold and pearl chains SUB TOTAL 3 WORKS Purchase 2008 Benefactors 2007

ART GALLERY OF NSW APPENDICES 07–08 79 Julie Rrap (Australia, b1950), Body 2003, printed 2008, type C Tim Silver (Australia, b1974), double 2007, DVD, silicon rubber photograph; From the inside #10 untitled (tuvaluan triptych) 2007, and electronic components. 2003, printed 2008, type C 3 type C photographs, unique Contemporary Collection photograph; From the inside #11 prints. Purchased with funds Benefactors and Rudy Komon 2003, printed 2008, type C provided by the Photography Memorial Fund 2007 photograph; From the inside 2003, Collection Benefactors Program Doris Salcedo (Colombia, b1958), colour video, sound, 12 hours. 2008 Untitled 2007, wood, concrete, Mervyn Horton Bequest Fund 2008 Glenn Sloggett (Australia, b1964), metal and fabric. Purchased 2007 Merilyn Fairskye (Australia, b1950), Roadworker blues from the series Carolee Schneemann (United Aqua/Bay #1 from the series Aqua Decrepit 2006, printed 2007, type C States of America, b1939), Meat 2007, pigment print. Purchased with photograph. Purchased with funds joy 1964, single-channel video funds provided by the Photography provided by King St Gallery, Jane of 16mm colour film, sound, Collection Benefactors Program Whiston and the Photography 6 minutes. Mervyn Horton Bequest 2007 Collection Benefactors Program 2008 Fund 2007 Simryn Gill (Singapore; Malaysia; William Sharp (United States of Australia, b1959), Run 2006, printed Glenn Sloggett (Australia, b1964), America, b1936), Joseph Beuys 2008, 6 gelatin silver photographs Dolphin from the series Decrepit (Germany, 1921–86), Joseph Beuys’ and 3 type C photographs. 2005, printed 2007, type C public dialogue 1974, black and Purchased with funds provided photograph. Purchased with funds white single-channel video, sound, by the Mordant family and the provided by Sandra Ferman and the 2 hours and 15 minutes. Mervyn Photography Collection Benefactors Photography Collection Benefactors Horton Bequest Fund 2007 Program 2008 Program 2008 KOGANEZAWA Takehito (Japan; Ken Gonzales-Day (United States Darren Sylvester (Australia, b1974), Germany, b1974), Untitled 2007, of America, b1964), At daylight the All you need to know you knew neon, chair. Gift of Geoff and Vicki miserable man got carried to an oak 2007, lightjet print. Purchased with Ainsworth 2007 from the series Hang trees 2002, funds provided by Bronwyn Doutreband, Egil Paulsen, Russell SUB TOTAL 27 WORKS printed 2007, Chromogenic photograph. Gift of Geoff and Vicki Skelton & Virginia Trioli, Sullivan & Ainsworth 2008 Strumpf and the Photography Photography Collection Benefactors Program Rebecca Ann Hobbs (Australia, 2008 b1976), High from the series Up SUB TOTAL 26 WORKS Jane Burton (Australia, b1966), with the fall, down on the diagonal Wormwood #3 from the series 2006, printed 2008, lightjet print. Wormwood 2006–07, type C Purchased with funds provided by TOTAL WESTERN ART photograph. Purchased with funds the Photography Collection DEPARTMENT 56 WORKS provided by John Armati, Robert & Benefactors Program 2008 Vassily Skinner, and Suzanne Rebecca Ann Hobbs (Australia, TOTAL ALL DEPARTMENTS Steigrad 2008 b1976), Slip ‘n slide from the series 135 WORKS PURCHASED Jane Burton (Australia, b1966), Up with the fall, down on the Wormwood #10 from the series diagonal 2007, printed 2008, lightjet Wormwood 2006–07, type C print. Purchased with funds photograph. Purchased with funds provided by Cameron Williams 2008 provided by John Armati, Rex Irwin Sharon Lockhart (United States of Art Dealer, Tara Mackay, and America, b1964), Untitled 2007, Andrew Rothery 2008 Chromogenic photograph. Gift of Olive Cotton (Australia, Geoff and Vicki Ainsworth 2008 1911–2003), Gwynneth Stone Paul Ogier (New Zealand; Australia, 1942, gelatin silver photograph, b1974), Hauptbahnhof, Berlin 2007, vintage. Purchased with funds archival pigment ink on cotton rag provided by the Photography paper. Purchased with funds Collection Benefactors Program provided by the Photography 2007 Collection Benefactors Program Shannon Ebner (United States of 2008 America, b1971), Sculptures Catherine Opie (United States of involuntaires 2006, printed 2008, America, b1961), Justin Bond 1993, type C photograph. Gift of Geoff Chromogenic photograph. Gift of and Vicki Ainsworth 2008 Geoff and Vicki Ainsworth 2008 Maria Elvira Escallón (England; Franz Roh (Germany, 1890–1965), Colombia, b1954), 7 photographs Untitled c1930, gelatin silver and 1 DVD from the series From the photograph, vintage. Purchased inside 2003, printed 2008: From the with funds provided by the inside #1 2003, printed 2008, type Photography Collection Benefactors C photograph; From the inside #2 2003, printed 2008, type C Program 2007 photograph; From the inside #3 Allan Sekula (United States of 2003, printed 2008, type C America, b1951), Mother and photograph; From the inside #6 premature baby, Kassel 2006–07, 2003, printed 2008, type C type C photograph. Gift of Geoff photograph; From the inside #7 and Vicki Ainsworth 2008

80 ART GALLERY OF NSW APPENDICES 07–08 COLLECTION – 1999, ink, wash on ivory wove children play c1967–69, pen, brush, THE WILLIAM FLETCHER GIFTS paper; untitled (Northern Territory black and dark blue ink on ivory FOUNDATION series) 1991, synthetic polymer wove paper; Andalusian night William Fletcher (Australia, paint on ivory wove paper; untitled c1967–69, pen and black ink, wash 1924–83), 1 painting and 1 drawing: Australian art (Northern Territory series) (1991), on ivory wove paper; Alhambra Olearia (c1969), oil on hardboard; synthetic polymer paint on ivory c1967–69, pen and black ink, wash Lambertia (in dappled sunlight) wove paper; Coast II 1978, on ivory wove paper; Alhambra 1974, gouache on paper KAREN ASPDEN synthetic polymer paint, collage on c1967–69, pen, brush and black ink white paper; Coast III 1978, on ivory wove paper; Alhambra David Aspden (Australia, synthetic polymer paint, collage on c1967–69, pen, brush and black JOHN KEIGHTLEY 1935–2005), 37 drawings: untitled white paper; Untitled (1979), ink, ink, wash on ivory wove paper; (tree bark) (1997), synthetic polymer Lyndon Dadswell (Australia, wash on white wove paper; untitled Alhambra c1967–69, pen, brush paint on ivory wove paper; untitled 1908–86), Figure studies 1960, pen, (Balmain) (1984), synthetic polymer and black ink on ivory wove paper; 1981, brush and black ink, synthetic blue, black and brown ink and wash paint, collage on white wove paper; Alhambra c1967–69, pen, brush polymer paint wash on ivory wove on lined exercise book page Untitled (1984), synthetic polymer and black ink on ivory wove paper; paper; untitled (some black) (1978), paint, collage on white wove paper Alhambra c1967–69, pencil, pen, synthetic polymer paint on ivory David Aspden (Australia, brush and black ink on ivory wove RICHARD KING wove paper; Castle Hill No II 1976, paper; untitled c1967–69, pen, synthetic polymer paint on paper; 1935–2005), 6 prints: Tantara 1976, Charles Conder (Australia; linocut, brown ink on ivory wove brush and black ink on ivory wove England, 1868–1909), 4 prints: La untitled (1982), charcoal on ivory paper; The peasants city c1967–69, wove paper; untitled (New Britain paper; Channels no 1 (1978), colour fille aux yeaux d’or (1899), transfer screenprint on Japanese paper; brush and black ink on ivory wove lithograph, black ink on Japanese brown series) (1980–81), synthetic paper; Night sea – Almayate Bajo Channels no 2 (1978), colour paper; La peau de chagrin (c1903), polymer paint on paper; Ali’s bar c1967–69, pen, brush and black ink screenprint on Japanese paper; transfer lithograph, sanguine ink on (New York) (1980), synthetic on ivory wove paper; Almayate Bajo Channels no 3 (1978), colour ivory laid paper; A pastoral fantasy polymer paint on ivory wove paper; night c1967–69, pen, brush and screenprint on Japanese paper; from Carnival set (1904, printed untitled (1984), synthetic polymer black ink, wash on ivory wove Cross current 1976, colour linocut, 1906), transfer lithograph, sanguine paint and collage on ivory wove paper; Witches’ tale – Alhambra blue ink on ivory wove paper; Sub ink on ivory laid paper; The maypole paper; Ramingining 1991, synthetic c1967–69, pen, brush and black ink aqua (1976), colour woodcut, dark (c1905), lithograph, black ink on polymer paint on cream wove on ivory wove paper; Almayate Bajo blue ink on cream wove paper ivory laid paper paper; Waterscape 2005, synthetic c1967–69, pen, brush and black ink polymer paint on white wove David Aspden (Australia, on ivory wove paper; Donkey man – Adrian Feint (Australia, watercolour paper; Central desert 1935–2005), 4 paintings: Brown flag Sayalonga c1967–69, pen and 1894–1971), 12 prints from a landscape 1995, synthetic polymer jazz 1968, synthetic polymer paint black ink on ivory wove paper; portfolio of 12 prints (1922–c1925, paint on white wove paper; Tree on canvas; Black music 2003, oil on Witches’ tales Guadix 1 c1967–69, printed 1982): The balcony (1922, totem no 1 1998, synthetic polymer canvas; Reef 1984, oil on canvas; pen, brush and black ink on ivory printed 1982), etching, brown ink on paint, wash on white wove paper; Mountain scenery (1973), synthetic wove paper; Man on a donkey cream Arches paper; The three Tree totem no 3 1998, synthetic polymer paint on canvas c1967–69, pen and black ink on pines (1925, printed 1982), etching, polymer paint, wash on white wove David Aspden (Australia, ivory wove paper; Portrait of the brown/black ink on ivory Arches paper; Tree totem no 2 1998, 1935–2005), 2 watercolours: fisherman of Almayate Bajofrom paper; La surprise (1923, printed synthetic polymer paint, wash on untitled (Woolloomooloo) (1978–79), c1967–69, pen, brush and black ink 1982), etching, brown ink on cream white wove paper; Grey day at watercolour, ink wash on ivory wove on ivory wove paper; Witches’ tale, Arches paper; The south wind Sanctuary Point 1998, synthetic watercolour paper; untitled Guadix 2 c1967–69, pen, brush and (1923, printed 1982), etching, black polymer paint on white wove paper; (Woolloomooloo) (1979), black ink on ivory wove paper; ink on ivory Arches paper; Egypt 2005, synthetic polymer paint watercolour, ink wash on ivory wove Cómpeta c1967–69, pen, brush Rendezvous (1923, printed 1982), on white wove paper; Meditations watercolour paper and black ink on ivory wove paper; etching, brown ink on cream Arches on landscape no 3 1998, synthetic Cycle c1967–69, pen and black ink paper; The bathers (1922, printed polymer paint on white wove paper; on ivory wove paper; Portrait – 1982), etching, black ink on ivory Leaf fall at Sanctuary Point no 2 BEQUEST OF EVELYN EDITH CARR Velez de Malaga c1967–69, pen, Arches paper; Milsons Point (1924, 1998, synthetic polymer paint, wash Ellis Rowan (Australia, 1848–1922), brush and black ink on ivory wove printed 1982), etching, brown/black on white wove paper; untitled untitled (flannel flowers) 1879, paper; Goat herd – Almayate Bajo ink on ivory Arches paper; The (Garden series) 2005, synthetic watercolour, gouache on paper c1967–69, pen, brush and black ink sonnet (1922, printed 1982), polymer paint, wash on white wove on ivory wove paper; Harvest – road etching, brown ink on cream Arches paper; Egypt II 2005, gouache on to Granada c1967–69, pen, brush paper; The scarf dance (1924, JUDY CASSAB white wove paper; untitled and black ink on ivory wove paper; printed 1982), etching, black ink on (Japanese) 1998, gouache on ivory Judy Cassab (Australia, b1920), Rainbow harvest c1967–69, pen, ivory wove paper; Basket willows card; Market 3 (Papua New Guinea) Madras, India 2002, pencil, brush and black ink on ivory wove (1922, printed 1982), etching, black (1981), ink, wash on ivory wove watercolour on white wove paper paper; Blind man – Competa 1969, ink on ivory wove paper; The paper; untitled (Papua New Guinea) pencil, pen, brush and black ink, dancer (c1925, printed 1982), (1981), pencil, watercolour, wash on gouache on ivory wove paper; etching, black ink on ivory wove NEILTON CLARKE ivory wove paper; Baai village 3 Gypsy dancer c1967–69, pen and paper; The collector (1925, printed (1981), synthetic polymer paint on Neilton Clarke (Japan; Australia, black ink on ivory wove paper; 1982), etching, black ink on ivory white wove paper; untitled (Northern b1958), Jumping Jack 1986, colour Gipsy dancers c1967–69, pen, Arches paper Territory) (1982), synthetic polymer screenprint on cream wove paper brush and black ink on ivory wove Conrad Martens (Australia, paint, wash on ivory wove paper; paper; Rider, Competa c1967–69, 1801–78), Study of a tree fern (mid untitled (Duk Duk) 1981, ink on pen and black ink on ivory wove 1850s, printed 1920), etching, black white wove paper; Baai village 4 KEVIN CONNOR paper; crucifixion 1969, pen, brush ink on white wove paper (1981), synthetic polymer paint, Kevin Connor (Australia, b1932), and black ink on ivory wove paper wash on white wove paper; untitled 31 drawings from the portfolio Ralph Trafford Walker (Australia, (Papua New Guinea) (1981), Andalusian drawings, c1967–69: 1912–2003), 2 watercolours and 3 gouache, wash on white wove Sand mirror of the moon and the THE SIR WILLIAM DOBELL ART drawings: five female nudes 1974, paper; Ritual dance (1981), house at Almayate Bajo c1967–69, FOUNDATION pencil, watercolour on white wove synthetic polymer paint, ink wash pen, brush and black ink on ivory Ana Pollak (Australia), Mullet Creek paper; mother and child, two nudes on white wove paper; Night heron wove paper; Dawn before the 2007, graphite on rice paper in background 1974, pencil,

ART GALLERY OF NSW APPENDICES 07–08 81 watercolour on white wove paper; white Velin Arches paper; The little Timothy Ralph (Australia, b1959), colour screenprint on ivory wove two female nudes 1971, pen and boat 1983, transfer lithograph, black Goodbye Chiko 1989, drypoint, paper; Bronte 1975, colour black ink, wash on ivory wove ink on ivory laid paper; untitled (The black ink on ivory wove paper screenprint on ivory wove paper paper; two female nudes 1973, pen Derwent, Hobart) 1983, transfer and black ink, wash on ivory laid lithograph, black ink on ivory wove paper; two nudes – woman and girl paper; untitled (The Derwent, GEORGE SOUTTER AND JOHN YU MEREDITH STOKES 1974, pen and black ink, wash on Hobart) 1984, transfer lithograph, attrib. Ailsa Lee Brown (Australia, Nora Heysen (Australia, ivory wove paper black ink on white Velin Arches 1898–1943), untitled (cranes by 1911–2003), Portrait of Evie Stokes paper; untitled (The Derwent, harbour) (c1937), wood engraving, 1935, brown conté on ivory wove Hobart) (1984), transfer lithograph, black ink on cream Japanese paper paper PETER KINGSTON black ink on white Velin Arches Noel Counihan (Australia, Peter Kingston (Australia, b1943), paper, hand-coloured in 1913–86), Mexican girl 1970, BARBARA TUCKER Australia -v- England chess set watercolour; Untitled 1983, transfer linocut, black ink on white Japanese 1976–78, reworked 1981, 1985, Albert Tucker (Australia, 1914–99), lithograph, black ink on white wove paper 2008, carved Oregon wood, paper; untitled (The Derwent, Gift bearers 1955, oil on hardboard Gladys Gibbons (Australia, enamel, perspex lid Hobart) 1983, transfer lithograph, 1903–69), Daisies (c1933), linocut, black ink on white Velouwe paper; black ink on ivory Japanese paper ANNE WIENHOLT Untitled 1983, transfer lithograph, LUCY LOANE black ink on white Velouwe paper; Weaver Hawkins (United Kingdom; Godfrey Miller (Australia, Yvonne Boag (Scotland; Australia, untitled (Sunset, The Derwent, Australia, 1893–1977), 1 print and 1 1893–1964), 2 drawings: Nude b1954), Urban landscape II (2000), Hobart) (1984), transfer lithograph, watercolour: Maltese cart (1930), study, pencil on ivory machine-wove colour sugarlift and open bite black ink on white Velouwe paper; colour woodcut on ivory paper; Nude study, pencil on ivory etching on white Somerset paper untitled (The Derwent, Hobart) (Japanese?) paper; Untitled 1940, machine-wove paper 1983, transfer lithograph, black ink pencil, watercolour on white wove paper JULIET LOCKHART IN MEMORY on ivory Velin Arches paper; untitled STAFF OF THE ART GALLERY OF JOHN LOCKHART AO QC (The Derwent, towards the Tasman Frank Hinder (Australia, 1906–92), OF NSW Bridge, Hobart) 1984, transfer Enid at mealtime 1937, black conté Hector Gilliland (Australia, Michael Kempson (Australia, lithograph, black ink on white Velin on ivory paper 1911–2002), Gravel works, Arches paper; untitled (The b1961), Regret 2002, colour attrib. Adelaide Ironside (Australia, Richmond NSW (1937), pencil, Derwent, Hobart) 1984, transfer etching, aquatint, open bite, deep 1831–67), untitled (figure with sheaf watercolour on ivory wove paper lithograph, black ink on white Velin etch on cream Arches paper of wheat – Ruth?) (c1853), Arches paper; untitled (The watercolour on ivory wove paper on Derwent, Hobart) (1984), transfer JENNY POLLACK card SUB TOTAL 184 WORKS lithograph, black ink, hand-coloured David Barker (Australia, with watercolour on white Velin Bea Maddock (Australia, b1934), 1888–1946), 8 prints: Jerusalem Arches paper; untitled (The Male I (1967), woodcut, black ink (c1920), etching, black ink with Aboriginal and Torres Derwent, Hobart) (1983, printed on ivory Japanese paper plate tone on cream laid paper; Strait Islander art later), transfer lithograph, black ink untitled (kookaburra), etching, Eileen Mayo (Australia; New on white Johannot paper; Boat in brown/black ink on thick ivory wove Zealand; United Kingdom, the bay (1982, printed later), transfer paper; untitled (sailing ships and 1906–94), 2 prints: Mantis (c1968), CHRISTOPHER HODGES AND lithograph, black ink on cream wove seagull), drypoint, black ink with colour linocut, collotype; Mantis in HELEN EAGER paper; untitled (Tasmania) 1987, plate tone on thick white wove the sun (c1968), colour linocut, Casey Kemarre (Australia), Head transfer lithograph, black ink on paper; The fig tree (c1920), etching, collograph on white paper on c1990, synthetic polymer paint on Velin Arches paper; untitled (third black ink with plate tone on thick, cardboard wood version of Veteran tree) (c1988), dark cream wove paper; The mill, Adelaide Perry (Australia, transfer lithograph, black ink on Queenie Kemarre (Australia, born Sussex (c1929), etching, foul bite, 1881–1973), The Bridge, October ivory Velin Arches paper; untitled c1920), 2 paintings: Bird c1990, black ink on ivory wove paper; 1929 (1930), linocut, black ink on (Balls Head, Sydney) 1987, transfer synthetic polymer paint on wood; untitled (trams in street) (c1929), thin cream paper on cardboard lithograph, black ink on white Velin Figure c1990, synthetic polymer drypoint, black ink on ivory wove Arches paper; Rainforest (1988), Algirdas Simkunas (Latvia; paint on wood paper; (Martin Place) (c1929), transfer lithograph, black ink on Australia, 1927–72), 2 drawings: Janice Kngwarreye (Australia, born pencil, drypoint, black ink on cream ivory Velin Arches paper; Untitled (Figure on horse), charcoal on ivory c1958), 2 paintings: untitled (first wove paper; Bridge Street (1930), (c1986), lithographic crayon on wove paper; (Cubist figure), man) 1989, natural pigments on drypoint, black ink on ivory wove transfer paper charcoal on ivory wove paper wood; Untitled c1990, synthetic paper Peter Upward (Australia, 1932–83), polymer paint on wood 8 prints from the Sandura suite JAN RISKE Lucky Kngwarreye (Australia, born GARRY PURSELL 1974–75: Sadewa’s servants are c1952), 2 paintings: Untitled c1992, Dick Watkins (Australia, b1937), Jan Riske (Australia, b1932), 12 frightened by the presence of evil synthetic polymer paint on wood; October 1967, diptych: synthetic drawings: Untitled 1990, pen and spirits 1974, colour screenprint on Dog c1990, synthetic polymer paint polymer paint on canvas black ink on white wove paper, 12 ivory wove paper; Garuda bird on wood all of the same name 1974, colour screenprint on ivory Ruby Kngwarreye (Australia, wove paper; Jungle near the b1968), Lizard c1990, synthetic ALAN AND JANCIS REES Elephant Caves 1974, colour HANS AND PAMELA SCHUTTLER polymer paint on wood Lloyd Rees (Australia, 1895–1988), screenprint on ivory wove paper; 21 prints and 1 drawing: The distant Chris Denton (Australia, b1950), Gamelan orchestra 1974, colour Mary Morton Kemarre (Australia, Derwent II 1983, transfer lithograph, Beyond the hyperdrome 4 1992, screenprint on ivory wove paper; born c1925), Torso 1992, synthetic black ink on ivory wove paper; photo-etching, aquatint, dark green/ Monkey savouring the moment polymer paint on wood Sunrise at Sandy Bay 1985, transfer black ink on white wove paper before eating the louse found on the Billy Morton Petyarre (Australia, colour lithograph, black, blue and Euan Heng (Scotland; Australia, Barong 1974, colour screenprint on born c1930), 2 paintings: Dog yellow ink on ivory Velin Arches b1945), Ne’erday 1991, linocut, ivory wove paper; My old black billy c1990, synthetic polymer paint on paper; Sunrise at Sandy Bay 1985, black ink and hand-coloured with 1974, colour screenprint on ivory wood; Man figure c1990, synthetic transfer lithograph, black ink on watercolour on white wove paper wove paper; Lah deed dah 1974, polymer paint on wood

82 ART GALLERY OF NSW APPENDICES 07–08 Louie Pwerle (Australia, born MS NANCY LEE INDIA calligraphy design mid 1900s, c1938), Kangaroo 1989, synthetic LIANG Dingfen (China, ZENOBIA BOYCE cotton, dyes; Batik cloth with polymer paint on wood traditional Jambi stamped floral 1859–1919), Poem in running Krishnaji Howlaji Ara (India, design early 1900s, cotton, dyes; Wally Pwerle (Australia, born script, ink on paper 1914–85), untitled (still life) c1945, Batik early 1900s, cotton; Batik c1962), Female figure c1990, Duanfang (China, 1861–1911), 2 gouache on paper synthetic polymer paint on wood early 1900s, cotton rubbings: Ink rubbing taken from a Shiavax Chavda (India, 1914–90), Unknown (Australia), Small figure Western Han dynasty (206–25 BCE) 1 drawing and 1 painting: Manipuri Java, 3 ceramics and 4 textiles: 1989, synthetic polymer paint on tile with an inscription 1909, ink on drummer 1963, ink and pencil on Large kendi, terracotta with silver wood paper and silk; Ink rubbing of the paper; Dancer 1961, acrylic on alloy spout and later wooden inscription cast on the lid of a ‘gui’ stopper; Kendi, terracotta with silver Unknown (Australia), Eagle c1990, canvas vessel of the late Western Zhou alloy spout; Kendi, terracotta with synthetic polymer paint on wood Sayed Haider Raza (India, b1922), dynasty (c1000s–771 BCE), ink on surface polished by burnishing; untitled (village landscape) 1948, Unknown (Australia), Echidna c1990, paper and silk Batik – selimat or breast wrapper, synthetic polymer paint on wood watercolour on paper TANG Hengwen (China, late cotton; Batik – kain panjang, cotton Unknown (Australia), Untitled 1800s–early 1900s), Ouyang Xiu’s with traditional repeat geometric c1990, wood ‘On the clique’ in regular script, ink DR AND MRS D HODGKINSON pattern; Batik – kain panjang, Unknown (Australia), Bird 1988, on silk North India, Dagger (khanjar) cotton; Batik – selimat (scarf) or synthetic polymer paint on wood DUAN Xu (China, 1864–1936), Mughal c1526–c1857, steel with breast wrapper, cotton Poem in running script, ink on silk bone handle, pigment, blue scabbard Java or Bali, Block-printed textile – kain panjang c1975–2000, cotton MARGARET TUCKSON SHANG Yanliu (China, 1875–1963), Huang Junbi (China; Taiwan, Java, probably Pekalongan, Batik – Rosella Namok (Australia, b1979), J A AND H D SPERLING 1899–1991), Fan with ‘Comment on kain panjang (long cloth), cotton That day 1999, synthetic polymer painting’ in running script 1941, Double-handled punch-dagger Liem Wat Beng workshop paint on canvas 1942, ink and colour on paper (‘katar’) with cover, metal with gilt pattern on handle (Indonesia), Batik – kain panjang YU Youren (China, 1878–1964), mid 1900s, cotton SUB TOTAL 19 WORKS Poem in cursive script, ink on paper SUB TOTAL 6 WORKS Pekalongan, Java, Batik altar cloth c1930, tulis design on cotton FROM THE COLLECTION OF THE TOTAL AUSTRALIAN ART Toraja, Sulawesi, Toraja banner early DEPARTMENT 203 WORKS LATE AUDREY QUIGLEY, A GIFT INDONESIA FROM HER LOVING HUSBAND 1900s, machine-woven cotton and PETER COURT AND FAMILY IN BARRY QUIGLEY colourful design with tie-dying plangi MEMORY OF DEE COURT technique Asian art Water pipe c1900, brass with East Timor, Granary door c1940s, cotton tassel carved wood SUB TOTAL 29 WORKS CHINA JUDITH AND KEN RUTHERFORD RENA BRIAND THOMAS MURRAY 5 textiles: Double-sided cheat’s IRAN Export ware, Dish with two birds, handkerchief, calligraphy on silk; Kalimantan, Bead panel, glass blue and white porcelain Cheat’s handkerchief, calligraphy on beads on cloth MIRANDA WORSLEY silk; Cheat’s handkerchief, calligraphy Persia, Jug c1150–1200, on cotton; Cheat’s handkerchief, earthenware decorated in black slip MRS H DRESDNER JOHN YU AND GEORGE SOUTTER calligraphy on paper; Cheat’s under turquoise glaze Bi disc decorated with dragons handkerchief, calligraphy on paper 5 textiles: Batik with rusak design Qing dynasty 1644–1911, jade c1900s, cotton, dyes; Batik with rusak design c1900s, cotton, SUB TOTAL 1 WORK THE STORCH FAMILY IN LOVING dyes; Batik – kain panjang, cotton MEMORY OF FREDDIE STORCH MARY AND HENRY FUNG decorated with rasak pattern; 3 sculptures and 1 ceramic: Armchair with stone panel set on Batik – kain panjang c1940s, IRAQ Rectangular bead ornamented splat early 1900s, wood (huali), stone machine-woven cotton; Batik MAREA GAZZARD with dragon motif Han dynasty hanging, cotton Abbasid lustreware bowl 900s, 206 BCE – 220 CE, yellowish jade BEQUEST OF FREDDIE STORCH Aceh, Batik head cloth with stylised earthenware painted in lustre on an altered to brown in some areas; 1 ceramic and 1 sculpture: Covered Islamic calligraphy design early opaque white glaze Tongue amulet of a cicada Han bowl with plum blossom and magpie 1900s, cotton, dyes dynasty 206 BCE – 220 CE, design Guangxu 1875–1908, Qing Cirebon, 3 textiles: Batik man’s greyish-white jade with stains of SUB TOTAL 1 WORK dynasty 1644–1911, porcelain with head piece or Kepala mid 1900s, red pigment; A pair of ornaments yellow, blue, black enamel decoration machine-woven cotton; Batik – kain 1800s, Qing dynasty 1644–1911, Hebei Province, Bodhisattva Tang panjang mid 1900s, machine-woven light green jadeite; A pair of bowls JAPAN dynasty 618–907, white marble, cotton, synthetic dyes; Batik – kain with floral design 1920s, Republic REV JOHN ADAMS standing on a black base panjang 1950s–70s, machine- 1912–49, porcelain with underglaze woven cotton, synthetic dyes Shrine procession of the Tôshôgû blue decoration JOHN YU AND GEORGE SOUTTER Eliza van Zuylen workshop post 1850, Edo (Tokugawa) period 1615–1868, Meiji period Changsha ware, 2 ceramics: Kendi (Indonesia, est. 1925, closed 1975), DR SINCLAIR GILLIES 1868–1912, illustrated book with straight spout Tang dynasty Batik – kain panjang, cotton Oriental cup early 1800s, porcelain 618–907, earthenware decorated in Oey Kek Hwa II (Indonesia), Eliza Export ware, 2 ceramics: Teapot yellow glaze; Kendi Tang dynasty van Zuylen workshop (Indonesia, ANONYMOUS GIFT 1700s, stoneware with gilt and 618–907, stoneware with yue-like estab. 1925, closed 1975), Batik – Tosa School, Quails and pampas enamel decoration; Jug with raised glaze decorated with brown splashes kain panjang 1960, cotton grass 1700s, Edo (Tokugawa) floral and butterfly pattern 1700s, Jambi, Sumatra, 4 textiles: Batik period 1615–1868, single six-fold porcelain SUB TOTAL 27 WORKS coffin cover with stylised Islamic screen, ink and colour on gold ground

ART GALLERY OF NSW APPENDICES 07–08 83 REV MUNEHARU KUROZUMI weave using Memling gul pattern; sick 1831, engraving; Comfort the GEORGE SOUTTER AND JOHN YU YAGI Issô (Japan, 1894–1973), Hat with long tail, embroidered silk; afflicted 1831, engraving; Go to the Keith Vaughan (England, 1912–77), Flower vase, stoneware with dark Woman’s coat or japon 1900–25, house of mourning 1831, engraving; Boy by a dingy 1949, colour green glaze cotton with elaborate traditional Comfort the fatherless and widow lithograph embroidered design; Man’s silk ikat 1831, engraving; Deliver the captive coat c1900s, silk ikat with cotton 1831, engraving; Instruct the STEPHEN MENZIES lining; Wall hanging, silk thread ignorant 1831, engraving; Clothe SUB TOTAL 11 WORKS Utagawa Kunisada (Japan, embroidery on cotton with niche the naked 1831, engraving; Go 1786–1864), Chapter 2 Hahakigi and plain white cotton ground; to the house of mourning 1831, from the series Romantic Wall hanging c1900s, old silk ikat engraving; Comfort the fatherless Photography reminiscences of Genji 1857, panel mounted on a plain silk red and widow 1831, engraving; woodblock print ground base cloth; Tent pole bag, Deliver the captive 1831, engraving BONITA ELY embroidered silk on wool or silk backing Bonita Ely (Australia, b1946), set JEAN FRANCES MICHAELIDES SUB TOTAL 15 WORKS of 85 unique jet prints in 9 groups Satsuma ware, Hodota (Japan, from the series The Murray’s edge est. 1887), Plate with design of JOHN YU AND GEORGE SOUTTER Modern and 2007–8, 2007–08: 1. Murray three women playing musical IN MEMORY OF DEE COURT headwaters 2008, 14 unique inkjet instruments early 1900s, Yellow ground woman’s coat contemporary prints; 2. Near Corryong 2007, earthenware, gilding, enamel c1900s, embroidered yellow silk 8 unique inkjet prints; 3. Barmah with woven tasselled edging, cotton ANONYMOUS GIFT 2007, 9 unique inkjet prints; 4. Lake KLAUS NAUMANN lining Boga 2008, 5 unique inkjet prints; Adam Cullen (Australia, b1965), 5. Near the Murrumbidgee Murray Sumiyoshi Gukei (Japan, John Travers 2003, synthetic junction 2007–08, 12 unique inkjet 1631–1705), Chapter Usugumo SUB TOTAL 16 WORKS polymer paint on canvas from the Tale of Genji with prints; 6. Robinvale, Euston accompanying poem late 1600s, 2007–08, 4 unique inkjet prints; 7. Edo (Tokugawa) period 1615–1868, VIETNAM ESTATE OF STEPHEN BIRCH Bottle Bend near Mildura 2008, 2 album leaves, mounted in a RENA BRIAND Stephen Birch (Australia, 11 unique inkjet prints; 8. Near frame, illustration: ink, colour and Swan Reach, South Australia 2007, 1 piece of metalwork and 1 1961–2007), 1 installation and gold on silk, calligraphy: ink on 12 unique inkjet prints; 9. The lacquerware: Cham bell, bronze; 1 sculpture: Civic minded 1999, decorated pape Murray’s estuary: Lake Alexandrina, Lacquer tray, wood, mother of pearl polyurethane, fiberglass, leather, rubber, acrylic and oil; Untitled Lake Albert, the Coorong 2007, inlays 10 unique inkjet prints JOHN YU AND GEORGE SOUTTER 2005, polyurethane, fibreglass, acrylic and oil AKIYAMA Iwao (Japan, b1921), On FROM THE COLLECTION OF THE the evil soldiers – the graphic table RICHARD WOLDENDORP LATE AUDREY QUIGLEY, A GIFT of fighting December 1966, paper JANET BURCHILL AND JENNIFER FROM HER LOVING HUSBAND Richard Woldendorp (Netherlands; collage, gouache and carbon ink McCAMLEY BARRY QUIGLEY Australia, b1927), 4833 Seawater SAITÔ Kiyoshi (Japan, 1907–97), Janet Burchill (Australia, b1955), leaching into Lake Macleod, north of Cylindrical betel nut container Signal (A) 1962, woodblock print, Jennifer McCamley (Australia, Carnarvon, Western Australia 2006, c1900, mother of pearl inlay into colour on paper b1957), Temptation to exist (untitled) inkjet print Chinese hardwood, with metal rims Rôsen (active 1900s), Daruma 1986, 6 type C photographs on aluminium 1924, Taishô period 1912–26, SUB TOTAL 10 WORKS hanging scroll; ink on paper SUB TOTAL 3 WORKS Yamawaki Kôhô (Japan, active DENISE GREEN TOTAL WESTERN ART 1900s), Daruma and calligraphy TOTAL ASIAN ART DEPARTMENT Denise Green (Australia; United DEPARTMENT 36 WORKS 1900–50, hanging scroll; ink and 93 WORKS States of America, b1946), Curfew colour on paper 1976, black ink on paper TOTAL ALL DEPARTMENTS 332 SUB TOTAL 10 WORKS European art pre-1900 WORKS GIFTED MIKE PARR Mike Parr (Australia, b1945), UZBEKISTAN BEQUEST OF MISS DOROTHY 1 sculpture, 1 DVD and 2 TOTAL WORKS PURCHASED SCHARF JOHN YU AND GEORGE SOUTTER photographs from the mixed-media AND GIFTED IN 2007–08: 467 15 textiles: Trapping, cotton or wool John Constable (England, installation AMERIKA the ice is tapestry weave on lined cotton 1776–1837), Stoke-by-Nayland melting … 2006: AMERIKA, bride support; Pouch, silk embroidered Church c1814, pencil dress vitrine 2006, truncated wedge on cotton support, metal threads; Thomas Gainsborough (England, vitrine containing gold leaf casting of Pouch, silk embroidered on cotton 1727–88), Trees by a pool early the artist’s left arm and bride dress; support, couched metal threads; 1750s, pencil AMERIKA, performance for as long Pouch, silk embroidered on silk as possible, 9–12 May 2006 2006, support; Pouch, silk embroidered videostream, 74 hours; Best man on cotton, mirrors; Pouch, silk GEORGE SOUTTER AND JOHN YU 2006, type C photograph; Primitive embroidered on cotton; Ikat wall Frederick Christian Lewis gifts 2006, type C photograph hanging c1900s, old silk ikat panel (England, 1779–1856), after John Flaxman (England, 1755–1826), mounted on a plain silk red ground ROBBIE AND MARY RUDKIN base cloth; Pair of tasselled animal 8 prints and 5 duplicate prints from trappings early 1900s, embroidered Acts of mercy 1831: Instruct the Denise Green (Australia; United silk, tarnished metal threads, 3 ignorant 1831, engraving; Feed the States of America, b1946), tiered tassels; Pair of animal hungry 1831, engraving; Clothe the Tulipidendron #1 1977, oil on canvas trappings early 1900s, silk tapestry naked 1831, engraving; Visit the

84 ART GALLERY OF NSW APPENDICES 07–08 COLLECTION – MICHAEL RILEY FOUNDATION *BRUCE AND JOY REID QUEENSLAND UNIVERSITY OF Michael Riley, Tracey 1985, hand- FOUNDATION TECHNOLOGY ART MUSEUM, LOANS QLD coloured gelatin silver photograph Karel Dujardin, A fresh morning 1657, oil on canvas Breaking new ground: Brisbane *Renewed loans women artists of the mid-twentieth PRIVATE COLLECTION century Daniel Boyd, Sir no beard 2007, oil *POWERHOUSE MUSEUM, 27.07.07 to 30.09.07 Works lent to the Gallery on canvas SYDNEY William Dobell, Margaret Olley The Gallery received a long-term Sidney Nolan, Woman in lagoon Jingdezhen ware, Armorial plate 1948, oil on hardboard loan of two major works by Bertram 1957, polyvinyl acetate on bearing the arms of Booth impaling Margaret Olley, Portrait in the Mackennal from Tate Britain. Irvine of Drum c1723, porcelain mirror 1948, oil on cardboard Mackennal’s Earth and the elements hardboard with ‘rouge de fer’ enamel, gilt 1907 and life-size marble Diana Altar vase (‘zun’) 1796–1820, wounded 1907–08 were purchased JOHN OLSEN BALLARAT FINE ART GALLERY, from Mackennal for the British porcelain, monochrome blue enamel VIC nation in the early 20th century and John Olsen, Loopy rivers, Cape glaze will become permanent features of York 2007, oil on canvas Eye to I: the self in recent art Neolithic jar, 3000 BCE–1700 BCE, our Gallery’s colonial display courts. 01.08.07 to 28.10.07 earthenware decorated in iron-rich Mutlu Çerkez, Untitled: 18 April A work by the young Sydney-based TATE BRITAIN pigments of red-brown and black 2013 2002, oil on canvas; Untitled: Indigenous artist Daniel Boyd, Bertram Mackennal, Diana YOSHINORI, Pair of stirrups, 19 April 2013 2002, oil on canvas; Sir no beard 2007, has been wounded 1907, marble; The Earth iron with gold and silver inlay Untitled: 21 April 2013 2002, oil on offered to the Gallery on long-term and the elements 1907, marble on canvas loan from a private collector. Boyd Seto ware tea caddy 18th century, onyx base will be the subject of a Sunday arts stoneware documentary for ABC Television in Seto ware tea caddy 18th century, HAWKESBURY REGIONAL the coming year. LAURENCE FULLER stoneware GALLERY, NSW BloodLines: art and the horse Colin McDonald has continued to Lucian Freud, Reclining figure Seto ware tea caddy 18th century, 02.08.07 to 14.10.07 provide the Gallery with a rotating 1994, etching stoneware loan of different Japanese swords, Harold Cazneaux, Black horses Cup, Tang dynasty, earthenware which have a permanent display 1920–30, bromoil photograph; cabinet in the Japanese galleries. TRUSTEES OF THE MINNAMURRA with sancai (three-colour) glaze Untitled (dray horses in lane) c1908, This is one of the only permanent FOUNDATION gelatin silver photograph displays of such unique pieces in Maxime Maufra, Le Port de Ken Whisson, Australian light 1984, an Australian Gallery. Sauzon, Belle-lle-en-Mer 1905, oil coloured crayons on canvas Works lent by the Gallery Ethel Spowers, The plough 1929, JOY FLEISCHMANN Significant loans from the Gallery’s wood engraving, black ink on thin permanent collections were made ivory laid tissue paper Arthur Fleischmann, Bali woman *ANONYMOUS this year to the National Portrait with scarf (1940s), terracotta; David Moore, Fairground horses Circle of Raphael, A Franciscan Gallery, Penrith Regional Gallery, Masked dancer (c1939), terracotta saint, tempera on poplar panel c1953, printed 1997, gelatin silver the National Gallery of Australia photograph 1997 Sebastiono Ricci, The rest on the and Queensland Art Gallery, each COLIN MCDONALD flight into Egypt c1710-11, oil on staging major exhibitions on Sword: echizen kanenaka katana canvas Australian artists John Brack, NATIONAL PORTRAIT GALLERY, OLD PARLIAMENT HOUSE, ACT (plus koshirae) 1681; Sword: kashu Pierre Paul Prud’hon, Portrait Peter Upward, Richard Larter and iehira wakizashi (plus koshirae) of a woman, oil on canvas Kenneth Macqueen, respectively. John Brack portraits 1661; Sword: hojoji masatsugu Two touring exhibitions, Cuisine and 24.08.07 to 18.11.07 Arie de Vois, Portrait of a young wakizashi 1716; Sword: kaimihara country, commissioned by Orange man, oil on copper John Brack, Barry Humphries in masaoku katana 1532; Sword: Regional Gallery, and Harbourlife: the character of Mrs Everage 1969, monju naginata-naoshi (plus Louis Léopold Boilly, Portrait Sydney Harbour form the 1940s to oil on canvas; Portrait of Fred koshirae) 1624; Sword: chu mihara of a man, oil on canvas recent times, organised by Manly Williams 1979–80, oil on canvas; tachi 1394; Sword: tachi-goshirae Head and arms (Barbara Blackman) 1868–1912; Sword furniture: Regional Art Gallery and Museum, 1954, black conté on ivory wove shibuichi o-kozuka; Sword guard: *PRIVATE COLLECTION, SYDNEY borrowed extensively from the Gallery’s 20th-century Australian paper sentoku tomoyoshi (Mito school); Michael Riley, Untitled 2000, art collections, requiring significant Sword guard: iron sendai (dragons); printed later, pigment print Sword furniture: iron shigeharu rehanging of the modern courts NEWCASTLE REGION ART Oskar Kokoschka, Landscape (fuchi-gashira); Sword furniture: and providing an opportunity GALLERY, NSW shakudo menuki (shishi) mid–late at Ullapool 1945, oil on canvas for the public to discover seldom- Lucian Freud: about men Edo (Yanagawa); Sword furniture: Jean Bellette, Greek girl 1975–76, seen works from this collection. Newcastle Region Art Gallery, NSW shibuichi kozuka (cormorant); Sword oil on canvas Three iconic paintings from the 25.08.07 to 14.10.07 furniture: sentoku (waves); Sword Ben Nicholson, Wharfedale 1972, 19th-century courts – Arthur Bendigo Art Gallery, VIC furniture: shakudo kogai (saddle); Streeton’s Fire’s on, W C Piguenit’s 20.10.07 to 18.11.07 Sword furniture: iron fuchi-gashira pencil and brown wash; Wharfedale The flood in the Darling 1890 (herons) no 2 1972, pencil and blue wash Lucian Freud, Self portrait: 1895 and Eugene von Guérard’s reflection 1996, etching on Milford Sound, New Zealand Somerset textured white paper; *PRIVATE COLLECTION, SOUTH S MENZIES 1877–79 – were lent to the Man posing 1985, etching on AUSTRALIA Nakajima Shunkô, Beauties of National Gallery of Australia for Somerset Satin white paper; Man modern day 1895, 12 woodblock Horace Trenerry, Pines, Aldinga the exhibition Turner to Monet: resting 1988, etching on Somerset prints bound in a concertina album c1945, oil on board the triumph of landscape. Satin white paper

ART GALLERY OF NSW APPENDICES 07–08 85 THE DRILL HALL GALLERY, Herbert McClintock, Seated CASTLEMAINE ART GALLERY AND Edward Burra, Holy Week: Seville AUSTRALIAN NATIONAL worker 1957, pen and black ink, HISTORICAL MUSEUM, VIC 1937, watercolour over pencil and UNIVERSITY, ACT watercolour on light grey laid paper Centenary celebration: first black chalk Creative fellows Michiel Dolk, Woolloomooloo Australian exhibition of women’s Merlyn Evans, The trial 1949, The Drill Hall Gallery, Australian mural project. Documentation of work 1907 tempera on duck; Stone axe found National University community art project 1982, 21.10.07 to 09.12.07 in Scotland 1933, chalk (conté) 09.08.07 to 16.09.07 8 Cibachrome photographs; Eirene Mort, Tablecloth with Spencer Gore, The Icknield Way Sidney Nolan, Desert storm 1966, Woolloomooloo mural project. waratah design c1910, hand- 1912, oil on canvas synthetic polymer paint on hardboard Documentation of community art stencilled and embroidered organdy project 1982, Cibachrome Tristram Hillier, Careening 1939, Elizabeth Söderberg, Tankard with photograph oil on canvas; Criquetot – l’Esneval MUSEUM OF CONTEMPORARY frilled lizard, insect and gumleaf 1945, oil on canvas Merilyn Fairskye, Woolloomooloo ART, NSW design c1906–c1908, beaten mural project. Documentation Ivon Hitchens, Evening pool 1947, Julie Rrap copper with chased and repoussé oil on canvas of community art project 1982, decoration; Candlestick with dolphin 30.08.07 to 28.01.08 Augustus John, Reverie c1914, 8 Cibachrome photographs design c1910, brass with repoussé Julie Rrap, Hairline crack 1992, oil on wood panel Merilyn Fairskye, Michiel Dolk, and chased decoration Perspex and hair Woolloomooloo mural project. Edith Cusack, Aline (1890s), pastel David Jones, Self-portrait 1928, Documentation of community art on linen oil on canvas CAMPBELLTOWN ARTS CENTRE, project 1982 Constance Roth, Apples 1890, Henry Moore, Sculptural ideas, NSW oil on cedar panel hollow form 1938, pencil, pen and News from islands red and black ink, red and grey wash NATIONAL GALLERY OF Susan Gether, Wall panel with 01.09.07 to 28.10.07 AUSTRALIA, ACT swan and landscape design c1908, Paul Nash, Mimosa wood 1926, oil Simryn Gill, Wonderlust 1996–98, Black robe, white mist: art of the handwoven wool on canvas; Sunflower and sun Lee Weng Choy’s shoes balanced Japanese Buddhist nun Rengetsu 1942, oil on canvas on a pair of coconuts 08.09.07 to 27.01.08 Ben Nicholson, Still life (Alice - QUEENSLAND ART GALLERY, QLD Otagaki RENGETSU, Calligraphy: through the looking glass) 1946, oil Kenneth Macqueen retrospective CITY MUSEUM AT OLD (poem) 19th century, hanging scroll, and pencil on canvas 01.11.07 to 05.05.08 TREASURY, VIC ink on paper; Teabowl 19th century, Samuel Peploe, Melon c1906, oil Kenneth Macqueen, The boat Melbourne bohemia: inside stoneware with underglaze blue and on canvas; Still life: apples and jar builders c1948, pencil, watercolour; Melbourne artists’ studios black pigment on white slip 1912–16?, oil on canvas Sandhill and sea (c1945), pencil, 05.09.07 to 25.11.07 Glyn Philpot, The draughtsman watercolour on white watercolour NATIONAL GALLERY OF VICTORIA, 1923, oil on canvas, mounted on A D Colquhoun, Amalie S paper; Twin hills 1935, pencil, VIC hardboard Colquhoun 1948, oil on canvas watercolour on white watercolour Norman Carter, The private view Gordon Bennett, a survey paper; Cultivation paddocks on William Roberts, The interval (c1905), oil on canvas Ian Potter Centre: NGV Australia, VIC Mt Emlyn (c1953), pencil, before round ten 1919–20, oil on 24.08.07 to 03.01.08 watercolour; Mt Domville (1945), canvas; Study for ‘The Prodigal sets out’ 1926–27, watercolour, pencil MANLY REGIONAL ART GALLERY Queensland Art Gallery, QLD pencil, watercolour AND MUSEUM, NSW 10.05.08 to 03.08.08 William Scott, Frying pan and eggs 1949, oil on canvas Artists as social commentators and Art Gallery of Western Australia, WA WHITNEY MUSEUM OF AMERICAN activists 1946–2006 20.12.08 to 22.03.09 ART, USA Walter Richard Sickert, Sketch for ‘The raising of Lazarus’ 1929–32, oil Manly Regional Art Gallery and Gordon Bennett, Myth of the Lawrence Weiner: AS FAR on canvas Museum, NSW Western man (white man’s burden) AS THE EYE CAN SEE 06.09.07 to 28.10.07 1992, synthetic polymer paint on Whitney Museum of American Art, Sir Stanley Spencer, Christ in Hawkesbury Regional Gallery, NSW canvas USA Cookham 1951–52, oil on canvas; 08.02.08 to 30.03.08 15.11.07 to 10.02.08 Cookham Lock 1935, oil on canvas; The scrapheap 1944, oil on canvas; Weaver Hawkins, Atomic power TATE BRITAIN, UK Museum of Contemporary Art, 1947, oil on hardboard Los Angeles, USA Wheatfield at Starlings 1947, oil on Millais canvas Grace Cossington Smith, Signing Tate Britain, UK 13.04.08 to 14.07.08 Graham Sutherland, Devastation: 1945, oil on paperboard 26.09.07 to 13.01.08 K21 Kunstsammlung Nordrhein- Westfalen, Germany burnt out offices 1941, watercolour, Roy Dalgarno, Young miner and Van Gogh Museum, Amsterdam, 27.09.08 to 04.01.09 black, white and yellow chalks, over the old workings 1984, synthetic Netherlands pencil polymer paint on canvas 15.02.08 to 18.05.08 Lawrence Weiner, (THIS AND John Tunnard, Abstract 1944, Graeme Inson, Roderick Shaw Sir John Everett Millais, The THAT) PUT (HERE AND THERE) watercolour and gouache 1956, oil on hardboard captive 1882, oil on canvas OUT OF SIGHT OF POLARIS 1990, synthetic polymer paint Percy Wyndham Lewis, Figure Herbert McClintock, composition (man and woman with Dawnbreakers 1939, oil on canvas LEWERS BEQUEST AND two bulldogs) 1912–13, pen and on hardboard; Street scene 1944, NATIONAL GALLERY OF VICTORIA, PENRITH REGIONAL ART ink, watercolour, gouache oil on paperboard GALLERY, NSW VIC Hal Missingham, The barn, Essex Frozen gestures: the art and Modern Britain 1900–1960 (1935), oil on canvas on hardboard philosophy of Peter Upward NGV: International, VIC THE DRILL HALL GALLERY, Roderick Shaw, Cable layers 1946, 20.10.07 to 02.12.07 15.11.07 to 24.02.08 AUSTRALIAN NATIONAL UNIVERSITY, ACT oil on plywood Peter Upward, Surry Hills green Leonard Appelbee, Herrings 1946, Roy Dalgarno, Miner drilling 1945, 1960, oil, synthetic polymer paint oil on paper over cheesecloth on Smile of the Buddha: image of pen and ink on blue paper; The on hardboard; (Abstract) 1960, panel enlightenment ‘Mae West’ c1948, pen and ink, oil on hardboard; New reality 1961, John Bratby, Interior with fireplace 02.11.07 to 17.12.07 wash; Steel worker c1948, pen and synthetic polymer paint on and window at Greenwich 1957, oil Unknown, Seated Buddha 18th ink, wash hardboard on board century, gilt bronze

86 ART GALLERY OF NSW APPENDICES 07–08 MUSEUM OF CONTEMPORARY John Firth-Smith, Seaway 1988, oil figure) (gouaches), wash; (Untitled – Eugene von Guérard, Milford ART, NSW on linen abstract study), blue ballpoint pen Sound, New Zealand 1877–79, Shahzia Sikander Peter Kingston, Morning star 2002, on cream wove paper; (Untitled – oil on canvas 27.11.07 to 17.02.08 hand-coloured sugarlift aquatint, abstract study), blue ballpoint pen Claude Monet, Port-Goulphar, on cream wove paper; Love song Unknown, Portrait of Khuda-Banda black ink and gouache on white Belle-Île 1887, oil on canvas BFK Rives paper; Friday night at (1952), oil on hardboard; Nude Khan, son of Amir-ul-umara 1931, oil on canvas on wood; Arthur Streeton, Fire’s on 1891, c1720–50, watercolour on paper Kookaburra’s 2003, colour linocut oil on canvas printed in blue and black inks, Village scene, Mount Hagen (1953), Unknown, Portrait of a nobleman hand-coloured in yellow and white oil on hardboard; The night of the W C Piguenit, The flood in the 1720–50, opaque watercolour with gouache on cream laid tissue pigs 1970, oil on hardboard Darling 1890 (1895), oil on canvas gold on paper Margaret Preston, Manly Harbour Eric Wilson, The artist and William Dobell, c1937, carbon pencil Bhupat Das, Ibrahim Adham beach 1943, oil on canvas MUSEE DU LUXEMBOURG, PARIS, ministered by angels c1760, FRANCE opaque watercolour with gold on Donald Friend, A view of the PERTH INSTITUTE OF paper harbour (1981), pen and black and Vlaminck. Un instinct fauve red ink, watercolour, gouache, CONTEMPORARY ARTS, WA 20.02.08 to 20.07.08 Unknown, Todi Ragini late 18th pastel on buff wove paper Gail Hastings sculptural situations Maurice de Vlaminck, The red century, opaque watercolour with 07.02.08 to 30.03.08 gold on paper Brett Whiteley, Big orange (sunset) roofs (landscape) c1912–c1914, 1974, oil and collage on wood Gail Hastings, So she said 2007, oil on canvas Unknown, Portrait of a Mughal enamel on plywood, acrylic on linen courtier c1770, opaque watercolour and canvas, framed watercolour on paper NATIONAL MUSEUM OF and pencil on paper HAZELHURST REGIONAL Unknown, Kabir tending his loom AUSTRALIA, ACT GALLERY AND ARTS CENTRE, c1740, opaque watercolour on Emily Kame Kngwarreye NSW NEWCASTLE REGION ART paper Lines in the sand: Botany Bay National Museum of Art, Osaka, GALLERY, NSW Unknown, Figure of a woman late Japan stories from 1770 Whiteley’s gardens 28.03.08 to 11.05.08 18th century, opaque watercolour 26.02.08 to 13.04.08 16.02.08 to 04.05.08 with gold on paper National Art Centre, Tokyo, Japan Gordon Bennett, Metaphysical Brett Whiteley, Garden in Rome landscape II 1990, oil on canvas Unknown, Study for a portrait of a 30.05.08 to 28.07.08 1982, etching, aquatint, sugarlift, nobleman c1800, ink on paper National Museum of Australia, ACT chine colle on ivory wove paper; Unknown, Girl with flowers 22.08.08 to 12.10.08 Lindfield gardens II 1984, pen and MUSWELLBROOK ART CENTRE, c1720–50, opaque watercolour on Emily Kam Ngwarray, Untitled brown ink on cream wove paper; NSW paper (Alhalkere) 1992, synthetic polymer Garden in Sanur, Bali (1980), colour James Clifford: a retrospective Unknown, A rajah of Jodhpur in paint on canvas (not displayed at screenprint on white wove paper 28.03.08 to 18.05.08 ceremonial procession c1820, NMA); Untitled (Awelye) 1994, James Clifford, Untitled 1981, opaque watercolour with gold on triptych: synthetic polymer paint on PALAZZO REALE, MILAN, ITALY synthetic polymer paint on canvas; paper laminated to canvas paper Francis Bacon Hawkwind c1975, oil on hardboard; Louie Pwerle, Kangaroo 1989, 04.03.08 to 24.08.08 Adventures of the mind 1986, MANLY REGIONAL ART GALLERY synthetic polymer paint on wood Francis Bacon, Study for self- synthetic polymer paint on canvas AND MUSEUM, NSW portrait 1976, oil and pastel on Harbourlife: Sydney Harbour from SOUTH AUSTRALIAN MUSEUM, canvas THE IAN POTTER MUSEUM OF the 1940s to recent times SA ART, VIC Manly Regional Art Gallery and A travelling exhibition on frogs in MUSEUM OF CONTEMPORARY Vivienne Shark Lewitt survey show Museum, NSW Australia, mixing cultural and ART, NSW 03.05.08 to 20.07.08 30.11.07 to 13.01.08 zoological knowledge Fiona Hall: force field Vivienne Shark LeWitt, The omen, Macquarie University Art Gallery, 03.12.07 to 10.02.08 City Gallery Wellington, NZ ‘That wascally wabbit’ 1987, oil on NSW Yanggarriny Wunungmurra, 28.06.08 to 19.10.08 linen 23.01.08 to 08.03.08 Barama and Lany’tjung: Yirritja Christchurch Art Gallery, NZ 04.12.08 to 01.03.09 Kevin Connor, Night road to the creation story c1966, natural Museum of Contemporary Art, NSW DUNEDIN PUBLIC ART GALLERY, Harbour Bridge 1987, oil pigments on bark 06.03.08 to 01.06.08 NZ Sali Herman, Sydney 1942 1981, Fiona Hall, Cash crop 1998, 80 The colour of every day: the NEWCASTLE REGION ART oil on canvas carved soap, painted bank notes in European watercolours of Frances GALLERY, NSW Fred Leist, Falling tide (1940s), oil a vitrine; Untitled 1984, gelatin silver Hodgkins on canvas on paperboard Tracing the meridian: the drawings photograph, toned 28.04.08 to 08.03.09 John Olsen, Entrance to the of William Dobell 15.12.07 to 10.02.08 Frances Hodgkins, The window seaport of desire 1964, synthetic NATIONAL GALLERY OF seat 1907, watercolour polymer paint on canvas William Dobell, Study for AUSTRALIA, ACT ‘Emergency loading at night’ c1944, John Passmore, Miller’s Point, The triumph of landscape: pen and black ink, white gouache; BIENNALE OF SYDNEY LTD, NSW morning (1952), oil on hardboard; If Turner to Monet Study of a barrowman c1943, white you don’t believe me, ask the old 14.03.08 to 09.06.08 Revolutions – forms that turn: 2008 bloke (1953), oil on hardboard gouache on black paper; (Soldier’s Biennale of Sydney uniform study) (London genre), J M W Turner, High force, fall of the Lloyd Rees, The blue bay pencil, pen and ink; (Head of an old Tees, Yorkshire 1816, watercolour Museum of Contemporary Art, NSW c1938–45, oil on canvas; The woman with earring) (gouaches), and scraping out Cockatoo Island, NSW harbour from McMahon’s Point gouache; (Horse in landscape) Samuel Palmer, Landscape with 18.06.08 to 07.09.08 1950, oil on canvas (gouaches), gouache on dark brown watermill c1855, watercolour and László Moholy-Nagy, An outline of Roland Wakelin, The bridge 1958, paper; (Landscape) (gouaches), bodycolour with gum, with scraping the universe 1930, gelatin silver oil on hardboard wash, gouache; (Landscape with out over black chalk underdrawing photograph, vintage

ART GALLERY OF NSW APPENDICES 07–08 87 Valie Export, Touch cinema 1969, c1900, earthenware, polychrome; Wedgwood, Flower bowl, Salviati and Co, Standing bowl black and white single-channel Faenza style dish c1900, stoneware, smearglaze c1850–70, blown glass, enamelled, video, sound, 1:08 minutes earthenware, polychrome; Deep Pilkington Tile and Pottery gilt Bruce Nauman, Revolving upside dish (bowl) c1900, earthenware, Company, Vase – Royal Lancastrian Salviati and Co, Standing bowl down 1969, black and white single- polychrome; Deruta dish c1900, ware c1915, earthenware, lustre c1850, blown glass, gilt enamel earthenware, polychrome, lustre; channel video, sound, 61 minutes; Minton, Duplessis ware 1869, Salviati and Co, Goblet c1850, red Lip sync 1969, black and white Faenza dish c1900, earthenware, polychrome; Faenza dish c1900, porcelain (bone china), painted, gilt and clear glass, blown, tinted, gilt, single-channel video, sound, 57 enamelled minutes earthenware, polychrome; Round Minton, Duplessis ware 1869, dish c1900, earthenware, porcelain (bone china), painted, gilt Unknown, Cover for missing ‘Blue- polychrome; Dish c1900, Minton, after Charles Toft, Candle green jar with figure decoration’ AUSTRALIAN NATIONAL MARITIME earthenware, polychrome, lustre; holder in Henri deux ware style c1851–99, blown glass, gilded and enamelled MUSEUM, NSW Gubbio dish c1900, earthenware 1872, cream coloured earthenware with enamel and lustre; Round Salviati and Co, Small dish late Trash or treasure: souvenirs Richard Joyce, Pilkington Tile Cafaggiolo dish c1900, 19th century, toroiseshell ‘marbled’ of travel and Pottery Company, Vase, Royal 25.06.08 to 30.06.09 earthenware, enamel; Faenza dish glass c1900, earthenware, enamel; Iznik Lancastrian ware c1914, Unknown, Vase c1851–99, blown Unknown, Model of the temple at dish c1900, earthenware, earthenware, lustre glass, enamel Bodhgaya 10th century–11th polychrome; Imitation Turkish dish Wedgwood, Urn c1795, black century, chlorite c1900, earthenware, polychrome, stoneware (basaltes), jasper Unknown, Standing bowl c1850, Kalighat school, The god glazing; Gubbio dish c1900, decoration blown glass, gilt, enamel Narrayon, as an incarnation of a fish earthenware, polychrome, copper Bernard Moore, Jar with cover, Unknown, Wine glass c1851–99, late 19th century, watercolour with lustre; Faenza dish c1900, flambé style c1900, earthenware, blown glass silver paint earthenware, polychrome; Faenza flambé glaze; Jardinière c1900, Unknown, Vase 19th century, dish c1900, earthenware, Unknown, Jagannatha, Subhadra earthenware, flambé glaze blown soda glass and Balabhadra late 20th century, polychrome; Faenza dish c1900, Wedgwood, Ewer c1795, black Unknown, Vase with four handles pigment on ‘pati’ cloth earthenware, polychrome; Gubbio dish c1900, earthenware, stoneware (basaltes) with jasper 19th century, blown glass polychrome, lustre; Round dish decoration Unknown, Wine glass with cover NATIONAL GALLERY OF VICTORIA, c1900, earthenware, polychrome, Villeroy and Boch, Vase c1878, 19th century, blown glass VIC lustre, gold; Urbino platter c1900, stoneware Unknown, Wine glass cover 19th Art deco 1910–1939 earthenware, polychrome; Urbino Spode Pottery and Porcelain century, blown glass NGV: International, VIC dish c1900, earthenware, Factory, Vase c1820, porcelain with Unknown, Vase 1851–99, blown 27.06.08 to 05.10.08 polychrome; Urbino dish c1900, transfer decoration (underglaze), earthenware, polychrome; glass Charles Meere, Australian beach glaze Urbino platter c1900, earthenware, Unknown, Wine glass 19th century, pattern 1940, oil on canvas polychrome; Urbino platter c1900, Spode Pottery and Porcelain blown glass earthenware, moulded form, Factory, Vase c1820, porcelain with underglaze transfer, glaze Unknown, Pourer 19th century, HEIDE MUSEUM OF MODERN ART polychrome; Urbino platter c1900, blown glass OF AUSTRALIA, VIC earthenware, polychrome; Elizabeth Söderberg, Copper bowl Marmora dish c1900, earthenware, 1909, copper Unknown, Vase 1851–99, blown Albert Tucker landscapes glass polychrome; Marmora dish c1900, 28.06.08 to 22.02.09 Clement Massier, Vase c1900, Unknown, Ornate wine glass earthenware, polychrome; Deep earthenware, lustre glazes Albert Tucker, Trees I 1964, oil, dish, Turkish style c1900, 1851–99, blown glass sandpaper on hardboard Carl Lüsberg, Vase 1903, porcelain earthenware, polychrome; Castel Unknown, Bowl with three handles with underglaze paint, glazed Durante dish c1900, earthenware, c1850, blown glass polychrome; Large punchbowl on Royal Copenhagen, Vase with four *AUSTRALIAN NATIONAL Stevens and Williams, Jug c1870, pedestal c1900, earthenware, handles c1900, porcelain with MARITIME MUSEUM, NSW blown glass polychrome; Large jug/ewer c1900, underglaze paint, glaze 01.09.07 to 01.09.12 Rene Lalique, Vase with bird earthenware, polychrome; Urn Julius Guldfrandsen, Royal decoration c1910, moulded glass, After John Flaxman, Lord Nelson, c1900, earthenware, polychrome, Copenhagen, Vase (decorated with hand-tinting; Vase c1910, moulded pressed metal medallion lustre; Ewer c1900, earthenware, a lake scene) 1902, porcelain with glass, satin finish with polished glazing, polychrome, lustre; Ewer underglaze paint, glaze c1900, earthenware, polychrome; decoration; Decanter with a stopper POWERHOUSE MUSEUM, Tazza c1900, earthenware, enamel, Konigliche Porzellan Manufactur, c1900, moulded glass; Perfume SYDNEY, NSW lustre; Iznik style jug c1900, Berlin, Schinkel vase 1850, decanter c1910, moulded glass, 01.02.08 to 01.02.18 earthenware, glazing, polychrome; porcelain satin finish, traces of hand-tinting Léonard Morel-Ladeiul, The Milton Turkish style jug c1900, earthenware, Angelica Kauffmann, Tray – Stevens and Williams, Flask, two shield 1865, electroplated silver; polychrome; Urn c1900, Nymphen Schmücken Pan c1870, handles c1900, stencil etched glass, The Bunyan shield 1865, earthenware, polychrome, lustre; porcelain with polychrome, gilded gilded electroplated silver Vase with two handles c1900, Konigliche Porzellan Manufactur, Thomas Webb & Sons, Flask earthenware, painted, glazed; Ulisse Cantagalli, Berlin, Schinkel vase 1850, c1880, blown glass, engraved Vase with two handles c1900, porcelain Hispano–Moresque dish c1900, earthenware, polychrome, glaze Thomas Webb & Sons, Vase – earthenware, polychrome, lustre; Unknown, Tazza 19th century, cameo cut decoration 1850–1910, Hispano–Moresque charger c1900, Walter Crane, C E Cundell, blown glass cased glass, cameo cut earthenware, polychrome, lustre; Pilkington Tile and Pottery Company, Lancastrian ware wall Unknown, Ewer 19th century, clear Stevens and Williams, Vase – Hispano–Moresque dish c1900, brownish, blown glass cameo cut 1899, glass, cameo cut earthenware, polychrome, lustre; plaque c1907, lancastrian ware, Castel Durante dish c1900, copper lustre Unknown, Wine glass 19th century, Stevens and Williams, Loving cup earthenware, enamel; Romagna Wedgwood, Ewer c1790, black clear brownish, blown glass c1900, glass, stencil etched dish c1900, earthenware, stoneware (basaltes), moulded Unknown, Jug 19th century, soda Thomas Webb & Sons, Flask polychrome; Faenza style dish decoration glass, blown c1880, blown glass

88 ART GALLERY OF NSW APPENDICES 07–08 Baccarat Glasshouse, Glass 1862, George Lawrence, River suburb Lloyd Rees, Dusk at North Ryde Criss Canning, Waratah in a green engraved glass 1948, oil on cardboard 1948, oil on canvas jug (1999), oil on canvas Pownall and Pilsbury, Frank Jeffrey Smart, Alma Mahler feeding Webb, The Carrington jug c1880, *GOVERNMENT HOUSE, HISTORIC the birds (1968), oil on canvas *LEGISLATIVE COUNCIL, NSW engraved glass HOUSES TRUST OF NSW Tony Tuckson, Interior with figures PARLIAMENT HOUSE Unknown, Tazza c1850, blown Will Ashton, Building the bridge (1954), oil on canvas George Bell, Lady in black (c1923), glass 1932, oil on canvas Fred Williams, Lal-Lal Falls 1976, oil on canvas Thomas Woodall, Thomas Webb Rupert Bunny, Flowers oil on canvas François Bossuet, La Place de la & Sons, The Aurora vase c1880, c1927–c1930, oil on canvas constitution 1880, oil on paper over cameo cut glass masonite Douglas Dundas, The towers of *LOWY INSTITUTE Unknown, Saucer 1850–99, clear San Gimignano, oil on canvas J Browne, Landscape with view of Lance Solomon, Country lane glass, enamel Salisbury Cathedral 18th century, oil Adrian Feint, (Flowers) 1949, oil on 1947, oil on canvas on hardboard Unknown, Saucer 1850–99, clear canvas on canvas Dora Meeson, Thames at Chelsea glass, enamel Nora Heysen, Petunias 1930, oil on Elioth Gruner, New England (1921), Reach, oil on canvas Unknown, Tazza 1850–99, glass, oil on canvas canvas Michael Kmit, Woman and girl enamel James R Jackson, The timber Hans Heysen, A bowl of roses 1957, oil on hardboard Unknown, Dessert bowl 1850–99, 1924, oil on canvas schooner, oil on canvas; The old clear glass, enamel Charles Lloyd Jones, Afternoon road, South Coast, oil on canvas Robert Johnson, Macleay River light 1941, oil on canvas on Thomas Webb & Sons, Vase – bird James Kerr-Lawson, Refugees (1958), oil on canvas; Out west, oil paperboard design c1880, engraved glass on canvas returning to Cambrai under Wedgwood, Jug with a monogram Max Ragless, Second valley 1954, protection of an Australian trooper, Clifton Pugh, Acacia and bush oil on canvas oil on canvas c1800, cream coloured earthenware 1957, oil on hardboard; The eagle Douglas Pratt, The old toll house, George W Lambert, The three Derby, Vase 1810–15, porcelain and the baobab trees 1957, oil on Rushcutters Bay 1959, oil on kimonos (1905), oil on canvas with glaze, gilt hardboard canvas John Longstaff, Sir George Reid, Derby, Sucrier 1785, porcelain with Tom Roberts, Harrow Hill Albert Rydge, Morning in Neutral oil on canvas glaze, decorated blue, gilded c1910–c1912, oil on canvas on Bay 1955, oil on hardboard Unknown, Tea bowl and saucer plywood William Marlow, San Giorgio Maggiore, oil on canvas, relined; c1785, porcelain with glaze, Albert Sherman, Gordonias (1945), Eugene Claux, Street scene, oil on The Rialto Bridge, Venice, oil on decorated blue, gilded oil on canvas canvas canvas Unknown, Tazza 1850–99, blown Sali Herman, Lane at the Cross glass 1946, oil on canvas on plywood John Masquerier, Warren Hastings *PREMIER’S OFFICE, GOVERNOR (1732–1818) 1810, oil on canvas Unknown, Jug mid 19th century, MACQUARIE TOWER Howard Ashton, Jamieson Valley porcelain 1931, oil on canvas Gion Pentelei Molnar, Pears, oil on Paul Partos, Untitled (black-grey) canvas Michael Cardew, Teapot 1969, 1990, oil on canvas John Brack, In the corner 1973, oil glazed stoneware on canvas Tom Roberts, Sir Henry Parkes, c1894, oil on canvas John Chappell, Tea bowl 1931–64, Russell Drysdale, Rocky landscape *CHIEF JUSTICE SPIGELMAN, stoneware (early 1960s), oil on canvas Arthur Streeton, Beneath the SUPREME COURT OF NSW peaks, Grampians 1921, oil on Sidney Nolan, Ant hills, Australia canvas Justin O’Brien, Little boy in 1950, synthetic polymer paint on costume (1957), oil on hardboard Furnishing loans hardboard Dorothy Thornhill, Morning at Jean Appleton, Landscape Cremorne 1939, oil on canvas Jeffrey Smart, Parkland 1950, oil (c1955), oil on hardboard; Bush *INDUSTRIAL RELATIONS on canvas Dora Toovey, How does your landscape with rocks (1952), oil on COMMISSION garden grow (1939), oil on canvas hardboard Kevin Connor, Man on stairs 1963, on paperboard Sir Arnesby Brown, August oil on hardboard Will Ashton, Pont Philippe IV, Paris, morning 1920, oil on canvas Charles Wheeler, The Upper oil on canvas Will Ashton, Kosciusko, oil on Murray, oil on plywood Frederick McCubbin, Landscape canvas Robert Campbell, Avenue du 1914, oil on canvas Maine, Paris c1930, oil on canvas Lawrence Daws, Poinciana tree I Roland Wakelin, Richmond 1991, oil on hardboard *OFFICE OF THE SPEAKER, NSW Douglas Dundas, Chianti country landscape, Tasmania 1944, oil on PARLIAMENT HOUSE (1929), oil on canvas Will Ashton, The Cornish coast paperboard 1932, oil on canvas Arthur Boyd, Landscape at George Lawrence, Autumn Marion Borgelt, Fire, wind and Murrumbeena c1968, oil on canvas morning, Hyde Park 1948, oil on Charles Bryant, Quayside, St Ives, water 1989, triptych, oil on canvas Sir William Dargie, La Perouse paperboard Cornwall, oil on canvas on 1947, oil on canvas Michael Shannon, Autumn paperboard; Low tide, St Ives, Seymour Lucas, The Gordon Riots, landscape, Heathcote no 1 1985, oil oil on canvas H A Hanke, Low tide, Balmoral 1780 1879, oil on canvas on canvas 1947, oil on canvas Sidney Nolan, Ned Kelly at the river Charles Bush, Landscape near Sydney Ball, Sabbath night 1982, Tarquinia, Italy 1952, oil on hardboard oil, collage on paper bank 1964, oil on hardboard; Policeman floating in the river 1964, Alun Leach-Jones, Monsoon *ROYAL ALEXANDRA HOSPITAL oil on hardboard; Kelly and 1979, synthetic polymer paint on FOR CHILDREN, WESTMEAD *OFFICE OF THE HON NICK policeman 1964, oil on hardboard canvas Sam Byrne, Mt Robe, highest peak, GREINER Justin O’Brien, Supper at Emmaus, Paquita Sabrafen, Australian Barrier Range, oil on hardboard Kenneth Green, Fallen tree 1968, oil on hardboard wildflowers 1990, oil on canvas Lawrence Daws, Summer oil on hardboard Desiderius Orban, Village church in Jan Senbergs, Structure with black landscape 1994, oil on canvas H Enslin Du Plessis, Snow in Hungary (c1925–c1926), oil on peaks 1973, oil, screenprint on Sam Fullbrook, Ford on the Highgate, oil on canvas canvas on paperboard on plywood canvas Condamine with Jacaranda (c1985),

ART GALLERY OF NSW APPENDICES 07–08 89 oil on canvas Sydney Long, Reflections, Clifford Hall, Maida Vale in snow Guy Grey-Smith, Gascoyne River McDonald River c1931, oil on canvas c1947, oil on hardboard country 1958, oil on hardboard Tom Roberts, On the Timbarra – Sali Herman, Sleeping cat 1983, Sidney Nolan, Broome sunset WA Reek’s and Allen’s sluicing claim oil on canvas 1985, synthetic polymer paint on (c1894), oil on canvas on hardboard Jack Carington Smith, Regatta, hardboard Roland Wakelin, The bridge 1958, Sandy Bay 1949, oil on canvas oil on hardboard Newell Wyeth, Commodore *OFFICE OF THE SHADOW Pro Hart, At the trots 1977, oil on Hornblower 1944, oil on board MINISTER FOR THE ARTS, NEW hardboard Terrick Williams, The Rialto, Venice SOUTH WALES PARLIAMENT Dora Meeson, Ville Franche-Sur- c1926, oil on canvas mounted on HOUSE Mer 1927, oil on linen hardboard Elioth Gruner, Bondi Beach Will Ashton, Old buildings, Sospel, (c1912), oil on cardboard *VAUCLUSE HOUSE, HISTORIC France, oil on canvas on paperboard Margaret Preston, Rose and HOUSES TRUST OF NEW SOUTH Margaret Olley, Still life with leaves banksia 1936, oil on canvas WALES (c1960), oil on hardboard Giovanni Brilli after Carlo Dolci, *OFFICE OF THE SPEAKER, NEW Virgin and Child, oil *PREMIER’S OFFICE, NSW SOUTH WALES PARLIAMENT Costa Conti after Andrea del Sarto, PARLIAMENT HOUSE HOUSE The Annunciation, oil; La Madonna Frank Andrew, All night joint 1946, Justin O’Brien, (Still life with fruit, delle Arpie, oil oil on hardboard flowers, ewers and statue), oil on Unknown after Giovanni Biliverti, Arthur Boyd, Cattle on hillside, paper on hardboard Angel refusing the gift of Tobias, oil Shoalhaven c1975, oil on canvas Arnold Shore, Still life 1940, oil on Unknown after Raphael, Madonna John Brack, Battle of the Etruscans canvas di San Sisto, oil 1975, oil on canvas Charles Meere, Brickworks at Milton Budge, Three and a half Bexhill, Lismore 1958, oil on canvas *ELIZABETH BAY HOUSE, 1994, synthetic polymer paint on on plywood HISTORIC HOUSES TRUST OF canvas Percy Lindsay, Late afternoon, NEW SOUTH WALES Rita Kunintji, Special law and autumn c1937, oil on canvas on Charles Coleman, St Peters at ceremony ground, synthetic hardboard sunset from the Doria Pamphili polymer paint on canvas Jean Appleton, Bush things (1951), Gardens, Rome c1865, oil on Marilyn McGrath, Palea 1975, oil on paper on paperboard canvas bronze Unknown after Raphael, Madonna Sidney Nolan, Broome – *OFFICE OF THE PRESIDENT OF della Sedia, oil Continental Hotel 1949, synthetic THE LEGISLATIVE COUNCIL, NSW polymer paint and red ochre oil PARLIAMENT HOUSE *OFFICE OF THE DIRECTOR paint on hardboard; Wounded Kelly James R Jackson, Little boats, GENERAL OF CABINET, NEW 1969, synthetic polymer paint on Middle Harbour (1946), oil on SOUTH WALES PARLIAMENT hardboard canvas on paperboard HOUSE Max Ragless, Dust, Birdsville Rhys Williams, Ripples in the bay John Brack, Out 1979, oil on canvas (1959), oil on hardboard 1948, oil on canvas on plywood Jeffrey Smart, The stilt race (1960), Fred Williams, Landscape 1969, oil Muir Auld, Winter morning 1935, oil on plywood on canvas oil on canvas on paperboard Bryan Westwood, South of Alice Springs after good rains 1992, oil Lance Solomon, Summer (1948), OFFICE OF THE HON BOB CARR oil on canvas on hardboard on canvas John Coburn, Litany 1958, oil on James Cook, Hikers 1957, oil on John Eldershaw, Tilba Tilba (NSW) hardboard (c1938), oil on canvas canvas William Salmon, The golden Lance Solomon, Winter shadows Charinga 1971, synthetic polymer 1953, oil on canvas on hardboard *OFFICE OF THE LEADER OF THE paint on canvas; Six frames 1975, OPPOSITION, NEW SOUTH synthetic polymer paint on canvas Max Ragless, Hobart waterfront (1950), oil on canvas WALES PARLIAMENT HOUSE Margaret Woodward, Oranges on Tom Roberts, Trawool landscape table 1982, oil on canvas on 1928, oil on canvas on cardboard hardboard *LEGISLATIVE COUNCIL, NSW Seymour Lucas, The King’s rival Roy de Maistre, Magnolias in red PARLIAMENT HOUSE 1901, oil on canvas vase, oil on hardboard Hans Heysen, Delphiniums and Sidney Nolan, Painted lady (red- lilies 1924, oil on canvas *OFFICE OF THE DEPUTY necked Avocet) 1948, synthetic PREMIER, NEW SOUTH WALES polymer paint on hardboard *SBS TELEVISION PARLIAMENT HOUSE Peter Schipperheyn, Maschera Arthur Boyd, Midday, the Wimmera *OFFICE OF THE HON IAN Maschio 1991, carrara marble; 1948–49, oil on canvas on plywood MACDONALD, GOVERNOR Maschera Femina 1991, carrara James R Jackson, Summer day, MACQUARIE TOWER marble Mona Vale (1937), oil on canvas on John Baird, Farm at North Ryde paperboard (1954), oil on canvas on paperboard

90 ART GALLERY OF NSW APPENDICES 07–08 STAFF, Curator, Contemporary Art Coordinator, Aboriginal Programs Image librarians Natasha Bullock BA (Hons), Jonathan Jones BA (Fine Arts) Dot Kolentsis Dip Visual Arts, Grad VOLUNTEERS Postgrad Dip (Art Curatorship & Dip Visual Arts AND INTERNS Museum Management), MA Meredith Robinson BA (on leave) Head librarian Assistant curator Susan Schmocker BA, Dip Lib Naomi Flatt BA Coordinator, Brett Whiteley Studio Staff Senior librarian/technical services Coordinator, Contemporary Alec George Dip Ed as at 30 June 2008 Kay Truelove BA, Dip Lib Collection Benefactor and Aboriginal Administrative assistant, Brett Librarians Collection Benefactor Whiteley Studio Richard Goodwin Director Bambi Blumberg B Econ, Dip Ed, Zoe Cooper Cert Teach English Robyn Louey BL Arch, Grad Dip IM Edmund Capon AM, OBE, (Lib) (on leave) Senior curator, Photography M Phil John Tse Manager, AV Services Judy Annear BA Executive personal assistant Valerie Tring Laurence Hall BA (Com) Assistant curator to the director Library technician Coordinators, AV Services Elizabeth Maloney BFA, Grad Dip Lisa Franey BA (Hons) Vivian Huang B App Sc, LIM Assoc Brian Blackwell Mus Studies Curator, Special Exhibitions Dip Arts Simon Branthwaite Terence Maloon BA (Hons), Archivists Coordinator, Film Program Dip Art & Design Head curator, Asian Art Eniko Hidas BA (Fine Arts), BVA, Robert Herbert OAM, BA (Hons), Jackie Menzies Dip Lib Tech MA Benefaction manager Steven Miller BA (Hons), B Theol, Head, Conservation Jane Wynter BA, LLB Curator, Chinese Art Grad Dip IM (Arch) (on leave) Alan Lloyd Yang Liu BA, MA, PhD Development coordinators Senior conservators, Paintings Curator, Japanese Art Lesley Anderson Head, Public Programs Paula Dredge B App Sc (Cons), Khanh Trinh Pompili BA, MA, PhD Fiona Barbouttis BA, Dip Ed Brian Ladd Dip Fine Art, Dip Ed BA (Fine Arts) Curator, South and Southeast Asian Senior coordinator, Public Programs Stewart Laidler Dip Cons Art and Art After Hours Senior conservator, Works on Paper Head, Business Development Chaya Chandrasekhar BA, MA, Sheona White BA, Postgrad Profl Carolyn Murphy BA, Grad Dip Leith Brooke BA (Communications) PhD Art Studies & Visual Arts (Museum Studies), B App Sc Business Development executive Senior coordinator, Asian Programs Public Programs coordinator (Cons), MA (Writing) Penny Cooper BA (Art History) Ann MacArthur BA (East Asian Jethro Lyne BA (Hons), MA Conservator, Works on Paper Studies), M Intl Mgmt Art After Hours assistant Analeise Treacy BA (Hons), MA Assistant director, Curatorial Services Assistant registrar (curatorial), Asian Ashlie Pellow (Cons Fine Art) Art Head curator, Western Art Senior conservator, Objects Curator, Twentieth Century Natalie Seiz BA (Hons), M Art Admin Senior coordinator, Education Programs Donna Hinton MA Applied Science International Art (Cons), Dip Museum Tech Tristan Sharp BA MA (Arts Admin), Anthony Bond B Ed (Hons) Head curator, Australian Art Dip Art Ed (Secondary) Conservator, Objects Registrar, Collections System Barry Pearce Dip Art Ed Manager, Information Kerry Head Integration Senior curator, Australian Art Jonathan Cooper Dip Art Ed Assistant conservator, Objects Jesmond Calleja BA Deborah Edwards BA (Hons), Kristel Smits B App Sc (Cons), M Phil Information assistant Coordinators, Study Room MA (Fine Arts) Olivia Prunster Matt Cox BA (Indonesian Studies), Assistant curators, Australian Art Senior conservator, Frames MA (Art History and Theory) Helen Campbell BA (Hons), Grad Administrative assistant Malgorzata (Margaret) Sawicki Deborah Jones BA Grad Dip Dip (Museum Studies) Naomi Morris BA (Cons), MA Applied Science (Museum Studies) (on leave) Caroline Geraghty Museum educator, Contemporary (Materials Conservation) Project officer, Curatorial Services Anne Gerard Art Conservator Donna Brett BA (Visual Arts), MA Denise Mimmocchi BA (Hons), MA George Alexander BA (Hons) (Art History & Theory) Lisa Charleston (Art History and Theory) Coordinator, K–6 Schools and Natalie Wilson BA (Visual Arts), MA Conservators, Frames Rights & Image sales coordinator Family Programs (Art History & Theory) David Butler Michelle Andringa BA (Art History), Victoria Collings MA, BA (Hons), Barbara (Basia) Dabrowa MA (Cons) MA (Fine Arts) Assistant registrar (curatorial), PGCE, Nat Dip Australian Art Senior conservator, Asian Art Museum educator Emma Collerton BA (Visual Arts), Sun Yu BA (Art History) Senior curator, European Art, M Mus Studies Danielle Gullotta Conservator, Asian Art pre-1900 Coordinator, Gifted and Talented Senior curator, Australian Prints, Yang Yan Dong Richard Beresford BA (Hons), Drawings and Watercolours Programs MBA, PhD Hendrik Kolenberg Sherryl Ryan M Ed (Gifted & Talented), PGD, FA, B Ed Senior registrar, Collections Curator, European Prints, Drawings Curator, Australian Prints and Watercolours Coordinator, Access Programs Emma Smith BA, Grad Dip Anne Ryan BA (Hons), M Art Admin Decorative Arts Peter Raissis BA (Hons) (on leave) Amanda Peacock BA Dip Ed Senior curator, Contemporary Art Coordinator, Secondary and Asian Assistant registrars Clare Germaine BA, MA (Arts Wayne Tunnicliffe BA (Hons), MA, Senior curator, Aboriginal and Torres Education Programs M Art Admin Leeanne Carr B Ed V Arts Admin) (on leave) Strait Islander Art Amanda Green BA, Dip (Prehistoric Assistant registrar (curatorial), Hetti Perkins BA Clerical manager and Historical Archaeology), Grad Western Art Curator, Aboriginal and Torres Strait Liliana Torresan Dip (Museum Studies) Judy Peacock BA, Grad Dip App Islander Art Bookings officers Paul Solly Sc, M Art Admin Cara Pinchbeck BA (Visual Arts), Sienna Brown Nick Strike BA (Visual Arts) MA (Visual Arts) (on leave) Petra Pattinson Brent Willison BA (Visual Arts)

ART GALLERY OF NSW APPENDICES 07–08 91 Senior photographer Installation officers Administration services supervisor Deputy, Gallery Services Jenni Carter Mary-Anne Cornford Louise Fischer BA, MA Benjamin Goodwin Photographers Brett Cuthbertson Administrative support officer Team leaders, Gallery Services Diana Panuccio (on leave) John Freckleton Deborah Spek Rosh Dhillion Carley Wright Alyosha Pearce Kuldeep Duhan Peter Tsangarides Photographers, Digitisation Manager, Retail and Publishing Janak Kadian BA Chilin Gieng (on leave) Richard Harling BA (Hons) Sheila Weir Felicity Jenkins Stores officer Book buyer Gallery officers Miriam Stirling Steve Peters JP Denise Faulkner BA (Fine Arts) Rita Abrahim Freddi Alam Shop supervisor & merchandising Ian Bolt coordinator Deputy director Senior display technician, Carpentry Arthur Boucas Dip Int Design, Dip Rebecca Allport Anne Flanagan Bill Viola Alan Boyd Ed, Dip Ed Vis Arts Display technicians, Carpentry Wholesale stock & sales officers Kevin Callope Senior manager, Exhibitions Gary Bennett Maryanne Marsh Anthony Caracoglia Erica Drew BA (Hons) Luke James Cassandra Willis Murray Castles Exhibitions assistants Ram Mudaliar Stock & sales officers Ana Crespi Edwina Brennan Senior display technician, Painting Carlotta Arias Ann Dickson Diarne Wiercinski BA (Fine Arts) Michael Brown Lynne Barwick BA (Visual Arts), Romeo Domingo Thomas Fielding Exhibitions project officer, Display technicians, Painting MA (Writing) Terry Forde Installation Daniel Green Julie Fraser David Grech Stefanie Tarvey Alan Hopkinson Daniel McCready Brian Hope-Johnstone Stores officer Senior registrar, Exhibitions Peter Karamanis Bevynn Wilkerson Charlotte Davy BA (Art History), Assistant director, Finance & John Kavallaris Adv Dip (Fashion Design) Resources Juan Lira Registrar, Exhibitions Rosemary Senn B Comm, FCPA, Venue manager Ramon Lozada Charlotte Cox BA, Grad Dip MAICD Dip Caroline Harvey Moses Maina (Works of Art) Project officer Stuart Matheson Jamil Mati Assistant registrar, Exhibitions Jackie Bullions Director, Marketing B Comm BA (Hons) MA Elizabeth McCarthy MA App Sci Belinda Hanrahan Patrick McBride (Cons), BFA (Honours) Fine Arts Managers, Media Relations Kevin Nguyen Financial controller Ray Nguyen Ticketing supervisors Susanne Briggs Assoc Dip B Surangani Kulasinghe B Bus, Studies, Dip Counselling Gregory Petterson Chris Aronsten FCMA, CPA, AIB, IMS Dip Claire Martin BA (Hons), Dip Dominque Pirrie Carmel Crisp Accounts payable supervisor Marketing Peter Rawlins Ticketing officer Debasish Ray Graeme Callaghan Manager, Marketing Prue Watson Sharat Sharma Accounts payable clerk Kylie Wingrave BA (Vis Arts), B Lisa Siale Maria Montenegro Comm Suzanne Slavec Print production manager/Studio Tourism & Marketing coordinator Joan Standfield coordinator Molly Waugh BA (Communications) Patricia Teece Cara Hickman B Sc (Arch) Management accountant Bernadine Fong B Bus (Banking & Mary Thom Senior graphic designers Finance) Weekend coordinator Steve Triantos Mark Boxshall BA (Visual Arts) Mark Turner Accounting clerks Sally Bates Analiese Cairis Russell Ward Viva Chelvadurai Information desk supervisor Gisela Weber Graphic designer Rita Briguglio Jeanette Klease Karen Hancock Paul Woolcock Receptionist Lorraine Xuereb Multimedia designer Michelle Berriman BA (Hons), Dip Jo Hein Manager, Information & Technology Maurice Cirnigliaro M Bus HE (on leave) (Information Technology) Information officers Manager, Building Services Manager, Network Operations Minette Brewin Phil Johnstone Theo Papalimperis Anna Davis Kate Dorrough Manager, Engineering Services Help desk officers Ray Cunico Adv Dip Mech Tracey Keogh Adam Dunn Olivia Prunster Engineering Roseann Phillips Maintenance officer Head, Security and Gallery Services Rob Schumacher Manager, Human Resources Anthony Morris Plant fitter/Operator Jenny Capdor Security officers Julio Angulo Manager, Safety and Workforce David Anderson Trade assistant Planning Emilio Cruz Lindsay Drummond Donna Grubb Glenn Gavin Coordinators, Human Resources Telly Linakis Senior lighting technician Shirley Dunshea B Bus (HRM) Milorad Linjanovic Simm Steel Kimberley Milicevic (on leave) Valita Manu David Paine JP Bob Partridge Senior installation technician Manager, Administration & Strategy Hudson Qureshi Nikolaus Rieth Trish Kernahan Bryan Reynolds

92 ART GALLERY OF NSW APPENDICES 07–08 Volunteers Annette Carlisle; Mary Casey; Faith Weberbauer; Maggie Weiley; Peter Charity; June Chatfield; Maria Whawell; Annie Wicks; Clarice Cicutto; Jill Clapin; Annie S Clarke; Wilkins; Joanne Wilson; Jennifer VOLUNTEER GUIDES Lea-Ann Clarke; Anne Cole; Wood; Jill Wunderlich; Lisa Xu Pat Kreuiter, Guides Coordinator Gabrielle Cousins; Patricia Anne 2008 Curtis; Beverley Darby; Ann Dawson; Francine De Valence; Gail VOLUNTEERS – CONTEMPO Dale Amir; Jan Angus; Margaret Dendle; Lynette Dening-Franklin; COMMITTEE Anthony; June Armitage; Phillippa Charlotte Denison; Ann Dodd; Mark Andrews, president Baird; Pamela Barr; Robyn Bathurst; Margaret Doherty; Elizabeth Lynn McColl, senior vice president Annabel Baxter; Janet Bell; Carolyn Donnelly; Ruth Dornan; Jutta Dubiel; Renee Siros, vice president Bethwaite; Dale Bird; Jenny Birt; Judith Duff; Peter Eames; Caroline Kirby Weston, secretary/treasurer Rosalie Blackshaw; Vicki Brown; Eburn; Pam Ellis; Judy Embrey; Julie Flowers, volunteers coordinator Cathy Cameron; Lisa Campbell; Daile Falconer; Ingrid Farago; Eva Norma Castaldi; Licia Cattani; Members: James Edmondson; Feher; Yvonne Fell; Coralie Fergus; Valerie Chidgey; Bella Church; Susie Simone Esamie; Melanie Goldwater; Carol Forsythe; Val Freeman; Kitty Clark; Anne Cohen; Ann Cole; Liz Martin Katzler; Chelli Kover; Emily Gassner; Yvette Geczy; Patricia Crenigan; Sally Cullen; Adrienne Lees; Valerie Marteau; Alison Governor; Leonie Grattan; Lyn Gray; McDonald; Lynleigh McPherson; Dan; Lorraine Davids; Jackie De Sandy Green; Sheba Greenberg; Diana; Mary De Mestre; Ro Michael O’Neill; Yaeli Ohana; Alicia Beverley Griffiths; Kirsten Gross; Poppett; Kate Steel; Jacqui Tosi Dermody; Sue Dominguez; Jill Aiko Hagiwara; Ben Hall; Simone Dunlop; Patricia Elliott; Diane Hancock; Susan Hand; Averil Everett; Louise Fennel; Gwen Hargreaves; Jocelyn Harris; Eva Internships Ferguson; Betty Floyd; Judy Friend; Havas; Trish Hay; Frances Hellier; Pam Fuller; Caroline Furniss; Ann Henderson; Mary Hillier; Gallery internships took place Jennifer Gardiner; Mary-Lou Gilbert; Margaret Hunt; Madeline Hunter; across a range departments, Deirdre Greatorex; Anna-Maryke Pamela Hyles; Teresa Jakubowski; including Education and Public Grey; Joan Grimes; Alison Gross; Marie James; Patricia James; Programs, Curatorial, Exhibitions, Callie Guinness; Jennifer Harrison; Heather Jelfs; Jennifer Jenkins; Library and Archives, Registration, Annie Herron; Shirley Hillman; Helen Felicita Jennings; Patricia G Conservation and Marketing. Holmes; Roslyn Hunyor; Marie Johnson; Karen Johnston; Margaret Eighteen internship placements for Huxtable; Margot Johnston; Diane J Johnston; Nita Jones; Sandra undergraduate and post-graduate Kempson; Jill Kloster; Kay Knight; Jones; Noel Jordan; Donna Kelly; students from Australia and Dorothea Labone; Sharon Lain; Meri Sue Kemp; Vere Kenny; Ursula overseas took place in 2007–08, Lane; Jenny Latham; Shirley Knight; Anneke Kunz; Egmont from faculties such as Museum Lilienthal; Sue Lowes; Fiona Loxton; Lademann; Triny Lademann; Roslyn Studies, Arts Administration, Art Angela Luessi; Susan Ma; Wendy Luger; Kristine J MacKenzie; Lesley History and Theory, Visual Arts Matthews; Romola McConnachie; Mackintosh; Suzanne Maddison; Education and Conservation Juliet McConochie; Frances Sue Mandelberg; Trish Mappin; Management. Participating Australian McNally; Cherry McWilliam; Serene Patrick Marco; Margaret Marshall; institutions included the College Miles; Lesley Millar; Norma Milne; Barbara Martin; Jan McClelland; of Fine Arts, University of New Gwyneth Morgan; Janet Morse; Les Raymond J McDonald; Robin South Wales, University of Sydney, Moseley; Maureen Murphy; Diana McIntyre; Margaret McLellan; University of Western Sydney, Northedge; Virginia Osborne; Marlene McPherson; Heather Mead; University of Technology Sydney, Dianne Ottley; Mandy Palmer; Mary Meppem; Sheila Milroy; Susan University of Newcastle, Australian Wendy Payne; Philippa Penman; Mitchell; Barry Molloy; Denise Catholic University and Academy of Carolyn Penn; Keith Potten; Caroline Morris; Hilary Moxon; Gael Murphy; Performing Arts WA. Participating Presland; Dilys Renham; Pamela Sandra Myers; Peter Nicholls; Kate international universities included Rex; Margaret Rich; Pam Rogers; Noble; Marilla North; Brian Nugent; the British School of Athens Alison Ross; Christine Petra O’Neill; Lyn Oliver; Elizabeth (Greece), University of Bochum Rustamzadeh; Louise Samer; Ruth Oomens; Ruth Osen; Diana Page; (Ruhr, Germany) and Northumbria Sams; Pauline Sayle; Lilli Scott; Susan Pajor; Rebecca Pearson; University (UK). Beverley Shea; Patricia Smith; Hetti Penn; Maryann Phillips; Dian Beatrice Sochan; Denyse Spice; Pitson; Michael Poole; Penny Fiona Still; Caroline Storch; Dorinda Porter; Judy Preshaw; Cynthia Sullivan; Jennifer Sutton; Susan Pretty; Marie Puntigam; Hanne Swan; Jill Thompson; Prue Todd; Raad; Margaret Radford; Patricia Lee Tredinnick; Jan Tydd; Patricia Reed; Joan Roberts; Astrid Wilson; Mary Woodburne; Brenda Robinson; Stana Rogac; Charles Woods; Linda Zurnamer Rushton; Kim Sandford; Annette Searle; Cassie Sheehan; Margaret Sheppard; Irene Shillington; Penny VOLUNTEERS – TASK FORCE Shore; Dana Skakavac; Ann Smith; Pearl Adiseshan; Betty Allerton; Joyce Smith; Shirley Smyth; Lesley Robin Amm; Greta Archbold; Sommerville; Merrilyn Sowell; Judith Meredith Aveling; Julia Baldo; Stefanek; May Steilberg; Peter Alexandra Ballard; Linda Barnes; Strand; Marsha Swenson; Margaret Julia Bate; Diana Berlyn; Wendy Swinton; Joan Tasker; Irene Thom; Beverly; Anne Blomfield; Georgie Sue Thomas; Fay Thurlow; Susan Blythe; Joyce Botta; Pamela Bough; Tompkins; Judith Twist; Mary Unwin; W S Bough OAM; Shirley Brettle; Ursulal Ure; Jill Vaughan; Valerie Valda R Brook; John Buchanan; Vogt; Julie Wallace; Cilla Warre; Gail Petah Burns; Wendy Canning; Watt; Carolyn Webb; Rita

ART GALLERY OF NSW APPENDICES 07–08 93 STAFF 3 Feb 2008; J Paul Getty Museum, 20 and 21 Aug 2007 scholarship for arts professionals, Los Angeles, 6 May – 14 Sept 2008 Lecture: ‘Venice and Documenta’, Berlin, Aug 2007 PUBLICATIONS, Curator: Ghosts in the machine: CoFA, 14 Aug 2007 Research: PhD candidate, Neues PRESENTATIONS anonymous photographs, 10 Apr – Lecture: ‘European summer’, Sehen: uncanny vision and the AND RELATED 16 July 2008 Newcastle University, 1 Aug 2007 astigmatic view in German Curator (with Karen-Anne Coleman): Lecture: ‘Heaven and Earth: Anselm photography, Art History and ACTIVITIES Yasumasa MORIMURA seasons Kiefer’, Wollongong City Gallery, Theory, USyd of passion/a requiem: Mishima, 25 July 2007 Unless otherwise stated, all lectures 24 Nov 2007 – 25 Mar 2008 Lecture: ‘Site specificity: grounding Natasha Bullock (Curator, and presentations were held at the Launch: Comedies & proverbs: art in the local’, AAANZ Art and the Contemporary Art) AGNSW. Vivienne Shark LeWitt, Ian Potter Real conference, and chair, opening Curator and commissioning editor: Abbreviations: Museum of Art, UMelb, 6 May 2008 session, 13–14 July 2007 Claire Healy & Sean Cordeiro: the AAANZ: Art Association of Australia Launch: Gavin Hipkins: billboards, Judge: Jenny Birt Award for paper trail, 16 Aug – 14 Oct 2007 and New Zealand Hazelhurst Regional Art Gallery, Drawing and Painting, CoFA, Curator and commissioning editor: AAH: Art After Hours Gymea, 9 Feb 2008 28 Apr 2008 Gary Carsley: scenic root, 25 Oct – AGNSW: Art Gallery of NSW Board member: Artspace/visual Judge and launch: Gold Coast Art 9 Dec 2007 AGS: Art Gallery Society of NSW art centre, Sydney Prize, 1 Dec 2007 Curator and commissioning editor: BoS: Biennale of Sydney Committee member: Photography Launch: Layers marks tracks, Scott Redford: blood disco, 13 Dec CoFA: College of Fine Arts, UNSW Collection Benefactors, AGNSW Orange Regional Gallery, 11 Apr 2007 – 24 Mar 2008 MCA: Museum of Contemporary Art 2008 Curator and editor: Bill Viola: the NAS: National Art School Richard Beresford (Senior curator, Launch: Denise Green, Liverpool Tristan project, 10 Apr – 27 July NGA: National Gallery of Art European Art pre-1900) Street Gallery, 3 Apr 2008 2008 NGV: National Gallery of Victoria Lecture: ‘Changes of appearance Launch: Larter family values, Casula Curator and commissioning editor: QAG: Queensland Art Gallery of paintings’, USyd, Aug 2007 Power House, 11 Aug 2007 Harold Cazneaux: artist in SCA: Sydney College of the Arts, Lecture: ‘Questioning the frame’, Forum participant: Danks Street photography, 5 June – 10 Aug 2008 USyd USyd, Aug 2007 Depot, 10 Oct 2007 Curator: Jacky Redgate, Eva UMelb: University of Melbourne Discussant: SBS Insight program, Schlegel, Rosslynd Piggott and UNSW: University of New South Anthony Bond (Head curator, 3 June 2008 Christine Cornish, PDP gallery, Wales International Art) Speaker: Forum, Sherman Galleries, 19 Oct 2007 – 24 Mar 2008 USyd: University of Sydney Curator: Sphere of influence, Jon with Michael Landy, 21 July 2007 Essay: ‘Into the light: the origins of UTS: University of Technology, Rose and Hollis Taylor, Nov 2007 Chair: Biennales in Dialogue Forum, the Sydney Camera Circle’ in Curator: Bill Viola, Love death: the Australia Council and BoS, AGNSW, Natasha Bullock (ed), Harold Sydney Tristan project, Apr 2008 10 July 2008 Cazneaux: artist in photography, UWS: University of Western Sydney Co-author: ‘Phantom clubs’ in Nina Chair: exhibitions and selection AGNSW, Sydney 2008, pp 33–40 VG: Volunteer guides Fischer and Maroan el Sani, Blind sub-committees, BoS Essay: ‘Love and mud’ in Reuben Spots jpr/ringier, SMBA Stedelijk Member: Power Foundation Keehan (ed), Column 1, Artspace, George Alexander (Coordinator, Amsterdam 2007, pp 169–86 Council, USyd Sydney 2008, pp 130–31 Contemporary Programs) Article: ‘Why art matters’, Art Member: Executive, AAANZ Artist entry: ‘Damien Hirst’ in Mami Principal writer: Anselm Kiefer, Influence e-magazine, no 1, Assessor: Australian Research Kataoka (ed), Art is for the spirit: education kit Feb 2008 Council Grants in the category of works from The UBS Art Collection, Principal writer: Adam Cullen, Article: ‘Mike Parr: a personal view Fine Arts Mori Art Museum, Tokyo 2008 education kit …’, Art World, no 3, June/July Artist entry: ‘Out from the depths’ Article: ‘Cue the sun’ (Peter Hill/Gail 2008, pp 84–85 Donna Brett (Coordinator, in Natasha Bullock (ed), Harold Hastings), ArtAsiaPacific, no 54, Article: ‘Monumenta: Kiefer at Curatorial Project and Research) Cazneaux: artist in photography, July/Aug 2007 Grand Palais Paris’, Craft Arts Article: ‘Neues sehen in Berlin’, AGNSW, Sydney 2008, p 44 Article: ‘Text messages’ (Zina International, no 71, 2007, p 92 Kultur, Goethe Institut, Sydney Introduction: Gary Carsley: scenic Kaye/Stills), ArtAsiaPacific, no 56, Article: ‘A summer in Europe’, Art & 2008, p 22 root, AAH, 31 Oct 2007 Nov/Dec 2007 Australia, vol 45, no 2, summer Lecture: ‘Collection provenance and Article: ‘Text appeal’ (Maria 2007, p 193 looting issues’, Museum Studies, Jesmond Calleja (Senior registrar, Cruz/Adam Cullen), ArtAsiaPacific, Lecture: AGNSW collection, St USyd, Aug 2007 Collections Systems Integration) no 58, May/June 2008 Josephs College, 30 May 2008 Tutor: Modern Art and Film, Art Book review: Vitalizing memory by Review: ‘Howard Arkley’, Lecture: AGNSW collection, CoFA, History & Film Studies, USyd, 2008 the American Association of ArtAsiaPacific, no 53, May/June 2007 6 May 2008 Conference manager: Art & the Museums, Journal of the Australian Book review: Brought to light II: Lecture: AGNSW collection, SCA, Real: Documentary, Ethnography, Registrars Committee, vol 55, contemporary Australian art 30 Apr 2008 Enactment, AAANZ NSW, July 2007 Dec 2007, p 41 1966–2006 by Lynne Seear and Lecture: Forum on art and Symposium coordinator: Biennales Paper: ‘Heading in the right Julie Ewington (eds), ArtAsiaPacific, censorship, MCA, 12 June 2008 in Dialogue Forum, Australia Council direction: documenting our cultural no 55, Sept/Oct 2007 Lecture: ‘Relevance of wood firing and BoS, AGNSW, 9 and 10 July heritage globally’, 21st General Australian desk editor: today’, Sturt wood fired conference, 2008 Conference of the International ArtAsiaPacific (Hong Kong/New 18 Apr 2008 Member/Treasurer: AAANZ (Art Council of Museums: Museums and York) Lecture: ‘This summer in Europe’, Historians Association) Universal Heritagel, CIDOC – Book launch: John Conomos, Western Plains Cultural Centre, Committee member: Museums International Committee for Mutant media, Gleebooks, Dubbo, 21 Sept 2007 Australia, Art, craft and design SIG Documentation: Managing the 1 Apr 2008 Lecture: ‘Conservation and Committee member: SafARI Global Diversity of Cultural Bloomsday reading: Liverpool interpretation’, USyd, 13 Sept 2007 Member: Dictionary of Australian Information, Vienna, Austria, Library, 16 June 2007 Lecture: ‘Freud: about men’, Artists Online, chief investigator 20–24 Aug 2007 Newcastle Region Gallery, 11 Sept (partner) 2007; editorial working Judy Annear (Senior curator, 2007 group, 2005–07 Leeanne Carr (Coordinator, Photography) Lecture: ‘Why art matters’, Dunedin Treasurer: AICA Australia, Secondary School and Asian Curator (with Virginia Heckert): The University, NZ, 7 Sept 2007 Association International Critique Education Programs) photographs of August Sander from Lecture: ‘Biennales’, NAS postgrad d’Art Lectures and workshop: ‘Guiding the J Paul Getty Museum, Los seminar, 5 Sept 2007 Scholarship: Goethe Institute for children’, Wollongong City Angeles, AGNSW, 17 Nov 2007 – Lecture: ‘Performing bodies’, CoFA, Australia, German language Gallery, new guide intake,

94 ART GALLERY OF NSW APPENDICES 07–08 19 Mar 2008 Lecture: ‘Loans and touring Alec George (Coordinator, Brett AGNSW representative: Australian Lecture: Japanese Language exhibitions’, USyd, May 2008 Whiteley Studio) National Heads of Education and Teachers Conference (introducing Lecture: ‘Couriers: the management Talk: ‘Whiteley’s Garden’, Newcastle Public Programs Forum the Art speaks Japanese education of objects in transit’, full-day Region Art Gallery, 26 Feb 2008 kit), 4 Apr 2008 workshop, Auckland Art Gallery, NZ, Essay and publication coordination: Yang Liu (Curator, Chinese Art) Sept 2007 Brett Whiteley Studio, AGNSW, Curator: Mountains and streams: Dr Chaya Chandrasekhar (Curator, Conference convenor: Sharing Sydney 2007 Chinese paintings from the National South and Southeast Asian Art) Collections: The Ins and Outs of Gallery of Victoria Collection, Curator: Intimate encounters: Indian Loans, Australasian Registrar’s Hendrik Kolenberg (Senior curator, 29 Nov 2007 – 10 Feb 2008 paintings from Australian collections, Committee annual conference, Australian Prints, Drawings and Curator: Translucent world: Chinese 22 Feb – 4 May 2008 Sydney, Mar 2008 Watercolours) jade from the Forbidden City, Paper: ‘The sword and the lotus: Paper: ‘Negotiating and managing Curator: Jan Senbergs: from 29 Aug – 11 Nov 2007 interpreting the role of weapons and couriers’, Sharing Collections: The screenprinter to painter, 5 Apr – Author (with Edmund Capon): plants in Buddhist art’, 32nd Ins and Outs of Loans, Australasian 25 May 2008 Translucent world: Chinese jade Congress of the International Registrar’s Committee annual Curator: Dobell Prize for Drawing, from the Forbidden City, AGNSW, August 2007 Sydney 2007 Committee of the History of Art, conference, Sydney, Mar 2008 Author: ‘Bernard Visser, figuur en Author: ‘Reciprocity: a social UMelb, 17 Jan 2008 President: Australasian Registrars materie schilder’ in Bernard Visser, historical perspective of Qing Committee Victoria Collings (Coordinator, K–6 grondtoon Weert, TGV 2007 (Dutch Mandarin’s calligraphy’ in Harold and English text) Mok and Chen Yafei (eds), School and Family Programs) Deborah Edwards (Senior curator, Author: Jan Senbergs: complete Proceeding of the International Book review: The manual of Australian Art) museum learning by Barry Lord (ed), screenprints 1960–88, AGNSW, Conference on Couplets of the Curator: Bertram Mackennal: the Sydney 2008 Qing Dynasty, Chinese University Altamira Press, 2007, Museums fifth Balnaves Foundation Sculpture Australia Magazine, vol 16, no 3, Essay: ‘Anton Holzner’ in Three of Hong Kong, 2008, pp 97–128 Project, AGNSW, 17 Aug – 4 Nov Australian artists – Holzner, Dyer, Article: ‘Predator and prey in Feb 2008, p 26 2007; NGV, 30 Nov 2007 – 24 Feb Judge: Dymocks Golden Paw Chen (series of international art translucent stone’, Orientations 2008 exchange), Guangzhou, Guangdong (HK), vol 39, no 1, Jan/Feb 2008, Award 2007, National Parks and Author: Bertram Mackennal, Wildlife, Sept 2007 Museum of Art 2008 pp 76–80 AGNSW, Sydney 2007 Launch: Sydney printmakers, Taylor Article: ‘Popular beliefs in Chinese FloortTalk: AAH (on ARTEXPRESS), Author: ‘Bertram Mackennal, 6 Feb 2008 Galleries, Sydney, 17 Aug 2007 jade carving’, TAASA Review, vol Australia’s most successful Launch: Sydney printmakers, 16, no 3, Sept 2007, pp 22–24 sculptor’, World of Antiques and curated by Anne Ryan, S H Ervin Article: ‘Translucent world: Jonathan Cooper (Manager, Art, July 2007 Gallery, 18 Aug 2007 representations of nature in Chinese Information) Author: ‘Robert Klippel’ in Robert Launch: Tony Ameniero, Marianne jade’, Arts of Asia (HK), vol 37, Lecture: ‘Unwrapping the world and Andrew Klippel, NGV, Melb Newman Gallery, Sydney, no 6, 2007, pp 1–14 of art’, Seniors Network, Gosford, 2008 31 Aug 2007 Article: ‘Nature in the world of the June 2008 Author: ‘Barbara Tribe’ (introduction) Launch: Anton Holzner, Long jade (Part I)’, Art & Collection Paper: ‘Making the most of your in Works from the studio of Barbara Gallery, Salamanca Place, Hobart, (Taipei), no 180, Sept 2007, digital assets and virtual tour online Tribe, Bonhams, London, May 2008 13 Nov 2007 pp 75–80 – a museum case study’, 4th Author: ‘Ralph Balson: a new realm Launch: Kevin Lincoln, Liverpool Article: ‘Nature in the world of the Annual Web Content Management of visual experience’ in Ralph Street Gallery, Sydney, 31 Jan 2008 jade (Part II)’, Art & Collection for Government Conference, Balson 1941, Ivan Dougherty Judge: Margaret Flockton botanical (Taipei), no 181, Oct 2007, Canberra, Sept 2007 Gallery, Sydney 2008 illustration award, Botanical pp 76–81 Paper: ‘Meeting user expectations: Gardens, 10 Mar 2008 Lecture: ‘Chinese jade’, CoFA, web usability and functionality’, Lecture: ‘Curating in the 21st century’, Loretto College, Kirribili, 11 Sept 2007 Understanding Web Capabilities Brian Ladd (Head, Public Paper: ‘In pursuit of the picturesque and Limitations Conference, 18 Sept 2007 Lecture: ‘Bertram Mackennal’, NGV, Programs) quality: jade carving in Qianlong’s Sydney, May 2008 Paper: ‘The artist as educator, era’, Nature through jade, 1 Sept Paper: ‘Future trends in the internet 30 Nov 2007 Launch: Mosman Annual Art Prize, examining innovative artists-in- 2007 and their impact on museums’, residence programs at Art Gallery Paper: ‘Webs of obligation: the Collections Australia Network Mosman Art Gallery, 27 July 2007 Keynote address: ‘The artist in NSW’, International Commission social dimension of calligraphy seminar: Collections and the Web: on Museums conference, Vienna, art in late imperial China’, When public spaces’, Sculpture by the Audiences, Content and 22 Aug 2007 Art Met History: A Symposium Sea, artist and public symposium, Technologies, Parramatta, May Chair: ‘Partnerships and on the Richard Fabian Collection, 1 Nov 2007 2008 collaborations’ session at Sites of Honolulu Academy of Arts, Judge: Mosman Annual Art Prize, Communication 3: Art Museums 14 Sept 2007 Mosman Art Gallery, 18 July 2007 Barbara Dabrowa (Conservator, Symposium, NGV, 8 Sept 2007 Paper: ‘Gu Kaizhi’s Vimalakirti and Judge: Sculpture by the Sea annual Frames) Chair: ‘Public art in Sydney’, panel two popular Buddhist and Daoist Lecture: ‘Pink lady’, conservation exhibition, Sydney, 30 Oct 2007 discussion at Sculpture by the Sea iconographic formulae of the procedures, Queens Club, Sydney, Judge: City of Sydney annual art conference, 1 Nov 2007 southern and northern dynasties’, Mar 2008 competition, 11 June 2008 Judge: Operation Art, Penrith Ancient Chinese Figure Painting Articles: ‘History of Archibald Judge: Paris Studio Scholarships, Regional Art Gallery, July 2007 from the Liaoning Museum and Prize’, Parts 1 and 2 (in Polish), 15 May 2008 Director: Brett Whiteley Foundation, the Shanghai Museum, Shanghai ‘Archibald, Wynne and Sulman Host: Ellen Goldberg Meadmore Sydney Museum, 13 Mar 2008 2008’ (in English), Puls Polonii, Foundation, New York, 13 Nov Member: Editorial Advisory Panel, online magazine 2007 Art & Australia, Sydney Jethro Lyne (Coordinator, Public Member: USyd Fine Arts Alumni Art Advisor: William Fletcher Programs) Charlotte Davy (Senior registrar, Committee Foundation, Sydney Lecture: ‘Chartres Cathedral’, Exhibitions) Member: Dictionary of Australian Member: Curatorial Panel for University Art Gallery, USyd, Article: ‘Braving the unknown: Artists Online, editorial section Headland Sculpture Park, Sydney 16 Sept 2007 couriering in the Middle East’, Member: Art Association of Australia Member: Steering Committee for Lecture: ‘The silver age of ARC Journal, vol 56, June 2008, Member: Sculpture by the Sea Sites of Communication: Art Russian art’, AGS, 28 Oct 2007 pp 18–20 working group Museums Symposia Lecture: ‘Gary Deirmendjian –

ART GALLERY OF NSW APPENDICES 07–08 95 a life’, presentation and panel Barry Pearce (Head curator, Essay: ‘Richard Bell’ in Culture Peter Raissis (Curator, European discussion, Sculpture by the Sea Australian Art) warriors: National Indigenous Art Prints, Drawings and Watercolours) conference, Curator: Sidney Nolan retrospective, Triennial, NGA, Canberra 2007 Curator: Modern British 1 Nov 2007 AGNSW, 2 Nov 2007 – 3 Feb 2008; Essay: ‘John Mawurndjul’, Culture watercolours and drawings, Launch: Jaroslav Prochazka, NGV, 22 Feb – 18 May 2008; QAG, warriors: National Indigenous Art 28 July – 14 Oct 2007 Headland Park, Middle Head, 6 June – 28 Sept 2008 Triennial, NGA, Canberra 2007 Curator: Käthe Kollwitz and 18 Oct 2007 Author: Sidney Nolan, AGNSW, Floor guide: Australian Indigenous contemporaries, Mar–June 2007 Launch: Layers, Flinders Street Sydney 2007 Art Commission, Musée du quai Lecture and tutorial: ‘Techniques Project Space, Paddington, Author: Margaret Olley, Philip Branly, Paris, Australian Council for and function of old master 19 Oct 2007 Bacon Gallery, Brisbane 2007 the Arts and Harold Mitchell drawings’, Art History Honours Lecturer: Department of Art History, Lectures and talks relating to Sidney Foundation, 2008 students, USyd, 9 Aug 2007 NAS, til June 2008 Nolan retrospective: VG lecture, Essay: ‘Water Dreaming’ in Course: Royal Collection Studies, Research: doctoral research, NGV, 19 Feb 2008; NGV staff Australian Greats, Random House Windsor, UK, 2–11 Sept 2007 French medieval sculpture, USyd, guided tour, 20 Feb 2008; ‘In Australia, 2008 Interview: ‘Drawings from the Hinton ongoing conversation: Frances Lindsay and Book launch: Beyond sacred: Collection at NERAM’, Armidale Barry Pearce’, NGV, 23 Feb 2008; Express, Jan 2008 recent paintings from Australia’s lecture for The Australia Club, Elizabeth Maloney (Assistant remote Aboriginal communities, Melbourne, 28 Feb 2008; media Anne Ryan (Curator, Australian curator, Photography) June 2008 tour, QAG, 5 June 2008; QAG Prints) Curator: Surreal aesthetic, Launch: Lines in the sand: Botany Foundation address, 6 June 2008; Curator: Judy Cassab, landscape 28 July – 14 Oct 2007 Bay stories from 1770, Hazlehurst ‘In conversation: Frances Lindsay watercolours from the collection, Curator: Charles Bayliss: Regional Gallery and Art Centre, and Barry Pearce’, QAG, 7 June 29 May – 31 Aug 2008 landscape photographer, Focus Mar 2008 Room, 9 Feb – 25 May 2008 2008 Curator: Australian etchings and Lecture: ‘Tom Roberts: Fog, Launch: Walungurru Community engravings 1880s to 1930s from the Pool, Walungurru, Northern Territory, Terence Maloon (Curator, Special Thames embankment’, VG, 23 June Gallery’s collection, 5 May – 22 July 2008 Feb 2008 2007 Exhibitions) Book launch: Macquarie PEN Member: Société Paul Cézanne Advisor: forthcoming opera based Author: Australian etchings and on Sidney Nolan’s life, to be written Anthology of Aboriginal literature, engravings 1880s to 1930s from Member: Alliance Française of Macquarie University City Campus, Sydney (vice president) by librettist Jason Prague the Gallery’s collection, AGNSW, Advisor: forthcoming feature film on May 2008 Sydney 2007 Brett Whiteley, produced by Prima Launch: James Agapitos OAM Article: ‘The weekly bus–rail ticket: Jackie Menzies (Head curator, Productions, Sydney Memorial Fund acquisitions, Dec Noel McKenna’, Artworld, June/July Asian Art) Advisor: New England Regional Art 2007 2008, pp 166–67 Article: ‘A pre-Mughal Krishna Museum, Armidale Panel discussion: Michael Riley: Article: ‘Preview – Australian folio’, TAASA Review, vol 16, no 4, Advisor: S H Ervin Gallery, Sydney sights unseen, Museum of etchings and engravings 1880s to Dec 2007, p 15 Advisor: Lismore Regional Gallery Brisbane, July 2007 1930s from the Gallery’s collection’ Lecture: ‘Japanese shows’, Opened: Sidney Nolan Discussion (with Apolline Kohen): Imprint, vol 42, no 2, winter 2007, Asialink’s Japan Forum, AGNSW, retrospective, QAG, 5 June 2008 Culture warriors: National pp 4–5 15 June 2008 Judge: Gosford Art Prize, Aug 2007 Indigenous Art Triennial, NGA, Catalogue essay: ‘Andrew Antoniou’ Launch: Gallery 4A, Sydney, Judge: Portia Geach Memorial Canberra, Feb 2008 in Andrew Antoniou, a rolling 31 Aug 2007 Award, Sept 2007 Delegate: 2020 Summit, Parliament narrative, Wollongong City Art Honorary associate: School of Judge: Paris Studio Scholarships, House, Canberra, Apr 2008 Gallery, 2008 Languages and Cultures, USyd, NAS, Oct 2007 Interview: Michael Riley: sights Launch: G W Bot, paddock glyphs, 2008 Judge: Inaugural NSW Parliament Australian Galleries Works on Paper, Director: VisAsia (Australian unseen, documentary, Message Plein Air Painting Prize, May 2008 Stick, ABC Television, Sydney Sydney, 17 Apr 2008 Institute of Asian Culture and Launch: Polarities in print (Sydney Visual Arts) Interview: Songlines to the Seine, Hetti Perkins (Curator, Aboriginal documentary, SBSi and Arte, Print Circle exhibition), Mosman Member: Morrissey Bequest and Torres Strait Islander Art) Art Gallery, 1 June 2007 Committee, USyd France Curator: One sun, one moon: Interview: Indigenous Art Centre Curatorial advisor, committee Member: Vice-Chancellor’s Aboriginal art in Australia, 3 July – member: NSW Parliament Plein Advisory Committee for the Operations Resource (IACOR) 2 Dec 2007 project Air Painting Prize 2008 Nicholson Museum, USyd Curator: Boomalli: 20 years on, Member: Dictionary of Australian Director: Arts Law Centre of Award: Medal of the Order of Project Gallery, 1 Sept – 28 Oct Artists Online, chief investigator, Australia Board, Sydney Australia, for ‘the study, 2007 2005–present; editorial committee, Member: Artists in the Black preservation and promotion of Curator: Living black, 20 Dec 2007–present reference group, Arts Law Centre Asian art in Australia, particularly 2007 – 16 Nov 2008 of Australia, Sydney through curatorial roles at the Comrade: Revolutions – forms that Malgorzata Sawicki (Senior Member: Public Art Advisory Panel, AGNSW’, 2008 turn, BoS, assistance to Michael conservator, Frames) Rakowitz City of Sydney Article: ‘From Lady in black to Art Denise Mimmocchi (Assistant Author: One sun, one moon: Forum member: Sustainable Sydney students: the story behind changing curator, Australian Art) Aboriginal art in Australia, AGNSW, 2030, City of Sydney a frame’, AICCM Bulletin, vol 30, Curator: From subject to object, Sydney 2007 Member: Australian International 2007, pp 44–50 New England Regional Art Essay: ‘Ningura Napurrula’ in Anne Cultural Committee, Department of Article: ‘Practical implications of Museum, Armidale, 27 June – & Gordon Samstag, Wonderful Foreign Affairs and Trade, Canberra research into non-traditional in-gilding 21 Sept 2008 World, Museum of Art, Adelaide Member: Papunya Tula Reference techniques: losses compensation in 2007 Group, Maritime and Movable conservation of gilded objects’, Carolyn Murphy Essay: ‘Bush mechanics’ in Heritage Section, Heritage Division, AICCM Bulletin, vol 30, 2007, Article: ‘Framing works on paper for ‘Comrades’, Revolutions – forms Department of the Environment, pp 63–69 the exhibition Modern British that turn, BoS 2008 Water, Heritage and the Arts, Research: doctoral research, UWS – Watercolours and Drawings at the Essay: ‘Something borrowed, Canberra ‘Research into non-traditional gilding Art Gallery of NSW’, AICCM something new’ in Australian graffiti: Trustee: Charlie Perkins Children’s techniques as a substitute for National Newsletter, no 104, Sept Christian Thompson, Gallery Trust traditional matte water-gilding’, 2007, pp 14–16 Gabrielle Pizzi, Melbourne 2008 Director: Michael Riley Foundation finalising

96 ART GALLERY OF NSW APPENDICES 07–08 Susan Schmocker (Head librarian) Lecture: ‘Practice and process: Valerie Tring (Librarian) Curator (with Liz Jeneid): Searching ARTEXPRESS 08’, Newcastle Curator: The artist in the director: for Asphodels: artists in the Region Art Gallery, May 2008 the art of directors of the Art Gallery Mediterranean, AGNSW Research Lecture: ‘The value of the Gallery as of NSW, Art Gallery of NSW Library and Archive, 12 Mar – an education resource’, UTS, Research Library and Archive, 30 May 2008 Kuring-Gai Campus, May 2008 13 Feb – 7 Mar 2008 Curator: Australian bookbinders, Lecture: ‘Visual arts education now’, AGNSW Research Library and Dulwich Visual Art and Design High Khanh Trinh Pompili Archive, 18 June – 3 Oct 2008 School awards ceremony, Dec 2007 Curator: Taishô chic – Japanese Lecture: ‘Role and function of the Paper: ‘Sustainability within the arts: modernity, nostalgia and deco, Gallery’s research library and developing tomorrow’s audiences 22 May – 3 Aug 2008 archive’, Information Management and artists’, Sydney Arts Paper: ‘Capturing nature’s inner students, Charles Sturt University, Management Group, Opera Centre, truth: the “true-view” concept in 19 Sept 2007 Sydney, May 2008 China, Korea and Japan’, CIHA Lecture: ‘Fund-raising for the Paper: ‘The artist’s role in conference, Melbourne, Jan 2008 Library’, members of Art Libraries education’, Art as an Industry Society, 15 Nov 2007 Symposium, Arts North West, Wayne Tunnicliffe (Curator, Lecture: ‘A delicate balance: access Qurindi, May 2008 Contemporary Australian Art) and security at the research library Launch: Artside-In Moree Student Co-curator and managing editor: and archive’, members of Art Exhibition, Moree Plains Gallery, An incomplete world, AGNSW, Libraries Society, Sydney, Nov 2007 19 May – 29 July 2007; NGV, 19 Apr 2008 Launch: Visual Art Exhibition, 28 Sept 2007 – 6 Jan 2008 Talk: ‘Management of special North Sydney Girls High School, Co-curator: An incomplete world, collections in an art library’, UTS, Aug 2007 AGNSW, 19 May – 29 July 2007; 11 Oct 2007 Launch: Art Show, Knox Grammar NGV, 28 Sept 2007 – 6 Jan 2008 Talk: Introduction to ‘Online School, Aug 2007 Co-curator: contemporary resources at the research library and Launch: Senior Art Exhibition, collection, 9 Aug 2007 – 24 Mar archive’, Master of Art Kuring-Gai Creative Arts High 2008 Administration students, CoFA, School, Aug 2007 Co-curator: contemporary 9 Apr 2008 Judge: The Emanuel Archies, The collection: History and memory, Treasurer: ARLIS/ANZ NSW Emanuel School Archibald Prize, 10 May – 26 Oct 2008 Chapter, 1993–present Apr 2008 Curator and editor: Adam Cullen: Member: Dictionary of Australian let’s get lost, 15 May – 27 July 2008 Judge: A central vision: student Artists Online advisory committee, Entries: ‘Yasumasa Morimura’, award and exhibition, Gosford Jan 2004 – June 2008 ‘Andreas Gursky’, ‘Walter Regional Art Gallery, Dec 2007 Niedermayr’ and ‘Thomas Struth’ Scholarship: International Research Natalie Seiz (Assistant registrar in Mami Kataoka (ed), Art is for the into Innovative Gallery Programs for (curatorial), Asian Art) spirit: works from The UBS Art Youth and Teens, AGS Travelling Guest editor (with Leong Chan): Collection, Mori Art Museum, Tokyo Scholarship, Oct 2007 TAASA Review, vol 17, no 1, 2008 Member: Visual Arts Reference Mar 2008 Launch speech: Planet Craft Gallery, Committee, Museum and Galleries Article: ‘Traveller’s choice: Asia Art Nov 2007 NSW, Sydney Archive, Hong Kong’, TAASA Advisor: Capp St residency, Wattis Member: Sydney Arts Management Review, vol 16, no 3, Sept 2007, Institute, San Francisco, Feb 2008 p 21 Group Committee, Sydney Arts Article: ‘Mapping Taiwan: activism Management Advisory Group, Sheona White (Senior coordinator, in the work of Wu Mali’, TAASA Sydney Public Programs) Review, vol 17, no 1, Mar 2008, Lecture: Development and pp 14–15 Emma Smith (Senior registrar, Marketing Forum conference, Seminar paper: ‘Making a space Collections) 16 May 2008 of one’s own: the Taiwan Women’s Paper: ‘I’ll show you mine if you Judge: Paris Studio Scholarships Art Association and its impact on show me yours: dealing with 2009 contemporary Taiwan’, international outward loans’, Sharing London–Taiwan Seminar Program, Collections: The Ins and Outs of Natalie Wilson (Assistant curator, London School of Economics, Asia Loans, Australasian Registrar’s Australian Art) Research Centre, London, 6 Mar Committee annual conference, Curator: Indigenous connections: 2008 Sydney, Mar 2008 Sidney Nolan’s ‘Rite of spring’ – Management Committee member: photographs by Axel Poignant, The Asian Arts Society of Australia Dr Jacqueline Strecker (Curator, Australian Collection Focus Room, Research: PhD candidate, Special Exhibitions) AGNSW, 2 Nov 2007 – 3 Feb 2008; ‘Contemporary women artists in Article: ‘Two pair’, Portrait 27, State Library of Queensland, Taiwan’, School of Art History and National Portrait Gallery, Canberra, 16 June – 31 Aug 2008 Theory, USyd autumn 2008, pp 10–13 Author: Indigenous connections, Article: ‘The Mad Square’, Kultur, online exhibition catalogue, Tristan Sharp (Senior coordinator, Goethe-Institut Australia, no 16, Australian Collection Focus Room, Education Programs) Apr 2008, p 11 AGNSW, Sydney 2007 Author: Foreword, Cambridge Catalogue essay: ‘German Member: Oceanic Art Society, Senior Visual Arts Stage 6, expressionism 1913–1930’ in Sydney Cambridge University Press, German expressionist prints, Rex Melbourne 2008 Irwin Art Dealer, Sydney, June 2008 Article: ‘Artside-In Moree’, Artreach, Launch: German expressionist The Regional Arts NSW Magazine, prints 1898–1930, Rex Irwin Art spring 2007, pp 14–15 Dealer, Sydney, June 2008

ART GALLERY OF NSW APPENDICES 07–08 97 CUSTOMER Chalk on outside of heritage Food services COMPLAINTS building The majority of visitor concerns are As part of the Biennale of Sydney about the timeliness of service, or In accordance with our Pledge of exhibition, one artwork was chalked belief that prices are too high. Fast Service, visitors are invited to leave drawings on the front of our service is sometimes difficult to praise, complaints and suggestions heritage building. This particular achieve during the Gallery’s busiest in the Gallery’s visitor comments temporary contemporary work was months, even with additional staff book. During 2007–08, there were not popular with some of our engaged for peak periods – 446 comments recorded (109 visitors. However, the Gallery especially during the Archibald Prize compliments, 206 complaints and ensured that the chalk material used exhibition, when more than 262 000 131 suggestions). The comments in the work would not cause any visitors came to the Gallery in March book is regularly reviewed by the damage to the sandstone prior to and April 2008. In response to Gallery’s senior management for permitting the work to be included demand, the Gallery placed appropriate response and further in the exhibition, and it was promptly additional tables to temporarily action, if appropriate. The majority removed following the end of the expand the café area during this of praise comments are thanks for exhibition. peak period; arranged for the the wonderful volunteer guide Signage – too small; badly placed caterer to operate duel cashiers; services, which are provided free and introduced partial table every day to highlight works from The placement of labels and the services, whereby customers the Gallery’s collections, as well as size and font of text are considered ordered at the counter and were the major temporary exhibitions. for each new major exhibition. given a table number to which their Also popular and well appreciated However, the low lighting often order was delivered. are the various public programs on required for the conservation of offer, again many for free, especially artworks on display, especially for These complaints and the ones on weekends and during school works on paper, makes reading relating to prices are forwarded to holidays. labels more difficult for some our contract caterers to assist them people. The Gallery produces a in planning future staff requirements The major areas of complaint reflect and to consider their pricing points. the high-volume activity of the free printed exhibition guide, which Gallery’s business and heritage includes details of all works in each Lack of adequate disabled building. And, while all complaints of the major temporary exhibitions. access and seating are considered critically, the very Inadequate cloaking facilities This area of concern also includes small volume of complaints in The Gallery has limited cloaking complaints about lack of adequate relation to the total number of facilities and an ever-increasing pram access at the front of the visitors – over one million annually – visitor population. At the present heritage building, as well as seating reflects the generally high rating of time, we cannot accommodate throughout the building. The Gallery visitor enjoyment. the cloaking of heavy winter coats. continues to explore better ways General areas of visitor concerns Unfortunately, because we have for disabled and pram entry into during 2007–08 include: a single front door, permanently the building and has developed expanding the cloaking facilities building plans for a second entrance would require conversion of our on the northern side of the building. heritage front foyer. However, Unfortunately, lack of the significant during major exhibitions for which capital funding required for we anticipate high attendance, we implementation means that this installed temporary cloaking facilities issue remains problematic. that expanded into the heritage Transferring the entry by school vestibule area. These additional groups to the back of the building facilities were available for the via the new education entrance Sidney Nolan retrospective has provided some relief to the exhibition (our major 2007–08 congestion at the front door. summer show) and for the popular annual Archibald Prize.

98 ART GALLERY OF NSW APPENDICES 07–08 ELECTRONIC Website upgrade • The website for The arts of Islam exhibition (www.artsofislam.com.au) The process of upgrading the main SERVICE DELIVERY was launched in late June 2007 and website to the next-generation features images of the exhibition, content management system, which was on view through to Our main website and its many MySource Matrix, continues. The September 2007. It also has subsites continue to grow in basic design has been created, the interactive educational content on sophistication and richness of site structure has been determined the history of Islam and Islamic art. content, resulting in more people and more than 95% of the new This website was visited 17 161 from throughout New South Wales, content has been edited or times during 2007–08. across Australia and around the rewritten. To reduce the amount of world accessing information and manual labour required to build the • A new website for the Sidney interacting with the Gallery. new site, a software tool that Nolan retrospective exhibition automatically copies across the (www.sidneynolan.com.au) was structure and text content of launched in November 2007, Overall visitation selected portions of the existing site complete with videos of the artist at The total number of actual visits for has been created. work, commentary by the curator the year (to all Gallery websites) was and an introduction by the director. 1 799 248 (over 454 000 more than It was visited 20 016 times during in 2006–07), an average of 4929 myVirtualGallery 2007–08. visits per day, peaking at 7984 per This interactive educational tool • Inside ARTEXPRESS 08 day in March 2008. allows anyone to create their own (www.insideartexpress.com.au), virtual exhibitions using artworks celebrating 25 years of from the Gallery’s permanent ARTEXPRESS at the Gallery, was The Gallery’s main website collections. The tool continues to launched in February 2008. In accounted for three-quarters of the grow in popularity and usage. There addition to the usual features (such overall visitation, followed by the are now 2475 people who have as an interactive virtual walkthrough, Archibald Prize (10%), the Brett registered as exhibition creators downloadable process diaries and Whiteley Studio (4%) and the other and there are 1352 exhibitions (504 connections with the Gallery’s five websites (between 1% and 3% newly created during 2007–08). collection for six works), the site each, a total of 11%). ‘Exhibitions’ Over half of the 151 525 page- also includes 14 complete videos was the most visited section of the views in 2007–08 were from from the exhibition, viewable online. website (26%), followed by ‘Press people logging in to edit their own The site and its predecessor, Inside office’ (17%), ‘About us’ (11%), exhibitions. In 2008, during the ARTEXPRESS 07, were visited ‘Events’ (10%) and ‘Education’ (8%). first seminar, myVirtualGallery was 56 871 times during 2007–08. used as an assessment tool for the University of Newcastle. E-commerce Social media A total of 1141 transactions In April 2008, the Gallery created a (representing a turnover of more New website content presence, in two different forms, on than $78 000) have been made Apart from regular updates to the the popular social networking site with the Gallery’s online shop, an principal website (particularly in the Facebook. The Gallery’s own page increase of approximately $30 000 ‘Events’, ‘Exhibitions’ and ‘Press is located at www.facebook.com/ from 2006–07. Exhibition tickets office’ sections), the following home.php#/pages/Sydney-Australia/ represented approximately 9% of significant developments have Art-Gallery-of-New-South-Wales/ the overall orders and 4% of the occurred: 25274327104. Members of the turnover. • Videos of key events, mostly public can register as ‘fans’ and Art After Hours celebrity talks and receive automatic notification of Messaging via the performances, have been posted to updates, including news, events and videos. websites a new ‘videos and podcasts’ area of the main site, as well as the Art The Gallery also participates, with The ‘contact us’ form on the After Hours site. Selected videos 15 other art institutions (including main website was used for 523 have also been posted on YouTube. the Tate Museum), in ArtShare: messages from the general public. apps.facebook.com/artshare. Over one-third of all messages were • New ‘encapsulated mini-websites’ for curators and 19% were general have been created for the enquiries. The Research Library exhibitions Bertram Mackennal and enquiry form was used for 227 The photographs of August Sander, messages, 45% for ‘general as well as the contemporary interest’, 31% for ‘professional collection reinstallation. These are research’ and the rest by students. located within the ‘Exhibitions’ The ‘frequently asked questions’ section of the main website, but form for submitting new questions also have their own internal was used for 88 messages, while navigation menus. The Bertram the website feedback form was Mackennal mini-website has its own used for for 66 messages. URL (www.mackennal.com.au).

ART GALLERY OF NSW APPENDICES 07–08 99 COMPLIANCE Summary of land Freedom of information We endeavour to make the collection and associated information REPORTING holdings procedures as accessible as possible to the The following is a listing of land Application for access to Gallery general public and we welcome owned by the Art Gallery of NSW documents under the Freedom of public interest and participation in Major assets as at 30 June 2008: Information Act 1989 should be Gallery activities. The Gallery’s major assets are its accompanied by a $30 application Art Gallery of NSW Documents held by the Gallery: artwork collections, valued at Address: Art Gallery Road, fee and directed in writing to: Art Gallery of New South Wales $795 million (as at 30 June 2008), The Domain, Sydney NSW 2000 Human Resources Manager Act 1980; accounts manual; and the perimeter land and building (FOI Coordinator) administrative policies and in the Domain, valued at $160.6 Art Gallery of NSW procedures; agendas and minute of million (as at 30 June 2008). Land disposal Art Gallery Road The Domain, Sydney NSW 2000 meetings; collection management The Gallery did not acquire or policy and procedures; annual dispose of any land in 2007–08. Engagement and use reports; EEO annual report; film and Freedom of information – photography policy; strategic plan of consultants Production costs 2008 statement of affairs 2003–2008; financial reports; and There were three consultancies in human resources policies and 2007–08, costing a total of annual report The following Statement of Affairs procedures. is presented in accordance with $33 075. All of the consultancies The total external costs incurred in the Freedom on Information Act Documents available for purchase: were each paid less than $30 000. the production of the 2008 annual 1989, section 14 (1) (b) and (3). The Gallery publishes a range of Two were engaged for security report are approximately $23 000 The Gallery’s statement is correct catalogues and art books (see reviews and the other was in the (this includes text editor, prepress, as at 30 June 2008. The Gallery appendix – AGNSW publications management services category. printing and copyright fees). (FOI Agency no 376) received three for sale). Publications prices are The report, in hard copy, is (3) formal requests for information, regularly reviewed by the Gallery provided free to key stakeholders all classified as ‘other’, under the Shop. Selected items are available Credit card usage and other interested parties. Act during 2007–08. All requests from our website The director certifies that credit It is also available in the were completed. No requests were (www.artgallery.nsw.gov.au/shop). card usage in the Gallery has been ‘About us’ section of our website carried over from the previous The Gallery publishes regular conducted in accordance with (www.artgallery.nsw.gov.au/aboutus) financial year. exhibitions and events bulletins. relevant Premier’s Memorandums and NSW Treasury Directions. The Gallery regularly receives The following table shows details representations from the public of freedom of information (FOI) concerning its operations. requests received by the Gallery: Major capital works 2007–08 2006–07 Costs 2007–08 Completion Overrun Capital works project $’000 date $ FOI requests Personal Other Total Personal Other Total Artworks purchased 12 390 ongoing nil New applications 0 3 3 0 2 2 Building works 2373 ongoing nil Completed 033 022 Plant & equipment replacement 446 ongoing nil Total processed 0 0 3 0 2 2 Total 15 209 Unfinished (carried forward) – Nil 0 0 0 0 0 0 Payment performance Results of FOI request Granted in full 0 1 1 0 2 2 Aged creditor analysis at the end of each quarter 2007–08 Completed 0 3 3 0 2 2 Current Less than Less than Less than More than Request details – Nil (ie within 30 days 60 days 90 days 90 days Fees of requests Quarter due date) overdue overdue overdue overdue processed ended $ $ $$ $ Fees received 0 $90 $90 0 $30 $30 Sept 2007 164 482 – – – – Type of discounts Dec 2007 431 151 102 158 109 162 3 890 – allowed – Nil Mar 2008 384 958 17 225 5 464 – – Days to process June 2008 384 958 42 165 3 107 7 734 – 0–21 days 0 2 2 0 2 2 22–35 days 0 1 1 0 0 0 Accounts paid on time each quarter 2007–08 Processing time Total accounts paid on time Total paid 0–10 hours 0 3 3 0 2 2 Target Actual Amount Amount Review of appeals – Nil Quarter % % $ $ Sept 2007 90.00 99.92 7 912 979 7 919 172 Basis of internal review grounds on which requested Dec 2007 90.00 97.00 7 036 957 7 254 503 access reviewed – Nil Mar 2008 90.00 99.54 6 030 243 6 058 357 June 2008 90.00 99.29 7 820 762 7 876 383 Total 90.00 98.94 28 800 941 29 108 415

100 ART GALLERY OF NSW APPENDICES 07–08