DOCSLIB.ORG

SALLY SMART Born 1960, Quorn, South Australia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SALLY SMART Born 1960, Quorn, South Australia SALLY SMART Born 1960, Quorn, South Australia 2001-8 Trustee, National Gallery of Victoria, Australia 1991 Victorian College of the Arts, University of Melbourne (Master of Fine Arts) 1987-8 Victorian College of the Arts, Melbourne Post-graduate Diploma (Painting) Lives and works in Melbourne, Australia SELECTED SOLO EXHIBITIONS 2016 Sally Smart and Entang Wiharso, Conversation: Endless Acts in Human History, National Gallery of Indonesia The Choreography of Cutting, Postmasters Gallery, New York 2015 The Choreography of Cutting, Purdy Hicks Gallery, London 2013 The Pedagogical Puppet Projects, Greenaway Art Gallery, Melbourne Choreographing Collage, Breenspace, Sydney 2012 The Exquisite Pirate, Purdy Hicks Gallery, London 2011 Flaubert’s Puppets, Postmasters Gallery, New York In Her Nature, Breenspace, Sydney 2010 Femmage Shadows and Symptoms, McClelland Gallery and Sculpture Park, Langwarrin Decoy Nest, Greenaway Art Gallery, Melbourne Performativities (Work On Paper), Amelia Johnson Contemporary, Hong Kong 2009 The Exquisite Pirate, OV Gallery, Shanghai; Embassy of Australia, Washington Performativities (Work on Paper), Block Projects, Melbourne 2008 Decoy Nest, Block Projects, Melbourne; Postmasters Gallery, New York The Exquisite Pirate, Greenaway Art Gallery, Adelaide; Amelia Johnson Contemporary, Hong Kong 2007 The Exquisite Pirate, Kaliman Gallery, Sydney; TCM Contemporary, Belgium; 24HR Art, Northern Territory Centre for Contemporary Art, Darwin, Australia 2006 The Exquisite Pirate, Postmasters Gallery, New York; Greenaway Art Gallery, Adelaide 2005 Painting in the Dark, Kaliman Gallery, Sydney 2004 A Week of Kindness, Greenaway Art Gallery, Adelaide Prototypes and Multiples, Kaliman Gallery, Sydney 2003 Shadow Farm, Wollongong City Gallery, Wollongong; Monash Gallery of Art, Melbourne 2002 Shadow Farm, Bond University Gallery, Gold Coast; Queensland University of Technology, Brisbane Daughter Architect, Kaliman Gallery, Sydney Design Therapy, Greenaway Art Gallery, Adelaide 2001 Shadow Farm, Bendigo Art Gallery, Bendigo FamilyTreeHouse, Galeria Barro Senna Sao Paulo Femmage, Shadows and Symptoms, G2 Gallery, Auckland Parameters Head: Design Therapy, Robert Lindsay Gallery, Melbourne 2000 Parameters Head, Experimental Art Foundation, Adelaide Femmage (Shadows and Symptoms), Greenaway Art Gallery, Adelaide SELECTED GROUP EXHIBITIONS 2017 Call of the Avant Garde, Heide Museum of Modern Art, Bulleen Every Brilliant Eye, NGV Australia, Melbourne MCA Collection, Museum of Contemporary Art, Sydney 2015 Portrait in the Twenty-First Century, Postmasters Gallery, New York 2014 Para-Real, 601 Artspace, New York 2012 Australian Contemporary: Women, GOMA, Queensland No-Name Station, Gertrude Contemporary, Melbourne Go Figure! Xstrata Kids and Teens Exhibition, Perc Tucker Regional Gallery, Queensland Hello Dollies, Penrith Regional Gallery, New South Wales Zhongjian: Midway, Latrobe Gallery Regional Gallery, Victoria 2011 Radical Drawing, Purdy Hicks Gallery, London Remix:Selections from the ICC, Samek Art Gallery, Pennsylvania The Devil had a Daughter, Monash University Museum of Art, Melbourne Colourific, Postmasters Gallery, New York Artworks, Deutsche Bank Collection Exhibition, Frankfurt 2010 Shifting Gaze, OV Gallery, Shanghai 2010-11 Your Move: Australian artists play chess, Bendigo Art Gallery, Bendigo, Victoria and Australian tour Stick it! Collage in Australian art, National Gallery of Victoria, Melbourne No-Name Station, Iberia Center for Contemporary Art, Beijing Northern Winter, Heilongjiang International Festival of Arts and Culture, Harbin A Fairy’s Tail, Hawkesbury Regional Gallery, New South Wales Zhongjian: Midway, Tamworth Regional Gallery, Albury Art Gallery New South Wales 2009 Sh Contemporary, OV Gallery, Shanghai The Garden at 4A.M, Gana Art Gallery, New York Zhongjian:Midway–15 Contemporary artists from China,Australia,Beijing,Shanghai,Tianjin&Xiamen, Wollongong 2008 Maritime: Ships, Pirates and Disasters, Contemporary Art Galleries, University of Connecticut, Storrs 2008-9 Contemporary Prints and Drawings, The Johnson Museum of Art, Cornell University, Ithaca, New York 2008 The Exquisite Pirate, Gag Projects, Berlin Treescape, National Gallery of Australia, Canberra The Contemporary Collage: Australian collage and assemblage, John Buckley Gallery, Melbourne 2007 New History, Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York Place Made A.P.W., National Gallery of Australia Travelling Exhibition The Arthur Guy Memorial Painting Prize, Bendigo Art Gallery, Bendigo Float, Lake Macquarie City Art Gallery, New South Wales 2006 El Pirata Esquisito: Art Basel/ Miami Beach, Jacob Karpia Galeria, Miami Segunda Primer Mundo, Jacob Karpio Galeria, San Jose, Costa Rica The Exquisite Pirate, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Fantastic Voyages, Kaliman Gallery, Sydney Circa Puerto Rico ’06, Greenaway Art Gallery, Puerto Rico Contemporary Commonwealth, National Gallery of Victoria, Melbourne 2005 The Exquisite Pirate, Jogja Biennale, Yogyakarta Surface Charge, VCU Arts Anderson Gallery, Richmond, Virginia Where the wild things are, UTS Gallery, Sydney Architypes, Canadian Embassy, Tokyo SELECTED AWARDS 2008 Life Member of the National Gallery of Victoria 2006-7 Overseas Studio Residency (New York), Visual Arts Board, Australia Council, Sydney 2007 Culture Lab New Work Grant, Melbourne City Council Melbourne 2004 New Work Grant, Visual Arts/Craft Board, Australia Council, Sydney Export and Touring Grant, Arts Victoria, Melbourne Redlands Westpac Art Prize, Sydney 2003 Export and Touring Grant, Arts Victoria, Melbourne 2001 Development Grant, Visual Arts/Craft Board, Australia Council, Sydney 2000 Export and Touring Grant, Arts Victoria, Melbourne 1999 Overseas Studio Residency (London), Australia Council, Sydney Arts 21 International Cultural Exchange Program Grant 1998 Women Artists Grant, Arts Victoria, Melbourne Victoria Cultural Development Grant, Arts Victoria, Melbourne City of Melbourne International Travel Grant, Arts Victoria, Melbourne SELECTED COLLECTIONS British Museum, London Chartwell Collection, Auckland Art Gallery City of St Kilda, St Kilda Deutsche Bank, Frankfurt Geelong Art Gallery, Geelong Herbert F. Johnson Museum, Ithaca, NY Mornington Peninsula, Regional Gallery, Victoria Museum of Contemporary Art, Sydney Museum of New and Old Art, Tasmania National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne New Parliament House, Canberra Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shepparton Art Gallery, Victoria Tarra Warra Museum of Art, Victoria The Art Gallery of South Australia, Adelaide The University of Melbourne Art Collection, Melbourne University of Tasmania Collection; Hobart Victorian College of the Arts Foundation Collection, Melbourne University of Nottingham .
Load more

Recommended publications
  • MEMORIES, MATERS and the MYSTIQUE
    MEMORIES, MATERS and the MYSTIQUE Submitted by VALARIE ROBINSON T.I.T.C. Bed. (LIB), BVA (HONS) STUDENT NO. 14314179 A thesis submitted in partial fulfilment of the MASTER OF VISUAL ART- by RESEARCH SUPERVISORS: NEIL FETTLING STEPHEN TURPIE School of Visual Arts and Design Faculty of Humanities and Social Science La Trobe University Bundoora, Victoria, 3086 Australia APRIL 2011 - 1 - ABSTRACT What was the contribution of the women who pioneered Mildura? The contribution and the endowment made by female pioneers to Mildura, is rarely recorded or acknowledged in historical documents and newspapers locally. Through reading about pioneer women in Australia, novels written between the 1880’s and 1920 and the role of women in history and prehistory, I researched why women, not just the pioneers, have become almost invisible in written records. The laws of the land and the customs of the Christian Church perpetuated the myth that women were the weaker sex and doomed them to life in the background supporting the hero, the masculine1. Male dominated perspective of feminine crafts such as embroidery and the fibre arts contributed to their exclusion from the mainstream of art and their rejection by art historians.2 With the rise of feminism in the 1890’s and more radically and profoundly in the 1970’s, the acceptance of the value of both women and women’s work, became possible.3 Art made a century ago by males and females confirmed the evidence of biased historical documentation in books and newspapers. However contemporary artists now use a variety of media without specific boundaries to express their concepts, emotions, criticisms on life.
    [Show full text]
  • Future/Forward Day 2 2018
    Future/Forward Day 2 2018 Session 1: Welcome to Parliament with Justine Van Mourik Penelope: Firstly, I'd like to acknowledge the traditional owners of the land where we gather today, the Ngunnawal people, and pay my respects to elders past, present, and emerging. Also acknowledge all the wonderful Aboriginal Torres Strait Islander people here with us today. Now I'm going to introduce Justine van Mourik, the Director of Exhibitions and Collections of Parliament House to talk to us about the collection, and your work here. Justine: Thanks Penelope. I'm going to do that thing at the beginning of the school tour. Can I have a show of hands if you've been in this building before. That's pretty great, not bad. Audience 1: Probably, we went to school. Justine: Did you get dragged through at school? I'm too old for that. One of the wonderful things about this building, and I'm going to explain. For some of you this is probably a bit remedial, but for others, it hopefully will just give you a bit of insight and into this building. And I say ‘this building’ because I separate this building from the government. The Parliament is not the same as the government. Parliament house was designed to have a license 200 years. Parliamentarians come and grow; this building will remain. One of the beautiful things about this building is when Mitchell / Giurgola & Thorp designed this building, the question of meaning came up. How do you view a structure with meaning? And another gentleman wrote a quite similar paper to the speaker which was Billy Sanborn saying - the only way that I can give you a building with meaning and what it means to be Australian and all its facets is through the use of art and basically asks to give him a fairly large sum of money to create what would become the parliament house art and craft program.
    [Show full text]
  • MATTHEW BRADLEY CV 2020 1 Page
    MATTHEW BRADLEY CV www.matthewbradleystudio.com Bio 1969 Born, Adelaide, SA Selected Solo Exhibitions 2021 Anne and Gordon Samstag Museum, Adelaide (forthcoming) 2020 GAGPROJECTS | Greenaway Art Gallery, Adelaide (forthcoming) 2016 A Forest of Lightning, Australian Experimental Art Foundation, Adelaide Destroyer of Worlds, GAGPROJECTS | Greenaway Art Gallery, Adelaide 2012 Space Chickens Help Me Make Apple Pie, Fontanelle Gallery, Adelaide 2011 New Vehicles and Exploration, Greenaway Art Gallery, Adelaide 2010 Axle Mace, Contemporary Art Centre of South Australia, Adelaide 2008 Terminator, Greenaway Art Gallery, Adelaide 2007 Storm Machine, Gertrude Contemporary Art Space, Melbourne 2006 Te Good Son, Canberra Contemporary Art Space, Canberra 2005 Te Weet Bix Kid, Australian Experimental Art Foundation, Adelaide Empire, Screening room, Institute of Modern Art, Brisbane 2004 Dark Crystal, Te Project Space, Contemporary Art Centre of South Australia Empire, Downtown Art Space, Adelaide 2003 Helicopter Drawing, Artspace, Adelaide Festival Centre, Adelaide 1999 Te Nola Rose Candidate, Australian Experimental Art Foundation, Adelaide Selected Group Exhibitions 2019 Still Life, LON Gallery, Melbourne Floral Arrangements, A Flat, Adelaide SPACE, Gippsland Art Gallery, Victoria Other Suns, Fremantle Art Centre, Western Australia 2018 Directors Cut, FELTspace, Adelaide 2017 Te National 2017: New Australian Art, Museum of Contemporary Art, Sydney Born Under Punches, Format, Adelaide 2016 Dug and Digging With, Australian Experimental Art Foundation,
    [Show full text]
  • Wonderlust: the Influence of Natural History Illustration and Ornamentation on Perceptions of the Exotic in Australia
    Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia. College of Arts and Social Sciences Research School of Humanities and the Arts School of Art Visual Arts Graduate Program Doctor of Philosophy Nicola Jan Dickson Exegesis presented in partial fulfillment of the requirements of the Doctor of Philosophy March 2010 1 Exegesis of Studio Research Declaration of Originality I, ……………………………………………(signature and date) hereby declare that the thesis here presented is the outcome of the research project undertaken during my candidacy, that I am the sole author unless otherwise indicated, and that I have fully documented the source of ideas, references, quotations and paraphrases attributable to other authors. 2 Acknowledgements I am grateful for the support and critical feedback of the various people who have had been on my supervisory panel at different times. These include Vivienne Binns, Nigel Lendon, Chaitanya Sambrani and Deborah Singleton. I would specifically like to acknowledge the constructive criticism that Ruth Waller has provided and her establishment of a constructive and engaging environment for post-graduate painting students at the ANU School of Art. I would also like to thank Patsy Hely, Raquel Ormella, Robert Boynes and Patsy Payne who have all readily offered advice. The insightful encouragement from other post- graduate peers strengthened my research and resolve. I would particularly like to thank Suzanne Moss, Ella Whateley, Jude Rae and Hanna Hoyne. Thanks also go to Kerri Land, Angela Braniff and my daughter Kathryn who have provided help installing the examination exhibition. Advice from Georgina Buckley regarding use of the Endnote program has been invaluable and much appreciated.
    [Show full text]
  • From China to Chess!
    an Hill I , 2010, scorched , 2010, scorched The Great War , RO I ORDE C & Sean ealy H Claire Claire coasters, beer bottles, hammers, 120 x 140 80 cm, courtesy timber, photograph by the artists and Gallery Barry Keldoulis, Sydney, www.unisa.edu.au/samstagmuseum Media Release From China to Chess! As the Samstag Museum of Art says farewell to White Rabbit – Contemporary Chinese Art Collection, the most highly visited exhibition of the year, Samstag welcomes two new exhibitions to complete its exciting 2011 program: Your Move: Australian artists play chess University of South Australia Bill Henson: early work from the MGA Collection, with selected recent landscapes 14 October – 16 December Adelaide SA 5000 55 North Terrace Your Move: Australian artists play chess has provided thirteen of Australia’s leading contemporary Samstag Museum of Art Anne & Gordon artists with the opportunity to engage with an ancient game to create new and intriguing works of art. ‘The game of chess is traditionally perceived as a subdued, cerebral and introspective activity’, exhibition curator Tansy Curtin said. ‘However, the creation of new artworks informed by the notion of the game of chess adds a new dimension to the game itself: chess acquires a new visual persona; beauty and drama alongside intrigue and threat become implicit aspects of the game’. This playful and thought-provoking exhibition engages with multiple concepts – from climate change, environmental degradation and the impacts of colonisation, to explorations of Australian icons – and vividly illustrates that in the 21st century, chess has lost none of its inspirational power. For many artists the game of chess is an allegory for battles throughout history; such as in the work of 2006 Samstag Scholars Claire Healy & Sean Cordeiro, whose work combines beer bottles and coasters on a scorched picnic table as metaphor for the First World War.
    [Show full text]
  • Leading Australian Artist Sally Smart to Present World Premiere of Installation the Violet Ballet at Adelaide Festival 2019
    Media Release For immediate release, Wednesday 31 October 2018 Leading Australian artist Sally Smart to present world premiere of installation The Violet Ballet at Adelaide Festival 2019 Adelaide contemporary art gallery ACE Open will premiere leading Australian artist Sally Smart’s installation, The Violet Ballet, as part of the 2019 Adelaide Festival from 2 March – 27 April, 2019. Widely known for her large-scale assemblage installations, South Australian-born Smart has amassed a significant international career over more than three decades. Her accolades include major exhibitions in New York, Singapore, Jakarta and across Australia, as well as a 2017 collaboration with luxury Italian fashion house, Marni. The Violet Ballet continues Smart’s investigation into avant-garde dance company the Ballets Russes, and their experimental choreography, costume and theatre design. In an immersive and layered installation constructed from textile curtains, costumes, projection, puppetry, shadowplay and dance-on- film, Smart re-imagines one of the Ballet’s most macabre and visually complex works, Chout (Tale of the Buffoon). Through her research and the resulting installation, the artist draws parallels to the Indonesian Wayang character Punokawan (the clown), to examine ideas of identity politics, cultural hybridity, the historical and contemporary avant-gardes entwined legacies of colonialsm and orientalism. As part of the re-staging of Chout in the film component of the work, Smart has collaborated with the writer Maria Tumarkin to create spoken and sung word, with operatic vocals performed by Billie Tumarkin, along with choreography and performance by dancer Brooke Stamp. Billie Tumarkin and Brooke Stamp will also perform live as part of the exhibition’s free opening celebration on Saturday 2 March from 5pm.
    [Show full text]
  • NGA Announces 2019 Program
    MEDIA RELEASE MONDAY 29 OCTOBER 2018 THE NATIONAL GALLERY OF AUSTRALIA ANNOUNCES 2019 PROGRAM The National Gallery of Australia today announced it will open two major international exhibitions in winter and summer of 2019. The 2019 program also includes a redesigned sculpture gallery, a major rehang of Australian art, the opening of a Yayoi Kusama infinity room, the acquisition of an Urs Fischer ‘candle’ sculpture, and new interactive creative learning centre and children’s gallery thanks to the generosity of Tim Fairfax AC. ‘The dimension and the depth of the 2019 artistic program defines the significant role of the national collection, ensuring the National Gallery continues to be an important reference point for art for all Australians,’ said National Gallery Director Nick Mitzevich. ‘We are excited to be re-imagining Australian art, telling new stories through the eyes of many great artists and bringing the best of international art to Canberra.’ The 2019 program involves partnerships with some of the world’s best museums and galleries including the Tate, Musée Marmottan and generous loans from The Met, MoMA and the National Gallery, London. Partnerships with Wesfarmers and the Seven Network are also supporting major new initiatives in bringing art to broad and diverse audiences. 2019 PROGRAM MAJOR EXHIBITIONS LOVE AND DESIRE: PRE-RAPHAELITE MASTERPIECES FROM THE TATE (14 December 2018—28 April 2019) In a world exclusive, two of Britain’s most-loved paintings—Ophelia and The Lady of Shalott—leave the walls of the Tate together for the first time in an exhibition of more than 100 works. This summer blockbuster at the National Gallery explores the radical 19th century Pre-Raphaelite movement’s depictions of love, desire, romance, religion and life featuring key works by John Everett Millais, John William Waterhouse, William Holman Hunt and Dante Gabriel Rossetti.
    [Show full text]
  • Bessie Davidson & Sally Smart – Two Artists and The
    MEDIA RELEASE Opening 20 March, 2020 Bessie Davidson & Sally Smart – Two artists and the Parisian avant- garde Bessie Davidson was one of a cohort of female South Australian artists who, at the turn of the nineteenth century, sought to expand their lives and artistic careers by travelling to the renowned cultural centres of Europe, most notably Paris and London. Many artists returned to Australia bringing their matured artistic style to an Australian audience. Davidson was one of the few who chose to remain in Europe, firmly establishing herself within the vibrant artistic milieu of Paris’s Montparnasse. Over the course of her career, Davidson received many accolades and awards including being made a chevalier of the Legion of Honour – the highest award conferred by the French government. Whilst Davidson’s work has been largely overlooked in Australia, stories of Bessie Davidson’s life as an artist living in Paris were a frequent part of conversations in artist Sally Smart’s childhood home in rural South Australia. Bessie was Sally’s great aunt – her legacy empowered this renowned Australian artist to follow her own artistic ambitions. In this new exhibition curated by Tansy Curtain, Bendigo Art Gallery brings together more 50 works that highlight Davidson’s ‘modern French impressionist’ style of painting – with light filled domestic interiors, landscapes and women at leisure. In addition, the gallery has invited Sally Smart to create a new body of work responding to and developing upon the cultural legacy of Davidson as a pioneering female South Australian artist – firmly placing the work of this ground-breaking artist back into the story of Australian art history.
    [Show full text]
  • Marian Drew Cv
    MARIAN DREW CV EDUCATION 1984-1985, Postgraduate studies Kassel University, Germany , DAAD (Deutscher Akademischer Austauschdienst) Scholarship, Awarded Dyason Bequest (awarded by the Art Gallery of New South Wales) 1980-84, Bachelor of Visual Arts (Letter of Merit), photomedia major, Canberra School of Art. EMPLOYMENT 2016 - Director of Photography Program, Queensland College of Art Griffith University 2011- 2016 - Associate Professor, Qld College of Art 2009-2011 - Convenor of Photography Programmes 2011 - Guest Curator Queensland Art Gallery, ‘Buoyancy’ 2002-2011 - Deputy Director, Gold Coast/Logan Campuses, Queensland College of Art 2007 - Lecturer /Senior Lecturer Qld College of Art, Griffith University 2005 - Visiting Fellow Tasmanian University, Hobart (May, June) SELECTED SOLO EXHIBITIONS 2015 Marian Drew: Inheritance, Michael Reid, Berlin Fresh, Hill Smith Gallery Conceit, Linden Centre for Contemporary Arts, Melbourne 2014 Centrepiece, Turner Gallery, Perth Fresh, Amelia Johnson Contemporary, Hong Kong 2013 Ornamental, Hazelhurst Regional Art Gallery, , Sydney Dianne Tanzer Gallery Singapore Art Fair, Singapore 2012 Body and Grace, Michael Reid, Sydney 2010 Illuminated Landscapes, Robin Gibson Gallery, Sydney Dianne Tanzer Gallery, Melbourne 2009 Birds, Queensland Centre for Photography Birds, Dianne Tanzer Gallery, Melbourne 2008 Turner Gallery, Perth, West Australia Every Living Thing, Australian Centre for Photography, Sydney Every Living Thing, Fremantle Art Center 2007 Every Living Thing, Hill Smith Gallery Adelaide 2006
    [Show full text]
  • Anna Reynolds Masters by Research - Examination by Exhibition and Exegesis
    Anna Reynolds Masters by Research - Examination by exhibition and exegesis PLaNS FOR WORLD DOMINATION Art to Textile Anna Reynolds Bachelor of Visual Arts (Honours first class) Exegesis submitted for the requirements of the degree of Master by Research College of Indigenous Futures, Arts and Society Charles Darwin University November 2018 I II DECLARATION I hereby declare that the work entitled Plans for World Domination to the best of my knowledge and belief, now submitted as a thesis for the degree of Master by Research of the Charles Darwin University, is the result of my own research, and all references to ideas and work of other researchers have been duly acknowledged. I hereby certify that the work has not been submitted for a degree to any other university or institution. Anna Christine Reynolds Date III IV ABSTRACT PLaNS FOR WORLD DOMINATION: ART TO TEXTILE Plans for World Domination presents a visual matrix of relational and creative propositions that position the Digital Frontier as a mythical mindset rendered in the whimsical code of Dada-Data, whilst mapping an emerging environment, culture and community through the creative comingling of textile and computer. The code is imagined as a tactile and pictorial fragmentation of key characters, icons, symbols and index that interrelate within the actions of Travel, Community and Textile, functioning as prosumers in relational narratives of the Information Age. The artist’s interest in philosophical and global perspectives surrounding the digital era have been inspired by the ongoing experience of world travel and art residencies alongside the theories and work of Nicolas Bourriaud’s provocation in the Altermodern.
    [Show full text]
  • VCA-ACCESS-2018-Introduction-4.0
    WELCOME TO An initiative of the VCA Foundation Your pass to a behind the scenes look at Fine Art at the VCA and the best of Melbourne’s contemporary art landscape. Internationally recognised as a breeding ground In recognition of the increasing importance of Art for emerging artistic talent, the Victorian College Fairs in establishing commercial practice, we are of the Arts (VCA) has powered the careers of many excited to announce that we will be inviting the of Australia’s most successful artists - from Arthur 2018 VCA Access students to the Auckland Art Boyd, Fred Williams, Sidney Nolan, Tom Roberts Fair in May where they will have the opportunity and John Brack through to Patricia Piccinini, Louise to exhibit. As a Pass Holder, you will be invited to Hearman, Rick Amor, Bill Henson, Ricky Swallow, join us on a program giving you behind the scenes Sally Smart and Callum Morton. viewing of this International Art Fair with a series of VCA Access is an initiative of the VCA Foundation, private events and viewings. created to allow more people to gain an intimate Every three months you will be issued with a understanding - a behind the scenes look – at the calendar of the upcoming events that may include contemporary workings of this dynamic institution. studio visits, gallery walks, private viewings, VCA ACCESS 2018 connects a select group of lectures, and performances. A show stopping, sit Melbourne art lovers with high potential VCA Fine down dinner event for all participating Pass holders, Arts Masters students, prominent VCA alumni artists guests, students, artists and galleries will be held and their representing Galleries.
    [Show full text]
  • Annual Report 2015–16 © National Gallery of Australia 2016 All Rights Reserved
    Annual Report 2015–16 © National Gallery of Australia 2016 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 Edited by Eric Meredith Designed by Carla Da Silva Index by Sherrey Quinn Printed by New Millennium Print ISSN 1323 5192 nga.gov.au/aboutus/reports Cover: Tom’s Studio, the family activity room for Tom Roberts, supported by Tim Fairfax AC, February 2016. CONTENTS Letter of transmittal 5 About the NGA 6 Executive summary 9 Chair’s report 10 Director’s report 12 Snapshot 20 Performance summary 24 Performance statements 25 Engage, educate and inspire 27 Managing resources 35 Collect, share and digitise 37 Management and accountability 47 Governance 48 Corporate services 55 Statutory compliance 58 Appendices 59 Appendix A: Exhibitions 60 Appendix B: Publishing and papers 62 Appendix C: Acquisitions 66 Appendix D: Supporters 79 Appendix E: Legislative requirements 91 Appendix F: Index of requirements 95 Appendix G: Agency resource statement 96 Financial statements 97 Independent auditor’s report 98 Financial statements 100 Notes 105 Glossary 124 Index 126 NGA Annual Report 2015–16 3 Tables Table 1: Performance summary 2015–16 24 Table 2: Visitation 27 Table 3: Public programs 28 Table 4: School participation 30 Table 5: Online visits
    [Show full text]