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Queensland Art Gallery Board of Trustees Annual Report 2015–16
QUEENSLAND ART GALLERY GALLERY QUEENSLAND ART BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT ANNUAL OF TRUSTEES BOARD QUEENSLAND ART GALLERY | GALLERY OF MODERN ART QUEENSLAND ART GALLERY BOARD OF TRUSTEES ANNUAL REPORT 2015–16 REPORT OF THE QUEENSLAND ART GALLERY BOARD OF TRUSTEES 22 August 2016 The Honourable Annastacia Palaszczuk MP Premier and Minister for the Arts Level 15, Executive Building 100 George Street BRISBANE QLD 4000 Dear Premier I am pleased to submit for presentation to the Parliament the Annual Report 2015–2016 and financial statements for the Queensland Art Gallery Board of Trustees. I certify that this annual report complies with: • the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, and • the detailed requirements set out in the Annual report requirements for Queensland Government agencies. A checklist outlining the annual reporting requirements can be found at page 70 of this annual report or accessed at qagoma.qld.gov.au/about/our-story/annual-reports. Yours sincerely Professor Susan Street, AO Chair Queensland Art Gallery Board of Trustees CONTENTS PART A 4 INTRODUCTION 4 Vision 4 Mission 4 Principles 4 Queensland Art Gallery | Gallery of Modern Art 5 Queensland Art Gallery Board of Trustees 6 CHAIR'S OVERVIEW 8 BACKGROUND 8 Government objectives for the community 8 Strategic Plan 2015–19 9 Operational Plan 2015–16 9 Operating environment 11 2015–16 AT A GLANCE 12 OUTCOMES 12 Performance measures 13 Strategic objectives 25 Acquisitions 46 Exhibitions, loans and publications 57 Statistical summary 58 GOVERNANCE 58 Management and structure 65 Risk management and accountability 66 Human resources 67 GLOSSARY 68 SUMMARY OF FINANCIAL PERFORMANCE 70 COMPLIANCE CHECKLIST PART B 71 FINANCIAL PERFORMANCE 04 Queensland Art Gallery Board of Trustees Annual Report 2015–16 INTRODUCTION INTRODUCTION Vision To be the leading institution for the contemporary art of Australia, Asia and the Pacific. -
After Fire: a Biography of Clifton Pugh : Aartlook : Australian Art Review
After Fire: A Biography of Clifton Pugh : aARTlook : Australian Art Reviewhttp://artreview.com.au/contents/552716783-after-fire-a-biography-of-cl... Australian Art Review Art News Exhibition Reviews Features aARTlook Art Directory Artist Profiles From the Editor Latest Issue Submit Content Homepage FREE Email Update Subscribe About Us Advertising Contact Us Posted: 04 Oct 2010 | By: Patricia Anderson - Editor Clifton Pugh did not disappear into the undergrowth, but on either side of the canyon between the abstractionists of the Sydney scene in the 1950s and 60s and the aggressively narrative painters of Melbourne of the same period, Pugh does seem to have gone missing for years on end. Sally Morrison's biography - nine years in the writing - should put him in the clearing once and for all. His work was more sophisticated, more cerebral and more finely crafted than many of his peers who have ascended the auction room ladder, so it seems completely timely that a heartfelt, finely tuned and exhaustively researched biography by novelist and scientist Sally Morrison should make its appearance now. Morrison had attracted the attention of Patrick White years earlier with her novel Who's Taking You to the Dance? and in 1995 she won the National Book Council's Banjo Award with Mad Meg. Both books exhibit a degree of psychological penetration, which makes her biography of Pugh compelling reading. Morrison became friends with Pugh in his later years; and when he died in 1990, she waited ten years before undertaking a detailed and frank account of his life. Pugh, however, does not appear to be a particularly likeable character. -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright Offuli Text Rests with the On" I Copyn'ght Gm
Manmade Modernism: Mythical Space in Australian Painting, 1940-1970 Copyright ofFulI Text rests with the on" I copyn'ght gm. owner and, except as permitted unci th ~opyright LAURIE DUGGAN Act 1968, copying this copyright n: ,e I ~s prohibi~ed ~thout the Permission ofthe own:;'~ Brisbane, Queensland ~:~X~:;ghh~~ee or aLi~~t or by way ofa licence . gency mlted. For infonnation a.bo ~t such lIcences contact Copyright A ene ~:;ted on (02) 93947600 (ph) or (02) 9~94?t;01 HE RECEIVED STORY OF AUSTRALIAN ART, WHETHER same year, the battle to defend figuration against the it appears in the general histories ofBernard Smith non-objective seemed all but lost. T- (1962), and Robert Hughes (1966), or in more This is the Australian art story as it has often been told. specialised studies like Richard Haese's Rebels and Developments since 1970 have taken the art of this coun Precursors (1981) tells us ofa change brought about in the try in different directions, yet the art ofthe preceding peri pressurised atmosphere of the second world war. The story od is still often viewed through a lens of its own making. usually mentions the show of"French and British Modem When Bernard Smith produced the first edition of his Art" sponsored by Sir Keith Murdoch and the Melbourne book Australian Painting he followed William Moore's Herald in 1939, which contained a large variety of work example, entitling the chapters covering work from the from Ceranne through to some of the Surrealists (notably Heidelberg School up until the 1930s after books of the Salvador Dali and Max Ernst). -
1 the Shooting of Wild Dogs 1958 by Clifton Pugh Its Placement in The
The Shooting of Wild Dogs 1958 by Clifton Pugh The Shooting of Wild Dogs 1958 Clifton Pugh image Sally Morrison, copyright Dunmoochin Foundation Its placement in the exhibition space of the NGV collection Clifton Pugh was known primarily as a portraitist, so it is not surprising to find his work on display at right angles to the acknowledged leading portrait painter of his day, William Dobell. But while Pugh was a portraitist good enough to challenge Dobell’s supremacy and while he made his mark painting the leading lights of his day, he also painted Australia as he saw it. The hanging of the picture between Aboriginal works and the works of Pugh’s contemporaries is significant because Pugh’s art, which was inspired by the country he lived in, represents perhaps the first genuine nexus between Aboriginal and resident non- Aboriginal art in Australian art history. The painting next to the Pugh has almost nothing in common with it. It is by Robert Dickerson, whose main focus was on the poverty of urban Australia. You will notice all along the wall that Pugh’s contemporaries painted the urban scene and often their paintings are far less dramatically rendered than Pugh’s. That’s not to say that they aren’t in their different ways, dramatic. 1 Biographical background Pugh spent the formative part of his youth growing up on a model farm out in the bush at Greensborough. The family also had a house at Frankston, where he was exposed to the Bohemian artistic life through family acquaintance with Nan and Harry McClelland, who founded the McClelland Gallery. -
Margaret Carnegie
Today it has expanded to include some 1200 works. In 2007 the Collection was named in her honour. I knew some of the institutions that had been gifted Aboriginal Australian art and people led to her receiving a ‘skin name’5. material by Mrs Carnegie included the University of Benefactors and patrons form the lifeblood of regional gallery collections. Wagga Wagga Art Gallery and Of the numerous works I viewed on the walls, I remember impressive acrylic on canvas paintings by Uta South Australia, the State Library of Victoria, the National the community of the Riverina continue to benefit from Margaret’s particular eye and great knowledge of Uta Tjangala, two small Emily Kame Kngwarreye works and a perfectly placed Ginger Riley Munduwalawala Gallery of Victoria, the Wagga Wagga Art Gallery, and Australian art, and for that we thank her. above Mrs. Carnegie’s bed. Like the reporter for The National Times6 when visiting the apartment in 1984, I the Charles Sturt University Art Collection. The CSU was impressed by the exceptional 1960 portrait of Douglas Carnegie by Clifton Pugh which still dominated Margaret Carnegie, by all accounts was a larger than life figure – glamorous, adventurous, passionate, Wagga Wagga Campus Library had also gained a the entry-way years later7. I was swiftly directed towards two wall-encompassing colourful Willie Gudabi Margaret Carnegie generous and brimming with joie de vivre. We hope that this exhibition and celebration of her life does her ‘Special Collection’3 of Australiana in annual instalments Collector & Patron acrylics. However, I decided on a Gloria Petyarre body paint inspired acrylic on canvas because of its justice. -
Barjai, Miya Studio and Young Brisbane Artists of the 1940S;
BARJAI, MIYA STUDIO AND YOUNG BRISBANE ARTISTS OF THE 1940S; TOWARDS A RADICAL PRACTICE by MICHELE ELIZABETH ANDERSON A thesis submitted in fulfilment of the requirements for the degree of Bachelor of Arts with Honours DEPARTMENT OF ART HISTORY UNIVERSITY OF QUEENSLAND JULY 1987 n To the late Laurence Collinson m We can no more allow the warped wills of old men to fashion for us the future. It is ours. Cast off the leaden weights that make the drab decrees. Climb the high heart's wall and cry out Action. Barrie Reid, "These Leaden Weights", Barjai, No. 13, March 1944, p. 3. w TABLE OF CONTENTS LIST OF ILLUSTRATIONS V ACKNOWLEDGMENTS ix INTRODUCTION 1 CHAPTER ONE Barjai and the Barjai Group, 1943-1947: Art and Literature / Youth, War and Politics 10 CHAPTER TWO Young Brisbane Artists at War's End and The Younger Artists' Group of 1945 61 CHAPTER THREE Miya Studio and The Artists' Group of the New Theatre Club: The Studio Base 1945-1950 110 CHAPTER FOUR Miya Studio and The Artists' Group of The New Theatre Club: Exhibitions 1945-1950 157 CONCLUSION 204 APPENDICES 206 ILLUSTRATIONS 214 BIBLIOGRAPHY ' 254 LIST OF ILLUSTRATIONS 1 Ian Gall, Cartoon, The Courier-Mail, 11 May 1942, p. 4 (Photograph courtesy of John Uxley Library). 2 Cover, Barjai, No. 5, 1943 (Photographic access courtesy of John Oxley Library). 3 Cover, Barjai, No. 8, 1943 (Photographic access courtesy of John Oxley Library). 4 Cover, Barjai, No. 12, January 1944 (Photographic access courtesy of John Oxley Library). 5 Cover, Barjai, No. 14, May 1944 (Photographic access courtesy of John Oxley Library). -
Paintings Conservation in Australia from the Nineteenth Century to The
Paintings Conservation in Australia from the Nineteenth Century to the Present: Paintings Conservation in Australia from the Nineteenth Century to the Present: !"##$!%&#' %($ )*+% %" %($ ,-%-.$ Essays, Recollections and Historical Research on Paintings Conservation and Conservators, from the Nineteenth Century to the Present. Contributions to the Eleventh AICCM Paintings Group Symposium, held at the National Gallery of Victoria in Melbourne, October 9th & 10th, 2008. !"#%.&0-%".+ Allan Byrne Anne Carter Paula Dredge Catherine Earley Kate Eccles-Smith Alexandra Ellem Sarah Fisher John Hook Deborah Lau !"##$!%&#' Alan Lloyd Holly McGowan-Jackson Jacqueline Macnaughtan Catherine Nunn %($ Gillian Osmond Chris Payne )*+% John Payne %" Robyn Sloggett Michael Varcoe-Cocks %($ ,-%-.$ Contributions to the Eleventh AICCM Paintings Group Symposium National Gallery of Victoria, Melbourne 2008 $/&%$/ 01 !*.2 3&22&+ *#/ *2$4*#/.* $22$5 Alan Lloyd Paintings Conservation in Australia from the Nineteenth Century to the Present: Connecting the Past to the Future Essays, Recollections and Historical Research on Paintings Conservation and Conservators, from the Nineteenth Century to the Present. Contributions to the Eleventh AICCM Paintings Group Symposium, held at the National Gallery of Victoria in Melbourne, October 9th & 10th, 2008. "#$%"# &' ()*+ ,$++$- ).# )+"/).#*) "++"0 1 Contents Director’s Foreword i Preface iii Copyright © Australian Institute for the Conservation of Cultural Material Inc. 2008 Acknowledgments xi ISBN 978-0-9580725-2-6 Part I Stories of Early Years Edited by Carl Villis and Alexandra Ellem Design: Jessica Gommers and Elizabeth Carey Smith 1. Catherine Nunn 1 “Benign Neglect” and Australian Conservation History: Published by AICCM Inc. An Unlined Eighteenth-century British painting in Australia GPO Box 1638 Canberra ACT 2601 2. Alex Ellem 11 Printed in Melbourne by Impact Digital Pty. -
AUSTRALIAN BIOGRAPHY a Series That Profiles Some of the Most Extraordinary Australians of Our Time
STUDY GUIDE AUSTRALIAN BIOGRAPHY A series that profiles some of the most extraordinary Australians of our time Bernard Smith 1916–2011 Art Historian This program is an episode of Australian Biography Series 9 produced under the National Interest Program of Film Australia. This well-established series profiles some of the most extraordinary Australians of our time. Many have had a major impact on the nation’s cultural, political and social life. All are remarkable and inspiring people who have reached a stage in their lives where they can look back and reflect. Through revealing in-depth interviews, they share their stories— of beginnings and challenges, landmarks and turning points. In so doing, they provide us with an invaluable archival record and a unique perspective on the roads we, as a country, have travelled. Australian Biography: Bernard Smith Director/Producer Rod Freedman Executive Producer Mark Hamlyn Duration 26 minutes Year 2003 Study guide prepared by Sara Hennessy and Geraldine Carrodus © NFSA Also in Series 9: Betty Churcher, Marjorie Jackson-Nelson, Thomas Keneally, Bill Mollison, Charles ‘Bud’ Tingwell, Joan Winch A FILM AUSTRALIA NATIONAL INTEREST PROGRAM For more information about Film Australia’s programs, contact: National Film and Sound Archive of Australia Sales and Distribution | PO Box 397 Pyrmont NSW 2009 T +61 2 8202 0144 | F +61 2 8202 0101 E: [email protected] | www.nfsa.gov.au AUSTRALIAN BIOGRAPHY: BERNARD SMITH 2 SYNOPSIS AFTER WATCHING ‘What Australia suffers from is not a lack of artists but a lack of Childhood and Adolescence audience for their art.’ Bernard Smith’s childhood and youth had all of the hallmarks of Developing Australians’ interest in, and knowledge of, our artistic disadvantage. -
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine