DOCSLIB.ORG

Annual Report 2007–08 Annu Al Repor T 20 07–0 8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report 2007–08 Annu Al Repor T 20 07–0 8 ANNUAL REPORT 2007–08 ANNUAL REPORT 2007–08 REPORT ANNUAL ANNUAL REPORT 2007–08 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2007–08 the National Gallery of Australia received an appropriation from the Australian Government totalling $58.243 million (including an equity injection of $4 million for development of the national collection and $11.797 million for Stage 1 of the building project), raised $9.624 million, and employed 250.7 full-time equivalent staff. © National Gallery of Australia 2008 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by ZOO Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/Reports Cover: Frederick McCubbin Violet and goldd 1911 (detail) oil on canvas 87.0 x 144.5 cm National Gallery of Australia, Canberra Purchased with the generous assistance of the Hon. Mrs Ashley Dawson-Damer and John Wylie, AM, and Myriam Wylie 2008 Back cover: Tamil Nadu, India Shiva as Lord of the Dancee [Natarajaa] 11th–12th century bronze 128.5 x 106.0 x 40.0 cm National Gallery of Australia, Canberra Purchased with the assistance of the National Gallery of Australia Foundation 2008 Director’s report: The National Gallery of Australia celebrated its twenty-fifth anniversary by lighting up the building with projected images of major works in the national collection. September 2008 The Hon. Peter Garrett, AM, MP Minister for the Environment, Heritage and the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2007 to 30 June 2008. This report is submitted to you in accordance with section 9 of the Commonwealth Authorities and Companies Act 19977 and the National Gallery Act 19755. The Performance Report has been prepared in conformity with the Commonwealth Authorities and Companies (Report of Operations) Orders 2008. The financial statements have been prepared in accordance with the Finance Minister’s Orders made under the Commonwealth Authorities and Companies Act 1997. Yours sincerely Rupert Myer AM Chairman of Council CONTENTS LETTER OF TRANSMITTAL 1 CHAIRMAN’S FOREWORD 5 DIRECTOR’S REPORT 9 CORPORATE OVERVIEW 12 PERFORMANCE REPORT 2007–08 17 Outcome and Outputs 18 Report against Strategic Plan 2007–10 21 GOAL 1 Build and maintain an outstanding national art collection 22 GOAL 2 Increase the audience for and engagement with the exhibitions and programs of the National Gallery of Australia 32 GOAL 3 Create a welcoming and engaging visitor experience 47 GOAL 4 Secure and strategically manage resources to support Gallery operations and activities 49 GOAL 5 Provide a safe and productive working environment for all staff appropriate to the Australian Public Sector and art museum standards 52 GOAL 6 Ensure the highest standards of corporate governance 56 GOAL 7 Build productive relationships with Government and other stakeholders 57 FINANCIAL REPORTS 59 APPENDICES 101 APPENDIX 1 Council of the National Gallery of Australia 102 APPENDIX 2 Management structure at 30 June 2008 104 APPENDIX 3 Staff of the National Gallery of Australia at 30 June 2008 105 APPENDIX 4 Acquisitions 2007–08 107 APPENDIX 5 Total acquisitions including purchases and gifts 2002–03 to 2007–08 161 APPENDIX 6 Exhibitions and new displays shown at the National Gallery of Australia 2007–08 162 APPENDIX 7 Attendances 2002–03 to 2007–08 163 APPENDIX 8 Travelling exhibitions 2007–08 164 APPENDIX 9 Outward loans to exhibitions – Australia and international 166 APPENDIX 10 Inward loans 174 APPENDIX 11 Outward loans including travelling exhibitions 2002–03 to 2007–08 182 APPENDIX 12 National Gallery of Australia sponsors 2007–08 183 APPENDIX 13 National Gallery of Australia volunteers at 30 June 2008 185 APPENDIX 14 Publications of the National Gallery of Australia 2007–08 187 APPENDIX 15 Website visitation 188 APPENDIX 16 Consultants 2007–08 190 APPENDIX 17 Compliance index and contact officers 191 INDEX 193 National Gallery of Australia Council as at 30 June 2008: (l–r) Mrs Roslynne Bracher, AM, the Hon. Ian Callinan, AC, Dr Ron Radford, AM, the Hon. Mrs Ashley Dawson-Damer, Mrs Roslyn Packer, AO, Mr Warwick Hemsley, Mr John Calvert-Jones, AM, Mr Charles Curran, AC, Mr Rupert Myer, AM CHAIRMAN’S FOREWORD The past year marked a significant milestone in the and its engagement with the public. During the history of the Gallery as it celebrated the twenty- year, the Gallery Council continued its focus on fifth anniversary of its opening to the public. Many implementing policies and structural changes to of the Gallery’s supporters, sponsors and benefactors achieve Director Ron Radford’s Vision for the from around Australia and abroad joined current National Gallery of Australia. and former Council members, directors, staff and volunteers during the course of the year. The Many contributions have made the Gallery a launch of the National Indigenous Art Triennial, the ‘must visit’ destination. As the year ended, due commencement of Stage 1 of the building extension, largely to the efforts of the National Gallery of the acquisition of great works of art, many Australia Foundation, our target of securing through the wonderful generosity of benefactors, $25 million in gifts, pledges, sponsorships and the continuation of our international exhibition bequests from the private sector from 2006 to program and the opening of several important new 2008 was achieved. I would like to thank the many galleries will remain as permanent reminders of this generous benefactors and sponsors that contributed momentous year. to this exceptional achievement and acknowledge the leadership of Mr Charles Curran, AC, and On the occasion of the anniversary, I spoke of our the Board of the National Gallery of Australia responsibility at the Gallery to treasure our nation’s Foundation in this endeavour. significant works of art, to share them, to study them, to add to them, to display them to the best I would also like to acknowledge the efforts of of our ability, but above all to look after them, to my colleagues on the Gallery Council for their hold them safely so that others might come to gain ongoing efforts to ensure the success of the Gallery. knowledge, to delight and to gain contentment In this year Mr Robert Champion de Crespigny, from them, and to be stimulated by them to do AC, and Ms Lee Liberman concluded their service great things. on the Council. I would like to acknowledge their significant contributions while welcoming to the This notion of the Gallery as a place of learning Council the Hon. Ian Callinan, AC. and inspiration was revisited when the Director Ron Radford and I were privileged to participate Mr Charles Curran, AC, continued as Deputy Chair in the 2020 Summit earlier this year. The Summit of the Gallery Council and Chair of the Building group looking at major galleries and institutions Committee as well as Chair of the National Gallery acknowledged the multi-dimensional roles that of Australia Foundation. Mrs Roslyn Packer, AO, they perform. In particular, the group thought continued as Chair of the Acquisitions Committee that the contribution of these organisations to the and Mr Warwick Hemsley as Chair of the Finance, education curriculum is absolutely crucial. The Risk Management and Audit Committee. I thank group’s ambition was that in 2020 there will be them and all my colleagues on the Council as well universal access for all students to the materials and as the Board of the National Gallery of Australia collections of all major cultural institutions as part Foundation for their hard work, generous support of the education process. and sincere commitment to the Gallery. Many of them provided an extraordinary level of support for The Gallery shares that aspiration. It is a key the development of the national collection and the component of our overall responsibility to National Gallery of Australia Council Exhibitions preserve, develop and promote the Gallery’s Fund during the year. collection, its outstanding reputation for excellence NATIONAL GALLERY OF AUSTRALIA ANNUAL REPORT 2007–08 5 I would also like to warmly thank all of the Gallery guides and the many volunteers who continue to make an outstanding contribution to the work of the Gallery. The Council acknowledges with appreciation the ongoing support of the Australian Government through the Hon. Kevin Rudd, MP, Prime Minister of Australia, and the Hon. Peter Garrett, AM, MP, Minister for the Environment, Heritage and the Arts, and Departmental officials. The support provided by Ministers in the former government, particularly with the building project, is also acknowledged with appreciation. I would especially like to acknowledge the extraordinary efforts of Director Ron Radford, AM, and the Gallery’s dedicated and talented staff and, on behalf of the Council, express my sincere appreciation for another year of outstanding achievement.
Load more

Recommended publications
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
    ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ...................
    [Show full text]
  • STUDY GUIDE by Marguerite O’Hara, Jonathan Jones and Amanda Peacock
    A personal journey into the world of Aboriginal art A STUDY GUIDE by MArguerite o’hArA, jonAthAn jones And amandA PeAcock http://www.metromagazine.com.au http://www.theeducationshop.com.au ‘Art for me is a way for our people to share stories and allow a wider community to understand our history and us as a people.’ SCREEN EDUCATION – Hetti Perkins Front cover: (top) Detail From GinGer riley munDuwalawala, Ngak Ngak aNd the RuiNed City, 1998, synthetic polyer paint on canvas, 193 x 249.3cm, art Gallery oF new south wales. © GinGer riley munDuwalawala, courtesy alcaston Gallery; (Bottom) Kintore ranGe, 2009, warwicK thornton; (inset) hetti perKins, 2010, susie haGon this paGe: (top) Detail From naata nunGurrayi, uNtitled, 1999, synthetic polymer paint on canvas, 2 122 x 151 cm, mollie GowinG acquisition FunD For contemporary aBoriGinal art 2000, art Gallery oF new south wales. © naata nunGurrayi, aBoriGinal artists aGency ltD; (centre) nGutjul, 2009, hiBiscus Films; (Bottom) ivy pareroultja, rrutjumpa (mt sonDer), 2009, hiBiscus Films Introduction GulumBu yunupinGu, yirrKala, 2009, hiBiscus Films DVD anD WEbsitE short films – five for each of the three episodes – have been art + soul is a groundbreaking three-part television series produced. These webisodes, which explore a selection of exploring the range and diversity of Aboriginal and Torres the artists and their work in more detail, will be available on Strait Islander art and culture. Written and presented by the art + soul website <http://www.abc.net.au/arts/art Hetti Perkins, senior curator of Aboriginal and Torres Strait andsoul>. Islander art at the Art Gallery of New South Wales, and directed by Warwick Thornton, award-winning director of art + soul is an absolutely compelling series.
    [Show full text]
  • Sidney Nolan's Ned Kelly
    Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen
    [Show full text]
  • Important Australian and Aboriginal
    IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams.
    [Show full text]
  • Handbook of Western Australian Aboriginal Languages South of the Kimberley Region
    PACIFIC LINGUISTICS Series C - 124 HANDBOOK OF WESTERN AUSTRALIAN ABORIGINAL LANGUAGES SOUTH OF THE KIMBERLEY REGION Nicholas Thieberger Department of Linguistics Research School of Pacific Studies THE AUSTRALIAN NATIONAL UNIVERSITY Thieberger, N. Handbook of Western Australian Aboriginal languages south of the Kimberley Region. C-124, viii + 416 pages. Pacific Linguistics, The Australian National University, 1993. DOI:10.15144/PL-C124.cover ©1993 Pacific Linguistics and/or the author(s). Online edition licensed 2015 CC BY-SA 4.0, with permission of PL. A sealang.net/CRCL initiative. Pacific Linguistics is issued through the Linguistic Circle of Canberra and consists of four series: SERIES A: Occasional Papers SERIES c: Books SERIES B: Monographs SERIES D: Special Publications FOUNDING EDITOR: S.A. Wurm EDITORIAL BOARD: T.E. Dutton, A.K. Pawley, M.D. Ross, D.T. Tryon EDITORIAL ADVISERS: B.W.Bender KA. McElhanon University of Hawaii Summer Institute of Linguistics DavidBradley H.P. McKaughan La Trobe University University of Hawaii Michael G. Clyne P. Miihlhausler Monash University University of Adelaide S.H. Elbert G.N. O'Grady University of Hawaii University of Victoria, B.C. KJ. Franklin KL. Pike Summer Institute of Linguistics Summer Institute of Linguistics W.W.Glover E.C. Polome Summer Institute of Linguistics University of Texas G.W.Grace Gillian Sankoff University of Hawaii University of Pennsylvania M.A.K Halliday W.A.L. Stokhof University of Sydney University of Leiden E. Haugen B.K T' sou Harvard University City Polytechnic of Hong Kong A. Healey E.M. Uhlenbeck Summer Institute of Linguistics University of Leiden L.A.
    [Show full text]
  • Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
    Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu.
    [Show full text]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • How Collaboration and Collectivism in Australia in the Seventies Helped
    A Collaborative Effort: How Collaboration and Collectivism in Australia in the Seventies Helped Transform Art into the Contemporary Era Susan Rothnie Introduction The seventies period in Australia is often referred to as the “anything goes” decade. It is a label that gives a sense of the profusion of anti- establishment modes that emerged in response to calls for social and po- litical change that reverberated around the globe around that time. As a time of immense change in the Australian art scene, the seventies would influence the development of art into the contemporary era. The period‟s diversity, though, has presented difficulty for Australian art historiography. Despite the flowering of arts activity during the seventies era—and proba- bly also because of it—the period remains largely unaccounted for by the Australian canon. In retrospect, the seventies can be seen as a period of crucial impor- tance for Australia‟s embrace of contemporary art. Many of the tendencies currently identified with the contemporary era—its preoccupation with the present moment, awareness of the plurality of existence, rejection of hier- archies, resistance to hegemonic domination, and a sense of a global community—were inaugurated during the seventies period. Art-historically, COLLOQUY text theory critique 22 (2011). © Monash University. www.arts.monash.edu.au/ecps/colloquy/journal/issue022/rothnie.pdf 166 Susan Rothnie ░ however, it appears as a “gap” in the narration of Australian art‟s develop- ment which can be explained neither by the modernism which preceded it, nor by postmodernism. In Australia, the seventies saw a rash of new art “movements” emerge almost simultaneously.
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2001
    ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2001 1 TABLE OF CONTENTS ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS PRESIDENT’S REPORT 2 NEW ATTENDANCE RECORD SET FOR THE POPULAR ARCHIBALD, WYNNE AND SULMAN PRIZES, WHICH HAD MORE THAN 98,000 VISITORS. DIRECTOR’S REPORT 4 1 YEAR IN REVIEW 8 TWO NEW MAJOR AGNSW PUBLICATIONS, AUSTRALIAN ART IN THE ART GALLERY OF NEW SOUTH WALES AND PAPUNYA TULA: GENESIS AIMS/OBJECTIVES/PERFORMANCE INDICATORS 26 2 AND GENIUS. CORPORATE GOVERNANCE 32 DEDICATION OF THE MARGARET OLLEY TWENTIETH CENTURY EUROPEAN LIFE GOVERNORS 34 3 GALLERIES IN RECOGNITION OF HER CONTINUING AND SUBSTANTIAL SENIOR MANAGEMENT PROFILE 34 ROLE AS A GALLERY BENEFACTOR. ORGANISATION CHART 36 COLLECTION ACQUISITIONS AMOUNTED TO $7.8 MILLION WITH 946 FINANCIAL STATEMENTS 41 4 PURCHASED AND GIFTED WORKS ACCESSIONED INTO THE PERMANENT COLLECTION.TOTAL ACQUISITIONS HAVE GROWN BY MORE THAN $83.4 APPENDICES 62 MILLION IN THE PAST 10 YEARS. INDEX 92 MORE THAN 1.04 MILLION VISITORS TO OVER 40 TEMPORARY, TOURING GENERAL INFORMATION 93 5 AND PERMANENT COLLECTION EXHIBITIONS STAGED IN SYDNEY, REGIONAL NSW AND INTERSTATE. COMMENCED A THREE-YEAR, $2.3 MILLION, NSW GOVERNMENT 6 FUNDED PROGRAMME TO DIGITISE IMAGES OF ALL WORKS IN THE GALLERY’S PERMANENT COLLECTION. Bob Carr MP Premier, Minister for the Arts, and Minister for Citizenship DEVELOPED GALLERY WEBSITE TO ALLOW ONLINE USERS ACCESS TO Level 40 7 DATABASE INFORMATION ON THE GALLERY’S COLLECTION, INCLUDING Governor Macquarie Tower AVAILABLE IMAGES AND SPECIALIST RESEARCH LIBRARY CATALOGUE. 1 Farrer Place SYDNEY NSW 2000 CREATED A MAJOR NEW FAMILY PROGRAMME, FUNDAYS AT THE 8 GALLERY, IN PARTNERSHIP WITH A FIVE-YEAR SPONSORSHIP FROM THE Dear Premier, SUNDAY TELEGRAPH.
    [Show full text]
  • 'Everywhere About
    ‘Everywhere about us’ Acquisition of works by Vivienne Binns Alyce Neal A recent acquisition by the Ian Potter In memory of the unknown artist, of the art object; her contribution to Museum of Art, Lino, Canberra, which she characterises as ‘an feminist discourse; and her role in tile formation and overlay (2001), exploration and recognition of work pioneering important community arts is the first work by Canberra-based by anonymous artists and designers projects whose influence continues to artist Vivienne Binns to enter which is everywhere about us’.1 shape socially engaged art practices in the University of Melbourne Art These concerns underpin much Australia. Collection. Binns, who was born of Binns’ work as she continues to Graduating from the National in 1940 and has worked since articulate an expanded definition Art School, Sydney, in 1962 with a the early 1960s, is an important of art through a range of diverse Diploma of Painting and Drawing, Australian artist, known for her projects and inclusive approaches Binns held her first solo show, abstract, complex, multi-layered to making art. Significant threads Vivienne Binns: Paintings and and at times collaborative work. in the complex fabric of Binns’ constructions, at Watters Gallery, Lino, Canberra, tile formation and practice include her engagement with Sydney, in 1967, after an intensive overlay (pictured below) forms abstraction, a framework in which she period using automatic drawing part of Binns’ continuing series communicates an expanded definition processes derived from Dada and Alyce Neal Acquisition of works by Vivienne Binns 25 Previous page: Vivienne Binns, Lino, Canberra, Below: Vivienne Binns, Connections in tile formation and overlay, 2001, linoleum, autumn with Vivienne, 2017, acrylic on paper, wood, synthetic polymer paint; 90 × 180 cm.
    [Show full text]