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` ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2014 – 30 June 2015 North Terrace ADELAIDE SA 5000 Phone: 8207 7075 www.artgallery.sa.gov.au ISSN 0728-7925 ABN 52 290 987 817 2 The Hon Jack Snelling, Minister for the Arts Sir, I have the honour to present the seventy-second Annual Report of the Art Gallery of South Australia for the Gallery’s 135th year, ended 30 June 2015 Tracey Whiting, Chair Art Gallery Board 2014–15 Chair Mr Michael Abbott AO QC (until 2 August 2014) Mrs Tracey Whiting (from 7 August 2014) Members Emeritus Professor Anne Edwards AO Ms Sandra Sdraulig AM (until 27 July 2014) Mrs Sue Tweddell Mr Robert Whitington QC Mr Neil Balnaves AO Mr John Phillips Ms Jane Yuile (from 15 September 2014) Mrs Susan Armitage (from 4 June 2015) 3 4 TABLE OF CONTENTS Principal Objectives 6 Major Achievements 201 4–201 5 7-9 Strategic Goals 2012 –2015 10 -11 Resources and Administration 12 -31 Co llections 32 -36 Exhibitions and Public Programs 37 -39 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 40 -41 Appendix B1 Art Gallery Board 42 Appendix B2 Art Gallery of South Australia Foundation Council and Contemporary 42 Collectors Committee Appendix B3 Art Gallery Organisational Chart 43 -50 Appendix B4 Art Gallery Staff and Volunteers 51 -54 Appendix C Staff Public Commitments 55 -60 Appendix D Conservation 61 -62 Appendix E Acquisitions 63 -103 Appendix F Inward Loans 104 -112 Appendix G Outward Loans 113 -116 Appendix H Exhibitions and Public Programs 117 -130 Appendix I Learning a t the Gallery - School Support Services 131 Appendix J Gallery Guide Tour Services 132 -141 Appendix K Gallery Publications 14 2-143 Appendix L Annual Attendances 144 Appendix M Information Statement 145 -146 Appendix N Financial Statements 147 -185 5 PRINCIPAL OBJECTIVES OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act 1939 and can be summarised as the preservation, research and communication associated with heritage and contemporary works of art of aesthetic excellence and historical or regional significance. MISSION The mission of the Art Gallery of South Australia is to serve the South Australian and wider communities by providing access to original works of art of the highest quality. Through its permanent collections, temporary exhibitions and other public programs, the Art Gallery seeks to foster, promote and enhance understanding and enjoyment of the visual arts in general. VISION To be a leading art museum in Australia and the Asia Pacific Region that: • is highly respected for the quality and display of its collection, exhibitions, programs, interpretation and research; • engages South Australians from all walks of life in the visual arts; • enlivens and enriches the cultural dimension of the city and the state; and • is a major attraction for interstate and international visitors to South Australia. GOVERNMENT OBJECTIVES In addition, the Art Gallery plays a significant role in delivering specific elements of the South Australian Government’s seven strategic priorities: • Creating a vibrant city Creating an eclectic and exciting artistic program which attracts local and interstate visitors to the North Terrace precinct, greatly increasing the numbers of people in the city while bringing vibrancy to the city streets. This in turn will enhance the city’s atmospheric appeal and build upon the South Australian brand. • Every chance for every child Learning and children’s programs are at the core of the Art Gallery’s artistic program, as it is recognised that building a lifelong love of the visual arts and the Art Gallery begins at an early age. 6 MAJOR ACHIEVEMENTS 2014–2015 (Note: Where appropriate, relationship to South Australia’s Strategic Plan is indicated) Strategic Development This year marks the completion of the Art Gallery of South Australia Strategic Plan 2010-15. Major achievements include a greater focus in engaging with a wide and diverse range of visitors and participants in Gallery programs. This is apparent in general attendance figures rising from 480 363 in 2009-10 to 756 846 in 2014-15. This significant growth has been driven by the expansion of family and children’s programs through the START program presented by the Balnaves Foundation and The Studio program presented by the James and Diana Ramsay Foundation. Also contributing to the strong growth in visitor numbers has been the activation of the collection through the introduction of themed collection displays which regularly change supported by focussed public programs. The expansion of programs has been primarily driven by the diversification and growth of private philanthropy support for projects through both the Foundation and Contemporary Collectors groups. During the year Contemporary Collectors presented and funded the Trent Parke: The Black Rose exhibition and the Foundation supported the Treasure Ships: Art in the Age of Spices exhibition with a major appeal. The Dorrit Black: Unseen Forces and Mortimer Menpes exhibition publications were also supported by private philanthropy. The Gallery continues to develop a plan for a new digital strategy and has been successful in receiving a three year grant from the Ian Potter Foundation to initiate this new approach to managing the Art Gallery’s digital environment. Following the introduction of the Gallery’s Due Diligence and Provenance Policy work continues on improving the Gallery’s provenance history. The Gallery’s website now displays works with incomplete provenance in both the Asian and European collections and these lists are being added to regularly as research progresses. Plans are also underway to review acquisition documentation in keeping with best practice. Community Engagement 756 846 people visited the Gallery to see the permanent collection and exhibitions, an increase from 674 393 visitors in the last financial year. This is a 12% increase over the last financial year and continues the upward trend in visitor numbers. This total increased to 779 245 people with the inclusion of off- site exhibitions (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions). A total of 9 445 visitors attended 130 talks and tours; 13 practical workshops and demonstrations were attended by 513 people; in addition 14 957 visitors attended 1 661 guided tours delivered by the Gallery volunteer Guides; 6 923 visitors attended the Gallery’s children’s and family programs and events; and, 33 757 school students and support staff visited the Gallery as part of the Schools Support Services and 876 teachers received professional development (SASP Target 3: Cultural vibrancy – arts activities). The Fashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris exhibition attracted 60 000 visitors, with 26% of the audience identified as tourists. In conjuction with the exhibition the Gallery staged five after-hours events to give visitors to opportunity to view Fashion Icons out of normal working hours, 5pm–10pm, which attracted 2 092 patrons (SASP Target 3: Cultural vibrancy – arts activities). 7 In November 2014 the Gallery launched its after-hours program ‘First Fridays’ supported by major partner Santos. On the first Friday of each month the Gallery stayed open until 9pm with the evening focussing on the Gallery’s current exhibition and consisting of guest speakers, guided tours and live entertainment. The Studio, presented by the James and Diana Ramsay Foundation, has continued to be very successful. The Studio is a permanent hands-on activity centre offering free programs seven days a week with the space and activities reconfigured on a regular basis to reflect current exhibitions. From Monday to Friday the schedule is focused on school groups while weekends and school holidays are programmed for family visits. A total of 22 598 patrons participated in the program in the 2014-15 year (SASP Target 3: Cultural vibrancy – arts activities). The Gallery Website had 306 831 unique visits, with 1 069 477 pages viewed. Artistic Program The Gallery lent a total of 110 works to 24 exhibitions, including a major national touring exhibition and an international touring exhibition (SASP Target 4: Tourism Industry; SASP Target 3: Cultural vibrancy – arts activity). Five major temporary exhibitions were staged at the Gallery: Dorrit Black: unseen forces ; The World of Mortimer Menpes: Painter, Etcher, Raconteur ; Fashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris ; Trent Parke: The Black Rose ; and Treasure Ships: Art in the Age of Spices (a complete list of exhibitions and public programs is at Appendix H) (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP Target 3 Cultural vibrancy – arts activities). Twenty-three special collection displays were staged at the Gallery, full details in Appendix H under Collection Display Exhibitions (SASP Target 4: Tourism industry; SASP Target 3: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities). The Gallery produced the following publications and other merchandise: Fashion Icons: Masterpieces from the collection of the Musée des Arts Décoratifs, Paris ; Trent Parke: The Black Rose ; Treasure Ships: Art in the Age of Spices ; Spring 2014, Summer 2014–15, Autumn and Winter 2015 Articulate magazines; children’s activity trails; and a range of merchandise including boxed greeting cards and postcards, umbrellas, jigsaw puzzles, fridge magnets and various leaflets and brochures promoting exhibitions (SASP Target 99: Cultural engagement – institutions; SASP Target 3: Cultural vibrancy – arts activities). Collection Development 573 works of art were acquired across all areas of the collection. Details of significant additions to the collection are available in the section Collections Development with a complete list of acquisitions at Appendix E (SASP Target 4: Tourism industry; SASP Target 99: Cultural engagement – institutions; SASP Target 27: Understanding of Aboriginal culture; SASP Target 6: Aboriginal wellbeing).
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  • Japonisme in Britain - a Source of Inspiration: J

    Japonisme in Britain - a Source of Inspiration: J

    Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933).