Art Gallery of NSW Appendices 08–09

Sponsorship and philanthropy 74 Art prizes, grants and scholarships 75 AGNSW publications for sale 76 Visitor numbers 77 Exhibitions listing 78 Aged and disability access programs and services 79 Aboriginal and Torres Strait Islander programs and services 80 Ethnic affairs priorities statement 80 Electronic service delivery 82 Overseas travel 83 Collection – purchases 84 Collection – gifts 86 Collection – loans 90 Staff, volunteers and interns listing 98 Staff publications, presentation and related activities 101 Customer response 106 Compliance reporting 107

ART GALLERY OF NSW appendices 08–09 73 SPONSORSHIP President’s Council of the Art Longes; ; John & Jane KPMG; John C Conde AO, MBF Gallery of NSW: Major exhibitions Morschel; Roslyn Packer AO; ; Bill Wavish, Myer; Paul AND program partner Bridget Pirrie & Stephen Grant; O’Sullivan, Optus; Mark Johnson, PHILANTHROPY : Principal sponsor: Steven & Lisa Pongrass; John L PricewaterhouseCoopers; Alan Yiribana Gallery; Official airline: Sharpe; Brian Sherman AM; Joyce, Qantas; Greg Bartlet, The lost Buddhas, Monet and the Dr Gene Sherman; Geoffrey St.George Bank; Justin Miller, Impressionists Susskind; Michael & Eleonora Sotheby’s; Luca Belgiorno- Sponsors Triguboff; Malcolm & Lucy Turnbull; Nettis, Transfield Holdings; Philip at 30 June 2009 Sofitel Wentworth: Official and Phillip Wolanski AM. Coleman, UBS AG Australia; and hotel partner and support sponsor: Sally Herman, Westpac Banking Avant Card: Support sponsor: Archibald, Wynne and Sulman Corporation. general Prizes 2009, Monet and the Masterpiece Fund : Support sponsor: Impressionists Patrons of the Masterpiece Fund as at 30 June 2009: VisAsia Council 08, Monet and the The Sydney Morning Herald: Members of the VisAsia Council as Impressionists Media sponsor: The lost Buddhas, Art Gallery of NSW Foundation; at 30 June 2009: Clayton Utz: Disability access Monet and the Impressionists Art Gallery Society of NSW; and AC. Dr John Yu AC, chairman. programs partner Top Media Group: Media partner: Consulate-General of the Korean dreams Geoff & Vicki Ainsworth; the late Mark Warren, Australia Post; Bill Adrian Claude Lette; and Susan & Ferris AC, CHAMP Private Equity; : Cultural program Tourism NSW: Government Garry Rothwell. Philip Cox AO, Cox Richardson; partner: Intensely Dutch partner: Monet and the Matthew Banks, Macquarie Delta Electricity: Support sponsor: Impressionists The Lowy family; and John Schaeffer AO. Bank; Seng-Huang Lee, Mulpha , Monet and the UBS: Contemporary galleries Australia; Stephen Knight, NSW Impressionists program partner Antoinette Albert; Bell Potter TCorp; Warwick Johnson, Optimal Securities Ltd; Richard A Blair; Ernst & Young: Principal sponsor: VisAsia Council: Asian exhibition Fund Management; Terry Fern, Jillian Broadbent AO; Sam & Monet and the Impressionists program partner Petsec Energy; Robyn Norton & Sue Chisholm; The Clitheroe Stephen MacMahon, The George Freehills: Legal services Foundation; Rowena Danziger AM Life Governors Institute; John Saunders, The Events NSW: Government partner: & Ken Coles AM; Brian AM Linden Group; Jeffrey Riegel, The Gallery has acknowledged the Monet and the Impressionists & Philippa France; Chris & Judy The ; significant support of the following French Tourist Bureau: Fullerton; The Gonski Foundation; William Purcell, The University individuals by appointing them as Competition sponsor: Monet and The Greatorex Foundation; Geoffrey of Technology, Sydney; Michael Life Governors: the Impressionists Hassall & Virginia Milson; Fraser Sternberg, Valiant Hire; and & Hopkins; Wal & Denise JCDecaux: Media sponsor: The Franco Belgiorno-Nettis AC William Clark. CBE; Joseph Brender AO; Jillian King; Mark & Louise Nelson; Guy lost Buddhas, Monet and the & Marian Paynter; The Playoust Impressionists, Korean dreams Broadbent AO; Ken Cowley AO; Grants James Fairfax AO; Brian France Family Foundation; the late Michael During the year, a $5000 grant was Johnson Pilton Walker: Exhibition AM; AO & Frank Patrick Sheehan; Denyse Spice; received from the City of Sydney design partner: The lost Buddhas O’Keefe; Michael Gleeson-White John Symond AM; Dr & Mrs Hugh Council to support Indigenous art J.P. Morgan: Principal sponsor: AO; AC; Mollie Taylor; Max & Nola Tegel; Eleonora education programs. Studio Gowing; Shosuke Idemitsu; James & Michael Triguboff; Peter Weiss AM & Doris Weiss; Ray Wilson Hulsbosch Strategy and Design: Leslie AC, MC; Frank Lowy AC; John Morschel; Rupert Murdoch OAM & the late James Agapitos Bequests Film series supporter: Intensely OAM; and Peter Young AM. Dutch AC; Kenneth Myer AC, DSC; J The following bequests were Hepburn Myrtle CBE; Margaret received during the 2008–09 Hyundai: Associate sponsor: Olley AC; Max Sandow AM; John President’s Council financial year: Korean dreams Schaeffer AO; Julie Schaeffer; Members of the President’s Council $1.585 million was received from ING and ING Direct: Principal Edward Sternberg AM and Goldie as at 30 June 2009: the Susan Chandler Bequest to sponsors: Intensely Dutch Sternberg; Fred Street AM; Diana , president. be directed towards Foundation: Principal Walder OAM; Peter Weiss AM; Collection Focus Room; $51 116 Peter Young, ABN AMRO; David financial supporter: Korean dreams AC, QC; and John from Jocelyn Anne Milne’s bequest Baffsky AO, Accor Asia Pacific; Yu AC. was directed to the Gallery’s major Korean Chamber of Commerce: Roger Allen, Allen & Buckeridge; acquisition of Paul Cézanne’s Support sponsor: Korean dreams Nigel Williams, ANZ Banking Centenary Fund Bords de la Marne c1888; the sale Group; John Symond AM, LG Electronics: Associate sponsor: of shares held by the Patrons of the Centenary Fund as Aussie Home Loans; Bruce Fink, Korean dreams Bequest valued at $318 000 was at 30 June 2009: Bickham Court Group; Michael Macquarie Capital: Principal realised; and the Claire Armstrong; Alex & Vera Ihlein, Brambles; Giam Swiegers, sponsor: Focus Room (to end of Bequest of $952 317 will be Boyarsky; Jillian Broadbent AO & Deloitte Touche Tohmatsu; Chum 2008) and Art After Hours (from preserved, with the income from Olev Rahn; Joanna Capon OAM; Darvall, Deutsche Bank AG; 2009) the capital investment to be applied Judy Cassab AO, CBE; David & Glenn Poswell, Ellerston Capital to enhancing and developing Myer: Principal sponsor: Archibald, Michelle Coe; Kenneth Coles AM Limited; James Millar, Ernst & sculptural . Wynne and Sulman Prizes 2009 & Rowena Danziger AM; Jenny Young; Brian McCarthy, Fairfax exhibitions Ferguson; David Gonski AC & Media Limited; Bruce K Cutler, Optimal Fund Management: Orli Wargon; In memory of Aida Freehills; Clark Perkins, Goldman Principal sponsor: The lost Gordon; Yvonne & Christopher Sachs JBWere; Emmanuel Pohl, Buddhas Gorman; Alex Holland; Peter Hyperion Asset Management; & Sharon Ivany; Nettie & Peter Orient Express Travel: Associate David Gonski AC, Investec; Joseph OAM; Anne Landa; Michelle sponsor: Korean dreams Stephen O’Connor, JCDecaux & John Landerer CBE, AM; Australia; Damian Roche, J.P. Porter’s Original Paints: Official Geoffrey & Deborah Levy; Elizabeth Morgan; Chris Jordan AO, paint supplier

74 ART GALLERY OF NSW appendices 08–09 ART PRIZES, FOR DRAWING BRETT WHITELEY TRAVELLING GRANTS AND The $20 000 prize, judged by ART SCHOLARSHIP Anne Kirker, was awarded to This scholarship provides young SCHOLARSHIPS Virginia Grayson for her work No artists with an opportunity to travel conclusions drawn – self portrait. to Europe and further their artistic interests. It includes a financial ANNE LANDA AWARD award and access to the Gallery’s Art prizes This award has been established Paris studio for a period of three The 2009 Archibald, Wynne in honour of Anne Landa, a trustee months. The scholarship is a and Sulman Prize competitions, of the Art Gallery of NSW, who memorial to the late Brett Whiteley, sponsored by Myer, were held in died in 2002. This is the third in who in his youth was encouraged February 2009. A total of 1981 a biennial series of exhibitions for in his artistic endeavours by entries were received, of which moving image and new media winning a similar scholarship. 108 were selected for display. work, each with an acquisitive Special thanks are given to Beryl The Dobell Prize for Drawing, award of $25 000. The exhibition Whiteley, Brett’s mother, for sponsored by the Sir William is by invitation only and is not providing the generous donation Dobell Art Foundation, was held open to applications. This year’s to fund the scholarship. The in September 2008. Of the 586 themed exhibition was guest- 2008 scholarship of $25 000 was entries received, 49 were selected curated by Victoria Lyn. The award awarded to Amber Wallis. for display. was selected by a committee comprising the Gallery’s director, STUDIOS IN PARIS ARCHIBALD PRIZE , and our senior The Gallery allocates tenancy to The prize of $50 000 for portraiture curator of contemporary art, Wayne two art studios, the Moya Dyring was awarded to Guy Maestri for his Tunnicliffe. The 2009 recipient was Studio and the Dr Denise Hickey work Geoffrey Gurrumul Yunupingu. TV Moore for his video installation Memorial Studio, which it leases The Archibald Prize: People’s titled Nina, me and Ricky Jay 2009, at the Cité Internationale des Choice competition, which asks which has now become part of the Art in Paris. The studios were the viewing public to vote for their Gallery’s collection. occupied during the year by Wayne favourite entry, was won by Vincent Tunnicliffe, Nathan Hawkes, Owen Fantauzzo for his work Brandon. Grants and scholarships Leong, Wendy Wilkins and Wesley Fantauzzo received $2500 and a Hill, Hayley West, Lily Hibberd, $1000 Myer gift card, as did the THE BASIL AND MURIEL HOOPER Jessica Mais Wright, Gemma Gallery patron whose vote for the SCHOLARSHIP Smith, Anna Kristensen and winning entry was drawn from all These scholarships, valued at Natasha Bullock. votes cast for the winning artist. $4000 each, are available each The Archibald Prize: Packing Room year to fine art students attending Prize gives the Gallery employees recognised schools in New South who receive the entries the chance Wales to assist with the costs of to vote for their favourite portrait. fees, materials and general living The 2009 prize was awarded to expenses. This year a scholarship Paul Jackson for his work Flacco. was awarded to Perran Costi. Jackson receives $500 and a $500 Myer gift card. THE ELIOTH GRUNER PRIZE The 2008 prize of $1000 for the best landscape in oil by an art The prize of $25 000 for an student was awarded to Nicole Australian landscape or figure Kelly. was awarded to Lionel Bawden for his work The THE ROBERT LE GAY BRERETON amorphous ones (the vast colony MEMORIAL PRIZE of our being). This prize, which aims to promote and encourage the art of THE TRUSTEES’ WATERCOLOUR draughtsmanship, is available each PRIZE year to art students. The 2008 The prize of $2000 was awarded prize of $800 was awarded to to Graham Fransella for his work Simon Cowell. Shoreline. DYASON BEQUEST SIR PRIZE Administered under the terms of The prize of $20 000 was judged the will of the late Miss Anthea by artist Jon Cattapan and Dyason, the bequest provides awarded to Ivan Durrant for his grants of $5000 to work ANZAC match, MCG. students who have already won travelling scholarships. The grants enable recipients to better study architecture, sculpture or in countries other than Australia and New Zealand. In 2008, an award was made to Maria Ionico.

ART GALLERY OF NSW appendices 08–09 75 AGNSW • Double take: Anne Landa • , Edwards, pb $50 award for video and new • Self portrait: to PUBLICATIONS media arts 2009, Lynn, pb $30 FOR SALE contemporary, Bond, pb $45 • Giacometti: , prints and • retrospective, drawings, Capon, pb $45 Pearce, pb $50, hb $80 • Gifted: Mollie Gowing collection, • Still life, Tunnicliffe, pb $25 Perkins, pb $12 • Adventures with form in space: • Tradition today: Indigenous art in the fourth Balnaves Foundation • Half light: portraits from black Australia, Perkins, pb $40 Sculpture Prize, Tunnicliffe, pb $35 Australia, Perkins, pb $45 • Translucent world: Chinese jade • An incomplete world: works from • Harold Cazneaux: artist in from the Forbidden City, Liu, pb the UBS Art Collection, Tunncliffe, photography, Bullock, pb $45 $45 pb $45 • Highlights from the collection, • True stories: artists of the East • Anne Landa Award 2006, Capon, pb $40 Kimberley, DVD $30 Tunnicliffe, pb $25 • Intensely Dutch: image, • What colour is that?, Keeler- • Archibald 05, pb $16 abstraction and the word post- Milne, pb $18.95 • Archibald 06, pb $16 war and beyond, Kolenberg, pb $40 • What number is that?, Keeler- • Archibald 07, pb $16 Milne, pb $18.95 • : complete screen • Archibald 08, pb $16 prints 1960–1980, Kolenberg, pb • Archibald 09, pb $16 $25 Bold denotes new titles in • Asian collections, Menzies, pb • , Capon & Pearce, 2008–09. $45 pb $45, hb $66 • Australian drawings, Kolenberg, • Korean dreams: and pb $40 screens of the Joseon dynasty, • Belle Ile: Monet, Russell and U-Fan, pb $30 Matisse in Brittany, Prunster, hb • Let’s face it: history of the $25 Archibald Prize, Ross, pb $50 • Bertram Mackennal, Edwards, hb • Lewis Morely, Annear, pb $40 $80 • Lost Buddhas: Chinese • Brett Whiteley: studio, Pellow, pb Buddhist sculptures from $45 Qingzhou, Capon, pb $35 • Celestial silks: Chinese religious • Man Ray, Annear, pb $30 and court textiles, Rutherford & • Margaret Olley, revised edition, Menzies, pb $35 Pearce, hb $60 • Contemporary: Art Gallery of • Monet and the Impressionists, contemporary Shackleford, pb $40, hb $65 collection, Tunnicliffe, hb $45 • Nineteenth-century Australian • Crossing country: the alchemy watercolours, drawings & pastels, of western Arnhem Land art, Kolenberg, hb $45 Perkins, pb $50 • One sun one moon: Aboriginal art • Crossing country: the alchemy of in Australia, Perkins, hb $120 western Arnhem Land art, DVD $30 • Orientalism: Delacroix to Klee, Benjamin (ed), pb $45 • Dancing to the flute, Menzies, pb $44 • Photography collection, Annear, pb $45 • Dobell Drawing Prize, 2nd edition, Kolenberg, pb $22 • Pre-Raphaelites and Olympians, Beresford, pb $20 • : this vital flesh, Edwards, pb $30.80

76 ART GALLERY OF NSW appendices 08–09 VISITOR NUMBERS

Monthly visitors

Total visitors Domain BW Studio Touring Average daily Month 2004–05 2005–06 2006–07 2007–08 2008–09 2008–09 2008–09 2008–09 Domain 08–09 July 115 194 95 690 113 979 121 745 175 816 86 577 583 88 656 2 793 August 102 579 112 172 115 769 98 682 160 732 71 412 897 88 423 2 304 September 100 238 91 764 93 398 85 902 140 283 79 482 962 59 839 2 649 October 111 954 97 960 96 840 70 786 130 563 124 276 587 5 700 4 009 November 93 854 130 102 82 506 81 415 142 874 131 596 838 10 440 4 387 December 144 923 189 628 84 514 86 642 109 878 101 683 287 7 908 3 280 January 123 277 231 202 105 646 121 333 221 202 200 922 486 19 794 6 481 February 96 651 126 184 88 781 114 862 88 483 63 563 884 24 036 2 192 March 101 521 145 393 166 828 165 731 173 406 148 523 859 24 024 4 791 April 88 190 196 936 126 471 146 874 143 698 135 085 760 7 853 4 503 May 151 085 157 541 94 058 113 014 113 193 107 649 938 4 606 3 473 June 121 988 116 295 132 804 148 560 105 405 61 994 879 42 532 2 066 YTD TOTAL 1 351 454 1 690 867 1 301 594 1 355 546 1 705 533 1 312 762 8 960 383 811

Paid exhibition program Annual total visitor numbers 1999–2000 to 2008–2009 Exhibition Months Visitors

Taisho- chic July–Aug 12 047 1.7 The lost Buddhas Aug– Nov 50 816 1.6

Monet and the Impressionists Oct–Jan 225 745 1.5 million

Archibald, Wynne & Sulman Prizes March–May 148 336 1.4

TOTAL 436 944 1.3

1.2

1.1

1 million 02–03 05–06 08–09 06–07 01–02 03–04 04–05 99–00 00–01 0.9 07–08

0.8

ART GALLERY OF NSW appendices 08–09 77 EXHIBITIONS LISTING

AGNSW AGNSW Dates Department Exhibition Ticketed Tour Publication 01.12.07–20.07.08 Australian: Whiteley Studio Poetic eye 20.12.07–16.11.08 Australian: Indigenous Living black 10.04.08–16.07.08 Western: Photography Ghosts in the machine: anonymous photographs 10.04.08–26.10.08 Western: Contemporary Focus on contemporary • 10.04.08–27.07.08 Western: Contemporary Bill Viola: The Tristan Project • 15.05.08–27.07.08 Western: Contemporary Adam Cullen: let’s get lost • 22.05.08–03.08.08 Asian Taisho¯ chic: Japanese modernity, nostalgia and deco • 29.05.08–31.08.08 Australian Judy Cassab: landscapes from the collection 05.06.08–10.08.08 Western: Photography Harold Cazneaux: artist in photography 18.06.08–07.09.08 Western: Contemporary Biennale of Sydney 2008: Revolutions – forms that turn 18.06.08–03.10.08 Library Australian bookbinders exhibition 26.07.08–09.11.08 Western: Photography Francis J Mortimer • 26.07.08–15.03.09 Australian: Whiteley Studio Whiteley and the third dimension 07.08.08–26.10.08 Western: Contemporary Kate Beynon: auspicious charms for transcultural living • 22.08.08–26.10.08 Western: European War: the prints of Otto Dix 29.08.08–23.11.08 Asian The lost Buddhas: Chinese Buddhist sculpture from Qingzhou • • • 05.09.08–09.11.08 Australian Dobell Prize for Drawing 2008 06.09.08–23.11.08 Australian Tom Arthur: the fertilization of Drako Vülen’s cheese pizza • 23.09.08–06.10.08 Public Programs Operation art 2008 11.10.08–26.01.09 Western: European Monet and the Impressionists • • 12.11.08–19.04.09 Australian: Indigenous Country, culture, community 21.11.08–22.02.09 Australian: Indigenous Half light: portraits from black Australia • 29.11.08–15.03.09 Australian The late landscape paintings of Horace Trenerry • 01.12.08–12.12.08 Library Contemporary Australian artists’ books 12.12.08–15.02.09 Asian Genji: the world of the Shining Prince • 14.02.09–19.04.09 Public programs Artexpress 09 19.02.09–14.06.09 Western: Contemporary Justene Williams: bighead garbageface guards ghost derr sonata • 19.02.09–14.06.09 Western: Contemporary Óscar Muñoz: biografías 19.02.09–14.06.09 Western: Contemporary Ângela Ferreira and Narelle Jubelin: the great divide • 05.03.09–08.06.09 Asian Korean dreams: paintings and screens of the Joseon dynasty • 07.03.09–24.05.09 Australian Archibald, Wynne and Sulman Prizes 2009 (three exhibitions) • • • 13.03.09–17.05.09 Western: Contemporary Tim Johnson: painting ideas • • 21.03.09–03.06.09 Australian: Indigenous Mountford gifts: works from the American Australian • Scientific Expedition to Arnhem Land 1948 21.03.09–06.09.09 Australian: Whiteley Studio Floating world: landscape, the figure and calligraphy in the art of Brett Whiteley 07.05.09–19.07.09 Western: Contemporary Double take: Anne Landa Award for video and new media arts 2009 • 09.05.09–18.12.09 Australian: Indigenous The dreamers 18.05.09–30.06.09 Western: Contemporary Joseph Kosuth: light 05.06.09–23.08.09 Australian Intensely Dutch: image, abstraction and the word post-war and beyond • 06.06.09–30.08.06 Australian Sydney Long’s Pan • 25.06.09–13.09.09 Western: Contemporary Nicholas Mangan: between a rock and a hard place • 25.06.09–13.09.09 Western: Contemporary Et al: maintenance of social solidarity

Touring exhibitions

Dates Venue Location Exhibition Attendance 06.05.08–14.09.08* J Paul Getty Museum Los Angeles, USA August Sander 220 096 16.06.08–31.08.08 State Library of , QLD Indigenous connections 6 794 01.07.08–28.09.08 Brisbane, QLD Sidney Nolan retrospective 78 961 12.07.08–16.08.08# Goulburn Regional Art Gallery Goulburn, NSW Archibald Prize 08 4 961 12.07.08–07.09.08 Gold Coast City Art Gallery Gold Coast, QLD 9 shades of Whiteley 10 327 29.08.08–12.10.08# Bathurst Regional Art Gallery Bathurst, NSW Archibald Prize 08 10 429 13.09.08–15.11.08 Lismore Regional Gallery Lismore, NSW 9 shades of Whiteley 5 377 31.10.08–07.12.08# Lake Macquarie City Art Gallery Lake Macquarie, NSW Archibald Prize 08 11 022 22.11.08–08.02.09 New England Regional Art Museum Armidale, NSW 9 shades of Whiteley 4 148 15.12.08–18.01.09# Port Macquarie Hastings Regional Art Gallery Port Macquarie, NSW Archibald Prize 08 9 145 16.01.09–26.04.09 Peranakan Museum Singapore The lost Buddhas 41 918 23.01.09–28.02.09# Lismore Regional Gallery Lismore, NSW Archibald Prize 08 7 638 14.02.09–19.04.09 Newcastle Region Art Gallery Newcastle, NSW 9 shades of Whiteley 19 104 01.05.09–14.06.09 Bathurst Regional Art Gallery Bathurst, NSW 9 shades of Whiteley 5 000 30.05.09–12.07.09 Art Gallery Bendigo, VIC Archibald Prize 09 38 500 20.06.09–30.06.09 Queensland Art Gallery Brisbane, QLD Tim Johnson: painting ideas 3 747 * Attendance figure for 2008–09 was 126 710. # Tour organised in association with the Museums & Galleries NSW.

78 ART GALLERY OF NSW appendices 08–09 AGED AND southern side of the building. From qualities of marble, bronze and reference to serving visitors with the rear of the Gallery, access to stone and discover the stories and special needs. Some volunteer DISABILITY all exhibitions and displays, as well ideas surrounding these objects. guides and staff have undertaken ACCESS as public and administrative areas, The In Touch tour program includes introductory courses in sign PROGRAMS is by way of ramps and lifts and is a component of audio description, language. AND SERVICES signposted. to be used in conjunction with A designated education officer A wheelchair-accessible bus existing tours and to complement manages the Gallery’s accessible (route 441) runs from the Queen selected temporary exhibitions. arts programs and facilities for Victoria Building to the Gallery. These tours can incorporate art- people with disabilities. Timetable details are available by making workshops to expand The Art Gallery of NSW recognises the experience of enjoying art. telephoning 13 15 00 or visiting HELPERS and supports the right of people The Gallery has developed a www.131500.info. General entry to the Gallery is free with disabilities to be involved in sensory trolley, which includes for all visitors. However, where the life of the community generally The Gallery provides wheelchairs, tactile materials and props that entry fees are charged for major and the cultural life of Sydney in which, are available by contacting complement the In Touch tours of temporary exhibitions, helpers particular. Accordingly, the Gallery the security office on 9225 1775. the Gallery. commits to providing people with accompanying visitors with All exhibition spaces are accessible In the past year, the Gallery has disabilities with equitable access by lift. disabilities are admitted free of to our services, the building, responded to requests from the charge. information and opportunities. The Domain Theatre and Centenary community to develop audio- Auditorium have access space described tours of two-dimensional INFORMATION AND PUBLICITY The Gallery submitted its Disability designed for wheelchair users. works to complement the In Touch The biannual Highlights brochure Action Plan 2009 to the NSW tours. Department of Ageing, Disability Toilets for visitors with disabilities is available free at the ground floor and Home Care. are located throughout the building The main visitors’ elevator, servicing information desk. This publication on the upper level, lower level 1 lower level 1, the ground floor contains information for visitors with and lower level 3. and the upper level, has voice special needs. Major initiatives notification of floor and access Free brochures on the accessible The Gallery, in partnership with information, as well as Braille floor Visitors who are deaf arts programs are also available at Clayton Utz, presents a series buttons. of access programs specially and hearing impaired the information desk. Signing Art, which offers Auslan- designed for people with Children with an The Gallery website also contains disabilities. These programs allow interpreted tours and events for information regarding all the visitors with disabilities to enjoy deaf and hearing-impaired people, intellectually disability programs and services outlined their art experience at the Gallery is the Gallery’s longest-running The Gallery’s Da Vinci Project is here. through ‘touch’ and ‘sensory’ access program. Held at 1.30pm an initiative involving a specially tours. on the last Sunday of every designed program for students EMPLOYMENT PRACTICES month (except December), these with mild to moderate intellectual In 2008–09, access awareness The Gallery is committed to free performances incorporate disabilities. This program provides training was delivered to teacher- equal opportunity principles mime, puppetry and improvisation students with the opportunity to lecturers, Gallery officers, for recruitment and general to create vibrant and diverse experience art through stimulating information desk staff, shop staff, employment practice. Of staff educational entertainment. On and fun-filled workshops which volunteer children’s guides and working at the Gallery, 2.1% have the last Sunday of the month, include discussion, role-play and community ambassadors (Asian- a disability and 0.4% require GalleryKids performances are the use of sensory materials. languages tour guides) through some form of adjustment to the Auslan interpreted. seven sessions presented with workplace. Accessible Arts NSW. These Auslan interpretation of selected Art General sessions focused on increasing After Hours celebrity talks is also understanding of issues affecting offered. COMMUNICATIONS people with disabilities and Groups of visitors who are deaf and The Gallery’s official website (www. developing strategies for removing who make bookings are provided artgallery.nsw.gov.au) can display social barriers. Plans are in place with sign language interpreters free large-print screen versions of all for the continued delivery of of charge. information. access training to Gallery staff and The TTY number, (02) 9225 1711, The website incorporates volunteers. is listed in the TTY directory. myVirtualGallery, which enables online visitors to create their own The Domain Theatre is equipped Visitors with physical virtual exhibition using works with audio-induction loop facilities from the Gallery’s collections. The disabilities for all lectures and films. The Gallery commenced a major program offers an interactive arts An FM microphone system for upgrade of the dock area. This experience for people with limited hearing aid users is available on involves the erection of a wall to mobility. request for guided tours. separate the disabled ramp from The availability of the collections the docking area, making access online means anyone can search safer and less chaotic. Visitors who are visually or browse the artworks and video There are four dedicated disabled impaired talks without physically being at parking spaces available in front The Gallery’s In Touch program the Gallery. of the Gallery and two at the rear. provides people who are visually Special arrangements are also impaired with an opportunity to STAFF TRAINING made for bus parking. Access to explore works through touch. Information and awareness the spaces at the rear of the Gallery Specially trained volunteer guides sessions are held for staff and is via the service road on the help visitors experience the tactile volunteer guides, with particular

ART GALLERY OF NSW appendices 08–09 79 ABORIGINAL and works of eight distinguished the collection. Unfortunately, due ETHNIC AFFAIRS Aboriginal artists who have to a lack of sponsorship funding AND TORRES contributed significantly to for family programs, the collection PRIORITIES STRAIT ISLANDER Australia’s cultural landscape. character tours felt the pinch and STATEMENT PROGRAMS It featured major works by have been pared back until a Kutuwulumi Purawarrumpatu (Kitty new funding source can be made AND SERVICES Kantilla), Ronnie Tjampitjinpa, available. However, Ngununy was Rusty Peters, Dr David Malangi, revised and refreshed for NAIDOC The Gallery is committed to the John Mawurndjul, Ginger Riley week in July 2008. principles of multiculturalism,

Munduwalawala, Judy Watson and Hour-long educational tours of as outlined in section 3 of the The Gallery organises many Munggurrawuy Yunupingu, along Community Relations Commission activities which are designed to the Yiribana Gallery, designed for with key works by other artists school children, tertiary students and Principles of Multiculturalism introduce Aboriginal and Torres with whom they share a synergy. Act 2000. Strait Islander visitors and others and special needs groups, continue These artists are the dreamers of The NSW government has to the history and culture of the to be conducted regularly. During the future. identified four key objectives for Indigenous peoples of Australia. 2009, the focus of these tours will respectful intercultural community These offerings include temporary be on the exhibition The dreamers. relations: leadership, community exhibitions, public program events Resources The Gallery also continues to harmony, access and equity, and the permanent collection on This year the Gallery launched its conduct Manioo workshops, and economic and cultural view in the lower level 3 Yiribana major collection-based education named for the Eora word opportunities. Gallery. kit, Country, culture, community, meaning ‘to pick up anything’. featuring the work of 32 significant These free workshops were In working to achieve these This year the Gallery mounted a Aboriginal and Torres Strait Islander designed to support and objectives, the Gallery presents significant number of exhibitions artists or groups of artists. encourage underachieving gifted exhibitions, public and education which celebrated the work and A new children’s art trail was primary students in meeting programs, and other initiatives influence of Aboriginal and Torres designed in conjunction with the their intellectual, artistic, social developed during the year which Strait Islander artists in Australia. Living black exhibition. Art trails and emotional needs. Using are listed in the outcomes below. Living black (20 December 2007 are an innovative and interactive the permanent collection as a – 16 November 2008): taking education resource, combining key resource within this special Ethnic affairs priority its title from the award-winning viewing and interpreting specific environment, the workshop outcomes 2008–09 book of the same name by the artworks with drawing and writing serves disadvantaged children late artist, playwright, poet and activities. from differing backgrounds, with Exhibitions curator Kevin Gilbert, this exhibition a focus on Indigenous children. Three Indigenous teacher-lecturers The Gallery continued to grow its explored the different experiences Indigenous artists with works in the successfully completed the commitment to the promotion and of ‘living black’ in contemporary Gallery’s permanent collection talk educators’ course at the Gallery, celebration of cultural diversity in Australia and featured new to students about their work and adding an important dimension 2008–09. This was reflected in the major acquisitions. The Gallery assist them with art-making. to the Education Department’s exhibition program, which included: conducted free daily guided tours delivery of services related to the - in conjunction with the exhibition. Taisho chic (22 May – 3 August Yiribana Gallery and Aboriginal Selected highlights of staff 2008): captured the balance Mountford gifts (21 March and Torres Strait Islander art. They and public activities between modernity and nostalgia, – 3 June 2009): this Focus Room are the first Indigenous teacher- Aboriginal and Torres Strait the clash and the embrace. The exhibition highlighted the eight lecturers to complete the course. Islanders represent 1.5% of the exhibition featured paintings, prints, bark paintings and 16 works Volunteer guides received ongoing Gallery’s workforce, which is just textiles and decorative arts from on paper that were gifted from training that specifically focused under the NSW government’s the period, ranging from prints works collected by the American on the Aboriginal and Torres Strait Two Ways Together public sector of coolly sophisticated young Australian Scientific Expedition to Islander art collection. These employment target of 2%. women, to bold kimonos with Arnhem Land in 1948. important training sessions go Strengthening our archive of abstract patterns that reinterpreted Half light (21 November 2008 – beyond the artworks, introducing Indigenous art, the Aboriginal and traditional motifs, to sleek 22 February 2009): this exhibition guides to the many social and Torres Strait Islander art department glassware that represented the was the first major survey of political issues surrounding the continued to film interviews with latest in chic. the work of Australian Indigenous production of Indigenous art in Indigenous artists, as well as War: the prints of Otto Dix artists engaging with the Australia and aiming to ensure they collect documentary materials on (22 August – 26 October 2008) photographic medium and the are up to date with the dynamic Indigenous art. showcased Dix’s war portfolio Des portrait. nature of Indigenous art and The Aboriginal Collection Krieg 1924 which is regarded as culture. Country, culture, community Benefactors continued to raise one of the great masterpieces of (12 November 2008 – 19 April Throughout the year, guided tours funds specifically for the acquisition 20th-century . 2009): presented in conjunction were conducted for Aboriginal of Indigenous art. The lost Buddhas (29 August with the launch of the Gallery’s new audiences and groups to assist in – 23 November 2008) featured Aboriginal and Torres Strait Islander strengthening their appreciation of 6th-century stone Buddhist art education kit, this exhibition Aboriginal art and artists. sculptures that are considered an illustrated Indigenous Australia’s Several years ago, as part of archaeological find on par with the cultural heritage and its many the collection character tours, First Emperor’s terracotta soldiers. contemporary expressions. the character of Ngununy, the Genji: the world of the Shining The dreamers (9 May – cheeky fruit bat, was created to Prince (12 December 2008 – 15 18 December 2009): drawing take visitors on a lively tour of February 2009) celebrated the from the Gallery’s collection, this Aboriginal art, promoting a greater 1000th anniversary of ’s exhibition celebrated the lives understanding of key artworks from oldest novel, The tale of Genji, and featured 70 works.

80 ART GALLERY OF NSW appendices 08–09 Korean dreams (5 March – 8 art of cinema within a gallery Dutch was promoted widely to the Ethnic affairs priority June 2009) was the Gallery’s first context, the films expand on ideas Dutch community with brochures goals for 2009–10 exhibition of Korean painting, and and themes present in major and information distributed through The Gallery’s 2009–10 program of featured Korean screens, hanging exhibitions. Appealing to a diverse, the Dutch consulate and other key major exhibitions and associated scrolls and album leaves dating and often multicultural audience, Dutch community organisations. educational programs will continue from the 17th–19th centuries. the program is dedicated to Throughout the year the Gallery to reflect and promote cultural presenting fascinating moments Óscar Muñoz: biografías (19 has received significant coverage diversity and harmony. Exhibitions in world cinema. In 2008–09 the February – 14 June 2008) for exhibitions in the Japanese, will include Garden and cosmos: film program presented screenings presented the five-channel video French, Chinese, German, Korean, the royal paintings of Jodhpur, in conjunction with exhibitions installation Biografías, one of a Indian and Dutch language media. which will provide a rare chance including The lost Buddhas, series of works in which portraits The coverage includes articles, to see paintings from the royal Gengi and Korean dreams. The slowly vanish, reflecting the listings and reviews in newspapers, collection of the Mehrangarh lost Buddhas film series explored disappearance of people occurring magazines, TV and radio. There Museum Trust, Jodhpur, India, the complex spiritual beliefs and on a regular basis in Colombia. is ongoing coverage with ABC’s and to experience the unique art practices of Buddhism – political Asia Pacific TV network, which tradition that flourished in the royal Ângela Ferreira and Narelle histories, everyday stories, life- is available in 34 countries to courts between the 17th and 19th Jubelin (19 February – 14 June altering events and artistic pursuits. 2008) was a collaborative exhibition approximately 8.7 million homes. centuries. The series included The cup by Regular coverage also appears in that united the artists’ interests in The Gallery will present public and Bhutanese filmmaker (and Buddhist other international media. post-colonial experiences: Ferreira’s monk) Khyentse Norbu, The story educational programs supporting in Mozambique and South Africa; of the weeping camel by Mongolian The Gallery’s maps are available both exhibitions and associated and Jubelin’s in Australia. filmmaker Byambasuren Davaa and in Japanese, Mandarin, Korean, events in 2009–10, including Martin Scorsese’s drama detailing Arabic, Italian, French, Spanish and the lecture series Arts of Asia Educational and the life of the Dalai Lama, Kundun. German. (Decoding dress), Gardens of Eden entertaining public A series of contemporary Korean and Decoding the baroque II as programs cinema was generously sponsored Gallery employees individual lunchtime and evening The ongoing presentation of a by the Consulate-General of the This year, 19.7% of the Gallery’s lectures. Art adventure tours will dynamic and culturally varied series Republic of Korea in conjunction employees were indentified as be conducted in conjunction with of public and education programs with the Korean dreams exhibition. coming from non-English-speaking various exhibitions focusing on reflects the Gallery’s commitment Screening from March to June backgrounds, which is in line with people and their cultural beliefs. to making the collection and 2009, the series presented a the NSW government’s target of The Gallery will continue to present temporary exhibitions readily survey of one of the most vital film 20%. A number of employees who a culturally diverse range of films. accessible to the public. industries currently on the world speak community languages assist The Gallery will also continue to • Art After Hours: special programs stage, with a selection of popular other staff and visitors, earning a encourage staff to participate in the held every Wednesday night and art cinema from directors such Community Language Allowance. Community Language Allowance include performances, talks, films as Kim Ki-duk, Lee Chang-dong, As at 30 June 2009, the Gallery scheme and to extend the range of and music, with many of these Im Sang-soo, Park Chan-wook, had staff officially designated as languages currently represented events highlighting and exploring Bong Joon-ho and Kim Dae-seung. able to offer assistance in Hindi, cultural diversity. The screenings attracted a large Cantonese, Polish, German, contingent of Korean as Italian, Mandarin, Spanish and • Arts of Asia (Decoding dress): this well as regular viewers fascinated Indonesian. An annual calendar of lunchtime lecture series looked at by the output of this robust film significant religious and holy days the stories behind the many forms industry. was circulated to all supervisors to of Asian dress throughout history. enable scheduling of employees’ • Decoding the baroque II: this Promotion and resources commitments to meet their religious sold-out lecture series continued Selected exhibitions and special obligations. to explore the development events were advertised in various of Western culture, tracing multicultural publications. developments across Europe up to the time rococo emerged. Taisho¯ chic was advertised in Nichigo Press and Japaralia • Education kits and language and was also promoted to the worksheets: the rapidly expanding Japanese community through collection of online education The Japan Foundation. The lost kits has enabled wider access Buddhas was promoted to the to a culturally diverse range of Chinese community through educational resources. There are advertising in Sing Tao. A Chinese now 41 online education kits freely language brochure was also available for download from the produced, which was distributed Gallery’s website (www.artgallery. extensively to the Chinese nsw.gov.au/ed/resources/ed_kits). community. Korean dreams was Education kits included Adventures advertised widely to the Korean in Asia and the language worksheet community through five Korean series Art speaks: Japanese and publications and also TV Korea. Art speaks: Italian. Brochures and posters were • Film program: significant feature distributed extensively to the films and documentaries are Korean community through the screened in conjunction with Korean consulate and other key major exhibitions. Exploring the Korean organisations. Intensely

ART GALLERY OF NSW appendices 08–09 81 ELECTRONIC forms (Archibald, Wynne and • Two new ‘encapsulated mini- Website access replaces Sulman, and Dobell) were websites’ have been created for publications SERVICE DELIVERY downloaded 9017 times. the exhibitions The lost Buddhas: In December 2008, the Gallery Chinese Buddhist sculpture from Additionally, a total of 29 207 free published its final issue of Qingzhou and The late landscape education kits or room brochures Exhibitions & Events, and, in paintings of Horace Trenerry. These and 1187 free online catalogues March 2009, a final issue of the Overall visitation of the are located within the ‘Exhibitions’ were downloaded. separate Events insert. Increasing websites section of the main website but public use of the Gallery’s website In addition to the main website, also have their own, internal has reduced our reliance on a the Gallery operates a number Website upgrade navigation menus. detailed, printed brochure. A new of subsites. The total number of In January 2009, a consultant • The new website for the twice-yearly publication, Highlights, actual visits (to all websites) for the from Ether Multimedia was hired to exhibition Monet and the available from the information year was 1 903 521 or 5215 visits review, and recommend steps to Impressionists (www.monet.org. desk, was launched in June 2009. per day on average, peaking at improve: au) was launched in November This takes the form of a six-fold 7497 per day in March 2009, which • the performance of the current 2008 and featured images of postcard-sized brochure, with coincided with the opening of the website and the current website the exhibition and interactive exhibition highlights on one side Archibald Prize and the associated performance-monitoring process educational content on the and a complete exhibition listing, media coverage of this popular • the website under construction (in life and art of Claude Monet. It general information and event annual exhibition. MySource Matrix), in terms of web had 106 912 page-views during highlights on the other. Readers The main Art Gallery of NSW standards, accessibility, usability 2008–09, from an estimated are directed to the Gallery website website accounted for 75% of and (potential) performance 24 500 visitors. for more detailed information. visits, followed by the Archibald • the website upgrade process • Inside ARTEXPRESS 09 Highlights also complements Prize (10%), the Brett Whiteley (both in terms of technology and (www.insideartexpress.com.au) individual temporary exhibition Studio (5%), Inside ARTEXPRESS staff resources) was launched in February 2009. brochures, which include and Art After Hours (3% each) information about related programs. Some useful recommendations In addition to the usual features and the last three sub-sites (2% This initiative also contributes to were made that were acted (including an interactive, virtual or less). ‘Exhibitions’ was the the Gallery’s WRAPP target for upon almost immediately. A walkthrough, downloadable most visited section of the website reducing paper waste. recommendation and proposal process diaries and connections (29%), followed by ‘About us’ with the Gallery’s collection for (13%) ‘Press office’ (12%), ‘Events’ were also made to rebuild the website as a customised ‘web six works), it also launched the and ‘What’s on’ (11% each) and Gallery’s peer2peer project, with ‘Education’ (8%). application framework’, with the aim of providing a unified interface video interviews by secondary students of selected ARTEXPRESS Messaging via the websites for a number of separate data sources, such as the collection and 09 artists. This and its predecessor, The ‘Contact us’ form on the research library catalogues. Inside ARTEXPRESS 08, were main website was used for 728 visited 57 598 times during messages by the general public. 2008–09. General enquiries accounted for myVirtualGallery 27% of these, followed by 23% for myVirtualGallery is an interactive, Social media curators, 16% for the Art Gallery educational tool that allows anyone to create their own virtual The Gallery now has a presence in Society and 15% for human the following social media sites: resources. The education section’s exhibitions using works from the ‘Send a message’ form was used collection. There are now 3209 • Facebook (social networking): for 516 messages. The research people who have registered as www.facebook.com/ArtGalleryofNSW library enquiry form was used for exhibition creators and 1796 The Brett Whiteley Studio also has 187 messages: 52% for ‘general exhibitions (453 created during its own Facebook pages: www. interest’, 32% for ‘professional 2008–09). Over half of the 151 525 facebook.com/BrettWhiteleyStudio research’ and the rest by students. page-views in 2008–09 were from • Flickr (photographs): www.flickr. The ‘Frequently asked questions’ people logging in to edit their own com/photos/31243265@N02 and form for submitting new questions exhibitions. It has been used as a the AGNSW Flickr Group: www. was used for 75 messages and resource and/or assessment tool flickr.com/groups/artgallery_nsw/ by many educational institutions, the ‘Website feedback’ form for • YouTube (videos): www.youtube. from primary school to university. 54 messages. com/user/ArtGalleryNSW New content • Twitter (instant, brief updates): Online transactions twitter.com/ArtGalleryNSW A total of 991 purchases Apart from regular updates to the • Delicious (web bookmarks): www. (representing a turnover of over main website (particularly in the delicious.com/art_gallery_of_nsw $66 000) were made through the ‘Events’, ‘Exhibitions’ and ‘Press Gallery’s Shop online. In November office’ sections), the following The Gallery’s Facebook pages 2008, the online purchase of significant developments have had 2875 fans at the end of June exhibition tickets was handed occurred: 2009 and had been visited 22 160 over to the Gallery’s new ticketing • Videos of key events, mostly times. The Brett Whiteley Studio’s system, Centaman. This has Art After Hours celebrity talks and Facebook pages had 327 fans enabled the public to print their performances, and some specially at the end of June 2009 and had own barcoded admission tickets. made videos, have been posted to been visited 7858 times. Videos Teachers used the education online the ‘Videos and podcasts’ area of on the Gallery’s YouTube channel booking form for 810 booking the website, as well as to the Art (selections from those available requests, and downloaded 411 After Hours sub-site. These and on the Gallery website) had been copies of the printable booking previous videos have been viewed viewed over 31 000 times. The form (PDF). Art prize application online over 15 500 times. Gallery’s Twitter feed had 915 followers.

82 ART GALLERY OF NSW appendices 08–09 OVERSEAS TRAVEL Jackie Menzies, head curator, Edmund Capon, director Asian art China, 7–21 April 2009 Philippines, 19–25 October 2008 Negotiate and research exhibition Research and develop an exhibition of terracotta warriors, Tibetan Sun Yu, conservator, Asian art of art from the Philippines in bronze sculpture and an exhibition China, 18–31 July 2008 conjunction with Asialink, at the on Dunhuang and the religions of Courier Buddhist sculpture from University of . the Silk Road. Qingzhou. Amanda Green, acting registrar, Liu Yang, curator, Chinese art Alan Lloyd, head, conservation collections China, 7–21 April 2009 Switzerland, 18–22 July 2008 Netherlands and UK, 26 November Negotiate and research exhibition Courier major potential acquisition. – 6 December 2008 of terracotta warriors, Tibetan Courier The modern pre-Raphaelite bronze sculpture and an exhibition Analiese Cairis, senior graphic by J W Waterhouse to Amsterdam on Dunhuang and the religions of designer and meet with registration staff the Silk Road. Hong Kong and China, to discuss off-site storage and Brent Willison, assistant registrar, 24–30 August 2008 security issues of works on display. Supervise printing of Monet collections exhibition catalogue. Sun Yu, conservator, Asian art USA, 20–25 April 2009 Singapore, 1–5 December 2008 Courier return of Pierre Bonnard’s Emma Smith, senior registrar, Courier Buddhist sculpture to Self portrait from the Metropolitan collections Singapore. Museum of Art. , 25 August – 1 September 2008 Edmund Capon, director Rebecca Allport, retail operations Courier Francis Bacon’s Study for UK and France, 10–24 January manager and merchandise buyer, self portrait from Palazzo Reale and 2009 Gallery Shop Skira Editore. Discuss building proposals and USA, 2–7 May 2009 negotiate loans for forthcoming Attend Museum Stores Association Judy Annear, senior curator, major exhibitions. of America Annual Trade Fair. photography USA, 14 September – 10 October Paul Solly, registration assistant, Charlotte Davy, senior registrar, 2008 collections exhibitions Finalise loans for major 2010 USA, 13–17 January 2009 New Zealand, 18–21 May 2009 exhibition of Alfred Stieglitz Courier Pierre Bonnard’s Self Courier return of Gallery works from photography. portrait to the Metropolitan Te Papa Museum, Wellington. Museum of Art. Jackie Menzies, head curator, Analiese Treacy, paper conservator Asian art Liu Yang, curator, Chinese art Italy, 21–27 May 2009 Korea, 20 September – 6 October Singapore and China, 14–24 Courier Francesco Clemente loan 2008 January 2009 to the Museum of Contemporary Attend international curator’s Invited to give lectures in Singapore Art Donna Regina, Naples. workshop. on The lost Buddhas exhibition Denise Faulkner, book buyer, and to negotiate loans for future Gallery Shop Mark Boxshall, senior graphic Chinese art exhibitions. designer USA, 26 May – 3 June 2009 Hong Kong and China, Charlotte Davy, senior registrar, Attend Book Expo America. 21–28 September 2008 exhibitions Supervise printing of Half light New Zealand, 30 January – exhibition catalogue. 14 February 2009 Courier accompanying shipment Charlotte Davy, senior registrar, of Monet and the Impressionists exhibitions exhibition to Wellington. Japan and Singapore, 27 September – 4 October 2008 Stewart Laidler, senior painting Courier accompanying shipment conservator of Monet and the Impressionists New Zealand, 2–4 February 2009 exhibition to Sydney. Courier accompanying shipment of Monet and the Impressionists Charlotte Cox, registrar, exhibitions exhibition to Wellington. Netherlands and UK, 4–13 October 2008 Peter Raissis, curator, European Courier works from Sidney Nolan prints, drawings and watercolours exhibition and meeting with freight Spain, 3–10 March 2009 agents for works in Intensely Dutch Courier delivery of two works by exhibition. Maurice de Vlaminck to Sylvestre Verger Art Organisation. Khanh Trinh, curator, Japanese art , 15–27 October 2008 Tony Morris, head, security Finalise loans for major exhibition in USA, 29 March – 7 April 2009 2010 Utamaro: the golden age of Attend ISC West 2009 security ukiyo-e prints. convention and trade show. Khanh Trinh, curator, Japanese art Japan, 3–17 April 2009 Courier delivery of La belle captive to Tokyo and conduct research on forthcoming exhibitions.

ART GALLERY OF NSW appendices 08–09 83 COLLECTION – Far west children’s health clinic, “Come on Cleo, I’m bloody Puntjina Monica Watson Manly 1968, printed 2008, gelatin dying here!” 1991, gelatin silver (Australia), Pukara Tjukurpa 2008, PURCHASES silver photograph; Fisherman photograph; Here you go bones, etching on paper. Mollie Gowing Charlie Ardler, Wreck Bay 1975, while I got’em rounded up 1991, Acquisition Fund for Contemporary printed 2008, gelatin silver gelatin silver photograph; “La per.! Aboriginal Art 2009 Australian art photograph; Lois O’Donoghue la per.! la per.!” 1991, gelatin silver Mulkun Wirrpanda (Australia, CBA, AM, and Oodgeroo photograph; Moodgie,… says it b1947), 3 sculptures: Dhudi Djapu Noonuccal 1974, printed 2008, all 1991, gelatin silver photograph; (Australia, b1959), miny’tji 2007, hollow pole; natural gelatin silver photograph; Pool The huddle 1991, gelatin silver Big night skull 2006, colour linocut, pigments on wood; Dhudi Djapu game, Burnt Bridge 1988, printed photograph; The rabbit and the big black and blue ink on eight sheets miny’tji 2007, hollow pole; natural 2008, gelatin silver photograph; rat 1991, gelatin silver photograph; of Japanese kozo paper. Thea pigments on wood; Dhudi Djapu Roslyn Watson 1973, printed 2008, Well I’m glad that game is over Proctor Memorial Fund 2008 miny’tji 2007, hollow pole; natural gelatin silver photograph; Save the 1991, gelatin silver photograph. pigments on wood. Purchased with (Australia, b1948), Children Pre-school, Nambucca Purchased with funds provided funds provided by the Aboriginal Journey 2007, oil on canvas. Heads 1974, printed 2008, gelatin by the Aboriginal Collection Collection Benefactors 2008 Patrick White Bequest Fund 2008 silver photograph; School bus, Benefactors 2008 Djirrirra Wununmarra (Australia, Anthony Dattilo-Rubbo (Australia, Yarrabah 1974, printed 2008, Peter Yanada McKenzie b1968), 3 sculptures: Buyku 2008, 1870–1955), Poverty makes gelatin silver photograph; Town (Australia, b1944), 5 gelatin silver hollow pole; natural pigments on strange bedfellows 1905, oil on picnic, Brewarrina 1966, printed photographs from the series Inner wood; Buyku 2008, hollow pole; canvas on hardboard. Edward 2008, gelatin silver photograph; sanctum 1991: The inner sanctum natural pigments on wood; Buyku Stinson Bequest Fund 2009 Woman attend home management #2 1991, gelatin silver photograph; 2008, hollow pole; natural pigments John Philippides (Egypt; Australia, course at Yuendumu 1974, printed The inner sanctum #5 1991, 2008, gelatin silver photograph; on wood. Don Mitchell Bequest b1945), Portrait study of the artist’s gelatin silver photograph; The inner Fund 2008 mother 2008, pencil on white Woman standing near electric sanctum #6 1991, gelatin silver Nyayati Stanley Young (Australia), Canson paper. Purchased with power cord in water, Burnt Bridge photograph; The inner sanctum #8 Kampurapa: bush tomato 2008, funds provided by the Australian 1988, printed 2008, gelatin silver 1991, gelatin silver photograph; etching on paper. Mollie Gowing Prints, Drawings and Watercolours photograph; Womenfolk, Bowraville The inner sanctum #9 1991, gelatin Acquisition Fund for Contemporary Benefactors Fund 2009 1974, printed 2008, gelatin silver silver photograph. Purchased with photograph. Purchased under the Aboriginal Art 2009 Carl Plate (Australia, 1909–77), funds provided by the Aboriginal terms of the Florence Turner Blake Nyapanyapa Yunupingu (Australia, 2 drawings: False rococo 1974, Collection Benefactors 2008 Bequest 2008 b1945), 3 bark paintings: Airlift magazine paper collage on Milyika Paddy (Australia), Walpa to Darwin Hospital 2008, natural white wove paper; Wig 74 1975, Julie Gough (Australia, b1965), 2 2008, etching on paper. Mollie pigments on bark; Hunting stingray magazine paper collage on white sculptures: Bind 2008, black crow Gowing Acquisition Fund for at Biranybirany 2008, natural wove paper. Patrick White Bequest shells, twined Lomandra longifolia, Contemporary Aboriginal Art 2009 pigments on bark; Wild apple Fund 2009 Northern Midlands dropped antlers, Tasmanian oak; Dark valley, Van Anatjari Tjakamarra (Australia), orchard 2008, natural pigments Peter Powditch (Australia, b1942), Diemen’s land 2008, Tasmanian 2 drawings: untitled 1971, pencil on bark. Annette Margaret Dupree 2 paintings: Coastal IX 2008, oil Fingal Valley coal, nylon, Northern on paper; untitled 1971, pencil on Bequest Fund 2008 and wood on hardboard; Coastal X paper. Purchased 2008 Midlands dropped SUB TOTAL 66 WORKS 2008, oil and wood on hardboard. antlers, Tasmanian oak. Purchased Joseph Zimran Tjangala Patrick White Bequest Fund 2008 with funds provided by the Patricia (Australia, b1981), untitled 2008, (Romania; Australia, Lucille Bernard Bequest Fund 2008 synthetic polymer paint on linen. Art from the Pacific b1955), Aqua alta 2008, oil on Jonathan Philips Fund 2008 Malaluba Gumana (Australia, Unknown (Papua New Guinea), canvas. Patrick White Bequest Timmy Payungka Tjapangati b1952), 3 sculptures: Garrimala Mudman’s mask collected 1965, Fund 2008 (Australia, c1940–2000), Bush 2007, hollow pole; natural earth mud, netting, leaves, cane, teeth, tucker dreaming 1971, pencil and John R Walker (Australia, b1957), pigments on wood; Garrimala Job’s Tears (Coix lacryma-jobi) watercolour on paper. Purchased A road, a gate, and a forest 2008, 2007, hollow pole; natural earth seeds. Purchased with grateful 2008 oil on polyester canvas. Patrick pigments on wood; Garrimala acknowledgement to Cynthia Nolan White Bequest Fund 2009 2007, hollow pole; natural earth Yarta Tjapangati (Australia, active 2008 pigments on wood. Purchased with 1971), untitled 1971, pencil on SUB TOTAL 10 WORKS SUB TOTAL 1 WORK funds provided by the Aboriginal paper. Purchased 2008 Collection Benefactors 2008 TOTAL AUSTRALIAN ART Aboriginal and Torres Harry Tjutjana (Australia, born DEPARTMENT 77 WORKS Strait Islander art Niningka Lewis (Australia, born c1930), 2 prints: Wanka (spider) c1946), Tjanpi truckpa 2007, 2008, etching on paper; Wati Jakayu Biljabu (Australia, b1937), wire, raffia. Purchased with Nyira 2008, etching on paper. Asian art Minyi Puru 2008, synthetic polymer funds provided by the Aboriginal Mollie Gowing Acquisition Fund for paint on canvas. D G Wilson Collection Benefactor 2008 Contemporary Aboriginal Art 2009 CHINA Dharani sutra quilt c1875, Qing Bequest Fund 2008 Peter Yanada McKenzie Unknown (Australia), 7 drawings: dynasty 1644–1911, red silk Mervyn Bishop (Australia, b1945), (Australia, b1944), 13 gelatin silver untitled 1971, pencil on paper; brocade woven with silk thread. 15 gelatin silver photographs: photographs from the series It’s untitled 1971, pencil on paper; Edward and Goldie Sternberg Alan Judd, ABC trainee radio a man’s game 1991: A moment untitled 1971, pencil on paper; Chinese Art Purchase Fund 2009 announcer, Sydney 1968, printed of inexplicable serenity 1991, untitled 1971, pencil and 2008, gelatin silver photograph; gelatin silver photograph; Aw ... watercolour on paper; untitled SUB TOTAL 1 WORK The bus stop, Yalambie Reserve, come on fair go sir 1991, gelatin 1971, pencil and watercolour on Mt Isa 1974, printed 2008, gelatin silver photograph; Big rat #1 paper; untitled 1971, pencil and JAPAN silver photograph; Couple on 1991, gelatin silver photograph; watercolour on paper; untitled Sumiyoshi GUKEI (Japan, 1631– veranda, Coffs Harbour 1988, Big rat #2 1991, gelatin silver 1971, pencil and watercolour on 1705), Episode from ‘The pink’ printed 2008, gelatin silver photograph; …Blackout 1991, paper. Purchased 2008 with accompanying calligraphy, photograph; Cousins, Ralph and gelatin silver photograph; “Come Chapter 26 from ‘The tale of Genji’ Jim, Brewarrina 1966, printed on boys, nikhedonia’s the go!” 1650–1700, Edo (Tokugawa) 2008, gelatin silver photograph; 1991, gelatin silver photograph; period 1615–1868, 2 album leaves

84 ART GALLERY OF NSW appendices 08–09 mounted in frame, illustration: ink, Edward and Goldie Sternberg Théodore Géricault (France, packages. Mervyn Horton Bequest colour and gold on silk; calligraphy: Southeast Asian Art Fund 2008 1791–1824), The Flemish farrier Fund 2008 ink on decorated paper. Asian SUB TOTAL 7 WORKS 1821, lithograph. Don Mitchell Tim Johnson (Australia, b1947), Collection Benefactors Fund 2008 Bequest Fund 2009 TOTAL ASIAN ART DEPARTMENT 10 books: Alienation 1976, book Sumiyoshi GUKEI (Japan, 1631– 14 WORKS Moses Haughton (England, of 17 printed leaves on paper, ed 1705), Episode from ‘Thoroughwort c1772–1848) after Henry Fuseli of 100; Be an artist 1973, book of flowers’ with accompanying (England, 1741–1825), The 70 printed leaves on paper, ed of calligraphy, Chapter 30 of ‘The European art pre-1900 dismission of Adam and Eve from 100; Be an artist 1976, book of tale of Genji’ 1650–1700, Edo paradise 1805, stipple engraving. 70 printed leaves on paper, ed of (Tokugawa) period 1615–1868, 2 Michele Benedetti (Italy; England, Purchased with funds provided by 30; Coincidence 1974, book of 40 album leaves mounted in frame, 1745–1810) after Henry Fuseli J S Watkins Memorial Fund 2009 leaves on paper, black and white (England, 1741–1825), The illustration: ink, colour and gold on F Noel, after Horace Vernet printing on glossy paper, ed of apotheosis of Penelope Boothby silk; calligraphy: ink on decorated (France, 1789–1863), Portrait of 200; Disclosure 1973, book of 131 1796, stipple engraving. Purchased paper. Purchased with funds Gericault, lithograph. Don Mitchell pages, black and white printing under the terms of the Florence provided by Joanna R Coghlan Bequest Fund 2009 on glossy paper, ed of 300; ESP 2008 Turner Blake Bequest 2009 (examples of 5 spaces in 1 place) after Lord Frederic Leighton Richard Parkes Bonington 1976, book of 7 printed leaves on Nishikawa School (Japan), Beauty (England, 1830–96), The (England, 1802–28), Rue du Gros paper, ed of 100; Fittings 1971, with a cat (parody of the Third Daphnephoria, photogravure. Horloge, Rouen 1824, lithograph. book of 28 photocopied leaves Princess) 1750s, hanging scroll; Accessioned 2009 ink, colour and mica on paper. Purchased under the terms of the on paper ed of 90; Public fitting D G Wilson Bequest Fund 2009 Florence Turner Blake Bequest Thomas Ryder (England, 1746– 1972, book of 43 printed leaves on 2009 1810) after Henry Fuseli (England, paper, ed of 200; Schooltime 1974, UNRYÛAN Kitamura Tatsuo 1741–1825), Titania’s awakening. James Caldwall (England, 1739–?) book of 14 printed leaves on paper, (Japan, b1952), Suzuribako with A midsummer night’s dream 1803, You after Henry Fuseli (England, ed of 30; 1976, book of 12 design of dragonfly 2008 wood, stipple engraving. Purchased 2008 1741–1825), Macbeth, Banquo printed leaves on paper, ed of 100. lacquer. Purchased with funds Accessioned 2009 donated by Joanna R Coghlan, and three witches 1798, stipple Jean-Pierre Simon (France, Karma Abraham, Ros and Alex engraving. Purchased 2008 1750?–1810?) after Henry Narelle Jubelin (Australia, b1960), Fuseli (England, 1741– 1825), Ungrammatical landscape.3 Hunyor, Sabrina Snow, Mary Jane Paul Cézanne (France, 1839– 2003– The Tempest. Prospero, Miranda, Brodribb, Lesley Heath and Andrew 1906), Bords de la Marne c1888, 09, fold-down display in two parts. Caliban and Ariel 1797, stipple and Ann Proctor 2008 oil on canvas. Purchased 2008 Form ply with piano hinges; paint: engraving. Don Mitchell Bequest with funds provided by the Art Dulux Vinyl Matt and Acquatech SUB TOTAL 4 WORKS Fund 2009 Gallery of NSW Foundation, the gloss, black and red. Colour and Anker Smith (England, 1759–1819) distribution adapted from Ian Burn, INDIA Art Gallery Society of NSW and donors to the Masterpiece Fund in after Henry Fuseli (England, 1741– Left to right painting 1965. Polymer Sati marker 1600s–1700s, marble. joint celebration of the Foundation’s 1825), Flora attired by the elements paint on canvas, 38.5 x 64cm. A Margaret Hannah Olley Art Trust 25th anniversary and the 30th 1791, engraving. Purchased under landscape is not something you 2009 anniversary of Edmund Capon AM, the terms of the Florence Turner look at but something you look SUB TOTAL 1 WORK OBE as director of the Gallery Blake Bequest 2009 through 2004–06, Madrid, 13-part sewn essay, 2003–06, petit point John Raphael Smith (England, Jean-Baptiste-Camille Corot cotton thread over silk ground, MALAYSIA 1752–1812) after Henry Fuseli (France, 1796–1875), 12 prints perspex, each 15 x 20 x 2.5 cm, Peranakan wedding bed valance (England, 1741–1825), Ezzelin from Douze croquis et dessins white lettering. Title and structure early 1900s, silk and gold thread musing over the body of his wife originaux sur papier autographique of elements adapted from Ian embroidery. Accessioned 2008 Meduna, slain by him for her par Corot 1872: The belfry of Saint- Burn, Homage to Albert (south infidelity during his absence in the SUB TOTAL 1 WORK Nicolas-lez-Arras 1872, transfer through Heavitree Gap 1952) 1989. crusades 1781, mezzotint. lithograph; The isolated tower Watercolour on bromide, plexiglas, Purchased under the terms of the VIETNAM 1872, transfer lithograph; The wood, 30 x 23 x 10 cm, exhibited Florence Turner Blake Bequest 2009 It is as if Uncle Ho shares our great meeting in the grove 1872, transfer Artworkers Union Benefit, Tin victory 1975, collage, gouache and lithograph; The rider in the reeds SUB TOTAL 26 WORKS Sheds, Sydney, 1989. Ian Burn ink on paper 1872, transfer lithograph; The gust is an Australian artist who formed of wind 1872, transfer lithograph; Modern and part of the New York wing of Art The north strives hard to work and Sappho 1872, transfer lithograph; fight well c1968, gouache on paper contemporary art & Language. Purchased in 2009 The philosophers’ retreat 1872, with funds from the Contemporary Ph-t Phuong (Vietnam), Grow the transfer lithograph; The cows’ Collection Benefactors with Stephen Bush (Australia, b1958), forest, enrich the country 1975, resting place 1872, transfer the assistance of Andrew and I am still what I meant to be 2009, gouache on paper lithograph; Memory of Italy 1872, Cathy Cameron and the support oil on linen. Purchased with funds Truong Singh (Vietnam), 2 transfer lithograph; The mill at of Claire Armstrong and John provided by the Art Gallery Society drawings: At present against the Cuincy, near Douai 1872, transfer Sharpe, Bambi Blumberg, Joe of NSW Contempo Group 2009 Americans save the country the lithograph; A family at Terracina Catanzariti, Kemsley Brennan and priority of everyone 1966, gouche 1872, transfer lithograph; Willows Christo (Bulgaria; United States of Stephen Buzacott, Edmund and on paper; untitled (two children) and white poplars 1872, transfer America, b1935), Jeanne-Claude Joanna Capon, Ginny, Leslie and 1964, gouache on paper lithograph. Purchased 2008 (United States of America, b1935), Donna Green, Jan McCulloch, Wrapped vestibule project for the Tuyan To (Vietnam), Towards Samuel Cousins (England, 1801– Reg Richardson, Garry and Art Gallery of New South Wales, unification the north strives hard in 87), after Sir Edwin Landseer Susan Rothwell, Sheryl Ryan, Sydney 1990, offset print, collage. production and in combat c1968, (England, 1802–73), Titania and John Schaeffer and Tina Dalton, Accessioned 2008 gouache on paper Bottom, engraving. Accessioned Penelope Seidler, Vivienne Sharpe 2009 Mark Dion (United States of Trang (Vietnam), Unification of SUB TOTAL 14 WORKS America, b1961), The return Vietnam. The north competes by Eugène Delacroix (France, (a cosmological cabinet for producing well and combating 1798–1863), Macbeth consulting New South Wales) 2008, jarrah well c1970s, gouache on paper. the witches 1825, lithograth. Purchased 2008 bookcase, unopened posted

ART GALLERY OF NSW appendices 08–09 85 Photography Twentysix gasoline stations 1963, COLLECTION – Clement Meadmore (United printed 1969, 48 pages, 26 black States of America; Australia, and white photographic illustrations, GIFTS 1929–2005), untitled c1961, steel Miles Coolidge (Canada; United glassine dust jacket; Various small and steel rod wall sculpture States of America, b1963), Stool fires and milk 1964, printed 1970, 2006, printed 2008, type C 48 pages, 16 black and white Australian art VICTORIA LYNN photograph. Gift of Geoff and Vicki photographic illustrations, glassine (Australia, 1917–97), Ainsworth 2009 dust jacket. Purchased with funds MADAME ANNE ATYEO 2 drawings: Table and plan 1987, Christina Fernandez (United watercolour, synthetic polymer paint, provided by the Photography Sam Atyeo (Australia; France, States of America, b1965), 2 pastel and collage on paper; Tables Collection Benefactors 2008 1910–90), 4 watercolours and type C photographs: Lavanderia 1979, mixed media on paper Alfred Stieglitz (United States of 2 paintings: Aix c1970s–c80s, #1 2002, printed 2009, type C America, 1864–1946), Camera watercolour on ivory wove paper; photograph; Lavanderia #4 2002, MISS PM McKEE. In Memory Work no 46 1914, a photographic Candy c1970s, watercolour and printed 2009, type C photograph. Of Robert ‘Bruce’ quarterly edited and published by gouache on ivory wove paper; Gift of Geoff and Vicki Ainsworth Ferguson Oam (1916–2008) Alfred Stieglitz New York, 13 hand Gate c1970s–c80s, watercolour 2009 In Recognition Of His Many pulled photogravures, tipped in on ivory wove paper; Years Of Service To The John Fuller (Australia, active (2 plates by Paul Haviland, 1 by c1932, watercolour on ivory wove Community Of Camden And 1980s), Woolshed paddock Frederick H Pratt, 10 caricatures paper; Rondo no 17 c1970s–c80s, The State Of New South – Cambalong 1982, gelatin silver by Marius de Zayas); texts and synthetic polymer paint on canvas; Wales photograph. Accessioned 2009 poetry by John Weischal, Katharine Shamash 22 c1970s–c80s, (Australia, Rhoades, Mina Loy, Marius de synthetic polymer paint on canvas Bill Henson (Australia, b1955), 1875–1963), Flowers 1922, oil on Zayas, Paul Haviland, SSS, Horace 2 type C photographs: Untitled cardboard 2007.08 2007–08, type C Traubel; printed gray wrappers. CHRISTOPHER DAY photograph; Untitled 2007/08 Purchased with funds provided Sir (Australia, BEQUEST OF by the Photography Collection 1899–1970), Dobell in his dressing 2007–08, type C photograph. (Italy; Benefactors 2009 gown, pen and ink on paper Purchased with funds provided Australia, 1939–78), Triptych from by the Photography Collection Justene Williams (Australia, TRUSTEES OF THE SIR WILLIAM ‘Occasional images from a city Benefactors 2008 b1970), Derr sonata 2008, video DOBELL ART FOUNDATION chamber’ 1975, etching, soft Anthony Hernandez (United States transferred to DVD, black and ground, aquatint; black ink on Virginia Grayson (Australia; New of America, b1947), Landscapes white, 30 mins. Purchased with silver JAC laminate paper on three Zealand, b1967), No conclusions for the homeless #16 1989–2008, funds provided by the Photography sheets of white wove paper drawn – self portrait 2008, cibachrome photograph on endura Collection Benefactors 2009 charcoal, watercolour, pencil and Sidney Nolan (Australia; United paper. Gift of Geoff and Vicki Wols (Alfred Otto Wolfgang gesso on Lana paper Kingdom, 1917–92), Ned Kelly Ainsworth 2009 Schulze) (Germany, 1913–51), 1964, colour screenprint on paper Tracey Moffatt (Australia; United Jean Sendy (Abelson) with monocle ANDREW DOUGLAS States of America, b1960), c1930, gelatin silver photograph. Allan Mitelman (Australia, b1946), MARGARET OLLEY 1 DVD and 1 type C photograph: Alistair McAlpine Photography Fund 13 drawings: untitled 1978, pastel, Michel Le Goff (France, b1940), Love 2003, colour and black and 2008 gouache on ivory wove paper; J Wolfgang Cardamatis 1991, oil white DVD, sound, 21 mins; The SUB TOTAL 20 WORKS untitled 1981, oil with scratching on canvas movie star: David Gulpilil on Bondi out on cream wove watercolour TOTAL WESTERN ART MARGARET HANNAH OLLEY ART Beach 1985, printer 2002, type DEPARTMENT 60 WORKS paper; untitled 1987, pencil, pastel C photograph. Purchased with on pale grey wove paper; untitled TRUST funds provided by the Photography TOTAL ALL DEPARTMENTS 1988, pencil with scratching out on Robert Barnes (Australia, b1947), Collection Benefactors 2008 151 WORKS PURCHASED thick ivory wove watercolour paper; The Massey hammer 2006, oil on canvas Raquel Ormella (Australia, b1969), untitled 2001, watercolour, pastel on white wove paper; untitled Going back/volver 2006–08, printed JOHN OLSEN 2008, 44 digital prints. Purchased 1988, pencil, pastel on white wove John Olsen (Australia, b1928), with funds provided by the paper; untitled 1988, watercolour, Loopy rivers, Cape York 2007, oil Photography Collection Benefactors pastel on thick white wove on canvas Program 2009 watercolour paper; untitled 1990, watercolour on white wove card; (United States PANCONTINENTAL MINING LTD Edward Ruscha untitled 1998, pencil, watercolour of America, b1937), 7 books: on ivory wove card; untitled 1999, Robert Klippel (Australia, 1920– Every building on the Sunset Strip watercolour, pencil on grey laid 2001), No 728 King of Kings Well 1966, 54 pages (folded), black and paper; untitled 2000, pencil, 1988, 18 carat gold white photographic illustrations, watercolour on white wove card; accordion fold; original slipcase, JOCELYN AND CASSI PLATE untitled 2002, pencil, watercolour silver paper over boards; white on thick white wove card; untitled Carl Plate (Australia, 1909–77), paper belly band; Nine swimming 2004, watercolour, pen and ink on 11 collages: (15 Franco pig) 1945, pools and a broken glass 1968, white wove card magazine paper collage and ink printed 1976, 64 pages, 10 on thin card; (17 James Cagney) colour photographic illustrations; VINCENT FANTAUZZO AND 1945, magazine paper collage and Real estate opportunities 1970, SALLY LEDGER ink on thin card; (32 ain’t that sad) 48 pages, 25 black and white Vincent Fantauzzo (United 1945, magazine paper collage photographic illustrations, glassine Kingdom; Australia, b1979), Heath and ink on thin card; (34 fishing) dust jacket; Royal road test 1967, 2008, oil on canvas 1945, magazine paper collage on printed 1971, 60 pages, 36 black thin card; (37 ‘home sweet home’) and white photographic illustrations, BETTY AND BRIAN KELLY 1945, magazine paper collage spiral bound; Thirtyfour parking Aleks Danko (Australia, b1950), on thin card; (38 pig and hole) lots in Los Angeles 1967, printed 2 sculptures: ‘just a pile of tricks’, 1945, magazine paper collage 1974, 48 pages, 31 black and handmade ceramic brick; ideas, on thin ivory card; (39 pink snail) white photographic illustrations; words, processes, ceramic plaque 1945, magazine paper collage

86 ART GALLERY OF NSW appendices 08–09 on thin card; (43 ‘they won’t run drawing; Macquarie Place, drawing; Horse studies verso: Horses with verso: Semi-circular porch of the to seed’) 1946, magazine paper Men on benches, drawing; Mitchell dray, drawing; recto: Horse with Art Gallery of New South Wales collage and ink on thin card; 48 Library 1926, drawing; Pair of nosebag and horse (head (1917), drawing; recto: Street of (‘one pair gants’) 1948, magazine clydesdales, drawing; Prize merino unfinished) verso: Three horse houses and trees verso: Landscape paper collage on thin grey card; ram 1918–20, drawing; recto: A studies, drawing; recto: House and with water and road under railway (‘I dreamt’) 1945, magazine paper gathering in Hyde Park verso: The tree and building in landscape line, drawing; recto: Study of collage on postcard; (washing Trust Building 1914 and arch of a verso: House on hill, drawing; horse’s leg verso: Study of horse’s machine) 1947, magazine and bridge 1917, drawing; recto: Argyle recto: House behind a fence and legs, drawing; recto: The Comrie newspaper collage on thin card Cut, The Rocks verso: Entrance to rounded hillside landscape verso: fountain in front of St James’ the GPO, Brisbane 1916, drawing; House and the hillside, drawing; Church verso: The tree beside St JULIEN PLAYOUST recto: Arms pressing down and recto: House in the landscape and James’ Church 1917, drawing; James Gleeson (Australia, 1915– work horse with nosebag verso: sandy landscape verso: Bellevue recto: The Liverpool, & 2008), storm rods (2007), etching, Two work horses, drawing; recto: Hill landscape 1918, drawing; Globe Insurance Co. building verso: aquatint; dark brown ink on cream Art Gallery of New South Wales recto: House with gabled roof Tonal note, drawing; recto: The wove paper verso: Obelisk in Macquarie Place verso: Chimneys and tree (twice), recruiting booth, Martin Place, and study for Art Gallery of New drawing; recto: Houses and trees Sydney verso: House in front of St ANA POLLAK South Wales 1917, drawing; recto: and houses on a slope verso: Andrews Cathedral, recruiting Ana Pollak (Australia, b1958), Backs of clydesdales verso: Male Suburban buildings and houses booth and two sketches 1918, Study for ‘Mullet creek’ 2007, profile (twice), drawing; recto: and trees, drawing; recto: Houses drawing; recto: The Trust Building graphite on white wove paper Building details verso: Scene with and trees verso: Harbour sketch, and the GPO clock tower verso: figures and building details 1916, drawing; recto: Houses with Three small studies of houses in ALAN AND JAN REES drawing; recto: Cabby waiting chimneys verso: Urn and the landscape, drawing; recto: The Lloyd Rees (Australia, 1895–1988), beside raised garden and back legs balustrade, drawing; recto: In the Trust Building from King Street 130 drawings: Approaching Scots of a horse verso: Cab horse, city (GPO in the background) verso: verso: Old Supreme Court, St Church, drawing; Argyle Cut, The drawing; recto: Cart horse verso: Composition sketch of hill with James Road façade and two men Rocks, Sydney 1916, drawing; The Horse and dray, drawing; recto: houses, drawing; recto: Landscape on a park bench, drawing; recto: Art Gallery of New South Wales Chair and house plan verso: and houses verso: Landscape and Tree in front of a house verso: 1917, drawing; A building with Composition sketches late 1920s, houses, drawing; recto: Landscape Terrace houses and house 1918, three arches, Sydney Harbour and drawing; recto: City building (St with houses from Woollahra I verso: drawing; recto: Tree with house sketch of a tower c1918, drawing; Andrews Cathedral to the left) Self portraits 1918, drawing; recto: with turret and chimney verso: Tree Burdekin House, Macquarie Street, verso: Figure sketches, drawing; Landscape with houses from with house turret and chimney, Sydney and details, drawing; Cab recto: City view with workshops Woollahra II verso: Vase 1918, drawing; recto: Trees and columns horse and cab with horse, drawing; verso: Landscape with pointed hill drawing; recto: Landscape with of the Art Gallery’s porch verso: Cab horse beside raised garden, and sketch of landscape with houses from Woollahra III verso: Trees 1917, drawing; recto: Trees drawing; Cab horse in traces, pointed hill 1918, drawing; recto: Landscape and clouds 1918, verso: House with an attic, drawing; Cart horse feeding, Clydesdale with a nosebag verso: drawing; recto: Landscape with drawing; recto: Two clydesdales drawing; Cart horse waiting, Men on benches in Macquarie road verso: Landscape with water with dray verso: House front, drawing; City building, drawing; Place, drawing; recto: Colonnade 1917, drawing; recto: Lunch break drawing; recto: Two horses verso: City building, drawing; City of Central Station verso: Three in Macquarie Place verso: Sketch Horse and dray and two men, buildings, drawing; Clouds from portraits, drawing; recto: Comrie of a man and square, drawing; drawing; recto: Two storey home Bond Street, drawing; Clydesdale fountain and tree in front of St recto: Macquarie Place with obelisk with hill behind verso: The two and dray in Macquarie Place 1921, James and street scene [upside and man sitting verso: Trees and storey home with other houses and drawing; Clydesdale in harness down] verso: Along George Street the obelisk, drawing; recto: Men a large house and composition 1921, drawing; Clydesdales with a to Queen Victoria Building [twice] relaxing on the grass verso: sketch 1918, drawing; recto: Two dray, drawing; Clydesdales with a and St James with fountain [faint, Relaxing man, drawing; recto: Road work horses verso: Work horse, dray, drawing; Clydesdales with a upside down], drawing; recto: to house verso: Young model and drawing; Scots Kirk, drawing; Six dray, drawing; Corner tower of a Corner of the Lands Department city building, drawing; recto: Scots drawings on a folded sheet (a. house 1916, drawing; Edgecliff building verso: Rocky landscape Kirk on Church Hill verso: A gabled Harbour boathouse and Road, Sydney 1917, drawing; Gas with figures 1926, drawing; recto: house, drawing; recto: Shop harbourside building with trees; b. tank, Waverton and 2 gas tank Edgecliff Road, Woollahra and 4 furniture and interior verso: Man Statue of Dr John Dunmore Lang in compositions 1918, drawing; Edgecliff Road compositions verso: sketching, the harbour and the Wynyard ParkTree; c. Portion of the Hamilton Street, Sydney 1920s, Houses on hillside and hillside with same figure and upside down, roof of Sydney Town Hall; d. Tree drawing; Harnessed horse with sand 1917, drawing; recto: drawing; recto: Shop interior and on a bank and water with nosebag, drawing; Horse and cart Eucalypts and summer evening (2 fittings verso: Shop interior and footbridge), drawing on paper; waiting in a goods yard, drawing; studies) verso: Harbour sketch and fittings and two self portraits, Small hilly landscape and houses Horse study, drawing; Horse three arched building, Sydney drawing; recto: Shop interiors with and harbour and houses 1918, waiting for work, drawing; Horse Harbour, drawing; recto: Furniture furniture verso: Boots and shoes, drawing; Smoking chimneys by the with man in dray, drawing; House verso: Shop fittings and dummies, people, furniture, drawing; recto: water and funnels of a ship, by the harbour and hat (two), drawing; recto: Garden sketch and Shop restaurant interior with grand drawing; St Mary’s Cathedral, drawing; House by the water and tree with paling fence verso: piano and table setting verso: Shop College Street, Sydney 1917, house on a hill 1918, drawing; Dressing table, drawing; recto: Gas restaurant with details, drawing; drawing; Steel works 1919, pen House with a tree and Landscape tank, Waverton and sketch of gas recto: Side portico of St James’ and ink, pencil on paper; Stone with cloudy sky, drawing; House tank verso: 3 compositional Church verso: The house with an buildings with shadows and group with tree and fence, drawing; sketches 1918, drawing; recto: attic and two men in a boat 1917, of buildings 1916, drawing; Street House with turret and chimney, Hillside landscape verso: Spring drawing; recto: St James’ Church produce stall and horse, drawing; drawing; The Lands Department Street, Sydney, drawing; recto: Hilly verso: Small study of the Comrie Street with trees behind a fence, building, Sydney 1926, drawing; landscape and landscape with fountain 1917, drawing; recto: St drawing; Sydney building, drawing; Landscape with houses, drawing; houses verso: Two composition Mary’s Cathedral doorway with Sydney horse, drawing; Terrace Landscape with houses from sketches for ‘hilly landscape’, bosses verso: Cathedral arches, house and large house and garden Woollahra IV 1918, drawing; drawing; recto: Home, Baulkham drawing; recto: St Mary’s Cathedral and tree, drawing; Terrace house Landscape with pointed hill, Hills verso: Gas tank, Wollstonecraft interior verso: Cathedral interior with trees, drawing; Trees and wall, drawing; Landscape with pointy hill, Bay and Baulkham Hills, early details including the altar, drawing; drawing; Trees behind a stone drawing; Large house with trees, morning 1919, drawing; recto: recto: St Mary’s Cathedral, Sydney fence, drawing; The Trust Building

ART GALLERY OF NSW appendices 08–09 87 from Hyde Park, drawing; Two cart MARGARET SPRATT JAMES HAYES Japan: Tea caddy with peony horses, drawing; Two clydesdales Robert Klippel (Australia, 1920– ZHANG Bailing (China, d1815), design 1800s, lacquer with dray in Macquarie Place, 2001), untitled (abstract) 1977, Couplet in running script Qing drawing; University of Sydney’s linocut on white wove paper dynasty 1644–1911, pair of DAISY L PANG Central Tower 1922, drawing Jörg Schmeisser (Australia; hanging scrolls; ink on paper Unknown (China), Vase Ming Germany, b1942), Trees and shells DAI Xi (China, 1801–post 1860), dynasty 1368–1644, amber JAN SENBERGS 1979, etching and aquatint on ivory Landscape after the brush method decorated with carved vine and ivy Jan Senbergs (Australia, b1939), Hahnemühle paper of juran 1856, fan; ink on paper leaves 31 prints: (untitled) 1966, colour HUANG Danshu (China, 1757– screenprint on cartridge paper; MARY FRANCES STEPHENS 1808), Couplet in running script BEQUEST OF JAMES PLIMSOLL Architecture 1963, colour BEQUEST Qing dynasty 1644–1911, pair of Saucer with embossed pair of fish screenprint on cartridge paper; (Australia, hanging scrolls; ink on paper 1100s, Song dynasty 960–1279, The chief engineer 1965, colour 1915–89), untitled (lyrebird) 1960s, celadon screenprint on cartridge paper; BAO Jun (China, 1797–1891), pen and black ink, wash, white Poem in running script Qing Collapsing structure 1968, colour gouache, blue watercolour on paper screenprint on catridge paper; dynasty 1644–1911, set of six SHU CHUANXI Dream home hanging scrolls; ink on paper SHU Chuanxi (China, b1923), 1969, colour PATRICK WHITE screenprint on offset lithographic LU Runxiang (China, 1841–1915), 2 paintings: Lotus 1986, hanging James Clifford (Australia, 1936– paper; Figure 1965–66, colour Couplet in running script Qing scroll; ink and colour on paper; 87), Adventures of the mind 1986, screenprint on cartridge paper; dynasty 1644–1911, pair of Mist upon the lotus pond 1984, synthetic polymer paint on canvas The flyer 1975, colour screenprint hanging scrolls; ink on paper hanging scroll; ink and colour on on Torinoko paper; Gateway 1975, SUB TOTAL 212 RU Shan (China, 1815–post paper colour screenprint on Torinoko 1885), Couplet in running script paper; The good looking print Aboriginal and Torres Strait Qing dynasty 1644–1911, pair of WU JIYUAN or Harry was right 1975, colour Islander art hanging scrolls; ink on paper Gansu Province, Amphora with screenprint on Fabriano paper; ZHAO Shouquan (China, 1858– saddle-shaped mouth 1300s– Hill 1970, colour screenprint on TONY ALBERT early 1900s), Couplet in seal script, 1000s BCE, earthenware offset lithographic paper; It’s not Tony Albert (Australia, b1981), Hey pair of hanging scrolls; ink on paper easy 1969, colour screenprint on ya! (Shake it like a polaroid picture) PAN Silian (China, 1820–80), JASON YEAP offset lithographic paper; Love the 2007, 5 panels: type C photograph Couplet in running script Qing Kim Hoa TRAM (Australia; stage 1970, colour screenprint dynasty 1644–1911, pair of Vietnam, b1959), Returning to on smooth white paper; Modern GENEVIEVE GRIEVES hanging scrolls; ink on paper original nature 2004, hanging scroll; monument in colour 1975, colour Genevieve Grieves (Australia, QIU Songkang (China, active ink on paper screenprint on BFK Rives paper; b1976), Picturing the old people 1860–70), Couplet in running script Mound 1973, colour screenprint SUB TOTAL 28 WORKS 2005, five channel video installation Qing dynasty 1644–1911, pair of on BFK Rives paper; Moundhouse and single channel audio, 12:55 hanging scrolls; ink on paper 1975, colour screenprint on INDIA mins, colour, sound Torinoko paper; Observatory YANG Sukan (China, 1880–1942), MICHAEL HOBBS I 1968, colour screenprint on Poem in running script, hanging Rajasthan, Portrait of Sikh prince PAPUNYA TULA ARTISTS cartridge paper; Performance, three scroll; ink on paper 1700s, opaque watercolour on pieces 1975, colour screenprint Martin Tjampitjinpa (Australia, DENG Tao (China, active 1860– paper on BFK Rives paper; Structure mid 1960s–2007), Untitled 2007, 70), Landscape, hanging scroll; ink on legs 1975, colour screenprint synthetic polymer paint on canvas and colour on paper SHEILA PALMER on BFK Rives paper; Structure, SHANG Yanliu (China, 1875– Thanjavur (Tanjore), Tamil Nadu, cloud 1975, colour screenprint MARGARET TUCKSON 1963), Couplet of Lu You’s poem in Company school (India, established on BFK Rives paper; Structure, Unknown (Australia), 2 ceremonial semi cursive script c1955, pair of late 1700s, closed late 1800s), red roof 1971, colour screenprint objects: untitled (a lily totem) hanging scrolls; ink on paper 3 watercolours: Fish vendor on BFK Rives paper; Study for c1950s, paperbark, string, feathers, Yongxing (China, 1752–1823), 1800s, opaque watercolour on ‘inside a machine’ (1) 1963, colour resin and natural pigments; untitled Couplet in regular-running script paper; Goldsmith 1800s, opaque screenprint on offset lithographic (bird) c1960s, paperbark, wood, Qing dynasty 1644–1911, pair of watercolour on paper; Gujarati paper; Suspended frame 1968, string, feathers, resin and natural hanging scrolls; ink on paper man 1800s, opaque watercolour colour screenprint on cartridge pigments SHEN Yuhuan (China, died post on paper paper; Three (one doubtful) SUB TOTAL 5 WORKS 1950), Lotus and a poem in SUB TOTAL 4 WORKS 1969, colour screenprint on running script, fan; ink and colour offset lithographic paper; Untitled TOTAL AUSTRALIAN ART on paper INDONESIA 1969, colour screenprint on offset DEPARTMENT 217 WORKS ZHU Ruzhen (China, 1870–1942), PETER COURT AND FAMILY IN lithographic paper; Untitled 1977, Couplet in regular script (named MEMORY OF DEE COURT colour screenprint on Arches Satine Asian art side only), hanging scroll; ink on Borneo, Ba’ (baby carrier) 1900s, paper; A vision for builders 1975, paper fibre, wood, cotton, beads, bone, colour screenprint on Fabriano CHINA shell and other material paper; We’re moving 1971, colour PETER ELLIOTT PETER MULLER screenprint on smooth white Henan Blackware, Bowl Song SUB TOTAL 1 WORK Yangshao, Storage jar Neolithic paper; Window 1974, colour dynasty 960–1279, stoneware with period 10,000–c2100 BCE, screenprint on BFK Rives paper; dark brown glaze earthenware with mineral pigments JAPAN Women’s buildings, University of SHONA BARKER Oregon 1973, colour screenprint W R GEDDES BEQUEST OF KENNETH MYER Adachi/Shôsai GINKÔ (Japan, on BFK Rives paper; Detail for ZHANG Xiong (China, 1803–86), active 1870–1900), 5 prints: 1 bronze, 1 lacquer, 2 ceramics: ‘Artificial garden’ 1968, colour Picture of a cat and a butterfly untitled from the series Manners China: Mirror with TLV design, screenprint on offset lithographic after Jiang Nansha Qing dynasty and customs of the five seasonal c200 BCE, bronze; Qingbai ware paper; Objects and accessories 1644–1911, hanging scroll, ink and festivals 1891, Meiji period 1868– bowl Song dynasty 960–1279; Yue 1969, colour screenprint on offset colour on paper 1912, concertina album, triptych, ware jar, Song dynasty 960–1279; lithographic paper colour woodblock print; untitled

88 ART GALLERY OF NSW appendices 08–09 from the series Pictures of ladies’ lady’s formal beige coloured visiting colour and gold on silk; Yakushi Meiji period 1868–1912, colour etiquette 1891, Meiji period 1868– kimono with arabesque pattern Nyorai triad 1600s–1700s, Edo woodblock print 1912, concertina album, triptych, with obi and obijime, cotton; Aged (Tokugawa) period 1615–1868, SUB TOTAL 57 WORKS colour woodblock print; Sewing lady’s formal dark blue visiting hanging scroll; ink, colour and gold lesson 1887, Meiji period 1868– kimono with hollyhock leaf pattern on silk KOREA 1912, concertina album, triptych, with obi, cotton; Young boys formal CHOSUN GALLERY colour woodblock print; Short cotton haori (coat), cotton BEQUEST OF KENNETH MYER biography of Murasaki Shikibu Red lacquer box 1900s, lacquer Tray table (soban) with 1891, Meiji period 1868–1912, LESLEY KEHOE Reika IWAMI (Japan, b1927), Mizu dodecagonal top and ‘tiger’ legs concertina album, triptych, colour 5 textiles: Comb with plant design no kage 1976, woodcut late 1800s, white cedar woodblock print; Tea ceremony early 1900s, black, red and green MUNAKATA Shikô (Japan, 1903– SUB TOTAL 1 WORK from the series Pictures of ladies’ lacquer on wood; Incense burner 75), Girl, woodcut etiquette 1890, Meiji period 1868– with design of chrysanthemum and OGATA Gekkô (Japan, 1859– NEPAL open work silver lid late 1800s, 1912, concertina album, triptych, 1920), Beauty with a fan 1800s, J A AND H D SPERLING colour woodblock print Meiji period 1868–1912, wood, woodcut Garuda 1800s, gilt copper alloy Toyohara (Yôshû) CHIKANOBU gold maki-e, silver; Miniature armour box (karabitsu) with design ONO Tadashige (Japan, 1909–90), SUB TOTAL 1 WORK (Japan, 1838–1912), 3 prints: 2 woodcuts: untitled 1970s, untitled from the series Pictures of of cranes on a fan-shape reserve woodcut; untitled 1970s, woodcut THAILAND ladies’ etiquette c1893, Meiji period late 1800s–early 1900s, Meiji period 1868–1912, wood, gold SEKINO Jun’ichiro (Japan, 1914– PETER SKILLING 1868–1912, concertina album, 88), 3 woodcuts: Geisha with ace lacquer, aogai and metal inlay; Set Thap Than district, Uthai Thani triptych, colour woodblock print; of hearts, woodcut; Mitsuke on the untitled Pictures of of comb and hair pin with design province, Pha yan (talismanic cloth) from the series Tokkaido 1970s, woodcut; untitled ladies’ etiquette of crows and herons 1800s, Edo 2007, cotton 1891, Meiji period (village scene) 1970s, woodcut 1868–1912, concertina album, (Tokugawa) period 1615–1868, SHINODA Tôkô (Japan, b1913), SUB TOTAL 1 WORK triptych, colour woodblock print; wood, gold and black lacquer; Set of comb and hair pin with Arrived wind 1970s, woodcut Spring amusements for noble TIBET daughters 1891, Meiji period 1868– designs of manservants (yakko- BEQUEST OF JAMES PLIMSOLL J A AND H D SPERLING 1912, concertina album, triptych, san) and bamboo late 1800s, Edo Meiping vase in Korean style 1900– colour woodblock print (Tokugawa) period 1615–1868, 1 piece of metalwork, 2 sculptures Meiji period 1868–1912, wood, 50, porcelain and 11 ceremonial objects: A two JAMES HAYES gold, black and red lacquer HARADA Minoru (Japan, b1941), part belt buckle or harness fitting Utagawa KUNISADA I / Tanaka Hyo’ami (Japan, active Vase 1950–2000, earthenware; depicting a pair of snow lions, TOYOKUNI III (Japan, 1786– 1900–50), Kashiki (tray for tea Kiyomizu-style silver(?); Image of Tzongkhapa early 1864), 5 prints: Actor Iwai Shijaku sweets) early 1900s, Taisho¯ period Andô/Utagawa HIROSHIGE 1700s, partial gilt bronze; as a maid c1805–10, colour 1912–26, kanshitsu (dry lacquer), (Japan, 1797–1858), Fullmoon at Vajrasattva c1200s–1300s, bronze woodblock print; Actor Sawamura silver lacquer finish Takanawa from the series Famous with silver and copper inlay; Amulet Toyosuke in the role of Seigen Tosa School (Japan), Six scenes places of the eastern capital 1831– box (gau) c1700s–1800s, carved Ama 1863, colour woodblock from ‘The tale of Genji’ 1700–50, 32, colour woodblock print amber plaque, outer edge studded with sky-blue turquoises; wrapped print; Courtesan Matsushima of pair of six-fold screens; ink, colour, Clifton KARHU (Japan, b1927), terracotta piece inside box; Amulet Sano Matsubaya with 2 kamuro gold and gofun on paper Winter trees, Katsura 1982, colour box early 1900s, low-grade silver c1811–15, colour woodblock print; woodblock print - LESLEY KEHOE GALLERIES decorated with 5 bullet casings, Courtesan Yugiri of Ogiya c1847– KAWADA Kan (Japan, 1927–99), 50, colour woodblock print; Lady UNRYÛAN Kitamura Tatsuo coral bead; Apron 1700s–1800s, - Path in Takahata village 1980, bone; Butter lamp early 1900s, Toda and Oboshi Yuranosuke from (Japan, b1952), Lotus leaf 2006, colour woodblock print the series Stories about individuals kanshitsu (dry lacquer), gold, green copper inlaid with silver; Censer Gerd Knäpper (Germany, b1943), in the history of Chushingura- (Ch and yellow lacquer and gold on 1800s–1900s, beaten silver; Vase 1980s, earthenware shingura meimei den) 1855, colour wood, quartz crystal drops Circular amulet box 1800s, box NAKAJIMA Masao (Japan), woodblock print of silver and copper(?) decorated REV MUNEHARU KUROZUMI E-Shino vase with design of flying with a turquoise bead, wrapped Utagawa TOYOKUNI II (Japan, (Japan, geese, earthenware terracotta medallion inside box, 1777–1835), Courtesan Masuharu SARAGAYA Hisako b1926), Flower vase 2008, ÔHARA Shôson (1877–1945), paper prayers; Flint case 1800s– of the Matsubaya compared to Mt earthenware with grey glaze and Flying geese 1930s, colour 1900s, leather with a metal striker, Matsuchi of ‘Ten famous views of abstract decor woodblock print copper repousse; Human bone Edo’ from the series A comparison OHI Toshiro (Japan, b1926), Tea collar c1500s–1700s, human bone; of beauty (bijin awase) c1820, ALAN LLOYD cup 1950–2000, earthenware with Set of four miniature enthronement colour woodblock print Tomioka EISEN (Japan, 1864– ohi amber glaze implements, silver; Skull crown (Japan), 2 Utagawa school 1905), Hidden in deep mountains Rozan (Japan), Vase with design of 1800s, bone; Skull crown 1800s, Courtesan Nagao of prints: 1900, kuchi-e woodblock print; ink ivy 1900–50, porcelain bone Owariya (in Edomachi 10-chome, and colour on paper SAITÔ Kiyoshi (Japan, 1907–97), SUB TOTAL 14 WORKS Shin-Yoshiwara) 1850s, colour Persimmon tree in Ezu 1981, colour woodblock print; Courtesan HELEN MOON TOTAL ASIAN ART DEPARTMENT - woodblock print 107 WORKS Shigeoka of Okamotoro Utagawa KUNISADA I / - TAKEKAWA Akihiko (Japan, (in Kyomachi 1-chome, Shin- TOYOKUNI III (Japan, 1786– b1943), Buddhist hall 1981, colour Yoshiwara) 1850s, colour 1864), Chapter 25, Fireflies from European art pre-1900 woodblock print woodblock print the series Faithful depictions of the figure of the Shining Prince c1851, MARGARET SPRATT BARBARA WHITE MASA HIRAOKA IN MEMORY OF colour woodblock print Blair Hughes-Stanton (England, HIS WIFE SETSUKO HIRAOKA Toyohara KUNICHIKA (Japan, 1902–81), The model 1926, wood 5 textiles: Baeiju (rice age) 88th PETER MULLER 1835–1900), Chapter 19, Usugumo engraving from the series Genji gojuyon- jo- birthday celebration costume, 2 hanging scrolls: Seated Dainichi SUB TOTAL 1 WORK red hood with rice plant design; Nyorai of the Matrix realm 1700s– (54 modern feelings matched with Kanreki 60th birthday celebration 1800s, Edo (Tokugawa) period the 54 chapters of Genji) c1884, costume, red hood and coat; Aged 1615–1868, hanging scroll; ink,

ART GALLERY OF NSW appendices 08–09 89 Modern and 2007–2008, 4 unique ink jet prints; COLLECTION – ZHANG Daqian, Cinnabar lotus contemporary art 7. Bottle Bend near Mildura 2008, LOANS 1974, colour lithograph 11 unique ink jet prints; 8. Near ZHANG Daqian, Lotus 1973, GEOFF AND VICKI AINSWORTH Swan Reach, 2007, colour lithograph 12 unique ink jet prints; 9. The Mona Hatoum (Lebanon; England, Murray’s Estuary: Lake Alexandrina, ZHANG Daqian, Persimmons b1952), Bukhara (red) 2007, wool Lake Albert, the Coorong 2007, 10 * Renewed loans 1973, colour lithograph and cotton unique ink jet prints ZHANG Daqian, Village in the Works lent to the Gallery mountains 1973, colour lithograph JOHN BEARD JACKY REDGATE ZHANG Daqian, Village in the John Beard (Wales; Australia, *PRIVATE COLLECTION Jacky Redgate (England; Australia, mountains 1973, colour lithograph b1943), Sphinx 2007, oil and wax b1955), 4 photographs from the George W Lambert, Archibald A on linen series Naar het Schilder-boeck Rankin 1925, oil on canvas ZHANG Daqian, Temple in the 1984–85 1984–85: The world turns mountains 1973, colour lithograph ADAM CULLEN on his thumb 1984, gelatin silver *PRIVATE COLLECTION ZHANG Daqian, Lotus 1973, Adam Cullen (Australia, b1965), photograph, matt with ink stamp, Oskar Kokoschka, Landscape at colour lithograph Residual paroxysm of unspoken sandblasted glass; He swims Ullapool 1945, oil on canvas and extended closures interrogated against the stream 1985, gelatin MR AND MRS SCOTT REID MAXIMILLIAN HUGHES by a malady of necrogenic silver photograph, matt with ink Ritual vessel ding, bronze subterfuge with a nice exit 1993, stamp, sandblasted glass; The Standing Buddha 8th century CE, Sir Thomas Lawrence, Richard 2008, television, air-conditioning hen feeler #2 1985, printed 2004, bronze Meade, 3rd Earl of Clanwilliam, filters, rubber, fiberglass bath, gelatin silver photograph, matt oil on canvas disposable nappies, various with ink stamp, sandblasted glass; ANONYMOUS LOAN adhesives, glass-filament adhesive He fills in the ditch after the calf Kannon Bosatsu and Seishi tape, pharmaceutical apparatus, has drowned 1985, gelatin silver Bosatsu 15th century, pair of PRIVATE COLLECTION wood, plastic/paper, sheeting, photograph, matt with ink stamp, gilt-lacquered wood figures with Lord Frederic Leighton, timber, varnish, mucus, ink sandblasted glass openwork mandorla and loose An athlete wrestling with a python, metal jewellery white marble MICHAEL HOBBS JUAN ROBERSON Lord Frederic Leighton, PRIVATE COLLECTION Imants Tillers (Australia, b1950), Francis J Mortimer (England, Athlete struggling with a python, Pierre-Auguste Renoir, Jeune 52 displacements (no 2) 1979–80, 1874–1944), 6 photographs: bronze Britannia’s realm 1910, relief femme se baignant 1888, oil on gouache on canvas, framed text Lord Frederic Leighton, halftone print; untitled (portrait canvas panel The sluggard, bronze of F J Mortimer) 1921–34, relief untitled (study for GIUSEPPE PENONE JOHN KALDOR halftone print; *VICTORIA BRIEN AND DEREK Shipwrecked / lest we forget - an Giuseppe Penone, Idee di pietra (Spain; France, SICKLEN Antoni Miralda eye for an eye; a tooth for a tooth – 2004, bronze and natural river b1942), Coloured bread 1973, Unknown, Confucius and his family in boat) 1917–19, composite stone colour photo screenprint seventy-two disciples 15th–17th collage: gelatin silver photographs, PRIVATE COLLECTION century, handscroll; ink and colour untitled (study oil paint, gouache; on silk BRIAN AND BETTY KELLY for untitled [little girls with buckets William Kentridge, Walking man turning into a tree 2000, linocut Alan Davie (Scotland, b1920), & spades]) 1911–12, composite JAMES OSWALD FAIRFAX Zurich improvisations XII 1968, collage: gelatin silver photographs, *PRIVATE COLLECTION Three scenes from ‘The tale of colour lithograph gouache; untitled (study for All’s Judy Cassab, Landscape 1961, Genji’ late 19th century, single six- well – ship’s crew and battleship fold screen; ink, colour and gold TUSCHIYA KIMIO oil on hardboard destroyer) 1917, composite on paper collage: gelatin silver photographs, TUSCHIYA Kimio (Japan, b1955), *NELSON MEERS FOUNDATION untitled (sleeper installation) 1998, oil paint, gouache; untitled (study PRIVATE COLLECTION Sidney Nolan, Giggle Palace 1945, railway sleepers for The wreck / the trail of the Huns ripolin enamel and oil on hardboard Justin O’Brien, Portrait of a young SUB TOTAL 7 WORKS – lifeboat crew attending shipwreck) man (Martin Sharp) (1959), oil on 1916, composite collage: gelatin *MRS J FINDLAY paper on hardboard silver photographs, gouache Horse and rider, earthenware Photography PRIVATE COLLECTION Lady polo player, earthenware FRANCES TURNER CHRISTINE CORNISH Male polo player, earthenware Ritual vessel ‘you’ 13th–11th attrib J Craig Annan (Scotland, century BCE, bronze Christine Cornish (Australia, 1864–1946), untitled (portrait of *SATIS ARNOLD Ritual vessel ‘bu’ 13th–11th century 1946), Threshold 2004, 10 pigment F J Mortimer) 1913, carbon print ZHANG Daqian, Homeward BCE, bronze prints mounted on aluminium photograph passing through the stone gate at Ritual vessel ‘he’ 770–476 BCE, dusk 1974, colour lithograph BONITA ELY SUB TOTAL 21 WORKS bronze Bonita Ely (Australia, b1946), 9 ZHANG Daqian, Mountain Ritual vessel ‘dun’ 475–221 BCE, photographs from the series The TOTAL WESTERN ART monastery by the waterfall 1974, bronze Murray’s edge 2007–8 2007–08: DEPARTMENT 29 WORKS colour lithograph 1. Murray headwaters 2008, ZHANG Daqian, Peonies 1974, *PRIVATE COLLECTION 14 unique ink jet prints; 2. Near TOTAL ALL DEPARTMENTS colour lithograph Tracey Moffatt, Something more 7 Corryong 2007, 8 unique ink jet 353 WORKS GIFTED 1989, Cibachrome photograph prints; 3. Barmah Forest 2007, 9 ZHANG Daqian, Shrike amidst the autumn leaves 1974, colour unique ink jet prints; 4. Lake Boga TOTAL WORKS PURCHASED *JOHN KILEY AND EUGENE lithograph 2008, 5 unique ink jet prints; 5. AND GIFTED IN 2008–09: 504 SILBERT Near the Murrumbidgee Murray ZHANG Daqian, Hanging gibbon Bill Henson, Untitled 1997/2000 junction 2007–2008, 12 unique over the autumn stream 1974, 1997–2000, type C photograph ink jet prints; 6. Robinvale, Euston colour lithograph

90 ART GALLERY OF NSW appendices 08–09 COLIN MCDONALD Dieter Roth, Insel NATIONAL LIBRARY OF State Library of Queensland, QLD Sword: Daisho Koshirae (Schokoladenpyramide) c1971, AUSTRALIA, ACT 31.07.09 to 25.10.09 chocolate, iron and plaster on Sword: Taikei Naotane Ko A modern vision: Charles Bayliss , wooden board in plexiglass box, Wakizashi 1845 photographer 1850–1897 Rushing c1922, oil on canvas on mounted to wooden board 11.07.08 to 26.10.08 paperboard Kuniyasu, Sword: Horikawa Kuniyasu Katana 1596 *POWERHOUSE MUSEUM Charles Bayliss, Macquarie Chair Ludwig Hirschfeld-Mack, Dark red c1885, albumen photograph abstract lines 1937, oil on canvas Sword: Bizen Sukesada Katana Jingdezhen ware, Armorial plate on plywood 1578 bearing the arms of Booth impaling Charles Bayliss, Bourke 1886, Irvine of Drum c1723, porcelain albumen photograph Weaver Hawkins, Jitterbugs 1945, attrib Naohide, Sword: Soji with ‘rouge de fer’ enamel; gilt oil on canvas Naohide Tanto (plus koshirae) 1861 Charles Bayliss, A reach on the Altar vase (‘zun’) 1796–1820, Darling 1886, albumen photograph Rayner Hoff, Decorative portrait Suô Muratoshi, Sword: Suo porcelain; monochrome blue – Len Lye 1925, marble Moritoshi Katana (plus koshirae) Charles Bayliss, Wool-washing at enamel glaze 1849 Gundabooka Station, Darling River , Subway, Wynyard YOSHINORI, Pair of stirrups, iron 1886, albumen photograph 1948, tempera on hardboard Akasaka Senjuin, Sword: Akasaka with gold and silver inlay Senjuin Katana 1450 Charles Bayliss, Junction of Margaret Preston, Implement blue Cup 700–750, earthenware with Darling and Warrego Rivers (first 1927, oil on canvas on hardboard Sword: Michitatsu Tanto sancai (three colour) glaze view)1886, albumen photograph (plus koshirae)1680 Margaret Preston, Adina c1946, Neolithic jar 3000–1700 BCE, Charles Bayliss, View from Dunlop colour screenprint on wool Sword furniture: Goto Ichijo Kozuka Range, near Louth, Darling River earthenware decorated in iron rich Peter Purves Smith, New York Gotô Mitsukuni, Sword guard: (looking south) 1886, albumen pigments of red-brown and black 1936, oil on canvas Goto Mitsukuni (Goto school) photograph Seto ware tea caddy 18th century, Weaver Hawkins, Atomic power 17th–19th century Charles Bayliss, Homestead, stoneware 1947, oil on hardboard Sword guard: Iron Masachika Dunlop Station, Darling River 1886, Seto ware tea caddy 18th century, (Ito school) albumen photograph Stanislaus Ostoja-Kotkowski, stoneware Sunrise c1965, collage and Sword guard: Iron Masayoshi Charles Bayliss, Group of local Seto ware tea caddy 18th century, synthetic polymer paint on (Ito school) Aboriginal people, Dunlop Station stoneware aluminium Hamano Noriyuki, Sword furniture: 1886, albumen photograph Frank Hinder, Dark image 1967, Shakudo Menuki (shells) (Hamano MICHAEL RILEY FOUNDATION Charles Bayliss, Bullock teams luminal kinetic: electric motors, school) at Wilcannia 1886, albumen Michael Riley, Avril 1986, gelatin coloured lights, tinted perspex, photograph Suruga Takaoki, Sword guard: Iron silver photograph glass Suruga Takaoki (goose and grass) Charles Bayliss, Mob of 1000 * , Rainbow scale. 17th–19th century bullocks crossing Darling River, near Quiver 18th century, lacquer and D# Minor – F# Minor, coloured Ishiguro Teruaki, Sword guard: Wilcannia (first view) 1886, albumen mother-of-pearl inlay on wood crayon, pencil Shakudo Ishiguro Teruaki (gold rim) photograph Roy de Maistre, Rainbow scale. Charles Bayliss, Waterworks, Sword furniture: Shakudo Kogai NEWCASTLE REGION ART E & A, coloured crayon, pencil (Ko-Goto) (Dragon and Ken) GALLERY Wilcannia 1886, albumen Roy de Maistre, Rainbow scale. , Applause space photograph Masatsune III, Sword furniture: YAGI Kazuo E – G, coloured crayon, pencil Shakudo Masatsune III (Ishiguro 1974, black-fired earthenware Charles Bayliss, Group of local Roy de Maistre, Rainbow scale. school) YAGI Kazuo, Design plan (Face) Aboriginal people, Chowilla Station, Lower Murray River, South Australia E & F, coloured crayon, pencil Sword furniture: Shakudo Ichiju 1977, black-fired earthenware 1886, albumen photograph Roy de Maistre, Rainbow scale. (Ishiguro school) PRIVATE COLLECTION Charles Bayliss, Overland Corner, G Major & A Minor, coloured Sword furniture: Guri-bori fuchi- James Gleeson, The Peregian Lower Murray, South Australia crayon, pencil kashira c1780 Codex 1983, bound book of 22 1886, albumen photograph Roy de Maistre, Rainbow scale. *PRIVATE COLLECTION decalcomanias with collage C# – Eb, coloured crayon, pencil NATIONAL GALLERY OF Anselm Kiefer, Wege AUSTRALIA, ACT Ludwig Hirschfeld-Mack, Abstract Der Weltweisheit: Die composition 1921, colour woodcut, Works lent by the Gallery Picture paradise: Asia-Pacific Hermannsschlacht 1978, mixed black, blue, red, yellow and beige photography 1840 –1940s media (woodblock print, synthetic on ivory laid paper NATIONAL GALLERY OF 11.07.08 to 09.11.08 polymer paint, varnish) Ludwig Hirschfeld-Mack, AUSTRALIA, ACT YAMAWAKI Iwao, Untitled (glass SUGITO Hiroshi, Elephant & Reaching the stars 1922, colour Richard Larter: a retrospective abstraction) 1930–1932, gelatin buckle 1999, diptych: acrylic, lithograph, black, dark blue, light 03.07.08 to 17.09.08 silver photograph pigment and graphite on paper on blue, fawn and yellow on thin canvas Richard Larter, Dithyrambic F R Ratnagar, Evening in the hills cream mulberry paper painting no 6 1965, synthetic 1937, gelatin silver photograph Neo Rauch, Marznacht 2000, oil Ludwig Hirschfeld-Mack, polymer paint on hardboard on paper Dorothea Lange, White angel The world to come 1940, pencil, Richard Larter, Mr No, the rat fink breadline, San Francisco 1932 watercolour on ivory wove paper, Anish Kapoor, Untitled 2002, censor 1965, synthetic polymer {printed 1940s}, gelatin silver varnish stainless steel and lacquer paint on hardboard photograph. Frank Hinder, Abstract 1933, Tony Oursler, Mo 2003, fiberglass, Richard Larter, Prompt Careb and pencil and watercolour on paper DVD projection, sound how we never learn 1975, synthetic POWERHOUSE MUSEUM, NSW Frank Hinder, Carnival 1944, Tracey Emin, I do not expect polymer paint on canvas Modern times pencil, tempera on white wove 2002, mixed media: appliqué Powerhouse Museum, NSW paper blanket 01.08.08 to 08.02.09 Frank Hinder, Space perspective Neo Rauch, Gebot 2002, oil on Heide Museum of Modern Art, VIC 1961, ink and wash on graph paper canvas 23.03.09 to 12.07.09

ART GALLERY OF NSW appendices 08–09 91 Frank Hinder, Space lab 1967, , Chinese , Causeway, William Kentridge, Tide table watercolour mountain 1933, oil and gouache on Tuggerah 1919, oil on paper on 2003, animated 35mm film, , Six studies for cardboard paperboard video and DVD transfer, sound abstract sculptures, pencil (one Ian Fairweather, West Lake, Roland Wakelin, Berry’s Bay 1919, 8 mins 53 secs with coloured chalk) Hangchow 1933, oil and gouache oil on paperboard BALLARAT FINE ART on paper on canvas on cardboard Margel Hinder, Two studies for Roy de Maistre, Colour keyboard GALLERY, VIC abstract sculptures, pencil (one Ian Fairweather, Landscape near c1919, oil, pencil on cardboard The naked and the nude with coloured chalk), on tracing Peking 1935, oil on cardboard Roy de Maistre, (Colour chart) 13.09.08 to 07.12.08 paper Margaret Preston, I lived at c1919, oil on cardboard Arthur Fleischmann, Kneeling girl Margel Hinder, Six studies for Berowra 1941, oil on canvas Roy de Maistre, (A set of colour 1937, wood abstract sculptures, pencil on Margaret Preston, Grey day in the discs, scales, wheels) c1919, tracing paper Rayner Hoff, Australian Venus ranges 1942, oil on hardboard oil on paperboard c1927, Angaston marble Margel Hinder, Eight studies for Margaret Preston, Begonia c1935, Roy de Maistre, Rhythmic abstract sculptures 1966, pencil, Sir William Dobell, The duchess woodcut, black ink on thin ivory laid composition in yellow green minor disrobes 1936, oil on plywood pastel on tracing paper Japanese paper 1919, oil on paperboard Arthur Boyd, The expulsion Margel Hinder, Eight studies for Roy de Maistre, Colour music HISTORIC HOUSES TRUST OF 1947–48, oil on hardboard abstract sculptures, pencil on c1934, gouache, music roll tracing paper NEW SOUTH WALES, NSW Frank Hodgkinson, Sensuality Lost gardens of Sydney Roy de Maistre, Indigo F, 1971, charcoal Margel Hinder, Six studies for gouache, pencil on paper abstract sculptures, pencil on , NSW , Male nude in tracing paper 09.08.08 to 30.11.08 Roy de Maistre, Green D, moonlight, charcoal, white chalk Maurice Felton, Portrait of Mrs watercolour, gouache and pencil on blue paper Margel Hinder, Four studies for on paper abstract sculptures, pencil on Alexander Spark 1840, oil on Janet Cumbrae Stewart, tracing paper canvas Roy de Maistre, Yellow green The model disrobing 1917, (C# Minor), oil and pencil on paper pastel on paper Irene Bayer, Portrait of Grit Kallin, ART GALLERY OF SOUTH Roy de Maistre, Violet blue F#, Bauhaus Dessau 1928, gelatin AUSTRALIA, SA Charles Meere, Cartoon for watercolour and pencil on paper silver photograph Misty moderns: Australian ‘Australian beach pattern’ 1939, Grit Kallin-Fischer, Eduard Fischer tonalism 1915–1950 Roy de Maistre, Rainbow scale pencil, pen and black ink, squared on Mart Stam chairs, Bauhaus Art Gallery of South Australia, SA (Exhibit I), coloured crayon, pencil on ivory wove paper Dessau 1928, gelatin silver 14.08.08 to 19.10.08 on cream card Eric Wilson, Seated female nude, photograph, vintage McClelland Gallery, SA Roy de Maistre, Rainbow scale front view c1938, crayon , Sunbaker 1937 16.11.08 to 01.02.09 (Exhibit II), coloured crayon, pencil Justin O’Brien, Venus no 1 1988, {printed later}, gelatin silver National Gallery of Australia, ACT on cream card oil on canvas photograph 20.02.09 to 26.04.09 Roy de Maistre, Rainbow scale Hazelhurst Regional Gallery and ALBURY REGIONAL ART Max Dupain, Untitled (nude with (Exhibit III), coloured crayon, pencil Arts Centre, NSW on cream card GALLERY, NSW pole), gelatin silver photograph 09.05.09 to 21.06.09 Roy de Maistre, Rainbow scale Step right up Max Dupain, Illustration for University Art Museum, QLD Albury Regional Art Gallery, NSW Kelvinator advertisment 1936 17.07.09 to 13.09.09 (Rainbow again), coloured crayon, pencil on cream card 10.10.08 to 04.01.09 {printed later}, gelatin silver Newcastle Region Art Gallery, NSW City Gallery, NSW photograph 09.10.09 to 29.11.09 Roy de Maistre, Rainbow scale. A 12.12.08 to 25.01.09 – C Majors, coloured crayon, pencil Stanislaus Ostoja-Kotkowski, , Flowers 1922, David Strachan, Sketchbook Nymphex 1970s {printed later}, oil on paperboard Roy de Maistre, Rainbow scale (thirty-four sketches of circus gelatin silver photograph from Percy Leason, Self portrait 1922, E – D#, c1930s, coloured crayon, figures, female figures, abstract electronic image oil on cardboard pencil landscapes), bound sketchbook: A M E Bale, Last of the season Roy de Maistre, Rainbow scale 31 leaves, 34 drawings, mixed SCOTTISH NATIONAL GALLERY 1921, oil on canvas E – G#, coloured crayon, pencil media on cream wove paper OF MODERN ART, SCOTLAND Roy de Maistre, Rainbow scale David Strachan, Clown and Tracey Emin Roland Wakelin, Self portrait 1920, oil on paperboard E – B, coloured crayon, pencil magician 1947, pen and black ink, Scottish National Gallery of Modern wash Art, SCOTLAND Roy de Maistre, Still life c1922, Roy de Maistre, Rainbow scale 02.08.08 to 09.11.08 oil on paper on paperboard E & C, coloured crayon, pencil , The acrobats 1927– Centro de Arte Contemporáneo de Roy de Maistre, Rainbow scale 1928, colour linocut, yellow, green Arnold Shore, The park 1941, and black ink on ivory mulberry Málaga, SPAIN oil on cardboard E & A#, coloured crayon, pencil 28.11.08 to 22.02.09 paper Kunstmuseum Bern, IVAN DOUGHERTY GALLERY, IVAN DOUGHERTY GALLERY, BATHURST REGIONAL ART SWITZERLAND NSW NSW GALLERY, NSW 10.03.09 to 21.06.09 Colour in art – revisiting 1919 – Anthony Hordern Themes and variations: Australian Tracey Emin, I do not expect Ivan Dougherty Gallery, NSW Gallery 1941 drawings from the collection of 2002, mixed media: appliqué 21.08.08 to 27.09.08 21.08.08 to 07.09.08 the Art Gallery of NSW blanket Heide Museum of Modern Art, VIC Ralph Balson, Painting 1941, 17.10.08 to 30.11.08 23.03.09 to 12.07.09 oil on paperboard George Coates, Head study of a S H ERVIN GALLERY, NSW State Library of Queensland, QLD bearded man c1895, pencil, pen 25.07.09 to 20.11.09 ANNE AND GORDON SAMSTAG Yin-Yang: China in Australia and sepia ink 08.08.08 to 28.09.08 Roland Wakelin, Synchromy MUSEUM OF ART, SA William Kentridge: tide table George W Lambert, H Desbrowe Ian Fairweather, Tea garden, in orange major 1919, oil on cardboard 29.08.08 to 17.10.08 Annear 1921, pencil on off-white Peking c1936, oil on cardboard wove paper

92 ART GALLERY OF NSW appendices 08–09 Nora Heysen, Self portrait 1926, brown ink, wash on sheet from Godfrey Miller, Study-horse , Lydia, etching, pencil on white paper sketchbook c1966, pencil on off-white wove black ink on paper Nora Heysen, Native of New , Arkaba landscape, paper Norman Lindsay, The black hat Guinea c1945, pen and red ink, far north c1930, charcoal, pen and 1924, etching, black ink on paper QUEENSLAND ART GALLERY, carbon pencil ink, wash, pencil QLD THE DRILL HALL GALLERY, ACT , Girl with gloves Lloyd Rees, Study for ‘A tribute to Someone’s universe: the art of Seventh Drawing c1928, pencil on cream wove France’ 1967, pen, ink, watercolour Eugene Carchesio paper Biennale Lloyd Rees, The fields of Béziers 25.10.08 to 01.02.09 06.11.08 to 14.12.08 Donald Friend, African boy 1939, 1967, pen and black ink, wash and Eugene Carchesio, European pen and ink, wash watercolour on white wove paper Kevin Connor, Four at a table, Bill Ghosts 1991, watercolour and Toni’s, Stanley Street, Sydney Donald Friend, (Study of a Lloyd Rees, Sketchbook no 13: Eugene Carchesio, European 1999, pen and black ink on paper landscape) 1932, pencil Europe 1966 –1967 1966–67, Ghosts 1991, watercolour bound sketchbook: pencil, Kevin Connor, Four figures, Bill Donald Friend, Casuarinas 1948, Eugene Carchesio, Matchbox and Toni’s, Stanley Street, East pen and ink, wash watercolour, pen and black ink, black fibre-tipped pen, purple fibre- constructions 1994–95, 12 Sydney 1999, pen and black ink Donald Friend, Youth, death tipped pen, black ball-point pen matchbox constructions on paper and the maiden c1965, pen and and charcoal Eugene Carchesio, Berlin baroque Kevin Connor, (Five by the door, brown, black and red ink, wash, Frank Hodgkinson, Fiume Arno 1995, cardboard construction The Arch, Stanley Street, East watercolour, white gouache on buff Sydney) 1999, pen and black ink wove paper 1947, brush and brown ink, wash Eugene Carchesio, Silence on cream wove paper from a is golden 1994–95, cardboard on paper Donald Friend, Boy 1972, ballpoint sketchbook construction Kevin Connor, (Airline bus) 1999, pen , (Landscape) pen and black ink on paper Sir William Dobell STATE LIBRARY OF TASMANIA, Douglas Dundas, Portrait of (Gouaches), wash, gouache on Kevin Connor, (Bill and Toni’s and TAS Joshua Smith 1940, pencil grey paper imaginary model) 1999, pen and Town rivulet: artists’ Joshua Smith, Self portrait c1950, Sir William Dobell, Joshua Smith black ink on paper pencil on paper impressions 1943, silverpoint on paper 31.10.08 to 28.02.09 Kevin Connor, (Bill and Toni’s, Eric Wilson, Head study c1942, Sir William Dobell, Self portrait Stanley Street, East Sydney) 1999, pencil on ivory wove paper John Skinner Prout, Valley of pen and black ink on paper 1937, pencil, brush and brown ink the ferns 1844–48, watercolour, Albert Tucker, Self portrait 1992, Fred Williams, Lysterfield Hills opaque white gum, scraping out Kevin Connor, (Bill and Toni’s, black felt pen series XVI 1969, brush and black, on paper Stanley Street, East Sydney) 1999, pen and black ink on paper Albert Tucker, Self portrait 1986, brown and grey ink on wove paper John Skinner Prout, The artist’s crayon, watercolour James Gleeson, Study for ‘The wife and children, Hobart 1844, Kevin Connor, (Bill and Toni’s, Albert Tucker, Self portrait as a prepared grove’ 1990, charcoal, watercolour, white gouache, gum, Stanley Street, East Sydney) 1999, mask 1940s, pencil collage, pencil, squared with pencil scraping out on paper pen and black ink on paper Albert Tucker, Female nude on white wove paper Kevin Connor, (Bill and Toni’s, *GOLD COAST CITY ART 1940s, pencil on paper , Fizelle (?) at Stanley Street, East Sydney) 1999, GALLERY, QLD drawing board, head and shoulders pen and black ink on paper Albert Tucker, Desiccated horse 31.10.08 to 30.10.13 1956, black ink, gouache on glossy (Crowley-Fizelle school), pencil on Kevin Connor, (Bill and Toni’s, thin white cardboard brown paper William Tucker, Beulah III 1972, Stanley Street, East Sydney) 1999, steel unique pen and black ink on paper Louis Kahan, Albert Tucker c1961– Grace Crowley, Seated female c1962, pen and black ink nude, eyes downcast (Academie Paul Selwood, Kembla 1985–86, Kevin Connor, (Bill and Toni’s, Lhote), pencil on tan paper rusted steel Stanley Street, East Sydney) 1999, Brett Whiteley, Face of an old pen and black ink on paper man, charcoal Grace Crowley, Horse study, Phillip King, Blue between 1971, pencil on cream paper painted and welded steel Kevin Connor, (Bill and Toni’s, John Olsen, Kenneth Slessor , Woman Stanley Street, East Sydney) 1999, 1970, pencil ART GALLERY, VIC lounging c1941, pen and black ink, pen and black ink on paper , Seated female nude, John Olsen dry brush and brown ink on paper True crime: murder and Kevin Connor, (Bill and Toni’s, back view 1993, charcoal, pastel misdemeanour in Australian Art Wendy Sharpe, Seated and Stanley Street, East Sydney) 1999, , Self portrait III 01.11.08 to 01.02.09 Kevin Connor reclining male nudes 1993, pastel pen and black ink on paper 1992, brush and black ink, white Timmy Timms, Bedford Downs , Seated female nude, Kevin Connor, (Bill and Toni’s, gouache Eric Wilson Massacre 2000, natural pigments back view, London c1939, black Stanley Street, East Sydney) 1999, , on linen canvas Jon Molvig conté pen and black ink on paper (portrait sketch), conté crayon, Kevin Connor, (Both sides of the pencil Douglas Fry, Study of a dead(?) BLACKTOWN ARTS CENTRE, horse, pencil NSW iron fence, Bill and Toni’s, Stanley Kevin Lincoln, Self portrait 1984, Street, East Sydney) 1999, pen and Dream merchant charcoal, wash on white wove Sir , (Studies of a black ink on paper horse), pencil 06.11.08 to 31.01.09 paper Kevin Connor, (Café) 1999, pen Norman Lindsay, The dream Louis Buvelot, Bacchus Marsh, Francis Lymburner, Horse c1940, and black ink on paper merchant 1920, etching, black ink Werribee Creek 1876, pencil, grey pen and black ink, wash on paper Kevin Connor, (Café, Melbourne) wash Sidney Nolan, Horse and dray 1999, pen and black ink on paper Norman Lindsay, The Amazons, Sydney Long, Study for etching 1949, carbon transfer drawing on white wove paper etching Kevin Connor, (Café, Melbourne) ‘The land of the lavender’ c1923, 1999, pen and black ink on paper pencil, white gouache, black pastel, Jon Molvig, Carcase no 2 1958, Norman Lindsay, The curtain grey wash reed pen and red ink on paper 1919, etching, black ink on paper Kevin Connor, (Dark figures, Bill and Toni’s, Stanley Street, East Norman Lindsay, Whispers 1921, John Glover, Derwent Water, Jan Senbergs, Horse carcass Sydney) 1999, pen and black ink etching, black ink on paper Lake District c1831, pen and grey- 1989, black pastel on white wove on paper paper

ART GALLERY OF NSW appendices 08–09 93 Kevin Connor, (Figure and railway Street, East Sydney) 1999, pen and Kevin Connor, Bill and Toni’s, Kevin Connor, The newspaper tunnel) 1999, pen and black ink on black ink on paper Stanley Street, Sydney 1999, pen rack, Bill and Toni’s, Stanley Street, paper Kevin Connor, (Through the door, and black ink on paper East Sydney 1999, pen and black Kevin Connor, (Figure in the street) Bill and Toni’s, Stanley Street, East Kevin Connor, Bill and Toni’s, ink on paper 1999, pen and black ink on paper Sydney) 1999, pen and black ink Stanley Street, Sydney 1999, pen Kevin Connor, Night, Bill and Kevin Connor, (Figure running on paper and black ink on paper Toni’s, Stanley Street, East Sydney amok in the street) 1999, pen and Kevin Connor, (Town Hall Station) Kevin Connor, Bloom’s Deli, 1999, pen and black ink on paper black ink on paper 1999, pen and black ink on paper Melbourne 1999, pen and black ink Kevin Connor, North Melbourne, Kevin Connor, (Figures in park) Kevin Connor, (Two figures, one on paper near Jan and Helen’s (Senbergs) 1999, pen and black ink on paper smoking, Bill and Toni’s, Stanley Kevin Connor, Café, Kings Cross 1999, pen and black ink on paper Kevin Connor, (Fingers on the Street, East Sydney) 1999, pen and 1999, pen and black ink on paper Kevin Connor, The old Eye chin, Bill and Toni’s, Stanley Street, black ink on paper Kevin Connor, Coffee bar, Hospital (memory drawing) 1999, East Sydney) 1999, pen and black Kevin Connor, (Two heads, Bill and Melbourne 1999, pen and black ink pen and black ink on paper ink on paper Toni’s, Stanley Street, East Sydney) on paper Kevin Connor, On the tram, Kevin Connor, (Lone figure in 1999, pen and black ink on paper Kevin Connor, Corner of Riley and Melbourne 1999, pen and black ink archway, Bill and Toni’s Stanley Kevin Connor, (Two men standing, Stanley Street, Sydney (with the on paper Street, East Sydney) 1999, pen and The Arch, Stanley Street, East light in Watters Gallery) 1999, pen Kevin Connor, Outside Bill and black ink on paper Sydney) 1999, pen and black ink and black ink on paper Toni’s, Stanley Street, East Sydney Kevin Connor, (Man and woman on paper Kevin Connor, Court 13A, 1999, 1999, pen and black ink on paper in profile, Bill and Toni’s, Stanley Kevin Connor, (Two talking, Bill pen and black ink on paper Kevin Connor, Outside Victoria Street, East Sydney) 1999, pen and and Toni’s, Stanley Street, East Kevin Connor, A cup of coffee, Barracks, Sydney 1999, pen and black ink on paper Sydney) 1999, pen and black ink Bill and Toni’s, Stanley Street, East black ink on paper Kevin Connor, (Next to the door, on paper Sydney 1999, pen and black ink Kevin Connor, Politics, Bill and Bill and Toni’s, Stanley Street, East Kevin Connor, (With hand on on paper Toni’s, Stanley Street, East Sydney Sydney) 1999, pen and black ink mouth, Bill and Toni’s, Stanley Kevin Connor, Dark figure, Bill and 1999, pen and black ink on paper on paper Street, East Sydney) 1999, pen and Toni’s, Stanley Street, East Sydney Kevin Connor, Reading a Kevin Connor, (On the bus) 1999, black ink on paper 1999, pen and black ink on paper newspaper, Bill and Toni’s, Stanley pen and black ink on paper Kevin Connor, Airport café, Kevin Connor, Drug addict, Street, Sydney 1999, pen and Kevin Connor, (Outside at The Melbourne 1999, pen and black ink Francis Street, East Sydney 1999, black ink on paper Arch, Stanley Street, East Sydney) on paper pen and black ink on paper Kevin Connor, Reading, morning, 1999, pen and black ink on paper Kevin Connor, The Arch, Stanley Kevin Connor, The explosives Bill and Toni’s, Stanley Street, East Kevin Connor, (Prostitute and Street, East Sydney 1999, pen and expert, Bill and Toni’s, Stanley Sydney 1999, pen and black ink mattress, East Sydney) 1999, pen black ink on paper Street, East Sydney 1999, pen and on paper and black ink on paper Kevin Connor, Back’s turned, Bill black ink on paper Kevin Connor, Seated figures, Bill Kevin Connor, (Reader on a park and Toni’s, Stanley Street, East Kevin Connor, Glass doors, Bill and Toni’s, Stanley Street, Sydney bench) 1999, pen and black ink Sydney 1999, pen and black ink and Toni’s, Stanley Street, East 1999, pen and black ink on paper on paper on paper Sydney 1999, pen and black ink Kevin Connor, Sitting outside, Bill Kevin Connor, (Restaurant, Kevin Connor, Bill and Toni’s on paper and Toni’s, Stanley Street, East Melbourne) 1999, pen and black – evening, Stanley Street, East Kevin Connor, Hand before face, Sydney 1999, pen and black ink ink on paper Sydney 1999, pen and black ink Bill and Toni’s, Stanley Street, East on paper on paper Kevin Connor, (Roof menders from Sydney 1999, pen and black ink Kevin Connor, Standing figure, Bill the studio window, East Sydney) Kevin Connor, Bill and Toni’s, on paper and Toni’s, Stanley Street, Sydney 1999, pen and black ink on paper Stanley Street, East Sydney 1999, Kevin Connor, Hyatt, Melbourne 1999, pen and black ink on paper pen and black ink on paper Kevin Connor, (Sitting outside, 1999, pen and black ink on paper Kevin Connor, Street bonk 1999, Stanley Street, East Sydney) 1999, Kevin Connor, Bill and Toni’s, Kevin Connor, Man and machine, pen and black ink on paper pen and black ink on paper Stanley Street, East Sydney 1999, Bill and Toni’s, Stanley Street, East Kevin Connor, The talkative Italian, pen and black ink on paper Kevin Connor, (Steve Hoffman) Sydney 1999, pen and black ink Bill and Toni’s, Stanley Street, East 1999, pen and black ink on paper Kevin Connor, Bill and Toni’s, on paper Sydney 1999, pen and black ink Stanley Street, East Sydney 1999, Kevin Connor, Man and woman, on paper Kevin Connor, (Sydney Street) pen and black ink on paper 1999, pen and black ink on paper Bill and Toni’s, Stanley Street, East Kevin Connor, Thoughts of a Kevin Connor, Bill and Toni’s, Sydney 1999, pen and black ink Spanish village, Bill and Toni’s, Kevin Connor, (The Arch, Stanley Stanley Street, East Sydney 1999, on paper Stanley Street, East Sydney 1999, Street, East Sydney) 1999, pen and pen and black ink on paper pen and black ink on paper black ink on paper Kevin Connor, Man wearing a hat, Kevin Connor, Bill and Toni’s, Bill and Toni’s, Stanley Street, East Kevin Connor, Three figures and Kevin Connor, (The Arch, Stanley Stanley Street, East Sydney 1999, Sydney 1999, pen and black ink Campari ad, Bill and Toni’s, Stanley Street, East Sydney) 1999, pen and pen and black ink on paper on paper Street, East Sydney 1999, pen and black ink on paper Kevin Connor, Bill and Toni’s, Kevin Connor, Margaret’s birthday, black ink on paper Kevin Connor, (Three figures on Stanley Street, East Sydney 1999, Bill and Toni’s, Stanley Street, East Kevin Connor, Two archways, Bill the street, Sydney) 1999, pen and pen and black ink on paper Sydney 1999, pen and black ink and Toni’s, Stanley Street, East black ink on paper Kevin Connor, Bill and Toni’s, on paper Sydney 1999, pen and black ink Kevin Connor, (Three figures, Bill Stanley Street, East Sydney 1999, Kevin Connor, The morning queue, on paper and Toni’s Stanley Street, East pen and black ink on paper Bill and Toni’s, Stanley Street, East Kevin Connor, Two figures at a Sydney) 1999, pen and black ink Sydney 1999, pen and black ink table, Bill and Toni’s, Stanley Street, on paper Kevin Connor, Bill and Toni’s, Stanley Street, East Sydney 1999, on paper East Sydney 1999, pen and black Kevin Connor, (Three figures, one pen and black ink on paper Kevin Connor, Morning, Bill and ink on paper reading, Bill and Toni’s, Stanley Toni’s, Stanley Street, East Sydney 1999, pen and black ink on paper

94 ART GALLERY OF NSW appendices 08–09 Kevin Connor, Victoria Road, Mike Parr, Bronze liars (minus 1 parakeet feathers, white feathers, A E Aldis, wattle North Melbourne 1999, pen and to minus 16) 1996, bronze and natural pigments c1916, oil on paperboard black ink on paper beeswax sculpture Mawalan Marika, Figure of George Finey, Banksias 1940, Mike Parr, Bronze liars (minus 1 Djan’kawu, ancestral being of the synthetic polymer paint on plywood LEWERS BEQUEST AND PENRITH to minus 16) 1996, bronze and Dhuwa moiety 1960 {collected}, Elioth Gruner, Daffodils 1927, oil REGIONAL ART GALLERY, NSW beeswax sculpture wood, human hair, bark fibre, on wood Sydney Ball: the colour paintings parakeet feathers, white feathers, Mike Parr, Bronze liars (minus 1 Trevor Nickolls, Homage to Lewers Bequest and Penrith to minus 16) 1996, bronze and natural pigments Regional Art Gallery, NSW Margaret Preston 1988, synthetic beeswax sculpture Mawalan Marika, Djan’kawu polymer paint on canvas 08.11.08 to 25.01.09 creation story 1959, natural McClelland Gallery + Sculpture Mike Parr, Bronze liars (minus 1 pigments on bark MUSEUMS & GALLERIES NSW, Park, VIC to minus 16) 1996, bronze and NSW 15.02.09 to 26.04.09 beeswax sculpture Wandjuk Marika, Mathaman Mike Parr, Bronze liars (minus 1 Marika, Woreimo, Mawalan Great collections Sydney Ball, Canto no XXX 1966, Marika, Djan’kawu creation story Campbelltown Arts Centre, NSW synthetic polymer paint on canvas to minus 16) 1996, bronze and beeswax sculpture 1959, natural pigments on bark 12.12.08 to 18.01.09 Tweed River Art Gallery, NSW ART GALLERY OF SOUTH Mike Parr, Bronze liars (minus 1 HAZELHURST REGIONAL 06.02.09 to 15.03.09 AUSTRALIA, SA to minus 16) 1996, bronze and GALLERY AND ARTS CENTRE, Western Plains Cultural Centre, Hans Heysen retrospective beeswax sculpture NSW NSW Art Gallery of South Australia, SA Mike Parr, Bronze liars (minus 1 Flora: still life moving fast 03.04.09 to 10.05.09 14.11.08 to 15.02.09 to minus 16) 1996, bronze and 06.12.08 to 01.02.09 Albury Regional Gallery, NSW Regional beeswax sculpture Nora Heysen, Spring flowers 1938, 29.05.09 to 05.07.09 Gallery, VIC Mike Parr, Bronze liars (minus 1 oil on canvas on hardboard Ballarat Fine Art Gallery, NSW 23.04.09 to 21.06.09 to minus 16) 1996, bronze and 24.07.09 to 30.08.09 Ballarat Fine Art Gallery, VIC , Coastal still life beeswax sculpture 1955, oil on hardboard Albrecht Dürer, St Eustace, 11.07.09 to 02.10.09 c1501, engraving Tasmanian Museum and Art Gallery, Mike Parr, Bronze liars (minus 1 Frank Medworth, Autumn flowers TAS to minus 16) 1996, bronze and 1945, oil on plywood Rembrandt Harmensz van Rijn, 27.11.09 to 14.02.10 beeswax sculpture The three trees 1643, etching with Charles Blackman, Angry young drypoint and burin National Gallery of Australia, ACT Mike Parr, Bronze liars (minus 1 girl 1958, oil on canvas 30.04.10 to 04.07.10 to minus 16) 1996, bronze and Albrecht Dürer, St Jerome in Queensland Art Gallery, QLD beeswax sculpture Arthur Murch, Flower piece 1937, penitence c1496, engraving oil on canvas on paperboard 31.07.10 to 24.10.10 Mike Parr, Bronze liars (minus 1 , The frugal repast Newcastle Region Art Gallery, NSW to minus 16) 1996, bronze and , Red Cannas 1948, 1904, etching 19.11.10 to 30.01.11 oil on paperboard beeswax sculpture Pablo Picasso, Head of a woman Hans Heysen, Hauling timber Mike Parr, Bronze liars (minus 1 , Poppies, fruit 1948, lithograph 1911, oil on canvas to minus 16) 1996, bronze and and skull 1953, oil and charcoal on canvas on hardboard Paul Cézanne, Large bathers Hans Heysen, The track to the beeswax sculpture 1896–97, colour lithograph farm 1926, oil on canvas Mike Parr, Bronze liars (minus 1 Adrian Feint, (Flowers) 1949, oil on canvas Maitreya (Buddha of the Future) Hans Heysen, The hill of the to minus 16) 1996, bronze and 14th century, gilt bronze creeping shadow 1929, oil on beeswax sculpture Tom Roberts, Roses 1911, canvas oil on canvas on hardboard Olive Cotton, Tea cup ballet Mike Parr, Bronze liars (minus 1 c1935, gelatin silver photograph Hans Heysen, Summer 1909, to minus 16) 1996, bronze and Grace Cossington Smith, pencil, watercolour on ivory wove beeswax sculpture Wildflowers 1940, oil on Max Dupain, At Newport 1952, gelatin silver photograph paper Mike Parr, The wax bride 1998, paperboard Hans Heysen, Drought sheep mixed media Joshua Smith, Flower piece 1954, David Moore, Migrants arriving in 1916–21, pencil, watercolour on oil on plywood Sydney 1966 {printed later}, gelatin NIAGARA GALLERIES, VIC silver photograph paper Tim Maguire, Untitled 94U39 Hans Heysen, The quarry 1922, Ravel 1994, diptych: oil on canvas Tim Leura Tjapaltjarri, Kooralia pencil, watercolour on paper 2.12.08 to 20.12.08 1980, synthetic polymer paint on , Flowers c1927– canvas Hans Heysen, Red gums of the far Aida Tomescu, Aqua alta 2008, c1930, oil on canvas north 1931, watercolour on paper oil on canvas Eubena Nampitjin, Pinyu 1991, Mark Titmarsh, Face to face 1987, synthetic polymer paint on linen Hans Heysen, The farmyard gum NATIONAL PORTRAIT GALLERY, collage, synthetic polymer paint on canvas 1936, pencil, watercolour on white ACT paper wove paper Ron Mueck, Untitled (old woman Open air: portraits in the John Young, Cloud and generic in bed) 2000–02, mixed media landscape flower study #2 summer–autumn TASMANIAN MUSEUM AND ART 04.12.08 to 01.03.09 1998, NECO scan and oil on canvas , ‘Still glides the GALLERY, TAS stream, and shall for ever glide’ Mike Parr Russell Drysdale, Picture of Elwyn Lynn, A green table and 1890, oil on canvas 21.11.08 to 21.02.09 Donald Friend 1948, oil on swallows 1955, oil on hardboard hardboard Brett Whiteley, Art, life and the Mike Parr, Bronze liars (minus 1 Arthur Streeton, Cupid c1890s, other thing 1978, oil, photograph to minus 16) 1996, bronze and Clifford Possum Tjapaltjarri, Tim oil on wood panel and mixed media on board Leura Tjapaltjarri, Warlugulong beeswax sculpture John Coburn, Tree of life 1964–65, Russell Drysdale, Sofala (1947), 1976, synthetic polymer paint on oil on hardboard Mike Parr, Bronze liars (minus 1 canvas oil on canvas on hardboard to minus 16) 1996, bronze and William Delafield Cook, Waterlilies beeswax sculpture Mawalan Marika, Figure of 1972–73, synthetic polymer paint Djan’kawu, ancestral being of the on canvas Dhuwa moiety 1960 {collected}, wood, human hair, bark fibre,

ART GALLERY OF NSW appendices 08–09 95 GRONINGER MUSEUM, *INVERELL ART GALLERY, NSW ART GALLERY OF SOUTH NEWCASTLE REGION ART THE NETHERLANDS 09.02.09 to 09.02.14 AUSTRALIA, SA GALLERY, NSW J W Waterhouse: the modern , Golden soil, wealth for The golden journey: Japanese art Sydney exhibition pre-Raphaelite toil 2004, oil on canvas from Australian collections Campbelltown Arts Centre, NSW Groninger Museum, 06.03.09 to 13.06.09 21.03.09 to 03.05.09 THE NETHERLANDS TE PAPA – MUSEUM OF NEW Sakai HÔITSU, Portrait of Abbot Newcastle Region Art Gallery, NSW 13.12.08 to 03.05.09 ZEALAND, TE PAPA TONGAREWA, Zetsugai c1803, hanging scroll: 09.05.09 to 19.07.09 Royal Academy of Arts, ENGLAND NEW ZEALAND colours on silk John Olsen, Entrance to the 27.07.09 to 13.09.09 Monet and the Impressionists Tani BUNCHÔ, Early summer seaport of desire 1964, synthetic John Waterhouse, Diogenes, 14.02.09 to 17.05.09 mountains in the rain 1826, polymer paint on canvas 1882, oil on canvas Gustave Courbet, Landscape with hanging scroll; ink and colour on Virginia Cuppaidge, Wakanda stag 1873, oil on canvas paper 1974, synthetic polymer paint on NATIONAL MUSEUM OF canvas AUSTRALIA, ACT Eugene Boudin, The beach 1864, Utagawa TOYOHARU, Portrait of a Australian journeys oil on panel standing courtesan 1780s, hanging Paul Partos, Vesta II 1968, 17.12.08 to 16.12.10 Claude Monet, Port-Goulphar, scroll; ink and colour on silk synthetic polymer paint on canvas Ironside, St Catherine Belle-Île 1887, oil on canvas Izumisei Company, Figure of Ralph Balson, Untitled 1961, 1859, oil and gold leaf on canvas Edgar Degas, After the bath kangaroo c1900, bronze synthetic polymer paint on c1900, charcoal Arita ware, Shaving dish with hardboard IAN POTTER CENTRE: NGV Edgar Degas, Dancer looking at flower design late 17th–early 18th Clement Meadmore, Double up AUSTRALIA, VIC the sole of her right foot 1900–10, century porcelain with underglaze 1970, steel Rosalie Gascoigne (cast 1919–21), bronze, cire perdu blue, overglaze enamel and gold Alan Oldfield, Cubistic Landscape 19.12.08 to 15.03.09 (lost wax) Arita ware, Rectangular plate (with objects) 1981, pencil Rosalie Gascoigne, Enamel ware decorated with a map of Japan 1976, wood, kitchen utensils IPSWICH ART GALLERY, QLD and neighbouring islands and CARRICK HILL HISTORIC HOUSE, SA Rosalie Gascoigne, Clouds I Curious cars and miniature movers countries 1830–1843, porcelain 1992, hardboard on plywood 14.02.09 to 10.05.09 with underglaze blue Nora Heysen: light and life Simryn Gill, Roadkill 2000, found KANZAN Denshichi, Vase with Carrick Hill Historic House, SA Rosalie Gascoigne, Metropolis 01.04.09 to 28.06.09 1999, retro-reflective road signs run-over objects, toy wheels various designs in panels of different shapes 19th century, Geelong Art Gallery, VIC 11.07.09 to 06.09.09 S H ERVIN GALLERY, NSW MUSEUM OF CONTEMPORARY porcelain ART, NSW S H Ervin Gallery, NSW Cressida Campbell Unknown, Images of the Amida 14.11.09 to 20.12.09 S H Ervin Gallery, NSW Yayoi Kusama: mirrored years Buddha 12th century, woodblock New England Regional Art 10.01.09 to 22.02.09 Museum of Contemporary Art, print Museum, NSW Queensland University of NSW The peacock king c1903, 15.01.10 to 19.03.10 Technology Art Museum, QLD 25.02.09 to 07.06.09 woodblock print; framed Riddoch Art Gallery, SA 05.03.09 to 19.04.09 City Gallery Wellington, NEW ZEALAND JIUN Sonja, YUSHO Zakkean, 28.03.10 to 09.05.10 Cressida Campbell, Kitchen 27.09.09 to 07.02.10 Kanzan and Jittoku, hanging scroll; Nora Heysen, Self portrait 1932, utensils 1993, colour woodcut ink on paper oil on canvas on cream wove paper, unique KUSAMA Yayoi, Stars infinity (ABC) 2003, synthetic polymer Nora Heysen, Moulasi, New impression HISTORIC HOUSES TRUST OF paint on canvas, 4 panels Guinea 1954, pastel Cressida Campbell, White NEW SOUTH WALES, NSW waratah 2000, carved woodblock, MORNINGTON PENINSULA Femme fatale: the female criminal Nora Heysen, King Mitakaka, New hand painted in watercolour REGIONAL GALLERY, VIC Justice and Police Museum, NSW Guinea c1962, sanguine, pastel on laid paper pigment Jeffery Smart: the question of 07.03.09 to 30.04.10 Cressida Campbell, Nasturtiums portraiture Karl Lagerfeld, Sandrine Dumas Nora Heysen, Pines, The Cedars, (2002), colour woodblock 04.03.09 to 13.04.09 as Medea 1989, gelatin silver Hahndorf 1932, wood engraving, black ink on white wove paper Jeffrey Smart, Margaret Olley in photograph METROPOLITAN MUSEUM the Louvre Museum, 1994–1995, , OF ART, USA Friedrich Müller after Raphael HISTORIC HOUSES TRUST OF oil on canvas Adam and Eve 1813, engraving on Pierre Bonnard: the late interiors NEW SOUTH WALES, NSW chine collé 26.01.09 to 19.04.09 Jeffrey Smart, Portrait of Clive Shooting through: Sydney by tram James 1991–92, oil on canvas Museum of Sydney, NSW 04.04.09 Pierre Bonnard, Self portrait SYLVESTRE VERGER ART to 18.10.09 c1938–c1940, oil on canvas Jeffrey Smart, Figure study for ORGANISATION, FRANCE Margaret Olley 1994, pencil on Vlaminck: un instinct fauve Eveline Syme, Sydney tram line white wove paper UNIVERSITY ART MUSEUM, QLD Caixa Forum Madrid, SPAIN (1936), colour linocut printed from Margaret Olley: life’s journey Jeffrey Smart, Study I for 10.03.09 to 07.06.09 three blocks on thin ivory tissue University Art Museum, QLD ‘Margaret Olley in the Louvre Caixa Forum Barcelona, SPAIN Ailsa Lee Brown, Sydney trams 06.02.09 to 19.04.09 Museum’ 1995, pencil on paper 02.07.09 to 18.10.09 1927, linocut, black ink on thin S H Ervin Gallery, NSW 01.05.09 to Jeffrey Smart, Study II for Maurice de Vlaminck, The red Japanese tissue 21.06.09 ‘Margaret Olley in the Louvre roofs (landscape) 1912, oil on Louis Kahan, The last tram 1960, Newcastle Region Art Gallery, NSW Museum’ 1995, pencil on paper canvas reed pen and red/brown ink 15.08.09 to 25.10.09 Jeffrey Smart, Attilio 1957, pen Maurice de Vlaminck, Sailing Frank Hinder, Tram reflections , Nazaré 1952, Margaret Olley and brown ink on paper boats at Chatou 1906, oil on (Study for ‘Tram kaleidoscope’) monotype, dark green/brown ink, canvas 1940, pencil on paper watercolour wash, scraping out on grey laid paper Frank Hinder, In the tram (Study for ‘Tram kaleidoscope’) 1939, pencil, watercolour on paper

96 ART GALLERY OF NSW appendices 08–09 Frank Hinder, Planes in MUSEO MADRE, ITALY * Dora Toovey, How does your and around (Study for ‘Tram Francesco Clemente: shipwreck , Afternoon garden grow 1939, oil on canvas kaleidoscope’) 1940, pencil on with the Spectator 1974–2004 light 1941, oil on canvas on on paperboard paper 29.05.09 to 12.10.09 paperboard François Bossuet, La Place de la Frank Hinder, Proportion study for Francesco Clemente, Water and Sidney Nolan, Ant hills, Australia constitution 1880, oil on paper over ‘Tram kaleidoscope’ 1940, pencil wine 1981, gouache on paper 1950, synthetic polymer paint on masonite on paper hardboard George Bell, Lady in black c1923, ART EXHIBITIONS AUSTRALIA LTD Frank Hinder, Tram kaleidoscope Paquita Sabrafen, Australian oil on canvas American Impressionism and (1939), pen and ink on paper wildflowers 1990, oil on canvas J Browne, Landscape with view of realism: a landmark exhibition Frank Hinder, Study for ‘Tram Salisbury Cathedral 18th century, from the Met , The Cornish coast kaleidoscope’ (1939), pencil on oil on canvas Queensland Art Gallery, QLD 1932, oil on canvas paper 30.05.09 to 20.09.09 Lance Solomon, Country lane Dorothy Thornhill, Morning at Cremorne 1939, oil on canvas HYOGO PREFECTURE MUSEUM Charles Conder, Departure of the 1947, oil on canvas on hardboard OF ART, JAPAN Orient – 1888, oil on John Brack, In the corner 1973, James R Jackson, The old road, Visual deception canvas oil on canvas South Coast, oil on canvas Nagoya City Art Museum, JAPAN Hugh Ramsay, The sisters 1904, Howard Ashton, Jamieson Valley James R Jackson, The timber 11.04.09 to 07.06.09 oil on canvas on hardboard 1931, oil on canvas schooner, oil on canvas Bunkamura Museum of Art, JAPAN Tom Roberts, Holiday sketch at Will Ashton, Kosciusko oil on Gion Pentelei Molnar, Pears, 13.06.09 to 16.08.09 Coogee 1888, oil on canvas canvas oil on canvas Hyogo Prefecture Museum of Art, JAPAN 25.08.09 to 03.11.09 Charles Bush, Landscape Nora Heysen, Petunias, 1930, Furnishing loans near Tarquinia, Italy 1952, oil on oil on canvas Rene Magritte, La belle captive hardboard 1931, oil on canvas James Kerr-Lawson, Refugees *SUPREME COURT Sali Herman, Lane at the Cross, returning to Cambrai under IAN POTTER CENTRE: NGV Jeffrey Smart, Alma Mahler 1946 oil on canvas on plywood protection of an Australian Trooper, feeding the birds 1968, oil on oil on canvas AUSTRALIA, VIC Charles David Jones Bryant, Low canvas John Brack retrospective tide, St Ives oil on canvas William Marlow, The Rialto Bridge, Ian Potter Centre: NGV Australia, George Lawrence, Autumn Venice, oil on canvas Charles David Jones Bryant, VIC morning, Hyde Park 1948, oil on Quayside, St Ives, Cornwall, William Marlow, San Giorgio 24.04.09 to 09.08.09 paperboard oil on canvas on paperboard Maggiore, oil on canvas, relined Art Gallery of South Australia, SA Robert Richmond Campbell, Kevin Connor, Man on stairs , Sir , 02.10.09 to 31.01.10 Avenue du Maine, Paris c1930, oil 1963, oil on hardboard oil on canvas John Brack, Head and arms on canvas Alun Leach-Jones, Monsoon Tom Roberts, Sir (Barbara Blackman) 1954, black Jean Appleton, Bush landscape 1979, synthetic polymer paint on c1894 oil on canvas conté on ivory wove paper with rocks 1952, oil on hardboard canvas George W Lambert, The three John Brack, Nude with two chairs Jean Appleton, Landscape c1955, Albert Rydge, Morning in Neutral kimonos 1905, oil on canvas 1957, oil on canvas oil on hardboard Bay 1955, oil on hardboard Charles Wheeler, The Upper John Brack, Barry Humphries in Douglas Dundas, Chianti country Douglas Pratt, The old toll house, Murray, oil on plywood the character of Mrs Everage 1969, 1929, oil on canvas oil on canvas Rushcutters Bay 1959, oil on John Masquerier, Warren Hastings Lloyd Rees, Dusk at North Ryde canvas (1732–1818) 1810, oil on canvas John Brack, Portrait of Fred 1948, oil on canvas Williams 1979–1980, oil on canvas Jeffrey Smart, Parkland 1950, Seymour Lucas, The Gordon Riots oil on canvas *GOVERNOR MACQUARIE 1780, 1879, oil on canvas NATIONAL GALLERY OF Lawrence Daws, Poinciana tree I TOWER AUSTRALIA, ACT , Interior with figures 1991, oil on hardboard Paul Partos, Untitled (black-grey) Soft sculpture 1954, oil on canvas 1990, oil on canvas Russell Drysdale, Rocky 24.04.09 to 19.07.09 Sidney Nolan, Kelly and policeman landscape early 1960s, oil on *HISTORIC HOUSES TRUST OF Hans Bellmer, La demie poupée 1964, oil on hardboard canvas 1971, wood, paint and assemblage NEW SOUTH WALES, NSW Fred Williams, Lal-Lal Falls 1976, , Second valley 1954, Max Ragless Government House Mikala Dwyer, Hanging eyes oil on canvas oil on canvas 1999, vinyl, canvas, synthetic , Acacia and bush Justin O’Brien, Little boy in Eugene Crick Claux, Street scene, polymer paint 1957, oil on hardboard costume 1957, oil on hardboard oil on canvas Ernesto Neto, Sonambulinos Clifton Pugh, The eagle and Justin O’Brien, Supper at Emmaus Jan Senbergs, Structure with 1999, Lycra tulle, polystyrene the baobab trees 1957, oil on c1953, oil on hardboard black peaks 1973, oil, screenprint hardboard UNIVERSITY ART MUSEUM, QLD Sidney Nolan, Ned Kelly at the on canvas Hans Heysen, A bowl of roses river bank 1964, oil on hardboard , Thames at Chelsea Ben Quilty live! Dora Meeson 1924, oil on canvas University Art Museum, QLD Sidney Nolan, Policeman floating Reach, oil on canvas Robert Johnson, Macleay River 08.05.09 to 19.07.09 in the river 1964 oil on hardboard Criss Canning, Waratah in a green 1958, oil on canvas TarraWarra Museum of Art, NSW Will Ashton, Pont Philippe IV, jug 1999, oil on canvas 15.08.09 to 15.11.09 Tom Roberts, Harrow Hill c1910– Paris, oil on canvas Michael Kmit, Woman and girl c1912, oil on canvas on plywood Ben Quilty, Golden soil, wealth for Desiderius Orban, Village church 1957, oil on hardboard toil 2004, oil on canvas in c1925–c1926, oil on Robert Johnson, Out west, canvas on paperboard on plywood *PARLIAMENT HOUSE oil on canvas Arthur Streeton, Beneath the Elioth Gruner, New England 1921, peaks, Grampians 1921, oil on oil on canvas canvas

ART GALLERY OF NSW appendices 08–09 97 *The Hon N Greiner STAFF, Assistant registrar, curatorial, Curator, Aboriginal and Torres Strait Kenneth Green, Fallen tree 1968, Western art Islander art oil on hardboard VOLUNTEERS AND Judy Peacock BA, Grad Dip App Cara Pinchbeck BA (), George Lawrence, River suburb INTERNS Sc, M Art Admin MA (Visual Arts) 1948, oil on cardboard Curator, contemporary art Coordinator, Aboriginal programs Natasha Bullock BA (Hons), Grad Jonathan Jones BA (Fine Arts) H Enslin Du Plessis, Snow in Staff Highgate, oil on canvas Dip (Art Curatorship and Museum as at 30 June 2009 Management), MA Head librarian/archivist *INDUSTRIAL RELATIONS Assistant curator, contemporary art Steven Miller BA (Hons), B Theol, Grad Dip IM (Arch) COMMISSION Director and chief curator Naomi Flatt BA Sir Arnesby Brown, August Edmund Capon AM, OBE, M Phil Coordinator, Contemporary Senior librarian/technical services morning 1920, oil on canvas Kay Truelove BA, Dip Lib Executive personal assistant to the Collection Benefactors and Michael Shannon, Autumn director Aboriginal Collection Benefactors Librarians landscape, Heathcote no 1 1985, Lisa Franey BA (Hons) Bambi Blumberg B Econ, Dip Ed, Vivian Huang B App Sc, LIM Assoc oil on canvas Cert Teach English Dip Arts Curators, special exhibitions Robyn Louey BL Arch, Grad Dip Roland Wakelin, Richmond Terence Maloon BA (Hons), Dip Art Senior curator, photography IM (Lib) landscape, Tasmania 1944, oil on and Design Judy Annear BA John Tse paperboard Jacqueline Strecker BA (Hons), Assistant curator Sydney Ball, Sabbath night 1982, PhD Elizabeth Maloney BFA, Grad Dip Archivist oil, collage on paper Mus Studies Eniko Hidas BA (Fine Arts), BVA, Benefaction manager Dip Lib Tech * Royal Alexandra Hospital Jane Wynter BA LLB Head curator, Asian art Head of public programs for Children, Westmead Development coordinators Jackie Menzies OAM, BA (Hons), Brian Ladd Dip Fine Art, Dip Ed Sidney Nolan, Broome sunset WA Fiona Barbouttis M Art Admin, BA, MA 1985, synthetic polymer paint on Dip Ed Curator, Chinese art Senior coordinator, public and hardboard Lesley Anderson BA, Adv Cert Liu Yang, BA, MA, PhD tertiary programs and Art After Sam Fullbrook, Ford on the Hours Curator, Japanese art Sheona White BA, Post Grad Profl Condamine with jacaranda c1985, Head of business development Khanh Trinh BA, MA, PhD Art Studies and Visual Arts oil on canvas Leith Brooke BA (Communications) Senior coordinator, Asian programs Senior coordinator, education Guy Grey-Smith, Gascoyne River Business development executive Ann MacArthur BA (East Asian programs country 1958, oil on hardboard Penny Cooper BA () Studies), M Intl Mgmt Tristan Sharp BA, MA (Arts Admin), , Mt Robe, highest Assistant registrar (curatorial), Dip Art Ed (Secondary) peak, Barrier Range, oil on Assistant director, curatorial Asian art hardboard services Manager, information Natalie Seiz BA (Hons), M Art Head curator, Western art Jonathan Cooper Dip Art Ed Admin In total there were 495 works from Curator, international modern and Information assistant Assistant curator, Asian art the Gallery’s collection loaned to contemporary art Olivia Shimeld Anthony Bond OAM, B Ed (Hons) Yingying Mai 71 venues, some venues had Museum educator, contemporary multiple loans. Registrar, collections system Head curator, Australian art art integration Barry Pearce Dip Art Ed George Alexander BA (Hons) Jesmond Calleja BA Senior curator, Australian art Public programs coordinator and Coordinators, study room Deborah Edwards BA (Hons), Art After Hours assistant Deborah Jones BA, Grad Dip M Phil Ashlie Pellow BCA (Visual and (Museum Studies) Performing Arts) Matt Cox BA (Indonesian Studies), Assistant curators, Australian art Coordinator, K–6 schools and MA (Art History and Theory) Helen Campbell BA (Hons), Grad Dip (Museum Studies) family programs Project officer, curatorial services Caroline Geraghty Victoria Collings MA, BA (Hons), Donna Brett BA (Visual Arts), MA Denise Mimmocchi BA (Hons), PGCE, Nat Dip (Art History and Theory) MA (Art History and Theory) Museum educator Sales coordinator, rights and Natalie Wilson BA (Visual Arts), Danielle Gullotta images MA (Art History and Theory) Coordinator, gifted and talented Michelle Andringa BA (Art History), Assistant registrar (curatorial), programs MA (Fine Arts) Australian art Sherryl Ryan M Ed (Gifted and Emma Collerton BA (Visual Arts), Talented), PGD, FA B Ed Senior curator, European art, M Mus Studies pre-1900 Coordinator, access programs Richard Beresford BA (Hons), Senior curator, Australian prints, Amanda Peacock BA (Visual Arts), MBA, PhD drawings and watercolours Dip Ed Hendrik Kolenberg Curator, European prints, drawings Coordinator, secondary school and and watercolours Curator, Australian prints Asian education programs Peter Raissis BA (Hons) Anne Ryan BA (Hons), M Art Admin Leeanne Carr B Ed (Visual Arts) Senior curator, contemporary art Clerical managers Senior curator, Aboriginal and Wayne Tunnicliffe BA (Hons), MA, Camilla Shanahan Torres Strait Islander art M Art Admin Liliana Torresan (on leave) Hetti Perkins BA Bookings officers Sienna Brown Petra Pattinson

98 ART GALLERY OF NSW appendices 08–09 Image librarian Assistant registrars Maintenance officer Manager, safety and workforce Dot Kolentsis Dip Visual Arts, Clare Germaine BA, MA (Arts Rob Schumacher planning Grad Dip Visual Arts Admin) Plant fitter/operator Donna Grubb Coordinator, Brett Whiteley Studio Paul Solly Julio Angulo Coordinators, human resources Alec George Dip Ed Nick Strike MA (Visual Arts) Lee Bamford Brent Willison BA (Visual Arts) Trade assistant Administrative assistant, Lindsay Drummond Kimberley Milicevic Brett Whiteley Studio Daniel Shean B App Ec, B Mgt Senior photographer (Employment Relations) Zoe Cooper Jenni Carter Senior technician, lighting Simm Steel Visitor services officers Photographers Manager, administration and Catherine Reynolds Felicity Jenkins Senior technician, installation strategy Shelley Thompson Johan Palsson BA Nikolaus Rieth Trish Kernahan Diana Panuccio (on leave) Installation officers Manager, AV services Supervisor, administration services Carley Wright Mary-Anne Cornford Louise Fischer BA, MA Laurence Hall BA (Com) Brett Cuthbertson Coordinator, AV services Deputy director John Freckleton Administrative support officer John Harman Anne Flanagan, Dip Int Design, Peter Tsangarides Deborah Spek Coordinator, film program Dip Ed, Dip Ed Vis Arts Stores officer Manager, retail and publishing Robert Herbert Senior manager, exhibitions Richard Harling BA (Hons) Erica Drew BA (Hons) Steve Peters JP Senior conservator, paintings Senior display technician, carpentry Manager, retail operations Exhibitions assistant Rebecca Allport Paula Dredge B App Sc (Cons), Diarne Wiercinski BA Bill Viola BA (Fine Arts) (Fine Arts) Book buyer and stock control Senior conservator, paintings Display technicians, carpentry Denise Faulkner BA (Fine Arts) Exhibitions project officer, Gary Bennett Stewart Laidler Dip Cons installation Product developer Ram Mudaliar Maryanne Marsh Senior conservator, works on paper Stefanie Tarvey Luke James Carolyn Murphy BA, Grad Dip Wholesale and children’s books (Museum Studies), B App Sc Ticketing supervisors Senior display technician, painting Cassandra Willis (Cons), MA (Writing) Chris Aronsten Michael Brown Stock and sales officers Carmel Crisp Conservator, works on paper Display technicians, painting Carlotta Arias Analiese Treacy BA (Hons), Ticketing officer Daniel Green Lynne Barwick BA (Visual Arts), MA (Fine Art Conservation) Prue Watson Alan Hopkinson MA (Writing) Senior conservator, objects Daniel McCready Donna Hinton MA Applied Science Supervisor, information desk Assistant director, finance and Stores officer (Cons), Dip Museum Tech Jeanette Klease resources Bevynn Wilkerson Conservator, objects Receptionist John Wicks, FCPA, B Bus Kerry Head Michelle Berriman BA (Hons), (Accounting) Venue manager Dip HE Caroline Harvey Senior conservator, frames Project officer Malgorzata (Margaret) Sawicki Information officers Jackie Bullions Venue coordinator BA (Cons), MA App Sc (Mat Cons), Minette Brewin Karen Shapiro-Lee PhD Kate Dorrough Financial controller Tracey Keogh Surangani Kulasinghe B Bus, Director, marketing Conservators, frames FCMA, CPA, AIB, IMS Dip Belinda Hanrahan B Comm Barbara (Basia) Dabrowa Senior registrar, exhibitions MA (Cons) Accounts payable supervisor Coordinator, tourism and marketing Charlotte Davy BA (Art History), David Butler Graeme Callaghan Molly Waugh BA (Communications) Adv Dip (Fashion Design) Senior conservator, Asian art Accounts payable clerk Online producer Registrar, exhibitions Sun Yu BA (Art History) Maria Montenegro Francesca Ford Charlotte Cox BA, Grad Dip Conservator, Asian art (Works of Art) Management accountant Managers, media relations Yang Yan Dong Bernadine Fong, B Bus (Banking Susanne Briggs Assoc Dip Conservators Print production manager/studio and Finance) B Studies Dip Counselling Sarah Bunn coordinator Accounting clerks Claire Martin BA (Hons), Dip Lisa Charleston Cara Hickman B Sc (Arch) Rita Briguglio Marketing Tasha Macfarlane Multimedia designer Viva Chelvadurai Manager, marketing Assistant conservator Jo Hein Kylie Wingrave BA (Visual Arts), Thomas Langlands Senior graphic designers Manager, information and B Comm Mark Boxshall BA (Visual Arts) technology Senior registrar, collections Analiese Cairis Maurice Cirnigliaro M Bus Head of security and Gallery Emma Smith BA, Grad Dip Graphic designer (Information Technology) services Decorative Arts Karen Hancock Manager, network operations Anthony Morris Registrar, collections Theo Papalimperis Security officers Amanda Green BA, Dip (Prehistoric Manager, building services Help desk officers David Anderson and Historical Archaeology), Grad Phil Johnstone Adam Dunn Emilio Cruzt Dip (Museum Studies) Manager, engineering services Roseann Papalimperis Karandeep Gill Ray Cunico, Adv Dip Mech Milorad Linjakovic Engineering Manager, human resources Telly Linakis Jenny Capdor Valita Manu

ART GALLERY OF NSW appendices 08–09 99 David Paine, JP Volunteers Annie S Clarke; Lea-Ann Clarke; Tompkins; Judith Tribe; Judith Bob Partridge Anne Cole; Gabrielle Cousins; Twist; Mary Unwin; Ursula Ure; Hudson Qureshi VOLUNTEER GUIDES Patricia Anne Curtis; Susan Valerie Vogt; Julie Wallace; Melissa Bryan Reynolds Gwyneth Morgan, guides Dadswell; Beverley Darby; Ann Ward; Cilla Warre; Gail Watt; Lorraine Xuereb coordinator 2009 Dawson; Gail Dendle; Lynette Carolyn Webb; Rita Weberbauer; Dening-Franklin; Charlotte Denison; Maggie Weiley; Peter Whawell; Deputy, Gallery services Dale Aamir; Jan Angus; Margaret Francine De Valence; Diane Devine; Annie Wicks; Clarice Wilkins; Benjamin Goodwin Anthony; June Armitage; Phillippa Ann Dodd; Margaret Doherty Michelle Wilkinson; Joanne Wilson; Baird; Pamela Barr; Robyn Team leaders, Gallery services (Cunningham); Betty Donnelly; Jenni Wood; Lois Woollams; Jill Bathurst; Annabel Baxter; Janet Ruth Dornan; Jutta Dubiel; Judy Wunderlich. Rosh Dhillon Bell; Carolyn Bethwaite; Dale Bird; Kuldeep Duhan Duff; Peter Eames; Caroline Eburn; Jenny Birt; Rosalie Blackshaw; Judy Embrey; Daile Falconer; Ingrid VOLUNTEERS – CONTEMPO Janak Kadian BA Vicki Brown; Cathy Cameron; Lisa Sheila Weir Farago; Eva Feher; Yvonne Fell; Jacqui Tosi, president Campbell; Norma Castaldi; Licia Coralie Fergus; Carol Forsythe; Allie Townsend, senior vice Gallery officers Cattani; Bella Church; Susie Clark; Christine Frewer; Kitty Gassner; president Freddi Alam Anne Cohen; Liz Crenigan; Sally Yvette Geczy; Patricia Governor; Valerie Marteau, vice president Samih Baket Cullen; Adrienne Dan; Lorraine Leonie Grattan; Lyn Gray; Sandy Lynleigh McPherson, treasurer/ Ian Bolt Davids; Jackie De Diana; Mary Green; Maria Farnes Greene; secretary Arthur Boucas De Mestre; Ro Dermody; Sue Sheba Greenberg; Mary Grice; Julie Flowers, volunteers Alan Boyd Dominguez; Jill Dunlop; Patricia Beverley Griffiths; Kirsten Gross; coordinator Kevin Callope Elliott; Diane Everett; Louise Fennel; Janette Habel; Aiko Hagiwara; Nancy Ling, volunteers coordinator Anthony Caracoglia Gwen Ferguson; Judy Friend; Ben Hall; Simone Hancock; Murray Castles Pamela Fuller; Caroline Furniss; Susan Hand; Carmella Harding- Marina Bromley; Andrea Brown; Ana Crespi Jennifer Gardiner; Mary-Lou Gilbert; Farrenberg; Averil Hargreaves; Julian Edwards; Louise Farrar; Romeo Domingo Deirdre Greatorex; Alison Gross; Jocelyn Harris; Susan Hartigan; Jasmine Morris; Yaeli Ohana; Renee Thomas Fielding Callie Guinness; Jennifer Harrison; Eva Havas; Engelina Heddema; Siros; Alana Stepanovska; Norma Terry Forde Annie Herron; Shirley Hillman; Fran Hellier; Ann Henderson; Mary Tran; Holly Vale David Grech Helen Holmes; Roslyn Hunyor; Hillier; Margaret Hunt; Madeline Brian Hope-Johnstone Marie Huxtable; Margot Johnston; Hunter; Teresa Jakubowski; Patricia VOLUNTEERS – Sheraj Hundal Diane Kempson; Jill Kloster; Kay James; Heather Jelfs; Jennifer CURATORIAL SUPPORT Rita Ibrahim Knight; Pat Kreuiter; Dorothea Jenkins; Felicita Jennings; Dennis Elizabeth Callanan; Anne Gérard; Peter Karamanis Labone; Meri Lane; Jenny Latham; Johnson; Patricia Johnson; Karen Ciara Heidenreich; Patricia James; John Kavallaris Shirley Lilienthal; Sue Lowes; Fiona Johnston; Margaret J Johnston; Kelly McDonald; Rhiannon Paget; Rajesh Kodwani Loxton; Angela Luessi; Susan Nita Jones; Sandra Jones; Rhonnie Margalit Monroe; Rebecca Wright; Juan Lira Ma; Juliet McConochie; Frances Joyce; Donna Kelly; Sue Kemp; Erika Ferriera; Eleanor Webber; Ramon Lozada McNally; Cherry McWilliam; Lesley Vere Kenny; Ursula Knight; Egmont Trudie Leigo; Victoria Tokarowski; Stuart Matheson Millar; Norma Milne; Janet Morse; Lademann; Triny Lademann; Chen Ying Jamil Mati Les Moseley; Maureen Murphy; Caroline Le Plastrier; Penny Levette; Kevin Nguyen Diana Northedge; Dianne Ottley; Narelle Lloyd; Roslyn Luger; Gay Tertiary internships Ray Nguyen Mandy Palmer; Wendy Payne; Lysenko; Laura Lyubomirsky; Gallery internships took place Gregory Petterson Philippa Penman; Carolyn Penn; Kristine MacKenzie; Lesley across a range of departments, Dominque Pirrie Keith Potten; Caroline Presland; Mackintosh; Sue Mandelberg; including Education and Public Stephen Ransome Dilys Renham; Pamela Rex; Pam Margaret Marshall; Barbara Martin; Programs; Curatorial; Exhibitions; Peter Rawlins Rogers; Christine Rustamzadeh; Jan McClelland; Ray McDonald; Research Library and Archives; Debasish Ray Louise Samer; Ruth Sams; Pauline Robin McIntyre; Margaret McLellan; Registration; Conservation and Sharat Sharma Sayle; Lilli Scott; Beverley Shea; Ann McLeod; Marlene McPherson; Marketing. A total of 25 internship Lisa Siale Beatrice Sochan; Denyse Spice; Heather Mead; Emma Mendelsohn; placements for undergraduate Suzanne Slavec Fiona Still; Caroline Storch; Dorinda Mary Meppem; Sheilah Milroy; and post-graduate students Joan Standfield Sullivan; Jennifer Sutton; Susan Robin Miller; Susan Mitchell; from Australia and overseas took Patricia Teece Swan; Jill Thompson; Prue Todd; Barry Molloy; Peta Moore; Denise place in 2008–09; from faculties Mary Thom Lee Tredinnick; Jan Tydd; Patricia Morris; Hilary Moxon; Gael Murphy; such as Museum Studies; Arts Steve Triantos Wilson; Mary Woodburne; Brenda Peter Nicholls; Kate Noble; Brian Administration; Art History and Russell Ward Woods; Linda Zurnamer Nugent; Lyn Oliver; Petra O’Neill; Theory; Visual Arts Education Gisela Weber Elizabeth Oomens; Ruth Osen; Sue and Conservation. Participating VOLUNTEERS – TASK FORCE Pajor; Glenda Paradine; Rebecca institutions included the University Robin Amm; Task Force Pearson; Hetti Penn; Dian Pitson; of Sydney; University of New South coordinator 2009 Michael Poole; Penny Porter; Judy Wales; Melbourne University; Betty Allerton; Jan Anderson; Julie Preshaw; Cynthia Pretty; Marie University of Western Sydney; Apps; Greta Archbold-Lavroff; Puntigam; Margaret Radford; Australian Catholic University; Ruth Attwood; Meredith Aveling; Patricia Reed; Astrid Robinson; Design Centre Enmore; University Julia Baldo; Alexandra Ballard; Stana Rogac; Carol Roth; Charles of Technology, Sydney; Australian Linda Barnes; Julia Bate; Philippa Rushton; Kim Sandford; Annette National University; University of Beeston; Diana Berlyn; Deborah Searle; Cassie Sheehan; Margaret Wollongong; Georgetown University Blay; Anne Blomfield; Georgie Sheppard; Judy Sherman; Irene (Washington DC) and École Blythe; Joyce Botta; Spencer Shillington; Dana Skakavac; Anne Polytechnique (France). Bough; Valda Brook; Madeleine Smith; Joyce Smith; Victoria Smyth; Bromley; John Buchanan; Geraldine Lesley Sommerville; Merrilyn Sowell; Bull; Petah Burns; Susan Bye; Joanne Spiteri; Julie Stedman; Wendy Canning; Jennifer Carey; Judith Stefanek; May Steilberg; Annette Carlisle; Mary Casey; Peter Strand; Marsha Swenson; Brenda Chad; Faith Charity; June Anne Taylor; Irene Thom; Sue Chatfield; Maria Cicutto; Jill Clapin; Thomas; Fay Thurlow; Susan

100 ART GALLERY OF NSW appendices 08–09 STAFF longing: artists returning to the Introduction: Screening of Dumb Essay: ‘40 years: Kaldor Public Art Mediterranean’, Charles Hewitt Type’s S/N, The Performance Projects 1969–2009’, John Kaldor PUBLICATIONS, Gallery, 25 June 2009 Space, Sydney, 22 Feb 2009 Foundation, Sydney 2009 PRESENTATIONS Author: Slow burn, University of Opening address: Between site Article: ‘How recent developments AND RELATED Western Australia Press, and space, Artspace, Sydney, in self-portraiture mimic the 2009 12 Mar 2009 history of the genre’, Exit Express ACTIVITIES Launch: 12 Australian photo artists, Magazine, Madrid, Spain, issue 43, Judy Annear (Senior curator, Piper Press at Roslyn Oxley9 Apr 2009, pp 30–33 photography) Gallery, Sydney, 22 May 2009 Article: ‘Óscar Muñoz: Biografías’, Co-curator: The photographs Member: Board of Management, Look, AGS, Feb 2009 Unless otherwise stated all lectures of August Sander, J Paul Getty Artspace, Sydney, until Feb 2009 Article: ‘John Kaldor projects and presentations were held at the Museum, Los Angeles, until 14 Member: Local Promotions 1969–2009’, Art & Australia, May AGNSW Sept 2008 Committee, USyd, 12 June 2009 2009 Abbreviations: Curator: Ghosts in the machine: Committee member: Photography Article: ‘Why art matters’, Art AAH: Art After Hours anonymous photographs, July Collection Benefactors, AGNSW, Influence e-magazine, 1st edition ACU: Australian Catholic University 2008 ongoing Lecture: ‘Art as physical object: AGNSW: Art Gallery of New South Chapter: ‘Not careful?’ in H Vivian conservation and (re)presentation’, Wales (ed), When you think about art: the Richard Beresford (Senior curator, USyd, 4 Sept 2008 AGS: Art Gallery Society of NSW Ewing & George Paton galleries European art pre-1900) Lecture: ‘Contemporary BoS: Biennale of Sydney 1971–2008, Macmillan, Melbourne Lecture: ‘Jacques Blanchard’s international collection of AGNSW’, Exh: exhibition 2008, pp 62–81 Mars and the vestal virgin’, AAH, NU, 10 Sept 2008 MCA: Museum of Contemporary Article (with K A Coleman): June 2008 Lecture: ‘Contemporary Art ‘Yasumasa Morimura & Yukio Lecture: ‘Claude’s pastoral international collection’, Port MGNSW: Museums & Galleries Mishima – season of passion’, landscape’, AAH, Sept 2008 Macquarie Hastings Regional NSW TAASA Review, vol 17, no 3, Sept Lecture: ‘Adam Pynacker’s Gallery, 26 Sept 2008 NAS: 2008, pp 22–23 Landscape with enraged ox’, Lecture: ‘Contemporary NU: Newcastle University Article: ‘Bill Henson: fear of the AAH, Sept 2008 international collection’, QAG: Queensland Art Gallery dark’, Art & Australia, vol 46, no 1, Lecture: ‘Spanish still life’, Wollongong City Gallery, 27 Aug UNSW: University of New South spring 2008, p 50 Decoding the baroque I, AGS, 2008 Wales Article: ‘Photography and place’, Sept 2008 Lecture: ‘Globalisation in UMelb: Broadsheet, vol 37, no 3, Sept Lecture: ‘Let there be lightness: contemporary art’, Art History & USyd: University of Sydney 2008, pp 204–07 Simon Vouet, Jacques Blanchard Film Studies, USyd, 25 Aug 2008 UTS: University of Technology, Article: ‘Catherine Opie: American and the invention of Parisian style’, Lecture: ‘Performing bodies’, Sydney photographer’, Art World, issue 6, Decoding the baroque II, AGS, Mar CoFA, UNSW, 25 & 26 Aug 2008 UWS: University of Western Sydney Dec 2008/Jan 2009, pp 138–39 2009 Lecture: ‘Why art matters’, Probus VG: Volunteer Guides Article: ‘Critics choice’, Art World, Lecture: ‘Philippe de Champaigne: Club, Blackheath, Oct 2008 TF: Task Force photography supplement, Dec painter of silent prayer’, Decoding Paper: ‘Policies for collecting 2008/Jan 2009, p 13 the baroque II, AGS, Apr 2009 contemporary art’, AAANZ George Alexander (Museum Article: ‘Blank face’, Art & Australia, Lecture: ‘Talking real estate in 17th- conference, Brisbane, Dec 2008 educator, contemporary art) vol 46, no 2, Dec 2008, pp 276–85 century Paris: where to be, what to Presentation: ‘The influences of Editor: Australian desk editor for Essay: ‘Judy Annear on Furuhashi build, how to decorate’, Decoding Picasso in contemporary art’, ArtAsiaPacific (Hong Kong/New Teiji’ in S Lida (ed), Trace elements: the baroque II, AGS, May 2009 GOMA, Brisbane 6 Sept 2008 York) spirit & memory in Japanese & Participant: Why Biennales?, Chapter: ‘Tristes-Antipodes: a Australian photomedia, Tokyo Anthony Bond (Head curator, symposium, Albright Knox personal essay on the complexities Opera City Gallery, Tokyo and Western art) Museum, Buffalo, Jan 2009 of culture and place as they shape The Performance Space, Sydney, Curator: Mike Parr: the tilted stage, Session chair and welcome individual identity’, In transition pp 83–84 TMAG & Detached, Hobart, Nov speech: Spaces of Art conference, Russia 2008, NeMe, Independent Book review: Ricky Maynard: 2008 – Feb 2009 Artspace, Sydney & AAANZ, Apr Museum of Contemporary Art portrait of a distant land by K Curator: Óscar Muñoz: Biografías, 2009 (IMCA) Cyprus; and National Centre Munro and E McDonald (eds), 19 Feb – 14 June 2009 Session chair and welcome for Contemporary Art (NCCA) Art World, issue 7, Feb/Mar 2009, Essay: ‘Being before and beyond participants, Australia Council Ekaterinburg & Moscow branches, p 140 the frame’, Face to Face, Biennale Forum, 9–10 July 2008 Russian Federation, Oct 2008 Article: ‘Annie Leibovitz at work’, Newcastle Region Gallery, Sept Talk: Discussion participant with Article: ‘Preview: Biennale of Review: The Weekend Australian, 2008 Mike Parr and Klaus Biesenbach Sydney’, ArtAsiaPacific, no 59, Jan 10–11 2009, pp 8–9 Essay: ‘Claire Healy and Sean from MoMA, NY, and lecture, 2008 Paper: ‘Australian contemporary Cordiero’, Venice Biennale, June TMAG & University of Tasmania, Article: ‘Anniversary book reviews: photography, an overview’ & 2009 28 Feb 2009 five art books from Australia’, portfolio reviews, symposium: Dong Essay: ‘Óscar Muñoz: Biografías’, Book launch: Dark by Paul Carter, ArtAsiaPacific, no 60, May/June Gang Photo Festival, , AGNSW Contemporary Projects CoFA, 30 Apr 2009 2008 26–27 July 2008 #2, 2009 Judge and launch: Sculpture in the Article: ‘Simryn Gill’, ArtAsiaPacific, Paper: ‘Blank face’, AAANZ Essay (co-author): ‘Phantom clubs’ vines, Hunter Valley, 12 Sept 2008 no 64, July/Aug 2008 conference, , in Nina Fischer & Maroan el Sani, Judge and launch: St Joseph’s Virtual paper: ‘Remaking Brisbane, 5 Dec 2008 Blind spots, JPR/Ringier, SMBA annual art exhibition, 28 Aug 2008 cosmopolitanism’, 14-min video Paper: ‘Photography & place’, Stedelijk Amsterdam, 2009, Judge: Breen sculpture presentation, In transition: cultural Field Trip: Conversations Around pp 169–186 commission, Mt Tomah, 1 Apr identities in of transcultural Landscape & Photography Essay: ‘Recording Bob Law’ in 2009 flux, NeMe, NCCA, Ural State symposium, SCA, 21 May 2009 Bob Law, Ridinghouse Press, Judge: Imagine award, MGNSW, University Opening address: ‘Ideas of London (forthcoming) 2009 11 Sept 2008 Moderator: Dr Tamara Galeeva, place in contemporary Australian Essay: ‘Mike Parr, Cartesian Judge: Dean of the Art History & Cultural photography’, University Art Gallery, corpse’, The Tilted Stage, TMAG & sculpture commission, Newcastle, Studies Department, Ural State USyd, 20 July 2008 Detached, Hobart 2008 11 Feb 2009 University, 16–18 Oct 2008 Judge: Kings School art prize, Opening address: ‘Shapes of 14 Aug 2008

ART GALLERY OF NSW appendices 08–09 101 Judge: Randwick Council sculpture Griffith University, Brisbane, Dec Paper: ‘Programming the Asian art Paper: ‘History of display in the commission, Feb 2009 2008 collection’, Leading 21st Century National Museum of Cambodia’, Launch: 30th anniversary of Assessor: SCA Masters Program Schools in the Studies of Asia, AAANZ conference, Griffith Wollongong City Gallery, 4 Dec Treasurer: Art Association of Principals conference, Aug 2008 University, Brisbane, Dec 2008 2008 Australia and New Zealand Paper: ‘Language kits: Art Doctoral research: PhD candidate, Launch: Ben Quilty, Newcastle Treasurer: AICA Australia, speaks…all languages’, A Indonesian portraiture, Art History & University Gallery, 22 Aug 2008 Association International Critique Language Day Like No Other, Film Studies, USyd Launch: Face to face, Newcastle d’Art Association of Independent Regional Gallery, 5 Sept 2008 Committee member: Museums Schools of NSW conference, Charlotte Davy (Senior registrar, Launch: Seed project, Jenolan Australia, Art, Craft & Design SIG Aug 2008 exhibitions) Caves, 19 Sept 2008 Doctoral research: PhD candidate, Lecture: ‘Asian programs at the Editor: arc journal no 57, Opening address: Art and the Uncanny vision: documenting place AGNSW’, Working Together: HSIE Australasian Registrars Committee, Archive conference and exhibition, in post-war German photography, 2009 Connecting Classrooms, Dec 2008 NU, Oct 2008 Art History & Film Studies, USyd HSIE and Asia conference, Lecture: ‘Exhibition registration’, Opening address: Blackheath Art Department of Education & Training ACU, May 2009 Gallery, 5 Oct 2008 Natasha Bullock (Curator, (DET) and the Asian Education Lecture: ‘Loans and touring Opening address: Presentation/ contemporary art) Foundation, Nov 2008 exhibitions’, USyd, May 2009 Representation, SCA, 14 May 2009 Managing curator: Kate Beynon: Judge: Art speaks Japanese Lecture: ‘Couriers: managing Opening address: RMIT gallery, auspicious charms for transcultural Comes Alive, Japan Foundation, objects in transit’, facilitated and Melbourne, 16 Apr 2009 living, 7 Aug – 26 Oct 2008 Nov 2008 presented four full-day workshops, Speech: Finnisage of Mike Parr’s Managing curator (with Naomi Melbourne and Sydney, Apr 2009 Milk at Anna Schwartz Gallery, Flatt): Justene Williams: bighead Victoria Collings (Coordinator, K–6 President: Australasian Registrars Sydney, 16 Aug 2008 garbageface guards ghost derr schools and family programs) Committee Speech and performance: Mike sonata, 19 Feb – 14 June 2009 Judge: Dymocks Golden Paw Parr project, The tilted stage, Review: ‘Ricky Swallow: recent Award 2008, National Parks and Barbara Dabrowa, (Conservator, TMAG, Hobart, 22 Nov 2008 work’, Art World, issue 4, Aug/Sept Wildlife, Sept 2008 frames) Presentation: Gosford Regional 2008, pp 200–01 Advisor: Art & Australia new Article: ‘Archibald, Wynne, Sulman Gallery then cooked guests lunch Article: ‘Justene Williams’, Art children’s book based on Kaldor 09’, Puls Polonii (Polish web as part of the exhibition Rooms of World, issue 5, Oct/Nov 2008, Public Art Projects magazine), in English engagement, 23 Aug 2008 pp 126–29 Lecture: ‘How to teach young Review: ‘Rodney Pople’, Art World, Member: Curator’s group, AGNSW, children about art’, ACU, 2009 Paula Dredge (Senior conservator, issue 5, Oct/Nov 2008 Sydney Lectures: Twelve two-hour lectures paintings) International adviser: Echigo Award: Cité internationale des arts for 50 volunteer children’s guides Paper (with Alan Lloyd): ‘The Tsumari Triennial, Japan 2008–12 research residency, Paris, France, 2008–09; core training on the sub-committee and the restorer: Chair: Biennale of Sydney Apr–May 2009 Gallery’s permanent collection and conservation at the National Art exhibitions & selection sub- major temporary exhibitions Gallery of NSW 1899–1910’, committees Jesmond Calleja (Registrar, Paintings Conservation in Australia Member: Council for the Power collections systems integration) Jonathan Cooper (Manager, from the Nineteenth Century to Foundation, USyd Essay: ‘Accessing the online information) the Present: Connecting the Past Member: Executive of Art catalogue of the Art Gallery of NSW Panellist: ‘Maintaining positive to the Future, Contributions to the Association of Australia and New in “real-time”’, ARC, Journal of the organisation reputation through eleventh AICCM paintings group Zealand Australian Registrars Committee, effective internal web content symposium, NGV Melbourne, Oct Assessor: Australian Research vol 58, June 2009, pp 17–20 management and external 2008, pp 25–37 Council Grants in the category of Paper: ‘Heading in the right monitoring’, 5th Annual Web Project partner and researcher: Fine Arts direction: documenting our cultural Content Management Forum AGNSW partner, Australian heritage globally’, 21st General (Marcus Evans), Sydney, 1 Sept Research Council (ARC) Linkage Donna Brett (Project officer, Conference of the International 2008 Grant, ‘The twentieth century in curatorial services) Council of Museums, Museums Paper: ‘Going beyond web usability paint’ Essay: ‘Stefanie Valentin: and Universal Heritage, CIDOC to user engagement’, 5th Annual earthbound’, Stills Gallery, Sydney, – International Committee for Web Content Management Forum Deborah Edwards (Senior curator, June 2009 Documentation, Managing (Marcus Evans), Sydney, 2 Sept Australian art) Essay: ‘Regis Lansac: vita breva’, the Global Diversity of Cultural 2008 Curator: forthcoming Rupert Bunny: Wollongong City Art Gallery, Sept Information, Vienna, Austria, Paper: ‘Future trends in the internet artist in Paris, 2009 2008 20–22 Aug 2007 and their impact for museums’, Lecture: Robert Klippel, public Essay: ‘Yvonne Boag: Article: ‘The Gallery online: new Creative Uses of the Collection, lecture, NGV, 15 Aug 2008 quintessential elements’, Australian ways to view the collection from Museums & Galleries Services, Lecture: Ralph Balson, ‘A new Galleries, Melbourne, Aug 2008 home’, Look, AGS, May 2009, Queensland, seminar, Brisbane, realm of visual experience’, Colour Lecture: ‘Contemporary pp 34–36 11 Sept 2008 in Art symposium, CoFA, 23 Aug photography: the European Paper: ‘A difficult labour: a case 2008 experience’, USyd, Art History Helen Campbell (Assistant curator, study of the comprehensive Lecture: ‘The new role of the Dept, June 2009 Australian prints, drawings and upgrade of the Art Gallery of NSW curator’, Loretto College, 9 Sept Lecture: ‘Collection provenance watercolours) website’, Managing Your Online 2008 and looting issues’, USyd, Museum Opening address: ‘Ginny Grayson: Content Conference (Ark Group), Chair: Studies, Aug 2008 recent drawings’, Harrison Sydney, 23 Apr 2009 symposium, 16 Oct 2008 Paper: ‘The uncanny return: Galleries, Sydney, 18 Mar 2009 Judge: 2008 Woollahra Small documenting place in post-war Lecture: ‘Australian prints 1880s Matt Cox (Coordinator, study Sculpture Prize, Sept and Oct 2008 German photography’, Framing –1930s in the Gallery’s collection’, room) Judge: 2009 Marten Bequest Time and Place: Repeats and VG, 25 May 2009 Curator: Littoral drift, UTS Gallery, Travelling Scholarship for Sculpture, Returns in Photography, University 2 June – 3 July 2009 Dec 2008 – Jan 2009 of Plymouth, UK, 15–17 Apr 2009 Leeanne Carr (Coordinator, Article: ‘Indo-Persian kingship and Judge: 2009 Paper: ‘“Unheimliches sehen”: secondary school and Asian Islamic architecture in Malaysia’, Drawing Prize, Feb 2009 the agoraphobic turn in German education programs) The Asian Arts Society of Australia photography’, AAANZ conference, (TAASA), Mar 2009

102 ART GALLERY OF NSW appendices 08–09 Judge: 2009 Hobart Art Prize, Mar Co-editor: Half light: portraits from Brian Ladd (Head, public Qingzhou’, BeMUSE, Singapore, and June 2009 black Australia, AGNSW, Sydney programs) Jan–Mar 2009, pp 44–49 Interview: Ola Cohn, Hindsight, 2008 Chair: Intensely Dutch Forum in Article: ‘The lost Buddhas’, Asian ABC Radio National 702, Author: Country, culture, conjunction with the Intensely Art, London, Sept 2008, pp 29–30 Melbourne, 16 Aug 2008 community, Aboriginal and Torres Dutch exhibition, AGNSW, 5 June Article: ‘Stylistic and iconographic Grant: 18 months sculpture Strait Islander education kit, 2009 innovations in sixth-century research, The Balnaves AGNSW, Sydney 2008 Tour leader and lecturer: New Year Qingzhou Buddhist sculpture’, Foundation, Dec 2008 Essay: ‘Half light: portraits from in New York tour, AGS, 27 Dec Arts of Asia, Oct 2008, pp 69–78 Prize: Bertram Mackennal, shortlist, black Australia’, AGNSW, Sydney 2008 – 5 Jan 2009 Article: ‘Sculptures from an AAANZ Best Large Catalogue 2008 2008 Chair: ‘Locating sculptural amazing hoard’, Look, AGS, Host: USyd Fine Arts Alumni Essay: ‘Mountford gifts’, AGNSW, space: what works where!’ panel Aug 2008, pp 28–33 evening, AGNSW, 29 Oct 2008 Sydney, 2008 discussion at Sculpture by the Sea Lecture: ‘Stylistic innovations in Doctoral research: PhD, Australian Entries: ‘Owen Yalandja’, ‘Lena conference, 16 Oct 2008 Qingzhou Buddhist sculpture’, sculpture, Art History & Film Yarinkura’, ‘Marina Murdilnga’ and Lecture: ‘Sculpture highlights from Asian Civilizations Museum, Studies, USyd ‘Yvonne Koolmatrie’, Menagerie: AGNSW collection’, Queens Club, Singapore, 16 Jan 2009 Member: USyd Fine Arts Alumni contemporary indigenous 9 July 2008 Paper: ‘Buddhist beliefs and Committee sculpture, Object Gallery, Sydney Lecture: ‘2009 Archibald Prize’, TF, iconography in sixth-century Member: Dictionary of Australian 2009 14 Mar 2009 Shandong’, Chinese Buddhist Art: Artists Online Lecture: ‘On Ricky Maynard’, Talk: ‘2009 Archibald Prize touring New Directions & Perspectives, Member: Art Association of UTS gallery, Sydney, June 2009 exhibition’, Bendigo Art Gallery, 2 & AGNSW and USyd, 29–30 Aug Australia and New Zealand Lecture: ‘Papunya Tula’, 3 June 2009 2008 Wollongong University, Wollongong, Opening address: Plus minus Naomi Flatt (Assistant curator, Apr 2009 equals, exhibition of sculptures and Alan Lloyd (Head of conservation) contemporary art) Lecture: ‘Country, culture, drawings by Brian Kirkby, Sturt Paper: ‘The Boustead years Coordinating curator: Kate Beynon: community’, teachers day, Mar Gallery, Mittagong, 21 June 2009 1946–1977’, Paintings auspicious charms for transcultural 2009 Judge: Operation art, Penrith Conservation in Australia from living, 7 Aug – 26 Oct 2008 Lecture: ‘Aboriginal art and history’, Regional Art Gallery, 3 July 2008 the Nineteenth Century to the Assistant curator: Tim Johnson: USyd, Sept 2008 Director: Brett Whiteley Foundation, Present: Connecting the Past to painting ideas¸ AGNSW, 12 Mar Lecture: ‘Aboriginal art for the Sydney the Future, contributions to the – 17 May 2009; GoMA, Brisbane, Board of Studies’, Aug 2008 Member: Editorial Advisory Panel, eleventh AICCM paintings group 20 June – 11 Oct 2009; The Ian Art & Australia, Sydney symposium, NGV, Melbourne, Potter Museum of Art, Uni Melb, Hendrik Kolenberg (Senior Art advisor: William Fletcher Oct 2008, pp 51–61 11 Nov 2009 – 14 Feb 2010 curator, Australian prints, drawings Foundation, Sydney Paper: ‘Invention of the vacuum Managing curator: Justene and watercolours) Member: Curatorial Panel for hot table by Bill Boustead, Williams: bighead garbageface Exhibitions curator: Intensely Headland Sculpture Park, Sydney Conservator at the Art Gallery guards ghost derr sonata, 19 Feb Dutch: image, abstraction and the Member: Steering Committee for of New South Wales’, Paintings – 14 June 2009 word post-war and beyond, 5 June biennial Sites of Communication: Conservation in Australia from Coordinating curator: Óscar – 23 Aug 2009 Art Museums Symposia the Nineteenth Century to the Muñoz: biografías, 19 Feb – Author: Intensely Dutch: image, AGNSW representative on the Present: Connecting the Past to 14 June 2009 abstraction and the word post-war National Heads of Education and the Future, contributions to the Article: ‘Kate Beynon: auspicious and beyond, AGNSW, Sydney Public Programs (NHEPP) group eleventh AICCM paintings group charms for transcultural living’, 2009 symposium, NGV, Melbourne, Look, AGS, Aug 2008, p 21 Article: ‘Intensely Dutch: a showing Liu Yang (Curator, Chinese art) Oct 2008, pp 63–68 Essay: ‘Be an artist: a biography’, of modern works from here and Curator: The lost Buddhas: Tim Johnson: painting ideas, there, Look, AGS, Sept 2008 Chinese Buddhist sculpture from Jethro Lyne (Coordinator, public AGNSW & QAG 2009 Article: ‘Intensely Dutch: yet they Qingzhou, AGNSW, 29 Aug programs) tend to be invisible’, Look, AGS, – 23 Nov 2008; Asian Civilizations Lecture: ‘Spanish baroque’, AGS, Alec George (Coordinator, Brett May 2009 Museum, Singapore; Jan–Apr 2009 2008 Whiteley Studio) Essay: ‘Kevin Connor, new Co-author: (with Edmund Capon), Presenter: ABC Radio National 702 Judge: Mosman Youth Art Prize, work’, Kevin Connor, paintings & The lost Buddhas: Chinese Article: ‘Art and censorship’, SMH Mosman Gallery, Sydney, May drawings, Liverpool Street Gallery, Buddhist sculpture from Qingzhou, Guest lecturer: National Art School 2009 Sydney 2009 AGNSW, Sydney 2008 & the University of Sydney Opening address: 9 shades Interviews: Numerous radio and Essay: ‘Self portrait and the Doctoral research: PhD candidate, of Whiteley, touring exhibition, press interviews, lectures and representation of spatial time in French medieval sculpture, Art NERAM, Nov 2008 floor talks for public and guides in Wu Zhen’s Fishman handscroll’ History & Film Studies, USyd connection with Intensely Dutch in Shanghai Museum (ed), Great Jonathan Jones (Coordinator, exhibition classics of ancient Chinese painting Ann MacArthur, (Senior Aboriginal and Torres Strait Islander Judge: Jacaranda Acquisitive and calligraphy – symposium coordinator, Asian programs) programs/Acting assistant curator, Drawing Award, Grafton Regional proceedings, Shanghai Guji Press, Lecture: ‘Japanese art of the Aboriginal and Torres Strait Islander Art Gallery, 24 Oct 2008 Shanghai 2008, pp 204–10 seasons’, travel talk, AGS, Sept art) Opening addresses: Ana Pollak: Essay: ‘A heaven from the 2008 Curator: Mountford gifts, 21 Mar fluvial, Sara Roney Gallery, mundane world: Eremitism in Lecture: Term 2 revision, Arts of – 3 June 2009 Paddington, 5 Aug 2008; Themes Chinese landscape painting’ in Asia series: Literature and legend Curator: Country, culture, and variations: drawings from the Aileen Lau (ed), The China Society, 2, AGS, Oct 2008 community, 12 Nov 2008 – 19 Apr collection of the Art Gallery of New Singapore 60th anniversary 1949– Lecture: Term 1 revision, Arts of 2009 South Wales, Bathurst Regional 09, 2009, pp 30–39 Asia series: Decoding dress, AGS, Co-curator: The dreamers, 9 May Art Gallery, 17 Oct 2008; Students Essay: ‘Representing nature in June 2009 – 18 Dec 2009 and teachers, Art Chinese jade’ in Aileen Lau (ed), Judge: ‘Art speaks Japanese Co-curator: Half light: portraits from School, Sydney, 30 Nov 2008; The China Society, Singapore 60th comes alive’, Japan Foundation, black Australia, 21 Nov 2008 – 22 Geoff Crispin pottery, Freeland anniversary 1949–09, 2009, Nov 2008 Feb 2009 Gallery, Paddington, 18 June 2009; pp 64–71 Opening address: ‘Journey to the Geoffrey de Groen, Goulburn Article: ‘Immersed in the beauty of last place of happiness’, Bondi Regional Art Gallery, 27 June 2009 serenity: Buddhist sculptures from Pavillion, Dec 2008

ART GALLERY OF NSW appendices 08–09 103 Member: Publications Committee, century’ panel, 32nd Congress 1 May 2009; The West Australian, Lecture: ‘English pastoral prints’, TAASA Review: The Journal of The of International Committee of the ‘Mask and memory’, 20 May 2009; AAH, Sept 2008 Asian Arts Society of Australia, The History of Art (CIHA), Melbourne ABC television’s Four corners, Lecture: ‘Looking at old master Asian Arts Society of Australia 2008 ‘Fakes and forgeries in Australian prints and drawings’, Art History Honorary associate: School of art’, 22 May 2009; ABC Radio dept, USyd, Sept 2008 Elizabeth Maloney, (Assistant Languages and Cultures, USyd National 702, Self-Improvement Lecture: ‘Bellange and Callot: curator, photography) Director: VisAsia (The Australian with Richard Glover, ‘William printmakers at the court of Curator: Francis J Mortimer, Institute of Asian Culture and Visual Dobell’s portrait of Margaret Olley’, Lorraine’, Arts of Asia series: 26 July – 14 Nov 2008 Arts) 10 June 2009 Decoding the baroque II, AGS, Article: ‘Francis J Mortimer: beacon Member: Morrissey Bequest Lecture: ‘Monet and friends: Mar 2009 of British pictorialist photography’, Committee, USyd Whistler and John Russell’, AGS, Look, AGS, July 2008, p 39 Member: Vice-Chancellor’s 6 July 2008 Eric Riddler (Researcher, research Essay: ‘Francis J Mortimer’, Advisory Committee, Nicholson Lecture and book launch: Horace library and archives) AGNSW, Sydney 2008 Museum, USyd Trenerry, 11 Mar 2009 Paper: ‘A “dashed good afternoon” Entry: Max Dupain At Newport Judge: Brett Whiteley Travelling Art at Mrs Hurst-Seager’s’, AAANZ 1952; Great collections: treasures Steven Miller (Archivist) Scholarship, Brett Whiteley Studio, conference, Griffith University, from Art Gallery of NSW, Australian Lecture: ‘Primary sources in 8 Sept 2008 Brisbane, 4–6 Dec 2008 Museum, Botanic Gardens Trust, Australian visual arts’, SLNSW, 24 Judge: Portia Geach Art Prize, Historic Houses Trust of NSW, Aug 2008 S H Ervin Gallery, 16 Sept 2008 Malgorzata Sawicki (Senior Museum of Contemporary Art, Lecture: ‘Archival resources of the Judge: Paris cité studio conservator/frames) Powerhouse Museum, State AGNSW’, USyd Fine Arts Alumni, residencies, National Art School, Lecture: ‘Framing Pissarro and Library of NSW, State Records 29 Oct 2008 Sydney, 13 Nov 2008 Monet: approach to picture frames NSW, MGNSW, Sydney 2008 Lecture and tour: of the Art Gallery Judge: Waterhouse Natural conservation at the AGNSW’, AGS, Archive to the Sydney branch of History Art Prize, South Australian Jan 2009 Terence Maloon (Curator, special the Australian Society of Archivists, Museum, Adelaide, 27 May 2009 Lecture: ‘Framing Pissarro and exhibitions) 19 Nov 2008 Judge: Sydney, City of Villages Art Monet: approach to picture frames Curator: Monet and the Interviews: Ken Whisson, AGNSW Prize, 15 June 2009 conservation at the AGNSW’, VG, Impressionists, 11 Oct 2008 – oral history project, 26 Nov 2008 Opening address: Nine shades June 2009 26 Jan 2009 Talk: ‘Artists’ archives’, Collection of Whiteley, Gold Coast City Art Paper: ‘Framing Pissarro: tracing Member: Société Paul Cézanne Circle, 3 Dec 2008 Gallery, 11 July 2008 the framing history for one painting Member: Alliance Française of Opening address: The naked and from the collection of the AGNSW, Sydney (vice president) Denise Mimmocchi (Assistant the nude, Ballarat Fine Art Gallery, ICOM-CC 15th Triennial Meeting, Member: ICOM curator, Australian art) 13 Sept 2008 New Delhi, India, Sept 22–26 2008 Curator: Tom Arthur: the fertilization Member: Acquisitions Committee, Paper: ‘Framing Pissarro: tracing Jackie Menzies (Head curator, of Drako Vülen’s cheese pizza New England Regional Art the framing history for one painting Asian art) 1975, 5 Sept – 23 Nov 2008 Museum, Armidale from the collection of the AGNSW’, Curator: Korean dreams: paintings Curator: Sydney Long’s Pan, Frames: Past, Present and Future, and screens of the Joseon dynasty, 6 June – 30 Aug 2009 Hetti Perkins (Senior curator, AICCM Gilded Objects SIG 5 Mar – 8 June 2009 Essay: ‘The metamorphoses of Aboriginal and Torres Strait Islander Symposium, NGV, Melbourne, Article: ‘Porcelain power, myriad being: Tom Arthur, The fertilization art) 8 Oct 2008 wishes for longevity’, Look, AGS, of Drako Vülen’s cheese pizza’, Curator: Half light: portraits from Paper: ‘Non-traditional gilding: Feb 2009, pp 30–31 Australian Collection Focus, black Australia, 21 Nov 2008 – losses compensation in Article: ‘Korean dreams: decorative AGNSW, 2008 22 Feb 2009 conservation of gilded surfaces yet rich in meaning’, Look, AGS, Essay: ‘Pan’s trespass: mythology Co-curator: The dreamers, 9 May using selected synthetic polymers Mar 2009, pp 24–27 and the decorative landscape in – 18 Dec 2009 – advantages and disadvantages’, Article: ‘Asian collection: developing Sydney Long’s Pan’, Australian Co-editor: Half light: portraits from Picturing the Frame: Attitudes, its distinctive character’, Look, Collection Focus, AGNSW, 2009 black Australia, AGNSW, Sydney Context and Treatment from AGS, Mar 2009, pp 12–13 2009 Conception to Consolidation, ICON Article: ‘Confucian conceits: Korean Barry Pearce (Head curator, Writer and presenter: Art and soul, Gilding and Decorative Surfaces painting in the Joseon dynasty’, Australian art) a three-part documentary series for Group, Royal Institute of British TAASA Review, vol 18, no 1, Mar Curator: The late landscapes of ABC television Architects, London, UK, 22 Apr 2009, pp 18–19 Horace Trenerry, 27 Nov 2008 – 2009 Lecture: ‘Dress in Joseon dynasty 15 Mar 2009 Cara Pinchbeck (Curator, Interview: AICCM National Korea’, Arts of Asia lecture series, Essay: ‘Winter landscape’, Horace Aboriginal and Torres Strait Islander Newsletter, AICCM no 111, June 7 Apr 2009 Trenerry, Beagle Press, Sydney art) 2009 Lecture: ‘Royal collections of 2009 Co-curator: The dreamers, 9 May Doctoral research: PhD, School the City Palace, Udaipur’ in AGS Article: ‘Horace Trenerry: unsung – 25 April 2009 of Natural Sciences (Materials symposium, Distant Horizons: hero of Australian art: memories of Article: ‘Mountford gifts’, Look, Conservation) UWS, completed from Persepolis to Samarkand and the artist as a young man’, Look, AGS, Mar 2009, p 23 2008 Beyond, A Tribute to Dee Court, AGS, Nov 2008 Entry: Elaine Russell, Culture Member and coordinator: Wood, 18 Oct 2008 Essay: ‘Ravel’, Aida Tomescu, warriors: Australian Indigenous Furniture, & Lacquer Working Opening address: Lesley Kehoe Niagara Galleries, Melbourne, Art Triennial, National Gallery of Group, ICOM-CC exhibition, Deutscher-Menzies, 2–20 Dec 2008 Australia, Canberra 2009 (revised Aug 2008 Interviews: ‘Perennial icons of edition) Natalie Seiz (Assistant registrar, Commencement speaker: USyd Australian art’, Pinnacle Magazine, curatorial, Asian art) Arts Faculty, 7 Nov 2008 29 July 2008; ABC Radio National Peter Raissis (Curator, European Doctoral research: PhD candidate, Paper: ‘Programming across 702, ‘The Wynne Prize and its prints, drawings and watercolours) Contemporary women artists in cultural boundaries’, Import/ history’, 27 Nov 2008; ABC Coordinating curator: War: the , Art History & Film Studies, Export: Asian-Australian Creative television, ‘The Ballet Russes in prints of Otto Dix, NGA touring USyd Exchanges, MGNSW, 7 Nov 2008 Australia’, 27 Feb 2009; ABC exhibition, 22 Aug –26 Oct 2008 Convenor and chair: television, ‘Proposed Dunningham Article: ‘Memories of war: a ‘Representations of nature toilets construction on Roberts- masterpiece of nightmares’, Look, across cultures before the 20th Conder painting site at Coogee’, AGS, Aug 2008, pp 18–19

104 ART GALLERY OF NSW appendices 08–09 Tristan Sharp (Senior coordinator, Dr Jacqueline Strecker (Curator, Doctoral research: PhD candidate, 2009; Voice of Islam, producer & education programs) special exhibitions) Art History & Film Studies, USyd presenter Bass Adasi, 23 June Curator and coordinator: Talk: War: the prints of Otto Dix, 2009 ARTEXPRESS 09, 14 Feb – 3 Sept 2008 Wayne Tunnicliffe (Senior curator, Opening address: Monet and 19 Apr 2009 contemporary art) the Impressionists, Tourism NSW Foreword: ‘Why study the visual Khanh Trinh (Curator, Japanese Co-curator (with Julie Ewington, industry group, 7 Oct 2008 arts?’, Cambridge Visual Arts, art) curatorial manager, Australian art, Opening address: Monet and the Stage 4, Cambridge University Curator: Genji: the world of the QAG): Tim Johnson: painting ideas¸ Impressionists collection talks; Press, Melbourne, 2009 Shining Prince, 12 Dec 2008 – AGNSW, 12 Mar – 17 May 2009; Picturing the land; J. Llewellyn Lecture: ‘Curating ARTEXPRESS: a 22 Feb 2009 GoMA, Brisbane, 20 June – 11 Jones the dry season, 8 Oct 2008 conceptual framework crossroads’, Curator: Innovations through Oct 2009; The Ian Potter Museum Opening address: Archibald, Education Program, Forty Eight continuity: modern Japanese of Art, UMelb, 11 Nov 2009 – 14 Wynne and Sulman Prizes 2009, Hours of Visual Arts Festival ceramics from the collection of the Feb 2010 AGS corporate members, 3 Apr, (FEHVA), Bangalow, North Coast, AGNSW, 10 July – 12 Dec 2009 Curator: Ângela Ferreira & Narelle 27 Apr and 12 May 2009 May 2009 Editor: Genji: the world of the Jubelin: the great divide, 19 Feb Member: Higher Education Lecture: ‘Developing a body Shining Prince, AGNSW, Sydney – 14 June 2009 Assessment Panel, Department of of work’, Tamworth Visual Arts 2008 Curator: Nicholas Mangan: Education, Sydney Student Symposium, Tamworth Essay: ‘Imagining the Shining between a rock and a hard place, Consultant curator: Coomaditchie Regional Gallery, Oct 2008 Prince: The tale of Genji from Heian 25 June – 13 Sept 2009 United Aboriginal Corporation Papers: ‘Interpreting original art period hand-scrolls to Heisei-era Co-selector: AGNSW objects’; ‘The value and role of Manga’ in Genji: the world of the Contemporary Projects: Kate Natalie Wilson (Assistant curator, education: AGNSW program Shining Prince, AGNSW, Sydney Beynon, Justene Williams, Óscar Australian art) overview’; ‘Fees, funding and 2008 Muñoz, Nicholas Mangan Interviews: ‘Art on Show Award philosophy: education program Article: ‘Genji: the world of the Essay: ‘Pure land painting’, Tim 09’, Daily Mercury, Mackay; ABC strategy and planning’; ‘Volunteers Shining Prince’, Look, Nov 2008, Johnson: painting ideas, AGNSW & Radio, Mackay; Seven Mackay as educators’; Education kits: pp 28–31 QAG, 2009 Local News, WIN News, WIN designing them, using them, Article: ‘Iwasa Matabei ha – Genji Essay (with Julie Ewington), Television, Mackay, 15–16 June making them’. Great Educators: monogatari zu byobu’, KOKKA, ‘Introducing Tim Johnson’ in Tim 2009 Regional Museum & Gallery no 1358, Dec 2008, pp 45–7 Johnson: painting ideas, AGNSW & Lecture: ‘Heidelberg and beyond’, Educators conference (program Article (with Ibaraki Emi): ‘Akashi QAG, 2009 VG Australian Art Collection series, developer, presenter and forum – Miotsukushi zu byobu’, KOKKA, Essay: ‘No man is an island’ in 11 May 2009 participant across multiple no 1358, Dec 2008, pp 48–50 Nicholas Mangan: between a rock Judge: Art on Show Award 09, programs), Museum & Galleries Entry: Tani Buncho’s ‘Early summer and a hard place, AGNSW, Sydney Mackay, Queensland, 13–14 June NSW, Albury Regional Gallery and mountains in the rain’, The golden 2009 2009 Museum, June 2009 journey – Japanese art from Lecture: Tim Johnson Forum, Opening address: Art on Show Paper: ‘ARTEXPRESS: Australian collections, AGSA, interview with Tim Johnson and Award 09, Mackay, Queensland, connecting with public galleries Adelaide, 2009, pp 148–9 discussion of practice 1970–89, 15 June 2009 and the influence on the HSC’, Lecture: ‘Virtuous women, gallant AGNSW, 14 Mar 2009 and QAG, Member: S H Ervin Gallery Art Artexpress Regional Teachers heroes: depiction of love in The tale Brisbane, 20 June 2009 Advisory Committee, S H Ervin symposium, Lake Macquarie of Genji’, Arts of Asia series, AGS, Lecture: ‘Curating contemporary Gallery, Sydney Regional Gallery, May 2009 12 Aug 2008 art at the AGNSW’, Master of Paper: ‘Teenage mentorships: Lecture: ‘China in the floating Museum Studies, USyd, 7 Apr Artside-In’, From the Margins to world: illustrations of the 108 2009 the Centre, Education symposium, heroes of the Suikoden’, Arts of Lecture: ‘Contemporary art, new National Portrait Gallery, Dec 2008 Asia series, AGS, 30 Sept 2008 directions’, Artists in Conversation Paper: ‘Art gets you places: Lecture: ‘Imagining the “Shining group, Erskineville, 10 June 2009 Artside-In Moree’, Learning in Prince”: The tale of Genji from Judge: Redlands Westpac Art Museums conference, Museums Heian-period hand-scrolls to Prize, Mosman Art Gallery, 14 Nov Australia Education Network Heisei-era Manga’, USyd, Nov 2008 Victoria, NGV, Sept 2008 2008 Judge: Jenny Birt Award, CoFA, Opening address: Caroline Lecture: ‘Imagining the “Shining UNSW, 6 Apr 2009 Chisholm College, Visual Art Prince”: The tale of Genji from Judge: Anne Landa Award, Exhibition Heian-period hand-scrolls to AGNSW, 7 May 2009 Opening address: Loretto Kirribilli, Heisei-era Manga’, AGSA, Judge: Global Switch public art Visual Art Exhibition Adelaide, May 2009 commission, Sydney, 26 May 2009 Interviews: Andrew Daddo evening Lecture: ‘The rise of Edo popular Judge: Paris Studios, AGNSW, show, ABC Radio National 702, culture: origins of ukiyo-e’, 30 June 2009 Feb 2009; Artexpress 09, Daily University of Adelaide, Adelaide, Member: Contemporary Collection Telegraph, Elizabeth Fortescue, May 2009 Benefactors, AGNSW Feb 2009; ‘Student art making, Paper: ‘Loyalty through rebellion: Interview panel: Curator, Ivan creativity and the syllabus’, The arts the impact of the Suikoden on Dougherty Gallery, UNSW, 27 Mar show, ABC Radio North Coast, Japanese 19th-century popular 2009 30 May 2009 culture’, JSAA-ICLJE (Japanese Award: Cité internationale des arts Member: Sydney Art Management Studies Association of Australia), research residency, Paris, France, Advisory Group (SAMAG) Sydney, July 2009 July–Aug 2008 Committee Member: MGNSW, Visual Arts Josephine Touma (Coordinator, Sheona White (Senior coordinator, Reference Group public programs) public programs) Member: University of Sydney Paper: ‘From the playhouse to the Consultant curator: Pallingjang Union, Creative Arts Grants page: visual sources for Watteau’s saltwater 2009, Wollongong City Committee theatrical universe’, American Gallery, Dec 2009 Member: MGNSW, Incoming Society for Eighteenth Century Interviews: 2RRR, producer & Touring Exhibition Grants Panel Studies, Richmond VA, Apr 2009 presenter Natalie Smith, 18 Apr

ART GALLERY OF NSW appendices 08–09 105 CUSTOMER Areas of major concern to visitors Mobility-impaired access Food service during 2008–09 were: Access for mobility-impaired people There were a number of complaints response is via the rear of the building. There about slow service and high Introduction of the new were a number of complaints prices in the cafe. During popular ticketing system regarding the ability for people with exhibitions such as Monet and the In October 2008 the Gallery mobility issues, wheelchairs and Impressionists or the Archibald In accordance with our pledge of introduced a new centralised prams to access the building via Prize, increased pressure is placed service, visitors to the Gallery are ticketing system for admission the front door. on the available food and beverage invited to leave praise, criticisms to special exhibitions. This was New signage was placed at the service due to the sheer number and suggestions in the visitors a large cultural and physical front of the Gallery and at the of customers. suggestion book. change for many of the Gallery’s beginning of the driveway to assist This year the buffet-style cafe More than 1.3 million people regular visitors. The sales point for with directions. Also a temporary service has been redesigned with visited the Gallery’s Domain site purchasing tickets was relocated to pathway was constructed to a new coffee and food preparation in 2008–09. Despite attendance the front entrance information desk, allow easier access to the ramp bench. Customers now place numbers exceeding the previous rather than at the entrance of each at the rear of the building and their order and pay at the register, year by more than 300 000, specific exhibition display gallery. the education entrance. Future then their food and beverages are comment numbers remained The largest number of complaints improvements to the building will delivered to their table, increasing similar. The comments book is was recorded during the beginning be aimed at increasing the ease the ability of cafe staff to process regularly reviewed by the Gallery’s weeks of the highly attended Monet of access for mobility-impaired orders in a quicker timeframe. The executive team for response and and the Impressionists exhibition, visitors. restaurant has received favourable further action, where appropriate. while the public was still adjusting comments, and good support for to the new arrangements and The majority of positive remarks the exhibition viewing plus lunch attendance was at record levels. were directed toward the volunteer special offers. Complaints regarding Complaints centred on: the location guides, who provide free daily tours prices have been forwarded to our of the ticket sales desk having of the permanent collections and contract caterers to assist them in been moved; slow eftpos purchase temporary exhibitions. The breadth planning their future pricing policy. times; the length of the queue and and quality of the education A discount on food services is therefore waiting times and the lack and public programs were also already available to members. highly praised, as were the film of a separate members queue. screenings. These comments are By the following exhibition, in line with positive reviews from Archibald, Wynne and Sulman previous years. Prizes 2009, our audiences had The majority of complaints familiarised themselves with the reflected the highly active nature new arrangements and the level of of the Gallery’s business and the complaints dropped to a negligible limitations of operating in a heritage level. While the queues initially building. While all complaints are appeared extensive, they moved taken seriously and given due quickly, with waiting times only consideration, relative to overall exceeding 10 minutes on extremely visitor numbers, the level of busy weekends. Waiting times complaints recorded is very low, were further reduced through the reflecting a high level of overall introduction of internet ticket sales visitor enjoyment and satisfaction via the Gallery’s website. Technical with their experiences at the issues were addressed and the Gallery. eftpos service was upgraded. An online ticket sales capability was located in the members lounge to ease members’ concerns.

106 ART GALLERY OF NSW appendices 08–09 COMPLIANCE Land disposal Major capital works REPORTING The Gallery did not acquire or dispose of any land in 2008–09. Costs 2008–09 Completion Overrun Capital works project $’000 date $ Heritage management Artworks purchased 17 205 ongoing nil Credit card usage The Gallery’s museum building The director certifies that credit located in the Domain Parklands Building works 14 324 ongoing nil card usage in the Gallery has been of Sydney’s CBD is listed on Plant & equipment replacement 421 ongoing nil conducted in accordance with the state government’s heritage Total 31 950 relevant Premier’s Memorandums register. A revised Conservation and NSW Treasury Directions. Plan was finalised last year to assist in the management of the Payment performance Engagement and use of building. The building is maintained consultants to serviceable standards via an Aged creditor analysis at the end of each quarter 2008–09 annual capital grant of $2.37 There were two consultancies million from the NSW government. Current Less than Less than Less than More than (ie within 30 days 60 days 90 days 90 days in 2008–09, costing a total of The collection assets and works $31 800. One of the consultancies, Quarter due date) overdue overdue overdue overdue of art on loan to the Gallery are ended $ $ $ $ $ Ether Pty Ltd, was engaged in the maintained to international museum information technology category standards. Sept 2008 546 065 44 110 10 413 110 –5 322 and was paid $30 000. The other Dec 2008 404 703 47 179 –669 –59 –5 212 consultancy was engaged in the Mar 2009 773 461 –961 691 –177 –5 436 environmental category. Privacy management During 2008–09, there were no June 2009 424 699 2 619 –1 612 0 –6 617 Legal change internal reviews conducted by or on behalf of the Gallery under No changes were made to the Art Part 5 of the Privacy and Personal Gallery of New South Wales Act Information Protection Act 1988 Accounts paid on time each quarter 2007–08 1980 during the reporting period (PPIP Act). and there were no significant Total accounts paid on time Total paid The Gallery’s designated privacy judicial decisions affecting the Target Actual Amount Amount Gallery or visitors to the Gallery. officer, in accordance with the Quarter % % $ $ provision of the PPIP Act, can be contacted at: Sept 2008 90.00 99.98 13 163 907 13 166 017 Major assets Human Resources Dec 2008 90.00 99.93 9 114 597 9 120 770 The Gallery’s major assets are its Art Gallery of New South Wales Mar 2009 90.00 99.97 8 054 273 8 056 890 artwork collections, valued at $813 Art Gallery Road million (as at 30 June 2009), and June 2009 90.00 99.96 11 862 558 11 867 489 The Domain the perimeter land and building Total 90.00 99.96 42 195 335 42 211 166 Sydney NSW 2000 in the Domain, valued at $175.5 Telephone: (02) 9225 1795 million (as at 30 June 2009). Fax: (02) 9226 1622 Email: [email protected] Summary of land holdings The following is a listing of land Freedom of information owned by the Art Gallery of NSW procedures as at 30 June 2009: Application for access to Gallery Art Gallery of New South Wales documents under the Freedom of Art Gallery Road Information Act 1989 should be The Domain accompanied by a $30 application Sydney NSW 2000 fee and directed in writing to: Human Resources Manager (FOI Coordinator) Art Gallery of New South Wales Art Gallery Road The Domain Sydney NSW 2000

ART GALLERY OF NSW appendices 08–09 107 Freedom of information Act 1980; accounts manual; 2008–09 2007–08 – statement of affairs administrative policies and procedures; agendas and FOI requests Personal Other Total Personal Other Total The following statement of affairs minutes of meetings; collection is presented in accordance with New applications 1 2 3 0 3 3 management policies and the Freedom of Information Act Completed 1 2 3 0 3 3 procedures; annual reports; 1989, sections 14(1)(b) and (3). EEO annual report; film and Total processed 1 2 3 0 3 3 The Gallery’s statement is correct photography policy; corporate plan as at 30 June 2009. The Gallery Unfinished (carried forward) – nil 2009; financial reports; and human (FOI Agency no 376) received three Results of FOI request resources policies and procedures. formal requests for information Granted in full 1 0 1 0 1 1 during 2008–09, two classified Documents available for purchase as ‘other’, and one classified include a range of catalogues Completed 1 2 3 0 3 3 as ‘personal’ under the Act. All and art books published by the Request details – nil Gallery (see the appendix: AGNSW requests were completed. No Fees of requests processed requests were carried over from the publications for sale). Publication previous financial year. prices are regularly reviewed by the Fees received $0 $60 $60 $0 $90 $90 Gallery Shop. Selected items are The Gallery regularly receives Type of discounts allowed – nil available from our main website representations from the public Days to process (www.artgallery.nsw.gov.au/shop). concerning our operations. We 0–21 days 1 2 3 0 2 2 endeavour to make the collection Details of freedom of information 22–35 days 0 0 0 0 1 1 and associated information as (FOI) requests received by the accessible as possible to the Gallery: Processing time general public and we welcome 0–10 hours 1 2 3 0 3 3 public interest and participation in Review of appeals – nil Gallery activities. Basis of internal review Documents held by the Gallery: grounds on which requested Art Gallery of New South Wales access reviewed – nil

EEO statistics

Parliamentary annual report tables A Trends in the representation of EEO groups % of total staff EEO group Benchmark or target 2006 2007 2008 2009 Women 50% 51% 53% 53% 53% Aboriginal and Torres Strait Islander people 2% 1.8% 2.2% 1.7% 2.1% People whose first language was not English 20% 20% 19% 24% 24% People with a disability 12% 2% 3% 2% 2% People with a disability requiring work-related adjustment 7% 0.4% 0.4% 0.4% 0.4%

B Trends in the distribution of EEO groups Distribution index EEO group Benchmark or target 2006 2007 2008 2009 Women 100 117 117 100 116 Aboriginal and Torres Strait Islander people 100 na na na na People whose first language was not English 100 90 90 98 89 People with a disability 100 na 114 na na People with a disability requiring work-related adjustment 100 na na na na

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

108 ART GALLERY OF NSW appendices 08–09