Annual report 2015–16

Art Gallery of CONTENTS

President’s foreword 4

Director’s statement 6

Year in brief 8

Building 9

Art 11

People 45

Ideas 54

Audience 57

Partnerships 65

Platforms 70

Sustainability 77

Appendices 80

Cover image Jude Rae SL 359 (detail), 2016 oil on Belgian linen, 122 x 153 cm Art Gallery of New South Wales Art Gallery of New South Wales, Bulgari Art Award 2016 © Jude Rae

Acknowledgments Compiled by Shireen Huda Edited by Lisa Girault

Art Gallery of New South Wales ABN 24 934 492 575. Entity name: The Trustee for Art Gallery of NSW Trust.

The Art Gallery of New South Wales is a statutory body established under the Art Gallery of New South Wales Act 1980 and, from 1 July 2015, an executive agency related to the Department of Justice. The Hon Troy Grant MP Deputy Premier and Minister for the Arts Parliament House Macquarie Street NSW 2000

Dear Minister,

It is our pleasure to forward to you for presentation to the NSW Parliament the Annual Report for the Art Gallery of New South Wales for the year ended 30 June 2016.

This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010.

Yours sincerely,

David Gonski AC Dr Michael Brand President Director Art Gallery of New South Wales Trust Art Gallery of New South Wales 7 October 2016

3 PRESIDENT’S FOREWORD

From its base in Sydney, the Art Gallery of New South Sponsorship Wales is dedicated to serving the widest possible audience Our engagement with schools is stronger than ever. Art as a centre of excellence for the collection, preservation, Pathways is a major two-year educational program that documentation, interpretation and display of Australian and provides creative learning opportunities for students and international art, and a forum for scholarship, art education teachers in Western Sydney and is generously supported and the exchange of ideas. Our goal is that by the time of by Crown Resorts Foundation and the Packer Family our 150th anniversary in 2021, the Gallery will be recognised Foundation. In 2015, 620 students from low SES schools both nationally and internationally for the quality of our participated in the program, 257 students from schools collection, our facilities, our staff, our scholarship and with Indigenous background students and 130 students the innovative ways in which we engage with our various from access school communities. In 2016, the Gallery is audiences. also working with regional galleries and Western Sydney University on this program. Regional engagement The Gallery is committed to developing targeted and This was the second year of the philanthropic gift of collaborative programs – and to sharing its art collection – $1 million per annum for ten years from Crown Resorts with communities in Western Sydney and across regional Foundation, through their Sydney Arts Fund, for which we NSW, and our touring program is a priority. To this end, are most grateful. The funds assisted with a number of the Gallery launched its inaugural Regional NSW and core projects including the establishment of the National Western Sydney Engagement Plan in late 2015. This plan Art Archive, the development of the Pure Land augmented will continue to be updated as the Gallery holds ongoing reality project, the commissioning and exhibition of conversations with our Western Sydney and regional NSW Manifesto, and the production of greatly enhanced content partners and stakeholders. to support the Gallery collection online. This year, the Gallery has also invested in two new staff This was the sixth year of the Sydney International Art members whose primary role is to engage with communities Series – an ongoing partnership to bring the world’s most in Western Sydney and regional NSW and to develop outstanding exhibitions to – and we gratefully a range of collaborative partnerships, skills exchange acknowledge the support received from the NSW opportunities and touring exhibitions: a Community Government through our strategic partner, Destination Programs Producer and a Touring Manager. NSW. I would like to make special mention of our leadership partners, ANZ (for which I also have the privilege of being Sydney Modern Project chairman) and EY, whose significant support enables us to The Gallery has also been working with architectural present inspiring exhibitions, such as the Archibald, Wynne practice SANAA to refine the initial design concept for and Sulman prizes and The Greats: masterpieces from the the Sydney Modern Project – a significant expansion National Galleries of Scotland. and transformation of one of the state’s leading cultural I would like to welcome and thank our new partners: institutions. The planning and competition for the Aqualand for their groundbreaking support of Tang: Sydney Modern Project was enabled by the NSW State treasures from the Silk Road capital; Paspaley Pearls for Government, which provided $14.8 million for the Initial supporting the Atelier program; Bailey Gifford with their Engagement Phase of the project, and I wish to thank the major partnership of The Greats; and Champagne Taittinger NSW Government for this significant support. and McWilliam’s Wines. I also acknowledge our presenting sponsors: Herbert Smith Freehills, our legal partner; J.P. Self-generated revenue Morgan for their ongoing support of the Based on a state priority to increase self-generated revenue, Studio; Macquarie for their commitment to this year the Gallery delivered an operating surplus, owing Galleries; and UBS for their continued relationship with our to the success of commercial operations, including ticketed Contemporary Galleries. exhibitions, the Gallery Shop, a newly refurbished café, venue hire and catering. The Gallery also received two Additionally, our principal sponsors make an invaluable significant bequests. The John Fairlie Cuningham Bequest contribution to numerous Gallery programs through their – worth over $16 million – is the biggest bequest in the ongoing support: City of Sydney, Fairfax Media, JCDecaux, history of the Gallery. The other significant bequest this Porter’s Original Paints, Official Hotel partner Sofitel Sydney financial year, of over $6.5 million, was left by Steve Watson. Wentworth; and Variety, the Children’s Charity. The Gallery These two bequests were made to the Art Gallery of NSW also receives substantial support from members of the Foundation, the endowment fund for major acquisitions, and President’s Council and VisAsia Council. have almost doubled the Foundation’s annual income from its greatly increased capital base.

4 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Fellowship The Edmund Capon Fellowship aims to foster a closer relationship with Asian art museums that will lead to the further exchange of ideas, programs, individual works of art and temporary exhibitions between Australia and Asia. Through the fellowship, a museum professional from an Asian institution will spend up to four weeks at the Gallery and a member of Gallery staff will spend an equal amount of time in an Asian museum. I acknowledge the leading role of the Balnaves Foundation in supporting the fellowship. The 2016 recipient was Ana Maria Theresa P Labrador, assistant director, National Museum of the Philippines, who has been collaborating with the Gallery on the Bayanihan Philippines Project, which will be launched in October 2016. Next year, Yuki Kawakami, the Gallery’s assistant programs producer, will visit Singapore, Japan and to learn about how better to engage youth audiences through tailored programming.

Acknowledgments I would like to acknowledge formally the strong support of the NSW State Government – the Premier, the Hon Mike Baird MP, and the Deputy Premier and Minister for the Arts, the Hon Troy Grant MP. My thanks are also extended to Andrew Cappie-Wood, Secretary, Department of Justice, and Samantha Torres, Deputy Secretary Justice Services, Arts & Culture, Department of Justice. I also thank and acknowledge the work of all of the staff of the Gallery under the direction of our director, Michael Brand. 2016 has been a successful year for the Gallery and the trustees and myself acknowledge that that success is the product of the hard work and talent of our staff. The work of the volunteers and their contribution to the Gallery cannot be underestimated, and we sincerely acknowledge and thank them too. I would also like to thank the vice-president, Dr Mark Nelson, as well as the other sub-committee chairs, Geoff Ainsworth and Samantha Meers, for their hard work and dedication throughout the year. I thank all of my fellow trustees. We are working alongside the director and executives of the Gallery to realise the Sydney Modern vision to continue to transform the Gallery into a truly global 21st century art museum, with a focus on maintaining and developing a superb collection accessible to diverse audiences.

David Gonski AC President Art Gallery of New South Wales Trust 6 October 2016

PRESIDENT’S FOREWORD 5 DIRECTOR’S STATEMENT

The Art Gallery of New South Wales aims to continue Art collection building on our reputation as one of Australia’s leading art In the last financial year, the art collection developed museums, with our strength in the field of contemporary through purchase, gift and bequest with the addition of art balanced by our significant commitment to historical 642 works worth $12 million. There are currently 32,786 Aboriginal and Torres Strait Islander, Australian, Asian and objects in the art collection, valued at over $1.3 billion. European art. In doing so, we must reflect the continuing Major acquisitions include John Russell’s In the afternoon evolution of the visual arts in the 21st century alongside the 1891, purchased with funds provided by the Art Gallery development of new channels of global communication that Society of New South Wales 2016; Djambawa Marawili’s increasingly transcend national boundaries. While we live Mundukul 2015, purchased with funds provided by the in an era of overall financial constraint, we are also blessed Mollie Gowing Acquisition fund for Contemporary Aboriginal with high levels of new thinking and entrepreneurship. For art 2016; Louise Bourgeois’s Arched figure 1993, an Art this reason, the Gallery’s financial performance was strong Gallery of New South Wales Foundation Purchase; and eight this year and all aspects of commercial revenue increased. photographs from Yasumasa Morimura’s series At the same time the Gallery was able to keep its operating reborn in the night I–VIII 2013 (printed 2016), an Art Gallery expenses down through the introduction of a number of of New South Wales Foundation acquisition with support control measures. from the John Fairlie Cuningham Bequest 2016. Sydney Modern Project We have also received two further extraordinary long- During the year, the Gallery worked with SANAA and the term loans from the Lewis Collection, Amedeo Modigliani’s Australian Executive Architect, Architectus, to complete Nu assis au collier 1917 and Francis Bacon’s Triptych 1974 the Initial Engagement Phase of the project. This included (reworked 1977). I wish to extend my sincere thanks to all evolving the design concept and the preparation of a our supporters and benefactors who enable our collection Development Application. Workshops were held in both and our displays of art to be enriched so wonderfully each Sydney and Tokyo to progress the ideas underpinning year to the benefit of both the people of NSW and all visitors SANAA’s design concept. Internal workshops with staff onsite and online. further evolved the design brief and enabled consideration Among many loans from our collection to exhibitions of the future operational needs of the Gallery. in Australia and internationally were 21 works lent to the A public exhibition of Stage 1 and Stage 2 design National Gallery of Australia’s retrospective, competition entries was held at the Gallery during August highlighting that we have one of the finest collections of the and September. The exhibition attracted over 43,000 artist’s work in Australia. Further, the Gallery’s book from our visitors during the seven-week period, with public response 2014/15 Summer International Art Series exhibition, Pop to overwhelmingly positive. popism, won the prestigious Best Large Catalogue at the Art Association of Australia and New Zealand (AAANZ) prizes. Visitation The total number of visitors to the Gallery was just under Major exhibitions 1.3 million during the financial year, on par with last year, The 2015/16 exhibition program celebrated both Australian and visitation numbers to our building in Sydney’s Domain and international perspectives. The major summer increased slightly overall. We anticipate strong visitation from exhibition, The Greats: masterpieces from the National the beginning of 2016/17 owing to the initial response to the Galleries of Scotland, was exclusive to Sydney and part exhibition Frida Kahlo and Diego Rivera: from the Jacques of the Sydney International Art Series. Drawn from the and Natasha Gelman Collection and then the Archibald, prestigious collection of the National Galleries of Scotland Wynne and Sulman prizes 2016. While touring numbers in Edinburgh, the exhibition spanned a period of more than appear to have decreased from the previous financial year, 400 years and attracted 140,429 visitors. they were skewed by the two large touring exhibitions in Tang: treasures from the Silk Road capital continued the 2014/15 and the split of touring exhibitions across venues Gallery’s strong focus on historical Asian art and culture. and financial years. Brett Whiteley Studio visitation numbers This was also Australia’s first exhibition on the Tang dynasty remain consistently strong, almost at capacity, so great and featured Pure Land: inside the Mogao Grottoes at emphasis is now being placed on developing engaging Dunhuang, an augmented-reality installation of a UNESCO touring exhibitions. In 2016/17, the Gallery is delighted to World Heritage listed cave developed in collaboration with be touring five exhibitions to regional centres, including two Professor Sarah Kenderdine (University of NSW), City from the Brett Whiteley Studio. University of and the Dunhuang Academy, I am further delighted that the Gallery had over 109,000 China. followers on Facebook by the end of 2016, making us the Nigel Milsom won the prestigious 2015 most followed art museum in the country; this is the second for his portrait of Charles Waterstreet, Judo house pt 6 (the biggest number for a cultural institution (after the Sydney white bird); Natasha Bieniek won the 2015 for Opera House). Our Instagram following also grew by a her miniature oil painting, Biophilia; and Jason Phu won the significant 213 per cent during the year to 60,600. Sir John Sulman Prize 2015 for I was at yum cha when in rolled the three severed heads of Buddha: Fear, Malice and

6 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Death. The annual ARTEXPRESS 2016 exhibition featured next generation philanthropists in their 20s to 40s and we a selection of outstanding student artworks developed for are proud to have 84 Atelier supporters already. FoNZA the artmaking component of the 2015 HSC examination in is aimed at improving the Gallery’s collection of important Visual Arts. New Zealand art, as we look to frame our collection in the This year the Gallery celebrated 40 years of partnership regional as well as the broader international context, and with the Biennale of Sydney and was a major venue for the initial gifts have been very gratifying. The Contemporary the 20th Biennale, The future is already here – it’s just Collection Benefactors supports the acquisition of not evenly distributed. Julian Rosefeldt’s Manifesto video contemporary for the Gallery’s collection and installation, commissioned by the Gallery in partnership this year acquired Richard Tipping’s Hold up ahead 1983 with the Australian Centre for the Moving Image (ACMI) 2004, Wrong day 2012 2015 and Caution – there is no avant- and showing until January 2017, features Cate Blanchett garde 1993 2012. The Aboriginal Collection Benefactors, delivering a series of monologues inspired by some of the Contemporary Collection Benefactors, Photography most provocative artist manifestos. Collection Benefactors and Australian Prints, Drawings & The program was also marked by significant Indigenous Watercolours Benefactors also acquired important works for art exhibitions. Curated by Cara Pinchbeck, When silence the collection. falls presented works by artists from across the globe who Acknowledgments respond to the inherent violence of massacres, ethnic I would like to extend my most sincere thanks to the cleansing, cultural displacement and political force. Artists Executive Team and all Gallery staff who have done an included Vernon Ah Kee, Paddy Bedford, Daniel Boyd, Fiona outstanding job this year in delivering a raft of such high- Hall, Ben Quilty, Pedro Reyes, Hossein Valamanesh and calibre exhibitions, public programs and related support Judy Watson. Curated by Jonathan Jones, Murruwaygu: services. We farewelled some senior staff members during following in the footsteps of our ancestors celebrated the the year and I would like to thank all of them for their Aboriginal culture of south-east Australia by exploring significant contribution to the Gallery. I wish to acknowledge the use of line by Koori male artists and included shields, the great work of our front-of-house staff, including the paintings and works on paper. volunteer guides and the Task Force volunteers, who National Art Archive deliver an exceptional level of service to the community. The formal establishment of the National Art Archive Ron Ramsay joined as executive director of the Art Gallery recognises the depths of the Gallery’s archival collections Society and Brian Ladd took up the role of president of the and marks a commitment to making them more widely Society – I am looking forward to working with both of them available for research and learning. The Gallery has been in the years ahead to serve our members. Australia’s leading collector of visual arts archives since During a major building maintenance project, its foundation in the 1870s. The gifting of material from approximately 85 staff members have temporarily been the Biennale of Sydney’s archive this year adds a strong located at the State Library of NSW (since February 2016). I international focus to these holdings. wish to acknowledge the collegial support of Dr Alex Byrne, the recently retired state librarian and chief executive, during Bulgari Art Award this time. Jude Rae was the recipient of the $80,000 Bulgari Art Lastly, Guido Belgiorno-Nettis AM’s term as president of Award for her painting SL 359 2016. Now in its fifth year, this the Board of Trustees expired at the end of 2015. Guido has partnership to support contemporary Australian painting made a significant contribution to the Gallery since he joined allows the Gallery to acquire a major work by a leading artist the Board of Trustees in 2007. He continues to be a great to the value of $50,000 and provides the winning artist with friend and supporter. At the beginning of January 2016, a residency in valued at $30,000. we welcomed David Gonski AC as president. David was Travelling Art Scholarships previously president between 1997 and 2006 and is now Tom Polo won the 2015 Brett Whiteley Travelling Art again providing extremely valuable advice and guidance Scholarship. This scholarship was established in 1999 and during this critical phase of the Gallery’s history. I look the winner receives $25,000 and a three-month residency at forward to working with him as a strong advocate for our the Cité Internationale des Arts in Paris, which is administered Sydney Modern vision. I would also like to acknowledge the by the Gallery. Elena Papanikolakis was the recipient of the reappointment of our valued trustees, Geoff Ainsworth, Mark 2016 Eva Breuer Travelling Art Scholarship, established Nelson and Ben Quilty. last year to support young Australian female artists for the purpose of travel and study in Paris. Papanikolakis will take up a three-month residency at the Dr Denise Hickey Memorial Studio in Paris with a $25,000 stipend.

Benefactors Dr Michael Brand The Atelier program and Friends of New Zealand Art Director (FoNZA) were launched this year. Atelier aims to inspire 5 October 2016

DIRECTOR’S STATEMENT 7 YEAR IN BRIEF

Rendering of services REVENUE 2015–16 $7.1m 10% $71.6 MILLION

Government Sales of goods recurrent $3.8m 5% funding

$23.9m 33%

Bequests, special funds, grants and other contributions $18.5m 26%

Government capital funding $15.6 22% Other revenue $2.7M 4%

EXPENDITURE 2015–16 $45.7 MILLION

Other operating costs $19.2m 42%

Personnel services $24m 53%

Depreciation $2.5m 5%

NET ASSETS AS AT 30 JUNE 2016 $1.620 BILLION Land and buildings $239m 15%

Bequests, special funds and other $35m 2%

Plant and equipment $3m 1% Collection $1,343m 82%

8 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Building Gallery (6%); Roads and Maritime with the Green Building Council of SYDNEY Service (37%) and Royal Botanic Australia and will be the first gallery in MODERN Gardens (RBG) (57%). Australia to achieve a Green Star rating. PROJECT A number of images were sourced The Gallery is working closely with the by Gallery staff during the year and architectural and consultant team to The Sydney Modern vision is to create demonstrate the urban transformation achieve at least a 5 Green Star rating. an art museum for the 21st century. of the Gallery’s site and environs. The Gallery continued to work Realisation of the vision will create The pictures illustrate the Gallery’s closely with key stakeholders within shared spaces of discovery for all our phases of expansion in 1972, 1988 the precinct, particularly the Royal visitors and an art museum energised and 2003 and mirror significant urban Botanic Gardens (RBG) and Domain by living artists. It will transform the way planning changes in the city. They are Trust. Collaboration has occurred we engage with our visitors, enable a powerful reminder that significant in a number of areas including us to display more of the state’s art incursions have occurred on our site sustainability. A key element of collection, provide a more complete with 60% of the site area concrete SANAA’s design are several pavilions story of Australian art and create a slab over existing structures and the with green roofs, and the advice of special centre of Aboriginal and Torres remaining 40% undisturbed land. RBG scientific staff has been sought Strait Islander art as a national and to determine appropriate native international destination. Workshops were held in both Sydney and Tokyo to progress the vegetation for these areas in order A major exhibitions gallery will ideas underpinning SANAA’s design to ensure a compatible biodiverse attract the world’s best art exhibitions concept. Internal workshops with staff environment is created. and an inspiring Learning Centre will further evolved the brief developed for As part of the ongoing consultation enable audiences of all ages to engage the competition. process, briefings were regularly held and participate in a wide variety of art throughout the year to update the local and learning experiences. The demanding requirements of the topography of the site were also better community on the development of the Through the Sydney Modern vision, understood and SANAA’s design will project. a significant cultural and architectural have the bulk of the footprint of the The Preliminary Business Case landmark with open spaces and new building (80%) constructed on for the project was submitted to inspiring experiences and will be added existing concrete slab. Government in January following a to the cultural life of Sydney as a global successful Gateway review outcome. city. As required under the competition conditions endorsed by the Australian The first major public event In May 2015 the Gallery engaged Institute of Architects (AIA), a public with SANAA took place on 27 July Tokyo-based architectural firm SANAA, exhibition of Stage 1 and Stage 2 2016 with Kazuyo Sejima and Ryue headed by Kazuyo Sejima and Ryue entries was held at the Gallery during Nishizawa in conversation with Michael Nishizawa, as the Design Architect August and September. The exhibition Brand in a session moderated by for the Sydney Modern Project, a new attracted over 43,000 visitors during Ken Maher, national president of the building and refurbishment of the the seven-week period with very AIA. Over 3600 visitors attended existing building. positive public feedback. the Art After Hours event, with an During the year, the Gallery The Sydney Modern Project overwhelmingly positive response to has worked with SANAA and the web page continues to provide the presentation. Australian practice Architectus as information for stakeholders and is Executive Architect to deliver the Initial regularly updated. All the material Engagement Phase of the project. displayed in the public exhibition of The key components of this work competition entries, including the included evolution of the concept Jury Report, is now available on the design that was delivered through the website. A dedicated email address competition process and preparation ([email protected]) of a Development Application (DA). A captures comments and feedback. full consultant team was appointed to support this phase of development of The Gallery engaged the Institute of the project. Sustainable Futures at the University of Technology, Sydney to undertake The work of the architectural initial research to identify best-practice and consult teams during the year strategies and global benchmarks has given the Gallery a clearer for art museums in the areas of understanding of the complexity of the power, water and waste reduction site, which is to the north of the Gallery as well as guidance on achievable on an existing concrete slab (land environmentally sustainable targets. bridge) and into disused fuel bunkers. Sydney Modern has been registered Ownership of the site is held by the

10 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Art Prince Manhar protects the Princess printed 2016, type C photograph; Las ART Champavati and confronts the Demon meninas reborn in the night VIII: and COLLECTION 1710, Deccani Mughal c1590–c1800, then there were none 2013, printed opaque watercolour and gold on 2016, type C photograph. Art Gallery The Gallery’s art collection is broadly paper; Prince Manhar cuts off part of of New South Wales Foundation divided into Australian and international the Demon’s head, c1700, Deccani acquisition with support from the John art. The total number of objects in the Mughal c1590–c1800, opaque Fairlie Cuningham Bequest 2016 art collection is currently 32,786 and watercolour and gold on paper. this continues to grow. At present, it Eko Nugroho (Indonesia, b1977), Lot Purchased 2016 is valued at $1,317,417,124. It is the Lost 2013–15, synthetic polymer paint Gallery’s greatest asset, as well as a NARELLE JUBELIN IN on fiberglass, manual embroidery significant cultural asset of the state of MEMORY OF JENNIFER rayon thread on fabric, and vinyl. NSW and the country. PHIPPS 2016 Purchased with funds provided by the Neilson Foundation and Dr Dick Quan Over this financial year the Gallery Narelle Jubelin (Spain/Australia, 2015 acquired 642 artworks from 153 b1960), Case no: T961301 1998, Australian artists and 62 international marine plywood laminated with Jude Rae (Australia, b1956), SL 359 artists. A total of 228 artworks (valued stainless steel, silver framed cotton 2016, oil on Belgian linen. Art Gallery at $6,164,024) were purchased – 131 thread on silk mesh petit point, silver of New South Wales, Bulgari Art Award works from Australian artists and 97 gelatin photographs, black ink on 2016 works from international artists – and vegetal paper, silver and stainless steel Hilda Rix Nicholas (Australia, 414 artworks (a value of $5,835,964) cutlery, tye-dyed damask 1884–1961), Through the gum trees, were gifted, adding a total value of Toongabbie c1920, oil on canvas. $12 million to the collection. Jitish Kallat (India, b1974), Public Notice 2 2007, resin Dagmar Halas Bequest Fund 2016 ACQUISITION Martin Lewis (Australia, 1881–1962), Ugo Rondinone (Switzerland, b1964), HIGHLIGHTS Glow of the city 1929, drypoint. clockwork for oracles 2010, mirror, Purchased with funds provided by colour plastic gel, wood, paint, mixed (Australia, 1891–1951), the Art Gallery Society of New South media Elizabeth Street, Sydney 1939, colour Wales 2016 linocut, printed in five colours on thin John Russell (Australia, 1858–1930), white paper. Purchased with funds Djambawa Marawili (North-east In the afternoon 1891, oil on canvas. provided by the Australian Collection Arnhem Land, b1953), Mundukul Purchased with funds provided by Benefactors Program 2015 2015, natural pigments on bark. the Art Gallery Society of New South Mollie Gowing Acquisition Fund for Wales 2016 Louise Bourgeois (France/USA, Contemporary Aboriginal Art 2016 1911–2010), Arched figure 1993, Dana Schutz (USA, b1976), Breast- cast 2010, bronze, fabric and metal. Yasumasa Morimura (Japan, b1951), feeding 2015, oil on canvas. Purchased Art Gallery of New South Wales 8 photographs from the series Las with funds provided by the 2015 USA Foundation Purchase 2016 meninas reborn in the night I–VIII 2013, Foundation Tour and the Mollie and printed 2016: Las meninas reborn in Jim Gowing Bequest Fund 2016 Daniel Boyd (Australia, b1982), the night I: kneeling before Velazquez’s (FS) 2016, oil, charcoal and Mori Sosen (Japan, 1747–1821), casket 2013, printed 2016, type C archival glue on linen. Wendy Baron Monkey Troop 1700s–1800s, Edo photograph; Las meninas reborn in Bequest 2016 (Tokugawa) period 1615–1868, ink and the night II: finding a tiny waver within colours on silk. Yasuko Myer Bequest Grace Cossington Smith (Australia, silence 2013, printed 2016, type C Fund and Asian Collection Benefactors 1892–1984), Arums growing c1926, oil photograph; Las meninas reborn in the Fund 2016 on cardboard. Dagmar Halas Bequest night III: opening the door in the depth Fund 2016 of the painting 2013, printed 2016, type Judy Watson (Australia, b1959), a picnic with the natives – the gulf 2015, Edward Henry Corbould (, C photograph; Las meninas reborn pigment and acrylic on canvas. Wendy 1815–1905), The magic mirror 1853, in the night IV: peering at the secret Barron Bequest Fund 2015 watercolour and bodycolour with gum scene behind the artist 2013, printed arabic. Parramore Purchase Fund 2016 2016, type C photograph; Las meninas COLLECTION reborn in the night V: drawn by a Thomas Hirschhorn (Switzerland, distant light, awaken to the darkness PURCHASES b1957), The subjecter no 1 2009, 2013, printed 2016, type C photograph; 91 WORKS model, nails, screws, plastic base, AUSTRALIAN ART Las meninas reborn in the night VI: wood (Australia, b1930), kingdom’s painting, painting’s kingdom Italia benvenuto 1957, oil on hardboard. Unknown (Decca, India), 2 miniatures 2013, printed 2016, type C photograph; Wendy Barron Bequest Fund 2015 from the manuscript Gulshan-i Las meninas reborn in the night VII: in ‘Ishq (Rose Garden of Love) 1710: fact, nothing really happened 2013,

12 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Dorrit Black (Australia, 1891–1951), Structure and silence of the cognitariat John Peart (Australia, 1945–2013), Elizabeth Street, Sydney 1939, colour number four 2012, colour lithograph untitled – pink 1967, quadriptych: linocut, printed in five colours on thin on ivory wove paper. Contemporary synthetic polymer paint on canvas. white paper. Purchased with funds Collection Benefactors 2015 Marshall Bequest Fund 2016 provided by the Australian Collection William Frater (Scotland/Australia, (Australia/England/ Benefactors Program 2015 1890–1974), Mt Gillen 1950, oil on card. France, 1875–1963), Aboriginal art Ian Burn (Australia/USA, 1939–93), Purchased 2015 1949, colour stencil on black card. Blue premiss no 1 1966, synthetic Joy Hester (Australia, 1920–60), John Gillespie Bequest Fund 2016 polymer paint on canvas. Patrick White Of war c1945, brush and ink on ivory Norma Redpath (Australia, Bequest Fund 2015 wove paper. David George Wilson 1928–2013), Horizontal forms 1959, Gunter Christmann (Germany/ Bequest 2015 maple. Barbara Tribe Australia, 1936–2013), 7 watercolours: Frank Hinder (Australia, 1906–92), Bequest Fund 2015 Untitled 1975, pencil, watercolour, ink Female figure (recto) and Margel (verso) Hilda Rix Nicholas (Australia, on paper; Untitled 1975, pencil, ink, 1946, pencil, pastel on ivory wove 1884–1961), Through the gum trees, watercolour on paper; Untitled 1975, paper. Purchased with funds provided Toongabbie c1920, oil on canvas. pencil, watercolour, fibre tipped pen by the Gil & Shay Docking Drawing Dagmar Halas Bequest Fund 2016 on ivory laid paper; Untitled 1977, Fund 2015 pencil, watercolour on ivory laid paper; John Russell (Australia, 1858–1930), Untitled 1977, pencil, watercolour Michael Johnson (Australia, b1938), In the afternoon 1891, oil on canvas. on ivory laid paper; Untitled 1977, 2 collages: Two fold homage to a Purchased with funds provided by pencil, watercolour on ivory laid paper; square 1973, paper collage; Collage the Art Gallery Society of New South Untitled 1977, pencil, watercolour on 1972, paper collage. Purchased with Wales 2016 funds provided by Henry Salkauskas ivory laid paper. Kathleen Buchanan Ann Thomson (Australia, b1933), 3 Fund 2015 and Australian Collection May Bequest Fund 2015 watercolours from the Reims series Benefactors Program 2015 Grace Cossington Smith (Australia, 2014: Untitled II 2014, gouache on 1892–1984), Arums growing c1926, oil Locust Jones (New Zealand/Australia, white wove paper; Untitled III 2014, on cardboard. Dagmar Halas Bequest b1963), 2 prints: Moon hair runt 2012, gouache on white wove paper; Untitled Fund 2016 linout on ivory wove paper; Yazidi IV 2014, gouache on white wove paper. refugees in northern Iraq fleeing ISIL Purchased 2016 with funds provided Adam Cullen (Australia, 1965–2012), advance, Mount Sinjar 2014, lithograph by John and Margaret Ryan in memory 2 prints: Head 2000, hard ground on ivory wove paper. of Alison Mitchell etching, roulette, printed in black ink Memorial Fund 2015 on white BFK Rives paper; Alien 2000, Sydney Ure Smith (Australia, 1887– hard ground etching on white BFK Martin Lewis (Australia, 1881–1962), 1949), 46 prints: Rives paper. John Gillespie Bequest 2 prints: Stoops in the snow 1930, Parbury’s bond 1914, etching, printed Fund 2016 drypoint, sand ground etching on in black ink with pale plate tone on ivory wove paper; Glow of the city ivory laid paper Douglas Dundas (Australia, 1900–81), 1929, drypoint. Purchased with funds 2 drawings: seated female 1927, pencil Wind-swept 1914, etching, printed in provided by the Art Gallery Society of black ink with pale plate tone on cream on ivory wove paper; study of male New South Wales 2016 hands and arms 1927, pencil on ivory laid paper wove paper. Purchased with funds Dane Lovett (Australia, b1984), 2 Stables of the currency lass, provided by the Joe Penn and Lesley watercolours: Cream I 2014, pencil, 1914, etching, printed in O’Shea Fund 2015 acrylic, watercolour, pastel on thick brown/black ink with plate tone on white wove paper; Vase study 2014, cream laid paper Adrian Feint (Australia, 1894–1971), pencil, watercolour on thick white Old house off Princes Street, The Rocks The striped petunia 1939, oil on wove paper. Kathleen Buchanan May 1914, etching, printed in black ink with canvas. Purchased with funds Bequest Fund 2015 plate tone on cream wove paper provided by the Australian Collection Benefactors Program 2015 Guy Maestri (Australia, b1974), Hill End Top of King Street 1915, etching, no 2 2011, colour lift-ground aquatint printed in brown/black ink with plate Emily Floyd (Australia, b1972), 4 prints printed from two plates on white tone on cream wove paper from the suite ‘All day workshop’, a Arches BFK Rives paper. Thea Proctor The council yard, McMahon’s Point suite of four lithographs 2012: Herrnhut Memorial Fund 2016 1915, etching, printed in brown/black commune number one 2012, colour ink on cream laid paper lithograph on ivory wove paper; Godfrey Miller (Australia, 1893–1964), Pyrmont from Balmain 1915, etching, Linux for beginners number two 2012, objects at night 1948–51, oil, pen and printed in brown/black ink with plate colour lithograph on ivory wove paper; ink on canvas. Purchased with funds tone on cream laid paper Social insects number three 2012, provided by the Gleeson O’Keefe colour lithograph on ivory wove paper; Foundation 2015

ART 13 Old cottage, Elizabeth Street 1916, The old mill, Mt Gilead 1915, etching, Elizabeth Bay House 1934, etching, etching, printed in brown/black ink with printed in brown/black ink on cream printed in brown/black ink with plate pale plate tone on cream laid paper laid paper tone on cream laid paper Lennox Bridge, Parramatta 1917, The launching of the HMAS St Paul’s College 1926, etching, printed etching, printed in brown/black ink with 1915, etching, printed in brown ink on in brown/black ink with pale plate tone plate tone on cream laid paper thin ivory laid paper on cream laid paper. The church on the hill 1918, etching, Darling Harbour from Balmain 1915, Purchased with funds provided by printed in black ink with pale plate tone etching, printed in brown/black ink with the Australian Prints, Drawings and on cream laid paper plate tone on cream wove paper Watercolours Benefactors Fund 2016 Old Treasury, Lang Street 1919, Argyle Cut 1916, etching, printed in Frank Weitzel (Australia/New Zealand, etching, printed in brown/black ink with black ink with pale plate tone on ivory 1906–32), 2 prints: Abstract design 1 pale plate tone on cream laid paper laid paper c1932, colour linocut on thin ivory The Observatory 1919, etching, printed Shell Cove 1917, etching, printed in tissue; Abstract design 2 c1932, colour in brown/black ink on cream laid paper black ink with pale plate tone on cream linocut on thin white paper. Purchased Brickworks, St Leonards 1920, etching, laid paper with funds provided by the Australian printed in black ink with plate tone on The building of HMAS (The Collection Benefactors Program 2015 cream wove paper bows) 1918, etching, printed in brown/ Margaret Worth (Australia, b1944), Tree with chopped branches 1922, black ink with pale plate tone on cream Genus 0 no 3 1968, diptych: synthetic etching, printed in black ink with plate laid paper polymer on canvas. Rudy Komon tone on cream laid paper The little porch, Campbelltown 1919, Memorial Fund 2016 The farm sheds 1923, etching, printed etching, printed in black ink on ivory in black ink with pale plate tone on laid paper Judith Wright (Australia, b1945), ivory laid paper The Observatory 1919, etching, printed Significant others 2016, acrylic, wax Farm scene, Windsor c1920s, etching, in brown ink with plate tone on cream on five sheets of Japanese paper. printed in black ink with pale plate tone laid paper Contemporary Collection Benefactors on cream laid paper Entrance, Bank of NSW 1919, etching, 2016 The Windsor farm c1919, etching, printed in brown ink with plate tone on ABORIGINAL AND TORRES printed in black ink on ivory paper cream laid paper STRAIT ISLAND ART 40 WORKS River in flood c1920s, etching, printed St Matthew’s church, Windsor c1919, Hector Burton (Pitjantjatjara/Southern in brown/black ink with pale plate tone etching, printed in black ink with pale Desert region, born c1937), Anumara on cream laid paper plate tone on cream laid paper Tjukurpa 2015, synthetic polymer paint, Matthew Place looking into Princes Entrance to the farm, Campbelltown ink and gouache on watercolour paper. Street from Upper Fort Street 1926, c1919, etching, printed in black ink with Wendy Barron Bequest Fund 2015 etching, printed in black ink with pale plate tone, hand drawn additions in Brenda L Croft (Gurindji/Malngin/ plate tone on cream wove paper pencil on cream laid paper Mudpurra, Fitzmaurice region, b1964), The barn, Winnstay 1920, etching, Observatory Hill from North Sydney Jinparrak 2015, etching on archival printed in brown/black ink with plate nd, etching, printed in black ink with paper. Mollie Gowing Acquisition fund tone on cream laid paper pale plate tone on ivory wove paper for Contemporary Aboriginal art 2016 Sandhills, Bellevue Hill 1922, etching, Deserted courtyard, Hartley 1920, printed in black ink with pale plate tone etching, printed in brown/black ink with Marion Gaemers (Australia, b1958), on cream laid paper plate tone on cream laid paper Lynette Griffiths (England, b1963), Packing oranges nd, etching, printed in Brickworks, St Leonards 1920, etching, Florence Gutchen (Australia, b1961), brown/black ink on ivory laid paper printed in black ink with plate tone on Racy Oui-Pitt (Australia, b1953) and Ellarose Savage (Australia, b1969), St Paul’s College 1926, etching, printed cream laid paper Solwata 2015–16, ghost net (reclaimed in black ink with pale plate tone on The three barns, Windsor c1920s, fishing net and rope). Purchased with cream laid paper etching, printed in black ink with plate funds provided by Vicki Olsson 2016 Freezing works, Parramatta River 1914, tone on cream laid paper etching, printed in black ink on cream The sunlit barn c1920s, etching, printed Fred Grant (Pitjantjatjara, Southern laid paper in brown/black ink on cream wove Desert region, b1943), Kulpitjara 2014, Old house off Princes Street, The paper acrylic on linen. Purchased with funds Rocks 1914, etching, printed in black Sandhills, Bellevue Hill 1922, etching, provided by the Aboriginal Collection ink with plate tone on cream wove printed in black ink with plate tone on Benefactors Group 2016 paper cream laid paper Lamangirra Gumana (Dhalwangu, Laneway to Playfair Street, The Rocks Ah Lum’s farm, Windsor 1923, etching, Arnhem region, b1977), Garraparra 1915, etching, printed in black ink with printed in brown ink on cream laid 2015, natural pigments on board. plate tone on grey laid paper paper

14 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Purchased with funds provided by Lenie Namatjira (Western Arrente, Michael Tuffrey (Australia), Matatia the Aboriginal Collection Benefactors Central Desert region, b1951), Glen Warrior (Australia), Avril Ahwang Group 2015 Helen Station 2015, watercolour (Australia), Warren Brim (Australia), Malaluba Gumana (Dhalwangu, on paper. Purchased with funds Ethel Sambo (Australia), Bianca Arnhem region, b1952), Garrimala provided by the Aboriginal Collection Mahoney (Australia), Glen Mackie 2014, natural pigments on board. Benefactors Group 2015 (Kala Lagaw, Torres Strait region, Wendy Barron Bequest Fund 2015 Daniel O’Shane (Kuku Yalangi, West b1975), Anna Eglitas (Australia), Sheila Sparks (Australia), Vicki Roy Kennedy (Wiradjuri, Southern Cape region/Miriam Mer, Kulkagal, Torres Strait region, b1990), 6 prints: Igibi (Australia), A canoe of many Riverine region, b1934), 2 paintings: passengers 1998, woodcut. Purchased Untitled c1999, synthetic polymer Auka Metkar Goweh (Plenty pelican) 2013, vinylcut; Geb, Omai ene Sirr with funds provided by Vicki Olsson paint on canvas; Untitled c1999, 2016 synthetic polymer paint on canvas. (Coconut story) 2014, vinylcut, hand- Mollie Gowing Acquisition Fund for wiped; Dari 2014, vinylcut, hand-wiped; Garawan Wanambi (Marrakulu, Contemporary Aboriginal Art 2015 Aib Ene Zogo ni Pat (Story of Aib and Arnhem region, b1965), Marrangu the sacred waterhole) 2015, vinylcut, 2015, etching on paper. Purchased Glen Mackie (Kala Lagaw, Torres hand-wiped and hand-coloured; with funds provided by the Aboriginal Strait region, b1975), 6 prints: Kubar E Meuram and Zogo ni Pat 2015, Collection Benefactors Group 2015 (black on white) 2011, vinylcut printed in vinylcut, hand-wiped; Kerbi Arer ra black ink; Kubar E (red on black) 2011, Ben Galmidle Ward (Mirriwoong, East Tobarkarr (The life and customs of our Kimberley region, b1951), Our country vinylcut, printed in black ink dusted ancestors) nd, vinylcut, hand-wiped. with copper on black paper; Kubar E 2015, natural pigments on plywood. Purchased with funds provided by Vicki Mollie Gowing acquisition fund for (white on black) 2011, vinylcut, printed Olsson 2015 in black ink; The coming of Sigai Contemporary Aboriginal art 2016 2013, vinylcut, hand-coloured; The Patju Presley (Pitjantjatjara, Southern Judy Watson (Waanyi, Gulf region, Githalai Effect I 2015, vinylcut, hand- Desert region, b1945), Kali Impil 2015, b1959), a picnic with the natives – the wiped, printed in black ink; Journey acrylic on linen. Wendy Baron Bequest gulf 2015, pigment and acrylic on of Malu, Sigai, Kulka and Siu 2015, Fund 2016 canvas. Wendy Barron Bequest Fund vinylcut, printed black, hand-wiped and Angelina Pwerle (Alyawarr, Central 2015 hand-coloured. Purchased with funds Desert region, b1946), Bush Plum Carlene West (Pitjantjatjara, Southern provided by Vicki Olsson 2015 2005, synthetic polymer paint on Desert region, b1944), Tjitjiti 2014, Djambawa Marawili (Madarrpa, canvas. Wendy Barron Bequest Fund acrylic on linen. Purchased with funds Arnhem region, b1953), Mundukul 2015 provided by the Aboriginal Collection 2015, natural pigments on bark. Marlene Rubuntja (Western Arrernte, Benefactors Group 2016 Mollie Gowing Acquisition fund for Central Desert region), 2 prints: raining Carlene West (Pitjantjatjara, Southern Contemporary Aboriginal art 2016 through the Gap in Alice Springs Desert region, b1944), Tjitjiti 2015, Nonggirrnga Marawili (Madarrpa/ 2015, etching on paper; we love rain acrylic on linen. Wendy Baron Bequest Arnhem region, born c1939), Lightning you know 2015, etching on paper. Fund 2016 and the rock 2015, etching on paper. Mollie Gowing Acquisition Fund for Purchased with fund provided by the Contemporary Aboriginal Art 2015 INTERNATIONAL ART Aboriginal Collection Benefactors’ Rhonda Sharpe (Luritja, Central CHINA 1 WORK Group 2015 Desert, b1977), Bird with wings 2015. Unknown (China), Eagles and Barayuwa Mununggurr (Djapu, Mollie Gowing Acquisition Fund for magpies late 1400s – early 1500s, Arnhem region, b1980), Yarrinya 2015, Contemporary Aboriginal Art 2015 hanging scroll, ink and colour on silk. natural pigments on board. Wendy Spinifex Arts Project – Men’s Purchased with funds provided by the Barron Bequest Fund 2015 Collaborative (Australia, active since Asian Collection Benefactors Program Marrnyula Mununggurr (Djapu, 1997), Watiku Nguru Pulkana 2015, (AGNSW), the Edward & Goldie Arnhem region, b1964), Rapiny Gapu acrylic on linen. Wendy Baron Bequest Sternberg Purchase Fund 2015, etching on paper. Purchased Fund 2016 and Moira Burns, Edmund Capon, Key Foundation, Lisa Cattani, Rowena with funds provided by the Aboriginal Bobby West Tjupurrula (Pintupi, Danziger, Jean Findlay, Peter Hesky, Collection Benefactors Group 2015 Western Desert region, b1958), Tingari Warwick Johnson, Carole Lamerton, sites around Kiwirrkura 2015, synthetic Kevin Namatjira (Arrente, Central Vicki Liberman, Judith Rutherford, polymer paint on canvas. Wendy Baron Desert region, b1958), Outside Michael Sternberg, Mary Tancred Bequest Fund 2016 Haast Bluff, near Mt Liebig, NT 2015, Bequest Fund (Foundation), Alenka watercolour on paper. Purchased Tindale 2015 with funds provided by the Aboriginal Collection Benefactors Group 2015

ART 15 INDIA 2 WORKS SOLOMON ISLANDS 3 WORKS MODERN AND Unknown (Decca/India), 2 miniatures Armbands (aba gwaro), late 1800s – CONTEMPORARY 57 WORKS from the manuscript Gulshan-i early 1900s, red-lipped oyster shell Louise Bourgeois (France/USA, ‘Ishq (Rose Garden of Love) 1710: (Chana pacifica), black mussel shell 1911–2010), Arched figure 1993, Prince Manhar protects the Princess (Atrina vexillum), ridged white cockle cast 2010, bronze, fabric and metal. Champavati and confronts the Demon shell (Anadara granosa), black fulu Art Gallery of New South Wales 1710, Deccani Mughal c1590–c1800, seeds, plant fibre string. Purchased Foundation Purchase 2016 opaque watercolour and gold on paper; under the terms of the Florence Turner Daniel Boyd (Australia, b1982), Prince Manhar cuts off part of the Blake Bequest 2015 Untitled (FS) 2016, oil, charcoal and Demon’s head, c1700, Deccani Mughal archival glue on linen. Wendy Baron c1590–c1800, opaque watercolour and Belt (fo’o’aba), late 1800s – early Bequest 2016 gold on paper. Purchased 2016 1900s, 9 lengths of shell beads consisting of ridged white cockle shell Robert Boynes (Australia, b1942), JAPAN 1 WORK (Anadara granosa) disks, red-lipped Blind leading the blind 2015, triptych: Mori Sosen (Japan, 1747–1821), oyster shell (Chana pacifica) disks, synthetic polymer paint on canvas, Monkey troop 1700s–1800s, Edo black mussel shell (Atrina vexillum) timber. Patrick White Bequest Fund (Tokugawa) period 1615–1868, ink and disks, black fulu seeds, 6 turtoise shell 2015 spacers, plant fibre string. Purchased colours on silk. Yasuko Myer Bequest Mitch Cairns (Australia, b1984), Peter under the terms of the Florence Turner Fund and Asian Collection Benefactors Powditch 2015, oil on linen. Trustees Blake Bequest 2015 Fund 2016 Acquisition 2015 Shell wealth (tafuli’ae), late 1800s – PAPUA NEW GUINEA 4 WORKS On Kawara (Japan, 1932–2014), early 1900s, 10 lengths of shell beads 2 multimedia and 1 print: One million Massim people (Papua New Guinea), consisting of red-lipped oyster shell years (past/future) 2002, 32 CD 2 ceremonial objects: Ghena wanamo (Chana pacifica) disks, ridged white Box set; One million years (past and (turtle shell spatula), late 1800s, turtle cockle shell (Anadara granosa) disks, future) 2000, boxed set of 10 compact shell, bagi shell (Spondylus), plant black mussel shell (Atrina vexillum) discs: 5 past compact discs; 5 future fibre string; Ghena wanamo (turtle disks, black fulu seeds, two tortoise compact discs. 74 min each compact shell spatula), late 1800s, turtle shell, shell spacers, 8 black seed pods, plant disc; One million years 1999, artist bagi shell (Spondylus), shell discs and fibre string. Purchased under the terms book in two volumes. Mervyn Horton pendants, plant fibre string. Purchased of the Florence Turner Blake Bequest Bequest Fund 2016 with funds provided by the Florence 2015 Turner Blake Bequest and the Patricia Deborah Kelly (Australia, b1962), Lucille Bernard Bequest 2016 EUROPEAN ART PRE 1900 11 collages and 2 multimedia: Venus 7 WORKS Nakanai people (Papua New Guinea), variations (reclining) 2015, paper Barkcloth funerary mask cover, mid George Price Boyce (England, collage on foamcore, wool, artificial 1900s, barkcloth, red, yellow, black 1826–97), An old farmhouse at pearls and wall sconce; The Venus and white pigments. Purchased with Hambledon in Surrey c1876, variations – various collages #1 2015, funds provided by the Florence Turner watercolour on paper. European Art paper collage; The Venus variations Blake Bequest and the Patricia Lucille Collection Benefactors Fund 2015 – various collages #2 2014, paper Bernard Bequest 2016 collage; The Venus variations – various Edward Henry Corbould (England, collages #3 2015, paper collage; The Wahgi people (Papua New Guinea), 1815–1905), The magic mirror 1853, Venus variations – various collages Peng kokn (ceremonial wig), c1992, watercolour and bodycolour with gum #4 2015, paper collage; The Venus collected 1992, barkcoth over cane arabic. Parramore Purchase Fund 2016 variations – various collages #5 2015, frame, tree resin, plant fibre string, Charles Altamont Doyle (England, paper collage; The Venus variations yellow orchid stem fibre (Dendrobium), 1832–93), The spirits of the prisoners – various collages #6 2015, paper coix seeds (Coix lacryma-jobi), yellow c1885, pencil, pen and brown ink, collage; The Venus variations – various and red pigments, cowrie shells, red, blue wash. European Art Collection collages #7 2015, paper collage; The black and white feathers. Purchased Benefactors Fund 2015 Venus variations – various collages with funds provided by the Florence #8 2015, paper collage; The Venus Turner Blake Bequest and the Patricia William Hogarth (England, variations – various collages #9 2014, Lucille Bernard Bequest 2016 1697–1764), 4 prints from the series paper collage; The Venus variations The four stages of cruelty 1751: The – various collages #10 2015, paper PHILIPPINES 1 WORK first stage of cruelty 1751, etching and collage; Lying women 2016, stop- Rodel Tapaya (Philippines, b1980), engraving; The second stage of cruelty motion animation made from analogue Adda Manok Mo, Pedro? (Do you have 1751, etching and engraving; Cruelty in paper collages; Beastliness 2012, a rooster, Pedro?) 2015–16, acrylic on perfection 1751, etching and engraving; digital animation made from analogue canvas. Gift of Geoff Ainsworth AM & The reward of cruelty 1751, etching and paper collages. Contemporary Johanna Featherstone 2016 engraving. European Art Collection Collection Benefactors 2016 Benefactors Fund 2015

16 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Judy Millar (New Zealand, b1957), Diglossia #8 2009, pure pigment prints PHOTOGRAPHY 21 WORKS Ferryman 2011, synthetic polymer paint on archival paper. Contemporary Brook Andrew (Australia, b1970), and oil on canvas. Purchased with Collection Benefactors 2016 2 photographs from the series funds provided by the Friends of New Pedro Reyes (Mexico, b1972), Possessed 2015: Possessed III 2015, Zealand Art 2016 5 sculptures: Disarm (Xylophone VII) gelatin silver photograph, carbonised Nigel Milsom (Australia, b1975), 2015, metal; Disarm (Guitar XIII) 2015, frame; Possessed V 2015, gelatin 2 paintings: Judo house part 5 (faith, metal; Disarm (Double psaltery II) 2015, silver photograph, carbonised frame. hope and luck) 2013, oil on linen; Judo metal; Disarm (Pan pipes III) 2015, Purchased with funds provided by house part 6 (the white bird) 2014–15, metal; Disarm (Rain stick II) 2015, the Aboriginal Collection Benefactors oil on linen. Contemporary Collection metal. Mervyn Horton Bequest Fund Program and the Photography Benefactors 2015, with the generous 2015 Collection Benefactors Program 2016 assistance of Alenka Tindale, Peter Richard Tipping (Australia, b1949), Pat Brassington (Australia, b1942), Braithwaite, Anon, Chrissie & Richard 10 sculptures: Airpoet 1979, 2012, The branching 2015, 2 pigment Banks, Susan Hipgrave & Edward reflective tape on aluminium; Sing prints, diptych. Purchased with Waring, Abbey & Andrew McKinnon 1981, 2012, reflective tape on funds provided by the Photography Nell (Australia, b1975), Where Maitland aluminium; Hold up ahead 1983, Endowment Fund, 2015 meets Newcastle 2015, synthetic 2004, reflective tape on aluminium; Charles Dennington (Australia, polymer paint, pencil and mixed Caution – there is no avant-garde 1993, b1982), Composite of faces II 2013, media on linen, wood. Contemporary 2012, reflective tape on aluminium; printed 2016, archival pigment Collection Benefactors 2016 Private poetry 2001, 2010, reflective photographic print. Purchased in Eko Nugroho (Indonesia, b1977), Lot tape on aluminium; No understanding memory of Reginald John Vincent 2016 lost 2013–15, synthetic polymer paint 2002, reflective tape on aluminium; Exit strategy 2003, reflective tape Robert Frank (Switzerland/USA, on fiberglass, manual embroidery rayon b1924), US 91, leaving Blackfoot, thread on fabric, and vinyl. Purchased on aluminium; Artwork 2012, 2014, reflective tape on box-edged steel Idaho 1956, printed 1960s, gelatin with funds provided by the Neilson silver photograph. Purchased with Foundation and Dr Dick Quan 2015 sheet, A-frame legs; Reduce need 2012, 2015, reflective tape on box- funds provided by The Russell Mills Raquel Ormella (Australia, b1969), edged steel sheet; Wrong day 2012, Foundation, 2015 2 textiles: I’m worried I’m not political 2015, reflective tape on aluminium. (New Zealand/ enough (Julie) 1999–2009, double- Contemporary Collection Benefactors Australia, b1962), Handwalk 2015, sided banner, sewn wool and felt; Fund 2015 single channel video, 6.27 min. I’m worried this will become a slogan Robert Rooney (Australia, Purchased with funds provided by the (Anthony) 1999–2009, double- Friends of New Zealand Art 2015 sided banner, sewn wool and felt. b1937), The art of illustration 1983, Contemporary Collection Benefactors synthetic polymer paint on canvas. Geoff Kleem(Australia, b1953), Fund 2015 Contemporary Collection Benefactors Untitled 2016, photographic mural. 2015 Purchased with funds provided by Grayson Perry (England, b1960), Anthony Medich 2015 Animal spirit 2016, woodcut. Dana Schutz (USA, b1976), Breast- Purchased with funds provided by feeding 2015, oil on canvas. Purchased Deb Mansfield(Australia, b1976), Hamish Parker 2016 with funds provided by the 2015 USA (Swinging) I am trying to quieten my Foundation Tour and the Mollie and Jim love for you from the series Avoiding Jude Rae (Australia, b1956), SL 359 Gowing Bequest Fund 2016 and courting collision 2015, photo- 2016, oil on Belgian linen. Art Gallery teamLab (Japan), Flowers and people tapestry, bronze frame, hidden marine of New South Wales, Bulgari Art Award rope and love letter. Viktoria Marinov 2016 – gold 2015, 3–8 channel interactive digital artwork; endless. DG Wilson Bequest Fund 2016 Eugenia Raskopoulos Bequest Fund and Asian Collection Yasumasa Morimura (Japan, b1951), (Czechoslovakia; Australia, b1959), Benefactors Fund 2015 8 photographs from the series Las 8 photographs: Diglossia #1 2009, Geoff Thornley (New Zealand, b1942), meninas reborn in the night I–VIII 2013, pure pigment prints on archival paper; printed 2016: Diglossia #2 2009, pure pigment prints Voice of mimesis 1999–2000, oil on Las meninas reborn in the night I: on archival paper; Diglossia #3 2009, canvas. Purchased with funds provided kneeling before Velazquez’s casket pure pigment prints on archival paper; by the Friends of New Zealand Art and 2013, printed 2016, type C photograph Diglossia #4 2009, pure pigment prints the Mollie and Jim Gowing Bequest on archival paper; Diglossia #5 2009, Fund 2016 Las meninas reborn in the night II: pure pigment prints on archival paper; William Wright (Australia, 1937–2014), finding a tiny waver within silence 2013, Diglossia #6 2009, pure pigment prints House 2001–11, diptych: oil, wax, printed 2016, type C photograph on archival paper; Diglossia #7 2009, marble dust on wood. Patrick White Las meninas reborn in the night III: pure pigment prints on archival paper; Bequest Fund 2015 opening the door in the depth of the

ART 17 painting 2013, printed 2016, type C COLLECTION GIFTS Harmony of numbers (page 12) 2012, photograph ink, acrylic and watercolour on graph Las meninas reborn in the night IV: AUSTRALIAN ART 276 WORKS paper peering at the secret scene behind YVONNE AUDETTE Harmony of numbers (page 13) 2012, the artist 2013, printed 2016, type C Yvonne Audette (Australia, b1930), ink, acrylic and watercolour on graph photograph Black on grey 1960–61, oil on paper Las meninas reborn in the night V: composition board Harmony of numbers (page 14) 2012, drawn by a distant light, awaken to the ink, acrylic and watercolour on graph ROBERT BOYNES. DONATED darkness 2013, printed 2016, type C paper photograph THROUGH THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS Harmony of numbers (page 15) 2012, Las meninas reborn in the night VI: PROGRAM ink, acrylic and watercolour on graph kingdom’s painting, painting’s kingdom paper 2013, printed 2016, type C photograph Robert Boynes (Australia, b1942), Auto sex 1968, synthetic polymer paint Harmony of numbers (page 16) 2012, Las meninas reborn in the night VII: in on canvas ink, acrylic and watercolour on graph fact, nothing really happened 2013, paper printed 2016, type C photograph ANDREW CHRISTOFIDES Harmony of numbers (page 17) 2012, Las meninas reborn in the night VIII: Andrew Christofides(Australia, ink, acrylic and watercolour on graph and then there were none 2013, printed b1946), 34 drawings from the book paper 2016, type C photograph project Harmony of numbers 2011–12: Harmony of numbers (page 18) 2012, Art Gallery of New South Wales Harmony of numbers (page 1) 2011, ink, acrylic and watercolour on graph Foundation acquisition with support ink, acrylic and watercolour on graph paper from the John Fairlie Cuningham paper Harmony of numbers (page 19) 2012, Bequest 2016 Harmony of numbers (page 1a) 2011, ink, acrylic and watercolour on graph Kate Robertson (Australia, b1981), pen and ink on graph paper paper 2 photographs from the series Harmony of numbers (page 2) 2011, Harmony of numbers (page 20) 2012, Celestial body model 2014: Mustard ink, acrylic and watercolour on graph ink, acrylic and watercolour on graph Mars 2014, gelatin silver photograph; paper paper Pinhead mercury 2014, gelatin silver Harmony of numbers (page 3) 2011, Harmony of numbers: (1,2,3) photograph. Viktoria Marinov Bequest ink, acrylic and watercolour on graph subtractive x 80 2011, acrylic, ink on Fund 2016 paper cream Fabriano paper Lew Thomas (USA, b1932), ALPHA- Harmony of numbers (page 4) 2011, Harmony of numbers: (1,2,5) BET 1972, printed 2015, 28 gelatin ink, acrylic and watercolour on graph subtractive x 48 2011, acrylic, ink on silver photographs. Purchased with paper Fabriano paper funds provided by Geoff Ainsworth AM, Harmony of numbers (page 5) 2011, Harmony of numbers: (1,2,8) 2015 ink, acrylic and watercolour on graph subtractive x 30 2012, acrylic, ink on James Tylor (Australia, b1986), paper Fabriano paper 2 photographs from the series Terra Harmony of numbers (page 6) 2011, Harmony of numbers: (1,3,5) botanica II 2015: Banksia ericifolia ink, acrylic and watercolour on graph subtractive x 32 2012, acrylic, ink on 2015, Becquerel daguerreotype; paper Fabriano paper Eucalyptus leucoxylon I 2015, Harmony of numbers (page 7) 2011, Harmony of numbers: (1,3,8) Becquerel daguerreotype. Purchased ink, acrylic and watercolour on graph subtractive x 20 2012, acrylic, ink on in memory of Reginald John Vincent paper Fabriano paper 2016 Harmony of numbers (page 8) 2012, Harmony of numbers: (1,5,8) ink, acrylic and watercolour on graph subtractive x 12 2012, acrylic, ink on paper Fabriano paper Harmony of numbers (page 9) 2012, Harmony of numbers: (2,3,5) ink, acrylic and watercolour on graph subtractive x 16 2012, acrylic, ink on paper Fabriano paper Harmony of numbers (page 10) 2012, Harmony of numbers: (2,3,8) ink, acrylic and watercolour on graph subtractive x 12 2012, acrylic, ink on paper Fabriano paper Harmony of numbers (page 11) 2012, Harmony of numbers: (2,5,8) ink, acrylic and watercolour on graph subtractive x 6 2012, acrylic, ink on paper Fabriano paper

18 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Harmony of numbers: (3,5,8) THE ESTATE OF ROY JACKSON Guardian 2003, drypoint, printed in subtractive x 4 2012, acrylic, ink on Roy Jackson (Australia/England, black ink with plate tone from one plate Fabriano paper 1944–2013), Gilgai Gibber Plains 1994, on BFK Rives paper Harmony of numbers: (1,2,3) acrylic and oil stick on canvas Melaleuka inside in 2005, drypoint, subtractive x 80 2012, acrylic, card, printed in green-black ink with plate plastic on mountboard MICHAEL AND MARGO JOHNSON. tone from one plate on BFK Rives DONATED THROUGH THE Harmony of numbers: (1,2,5) paper AUSTRALIAN GOVERNMENT’S subtractive x 48 2012, acrylic, card, CULTURAL GIFTS PROGRAM Personage 2005, drypoint, printed in plastic on mountboard green-black ink with plate tone from Michael Johnson (Australia, b1938), Harmony of numbers: (1,3,8) one plate on rice paper sheet 3 paintings: Quasar I 1984, oil on subtractive x 20 2012, acrylic, card, canvas; Quasar II 1984, oil on canvas; Hertha Kluge-Pott (Australia, b1934), plastic on mountboard Quasar III 1984, oil on canvas 4 prints from the suite Wings of kelp Andrew Christofides (Australia, 2009: Wings of kelp – page 1 2009, b1946), 7 prints from the suite INGE KING. DONATED THROUGH drypoint, printed in black ink from one Geometric variations 1991: Geometric THE AUSTRALIAN GOVERNMENT’S plate with plate tone on BFK Rives variation I 1991, screenprint on ivory CULTURAL GIFTS PROGRAM paper; Wings of kelp – page 2 2009, wove Arches paper; Geometric Inge King (Germany/Australia, 1915– drypoint, printed in black ink from one variation II 1991, screenprint on ivory 2016), Captive 1965, bronzed steel plate with plate tone on BFK Rives wove Arches paper; Geometric paper; Wings of kelp – page 3 2009, HERTHA KLUGE-POTT variation III 1991, screenprint on drypoint, printed in black ink from one ivory wove Arches paper; Geometric Hertha Kluge-Pott (Australia, b1934), plate with plate tone on BFK Rives variation IV 1991, screenprint on 14 prints: paper; Wings of kelp – page 4 2009, ivory wove Arches paper; Geometric Birds 1963, aquatint, drypoint, printed drypoint, printed in black ink from one variation V 1991, screenprint on in black ink with pale plate tone from plate with plate tone on BFK Rives ivory wove Arches paper; Geometric one plate on Fabriano paper paper variation VI 1991, screenprint on Cantankerous tranquility 1980, LYNN. DONATED ivory wove Arches paper; Geometric drypoint, sugarlift aquatint, printed in THROUGH THE AUSTRALIAN variation VII 1991, screenprint on ivory three colours with plate tone from one GOVERNMENT’S CULTURAL GIFTS wove Arches paper plate on BFK Rives paper PROGRAM Dream 1981, sugarlift, drypoint printed ANDREW CHRISTOFIDES. Elwyn Lynn (Australia, 1917–97), DONATED THROUGH THE in two colours with plate tone from one 3 paintings: Nicht Grösser Schneller AUSTRALIAN GOVERNMENT’S plate on Arches paper Muss Man Sein 1971, mixed media on CULTURAL GIFTS PROGRAM The hill 1982, sugarlift, drypoint printed canvas; Late fall 1969, mixed media Andrew Christofides (Australia, in two colours with plate tone from one on canvas; Piet stormed 1993, mixed b1946), Pantheon: after Kurt II 2008, plate on Arches Velin paper media on canvas dyptich: synthetic polymer paint on Self-portrait 1984, drypoint, printed in HILARIE MAIS. DONATED canvas black ink with plate tone from one plate on Arches Velin paper THROUGH THE AUSTRALIAN DANIEL MUDIE CUNNINGHAM. GOVERNEMENT’S CULTURAL Site 1988, drypoint printed in black GIFTS PROGRAM DONATED THROUGH THE ink with plate tone from one plate on AUSTRALIAN GOVERNMENT’S Arches Velin paper William Wright (Australia, 1937–2014), CULTURAL GIFTS PROGRAM 2 paintings: Night swimmer 1965, oil on Rock on a shore 1997, etching, Arthur McIntyre canvas; Big London green 1968, oil on (Australia, 1945– drypoint printed in black ink with blue canvas 2003), Dante’s people c1992, mixed hand-stain from six plates on six sheets media on canvas; synthetic ploymer of BFK Rives paper ROBYN MARTIN-WEBER paint, felt-tip marker and paper collage Silent site 1999, drypoint, printed in on canvas Andrew Christofides(Australia, green-black ink with plate tone from b1946), Jenny Zimmer (Australia, CATRIONA DUNCAN one plate on BFK Rives paperwith b1941), Nguib Mahfouz (Egypt, hand-dyed green BFK chine collé Anne Judell (Australia, b1942), 1911–2006), Passage: a book of 2 drawings from The order series 1996: Place 2001, etching, drypoint printed in drawings by Andrew Christofides The order I 1996, pastel on ivory paper; black ink from six plates on six sheets with musings from ‘Echoes of an The order VI 1996, pastel on ivory paper of orange-stained Arches Velin paper autobiography’ by Naguib Mahfouz Departure 2003, drypoint printed 2005, artist book: 10 folded leaves of DANNY GOLDBERG in black ink from one plate on BFK ivory Fabriano Tiepolo paper with 8 Allan Mitelman (Australia/Poland, Rives paper with hand-dyed orange tipped-in drawings in watercolour, ink b1946), Untitled 1977, ink, coloured ricepaper chine collé and acrylic accompanied by selected pencil on paper quotes

ART 19 MICHELLE AND JOHN MURCH Cloudy sky over water 1920s, pencil on Large harbourside house, house and Arthur Murch (Australia, 1902–89), ivory wove paper garden and tower amongst trees 3 drawings: Study for ‘The idle hour’ Landscape with clouds 1920s, pencil 1920s, pencil on ivory wove paper 1933, pencil on paper; Baby (Study on ivory wove paper Harbourside houses 1920s, pencil on for ‘The idle hour’) 1933, sanguine on House by the water (recto) and Rocky ivory wove paper paper; Baby (Study for ‘The idle hour’) harbour shore with Old Musgrave House at the harbour’s edge, rock, 1933, pencil, sanguine on paper Street wharf (verso) 1920s, pencil on house and large building (recto) and ivory wove paper Bent tree (verso) 1920s, pencil on ivory JOHN OLSEN Landscape with houses 1920s, pencil wove paper John Olsen (Australia/England/Spain/ on ivory wove paper Houses by the harbour and landscape Portugal, b1928), Birds, fish and river House façade and Rocky landscape 1920s, pencil on ivory wove paper 1980, etching, aquatint printed in 1920s, pencil on ivory wove paper Harbour sketch (1920s), pencil on ivory brown ink on cream Velin Arches paper Rocky landscape with house (recto) wove paper ALAN & JANCIS REES. DONATED and Harbour foreshore (verso) 1920s, Boatshed by the water 1920s, pencil THROUGH THE AUSTRALIAN pencil on ivory wove paper on ivory wove paper GOVERNMENT’S CULTURAL GIFTS Landscape with rocks 1920s, pencil on Tree and building (recto) and Building PROGRAM ivory wove paper by the water and landform (verso) Lloyd Rees (Australia, 1895–1988), Seascape with figures on the beach 1920s, pencil on ivory wove paper 141 drawings: 1920s, pencil on ivory wove paper Landscape composition and house by Spreading tree 1920s, pencil on ivory Landscape with figures (recto) and the harbour (recto) and Harbour cliff, laid paper Landscape (verso) 1920s, pencil on house by the harbour and man in a hat (verso) 1920s, pencil on ivory wove Trees (recto) and Tree in landscape ivory wove paper paper (verso) 1920s, pencil on ivory wove View of the harbour 1920s, pencil on paper ivory wove paper Pier and shed, Sydney Harbour 1920s, pencil on ivory wove paper Trees on a bank and footbridge 1920s, Composition sketch and landscape pencil on ivory wove paper with church 1920s, pencil on ivory Headland with tower and harbour sketch (recto) and Harbour view with Trees on bank (recto) and Harbour wove paper boat and pile driver (verso) 1920s, foreshore (verso) 1920s, pencil on ivory Church interior, seascape and Ball’s pencil on ivory wove paper wove paper Head 1920s, pencil on ivory wove Two ferry studies, water view with ferry Trees and house chimney 1920s, pencil paper and landform (recto) and Tree and on ivory wove paper Cliffs and boatsheds 1920s, pencil on rocks, tree and headland (verso) 1920s, Man reclining in park and park with ivory wove paper pencil on ivory wove paper figures 1920s, pencil on ivory wove Landscape with building (recto) and Old Government House, Parramatta paper Building on a hill (verso) 1920s, pencil and architectural details (recto) and Tree with house and figure (recto) and on ivory wove paper Three studies for Old Government Landscape details (verso) 1920s, pencil Trees and buildings by the water House, Parramatta (verso) 1920s, on ivory wove paper 1920s, pencil on ivory wove paper pencil on ivory wove paper Wooded hillside and house by the Landscape with rocks and building, St Patrick’s Cathedral, Parramatta water, Trees on rocky hillside and street roofline and landscape (recto) and 1920s, pencil on ivory wove paper; of houses 1920s, pencil on ivory wove Beach landscape with figures and View from Parramatta Park towards paper hillside with houses (verso) 1920s, the town 1920s, pencil on ivory wove Tree with park bench and eroded rock pencil on ivory wove paper paper (recto) and Eroded rock (verso) 1920s, Hillside with houses and building with Willows along the Parramatta River pencil on ivory wove paper spire and composition sketch of hillside 1920s, pencil on ivory wove paper Tree (recto) and Woman’s profile and with tower (recto) and Landscape Trees on riverbank and landscape with flower (verso) 1920s, pencil on ivory (verso) 1920s, pencil on ivory wove fence and tower 1920s, pencil on ivory wove paper paper wove paper Tree and head (recto) and Tree with Beachscape with figures (recto) and Lennox Bridge, Parramatta 1920s, houses and trees with people on park Three figures from behind (verso) pencil on white wove paper bench (verso) 1920s, pencil on ivory 1920s, pencil on ivory wove paper Bend in the river with a bridge in the wove paper Harbour landscape and group of distance 1920s, pencil on ivory wove Stone house and landscape with water people (recto) and Two studies of figure paper 1920s, pencil on ivory wove paper by a cliff (verso) 1920s, pencil on ivory Rings Bridge over the Parramatta River Reclining figures and beachscape wove paper 1920s, pencil on ivory wove paper (recto) and Large rocks (verso) 1920s, House on a harbour cliff 1920s, pencil Trees with a distant view 1920s, pencil pencil on ivory wove paper on ivory wove paper on ivory wove paper

20 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Farmhouse with cow under a tree, Pastel drawing book 1930s, bound Landscape with water 1930s, pencil on Parramatta and cow studies (recto) and sketchbook: 8 attached leaves, 3 cream wove paper Cow studies (verso) 1920s, pencil on drawings, 1 architectural plan Trees beside river 1930s, pencil on ivory wove paper Sketchbook covers: house and tree cream wove paper A cottage, Parramatta (recto) and behind fence (inside front cover) Rural landscape 1930s, pencil on Sketch of Rings Bridge, Parramatta and landscape sketch (inside back cream wove paper (verso) 1920s, pencil on ivory wove cover) 1930s, sketchbook covers: no Country lane to house (recto) and paper attached leaves, 2 pencil drawings Outline of a tree (verso) 1930s, pencil Landscape (recto) and Bare trees inside front and back covers on cream wove paper (verso) 1920s, pencil on ivory wove Rose c1920–34, pencil on ivory wove Two storey house (recto) and Fenced paper paper; Fig tree, McMahon’s Point country road to a house (verso) 1930s, Two altar boys (recto) and Old King’s 1933, pencil on ivory wove paper pencil on white wove paper School, Parramatta (verso) 1920s, Port Jackson fig tree 1934, pencil on Landscape with tree on a slope 1930s, pencil on ivory laid paper white wove paper pencil on white wove paper A view of Parramatta 1920s, pencil on Trees (recto) and Shrubs and tree on Bare hilly landscape 1930s, pencil on ivory wove paper slope (verso) 1930s, pencil on white white wove paper Male figure swinging a bat (recto) and wove paper Harbour view with church 1930s, pencil Male figure swinging a bat and detail of Upper branches of a fig tree 1934, on cream wove paper the grip (verso) 1920s, pencil on ivory pencil on white wove paper Wooden fence on a cliff, Waverton early wove paper Garden gate with house 1930s, pencil 1930s, pencil on white wove paper Parramatta countryside (1920s), pencil on white wove paper; Trees and a Over the hill, Waverton early 1930s, on ivory wove paper house 1930s, pencil on ivory wove pencil on white wove paper paper Clump of trees (1920s), pencil on ivory Buildings in a landscape 1930s, pencil wove paper Study for ‘Towards Parramatta’ 1932, on ivory wove paper pencil on white wove paper A bend in the river 1920s, pencil on Harbour view from the north shore ivory wove paper Shed and tree 1930s, pencil on ivory 1930s, pencil on white wove paper wove paper Sketchbook cover (two attached Ship rounding the point 1930s, pencil leaves) 1930s, sketchbook covers: House with trees 1930s, pencil on ivory on ivory wove paper 2 attached leaves, 4 pencil drawings wove paper Church on a hillside 1930s, pencil on Tree 1920s, pencil on ivory wove paper Trees 1930s, pencil on ivory wove white wove paper paper Tree and figure 1920s, pencil on ivory Down a country road 1930s, pencil on wove paper Trees behind a fence 1930s, pencil on white wove paper white wove paper Horse studies 1920s, pencil on ivory Study, a view of the harbour (recto) and wove paper Trees and shed in the country 1933, Hillside sketch (verso) 1930s, pencil on Horse studies (recto) and Sketch of pencil on ivory wove paper ivory wove paper horse (verso) 1920s, pencil on ivory Trees 1930s, pencil on ivory wove Fisherman out from the boatshed wove paper paper 1930s, pencil on cream wove paper Horse studies 1920s, pencil on ivory Tree 1930s, pencil on ivory wove paper Landscape with road and building wove paper Landscape over the plain (recto) and 1930s, pencil on cream wove paper Male figure swinging a bat (recto) and Gore Creek aqueduct and tree (verso) Fountain, Cook Park, Orange 1930s, Female figure swinging a bat (verso) 1930s, pencil on ivory wove paper pencil on ivory wove paper 1920s, pencil on ivory wove paper Study of Gore Creek aqueduct 1930s, A bush sketch (recto) and A Seated male figure contemplating a pencil on ivory wove paper guesthouse (verso) 1930s, pencil on spider (recto) and and a Tree 1930s, pencil on ivory wove paper cream wove paper windmill (verso) 1920s, pencil on ivory Trees 1930s, pencil on ivory wove Study of landscape with houses 1930s, wove paper paper pencil on ivory wove paper Sketchbook (three attached leaves) Rocky ground, trees and house House on the harbourside 1930s, 1930s, bound sketchbook: 3 attached chimney 1930s, pencil on ivory wove pencil on ivory wove paper leaves, 3 pencil drawings paper Looking over roofs to the harbour Sketchbook covers: cooking pot and Rocky hillside 1930s, pencil on ivory 1930s, pencil on cream wove paper tower across the water (inside front wove paper cover) and view over the harbour Harbour view with rooftop (recto) and Study for cliffs at Greenwich 1930s, Sketch of a house (verso) 1930s, pencil (inside back cover) 1930s, sketchbook pencil on cream wove paper covers: no attached leaves, 3 pencil on cream wove paper Rock fishermen 1930s, pencil on drawings inside front and back covers Roof and harbour view 1930s, pencil cream wove paper on cream wove paper

ART 21 A view from Northwood with ferry DENIS SAVILL. DONATED nd, charcoal, (recto) and Study of the house and THROUGH THE AUSTRALIAN white chalk on paper foliage (verso) 1930s, pencil on cream GOVERNMENT’S CULTURAL GIFTS Head of a nurse nd, charcoal on paper PROGRAM wove paper Seated nurse reading a letter nd, River view 1930s, pencil on cream (Australia/England, charcoal on paper wove paper 1920–99), Narcissus reflected 1976, oil Young girl with red tam o’shanter nd, River view (recto) and Child’s drawing on copper pastel on card of a street scene (verso) 1930s, pencil Rupert Bunny (Australia/France, Head of a young girl in a sou’wester nd, on ivory wove paper 1864–1947), Portrait of CF Keary pastel on card The harbour with houses on the hillside c1891, oil on canvas Francis Chapman nd, pastel on card 1930s, pencil on ivory wove paper MEG STEWART Street scene with street lamp nd, Harbour with trees and hilltop house pastel on grey wove paper (Australia/Spain, and small study of trees (recto) and Bruges nd, pastel on grey/green wove 1908–91), Young girl 1952, red conté Tree study and tree study (verso) paper 1930s, pencil on ivory wove paper on paper Ruined church tower, France c1919, Hillside view 1930s, pencil on cream BEQUEST OF PAMELA THALBEN- oil? on grey card on board wove paper BALL Ruins, France c1919, oil? on thick grey Boy in a tree, Northwood 1930s, pencil Evelyn Chapman (Australia, card on cream wove paper 1888–1961), 24 drawings, 8 paintings Beguinage, Bruges c1921, oil? on grey Two children in the bush 1930s, pencil and 2 watercolours: paper on board on cream wove paper Bridge and spire nd, Belgium?, Beguinage, Bruges c1921, oil? on grey Bush view (recto) and Bare trees and charcoal?, pastel on brown wove paper paper on board rooftop (verso) 1930s, pencil on ivory Head of an old woman, pastel on buff Beguinage, Bruges c1921, oil? on grey wove paper wove paper paper on board Path through the bush 1930s, pencil on Gate of an old chateau Villers- Old Exeter, oil? on grey paper on board cream wove paper Bretonneux 1919, pastel on dark grey Chy an chy, St Ives, England c1918, oil? A bush sketch 1930s, pencil on cream laid paper on grey card on board wove paper Female nude seated on stool 1912, Still life with poppies, gouache/oil? on Two trees (recto) and Saddleback with charcoal on laid paper grey paper on card Werri lagoon (verso) 1930s, pencil on Standing male, right fist closed c1912, cream wove paper Ruined buildings c1919, pencil?, charcoal on laid paper gouache, wash on grey card Street view and trees (recto) and Trees Seated female nude, left arm behind Ruined buildings, France nd, pencil, and head of a man (verso) 1930s, head 1912, charcoal on laid paper pencil on cream wove paper gouache on thin grey card Seated female nude with necklace attrib. Evelyn Chapman (Australia, Harbour with fence and bench and 1912, charcoal on laid paper pathway through trees (recto) and Man 1888–1961), 5 prints: Pont de Standing female nude, arms extended on a bench by the water and trees l’Hydromel, Bruges c1921, monotype behind head c1912, charcoal on laid (verso) 1930s, pencil on cream wove on cream laid paper; Cobbled street paper paper with figures, Bruges? c1921, monotype Bearded male nude, seated c1912, Bushland (recto) and House and on cream laid paper; Street scene charcoal on laid paper garden (verso) 1930s, pencil on cream with passage, Bruges? c1921, colour Plaster cast of head nd, charcoal on wove paper monotype on cream wove paper; paper Landscape (recto) and Landscape with Street scene with passage and peaked Standing male nude holding staff nd, avenue and stepped path with fence roofs, Bruges? c1921, monotype charcoal on paper (verso) 1930s, pencil on cream wove on cream wove paper; Street with paper Seated female nude, looking over right passage, Bruges? c1921, monotype on arm nd, charcoal on paper cream wove paper Gore Creek aqueduct and hillside 1930s, pencil on cream wove paper Seated female nude, back view nd, Louis Reckelbus (Belgium, charcoal on paper House with palm tree and two trees in 1864–1958), Seascape with clouds nd, rural landscape (recto) and Two trees, Two standing female nudes nd, red gouache? on grey card chalk on paper toy animal and trees on a slope (verso) attrib. Louis Reckelbus (Belgium, 1930s, pencil on ivory wove paper Head of a woman, eyes downcast, 1864–1958), Lighthouse by the Pathway, trees and rooftop (recto) and charcoal on paper seashore nd, gouache? on grey card Fence by a road (verso) 1930s, pencil Head of a woman, wearing necklace on ivory wove paper nd, charcoal, white chalk on paper

22 ART GALLERY OF NSW ANNUAL REPORT 2015–16 MARY TONKIN. DONATED HELEN EAGER AND CHRISTOPHER PAPUA NEW GUINEA 14 WORKS THROUGH THE AUSTRALIAN HODGE. DONATED THROUGH THE EVARNÉ COOTE GOVERNMENT’S CULTURAL GIFTS AUSTRALIAN GOVERNMENT’S PROGRAM CULTURAL GIFTS PROGRAM Kewa or Anganen people (Papua New Guinea), Rimbu (ceremonial Mary Tonkin (Australia, b1973), Queenie Kemarre (Alyawarr, Central headdress), mid 1900s, wood, rattan Sketchbook for ‘Between two logs, Desert region, born c1920), Echidna cane, bamboo, plant fibres, white Kalorama’ 2013, sketchbook: 77 leaves, c1989, synthetic polymer paint on mineral pigment 76 pencil drawings on ivory wove paper wood PETER SACK BEQUEST OF BARBARA TRIBE Lucky Kngwarreye (Alyawarr, Central Desert, born c1952), 2 sculptures: Armband, mid 1900s, plaited rattan, Barbara Tribe (Australia/England, Possum 1989, synthetic polymer paint bark inner coil 1913–2000), 4 sculptures: Squadron on wood; Echidna c1989, synthetic Leader RH Gibbes 1943, plaster; Rear Armband, mid 1900s, plaited yellow polymer paint on wood Gunner RAAF (Warrant Officer Norman orchid stem fibre (Dendrobium) with Williams) 1943, plaster; The spirit of the Ruby Kngwarreye (Alyawarr, light brown and red-brown split cane sea 1933, plaster, wood; Figure 1950, Central Desert, b1968), 2 sculptures: fibres mountain ash Dreamtime pup 1993, synthetic Belt, mid 1900s, plaited rattan, wood polymer paint on wood; Dreamtime 3 bilum (looped string bag), c1960s, BEQUEST OF MARGARET pup 1993, synthetic polymer paint on plant fibre string, natural dyes TUCKSON wood Koráy mabe (boy’s loincloth), mid Tony Tuckson (Egypt/England/ Phyllis Thomas (Gija, Kimberley 1900s, plant fibre string, yellow orchid Australia, 1921–73), 4 paintings: Black region, b1933), Gemerre 2006, diptych: stem fibre (Dendobrium), 14 pigs’ tails, on white c1962, synthetic polymer paint synthetic polymer paint and sand on traces of red pigment and paper on hardboard; BB c1964, canvas Headband, mid 1900s, barkcloth, synthetic polymer paint on hardboard; nassa shells, plant fibre string Red, black and white – arabesques George Tjungurrayi (Pintupi, Western Koráy mabe (man’s loincloth), mid no 1 c1962–65, synthetic polymer Desert region, born c1945), Untitled 1900s, plant fibre string, 23 pigs’ tails paint on hardboard; Two panels blue 2001, acrylic on linen Looped string hat, mid 1900s, plant 1970–73, diptych: synthetic polymer Unknown, Wallaby 1989, 2 sculptures: fibre string, cowrie shells, bivalve paint on hardboard synthetic polymer paint on wood; Crow mollux shell 1990, synthetic polymer paint on wood GREG WATERS. DONATED Looped string hat, mid 1900s, plant THROUGH THE AUSTRALIAN BETTY KELLY fibre string, animal fur GOVERNMENT’S CULTURAL GIFTS Waistband, mid 1900s, plaited PROGRAM Tom Djawa (Gupapuyngu, Arnhem region, 1905–80), Three snakes 1950, rattan and yellow orchid stem fibre Joseph Backler (Australia, c1813–95), natural pigments on bark (Dendrobium), plant fibre string 2 paintings: Portrait of Elizabeth Wills Wut (looped string bag), c1960s, Yirawala (Kuninjku, Arnhem region, (neé Porter) 1858, oil on canvas; looped plant fibre string, natural dyes Portrait of John Thomas Wills 1858, oil 1903–76), Mardayin ceremony 1960s, on canvas natural pigments on bark EUROPEAN ART PRE 1900 2 WORKS ABORIGINAL AND INTERNATIONAL ART 125 WORKS BEQUEST OF PAMELA THALBEN- CHINA 1 WORK TORRES STRAIT BALL ISLANDER ART 13 WORKS GENE AND BRIAN SHERMAN. DONATED THROUGH THE Louis Reckelbus (Belgium, TIM ALLISON. DONATED THROUGH AUSTRALIAN GOVERNMENT’S 1864–1958), Rural house, with snow THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM nd, pastel, gouache on grey card CULTURAL GIFTS PROGRAM Yang Zhichao (China, b1963), Chinese attrib. Louis Reckelbus (Belgium, Miniyawany Yunupingu (Gumatj, Bible 2009, 3000 found books 1864–1958), Street scene with passage Arnhem region, 1947–2008), Gumati nd, pastel on grey wove paper Larrakitj 1998, natural pigments on INDIA 1 WORK wood GENE AND BRIAN SHERMAN. MODERN AND 81 WORKS DONATED THROUGH THE CONTEMPORARY JUDITH ALTMAN. DONATED AUSTRALIAN GOVERNMENT’S ACCESSIONED 2016 THROUGH THE AUSTRALIAN CULTURAL GIFTS PROGRAM GOVERNMENT CULTURAL GIFTS Frank Auerbach (Germany/England, PROGRAM Jitish Kallat (India, b1974), Public b1931), 5 prints from the suite Heads notice 2 2007, resin Jimmy Angunguna (Burarra, Arnhem and figures 1966–67: Reclining figure region, b1935), Ancestral sorcer spirits I 1966, colour screenprint; Reclining 1995, natural pigments on bark figure II 1966, colour screenprint;

ART 23 Seated figure 1966, colour screenprint; Ash Keating (Australia, b1980), The Emma White (Australia, b1976), The Playing card – two heads JYM uprising #5 2009, type C photograph plastic arts 2011, HD stop-motion 1969, screenprint; Head of GB 19 67, Laith McGregor (Australia, b1977), animation, 1:29 min screenprint Opal 2011, black fibre-tipped pen on Jamil Yamani (Australia, b1971), Frank Auerbach (Germany; England, tarpaulin Standing, washing, reading, standing b1931), Head 1969, colour screenprint Rob McHaffie (Australia, b1978), 2008, aluminium, fabric, projector, HD video, stereo/audio ART AND AUSTRALIA. DONATED Everybody’s got baggage but nobody’s THROUGH THE AUSTRALIAN going anywhere 2006, oil on canvas JIM BARR, MARY BARR AND GOVERNMENT’S CULTURAL GIFTS Alasdair McLuckie (Australia, b1984), RICHARD KILLEEN PROGRAM The sun as my witness 2010, woven Richard Killeen (New Zealand, b1946), (Australia, b1972), glass seed beads, glass vessels, Dreamtime 1980, acrylic lacquer on girl #8 2004, pen, gouache, watercolour perspex, glass beads and timber aluminium, 26 pieces and acrylic on polyester canvas Peter Madden (New Zealand, b1966), CLINTON BRADLEY. DONATED Kushana Bush (New Zealand, b1983), She 2007, found photographs, pins THROUGH THE AUSTRALIAN Pressed open hook 2009, gouache and archival glue GOVERNMENT’S CULTURAL GIFTS and pencil on paper Nicholas Mangan (Australia, b1979), PROGRAM Zoë Croggon (Australia, b1989), Hall Untitled (nest) 2004, aluminium ladder, (New Zealand, 2013, C-type print Western red cedar, Tasmanian oak b1968), Cosmo McMurtry 2006, woven Louisa Dawson (Australia, b1980), Amanda Marburg (Australia, b1976), nylon substrate, pigment, electrical Temporary displacement 2005, rubbish Giving the devil his dues 2004, oil on components skip, swimming pool tiles, swimming canvas, plasticine on board encased in MARTIN BROWNE. DONATED pool ladder, water perspex covered plinth THROUGH THE AUSTRALIAN Christian de Vietri (b1981), 2nd law Sanné Mestrom (Australia/New GOVERNMENT’S CULTURAL GIFTS 2006, polyurethane, fibreglass, metal Zealand/Netherlands, b1979), Black PROGRAM fridge Painting (i), 1959 2013, unspun, undyed (New Zealand, Patrick Francis (New Zealand/ woollen tapestry (stretched) b1949), Taranaki 1986, 4 gelatin silver photographs Australia, b1991), Not titled (Napoleon) Selina Ou (Australia, b1977), Young 2012, diptych: synthetic polymer paint couple with deer, Nara 2005, type C Kushana Bush (New Zealand, b1983), on paper photograph Woman among potted plants 2012, gouache and pencil on paper Mark Hilton (Australia, b1976), Giles Ryder (Australia, b1972), Silver Champion from the series Collective strutter (daze of disco) 2006, neon, Cindy Sherman (USA, b1954), Untitled autonomy 2006, lambda duratran on transformers and epoxy enamel on 1999, gelatin silver photograph double-sided lightbox timber panels THE COE FAMILY. DONATED Astra Howard (Australia, b1978), Noël Skrzypczak (Australia, b1974), THROUGH THE AUSTRALIAN DomestiCITY 2005, video, 41:37 min; Mountain painting #9 2014, synthetic GOVERNMENT’S CULTURAL GIFTS photograph and video documentation polymer paint on canvas PROGRAM Sara Hughes (Canada/New Zealand, Grant Stevens (Australia, b1980), Brian Blanchflower (England/ b1971), Torpedo 2008, paper tags hand The way 2007, lambda print, custom Australia, b1939), 2 paintings: Canopy dipped and painted, synthetic polymer cabinet, car stereo, sound by Rex Goh, XXXVIII (blue/sliver) 1997, oils with paint 23:37 min powdered pumice on acrylic gesso on laminated hessian; Canopy XXXIII Helen Johnson (Australia, b1979), Michelle Ussher (Australia, b1975), (skin) 1995–96, micaceous acrylic with Assembling a propositional register: Picnichead II 2006, watercolour, powdered pumice on acrylic gesso on individual action in society as aquarelle and pencil on paper laminated hessian environmental science; a dream of the Louise Weaver (Australia, b1966), forest (nothing happened in the dream, 2 sculptures: Guido Valdez (Vendetta AND LUANNE there was only the complex, wet smell, BOND for love) 2006, hand-crocheted leaf litter and dimness. He was a part lambs wool, Lurex, plastic and cotton Shane Cotton (New Zealand, b1964), of it) 2006, synthetic polymer paint, thread over a taxidermic Pacific Gull 2 paintings: Paradise club 2012, pencil and mixed media on paper (Larus pacificus); Out on a limb 20 07, synthetic polymer paint on white ash; Jonathan Jones (Australia, b1978), screenprint on Belgium linen bag with Talisman clutch red 2015, synthetic blue poles 2004, perspex, 2-pack cotton lining, customised with various polymer paint on white ash medium density fibreboard, steel, found and constructed elements fluorescent tubes and fittings, electrical cable

24 ART GALLERY OF NSW ANNUAL REPORT 2015–16 ET AL. AND MICHAEL LETT NARELLE JUBELIN IN MEMORY OF ILDIKO KOVACS. DONATED GALLERY, AUCKLAND JENNIFER PHIPPS 2016 THROUGH THE AUSTRALIAN et al. (New Zealand, 1900s), trans- Narelle Jubelin (Spain/Australia, GOVERNMENT’S CULTURAL GIFTS PROGRAM cryption 2011, mixed media (welded b1960), Case no: T961301 1998, angle steel, hardboard, D clamps, marine plywood laminated with Ildiko Kovacs (Australia, b1962), In my Super 8 film converted to digital, stainless steel, silver framed cotton heart 2015, oil on plywood 16mm film converted to digital, laptop thread on silk mesh petit point, silver PETER LIN AND HARRY JOHN computer, metal trolley, stools) gelatin photographs, black ink on WILSON. DONATED THROUGH vegetal paper, silver and stainless steel THE AUSTRALIAN GOVERNMENT’S THE ESTATE OF DON DRIVER, cutlery, tye-dyed damask JOYCE DRIVER AND HAMISH CULTURAL GIFTS PROGRAM MCKAY THE JOHN KALDOR FAMILY Daniel Crooks (New Zealand/Australia, Don Driver (New Zealand, 1930–2011), COLLECTION. DONATED THROUGH b1973), Intersection no 2 (vertical plane) Split 1994, mixed media THE AUSTRALIAN GOVERNMENT’S 2008, single channel digital video, CULTURAL GIFTS PROGRAM colour, sound PETER FAY Allora & Calzadilla (USA/Puerto Rico, Shaun Gladwell (Australia, b1972), Richard Tuttle (USA, b1941), b1974; Cuba/Puerto Rico b1971), Chalk 2 multimedia: In a station of the metro 3 prints: Woodblock for ‘Firenze gold’, 1998 (unfinished), chalk 2006, HDV/DVD, 2-channel, 9:45 woodblock; Grouse 1990, colour Francis Alÿs (Belgium/Mexico, b1959), min, 9:16, stereo; Planet and stars linocut and pochoir; Pig 1990, colour New York triptych from The sign sequence: Barrier Highway 2009, linocut and pochoir painting project 1993–97 1995–96, single channel digital video, colour, sound RICK AND JAN FROLICH. DONATED oil on canvas, enamel on metal series consisting of one painting by Francis THROUGH THE AUSTRALIAN SUZIE MELHOP AND DARREN GOVERNMENT’S CULTURAL GIFTS Alÿs (left) and sign paintings by Enrique KNIGHT. DONATED THROUGH THE PROGRAM Huerta (centre) and Emilio Rivera (right) AUSTRALIAN GOVERNMENT’S (New Zealand, Paul Chan (Hong Kong/USA, b1973), CULTURAL GIFTS PROGRAM b1961), Portrait of a life cast of Jules 1st light from the series The 7 lights Laurence Aberhart (New Zealand, Sébastien César Dumont d’Urville from 2005–07 2005, 2013 (digitised), b1949), ‘Te Waiherehere’, Koroniti, the series Āhua: a beautiful hesitation computer generated projection, colour, Wanganui River, 29 May 1986 1986, 2010, pigment ink print silent 1997 (printed), gelatin silver photograph

CHRISTOPHER HODGES AND Thomas Demand (Germany, b1964), MARK AND LOUISE NELSON. HELEN EAGER. DONATED Gangway 2001, type C photograph/ DONATED THROUGH THE THROUGH THE AUSTRALIAN Diasec AUSTRALIAN GOVERNMENT’S GOVERNMENT’S CULTURAL GIFTS Ugo Rondinone (Switzerland, b1964), CULTURAL GIFTS PROGRAM PROGRAM clockwork for oracles 2010, mirror, Frances Hodgkins (New Zealand/ Ian Burns, Across the Nile 2008, found colour plastic gel, wood, paint, mixed England, 1869–1947), Blackberry and object sculpture producing live video media apple c1930, watercolour and pencil and audio Thomas Struth (Germany, b1954), DR CLINTON NG. DONATED ANDREW JENSEN AND EMMA Stanze di Raffaello II, Roma 1990, type THROUGH THE AUSTRALIAN FOX. DONATED THROUGH THE C photograph GOVERNMENT’S CULTURAL GIFTS AUSTRALIAN GOVERNMENT’S PROGRAM CULTURAL GIFTS PROGRAM HAMISH KEITH CNZM OBE AND NGILA DICKSON ONZM Huma Bhabha (Pakistan/USA, b1962), Gordon Walters (New Zealand, 1919– Untitled 2010, ink on gelatin silver Len Lye (New Zealand, 1901–81), Free 95), Untitled 1982, synthetic polymer photograph paint on canvas radicals 1958, 1979 (revised), 16mm film, black and white, sound, 4 min Thomas Hirschhorn (Switzerland, SIMON JOHNSON. DONATED Courtesy of the Len Lye Foundation. b1957), The subjecter no 1 2009, THROUGH THE AUSTRALIAN From material preserved and made model, nails, screws, plastic base, GOVERNMENT’S CULTURAL GIFTS available by Ngā Taonga Sound & wood PROGRAM Vision, New Zealand. Digital version by Tony Fomison (New Zealand, 1939– BEN QUILTY. DONATED THROUGH Park Road Post Production and Weta THE AUSTRALIAN GOVERNMENT’S 90), 2 paintings: Hopes, you have Digital Ltd CULTURAL GIFTS PROGRAM lost them 1988, oil on canvasboard; Unfinished (man laughing) 1989, oil on Ben Quilty (Australia, b1973), Self- canvasboard portrait, the executioner 2015, oil on linen

ART 25 PAMELA AND HANNS SCHÜTTLER DR PAUL FOX IN MEMORY OF YASUMASA MORIMURA Dame (England, JENNIFER PHIPPS (1944–2014) Yasumasa Morimura (Japan, b1951), 1903–75), Autumn shadows 1969, Unknown (Turkey), Untitled (unknown In praise of Velazquez: distinguished colour lithograph man with dark hair and beard, gold ones in confinement 2013, 2016 watch chain, rings and shirt studs, Victor Vasarely (Hungary/France, (printed), type C photograph holding an ambrotype? with Ottoman 1908–97), 2 prints: Siam III c1964, embroidered table cloth) 1860s, colour screenprint; Lauda IV c1958, ambrotype, cased screenprint ADAM FUSS PENELOPE SEIDLER AM IN MEMORY OF HARRY SEIDLER AC Adam Fuss (England/Australia/ OBE. DONATED THROUGH THE USA, b1961), Untitled 2015, unique AUSTRALIAN GOVERNMENT’S Cibachrome photogram CULTURAL GIFTS PROGRAM JANINA GREEN Sam Francis (USA, 1923–94), 6 prints, each Untitled, from the portfolio Michel Janina Green (Germany/Australia, Waldberg: sky poems: 1986, colour b1944), 3 photographs: Thornbury lithograph printed on Rives wove paper 2005 2005, 2010 (printed), gelatin silver photograph (on fibre-based paper); RICHARD TIPPING Morwell 1996 1996, 2010 (printed), Richard Tipping (Australia, b1949), gelatin silver photograph on fibre- Hum 1981, 2012, reflective tape on based paper; from the Dummies series aluminium 1993, 2010 (printed), gelatin silver photograph on lford fibre-based paper NIGEL WILLIAMS AND RAE-ANN SINCLAIR. DONATED THROUGH GRANT KERR AND CHARNWOOD THE AUSTRALIAN GOVERNMENT’S TRUST, NEW ZEALAND CULTURAL GIFTS PROGRAM (New Zealand, b1941), Don Driver (New Zealand, 1930–2011), Drowned forest, Kai Iwi Lakes 2013, Blue skin 66 1984, mixed media pigment ink print

PHOTOGRAPHY 26 WORKS THE RUSSELL MILLS FOUNDATION ANONYMOUS GIFT Olive Cotton (Australia, 1911–2003), 3 photographs: Spring forest 1982, Robert Rooney (Australia, b1937), Kiffy gelatin silver photograph; Silver Rubbo I 1979, Cibachrome poplars, gelatin silver photograph; ANONYMOUS GIFT. DONATED Max after surfing 1939, 1998 (printed), THROUGH THE AUSTRALIAN gelatin silver photograph GOVERNMENT’S CULTURAL GIFTS PROGRAM NOEL TOVEY AM Pat Brassington (Australia, b1942), Alphonse Mucha (Czechoslovakia, 7 photographs from the series Quill 1860–1939), Untitled (Sarah Bernhardt) 2013: Deuce 2013, ink jet print; Blink 1890s, 1970s (printed), gelatin silver 2013, ink jet print; The Guest 2013, ink photograph jet print; Matinee 2013, ink jet print; PETER TYNDALL Quicksilver 2013, ink jet print; Candie Robert Rooney (Australia, b1937), 2013, ink jet print; Ciphon 2013, ink jet Corners 1972, 36 gelatin silver print photographs and ink on paper Pat Brassington (Australia, b1942), 2 photographs from the series In ANDREAS WIESSNER & CHRISTIAN search of the marvellous 2013: By WICHURA. DONATED THROUGH catch 2013, ink jet print; Gifted 2013, THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM ink jet print Petrina Hicks (Australia, b1972), 3 GEOFFREY BATCHEN photographs: Lambswool from the Cazneau & Connolly studio (New series The descendents 2008, lightjet Zealand, active 1883–85), Untitled print; Zara 2 2005, lightjet print; Lauren 1883–85, carte de visite with fruit from the series Beautiful creatures 2011, lightjet print

26 ART GALLERY OF NSW ANNUAL REPORT 2015–16 REGISTRATION THE MILNER TRUST* DANNY GOLDBERG* Francis Bacon Portrait of a dwarf (the Coca Cola vase 2011, During 2015–16, the Gallery’s dwarf) 1975, oil on canvas; Self-portrait industrial paint on Han Dynasty vase Registration Department packed 1980, oil on canvas (206BC–220AD) and managed the outward loan VIVIENNE LEWIS (USA)* IAIN CLARK* of 296 collection artworks to 48 national cultural institutions and four Francis Bacon Study from ‘Portrait of Fu, Fu ritual vessel, porcelain with dark international cultural institutions; Pope Innocent X’ by Velazquez 1959, blue glaze, Qing dynasty, Daoguang managed the inward loan of 345 oil on canvas; Triptych 1974, oil, pastel period (1821–50); Dou, Dou ritual objects from 24 lenders to the and dry transfer lettering on canvas, vessel, porcelain with dark blue collection; processed 44 furnishing reworked 1977 glaze Qing dynasty, Jiaqing period loans; managed 2451 artwork Lijun Fang Swimming no 1 1994, oil (1796–1820); Deng, Deng ritual vessel, movements comprising 10,482 on canvas porcelain with dark blue glaze, Qing collection works within the Gallery dynasty, Guangxu period (1875–1908); Lucian Freud And the bridegroom and externally. The department also Dou/Deng, Dou/deng ritual vessel, 1993, oil on canvas; Susie 1988–89, undertook the collection inventory of porcelain with red glaze, Qing dynasty, oil on canvas; Two men in the studio the Asian Art collection. Qianlong period (1736–95); Dou/Deng, 1987–89, oil on canvas During this period, we supervised Dou/deng ritual vessel, porcelain with the visit of 179 people to the off- David Hockney Portrait of an artist light blue glaze, Qing dynasty, Qianlong site store. The visitors comprised (pool with two figures) 1972, synthetic period (1736–95); Gui, Gui ritual vessel, tertiary art students, benefactors, Art polymer paint on canvas porcelain with yellow glaze, Qing dynasty, Guangxu period (1875–1908); Gallery Society and Task Force tour Amedeo Modigliani Nu assis au Xing, Xing ritual vessel, porcelain with participants, institutional colleagues collier 1917, oil on canvas and members of the public viewing yellow glaze, Qing dynasty, Tongzhi Yan Pei-Ming Untitled (Mao Triptych) specific works in the collection. period (1862–74); Zun, Zun ritual 1998, oil on canvas, triptych vessel, porcelain with white glaze, Qing The Registration Department dynasty, Qianlong period (1736–95) continues to manage the Gallery’s print Pablo Femme allongée sur un canapé () 1939, oil on study room and works on paper store COLIN MCDONALD* and the off-site collection store. canvas Unknown, Armour (‘Tosei gusoku (ni Chaïm Soutine L’homme au foulard mai do)’) 1750; Unknown, Armour LONG-TERM INWARD rouge c1921, oil on canvas LOANS (‘Tosei gusoku (Kebiki odoshi ni mai Zhang Xiaogang Mother with three do)’) 1780; Unknown, Tsuba (Pine) (*Renewed Loan) sons (Bloodline series) 1993, oil on 1860; Nagayuki Choko, Katana and WENDY WHITELEY canvas; Portrait in red 1993, oil on koshirae 1688, steel; Chu-Mihara Brett Whiteley Soup kitchen 1958, oil canvas School, Tachi and koshirae 1390, steel; on canvas; Untitled abstract c1960, oil Goto School, Menuki 1790; Hamano MR KEN AND MRS JUDITH and charcoal on canvas; Untitled red School, O-Kozuka 1830; Hamano RUTHERFORD painting II c1960–c1961, oil on canvas School, Menuki (Nio) 1840; Heianjo Unknown (China), Ancestor portrait School, Tsuba 1650; Ishiguro Ichiju, NAOMI MILGROM AO* large family scene, late 19th century – Tsuba 1820; Masayoshi Ito, Tsuba Ugo Rondinone No 254 early 20th century, paint on paper 1746; Hyoe Ko Kongo, Katana nd, steel; Kunitoshi, Tanto and koshirae EINUNDDREISSIGSTEROKTOBER- SH ERVIN GALLERY* ZWEITAVSENDUNDEINS 2001, ink 1850, steel; Kanemoto Tashiro Unknown (China), Horse and rider, nd, on canvas, wooden frame; No 287 Magoroku, Wakizashi and koshirae earthenware covered in chesnut cream NEUNUNDZWANZIGSTERJULIZWEIT- 1624, steel; Ito Masachika, Tsuba and olive glaze; head, hands and AUSENDUNDZWEI 2002, ink on 1747; Ozaki Masataka, Ko Wakizashi calves of rider unglazed paper, wooden frame; No 243 and koshirae 1830, steel; Masayasu, Tsuba 1736; Gotô Mitsukuni, Tsuba ZWEIUNDZWANZIGSTERMAERZ- LONGBRIDGE NOMINEES P/L ZWEITAUSENDUNDEI 2001, synthetic AS TRUSTEE FOR LONGBRIDGE 1650, steel; Hamano Naoyuki, Kozuka polymer paint on canvas; The twenty- TRUST 1781; Hamano Naoyuki, Tsuba 1781; Hamano Noriyuki, Menuki 1736; Sendai third hour of the poem 2010, cast wax, William Kentridge Second-hand School, Tsuba 1820; Akasaka Senjuin, pigments reading 2013, flipbook film from Katana 1362–68, steel; Shigeharu, Michael Landy H2NY self-destroying drawings on single pages of the Fuchi-gushira 1680; Tadashige, Katana machine 2006, oil stick on paper Shorter Oxford English Dictionary; HD 1624, steel; Michitoki Tatsu, Tanto and video, approx 7 min koshirae 1711, steel; Hidetsugu Teru, Katana 1860, steel; Tomoyasu,

ART 27 Tanto and koshirae, 1550, steel; Plate: Woman with a basket of fruit, Quiringh van Brekelenkam Man Tomoyoshi, Tsuba 1852; Tsujo, Kozuka mid 1500s, tin-glazed earthenware cleaning fish with two children 1642, oil 1663; Yanagawa School, Menuki (maiolica); Plate: Orpheus clubbed on oak panel 1800; Yasumasa, Fuchi-gushira 1800; to death by the frenzied Maenads porcelain factory, Yoshimichi, Wakizashi 1688, steel of Ciconia, mid 1500s, tin-glazed Shepherdess holding a posy, c1770, earthenware (maiolica); Large plate: SH ERVIN GALLERY hard-paste porcelain; Vase and cover, Figures on horseback, c1550, tin- c1770–c1773, hard-paste porcelain; Charles Meere Atalanta’s eclipse glazed earthenware (maiolica); Large Vase and cover, c1772–c1775, hard- 1938, oil on canvas plate: Warrior, c1560–80, tin-glazed paste porcelain earthenware (maiolica); Albarello, STEVE SHELLEY c1570–90, tin-glazed earthenware Andrea Camassei St Peter in prison Brett Whiteley New York 3 1968, (maiolica); Albarello, c1600?, tin-glazed baptising Sts Processus and Martinian charcoal, pencil, ink and paper on earthenware (maiolica); Albarello, c1710–49, oil on canvas paper on composition board early 1600s, tin-glazed earthenware Capodimonte, A fisherman and his (maiolica); Albarello [one of a pair], SATIS ARNOLD* companion c1791–c1793, soft-paste c1620–40, tin-glazed earthenware porcelain Zhang Daqian Lotus 1973, colour (maiolica); Albarello [one of a pair], Chantilly porcelain manufactory, Pair lithograph; Persimmons 1973, colour c1620–40, tin-glazed earthenware of tea bowls and saucers and a sugar lithograph; Village in the mountains (maiolica); Large plate: Routing of an bowl and cover, 1754, hard-paste 1973, colour lithograph; Village in the infidel army, c1655–65, tin-glazed porcelain mountains 1973, colour lithograph; earthenware (maiolica) Temple in the mountains 1973, Chelsea, Black and white Chinese Abraham Bloemart Cymon and colour lithograph; Lotus 1973, colour cock pheasant, c1745–c1749, soft- c1660, oil on panel lithograph Homeward passing through paste porcelain; Goat and bee jug, the stone gate at dusk 1974, colour Hans Bollongier Vase of flowers with a c1750, soft-paste porcelain; Tea bowl lithograph; Mountain monastery by snail and a caterpillar c1670–c1690, oil and saucer, c1750–c1752, soft-paste the waterfall 1974, colour lithograph; on oak panel porcelain; Scent bottle in the form Peonies 1974, colour lithograph; Shrike Bourg-la-Reine porcelain factory, of a pug, c1752–c1753, soft-paste amidst the autumn leaves 1974, colour Group of musicians, c1770, porcelain porcelain; Tryolean dancers, c1753– lithograph; Hanging gibbon over the c1755, soft-paste porcelain; Large dish, Bow autumn stream 1974, colour lithograph; , Spring from the seated rustic c1754–c1755, soft-paste porcelain; Cinnabar lotus 1974, colour lithograph seasons, c1747–c1748, soft-paste Tea bowl and saucer, c1755, soft- porcelain; Neptune or water, c1750– paste porcelain; Plate, c1755–c1758, NELSON MEERS FOUNDATION* c1752, soft-paste porcelain; Dancing soft-paste porcelain; Covered bowl and Giggle Palace 1945, shepherdess, c1752–c1753, soft-paste cover, c1755–60, soft-paste porcelain; Ripolin enamel and oil on hardboard porcelain; Summer from the seated Plate, c1756, soft-paste porcelain; rustic seasons, c1752–c1755, soft- KENNETH REED* Plate, c1758–c1760, soft-paste paste porcelain; Sweetmeat container porcelain; Plate, c1760–65, soft-paste Unknown, Globular jar, nd, tin-glazed with female monkey, c1755–60, soft- porcelain; Girl holding a nest of chicks earthenware (maiolica); Globular jar, paste porcelain; Sweetmeat container (Summer?), c1760–65, soft-paste nd, tin-glazed earthenware (maiolica); with male monkey, c1758–c1760, soft- porcelain; Shepherd with dog, Albarello, nd, tin-glazed earthenware paste porcelain; Abess seated reading c1760–65, soft-paste porcelain; Vase, (maiolica); Drug bottle, nd, tin-glazed the divine office, c1758–c1762, soft- c1762–c1765, soft-paste porcelain; earthenware (maiolica); Broad- paste porcelain; Winter from the seated Potpourri vase [one of pair], c1762– rimmed bowl, c1490–1520, tin-glazed rustic seasons, c1758–c1762, soft- c1765, soft-paste porcelain; Potpourri earthenware (maiolica); Spouted drug paste porcelain; Vulcan or fire, c1760, vase [one of pair], c1762–68, soft-paste jar, c1500–25, tin-glazed earthenware soft-paste porcelain; Plate, c1760–65, porcelain; Urania, c1762–68, soft-paste (maiolica); Two-handled vase, c1530– soft-paste porcelain; Small jug or sauce porcelain; Male gardener [one of a 40, tin-glazed earthenware (maiolica); boat, c1770–80, soft-paste porcelain; pair], c1762–68, soft-paste porcelain; Fluted dish: The death of Crassus, Autumn from the seated rustic seasons, Female gardener [one of a pair], c1765, c1545, tin-glazed earthenware c1755–c1758, soft-paste porcelain; soft-paste porcelain; Dish, c1765–70, (maiolica); Plate: Gaius Popilius Laenas Winter from the seated rustic seasons, soft-paste porcelain; Italian beggar, before the King of Syria, c1545, c1755–c1758, soft-paste porcelain; c1770, soft-paste porcelain; Teapot tin-glazed earthenware (maiolica); Shepherd boy piper, c1755–c1758, soft- and cover, c1772–c1775, soft-paste Albarello, c1550, maiolica; Large plate: paste porcelain; Girl fish seller, c1755– porcelain Hercules and the Cretan bull, c1550, c1758, soft-paste porcelain; Boy fish Jacques de Lajoue tin-glazed earthenware (maiolica); seller, c1755–60, soft-paste porcelain; Landscape with Plate: Europa and the bull, c1552–60, Woodcutter splitting logs with an axe, pyramid c1740–60, oil on canvas tin-glazed earthenware (maiolica); c1755–60, soft-paste porcelain

28 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Corneille de Lyon Portrait of John Sir Peter Lely Portrait of Dorothy Jodelet, c1745–50, hard-paste Calvin c1746–c1748, oil on panel Mason 1634, oil on canvas porcelain; The delights of childhood Derby, Violinist, c1750–c1755, soft- Longton Hall, Plate, c1751–c1759, (Les delices d’enfance), model, c1745– paste porcelain; Spring from the rustic porcelain; Plate, c1755–c1757, 50, hard-paste porcelain; Atlas, c1748, seasons, c1755–c1757, soft-paste porcelain; Plate, c1755–c1757, hard-paste porcelain; Crimean Tatar, porcelain; Frill vase [one of pair], c1758, porcelain; Plate, c1755–c1760, 1750, hard-paste porcelain; Savoyard soft-paste porcelain; Frill vase [one of porcelain; Plate, c1765–70, porcelain woman with cradle, model, c1750, hard-paste porcelain; Incense burner, pair], c1760–65, soft-paste porcelain; Ludwigsburg, Female dancer, Harlequin c1760–c1770, soft-paste c1750–55, hard-paste porcelain; The c1762–c1763, hard-paste porcelain; squire of Alsatia, model, c1750–60, porcelain; Lady with hunting dog [one Putto as hussar, c1760-65, hard-paste of a pair], c1765, soft-paste porcelain; hard-paste porcelain; A London porcelain; Male dancer, 1785, hard- courtesan, model, c1753–c1754, Gentleman with hunting dog [one of paste porcelain a pair], c1765, soft-paste porcelain; hard-paste porcelain; Aeneas rescuing Winter from the rustic seasons, Alessandro Magnasco Landscape Anchises and Ascanius, model, 1754, c1765–c1769, soft-paste porcelain; 1659, oil on canvas hard-paste porcelain Vase and cover, c1765–c1769, soft- Meissen, Teapot and cover, c1715– Mennecy-Villeroy porcelain, Boy paste porcelain; Birds in branches’ 20, hard-paste porcelain (Böttger playing the pipe, c1772–c1775, soft- candlestick [one of a pair], c1765–70, porcelain); Dog on kennel, c1715–20, paste porcelain; Girl playing the hurdy- soft-paste porcelain; Columbine, hard-paste porcelain; Tureen, cover gurdy, c1775, soft-paste porcelain c1765–c1770, soft-paste porcelain; and stand, c1720–30, hard-paste Ottweiler, Coffee pot, c1770, hard- Birds in branches’ candlestick [one porcelain; The Spanish lovers, model, paste porcelain of a pair], c1775–c1780, soft-paste c1728, hard-paste porcelain; Tea Sir Joshua Reynolds The Holy Family porcelain canister and cover, c1730, hard-paste late 1620s, oil on canvas Doccia, Piper, c1752–c1754, hard- porcelain; Tureen and cover, c1730, Hubert Robert Landscape with temple paste porcelain; Flower gatherers, hard-paste porcelain; Du Paquier, c1540?, oil on canvas c1753–c1755, hard-paste porcelain; Ollio tureen and cover, c1730–35, Boy with dog kennel, c1756–c1759, hard-paste porcelain; Tea canister and George Romney Portrait of William hard-paste porcelain cover, c1735, hard-paste porcelain; Hamilton c1767–c1770, oil on canvas Cup and saucer, c1735–40, hard- Giuseppe Salviati The entombment Francesco Fontebasso Rachel hiding paste porcelain; Cellist, c1735–40, 1635, oil on canvas the idols from Laban 1718–20, oil on hard-paste porcelain; Snuff box, c1740, canvas hard-paste porcelain; Two-handled Saint-Cloud Porcelain Manufactory, Frankenthal, Cup and saucer, beaker and saucer, c1740, hard-paste Covered bowl and stand, c1720–30, c1775–85, hard-paste porcelain porcelain; Two-handled soup bowl and soft-paste porcelain; Inkstand, c1765– 70, soft-paste porcelain Fürstenberg, Tea canister and cover, cover, c1740, hard-paste porcelain; c1770–75, hard-paste porcelain; Sugar Cup and saucer, c1740, hard-paste St James’s, Scent bottle in the form bowl and cover, c1775–85, hard-paste porcelain; Bagpipe player, model, of Cupid holding the globe, c1765–70, porcelain c1740–45, hard-paste porcelain; Cup porcelain and saucer, c1740–45, hard-paste Sassoferrato The Virgin in prayer Giacinto Gimignani Time revealing porcelain; Bohemian waxwing, model, c1560?, oil on canvas truth c1631–c1633, oil on canvas 1741, hard-paste porcelain; Greyhound, Höchst, Sportsman, c1750, hard-paste 1741, hard-paste porcelain; Male Andrea Schiavone Mythological porcelain; Boy with kennel, model, gardener, model, c1742, hard-paste subject early 1540s, oil on panel c1750, hard-paste porcelain; Resting porcelain; Female gardener, model, Sèvres, Tea service, 1754–55, soft- boy with helmet, model, c1750–55, c1743–49, hard-paste porcelain; paste porcelain; Tray (Plateau carré), hard-paste porcelain; Tea service, Capitano, model, c1743–49, hard- 1757–58, soft-paste porcelain; Flower c1755–c1757, hard-paste porcelain; paste porcelain; Parrots, model, 1744, vase (Cuvette Courteille), 1757–58, Girl carrying a pitcher, model, c1770, hard-paste porcelain; Harlequin and a soft-paste porcelain; Cup and saucer hard-paste porcelain; Girl crying over lady with parrots, model, 1745, hard- (Gobelet Hebert), 1758–59, soft-paste spilt milk, model, c1770, hard-paste paste porcelain; Dancers, model, 1745, porcelain; Cup and saucer, 1759–60, porcelain; Boy with poodle, c1770– hard-paste porcelain; Hungarian, 1745, soft-paste porcelain; Square dish, 75, hard-paste porcelain; Seated hard-paste porcelain; Persian lady, c1760, soft-paste porcelain; Milk jug shepherdess with lamb, model, c1773, c1745, hard-paste porcelain; Cup and (Pot a lait a trois pieds), 1761?, soft- hard-paste porcelain saucer, c1745, hard-paste porcelain; paste porcelain; Tea canister and Two-handled soup bowl and cover, Antonio Joli Venice: the Dogana and cover, 1762, soft-paste porcelain; c1745, hard-paste porcelain; Plate, San Giorgio Maggiore 1669, oil on Boy offering flowers, 1764, soft-paste c1745, hard-paste porcelain; Slop canvas porcelain; Cup and saucer (gobelet bowl, c1740–50, hard-paste porcelain; litron), 1765, soft-paste porcelain;

ART 29 Ice-cream cooler (Seau à glace), Jan van Goyen Landscape with a LAWRENCE WILSON ART c1765–70, soft-paste porcelain; Cup monastery c1765, oil on oak panel GALLERY, UNIVERSITY OF * and saucer, c1766–73, hard-paste Cornelis van Haarlem Christ porcelain; Square dish (Compotier triumphant c1740, oil on oak panel Freda Robertshaw Standing nude carré), c1766–73, soft-paste porcelain; (self-portrait) 1944, oil on canvas Maria van Oosterwyck Flowers and Square dish (Compotier carré), 1767, Nora Heysen Ruth with a blue grapes hanging from a ring 1632, oil on soft-paste porcelain; Square dish background 1933, oil on canvas (Compotier carré), 1767, soft-paste panel porcelain; Square dish (Compotier Vincennes, Jug (Pot à eau ordinarie), CLINTON NG carré), 1767, soft-paste porcelain; c1730–35, soft-paste porcelain with Daniel Boyd Untitled (ZVDG) 2014, oil Mortar (Morteir), 1767, soft-paste silver-gilt mounts; Pair of vases, and archival glue on linen porcelain; Cup and saucer (Gobelet c1748–c1749, soft-paste porcelain; Bouillard), 1767, soft-paste porcelain; Teapot, 1754–55, soft-paste porcelain; ACE BOURKE* Cup and saucer (Gobelet Bouillard), Cup and saucer (Tasse à qustre pans Tracey Moffatt Something more 7 1767, soft-paste porcelain; Cup and ronds), c1760–70, soft-paste porcelain 1989, Cibachrome photograph saucer (gobelet Bouillard), 1767, Wallendorf, Juno, c1770, hard-paste soft-paste porcelain; Salt (Saliere ROBERT CHEVAL AND NATASHA porcelain; Apollo, c1770, hard-paste BLAIN simple), 1767, soft-paste porcelain; porcelain; Diana, c1770, hard-paste Salt (Saliere simple), 1768, soft-paste Shane Cotton After New Zealand; porcelain; Mercury, c1770, hard-paste porcelain; Monteith (Seau crennele), the second version 2005, synthetic porcelain; Jupiter, c1770–c1771, hard- 1769, soft-paste porcelain; Cup and polymer paint on canvas paste porcelain; Saturn, c1773, hard- socketed saucer (Gobelet et soucoupe paste porcelain NORMAN R GOODSIR* enfonce), 1769, soft-paste porcelain; Soup plate (Assiette à potage), 1770, Worcester, Vase [one of a pair], 1751, Agnes Goodsir Self-portrait 1912, oil soft-paste porcelain; Soup plate soft-paste porcelain; Tureen and cover on hardboard in the form of a partridge, c1756– (Assiette à potage), 1771, soft-paste JOHN KILEY AND EUGENE c1758, soft-paste porcelain; Teapot porcelain; Milk jug (pot a lait a trois SILBERT* pieds), 1773, soft-paste porcelain; Tea and cover, c1760–65, soft-paste Bill Henson Untitled 1997/2000 canister and cover, 1773, soft-paste porcelain; Jug, c1760–65, soft-paste 1997–2000, type C photograph porcelain; Girl offering flowers, 1775, porcelain; Pair of cups and saucers, soft-paste porcelain; Vase [one of pair], c1760–65, soft-paste porcelain; Milk DENNIS MAISTER c1775–80, soft-paste porcelain; Vase jug, c1760–65, soft-paste porcelain; Jean-Louis Forain Sortie des Folies [one of pair], 1776, soft-paste porcelain; Teapot and cover, c1760–65, soft- Bergère c1895, pastel, gouache on Cup and saucer (Gobelet litron), 1777, paste porcelain; Mustard pot and paper mounted on canvas soft-paste porcelain; Sugar bowl and cover, c1765–70, soft-paste porcelain; lid (Pot a sucre Bouret), 1777, soft- Jug, c1765–70, soft-paste porcelain; MEGAN BARTLETT* Basket, c1765–70, soft-paste porcelain; paste porcelain; Square dish, 1781, Shaun Gladwell Tangara 2003, digital Cream basin, cover and stand [one of soft-paste porcelain; Plate (Assiette video, 4:3 ratio, colour, silent, 14 min uni), 1785, soft-paste porcelain; Bust of a pair], c1765–70, soft-paste porcelain; Louis XV, 1785, hard-paste porcelain; Cream basin, cover and stand [one of JOHN KALDOR a pair], c1765–70, soft-paste porcelain; Plate (Assiette uni), c1785, soft-paste Paul Chan 4th light 2006, digital video; porcelain Vase [one of a pair], c1768–c1772, Untitled 2006, charcoal; Untitled 2006, soft-paste porcelain; Tureen, cover Fransesco Solimena Noli me tangere charcoal; Oh why so serious? 2008, and stand, c1768–c1772, soft-paste post 1640, oil on canvas plastic and electronics, computer porcelain; Dish, c1768–c1772, soft- keyboard; Untitled 2011, oil on book Strasbourg porcelain factory, Girl paste porcelain; Dish, c1768–c1772, cover; Untitled 2011, oil on book cover; with squirrel, c1775–80, hard-paste soft-paste porcelain; Small dish, Untitled 2011, oil on book cover porcelain c1768–c1772, soft-paste porcelain; Daniel Crooks Static no 9 2005, DV/ Abraham van Beyeren Still life with Vienna porcelain, snuff box, c1770, DVD fruit, a glass and a Chinese Wanli hard-paste porcelain with guilt-metal porcelain bowl 1656, oil on oak panel mounts; Cup and saucer, c1770–75, Gary Hill Liminal objects #8 1998, soft-paste porcelain; Small oval tureen, video installation Salomon van Ruysdael River scene cover and stand, c1773, soft-paste Wilhelm Sasnal Two men at a rail with a fort sailing ships and figures porcelain; Junket dish, c1775–80, soft- 2010, oil on canvas 1779, oil on panel paste porcelain David Teniers II Tino Sehgal This is so contemporary Landscape with a Zurich Porcelain Manufactory, Drink 2004, performance man feeding chickens c1768–c1772, oil seller, c1760–65, hard-paste porcelain; on panel Fisherfolk, c1770, hard-paste porcelain

30 ART GALLERY OF NSW ANNUAL REPORT 2015–16 OUTWARD LOANS BEGA VALLEY REGIONAL GALLERY CAIRNS REGIONAL GALLERY

ALBURY REGIONAL GALLERY Motion : Far North Queensland 17 July 2015 – 22 August 2015 17 July 2015 – 20 September 2015

On Wiradjuri Country Shaun Gladwell Hikaru: fast food Donald Friend Cairns store 1942, oil 2 October 2015 – 6 December 2015 sequence 2001, single-channel digital on plywood; The schooner ‘Miena’ Elioth Gruner On the Murrumbidgee video, colour, silent; Approach to refitting at Townsville 1954, oil on 1929, oil on canvas Mundi Mundi 2007, dual-channel digital canvas Lloyd Rees Evening on the video, colour, silent Bathurst Hills 1936, oil on canvas on CAMPBELLTOWN ARTS CENTRE paperboard The emotional striptease series 2003 5 February 2016 – 5 March 2016 With secrecy and despatch 8 April 2016 – 12 June 2016 ART GALLERY OF Christian Bumbarra Thompson Untitled 2003, Pegasus digital print; Robert Campbell Jnr Map of the Kevin Lincoln: the eye’s mind massacres of blacks on the Macleay Untitled 2003, Pegasus digital print; , 23 April 2016 – Valley 1991, synthetic polymer paint on Untitled 2003, Pegasus digital print; 19 June 2016, Queen Victoria Museum canvas and Art Gallery, Launceston, 9 July Untitled 2003, Pegasus digital print; Milton Budge Aborigines in chains 2016 – 4 September 2016 Untitled 2003, Pegasus digital print 1991, synthetic polymer paint on Untitled 2003, Pegasus digital print; Kevin Lincoln The sea in winter IV canvas 2004, triptych: oil on canvas; Rengetsu, Untitled 2003, Pegasus digital print; 2009, oil on linen canvas Untitled 2003, Pegasus digital print; MUSEUM AND ART Untitled 2003, Pegasus digital print; GALLERY ART GALLERY OF SOUTH Untitled 2003, Pegasus digital print AUSTRALIA Michael Taylor: a survey 9 July 2016 – 16 October 2016 Flora Australis Yvonne Koolmatrie survey Michael Taylor Down the river 1963, 1 October 2015 – 31 January 2016 11 March 2016 – 11 June 2016 oil, synthetic polymer paint on canvas; Rupert Bunny Flowers c1927–30, oil Yvonne Koolmatrie Eel trap 19 97, Cape 3 Points 1969, oil, synthetic on canvas sedge rushes (Lepidosperma polymer paint on canvas; Untitled Roy de Maistre Still life (pink dahlias) canescens); Eel trap 2013, sedge 1984, ink wash rushes (Lepidosperma canescens) nd, oil on canvas Elioth Gruner Snapdragons 1927, oil CASULA POWERHOUSE ARTS ART GALLERY OF WESTERN on wood CENTRE AND LIVERPOOL AUSTRALIA Hans Heysen Delphiniums and REGIONAL MUSEUM Sacred and profane lilies 1924, oil on canvas, AE Aldis, Refugees 7 May 2016 – 22 August 2016 Cootamundra wattle (c1916), oil on 30 July 2016 – 11 September 2016 Jitish Kallat Public Notice 2 2007, paperboard Khadim Ali Untitled 2013–14, merino resin Tim Maguire Untitled 94U39 1994, wool, afghan wool, cotton Yang Zhichao Chinese Bible 2009, diptych: oil on canvas Christian Boltanski Dog in the 3000 found books Cornflowers c1978– street 1991, gelatin silver photograph, 82, oil on hardboard AUCKLAND ART GALLERY TOI O biscuit box, lamp and electrical wires; TAMAKI (NEW ZEALAND) Katie Petyarre Untitled 1990, woodcut Children playing 1991, gelatin silver Margaret Preston (Australian wild photograph, biscuit box, lamp and Space to dream: recent art from electrical wires; Bathtime 1991, gelatin flowers)1923, oil on canvas on South America silver photograph, biscuit box, lamp 7 May 2016 – 25 September 2016 cardboard on hardboard; (Still life with national flowers) 1957, oil on canvas and electrical wires; Toys 1991, gelatin Ernesto Neto Just like drops in time, Tom Roberts Roses 1911, oil on silver photograph, biscuit box, lamp nothing 2002, textile, spices canvas on hardboard and electrical wires BAYSIDE ARTS AND CULTURAL Lilium Auratum 1933, Judy Cassab Stanislaus Rapotec CENTRE oil on canvas on hardboard 1960, oil on hardboard; Portrait of Judy Barraclough 1955, oil on hardboard; The ordinary instant BIENNALE OF SYDNEY 2 July 2016 – 11 September 2016 The old stove 1954, oil on canvas on paperboard Beaumaris foreshore Carriageworks, 18 March 2016 – c1926, oil on canvas on paperboard; 5 June 2016 Marc Chagall Paysage bleu (Blue Evening, St Kilda Road c1930, oil on Mike Parr The side I least like 1998– landscape) 1958, colour lithograph; board 2012, mixed media on 164 sheets of Jerusalem’s victory over Babylon, white gloss paper on cardboard according to the prophecy of Isiah XIV, 1–7 1930–55, etching, hand coloured; L’ange a l’epee 1956, colour lithograph

ART 31 Lucian Freud Girl sitting 1987, etching GOVETT-BREWSTER ART GALLERY Eubena Nampitjin Kinyu 20 07, on Somerset Satin white paper; Eli (NEW ZEALAND) synthetic polymer paint on canvas 2002, etching; Self-portrait: reflection Emanations: the art of the cameraless Lena Nyadbi Hideout 2002, natural 1996, etching on Somerset textured photograph pigments on linen canvas white paper 29 April 2016 – 14 August 2016 Nyirlpirr Spider Snell Kurtal 1996, Mona Hatoum Bukhara (red) 20 07, Adam Fuss from the series My ghost synthetic polymer paint on paper wool and cotton 2001, unique gelatin silver photogram; Anatjari Tjakamarra Untitled 1971, Sir Anish Kapoor Untitled 2002, from the series My ghost 2001, pencil on paper stainless steel and lacquer photogravure Timmy Payungka Tjapangati Bush Nalini Malani Mother India: Jean-François Millet Woman Tucker Dreaming 1971, watercolour on transactions in the construction of pain emptying a bucket c1862, cliché verre paper 2005, 5 channel video play, colour, Juliana Swatko Untitled (branches Tommy Watson Wipu rockhole 2004, sound, 5 min crossed centre image, with spiked synthetic polymer paint on canvas leaves and one flower) 1980, thermal DRILL HALL GALLERY, Unknown Untitled 1971, watercolour AUSTRALIAN NATIONAL monoprint; Untitled (overlapped stems, on paper UNIVERSITY branches and leaves with bunch of long leaves/grass) 1980, thermal LAKE MACQUARIE CITY ART Birth of the cool monoprint Gum leaves 1981, thermal GALLERY Anne & Gordon Samstag Museum of monoprint; Untitled (‘v’ shaped branch Lore & order Art, 17 July 2015 – 18 September 2015, with dark brown foliage) 1981, thermal 4 September 2015 – 11 October 2015 Drill Hall Gallery, 6 November 2015 – monoprint Roy Kennedy Mission boy dreams 21 December 2015 2006, etching David Aspden Outer spice 1969, GRIMALDI FORUM (MONACO) HJ Wedge Stop and think 1993, 5 synthetic polymer paint on canvas Francis Bacon, Monaco et le French panels, synthetic polymer paint on Sydney Ball Canto no XXX 1966, Culture canvas synthetic polymer paint on canvas Grimaldi Forum, 1 July 2016 – Michael Johnson Night 1968, 4 September 2016, Guggenheim MANLY ART GALLERY AND synthetic polymer paint on canvas Museum Bilbao, 30 September 2016 – MUSEUM 8 January 2017 Roy Jackson: retrospective 1963– Destination Sydney Francis Bacon Study for self-portrait 5 December 2015 – 14 February 2016 2013 1976, oil and pastel on canvas Tamworth Regional Gallery, Lloyd Rees The harbour from McMahon’s Point 1950, oil on canvas; 5 December 2015 – 30 January 2016, HAMILTON ART GALLERY Wollongong Art Gallery, 5 February Spring at Lane Cove 1961, oil on 2016 – 3 April 2016, Maitland Regional Arthur Streeton Western District canvas; Fire haze at Gerringong 1980, Art Gallery, 30 April 2016 – 19 June paintings oil on canvas; The waterfall, Tasmania 2016, Orange Regional Gallery, 20 June 2016 – 31 August 2016 1982, oil on canvas 3 September 2016 – 6 November 2016 Arthur Streeton Beneath the peaks, Brett Whiteley Big orange (sunset) Roy Jackson Backback 2012, Grampians 1921, oil on canvas 1974, oil and collage on wood; (Free standing ultramarine) Palm trees 1974, synthetic polymer paint, oilstick, pencil HARVARD ART MUSEUMS (USA) on paper painted fibreglass; The balcony 2 1975, Everywhen: the eternal present in oil on canvas; Self-portrait in the studio ART GALLERY Indigenous art from Australia 1976, oil, collage, hair on canvas 5 February 2016 – 18 September 2016 Land of the Golden Fleece – Arthur MCCLELLAND GALLERY + Paddy Bedford Untitled 1998, Streeton in the Western District SCULPTURE PARK , 20 February 2016 watercolour on white wove paper; Australian artists in Bali: 1930s to now – 15 June 2016 Untitled 1998, watercolour and pastel 20 September 2015 – 29 November Arthur Streeton Beneath the peaks, on white wove paper; Untitled 1998, 2015 Grampians 1921, oil on canvas pastel on white wove paper Julie Gough Dark Valley, Van Diemen’s Ian Fairweather Chinese mountain GLEN EIRA CITY COUNCIL Land 2008, Tasmanian Fingal Valley 1933, oil and gouache on cardboard GALLERY coal, nylon, Northern Midlands Arthur Fleischmann Study of Balinese The Murrumbeena Boyds Tasmania dropped antlers, Tasmanian Legong dancer 1939, terracotta 26 September 2015 – 6 December oak Donald Friend The Abduction of Sita, 2015 Doreen Reid Nakamarra Untitled, Bali c1969, pen and black ink, pastel, Arthur Boyd The mockers 1945, oil on 2007, synthetic polymer paint on gouache on board; Self-portrait on canvas on hardboard; The expulsion canvas Balinese door (Donald Friend) (recto) 1947–48, oil on hardboard and Jungle motif with devotional figure

32 ART GALLERY OF NSW ANNUAL REPORT 2015–16 (I made Jojol) (verso) 1978, oil, gold The surfers, Bondi NATIONAL GALLERY OF leaf on wooden door with carved 1963, oil on board AUSTRALIA frame (recto); carved jackfruit tree MOSMAN ART GALLERY Art of the Sepik River (Artocarpus heterophyllus) (verso) 10 July 2015 – 25 October 2015 Brett Whiteley The green mountain Destination Sydney Unknown, Female figure, carved () 1969, oil, collage on cardboard; 5 December 2015 – 7 February 2016 wood; Male figure, carved wood, (Palm tree, Bali) 1976, pen and brush Kevin Connor Night road to the woven rattan and black ink on canvas on board; Harbour Bridge 1987, oil on canvas

Joel dying 1980, brush and black ink Peter Kingston Big Saturday 1995, oil Tom Roberts retrospective 4 December 2015 – 28 March 2016 on white paper; Jenny’s Lake c1983, on canvas; Morning star 2002, hand- brush and black ink, wash on rice coloured sugarlift aquatint, printed in Tom Roberts Fog, Thames paper black ink and gouache on white BFK Embankment 1884, oil on paperboard; Rives paper An autumn morning, Milson’s Point, SHRINE OF Sydney 1888, oil on canvas; Holiday John Olsen Entrance to the seaport REMEMBRANCE sketch at Coogee 1888, oil on canvas; of desire 1964, synthetic polymer paint Evening train to Hawthorn c1889, oil Humanity under fire on canvas; Nightfall, when wattle stains on cedar panel; Smike Streeton age 24 October 2015 – 9 October 2016 the doubting heart 1980, oil on canvas George Coates Will Dyson (Sketch 24 1891, oil on canvas; Aboriginal portrait) nd, oil on canvas MURRAY ART MUSEUM ALBURY head – Charlie Turner 1892, oil on canvas on paperboard; Eileen 1892, oil MUSEUM Impressions of Paris: Lautrec, Degas, on canvas; The Golden Fleece 1894, OF ART Daumier 11 December 2015 – 31 January 2016 oil on canvas; 1895, oil on canvas; Miss Florence Greaves 1927, Linda Marrinon: figure sculpture Edgar Degas Dancer looking at the pastel on paper; Adagio 1898, oil on 2005–2014 sole of her right foot 1900–10, bronze, 11 July 2015 – 19 September 2015 paperboard; Portrait of Florence c1893, cire perdu (lost wax), 1919–21 (cast) Linda Marrinon Joan Sutherland 2012, oil on canvas on paperboard; The painted plaster; Lorenzo St DuBois MUSEUM OF CONTEMPORARY camp, Sirius Cove c1898, oil on canvas 2012, painted plaster; Ingenue 2012, ART on paperboard; Storm at sea 1899, oil on canvas on plywood; Thames barges painted plaster; Monty in Italy 2012, Aleks Danko c1907, oil on canvas on cardboard; painted plaster; Toulouse-Lautrec Museum of Contemporary Art, Grey lady (Mrs Ince) c1909, oil on 2012, painted plaster; Voltaire 2012, 30 July 2015 – 18 October 2015, canvas; Springtime in Sussex c1910– painted plaster; Woman with postiche Heide Museum of Modern Art, 12, oil on canvas on plywood; Washing 2012, painted plaster; Young man as 7 November 2015 – 21 February 2016 day Kallista 1921, oil on canvas on Hussar 2012, painted plaster Aleks Danko Log dog 1970, wood, hardboard; Sherbrooke Forest c1923– metal, chain, leather, casters; Art MONASH UNIVERSITY MUSEUM 25, oil on canvas on paperboard; Self- stuffing 1970, synthetic polymer paint OF ART portrait 1924, oil on canvas; Harrow Hill on paper stuffed hessian bag; ideas, Electric dreams c1910–12, oil on canvas on plywood words, processes 1972, ceramic 2 October 2015 – 12 December 2015 Derwent Wood Tom Roberts 1924, plaque; Yesterday/today/tomorrow TV cello 1976, patinated plaster head 1972, earthenware; Just one more light transparent synthetic polymer resin, work 1974, chair, light sockets, bulbs, Celestial Empire: life in China, television monitors, video tape and electrical flex, wheels, Traffolyte panels 1644–1911 player, wood, mixed media Matthys Gerber 1 January 2016 – 31 May 2016 22 September 2015 – 6 December 2015 Zhou Yan Elegant gathering 1902, fan REGIONAL GALLERY Matthys Gerber Clouds #2, 1995, oil painting; ink and colours on paper Storm in a teacup on polyester Dai Xi Landscape after the brush method of Juran 1856, fan; ink 24 July 2015 – 27 September 2015 Grayson Perry on paper, double-sided cheat’s Anne Zahalka Saturday 5:18 pm 1995 10 December 2015 – 1 May 2016 handkerchief, calligraphy on cotton (printed later), type C photograph, 1997 Grayson Perry Map of truths and (printed) beliefs 2011, acrylic, wool and cotton NATIONAL GALLERY OF VICTORIA tapestry On the beach Lurid beauty: Australian surrealism 11 December 2015 – 28 February 2016 and its echoes Arthur Murch Beach idyll 1930, 9 October 2015 – 31 January 2016 tempera on canvas on plywood; By the The sower 1944, oil sea 1954, oil on canvas on plywood on canvas

ART 33 and James Gleeson Untitled 2003, Pegasus digital print; Grace Cossington Smith Rushing No 35 Madame Sophie Sesostoris (a Untitled 2003, The devil made him do c1922, oil on canvas on paperboard; pre-raphaelite satire) 1947–48, beech it 2011, type C photograph; Pegasus Centre of a city c1925, oil on canvas on and various woods, painted in oil digital print; Lamenting the flowers hardboard; Circular Quay from Milson’s Roy de Maistre Conflict 1932, oil on 2012, type C photograph; Trinity 1 Point 1929, coloured pencil, crayon; canvas 2014, type C photograph Wonga Wonga Street, Turramurra c1930, pencil, watercolour on paper on Herbert McClintock Dawnbreakers Best in show 1939, oil on canvas on hardboard 9 April 2016 – 3 July 2016 paperboard; Landscape at Pentecost c1932, oil on paperboard; Golden Sidney Nolan Untitled c1940, collage Aleks Danko Log dog 1970, wood, morning 1945, oil on paperboard; of wood-engraved illustrations on page metal, chain, leather, casters Drapery and wattle 1952, oil on torn from book; Untitled c1940, collage Rachel Ellis Dog 1991, charcoal on hardboard of wood-engraved illustrations on page white wove paper Margaret Preston Thea Proctor’s torn from book Douglas Fry My best friend 1910, oil tea party 1924, oil on canvas on Carl Plate Untitled c1940, collage on wood hardboard; Sydney Heads (2) 1925, of wood-engraved illustrations on Frank Hinder Dog gymkhana 1939, page torn from book; 39 (pink snail) woodcut, printed in black ink, hand pencil and tempera on paper on coloured with gouache on thin ivory 1945, magazine paper collage on thin hardboard card; 37 (‘Home sweet home’) 1945, laid tissue; Harbour foreshore 1925, Peter Kingston Dent at sea 2006, magazine paper collage on thin card woodcut, printed in black ink, hand linocut, black and coloured inks on thin coloured with gouache on thin cream Peter Purves Smith New York c1936, cream Japanese tissue laid tissue; Wooden bridge, Mosman oil on canvas Lucky Kngwarreye Dog c1990, 1925, woodcut, printed in black ink, Eric Thanke Archaeopteryx 1941, oil synthetic polymer paint on wood hand coloured with gouache on thin on canvas Frank Mahony Study of a dog – cream Japanese paper; Circular Jan Senbergs: observation/ opening of Centennial Park 1890, Quay 1925, woodcut, printed in black imagination pencil, watercolour, white gouache ink, hand-coloured with gouache on 18 March 2016 – 12 June 2016 thin ivory mulberry paper; Mosman Jan Senbergs Architecture 1963, | Bridge c1927, woodcut, printed in GALLERY OR MODERN ART colour screenprint on cartridge paper; black ink, hand coloured in gouache Objects and accessories 1969, colour Robert Macpherson: the painter’s on thin cream laid paper; Rocks and screenprint on offset lithographic reach waves c1929, woodcut, black ink hand paper; Structure with black peaks 25 July 2015 – 18 October 2015 coloured with gouache on thin cream 1973, oil, screenprint on canvas; Robert MacPherson Group 9 1976– laid Japanese tissue; Sydney Bridge Entrance to Port Liardet 1981, synthetic 77, oil on canvas, 7 panels; Mayfair: c1932, woodcut, printed in black ink, polymer paint on canvas; Studio smoko for Tommy Lamare 1992–2002, hand coloured with gouache on cream interior 1993, diptych: pastel on paper; Dulux weathershield acrylic on Japanese laid paper; NSW orchid Otway night 1994, synthetic polymer masonite, 6 panels c1935, woodcut, printed in black paint on canvas ink, hand coloured with gouache on Mirdidingkingathi Juwarnda (Sally ivory laid paper; Banksia in jug 1952, Degas: a new vision Gabori) retrospective colour stencil and gouache, printed 24 June 2016 – 18 September 2016 21 May 2016 – 28 August 2016 in black ink on thin black card Manly Edgar Degas After the bath c1900, Sally Gabori Dibirdibi Country 2012, pines 1953, colour stencil, gouache charcoal on tracing paper mounted on pencil and watercolour on wove paper; on thin black card with gouache hand board Dibirdibi Country 2012, pencil on wove colouring; Sydney bridge 1957, colour paper ORANGE REGIONAL GALLERY screenprint on buff wove paper SH ERVIN GALLERY Christian Thompson Genesis of a painter: Guy Warren 26 September 2015 – 15 November Destination Sydney at 95 2015 11 December 2015 – 21 February 2016 15 April 2016 – 29 May 2016 Christian Bumbarra Thompson Cressida Campbell Bondi 19 87, Guy Warren Horizontal image III 1960, Untitled, 2003, Pegasus digital print; colour woodblock printed on cream oil on hardboard; Estuary in winter, Untitled 2003, Pegasus digital print; wove paper; Tailor shop 1984, colour Shoalhaven 1963, oil on hardboard; Untitled 2003, Pegasus digital print; woodcut; White waratah 2000, Mungo brush 1963, pen, brush and ink; Untitled 2003, Pegasus digital print; carved woodblock, hand-painted in Mungo Brush no 18 1965, watercolour; Untitled 2003, Pegasus digital print; watercolour pigment Hidden memories, secret lives 2006, Untitled 2003, Pegasus digital print; synthetic polymer paint on canvas Untitled 2003, Pegasus digital print; Untitled 2003, Pegasus digital print;

34 ART GALLERY OF NSW ANNUAL REPORT 2015–16 SYDNEY LIVING MUSEUMS TWEED REGIONAL GALLERY AND synthetic polymer paint and red ochre MARGARET OLLEY ART CENTRE Painting with pencil – Lloyd Rees: oil paint on hardboard; Magpie 1950, Sydney drawings 1930–36 The mystery of things: Margaret Olley synthetic polymer paint on hardboard; 12 December 2015 – 10 April 2016 and David Strachan Wounded Kelly 1969, synthetic polymer paint on hardboard Lloyd Rees Harbour study with trees 13 February – 7 August 2016 and house early 1930s, pencil on Margaret Olley Still life in green 19 47, Margaret Olley Still life with leaves paper; Balls Head, Sydney Harbour oil on cardboard; Still life with pink fish c1960, oil on hardboard 1931, pencil on paper; Ball’s Head, 1948, oil on cheesecloth on hardboard; Bryan Westwood South of Alice Sydney Harbour (recto) and A sketch Still life with kettle 1955, oil on canvas Springs after good rains 1992, oil on of the Sobraon (verso) 1931, pencil on on hardboard; Late afternoon 1972, oil canvas on hardboard paper; Ball’s Head, Sydney Harbour NEW SOUTH WALES PARLIAMENT 1931, pencil; The fig tree, McMahons David Strachan Still life with almonds HOUSE Point 1931, pencil on ivory wove paper; and plums 1966, oil on canvas; Faces 25 September 2015 – 24 September Sydney skyline from McMahons Point in flannel flowers 1970, oil on canvas on 2017 1932, pencil, watercolour on white hardboard; Flowers, lovers and doves watercolour paper; Balls Head (recto) c1969–70, oil on canvas François Antoine Bossuet, La Place de and Study for ‘Sydney skyline from la Constitution 1880, oil on paper over McMahon’s Point’ (verso) c1932, UNSW GALLERIES masonite watercolour on paper (recto); pencil, The streets of Papunya Arthur Boyd Landscape at watercolour on paper (verso); Study for 5 September 2015 – 7 November 2015 Murrumbeena c1968, oil on canvas Rupert Bunny ‘Round towards Berry’s Bay’ c1932, Walter Tjampitjinpa Men’s journey Fishermen’s houses, pencil on paper; Study for ‘The Port 1971, synthetic polymer paint on Port Vendres c1926, oil on canvas; Jackson fig tree’ 1934, pencil on paper; hardboard Waterfront, Bandol c1929, oil on canvas The Bridge, South Coast landscape Clifford Possum Tjapaltjarri William Dargie 1936, pencil, pen and black ink, wash Lungkata’s two sons at Warlugulong La Perouse 1947, oil on on cream wove paper; The Three 1976, synthetic polymer paint on canvas Spires 1935, pen and ink canvas board Douglas Dundas Chianti country 1929, oil on canvas; The towers of San TARRAWARRA MUSEUM OF ART Billy Stockman Tjapaltjarri Two quiet snakes dreaming 1972, carved Gimignano nd, oil on canvas Howard Arkley and painted wood; Wallaby and yam Henry Edgecombe Nerriga landscape 5 December 2015 – 28 February 2016 dreaming (Coolamon) 1972, synthetic 1946?, oil on canvas on cardboard Howard Arkley Superb + solid 1998, polymer paint on white wood Elaine Haxton Sweet and sour 1958, synthetic polymer paint on canvas Shorty Lungkata Tjungurrayi oil on hardboard TASMANIAN MUSEUM AND ART Women’s dreaming (Two women) 1972, Henry Hanke Shops on Ponte GALLERY synthetic polymer powder paint on Vecchio, Florence 1950, oil on canvas hardboard on cardboard; Santa Eulalia, Murcia The Tempest 1950, oil on canvas on hardboard 10 June 2016 – 26 November 2016 Johnny Warangkula Tjupurrula Claude Lorrain after Henry Fuseli, The Untitled c1975, synthetic polymer paint Sali Herman Sleeping cat 1960, oil on Tempes 1630, etching on cotton duck; Emu dreaming 1974, canvas Philippe Jacques de Loutherbourg synthetic polymer paint and PVA glue Reflections, McDonald on plywood River c1926, oil on canvas A shipwreck off a rocky coast 1760s, oil on canvas John Longstaff Sir George Reid, oil on FURNISHING LOANS canvas Jean-Pierre Simon Prospero, Miranda, Caliban and Ariel 1797, stipple NEW SOUTH WALES PARLIAMENT Dora Meeson Ville Franche-Sur-Mer engraving HOUSE – PREMIER’S OFFICE 1983, oil on linen Frank William Bourdillon On Bideford 25 July 2015 – 24 July 2017 Tom Roberts Sir Henry Parkes c1894, Sands 1889, oil on canvas Arthur Boyd Cattle on hillside, oil on canvas Shoalhaven c1975, oil on canvas TURNER CONTEMPORARY (UK) NEW SOUTH WALES PARLIAMENT John Eldershaw Tilba Tilba (NSW) HOUSE – MINISTER SKINNER’S Seeing round corners c1938, oil on canvas OFFICE 25 May 2016 – 25 September 2016 Rita Kunintji Special Law and 17 November 2015 – 16 November Ute Klophaus in the Ceremony Ground nd, synthetic 2017 Action ‘Iphigenie / Titus Andronicus’ polymer paint on canvas Hans Heysen A bowl of roses 1924, oil 1969 (printed later), 1997 (printed), Sidney Nolan Gallipoli soldier (3) nd, on canvas gelatin silver photograph synthetic polymer paint on hardboard; Broome – Continental Hotel 1949,

ART 35 Margaret Preston Rose and banksia Les Blakebrough, Covered storage Elizabeth Söderberg, On the wing 1936, oil on canvas jar, 1962, stoneware, reduced iron 1981, stoneware glaze; Bowl, 1967, stoneware with grey Hiroe Swen, ‘Ovaloid’ pot, 1967, NSW PREMIER’S DEPARTMENT, celadon type glaze, also motifs stoneware MARTIN PLACE Harry Davis, Dish, 1970, stoneware Peter Travis, ‘Round flanged form’ jar, 1 July 2015 – 1 June 2017 May Davis, Bowl, 1964, stoneware 1964, stoneware Arthur Boyd River bank and four rocks with wax resist and wood ash glaze Robin Welch, Ashtray, 1965, glazed 1993, oil on canvas Anne Douglas, Covered jar with cane stoneware Kenneth Jack Drifting dust, white handle, 1964, stoneware cliffs, NSW 1970, synthetic polymer Mollie Douglas, Decanter, 1961, paint on hardboard stoneware, wax resist decoration, glaze Euan MacLeod Two up, two down Ivan Englund, ‘The unlimited’ vase, 2004, oil and synthetic polymer paint 1966, stoneware; ‘Form’ vase, 1965, on canvas stoneware, glazed Margaret Olley Ranunculus and pears Patricia Englund, Bowl, 1963, carved 2004, oil on hardboard mangrove wood William Salmon Six frames 1975, Toni Carver Farley, Plate, 1963, synthetic polymer paint on canvas stoneware, pine ash and temmoko James Simon My favourite place glaze 1996, diptych: synthetic polymer paint Wanda Garnsey, Float prop, 1968, on canvas earthenware, enamel Tony Tjakamarra Untitled 2000, Bill Gregory, Teapot, 1962, stoneware, synthetic polymer paint on linen canvas with cane handle, brown glaze John Perceval Dairy farm, Victoria Gwyn Hanssen Pigott, Bottle, 1962, 1960, oil on canvas on hardboard glazed stoneware Roland Wakelin The bridge 1958, oil HR Hughan, Vase, 1962, glazed on hardboard stoneware; Dish, 1968, stoneware, Brett Whiteley Stanner’s dream 1974, tenmoku glaze with wax resistant oil on plywood decoration; Covered jar with cut sides, SBS TELEVISION 1969, stoneware, tea dust glaze Eileen Keys, ‘Ancient symbols’ 1 June 2016 – 31 May 2018 covered jar, 1963, stoneware Peter Schipperheyn Maschera Alex Leckie, Wine jar, 1964, glazed Maschio 1991, carrara marble; stoneware Maschera Femina 1991, carrara marble Col Levy, Bowl, 1964, stoneware, iron THE HON N GREINER’S OFFICE glaze, magnesia glaze; Bowl, 1977, 26 March 2016 – 25 March 2018 stoneware, bizen ware Ray Crooke Chillagoe 1961, oil on Carl McConnell, Vase, 1963, canvas on hardboard stoneware, white feldspathic glaze Robert Dickerson Boys and billy cart Ivan McMeekin, Vase, stoneware; 1971, oil on canvas on hardboard Vase, 1962, glazed stoneware with Kenneth Green Fallen tree 1968, oil on brush decoration hardboard Milton Moon, Bottle, 1962, glazed Nyurapayia Nampitjinpa Untitled stoneware 1997, synthetic polymer paint on linen Frederick Olsen, Wine bottle, 1970, canvas stoneware, high iron glaze Wallace Thornton Landscape Binnia Alan Peascod, Bowl, 1962, glazed Downs 1946, oil on canvas stoneware Bernard Sahm, Bottle vase, 1963, LONG-TERM OUTWARD stoneware; Bowl, 1963, glazed LOANS earthenware Tom Sanders POWERHOUSE MUSEUM , Bowl, 1968, stoneware Derek Smith, Copper plaque (round 30 September 2015 – 30 September centre with dragon design, flat 2020 octogonal rim), 1912, beaten copper

36 ART GALLERY OF NSW ANNUAL REPORT 2015–16 The position of a time-based art Conservation held a workshop CONSERVATION conservator is increasingly important and symposium in August 2015 on The Conservation Department has and the Gallery is fortunate that Friends the Preservation of digital prints and been involved in extensive preparations of Conservation along with other contemporary colour photographs, for a number of exhibitions with over individual benefactors could provide presented by Martin Jürgens, 1500 works assessed/prepared for the much needed funds to get this conservator of photographs from the display. Conservation staff have worked essential work underway. Rijksmuseum and author of The digital on all types of permanent collection Two major painting and frame print, the primary reference book on the rehangs, including the exhibitions conservation projects have been identification of digital prints. Attendees Landscapes of pleasure, Sentient completed. The conservation of came from all over Australia and New lands and Conversations, as well as John Webber’s A view of Otaheite Zealand to attend the workshop and See you at the barricades, Rosemary Peha 1785 was funded by Friends of the one-day symposium. The event was Laing, Body dimensions, The Greats, Conservation. The treatment of Hugh supported by the Australian Institute for The modernists, Murruwaygu, When Ramsay’s The foil, was generously the Conservation of Cultural Material silence falls, Biennale of Sydney, Tang, funded by The Pohl Foundation. In and the Australian Decorative and Fine Monet to Hockney, Manifesto, Imprint addition, the 90-panel Imants Tillers’ Arts Society. and Tracey Moffatt. Conservation work work Once upon a time has been given The Conservation Department has included assessment, research a pioneering magnetic hanging system provided over 20 conservation tours and analysis, treatment, mounting, enabling rapid installation with minimal for corporate clients, benefactors, preparation of custom supports, handling. student groups, Gallery Kids Festival installation and documentation. The treatment and preparation of 2015 programs, staff and professional In 2015–16, over 600 acquisitions watercolours and their frames for the colleagues and also provided regular were checked, given a condition 2017 exhibition Victorian watercolours ‘Caring for the collection’ training report and prepared for entry into the began in earnest, with ongoing for Gallery staff and contractors. collection. More than 300 works were Gallery staff able to complete half Conservation hosted five conservation prepared and documented for outward of the conservation work needed interns and was the recipient of an loan, including a large number of for this project. Additional funds FAIC Kress Fellowship in Objects works for the Tom Roberts exhibition from the Women’s Art Group for the Conservation from the Foundation at the National Gallery of Australia conservation of the watercolours and of the American Institute for and the forthcoming exhibitions John from a number of other conservation Conservation, funded by the Samuel H Olsen and Making . Major benefactors for the conservation of Kress Foundation. preparations were also undertaken for the original frames have made the several large installation works by Mike completion of the remainder of this THE NATIONAL Parr for loan to the National Gallery of project possible. ART ARCHIVE Australia. These works included The The benefactor-sponsored Frames AND THE CAPON bridge, The wax bride, Bronze liars Traineeship, undertaken by Tom and AMERIKA. A new reproduction Langlands, in the making of historical RESEARCH LIBRARY frame was made for the Frank William reproduction frames is now complete. The most significant event for the Bourdillon painting On Bideford Sands, This traineeship was generously Gallery’s Research Library and Archive for loan to the Tasmanian Museum and funded by two benefactors and has this financial year was the launch of the Art Gallery. made a significant contribution to the National Art Archive on 12 November Gallery’s ability to plan for the eventual Conservation welcomed the 2015. The Gallery has been Australia’s retirement of a senior staff member. addition of a temporary position in leading collector of visual arts archives time-based art conservation in August The Conservation Department was since its foundation in the 1870s. 2015. The Gallery’s collection of time- involved in a number of collaborative Current holdings include the personal based art includes analogue and digital conservation research partnerships papers of 230 artists, the business artworks across a range of media such this year with the records of 50 commercial galleries and as video, audio, film, kinetics, computer Vibrational Spectroscopy Core a large collection of artists’ painting interactives, slide works, iterative Facility; Grimwade Centre for Cultural materials and related artefacts. The works and installations. There are also Materials Conservation and University Biennale of Sydney archive adds a significant time-based holdings in the of Melbourne; Australian Synchrotron strong international focus to these National Art Archive. The conservation and Heide Museum of Modern Art; holdings. The formal establishment of of time-based art is a relatively new Australian National University and the National Art Archive recognises area of conservation specialisation, Australian Synchrotron; and Cracow the depths of the Gallery’s archival which requires a distinctly different University of Technology. collections and marks a commitment approach to the management of to making them more widely available collections in traditional media. for research and learning.

ART 37 Important donations of books and The Study Room is recognised as a The participatory public artwork archives were received, including the key feature of the Gallery experience Chalk (1998–) by artists Jennifer personal archives of Peter Kingston, for diverse groups, evidenced in Allora and Guillermo Calzadilla at Colin Lanceley and Peter Upward, repeat visits from universities, TAFE, the forecourt of the Queen Victoria along with the business archives of colleges, community art centres, Building, Sydney, was extensively the Blake Society and the Roslyn and primary and secondary schools. documented in stills and video and Oxley9 Gallery. Founding director Interdepartmental gallery staff formed part of the photographic of the National Gallery of Australia, collaborations have resulted in the documentation of the exhibition James Mollison, began the gifting of continued use of the Study Room as a Seven artists from the John Kaldor his superb scholar’s library. Along resource for promoting awareness and Family Collection. A time-lapse video with these collections, 2000 books access to the Gallery’s collections by of the installation of Michael Landy’s and 100 serial titles were added to the participating in the Djamu Indigenous artwork over a five-day period was also collections. These were processed Program, Community Access Program included. and catalogued by staff, along with as well as Starting with Art at the As part of the Spectrum Now our devoted team of 14 volunteers. House partnership between Sydney festival in March 2016, Tom Polo 8400 researchers used the library Opera House and the Gallery. created a wall painting in the Gallery and archive in person during the year. Throughout the year Study Room for the event ‘Painting live: Tom Polo’, Another 2000 researchers accessed exhibitions highlighted works on which was documented over a ten-day the collections remotely through phone paper from the permanent collection. period as a time-lapse video. or web enquiries. Featured works included the newly All 110 works exhibited in the 2015 The appointment of Shari Lett as a acquired set of prints by William Archibald, Wynne and Sulman prizes dedicated archivist of Aboriginal and Hogarth, The four stages of cruelty were photographed for catalogue, Torres Strait Islander collections was 1751; a selection of stencils by French media and web purposes. Additional the first for an Australian public gallery. modernists; Australian watercolours video footage of the preparations for The funding of this position was made by Lucy Culliton; and concluded with the exhibition and announcements possible through the generosity of a display of etchings by Australian was also generated for Gallery channel trustee Geoff Ainsworth. printmaker Elizabeth Rooney. and multimedia purposes. Over 6100 The Edmund Capon Fellow for In addition to facilitating access high-resolution images of collection 2015 was Pitra Hutomo from the to collections, Study Room staff artworks were added to the digital Indonesian Visual Arts Archive (IVAA) completed the Asian works on paper asset management system. Over in Yogyarkarta. She was hosted in the inventory: staff sighted 1235 works, 31,000 images of events and activities Research Library while researching the processed 164 new acquisitions, were catalogued and added to the image projected in Australia through managed the preparation of 280 works digital asset archive, consisting of exhibitions and cultural exchanges of for display within the Gallery, as well images relating to exhibitions and contemporary Indonesia. as 59 works for 17 loans to local, programs around the Gallery. interstate and international venues. PRINTS, DRAWINGS AND PHOTOGRAPHS PHOTOGRAPHY STUDY ROOM STUDIO

Due to building works in the Gallery, Major exhibition related projects in from January to June 2016 the Study the Photography Studio included Room’s opening hours where restricted photography for The Greats, Tang, to Fridays only. Despite limited public When silence falls and Photography access the Study Room enabled over Gallery exhibitions – Rosemary Laing, 640 people to directly engage with Body parts, Imprint plus extensive the Gallery’s collection of works on photography of artworks for Milingimbi, paper either by appointment to view Yoshitoshi, Eko Nugrohu and Dobell art from storage or to study collection Australian drawing biennial 2016. highlights displayed on the walls. The A calligraphy performance by Liang Study Room offers a supportive and Xiao Ping, who created an 11-metre intimate environment for the exploration calligraphy work for the Tang exhibition, of over 21,000 original works of art, was documented in stills and video for and is utilised as an important resource the Gallery channel. by scholars, artists, students, museum and gallery professionals, along with interested members of the public.

38 ART GALLERY OF NSW ANNUAL REPORT 2015–16 BRETT Brett Whiteley: tributes EDUCATION PROGRAMS 13 May – 13 November 2016 WHITELEY The Brett Whiteley Studio hosted This exhibition celebrates the art serviced education programs STUDIO of Brett Whiteley through three key (discussion tours and drawing themes: visual art, literature and music. In 2015–16, the Brett Whiteley Studio workshops) on Wednesdays and The influences on Whiteley’s art and life exhibitions, functions, education Thursdays for 1456 students over the were many and varied, from writers and and public programs received total year. Interstate and regional schools poets to musicians, photographers, attendances of 14,639 visitors. Public were allowed limited time for self- playwrights and painters. Whiteley attendances alone were 11,552. We guided visits on Friday, Saturday and paid tribute to artists Francis Bacon, thank our principal sponsors J.P. Sunday – with a total of 326 students Henri Matisse, van Gogh, musician Morgan for their continued support in coming to the studio. The overall total Bob Dylan and poet Arthur Rimbaud in providing free admission to the public. for education groups’ visitation was prints, drawings and paintings as both The Brett Whiteley Studio would also 1782 students. subject and inspiration. like to offer a special acknowledgment and sincere appreciation of Wendy BRETT WHITELEY PUBLIC PROGRAM Whiteley’s continued significant support HIGHLIGHTS as curator, and for her promotion of the TRAVELLING ART The Brett Whiteley Studio quarterly studio. SCHOLARSHIP 2015 drawing courses, Life Drawing and The studio is open five days 14 Aug – 13 Dec 2015 Follow the Curve, continue to be held per week. Education groups and Tom Polo, 30, from Smithfield in on Saturdays in six-week blocks in the private functions are catered for on Western Sydney, NSW, won the studio. In total 376 people participated Wednesdays and Thursdays. Fridays, 2015 Brett Whiteley Travelling Art in these classes. Saturdays and Sundays are dedicated Scholarship for his body of work, to the general public from 10am – 4pm. highlighted by his painting All she SYDNEY POETRY Brett Whiteley: sculpture and needs 2015. Begun in 1999, this AT THE STUDIO ceramics scholarship for young Australian Sydney Poetry, held on the fourth 5 June – 6 December 2015 painters is now in its 17th year. Mrs Beryl Whiteley, the mother of Brett Sunday of every month from February Brett’s Whiteley used a diversity of Whiteley, established the scholarship to December, included an array of materials – wood, bronze, plaster, in 1999 and generously made funds prominent published guest poets ceramics, paint, brush and ink, available to continue this legacy. It and writers, as well as open forum fiberglass and found objects. Birds, is open annually to young Australian sessions dedicated to emerging poets. animals and nudes inspired Whiteley to painters aged between 20 and 30 In May 2016 Sydney Poetry held create a unique vision which continues years. The winner is awarded $30,000 special additional events in association to astound and delight. Many of and a three-month residency at the with the Sydney Writers Festival. the drawings, collages, studies for Cité Internationale des Arts in Paris, Coordinated by Angela Stretch, Sydney sculpture and ceramics were displayed which is administered by the Gallery, Poetry continues to engage a loyal here for the first time. and three months to travel anywhere in audience with 300 visitors for the Other places (somewhere else) Europe. events this year. 11 December 2015 – 8 May 2016 This year’s judges were Australian Whiteley travelled extensively and painter (2014 Archibald CLASSICAL SUNDAYS recorded his experiences in charcoal, Prize–winner) and Wayne Tunnicliffe, AT THE STUDIO photography and paint – he created head curator, Australian art, at the Art Held on the third Sunday of the month a visual diary of New York, Fiji, Tokyo, Gallery of New South Wales. Seven (April – October 2016). The musical London and Tangier. This exhibition finalists were selected from 80 entries. repertoire included contemporary featured many of these works and Polo has been a finalist on two previous and classical composers and was included Whiteley’s early response occasions: 2012 (highly commended) performed by principal musicians to Paris at of 20, to his last and 2013 (finalist). The judges also Emma Le Froy (flute) and Emma Hunt experiences of this beautiful city at 50. awarded Jordan Richardson’s work (clarinet), joined by guest musicians on Dane holding Emily’s tongue 2015 instruments from harp, violin, cello and as highly commended. Richardson oboe. This year there has been 145 received $5000 from the Brett Whiteley people in attendance. Foundation.

ART 39 ADVERTISING AND SPECIAL EVENTS PROMOTION ED TV (DART) Distance education – The studio’s promotional brochure filmed on Wednesday 17 November was distributed through the Gallery’s 2015 information desk, the Society’s At the Brett Whiteley Studio a virtual Members Room, Gallery mail-outs, the discussion tour was filmed and Art Almanac and Art Guide monthly conducted for ten schools – 164 periodicals, and through local Surry students and teachers participated Hills businesses and Sydney tourism from the following schools: Forbes centres. The studio is also promoted High School, Heathfield High School on the Gallery’s LCD information (SA), Merriwa Central School, Dubbo screen, its electronic newsletters and College South Campus, Keira High, Sydney urban walkabout guides. In Murrumburrah High School, Warren addition, the Brett Whiteley Studio Central School, West Wyalong High Artmail e-newsletter is distributed three School, Willyama High School and times a year with updates on studio Young High School. The virtual tour of news, exhibitions and events, with over the exhibition Brett Whiteley: sculpture 2329 subscribers. and ceramics was conducted over one hour and done in collaboration with the BRETT WHITELEY STUDIO Department of Education. WEBSITE AND FACEBOOK PAGE ART AFTER HOURS The total Brett Whiteley Studio website Art Gallery of New South Wales, page views this financial year was 7 October 2015, 5.30pm 96,998. Wendy Whiteley was in conversation Brett Whiteley was the most- with author Janet Hawley on the searched artist on the Gallery website publication of Wendy’s secret garden, during July 2015 – June 2016. attended by 200 patrons. Whiteley’s Self-portrait in the studio Lavender Bay, 12 November 2015, 1976 was the most viewed work online 10.30am in the Gallery’s collection (10,285 Members talk: Janet Hawley and views). The balcony 2 is the next most Wendy Whiteley in Wendy Whiteley’s viewed Whiteley work (5281 views). The ‘secret garden’. Brett Whiteley artist page (which went live in February 2016) had 4215 page views in 2015–16. A Facebook fan page created to bring together lovers of Brett Whiteley and his studio continues to attract members. The fan page currently has an average weekly reach of 1246 people. With regular content about Whiteley, current news and the latest schedule of public events, the Facebook page attracts enthusiasts, new studio visitors and students alike.

40 ART GALLERY OF NSW ANNUAL REPORT 2015–16 with The photograph and Australia at and freelance curator, researcher and TOURING Queensland Art Gallery | Gallery of writer, focusing on some of the early PROGRAM Modern Art (QAGOMA) included an Queensland works and the depiction of opening weekend celebration with a Aboriginal Australians. Between July 2015 and June 2016, the keynote illustrated lecture by exhibition Gallery toured four exhibitions to major The 2014 and 2015 Archibald prize curator Judy Annear, senior curator, state institutions and regional galleries regional tours were a great success, photographs, at the Art Gallery of in NSW, Queensland and Victoria. with regional communities across NSW New South Wales. Annear also led Seen by over 134,000 visitors, these enjoying the exhibition, participating in a curators’ conversation tour with exhibitions were The photograph and the People’s Choice Award and Young Michael Hawker, associate curator, Australia, John Kaldor Family Collection Archie Competitions. Nigel Milsom, Australian art, QAGOMA. Artists Artist Room #2 – Bill Viola, 2014 winner of the 2015 Archibald Prize, Patrick Pound and Rowan McNaught Archibald prize regional tour and 2015 was guest speaker at Tweed Regional presented at an ‘in conversation’ Archibald prize regional tour. Gallery and Margaret Olley Arts Centre session about their installation, The and Lake Macquarie City Art Gallery. There were many highlights from compound lens project 2014–15. Other artists participated throughout the touring exhibitions, particularly Hawker led a second curator’s tour and the tour with floor talks and workshops. in the accompanying public the weekend ended with a ‘Beyond programs and audience engagement the lens’ contextual floor talk with opportunities at the venues. The Michael Aird, publication contributor extensive public programs connected

EXHIBITION LISTING

Dates Exhibition Ticketed Tour Catalogue 25-10-2014 – 04-10-2015 Conversations: through the Asian collections 15-11-2014 – 01-11-2015 Our spirits lie in the water 04-04-2015 – 01-11-2015 Ronnie Tjampitjinpa 25-04-2015 – 11-10-2015 Mad through the darkness: Australian artists and the Great War 25-04-2015 – 25-10-2015 Matisse and the moderns 30-05-2015 – 29-11-2015 See you at the barricades X 30-05-2015 – 26-04-2016 Seven artists from the John Kaldor Family Collection 30-05-2015 – 29-05-2016 Colourwheel 05-06-2015 – 06-12-2015 Brett Whiteley: sculptures and ceramics 11-07-2016 – 20-09-2015 Rosemary Laing: transportation 18-07-2015 – 27-09-2015 Archibald, Wynne and Sulman prizes 2015 X X X 14-08-2015 – 25-10-2015 Julia Margaret Cameron: from the Victoria and Albert Museum, London X X 26-09-2015 – 31-01-2016 Body parts 24-10-2015 – 14-02-2016 The Greats: masterpieces from the National Galleries of Scotland X X 07-11-2015 – 17-01-2016 James Gleeson centenary: works from the collection 07-11-2015 – 10-07-2016 Modernists: highlights from the European collection 28-11-2015 – 21-02-2016 Murruwaygu: following in the footsteps of our ancestors 11-12-2015 – 08-05-2016 Brett Whiteley: other places 19-12-2015 – 01-05-2016 When silence falls X 06-02-2016 – 18-05-2016 Imprint: photography and the impressionable image 18-02-2016 – 13-03-2016 Operation art 16-03-2016 – 15-05-2016 ARTEXPRESS 2016 18-03-2016 – 05-06-2016 20th Biennale of Sydney: the future is already here – it’s just not evenly distributed X 09-04-2016 – 10-07-2016 Tang: treasures from the Silk Road capital X X 30-04-2016 – 17-16-2016 Landscapes of pleasure: from Monet to Hockney 13-05-2016 – 13-11-2016 Brett Whiteley: tributes 28-05-2016 – 04-09-2016 Tracey Moffatt: ‘Laudanum’ and other works 28-05-2016 – 05-03-2017 Manifesto X 04-06-2016 – 2017 Sentient lands 04-06-2016 – 2017 Yuendumu: of fire and water 25-06-2016 – 23-10-2016 Frida Kahlo and Diego Rivera: from the Jacques and Natasha Gelman Collection X X 25-06-2016 – 19-02-2017 Eko Nugroho: Lot lost

ART 41 PAID EXHIBITION PROGRAM

Exhibition Months Visitors Archibald, Wynne and Sulman prizes 2015 July – September 140,234 Julia Margaret Cameron: from the Victoria and Albert Museum, London August – October 14,736 The Greats: masterpieces from the National Galleries Of Scotland October – February 140,429 Tang: treasures from the Silk Road capital April – July 24,063* Frida Kahlo and Diego Rivera: from the Jacques and Natasha Gelman Collection June – October 9583* TOTAL 322,051 * NOTE: Visitor numbers from 1 July 2015 – 30 June 2016 for exhibitions running over two financial years

REGIONAL EXHIBITIONS

Dates Venue Location Exhibition Visitors 5-06-2015 – 19-07-2015 Broken Hill Regional Art Gallery Broken Hill, NSW Archibald prize regional tour 2014 2175 25-07-2015 – 6-09-2015 Griffith Regional Art Gallery Griffith, NSW Archibald prize regional tour 2014 4131 4-07-2015 – 11-10-2015 Queensland Art Gallery Brisbane, QLD The photograph and Australia 14,282 15-08-2015 – 1-11-2015 Newcastle, NSW John Kaldor Family Collection Artist Room #2 – Bill Viola 9926 2-10-2015 – 15-11-2015 Art Gallery of Ballarat Ballarat, VIC Archibald prize regional tour 2015 56,915 20-11-2015 – 10-01-2016 New England Regional Art Museum Armidale, NSW Archibald prize regional tour 2015 4308 15-01-2016 – 28-02-2016 Tweed Regional Gallery and Margaret Olley Arts Centre Murwillumbah, NSW Archibald prize regional tour 2015 25,466 4-03-2016 – 17-04-2016 Manning Regional Art Gallery Taree, NSW Archibald prize regional tour 2015 3398 22-04-2016 – 5-06-2016 Lake Macquarie City Art Gallery Lake Macquarie, NSW Archibald prize regional tour 2015 11,923 10-06-2016 – 24-07-2016 Blue Mountains Cultural Centre Katoomba, NSW Archibald prize regional tour 2015 2235

NOTE: Attendance from 1 July 2015 – 30 June 2016 for exhibitions running over two financial years

MONTHLY VISITORS 2011/12–2015/16

Total visitors Month 2011/12 2012/13 2013/14 2014/15 2015/16 Domain BW Studio Reg. touring July 117,528 95,127 101,535 194,761 109,343 100,971 1152 7220 August 97,530 89,035 87,890 119,222 135,525 124,410 1348 9767 September 81,978 94,250 91,766 107,699 109,862 101,186 1112 7564 October 77,559 74,838 92,808 91,988 112,830 79,302 1021 32,507 November 115,730 80,196 96,539 118,653 106,079 73,701 1092 31,286 December 134,759 88,834 89,217 102,056 94,621 92,111 512 1998 January 188,212 112,778 116,089 118,686 146,793 135,328 1354 10,111 February 158,014 114,800 80,334 119,806 119,763 101,820 1193 16,750 March 188,094 112,692 102,956 100,388 81,850 79,153 1186 1511 April 105,800 121,660 114,819 83,525 95,966 92,225 1375 2366 May 97,731 91,970 101,995 76,696 85,420 74,147 1631 9642 June 82,332 86,484 87,743 70,027 88,223 82,867 1319 4037 YTD TOTAL 1,445,267 1,162,664 1,163,651 1,303,508 1,286,275 1,137,221 14,295 134,759

42 ART GALLERY OF NSW ANNUAL REPORT 2015–16 been nurtured by the imagination. Qur’an, the practice of calligraphy is FORTHCOMING Collectively they investigate the seen as a way to express piety. EXHIBITIONS possibilities of the medium to express Two interactive contemporary works IN 2016 complex themes that resonate on both illuminate the place of calligraphy a personal and a shared level. in art and society today. Xu Bing’s Frida Kahlo and Diego Rivera: from Square Word Calligraphy Classroom Yoshitoshi: one hundred aspects of the Jacques and Natasha Gelman 1994–96 replicates a classroom where the moon Collection instructions are provided for preparing 25 June – 23 October 2016 20 August – 20 November 2016 For the first time, the Gallery will ink, holding the brush and making This exhibition presents 33 artworks brushstrokes; Persian for kids 2012 by from the renowned collection of present from its own collection the full series of One hundred aspects Iranian-born artist Parastou Forouhar Jacques and Natasha Gelman, gives viewers the chance to practise including outstanding self-portrait of the moon by Tsukioka Yoshitoshi (1839–92). This remarkable series calligraphy by using zoomorphic script paintings and drawings by Frida Kahlo, to draw animals. and major examples of Diego Rivera’s was published between 1885 and canvas paintings. Alongside these 1892 and is recognised as the artist’s New matter: recent forms of works are over 50 photographs by masterwork, designed in the last seven photography figures such as Edward Weston, Lola years of his life. 10 September 2016 – 12 February Alvarez Bravo and Guillermo Kahlo, The exhibition showcases the 2017 Frida’s father, which provide insights impressive technical skill and Drawn from the Gallery’s collection, into the artists’ worlds and their imaginative designs that have secured this exhibition features recent work intriguing relationship. Yoshitoshi’s place in art history and by Australian and international as an originator of manga and anime. photographers who expand the limits Archibald, Wynne and Sulman prizes Each image is a moment in time and of photographic representation. These 2015 poetically draws from stories relating artists are preoccupied with the 16 July – 9 October 2016 to the moon in Japanese and Chinese material properties of the photograph The Archibald, Wynne and Sulman history, famous legends, literature and challenge our tendency to treat prizes is an annual exhibition eagerly and theatre as well as folklore. The a photographic object as a passive anticipated by artists and audiences characters of these stories are diverse, conduit that we look through, not at. alike. from stoic warriors and samurai to The selected works resist the The Archibald Prize, first awarded everyday townspeople, demons category of the purely representational. in 1921, is Australia’s favourite art and courtesans, many expressing a They experiment with the abstraction award, and one of its most prestigious. reverence to the moon. of form and acknowledge illusion and Awarded to the best portrait painting, artifice as inherent to the medium. it’s a who’s who of Australian culture – Beyond words: calligraphic Exposing fissures or gaps in the from politicians to celebrities, sporting traditions of Asia 27 August 2016 – 30 April 2017 image that either camouflage the heroes to artists. Calligraphy, the art of beautiful subject or render it illegible, they offer The Wynne Prize is awarded to the handwriting, is considered the highest new ways of reading and interpreting best landscape painting of Australian artistic achievement in many Asian photography itself. scenery, or figure sculpture, while cultures. The artists – most of whom are the Sulman Prize is given to the best in the early stages of their careers subject painting, genre painting or Drawn from the Gallery’s collection and enriched with a significant – include Ball, Walead mural project in oil, acrylic, watercolour Beshty, Matthew Brandt, Zoë Croggon, or mixed media. loan from the Islamic Arts Museum Malaysia, this exhibition showcases Christopher Day, Charles Dennington, Each year, the trustees of the Gallery diverse calligraphic traditions in both Cherine Fahd, Deb Mansfield, Todd judge the Archibald and Wynne, and religious and secular contexts, across McMillan, Luke Parker, Kate Robertson, invite an artist to judge the Sulman; this a range of mediums from the ancient James Tylor and Justine Varga. year’s judge was Judy Watson. to the contemporary. On display are Nude: art from the Tate collection Close to home: Dobell Australian treasures from the Chinese scholar’s 5 November 2016 – 5 February 2017 Drawing Biennial 2016 desk such as brushes, pots and n a partnership between Tate, 30 July – 11 December 2016 holders as well as exquisite works on London and the Art Gallery of New The second Dobell Australian Drawing paper, textiles and ceramics. South Wales, Nude: art from the Tate Biennial brings together the drawings The art of writing using brush collection will present over 100 major of Jumaadi, Maria Kontis, Richard and ink is a marker of cultivation and representations of the nude, including Lewer, Noel McKenna, Catherine character for educated women and paintings, sculptures, photographs O’Donnell and Nyapanyapa Yunupingu. men in China, Korea and Japan. In the and prints by renowned artists such These artists have created works Islamic world, where writing the Arabic as , Lucian Freud, Henri that have grown from memory and script is primarily associated with the Matisse and Louise Bourgeois.

ART 43 At the heart of the show lies the world’s most famous image of erotic love, Auguste Rodin’s sculpture The kiss 1901–04. Never before has this work from Tate’s collection left Europe. Other notable works include Pierre Bonnard’s The bath 1925, Picasso’s Nude woman in a red armchair 1932 and Ron Mueck’s Wild man 2005. Each artist in the exhibition offers a different way of looking at the naked human body. Some look tenderly; some idealise it; some look anxiously or politically. Together they show how the nude in art has persisted yet changed, shifting shape and acquiring new meanings in the hands of successive generations, from the idealising painters of the Victorian era to the artist-provocateurs of our time. Nude: art from the Tate collection is a spectacular tour through many major art movements, including , , expressionism, realism, surrealism and feminism. It is also a story of beauty, truth, desire, vulnerability and human drama.

Art from Milingimbi: taking memories back 12 November 2016 – 29 January 2017 In the 1950s there was a strong artistic community working at Milingimbi, producing jewel-like works on barks as well as fine wooden sculptures and exquisite weavings. Binyinyuwuy, Lipundja and Djawa are three exceptional artists from Milingimbi whose works are highlights of the Gallery’s Milingimbi collection. This exhibition will showcase bodies of work by these men, alongside many of their peers and the broader Milingimbi collection, highlighting the strength and diversity of practice from this small island in central Arnhem Land at that particular moment.

44 ART GALLERY OF NSW ANNUAL REPORT 2015–16 People EXECUTIVES

DIRECTOR DEPUTY DIRECTOR AND DIRECTOR OF FINANCE AND DIRECTOR OF PUBLIC Dr Michael Brand DIRECTOR COMMERCIAL OPERATIONS/ ENGAGEMENT OF COLLECTIONS CHIEF FINANCIAL OFFICER BA (Hons), MA, PhD (History) Ms Jacquie Riddell Ms Suhanya Raffel Mr John Wicks Michael Brand joined the Art BA, Dip Museum Studies B Bus, FCPA Jacquie Riddell joined the Gallery of New South Wales Gallery in 2014. Her entire John Wicks joined the Gallery as director in June 2012. Prior Suhanya Raffel joined the career has involved senior in 2008. He is a fellow of the to his appointment, he was Gallery in 2013. Previously, leadership positions within Australian Society of Certified consulting director of the new she was at the Queensland cultural institutions and she is Practising Accountants, a Aga Khan Museum under Art Gallery | Gallery of highly experienced at audience member of the NSW Public construction in Toronto and Modern Art (QAGOMA), development, creative direction, Sector Community of Finance scheduled to open in 2014. Brisbane, where she held strategy development, content Professionals Advisory Board, From 2005 to 2010, he was many senior curatorial creation, programming, brand and holds a Bachelor of director of the J Paul Getty positions since 1994, development and marketing Business with an accounting Museum in Los Angeles, including deputy director and communications. As the major from Charles Sturt leading both the Getty Center of curatorial and collection director of marketing at SBS, University. He spent ten and Getty Villa sites and development from 2010 she created, programmed years in the banking and establishing its new Center and acting director during and launched national arts finance sector in Australia and for Photography. Previously, 2012. She was instrumental television channel STUDIO, and overseas and has over 20 he was director of the Virginia in building its contemporary developed the organisation’s years’ experience in the arts Museum of Fine Arts in Asia Pacific collection and content strategy for television, sector, including as executive Richmond from 2000 to 2005; led its Asia Pacific Triennial radio and online as well as the director, finance and services assistant director of curatorial of Contemporary Art (since multi-award-winning brand at the Australia Council for the and collection development at 2002) as well as major platform ‘Six Billion Stories Arts in Sydney and thereafter the Queensland Art Gallery in curatorial projects such as and counting …’. At the ABC, as chief financial officer at the Brisbane from 1996 to 2000; Andy Warhol (2007–08) and she led the Triple J network, Cultural Facilities Corporation curator of Asian art at the The China project (2009). including spearheading the in Canberra. His last position National Gallery of Australia Ms Raffel was a member of expansion of the network to was chief financial officer at in Canberra from 1988 to the Asian Art Council at the 44 regions across Australia, Hurstville City Council. 1996; and co-director of Guggenheim Museum, New and was instrumental in the Mr Wicks is the chief the Smithsonian Institution York (2009–14), and serves on establishment of the Hottest financial officer and company Mughal Garden Project in the boards of the Australia– 100, Unearthed and Beat secretary for the Art Gallery of Lahore, Pakistan from 1988 China Council, Department the Drum projects. She has NSW Trust, the Art Gallery of to 1993. of Foreign Affairs and also held the role of general Trade, Canberra and Griffith NSW Foundation, VisAsia and Dr Brand currently serves manager of Foxtel’s music University Asia Institute, the Brett Whiteley Foundation. on the Visiting Committee of television channels group, Brisbane. He is also responsible for the Harvard Art Museums leading a large production team finance, administration, and the International Advisory Ms Raffel is responsible for in the creation of new television human resources, corporate Board of the State Hermitage all curatorial areas including channels, documentaries and governance, legal services, Museum in St Petersburg. Australian and international live television productions. She information technology/audio He is a past member of art as well as conservation, is on the board of the Australia– visual, procurement, security the Governing Board of the registration, collection Korea Foundation for the and risk management, Courtauld Institute of Art in management, exhibition Department of Foreign Affairs building services and the London. management, photography, and Trade. the research library and Gallery Shop. Ms Riddell is responsible archives, and the Brett for public engagement, Whiteley Studio. including public programs, learning and participation, web/digital content, marketing and communications, design and publishing, and for liaising with the Gallery’s membership organisation.

46 ART GALLERY OF NSW ANNUAL REPORT 2015–16 DIRECTOR OF DEVELOPMENT Director Directorate Government relations Michael Brand Mr John Richardson Sydney Modern Project MA (Arts Administration), BA (Economics) Deputy Director/Director Australian art/Brett Whiteley John Richardson joined the of Collections Studio Gallery in 2014. A thought Suhanya Raffel International art leader and commercial Collection management strategist, he is deeply Conservation committed to building, Exhibition management/ maintaining and growing installation corporate partner and Photography benefactor relationships. He Research Library and Archives has worked at Back Row Registration Productions and the New 42nd Street Project and most recently was the chief Director of Finance and Administration commercial officer at the South Commercial Operations/ Building services Sydney Rabbitohs where he Chief Financial Officer Finance worked for eight years, turning John Wicks Gallery Shop the off-field business pillars Human resources into one of the benchmark commercial administrations in Information and communication technology/ Australia. audio visual services Mr Richardson is Corporate governance responsible for business Legal development, philanthropy, Procurement corporate partnerships, venue Security and risk management management, the restaurant Company secretarial services and café, and will be heading up the private capital Visitor engagement services campaign to realise the Sydney Modern Project vision. Director of Public Design Engagement Digital engagement Jacquie Riddell Learning and participation Marketing and communications Membership Publishing

Director of Development Philanthropy John Richardson Business development Foundation Venue management, café and restaurant

PEOPLE 47 BOARD OF TRUSTEES

PRESIDENT VICE-PRESIDENT MEMBER MEMBER Mr David Gonski AC Dr Mark Nelson Mr Geoff Ainsworth AM Mr Khadim Ali B Com, LLB, FAICD (Life), B Sc (Hons), MPhil, PhD BA (Hons), MA (Counselling), FCPA, Hon LLD (UOW) Dip Fin Mgt, FAICD Khadim Ali is an internationally Mark Nelson is a founder acclaimed contemporary David Gonski is chairman and chief investment officer Geoffrey Ainsworth is a artist. Born in Quetta, of the Australia and New of the Caledonia Investment director of the Bundanon Pakistan, of Hazara ethnicity Zealand Banking Group Ltd Group and a director of the Trust, a director of Benthic (a minority group from and Coca-Cola Amatil Ltd. Caledonia Foundation. He is Geotech Pty Ltd, and a Afghanistan), he moved to He is also chancellor of the a director of Art Exhibitions former director of Aristocrat Australia on a Distinguished University of New South Australia and Kaldor Public Leisure Ltd. He is a member Talent Visa and is now based Wales; chairman of the UNSW Art Projects; a trustee of the of the Council of the Sydney in Western Sydney. Mr Ali Foundation Ltd; a member of Sydney Australian Football Symphony Orchestra and a was trained in the tradition of the ASIC External Advisory Association; and governor patron of a number of cultural Persian and Indian miniature Panel and the board of the of the Florey Neuroscience and charitable initiatives, painting and graduated from Lowy Institute for International Institutes. including the Asia–Australia the National College of Arts Policy; and a patron of Arts Centre, a former member in Lahore, Pakistan. His the Australian Indigenous Initial date of appointment of the Venice Biennale works are in the collections Education Foundation 10 February 2010; expiry of Commissioner’s Council and of leading galleries and and Raise Foundation. Mr current term 31 December a former trustee of the Art museums, including the Gonski was previously a 2018. Gallery of NSW Foundation. Victoria and Albert Museum, member of the Takeovers Mr Ainsworth is also an British Museum, Guggenheim

Panel; director of Singapore internationally known art Museum, Australian War Airlines Limited, the Westfield collector. Memorial Museum and the Art Group and Singapore Gallery of New South Wales. Telecommunications Limited; Initial date of appointment He has won the Qantas and chairman of the Australian 10 February 2010; expiry of Foundation’s Encouragement Securities Exchange Ltd, the current term 31 December of Australian Contemporary Guardians of the Future Fund, 2018. Art Award and a fellowship the Sydney Theatre Company, from the Australia Council. the National Institute of Dramatic Art, the Australia Initial date of appointment Council for the Arts, the 1 January 2015; expiry of Board of Trustees of Sydney current term 31 December Grammar School and Investec 2017. Bank (Australia) Ltd. He was also previously president of the Art Gallery of NSW Board of Trustees from 1997 to 2006.

Initial date of appointment 1 January 2016; expiry of current term 31 December 2018.

48 ART GALLERY OF NSW ANNUAL REPORT 2015–16 MEMBER MEMBER MEMBER MEMBER Mrs Ashley Dawson- Professor S Bruce Dowton Ms Samantha Meers Ms Gretel Packer Damer AM MB BS MD FACMG FRACP BA, LLB, MLitt, FAICD Gretel Packer is currently A director of Yuills group Professor S Bruce Dowton Samantha Meers is executive chair of the advisory of companies since 2000, is the vice-chancellor of deputy chairman of property board for Crown Resorts Ashley Dawson-Damer has Macquarie University. He and investment group the Foundation Limited and a been a Festival of Sydney is a paediatrician, clinical Nelson Meers Group, and trustee of the Sydney Theatre board director and alternate geneticist, molecular biologist, co-founder and trustee of the Company Foundation. She for the NSW Premier since researcher and academic. Nelson Meers Foundation. is the founding patron of the 2012, a member of the He has served as a senior Over the past decade, Taronga Zoo Conservation National Gallery of Australia medical executive at a range Ms Meers has also held a Science Initiative and founding Council since 2005, a trustee of universities, healthcare diverse portfolio of board governor of the Taronga of the National Gallery institutions and consulting appointments across the Zoo Foundation. Previously, Foundation since 2004, organisations. Mostly notably, not-for-profit sector. Her she was a member of the and a member of the Opera he served as a paediatrician current directorships include: Royal Botanical Gardens Australia Capital Fund Council at the Massachusetts deputy chairman of Creative Foundation and a director of of Governors since 2005. General Hospital for Children, Partnerships Australia; a the Royal Hospital for Women She has also been a patron and Clinical Professor of director of the State Library Foundation. and benefactor of the Sydney Paediatrics at Harvard of NSW Foundation, The Children’s Writing Competition Medical School. Professor Climate Institute and the Initial date of appointment since 2002. She was Dowton serves on a number Sherman Contemporary Art 5 February 2014; expiry of previously a board member of boards, and is the chairman Foundation; and a member current term 31 December of the National Institute of of Open Universities Australia. of the Advisory Council of the 2016. Dramatic Arts from 1997 to He was born in Ivanhoe, NSW, Centre for Social Impact at 2003, trustee of the Museum and raised in Dubbo before the University of New South of Sydney Foundation from moving to Sydney as the first Wales. Previously, Ms Meers 1995 to 1999, and member of in his family to go to university. practised as a corporate the Acquisitions Committee lawyer, subsequently holding for the Australiana Fund from Initial date of appointment senior management positions 1993 to 1994. 1 January 2015; expiry of in the media sector. current term 31 December Initial date of appointment 2017. Initial date of appointment 26 February 2014; expiry of 1 January 2011; expiry of current term 31 December current term 31 December 2016. 2016.

PEOPLE 49 MEMBER MEMBER MEMBER Mr Ben Quilty Mr Andrew Roberts Ms Eleonora Triguboff BA (Visual Arts), B Des (Vis BA (Art History), AAS Com) Andrew Roberts is principal of RF Capital Pty Ltd, a private Eleonora Triguboff established Ben Quilty is a practising investment office, and a a career as a sculptor in the artist and Sydney College of major shareholder in CorVal 1980s, exhibiting in New York, the Arts graduate. He also Partners, a property funds Europe and Japan. In 2003 graduated from the University management business. He she became publisher and of Western Sydney School of sits on the advisory council of editor-in-chief of the quarterly Design and has completed the University of NSW Faculty publication Art & Australia. studies in Aboriginal culture of Business. Previous roles In this role, she developed and history through Monash include CEO of the Multiplex initiatives such as the Art & University, Melbourne. His Group, and board roles on Australia/ANZ Private Bank work is held in numerous various philanthropic and Contemporary Art Award, the institutional collections arts organisations including Gertrude Contemporary Art including the Museum of the Australian Museum, MCA Spaces and Art & Australia Contemporary Art, Sydney, Foundation and the University Emerging Writers Program, Art Gallery of South Australia of WA Business School. an annual 25/25 magazine and Art Gallery of New with Noise, and the New Word South Wales. He has won Initial date of appointment Order writing competition for numerous awards in Australia 5 February 2014; expiry of secondary school students, including the Archibald Prize, current term 31 December now Artwrite, with the Art Doug Moran Portrait Prize, 2016. Gallery of New South Wales. Redlands Westpac Art Prize, She set up the Dot Publishing National Self Portrait Prize imprint to produce art and and Brett Whiteley Travelling design titles, the first of which Art Scholarship. Quilty has – Current: contemporary guest lectured extensively and art from Australia and New is a former board member of Zealand – was launched in Artspace in Woolloomooloo. November 2008. She is a council member of the Animal Initial date of appointment Protection Institute. 1 January 2013; expiry of current term 31 December Initial date of appointment 2018. 16 July 2008; expiry of current term 31 December 2016.

50 ART GALLERY OF NSW ANNUAL REPORT 2015–16 There were six meetings of SYDNEY MODERN PROJECT BOARD OF the Acquisitions and Loans Sub- TRUSTEES JOINT STEERING SUB- Committee between July 2015 and COMMITTEE MEETINGS June 2016. Trustee attendances were There were seven meetings of the as follows: Geoff Ainsworth (chair) (6/6); ATTENDANCES AT Sydney Modern Project Joint Steering Mark Nelson (5/6); Eleonora Triguboff Sub-Committee between July 2015 BOARD OF TRUSTEES (5/6); Gretel Packer (5/6); Samantha and June 2016. Meers (5/6); Ben Quilty (6/6); Khadim MEETINGS Trustee attendances were as Ali (5/6). There were six meetings of the Board follows: Guido Belgiorno-Nettis (chair of Trustees during the period July 2015 AUDIT AND RISK SUB- until December 2015) (4/4); David to June 2016. COMMITTEE Gonski (chair from January 2016) (3/3); Mark Nelson (4/7); Andrew Roberts Trustee attendances were as The Audit and Risk Committee is (5/7); Eleonora Triguboff (7/7). follows: David Gonski (3/3); Guido responsible for overseeing and Belgiorno-Nettis (3/3); Mark Nelson providing guidance on both strategic (6/6); Geoff Ainsworth (5/6); Eleonora SYDNEY MODERN CAPITAL and operational risk-management CAMPAIGN COMMITTEE Triguboff (6/6); Samantha Meers (6/6); matters. It oversees all audit There were five meetings of the Sydney Ben Quilty (6/6); Gretel Packer (5/6); matters, submits reports and makes Modern Capital Campaign Sub- Andrew Roberts (4/6); Ashley Dawson- recommendations to the main Committee between July 2015 and Damer (6/6); Khadim Ali (4/6), Bruce board to enable it to discharge its June 2016. Trustee attendances were Dowton (5/6). responsibilities with regard to these as follows: Mark Nelson (chair) (5/5); Note: Guido Belgiorno-Nettis’ matters. David Gonski (1/2); Guido Belgiorno- term of appointment ended on 31 There were four meetings of the Nettis (2/3); Andrew Roberts (2/5); December 2015; David Gonski was Audit and Risk Committee between Gretel Packer (4/5); Bruce Dowton appointed president from 1 January July 2015 and June 2016. Trustee (2/5); Ashley Dawson-Damer (2/3). 2016. attendances were as follows: Guido Note: Guido Belgiorno-Nettis’ Belgiorno-Nettis (1/2); Bruce Dowton term of appointment ended on 31 BOARD OF TRUSTEES (2/2); Samantha Meers (4/4). SUB-COMMITTEES December 2015; David Gonski was Note: Guido Belgiorno-Nettis’ appointed president from 1 January The sub-committees generally term of appointment ended on 31 2016. comprise a subset of board members December 2015. Bruce Dowton was based on their respective areas of appointed to the committee from PUBLIC ENGAGEMENT interest and expertise. Relevant senior February 2016. SUB-COMMITTEE staff members and other experts The Public Engagement Sub are included, as appropriate. The FINANCE SUB-COMMITTEE Committee gives oversight to the sub-committees are responsible for The Finance Sub-Committee oversees various engagement strategies of the monitoring their respective areas and all financial aspects of the Gallery, Gallery. making recommendations to the full including budgeting, performance There were six meetings of the board for approval or otherwise. They monitoring and stewardship of assets. Public Engagement Sub-Committee usually meet in the lead-up to the main There were six meetings of the between July 2015 and June 2016. board meeting, at which the minutes of Finance Sub-Committee between Trustee attendances were as follows: their meetings are tabled. July 2015 and June 2016. Trustee Samantha Meers (chair) (5/6); Gretel attendances were as follows: Mark Packer (5/6); Ben Quilty (5/6); Eleonora ACQUISITIONS AND LOANS Nelson (chair) (6/6); Geoff Ainsworth Triguboff (3/6); Ashley Dawson-Damer SUB-COMMITTEE (5/6); Guido Belgiorno-Nettis (3/3); (5/6). The Acquisitions and Loans Sub- Andrew Roberts (3/6); Ashley Dawson- Committee plays an important role in Damer 4/6); David Gonski (3/3). overseeing the Gallery’s collections Note: Guido Belgiorno-Nettis’ policy. It considers curatorial proposals term of appointment ended on 31 on acquisitions, gifts, inward and December 2015. David Gonski was outward loans and, if applicable, appointed to the committee from de-accessions. Based on these January 2016. considerations, recommendations are made to the board for approval.

PEOPLE 51 STAFF PROFILE

SUMMARY OF SENIOR POSITIONS AS AT 30 JUNE 2016

Staff headcount in classifications 2013–14 2014–15 2015–16 Administration and clerical staff 276 244 244 Conservators 20 12 14 Curators and registrars 46 43 41 Education officers 6 7 8 General division staff 33 32 34 Librarians and archivists 5 6 8 Security staff 17 16 15 Senior officers 1 0 0 Senior executive staff 7 8 8 Total headcount 411 368 372

Effective full-time number Staff number 190 205 212

SENIOR EXECUTIVE REPORTING 2015–16 SENIOR EXECUTIVE REPORTING 2015–16

Band Female Male Band Range $ Average renumeration 2015–16 Band 4 0 0 $ Band 3 0 1 Band 4 441,201 – 509,750 0 Band 2 2 1 Band 3 313,051 – 441,200 441,200 Band 1 1 3 Band 2 248,851 – 313,050 274,000 Totals 3 5 Band 1 174,500 – 248,850 224,000 Totals 8

PARLIAMENTARY ANNUAL REPORT TABLES TRENDS IN THE REPRESENTATION OF WORKFORCE DIVERSITY GROUPS

Workforce diversity group Benchmark/target 2014 2015 2016 Women 50% 64.0% 64.2% 63.7% Aboriginal and Torres Strait Islanders 2.6% 0.0% 1.1% 1.7% People whose first language spoken as a child was not English 19.0% 9.5% 10.5% 11.8% People with a disability N/A 1.0% 1.5% 0.6% People with a disability requiring work-related adjustment 1.5% 0.0% 0.5% 0.6%

TRENDS IN THE DISTRIBUTION OF WORKFORCE DIVERSITY GROUPS

Workforce diversity group Benchmark/target 2014 2015 2016 Women 100 115 113 110 Aboriginal and Torres Strait Islanders 100 N/A N/A N/A People whose first language spoken as a child was not English 100 91 93 96 People with a disability 100 N/A N/A N/A People with a disability requiring work-related adjustment 100 N/A N/A N/A

Note 1: A Distribution Index of 100 indicates that the centre of the distribution of the workforce diversity group across salary levels is equivalent to that of other staff. Values less than 100 mean that the workforce diversity 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 workforce diversity group is less concentrated at lower salary levels. Note 2: The Distribution Index is not calculated where workforce diversity group or non-workforce diversity group numbers are less than 20.

52 ART GALLERY OF NSW ANNUAL REPORT 2015–16 EMPLOYEE WORK, HEALTH AND Community Language Allowance. As REMUNERATION AND SAFETY at 30 June 2015 the Gallery had staff officially designated as able to offer STAFF BENEFITS Number of work-related injuries assistance in Hindi, Polish, Italian, The Crown Employees (Public Sector resulting in worker’s compensation French, Mandarin and Indonesian. An Salaries) Award July 2015 provided a claims: 7 annual calendar of significant religious 2.5% pay increase to Gallery staff with Number of lost-time injuries: 5 and holy days was circulated to all effect from 3 July 2015. Number of work-related illnesses: 0 supervisors to enable scheduling of The Gallery continues to Prosecution under the OH&S Act: 0 employees’ commitments to meet their provide a range of staff benefits to The Gallery’s injury management religious obligations. employees. These include salary process is effective in returning workers Aboriginal and Torres Strait sacrifice for personal contributions to to pre-injury duties as quickly as Islanders represent 1.7% of the superannuation and salary packaging possible. This is reflected in reduced Gallery’s workforce, including for purchase of motor vehicles, and time lost and the capacity of the curatorial, which represents an staff scholarships. Gallery to provide suitable duties and increase from last financial year Other staff benefits include staff gradual return-to-work programs, of 0.6%. We continue to work on discounts at the Gallery Shop, on minimising time lost. The Gallery strategies for increasing the percentage Art Gallery Society membership, the actively implements injury management further in 2016–17. restaurant and café. The Gallery has by maintaining contact with injured also negotiated arrangements for staff workers, treating doctors and insurers. to access discounted parking at the Preventative measures such as flu Domain Car Park. injections are made available to all staff. The Gallery’s Work Health and STAFF TRAINING Safety (WH&S) Committee is an internal advisory body, meeting The Gallery is an active supporter of on a quarterly basis. It undertakes professional development of staff. Staff workplace inspections and reviews are supported through the provision of procedures and practices and, where study leave and flexible working hours appropriate, makes recommendations and work arrangements to enhance to management for improvements their academic qualifications. to minimise WH&S workplace risks. Internal training focused on Quarterly reports on the incidence of upgrading of Microsoft Office skills. accidents and worker’s compensation Sixty staff undertook skills training for claims are reviewed by the Committee Word and Excel. Fifteen management and the Trust’s Audit and Risk staff undertook training aimed at skills Committee. to achieve rapid consensus. Twenty staff across the Gallery were trained in INDUSTRIAL RELATIONS emergency response, including dealing with an active shooter incident. There were no industrial disputes All staff and volunteer briefings were during 2015–16. provided covering Safety Management WORKFORCE DIVERSITY at the Gallery as well as information about the Gallery’s revised Code of The Gallery continues to surpass Ethics and Conduct. the benchmark for the employment of women. At 64%, the Gallery EMPLOYEE ASSISTANCE maintained the same level as last PROGRAM financial year for the employment of women. This number still exceeds the For many years the Gallery has offered public sector benchmark by 14%. The employees a confidential counselling Gallery’s executive team maintained service, external to the Gallery. The the rate of 37% women and the counselling service is available to leadership team at 61% women. This all staff and their immediate family year 11.8% of the Gallery’s employees and provides counselling on a range identified as coming from a racial, of issues including interpersonal ethnic or ethnic-religious minority relationships, financial planning, stress group. A number of employees who and critical incident debriefing. The speak community languages assist current provider of counselling services other staff and visitors, earning a to the Gallery is Optum.

PEOPLE 53 Ideas The Greats: masterpieces from the Frida Kahlo and Diego Rivera: from PUBLISHING National Galleries of Scotland the Jacques and Natasha Gelman National Galleries of Scotland collection Nine titles were published in 2015–16, Oct 2015, 192 pp, hc, over 70 illus, Nicholas Chambers (ed) including five exhibition books, a rrp $39.95 Jun 2016, 92 pp, pb, over 60 illus, second co-publication with NewSouth rrp $29.95 ($24.95 Gallery price) Published in conjunction with the Publishing, a revised edition of exhibition of paintings, drawings and Published to support the exhibition, Margaret Preston with Thames & watercolours dating from c1495 to this publication includes an Hudson Australia, and The legacies of c1904 by some of the Western world’s introduction to the art and lives of Frida Bernard Smith by Power Publications most magnificent artists, including Kahlo and Diego Rivera as well as an (University of Sydney) in association Botticelli, Titian, El Greco, Velázquez, essay by each artist on the other from with the Gallery. Rembrandt, Vermeer, Monet, Sargent, the 1940s. The Gallery continued to grow Gauguin and Cézanne. its national and international reach The legacies of Bernard Smith: essays through trade distribution with two new When silence falls on Australian art, history and cultural titles – Tang and Frida & Diego – with Cara Pinchbeck with Amanda Peacock politics Dec 2015, 48pp, pb, 42 illus, rrp $16.95 published by Power Publications in direct sales of the latter to The Heard association with the Gallery Museum in Phoenix, Arizona. The second in the Gallery’s new Edited by Jaynie Anderson (University of The photograph and Australia contemporary exhibition project series, Melbourne), Dr Christopher R Marshall (March 15) by Judy Annear and this publication looks at the work of (University of Melbourne) and Dr Andrew designed by Matt Nix was shortlisted in artists from across the globe who Yip (AGNSW) the prestigious international Kraszna- contemplate, investigate and respond Jun 2016, 372 pp, pb, rrp $40 Krausz photography book awards and to the inherent violence of often This publication brings together included in an exhibition at Somerset unacknowledged events ‒ massacres, international academics to focus on House during Photo London in May ethnic cleansing, cultural displacement, everything Bernard Smith left his mark 2016. The book was also shortlisted for political force ‒ and provide a voice for on, including the definition of Australian best book in the Museums Australasia those who have been silenced. art, gallery scholarship and public art Multimedia & Publication Design education, museological practice, art Art Gallery of New South Wales 2015 Awards 2016. Mar 2016, 90 pp, pb, over 145 illus, free criticism, Australian art biography and local heritage. PUBLISHED TITLES A summary of the Gallery’s year and achievements. IN PRODUCTION 2015 Archibald prize Margaret Preston revised edition, Jo Litson Archibald prize (Jul 16) licensed to Thames & Hudson Jul 2015, 76 pp, pb, 51 illus, rrp $16 Deborah Edwards Close to home: Dobell Australian The 11th in the series of this ever- Mar 2016, 300 pp, hc plus CD-ROM, Drawing Biennial 2016 (Jul 16) popular title featuring the year’s richly illus, rrp $80 John Olsen: a recipe for art (Oct 16) Archibald finalists. First published by the Gallery in 2005, O’Keeffe, Preston and Cossington Smith: making modernism – a The idea of art: building a due to demand this title was re- licensed to Thames & Hudson Australia co-publication with Heide Museum of contemporary international art Modern Art (Sep 16/Mar 17) collection for a revised edition. Art Gallery of New South Wales Anthony Bond souvenir book Aug 2015, 192 pp, pb, 65 illus, Tang: treasures from the Silk Road (Oct 16) rrp $49.99; ePub $39.99 capital Nude: art from the Tate collection Published with NewSouth Publishing Cao Yin (ed) (Nov 16) Apr 2016, 168 pp, pb, over 120 illus, Art from Milingimbi: taking memories Anthony Bond is the former rrp $45.00 ($39.95 Gallery price) back (Nov 16) international art curator and head of Published in conjunction with the collections at the Gallery. Here, he exhibition, this publication includes maps out a way of thinking about essays by Cao Yin, Edmund Capon, Qi art of the late 20th century and Dongfang, Jessica Rawson and Zhang reflects on the guiding philosophies Jianlin, with spectacular archaeological that steered his formation of the findings, drawn from 11 institutions in Gallery’s international contemporary Shaanxi province including gold, silver, art collection, which includes artists glass, ceramics, sculptures and mural such as Francis Bacon, Anish Kapoor, paintings which demonstrate the high Anselm Kiefer, , Antony artistic achievements of this golden Gormley, Gerhard Richter, Doris age of China. Salcedo and Rachel Whiteread.

55 ART JOHN & ELIZABETH THE BULGARI ART PRIZES NEWHAM PRING AWARD MEMORIAL PRIZE This award has been established to Competitions for the 2015 Archibald, support contemporary Australian Wynne and Sulman prizes, sponsored Entries in the Wynne Prize are also painting. Each year, the Gallery will by ANZ, were held in July 2015. A total eligible for the John & Elizabeth identify a significant painting by a of 2003 entries were received, 110 of Newham Pring Memorial Prize. In 2015, mid-career Australian artist to be which were selected for display. the $250 prize was awarded to Viola Dominello for her work On the river. acquired for the collection. The award, 2015 ARCHIBALD PRIZE sponsored by Bulgari, consists of SIR JOHN SULMAN PRIZE $50,000 for acquisition of the painting The prize of $100,000 for portraiture and a residency for the artist in Italy The prize of $40,000 was judged by was awarded to Nigel Milsom for his valued at $30,000. The total award artist Lindy Lee and awarded to Jason work Judo house pt 6 (the white bird), of $80,000 makes it one of the most Phu for his work I was at yum cha a portrait of Sydney barrister Charles valuable art awards in Australia. The when in rolled the three severed heads Waterstreet. award is selected by the Art Gallery of of Buddha: Fear, Malice and Death. The People’s Choice competition, NSW Trustees and the head curator which asks the viewing public to vote YOUNG ARCHIES of Australian art. The 2016 recipient is for their favourite entry in the Archibald Jude Rae for her painting SL 359 2016. Prize, was won by Bruno Jean Budding artists between the ages of Grasswill for his portrait of Michael 5 and 18 years were invited to submit Caton. Grasswill received a $3500 a portrait for the Gallery’s inaugural cash prize as did the Gallery visitor Young Archie competition, as part of whose vote was drawn from all votes our family-focused activities for the cast for the winning artist. 2015 Archibald, Wynne and Sulman The Packing Room Prize gives the prizes exhibition. The portrait is to be Gallery staff who receive the entries of ‘a person who is special to you – for the Archibald Prize the chance to someone who is known to you and vote for their favourite portrait. In 2015, plays a significant role in your life’. the prize was awarded to Bruno Jean There are four age categories: Grasswill for his portrait of Michael 5–8, 9–12, 13–15 and 16–18 years. Caton, for which he received a $1500 The competition was judged by artist cash prize. Del Kathryn Barton, an Archibald Prize–winner in 2008 and 2013, WYNNE PRIZE and Victoria Collings, the Gallery’s senior coordinator of education and The prize of $50,000 for an Australian family programs, based on merit and landscape or figure sculpture was originality. There were 1284 entries awarded to Natasha Bieniek for her received for the 2015 prize. work Biophilia. Each finalist receives an ANZ TRUSTEES’ money box and 2015 Archibald prize WATERCOLOUR PRIZE catalogue. Each winner receives a $100 ANZ gift card, an art pack from Entries in the Wynne Prize are also Faber-Castell and a family pass to our eligible for the Trustees’ Watercolour major exhibition at the Gallery as well Prize. In 2015, the $2000 prize was as an ANZ money box and Archibald awarded to Max Miller for his work ‘The catalogue. world of dew is only the only the world The winner for the age category 5–8 of dew and yet … oh … and yet …’ was Daniel Harford. Kobayashi Issa (1763–1828). The winner for the age category 9–12 was Marium El-Hajj. The winner for the age category 13–15 was Ellie Arnott. The winner for the age category 16–18 was Harriet Mitchell.

56 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Audience VIDEO ONLINE includes accessible content for hard of DIGITAL hearing and deaf audiences via Auslan ENGAGEMENT Over 30 new videos were uploaded videos. Sponsored by VisAsia. onto Gallery’s YouTube and web ONLINE COLLECTION channel this year, including a series GET CLOSER TO FRIDA of shorts produced in conjunction After three and a half years of planning, ‘Get closer to Frida’ is a digital hub with the exhibitions Murruwagyu, developing and testing, a new enriched that was launched in June 2016 and The Greats, 2015 Archibald prize, online collection was launched in offers access to stories about Frida Tang, When silence falls and the July 2015. Pages on collection works Kahlo and Diego Rivera, their artworks, Biennale of Sydney. Other videos now include a wealth of contextual photos, video and special offers include a recording of international information including video, audio, associated with the exhibition Frida artists’ Jennifer Allora and Guillermo mapping, relevant shop product, Kahlo and Diego Rivera. Visitors will be Calzadilla’s Chalk performance in links to artist profiles, an ability to encouraged to access this information Sydney, as well as a performance of share and collect online material into while queuing and pre and post visit. Pedro Reyes’ artworks from the series ‘art sets’ and more alongside the Part of this project is an in-gallery Disarm. We continue to collect artist original curatorial data and image. This digital installation of six of Frida’s interviews for our Australian artists’ contextual information is designed personal letters that gives visitors the archive; the short Artist Nigel Milsom in to give visitors a sense of the person opportunity to read translations. behind the art as well as the time and his studio proved popular this year with place it was created. over 4000 views. A short we produced ARCHIBALD PEOPLE’S last year in conjunction with the Pop to CHOICE COMPETITION ARTIST PROFILES popism exhibition, A guide to pop art, was again the most popular short of For the first time, People’s Choice Artist profiles were also launched the year, attracting 68,458 views. competitions were enabled for each of alongside the new collection interface our five touring exhibition partners to with 85 Indigenous artist profiles to PURE LAND – run in each venue alongside the touring be the first to go live; in many cases, TANG IMMERSIVE Archibald exhibition. The competitions these profiles provide the only content are run through a Gallery-built web online about these important historical The exhibition Tang: treasures from platform that is locked down so that and contemporary artists. These the Silk Road capital opened in April visitors can only complete their entry were followed by a further 50 artist 2015 and featured Pure Land: inside when leaving the exhibition having profiles from the Australian collection, the Mogao Grottoes at Dunhuang, an seen the works up close. There including most of our most popular immersive interactive installation of winners differed across regions: the and searched for names. Many of the one of the UNESCO World Heritage Art Gallery of Ballarat and the Manning profiles feature rarely seen portraits listed Mogao Grottoes, known as the Regional Gallery’s people’s choice sourced predominantly from the Caves of the Thousand Buddhas, was a portrait of Abbe May by Angus Gallery’s archives. now closed to public for conservation MacDonald; New England Regional reasons. Pure Land was developed Art Museum and the Blue Mountains EDUCATION WEBSITE in collaboration with Professor Sarah Cultural Centre’s winner was Jason Kenderdine (University of NSW), City A new online education section of the Benjamin’s portrait of Paul Kelly; the University of Hong Kong and the website was launched in May 2016 to Tweed River Art Gallery shared the Dunhuang Academy, China and was better represent the new programming same winner as the Art Gallery of New also the focus of a Vivid Ideas panel focus of the Learning and Participation South Wales – Bruno Jean Grasswill’s during the Vivid 2016 festival entitled team, including a new focus on access portrait of Michael Caton. ‘Art and experiential design: how and outreach. The online learning can exhibition design and immersive resources have been reimagined to NEW PAYMENT GATEWAY technologies help audiences engage give teachers access to the Gallery’s with the past?’ A new, more flexible online payment rich multimedia resources, such as the gateway was implemented to serve new collection works and artist profile CONVERSATIONS APP the Gallery’s ecommerce channels pages, the Gallery channel, art sets including the online shop, prize entries and tours, the INSIDEARTEXPRESS The Conversations app was developed and online donations. The new system and the prizes online archives, and to accompany the exhibition (Braintree.com) has vastly improved education-specific competitions and Conversations: through the Asian reporting and testing capabilities and scholarships. This replaces a very long collections and uses geolocation to most importantly allows the Gallery and out-of-date list of past education deliver audio, text and rich imagery to to accept repeat payments, which is kits. visitors depending on where they are important for the future development of in the exhibition. The audio features online donations and memberships. the voice of curator Justin Paton and

58 ART GALLERY OF NSW ANNUAL REPORT 2015–16 CULTURAL INSTITUTIONS Inside ARTEXPRESS (6%) and SOCIAL MEDIA DIGITAL SURVEY the Gallery Shop online (5%). The homepage received 6% of the traffic. Social networking channels continue A survey, Digital infrastructure, Eighty-three per cent of all online to play an increasingly important resourcing and governance, was visitations are from Australia, with 74% role in Gallery marketing and developed by the Gallery’s Digital of these from NSW. The percentage of communications. We are seeing high team and distributed to 70 cultural website users accessing the Gallery’s levels of interaction, sharing and institutions of similar size across the website via mobile devices (phone or communication with an extremely world. There were 52 particpating tablet) reached 44% this year, making engaged audience. Instagram is our institutions, with many offering to the mobile optimisation of all digital fastest growing channel, with our share further information on similar content more and more important. followers increasing by an impressive 213% over the last 12 months. planning in other institutions. The The most popular artists (by profile results of the survey were collated into page views rather than number of A key social media initiative this a report that was then distributed to works) were Tracey Moffatt, Tom year was a special partnership with the participating institutions, giving a Roberts, Margaret Preston, Brett Instagram for the Gallery’s very first snapshot of digital activity around the Whiteley, Grace Cossington-Smith, ‘Emptymeet’ event. The event saw world. This formed an integral part the Jeffery Smart, Arthur Boyd, Sidney key Instagrammers invited to The research undertaken for the Gallery’s Nolan, James Gleeson and Margaret Greats: masterpieces from the National Digital Strategy. Olley. Visitation to the Gallery’s pages Galleries of Scotland for an exclusive on Google Art Project (which includes exhibition viewing and promotion OVERALL VISITATION 464 works from the Gallery’s collection) across their influential Instagram Visitation to the Gallery’s website for this financial year was 73,434 accounts. Due to the success of the (including our mobile site) for this year sessions, 61,707 users and 158,518 event – with over 20,000 interactions was 3,173,848 sessions (9% increase), page views. across Instagram – we have held 2,089,497 users (17% increase; similar events for other exhibitions however, we have changed the way MESSAGING ONLINE including Frida Kahlo and Diego Rivera we collect users after an audit on our and will continue to incorporate this in The Gallery received 1466 messages future social media campaigns. metrics) and 11,208,178 page views from the general public through (4% increase). The highest number of the online ‘contact us’ form during SOCIAL MEDIA GROWTH sessions for any one day was 49,290 2015–16. Of these, 36% were for Facebook + 26% (109,600 fans) on 9 July 2015 when the winners of the general enquiries, followed by 13% YouTube +23% (4970 subscribers) 2015 Archibald, Wynne and Sulman for exhibitions, 11% for Archibald Twitter + 18% (46,700 followers) Prizes were announced. and other art prizes, 7% for events Instagram + 213% (62,500 followers) This year, the most visited part and programs, 7% for education and of the site was the prizes database 6% for the collection; the other ten online showcasing the finalists and categories made up the final 20% winners throughout the years of the combined. There were 104 website Archibald, Wynne and Sulman Prizes feedback submissions and 52 online and the Dobell Prize for Drawing reference enquiries to the Research (22%), followed by the collection online Library. (21%), ‘What’s on’, which includes the calendar of events, exhibitions and galleries (19%), education including

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Title Issues and frequency Subscriber numbers Artmail 15 (monthly plus specials) 179,500 Art After Hours 48 (weekly) 8300 Brett Whiteley Studio e-news 5 3200 Education update 2 1500 Tertiary update 3 2300 Gallery Shop 2 1200

AUDIENCE 59 Laing in conversation with academic theatre. The family activity space in LEARNING AND Donna West Brett, assistant curator the Colourwheel exhibition attracted PARTICIPATION Isobel Parker Philip and artist William 66,485 visitors, and 17,721 visitors Yang. This year, we developed a attended the Gallery Kids colour Learning and Participation programs new stream of programs based on and creativity festival across the at the Gallery provide vibrant and the permanent collection, including September/October 2015 two-week engaging art experiences for a diverse Thursday lunchtime talks and popular school holiday. Held in association range of visitors to the Gallery, from Saturday drop-in drawing sessions. We with principal sponsor State Street, first-time visitors to art enthusiasts also participated in several of Sydney’s the festival brought to life the most and artists, educational groups to premier cultural festivals, holding colourful artworks on display through specialised community and access three booked-out panel discussions commissioned live performances, groups. We strive to develop and in the Vivid Ideas festival on the music, films, talks, drawing workshops, deliver welcoming and stimulating future of galleries and museums, and guided tours and art-making programs and resources which commissioning a live painting project activities. Following the success of inspire curiosity, ignite imagination with artist Tom Polo for Spectrum Now. family programming this year, the and provoke new ways of thinking development of art-making activities in about the world. This year, our With live music, talks, workshops exhibitions will be continued in 2016–17 education programs engaged over and special events, our Art After Hours in conjunction with Indonesian artist 91,514 students and teachers; public program offers audiences a way to Eko Nugroho with the development of programs attracted 64,292 visitors; experience art and culture in a social an artist-designed zine activity. and family programs saw a record environment every Wednesday night. attendance of 108,319. Some of this year’s highlight celebrity The Young Archie competition speakers included writer Linda Jaivin, continued to grow in 2015–16 with EXHIBITION AND journalist Stan Grant, the Honourable 1284 entries from every state and COLLECTION PROGRAMS Michael Kirby, musician Simon territory in Australia. Archibald Prize– Tedeschi, writer Benjamin Law, and winning artist Del Kathryn Barton The dynamic suite of public broadcaster Rachael Kohn. In a special co-judged the competition, selecting programs accompanying the summer musical performance, Stu Hunter the winners of the four different age blockbuster The Greats successfully and his band performed on musical categories. The 20 finalists and their engaged a diverse and high-attending instruments created from disused families attended a special event in audience. Events included an artist’s guns by artist Pedro Reyes from the August to celebrate their success and recreation of a 19th-century oil exhibition When silence falls. Our for the announcement of the winners. painting, talks on select masterpieces Frida Kahlo–themed nights engaged The winner of the 16–18 year old within the exhibition, large-scale hundreds of visitors with colourful category was invited to talk about the drawing workshops and a fun series paper flower-making workshops experience on ABC News Breakfast. of talks on the history of European accompanied by the festive sounds The Gallery’s senior coordinator of art by comedian Hannah Gadsby. of Victor Valdes’ mariachi band, to education programs, Victoria Collings, In partnership with the Australian accompany the exhibition Frida Kahlo also spoke, talking to the value and Brandenburg Orchestra, classical and Diego Rivera. importance of artistic expression and music and art were brought together creativity in young people. in a series of special performances FAMILY PROGRAMS inspired by the exhibition, drawing a Family programming at the Gallery VISITOR EXPERIENCE crowd of over 2000 people over four continued to increase its popularity This year, the Visitor Experience team nights. Another programming highlight and reach with audience numbers was created to facilitate a vibrant and this year was for the exhibition Tang: rising from over 70,000 last financial engaging visitor experience for all treasures from the Silk Road capital. year to 108,319 this year. The number audiences, supporting the Gallery’s A major symposium on the art and of hands-on, drop-in workshops strategic objective to connect with culture of Tang dynasty China featured offered throughout the year on existing and potential audiences more local and international speakers, and Sundays and during school holidays effectively. This newly created team the exhibition closed with a sold-out increased, and dedicated exhibition was formed as part of an organisational concert from internationally acclaimed, activity spaces were created to allow restructure and encompasses all front- Grammy award-winning pipa player families to engage more closely with of-house operations including ticketing Wu Man, held in partnership with both the Gallery’s collection and and information; it also integrates and the University of Sydney’s Confucius visiting exhibitions. The specially supports the other teams across the Institute. designed family activity area in the Learning and Participation division. Our monthly photography talks Tang exhibition was highly successful, The hosts assist and support public, saw over 500 visitors engage with encouraging children to imagine community engagement and education our photography exhibitions and they were Silk Road travellers and programs to deliver outstanding visitor featured speakers including Rosemary make puppets for a shadow light-box experience.

60 ART GALLERY OF NSW ANNUAL REPORT 2015–16 The team relies on the ongoing as SBS Radio, Chinese, Japanese Australian art as well as to engage support of the volunteer committees and Korean radio, Korean community local, regional and remote Indigenous to deliver a wide range of support. The magazine and Nichigo Press (a audiences with the collections, volunteer committees help to ensure Japanese-language newspaper). resources and services of the that effective integrated communication As part of the 2016 City of Sydney Gallery. This year, Aboriginal and reaches the visitor-facing volunteer Chinese New Year Festival (6–21 Torres Strait Islander staff developed guides and the Art Gallery Society February), the Gallery presented a and implemented the ‘Guiding with Task Force, who support the children’s mix of free events to engage and Aboriginal and Torres Strait Islander programs, audience research and inspire visitors of all ages and abilities. Art at the Art Gallery of New South are on the concierge for the ticketed Events included English, Mandarin Wales’ protocols based on the recently exhibitions. and Cantonese tours of the collection, published ‘Aboriginal and Torres Strait family art-making activities, and an Islander Engagement Policy’. Ongoing VOLUNTEER GUIDES artist panel discussion with 2016 professional development and training PROGRAM festival curator Claudia Chan Shaw for Indigenous Gallery educators, artist educators and the Gallery’s volunteer The Gallery has approximately 150 and artists Laurens Tan, Tianli Zu guides focused on an informed volunteer guides who actively engage and Dongwang Fan, to discuss the and nuanced engagement with with visitors to our collections and inspiration and concepts behind each contemporary and historical Aboriginal exhibitions daily. The guides offer a of their lantern-inspired installations. and Torres Strait Islander art practice range of tours for the general public, A new position entitled Community and our collections. children and students, private groups Programs Producer was created and sponsors, and access groups as in 2016 to prioritise engagement Digital engagement is essential to well as presenting tours in Cantonese, with Western Sydney and the local the engagement strategy, with the Mandarin, Korean and Japanese. This communities of Woolloomooloo and creation of five new art sets and nine year, approximately 30,000 visitors Potts Point. The producer develops films for the Aboriginal and Torres Strait attended a guided tour. specific programs, projects and Islander Digital Media Archive. The exhibition Murruwaygu: following in the The Gallery supports the collaborations that will engage with footsteps of our ancestors, curated professional development of the both the Woolloomooloo and Potts by Wiradjuri/Kamilaroi artist Jonathan guiding team through ongoing training. Point arts precinct and community, and Jones, presented new research and In October 2015, approximately 20 Western Sydney–based communities, scholarship relating to Aboriginal art volunteer guides attended the four- organisations and regional galleries. history in the south-east of Australia. day 20th biennial conference of the One of the inaugural programs was a The exhibition was supported by Association of Australian Gallery gallery tour for parents from Condell a suite of programs including a Guiding Organisations in Adelaide, Park High School in Western Sydney, free public one-day symposium, entitled Engage with art, engage with a school involved in the Art Pathways demonstrations and talks as part of an audiences, engage with Adelaide. program. For the first time in Gallery artist residency by artists Roy Kennedy Participation in these conferences history, the tour, led by Sydney-based and Andy Snelgar, and talks by ensures professional development for contemporary artist Marian Abboud, significant Indigenous cultural figures the guiding cohort and the sharing of was conducted in both Arabic including journalist Stan Grant, actor industry best-practice between cultural and English. The visit provided an Jack Charles, Professor Joy Murphy organisations. opportunity for the families of students to engage with the Gallery, opening an Wandin AO, and artists Roy Kennedy, COMMUNITY PROGRAMS intergenerational dialogue. The tour’s Andy Snelgar and Simon Penrose. success will bring more parents and A series of five short films featuring The Community Ambassador program families from the community to the artists, historians, curators and other continued throughout 2015–16 with Gallery and has sparked conversation specialists were created to support the free Gallery Highlight guided with other schools in the area for a and interpret the exhibition content and tours and special exhibition tours of similar experience. to ensure a high-quality digital legacy. the 2015 Archibald prize, Go East, In partnership with the Arts Unit Matisse and the moderns, The Greats, ABORIGINAL AND (Department of Education) and Conversations through the Asian TORRES STRAIT Wagga Wagga Art Gallery, the Home: collections, Colourwheel, John Kaldor ISLANDER ART Aboriginal art from NSW program Family Collection, Our spirits lie in the PROGRAMS continued our engagement with water, See you at the barricades, When schools in Wiradjuri Country in Western silence falls and Tang conducted in Aboriginal and Torres Strait Islander NSW. The program expanded in 2016 Cantonese, Japanese, Korean and art programs have two broad under the name ‘Gulbalanha’ to include Mandarin. The ambassadors also objectives: to engage local, interstate 17 schools in the Wagga Wagga provided language-based content and and international audiences with the region, and to Dubbo Regional Gallery, publicity for local media and radio such Gallery’s collections of Indigenous with seven schools in the Dubbo

AUDIENCE 61 region. In July 2015, the Aboriginal and Technology, Sydney on the impact of OUTREACH Torres Strait Islander Art programs arts engagement for individuals with producer and the assistant curator of dementia was conducted in 2015–16; Art Pathways provides creative learning Aboriginal and Torres Strait Islander art the final report is due for release late opportunities for Year 5–12 students travelled to Wagga Wagga Art Gallery 2016. and teachers in Western Sydney. The to deliver a Teacher’s Professional The innovative creative arts program aims to create access to Learning Day in association with this ‘Momentum’ project was presented to the Gallery collection and resources next phase of the project. Twelve the public during the Art After Hours as well as connecting with the life regional schools visited the Gallery program in celebration of International of Western Sydney. Art Pathways on a virtual ‘e-excursion’ tour of the Day for People with a Disability, and includes Indigenous art education collection with curator Cara Pinchbeck, included a panel discussion exploring programs, low socio-economic status and artist Jonathan Jones. the arts and disability. Momentum school communities programs and Koori kwiz: the deadly art game was a unique four-month collaboration access programs for students with a show was hosted at Australian Catholic between Sunnyfield Disability Services disability. 2405 students and teachers University (Strathfield) this year, offering and the Gallery, funded by Arts NSW have been involved in the program so 182 primary and tertiary students the and Parramatta Council, and focused far, moving towards 2600 by the end opportunity to explore Indigenous art on 12 emerging artists with disability of 2016. Research and evaluation has and culture in a fun, accessible way. and/or acquired brain injury from begun by Western Sydney University Programs for NAIDOC Week 2015 Western Sydney. to see the impact of this program on students and teachers. included a series of ‘Drop-in and make’ In the past year, strong partnerships art-making workshops, performances have developed with organisations REGIONAL ENGAGEMENT by Aboriginal artist Adam ‘Blak such as Arts and Health Australia Douglas’ Hill, and a celebrity talk by the and the Arts Health Institute, with The Gallery is committed to supporting Honourable Michael Kirby on the role the Gallery hosting the International the needs of communities in regional of art in protest and change at Art After Arts & Health conference (November NSW. Each year, the Gallery hosts Hours. 2015) and the Music and Memory professional development days for (March 2016) NSW health program. educators and curators from regional ACCESS PROGRAMS The Gallery highlighted diversity galleries exhibiting the touring The Gallery is committed to creating and inclusion through developing Archibald prize, aiming to share ideas an inclusive environment through a programs in association with Seniors and provide networking opportunities. range of Access programs designed Week (April 2016), Youth Week (April Gallery staff share their expertise to enhance the participation of diverse 2016), Dementia Awareness Month across a range of programming and audiences of all ages and abilities (September 2015), Deaf Awareness resources that are produced annually. including visitors with physical, sensory week and International Day for Discussions centre on guiding or intellectual disabilities and mental People with a Disability (3 December). strategies, supporting education health conditions. This financial year, The Gallery also participated in the groups, using the online education 3007 individuals and carer partners inaugural Arts and Disability Expo, material and public programming. accessed specifically designed coordinated by Accessible Arts as Participants have the opportunity programs. a part of community consultation to experience various education programs, this year viewing the Study This year the Signing Art program and direct promotion to the disability Morning program with over 200 school was expanded, with deaf artists community. students. invited to present tours of temporary The Starting with Art program, exhibitions to the deaf community. The supported by Variety, the Children’s In August 2015, the Access Gallery has been widely praised by Charity, engaged 510 students with Programs Producer trained staff and the deaf community and key access disability this year. This artist-led volunteers at Mosman Regional Gallery organisations, the Deaf Society and experience engaged students with on developing strategies and programs Accessible Arts, for its innovation and works of art, creating opportunities for for individuals with dementia. This is community consultation in Auslan self-expression and social interaction. part of a larger engagement plan to program development. Teachers were provided with links to increase dementia programming in regional galleries. The Art & Dementia program art sets, and open-ended outcomes serviced 1047 individuals living with were encouraged in the program. dementia, support staff and carers, Access-awareness training was twice as many as the 2014–15 year delivered to new artist educators as (581). The Access volunteer guides part of staff training. were instrumental in delivering this volume of programming. A research project with the University of

62 ART GALLERY OF NSW ANNUAL REPORT 2015–16 SCHOOL PROGRAMS TERTIARY PROGRAMS FILM PROGRAM An invigorated schools program was The Gallery provides facilitated and The film program presents features, introduced to respond to changing independent visits for tertiary students documentaries and experimental film educational practice, curriculum and from a range of disciplines, especially in conjunction with major exhibitions at community expectations. With 21st- those in art history, studio practice and the Gallery. Encompassing the history century learning strategies in mind, museum studies. This financial year of cinema, the program specialises in a range of active and participatory 6494 students visited the Gallery as historically significant films which are programs for both the primary and part of their course work. screened using prints accessed from secondary school sector were Internships are an important public and private archives worldwide. developed in consultation with schools, component of student and early- From 17 June – 19 July 2015, in teachers and educational authorities. career professional development. This conjunction with the exhibition Go East, Led by a team of volunteer children’s year, the Gallery placed 22 interns in we screened a series of provocative guides and artist educators, 91,514 departments including conservation, cinema drawn from some of the most students and teachers participated in a curatorial, learning and participation, dynamic film industries in the world: range of creative education programs, registration, marketing, research library, Japan, Vietnam, Singapore, South including artist experience workshops, and business development. Korea, Hong Kong and China. The study mornings, volunteer adventures, Our annual Sydney Students Speak Taking flight film series included Mother art box sessions, teacher salons and program invites tertiary students from (director Bong Joon-ho, 2009), Election art lab professional learning programs. Sydney’s art schools and universities (director Johnnie To, 2005), Departures The annual ARTEXPRESS exhibition to present a public talk on an artwork (director Yōjirō Takita, 2008) and Be attracted 16,621 student and teacher of their choice. The program provides with me (director Eric Khoo, 2005) and visitors, 18% of the overall student and invaluable experience and training for Oldboy (director Park Chan-wook, teacher attendance at the Gallery. This a career in the arts. The eight students 2003). year, exhibiting students led lectures selected for this year’s program From 5 August – 30 September to inspire emerging senior visual arts discussed different abstract or 2015 we presented a comprehensive students. contemporary works in the collection. collection of features and Teachers’ professional learning The Gallery also awards several documentaries exploring cinema’s continued to be a priority, with scholarships and prizes to art students long engagement with social struggle high demand for a range of quality and artists. This year’s recipients were: and revolutionary culture. The Wild in programs across primary, secondary Robert Le Gay Brereton Memorial the streets film series, in conjunction and tertiary endorsed by the Board Prize: Yvonne East with the exhibition See you at the of Studies, Teaching and Educational barricades, included some of the Elioth Gruner Prize: Hannah Pembroke Standards NSW (BOSTES). New most powerful films ever made about programs such as teacher salons (for Basil and Muriel Hooper Scholarship: political and humanitarian struggle. Jannette Deng primary and secondary teachers) and Films included Attica (director Cinda art labs (primary teachers) offered Dyason Bequest: Jennifer Hou and Firestone, 1973), The patriot game one free registration to reduce the Simon Wilson (director Arthur Mac Caig, 1979), The financial pressure on school budgets. The 2016 recipients of the Studios 17th parallel (director Joris Ivens and This initiative resulted in capacity in Paris residences at the Cité Marceline Loridan Ivens, 1968), If … attendance at most events, with Internationale des Arts were: (director Lindsay Anderson, 1968), excellent feedback on the quality of Eva Breuer Travelling Art Scholarship: Paradise now (director Hany Abu- the program and increased school Elena Papanikolakis (Denise Hickey Assad, 2005) and Town bloody hall bookings as a result. The 2016 Koori Memorial Studio) (director, DA Pennebaker and Chris Art Teachers’ Day also reached Moya Dyring Memorial Studio: Anita Hegedus, 1979). This series was capacity, attracting a record 70 primary Holtsclaw, Elena Betros, Chris Dolman, particularly popular with the under-35s. and secondary public school teachers Sadie Chandler, Lynne Barwick and From 3 October – 25 October to the Gallery for an innovative Madeleine Preston 2015, in conjunction with The professional learning program in Denise Hickey Memorial Studio: Anna Japan Foundation, we presented partnership with the Department of Theresa McMahon and Kevin Platt a retrospective of the work of Kon Education. The rich program of talks Ichikawa. With an oeuvre ranging from and workshops featured presentations war films to family dramas, Ichikawa from well-known Indigenous artists, is one of Japan’s most significant curators and educators. Due to the directors. One of the highlights was program’s success, a repeat of the presenting a new 35mm print of his program was scheduled to meet the celebrated Tokyo Olympiad (1965) demand. – considered to be one of the finest documentaries ever made.

AUDIENCE 63 In conjunction with The Greats: masterpieces from the National Galleries of Scotland, a series of European cinema classics was screened from 11 November 2015 – 7 February 2016. Featuring historical dramas, literary adaptions and biographies, the series included the work of celebrated directors such as Ingmar Bergman, Pier Paolo Pasolini, Jean Cocteau, Jean Renoir, Andrei Tarkovsky, Roman Polanski and Werner Herzog. In conjunction with the Sydney Film Festival, the Gallery hosted a major retrospective of the work of American film director Martin Scorsese. Presented by David Stratton, the retrospective included Taxi driver (1976), King of comedy (1983), Raging bull (1980) and Goodfellas (1990) among others. Most sessions sold out. Screening in parallel with the 20th Biennale of Sydney, the Putting on a show film series explored the transformative power of theatrical performance to create illusion, alter perception and re-invent the everyday. Ranging from cinéma-vérité documentary to Hollywood musicals, highlights included Cabaret (director Bob Fosse, 1972), Santa sangre (director Alejandro Jodorowsky, 1989), The harder they come (director Perry Henzell, 1973) and Latcho drom (director Tony Gatlif, 1993). Offering a rare opportunity to experience the original cinematic scope and intention of filmmakers, the gallery audience took advantage of this unique opportunity to see films projected from original 16mm and 35mm prints. Throughout the year the film program presented a total of 82 features, documentaries and shorts with 25,109 people attending – an average of 210 people per screening session. The overall attendance was lower than previous years due to an 11-week break when no films were screened.

64 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Partnerships Sofitel Sydney Wentworth; and Variety, Paspaley Pearls: Program supporter CORPORATE the Children’s Charity. for Atelier PARTNERS The Gallery also receives Porter’s Original Paints: Official The Gallery is able to present high- substantial support from members of paint supplier and Support sponsor: calibre exhibitions, programs and the President’s Council and VisAsia Archibald prize and The Greats initiatives due to the strong support Council. The funds raised by these President’s Council of the Art Gallery of its family of sponsors and partners. bodies sustain many of the Gallery’s of New South Wales: Major exhibitions These organisations share the Gallery’s programs, particularly the Exhibitions program partner commitment to culture and are a vital program. Council members also Sofitel Sydney Wentworth: Official part of our vision for the future. provide a vital source of business hotel partner and Support sponsor: expertise and advice and we are We gratefully acknowledge the Archibald prize and The Greats extremely grateful for their enthusiastic support of all our sponsors and S&S Creative: Support partner: and loyal support of the Gallery. partners, who enabled us to raise education programs Partnership with the Gallery $3.7 million through sponsorship in UBS: Contemporary Art Partner: 2015–16. provides opportunities for the Contemporary Galleries corporate community to creatively Sponsorship retention remained Support sponsor: Starting with build their brand identity and to engage Variety: high during the year thanks to the Art with their clients and employees in a loyalty of our corporate partners and style that sets them apart from their VisAsia Council of the Art Gallery of the inclusion of several multi-year Asian exhibition competitors. Our position as a national New South Wales: sponsorship agreements, ensuring program partner icon, staging world-class exhibitions a greater degree of continuity and and cultural events, allows us to create stability for the Gallery. true, valuable and lasting partnerships. This year was the sixth year of the PRESIDENT’S With an exciting program of Sydney International Art Series – an COUNCIL upcoming exhibitions, community and ongoing partnership to bring the education initiatives, and strategically world’s most outstanding exhibitions to Members of the President’s tailored partnerships, there has never Australia. We acknowledge the support Council as at 30 June 2016 been a better time to be involved with received from the NSW Government President: David Gonski AC the Gallery. through Destination NSW. Membership We would like to make special Noel Condon – AIG mention of our leadership partners SPONSORSHIP Nigel Williams – ANZ Banking Group ANZ and EY whose significant support Limited enables us to present inspiring ANZ: Principal sponsor: Archibald, Jin Lin – Aqualand Wynne and Sulman prizes exhibitions such as the Archibald prize John Symond AM – Aussie Home and The Greats: masterpieces from the Aqualand: Presenting partner: Tang Loans National Galleries of Scotland. Baillie Gifford: Major partner: The Scott Nisbet – Baillie Gifford We welcome and thank our Greats Sandra Chipchase – Destination NSW new partners: Aqualand, for their City of Sydney: Support sponsor: Damian Hackett – Deutscher and groundbreaking support of Tang; Archibald prize and The Greats Hackett Paspaley Pearls, attached to our Destination NSW: Strategic partner: Tony Johnson – EY Next Generation cultivation program, The Greats Sean Aylmer, Darren Goodsir – Fairfax Atelier; Bailey Gifford with their major EY: Presenting sponsor: The Greats Media Limited partnership of The Greats; and Miles Bastick – Herbert Smith Freehills Fairfax Media: Media partner: Champagne Taittinger and McWilliam’s Archibald, The Greats Milton Samios – Investec Australia Wines. Limited Presenting Herbert Smith Freehills: Steve O’Connor – JCDecaux Australia Our presenting sponsors: Herbert partner: Asian Galleries; Major Andrew Best – J.P. Morgan Smith Freehills, our legal partner; J.P. sponsor: Tang and legal provider Morgan for its ongoing support of Martin Blake – KPMG Media partner: Archibald the Brett Whiteley Studio; Macquarie JCDecaux: Steven Lowy AM – LFG prize, The Greats and Tang for its commitment to the Australian Michael Cook – Macquarie Capital Galleries; and UBS for their continued J.P. Morgan: Presenting sponsor: Brett Cathryn Carver – National Australia relationship with our Contemporary Whiteley Studio Bank Galleries. Macquarie: Presenting sponsor: Wayne Spanner – Norton Rose In addition, we thank our generous Australian Art Collection Fulbright and loyal supporters: City of Sydney, McWilliam’s Wines and Champagne Michael Bracher – Paspaley Pearls Fairfax Media, JCDecaux, Porter’s Taittinger: Support partners: Archibald Shaun Bonett – Precision Group of Original Paints, official hotel partner prize Companies Peter Allen – Scentre Group

66 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Alfred Moufarrige OAM – Servcorp night. As this is the first acquisition Photography Collection Benefactors Ryan Stokes – Seven Group Holdings made since the Foundation received (PCB) – Pat Brassington, The Tim Church – UBS AG Australia a major bequest from John Fairlie branching 2015 Andrew McDonald – Westpac Banking Cuningham, Cuningham’s name has Australian Prints Drawings & Corporation been listed alongside all references to Watercolours (PDW) – Sydney Ure the work, including the wall label and Smith, Top of King Street 1915 and The VISASIA online listing, in recognition. building of HMAS Adelaide (The bows) COUNCIL The Foundation publishes its own 1918 biannual newsletter, containing details BEQUESTS VisAsia Council members as at of recent acquisitions, arts-based 30 June 2016 activities and events, a listing of new The Gallery’s acquisition programs last Chairman: Warwick Johnson – Optimal members and a financial summary. year were again given considerable Fund Management A copy of the Foundation’s financial support through bequest funds, most reports is also available on the Gallery’s notably from the estates of John Fairlie Membership website: http://www.artgallery.nsw.gov. Cuningham, Stephen Watson and Dr Stephen Menzies – Ashurst au/about-us/corporate-information/ Janet Carr. The Cuningham bequest of Bill Ferris AC, Su-Ming Wong – CHAMP annual-reports/foundation/ over $16 million is the largest bequest Ventures ever received by the Foundation, and Philip Cox AO – Cox Richardson COLLECTION the Watson bequest of over $6.5 Seng Huang Lee – Mulpha Australia BENEFACTORS AND million is the second largest bequest Yixu Lu, Jeffrey Riegel – the University OTHER SUPPORT ever received by the Foundation. of Sydney GROUPS William Purcell – University of RECOGNITION Technology, Sydney Many departments within the Gallery Michael Sternberg – Valiant Hire have their own support group to help Donors of both works of art and cash, Judith Neilson AM – White Rabbit raise funds either for their collection or, and supporters who have pledged Gallery in the case of the Research Library and a bequest to the Gallery or to the Archive, Conservation, and Learning Foundation, are in most instances INDIVIDUAL and Participation departments, for offered acknowledgment through GIVING special projects. Members of all groups membership of the Foundation and an who pledge a minimum commitment invitation to have their names included of $1800 per year for four years on the Foundation’s honour board in ART GALLERY OF NSW a category and for a length of time FOUNDATION are deemed to be members of the Foundation and are entitled to have commensurate with their gift. They are The Art Gallery of NSW Foundation their names listed on the Foundation’s also invited to Foundation events. continues to raise funds to support honour board for the duration of their the Gallery’s acquisition program. Its support or as otherwise agreed. The PHILANTHROPY AND policy is to invest its capital and use the minimum annual commitment was BEQUESTS RECEIVED income to purchase works of art for the increased to $1800 from 1 July 2015; Life Governors as at 30 June 2016 Gallery’s permanent collection. $300 of this annual donation is directed The Gallery has acknowledged the to the Foundation’s endowment fund, The Foundation has over $52 million significant support of the following with the balance directed as the donor in funds under investment. With the individuals by appointing them as Life chooses – from either one of the income from these investments the Governors: Foundation has contributed over acquisition or resource groups, or the Franco Belgiorno-Nettis AC CBE; $38 million to acquire 36 works for endowment fund. Joseph Brender AO; Jillian Broadbent the collection since 1984. The majority Examples of works acquired AO; Edmund Capon AM OBE; Rowena of these works were funded exclusively in whole or in part with collection Danziger AM; Ken Cowley AO; James by the Foundation; however, in recent benefactor groups’ funds last year Fairfax AC; Brian France AM; James years, with the price of the major include: Gleeson AO & Frank O’Keefe; Michael Gallery acquisitions being in the many Aboriginal Collection Benefactors Gleeson-White AO; David Gonski AC; millions, funding is often a combination (ACB) – Fred Grant, Kulpitjara 2014; Mollie Gowing; Shosuke Idemitsu; of Foundation and other sources, such Brook Andrew, Possessed III and IV Richard Johnson AO MBE; James Leslie as bequest funds and targeted 2015 AC MC; Frank Lowy AC; John Morschel; fundraising. Contemporary Collection Benefactors Rupert Murdoch AC; Kenneth Myer AC The most recent acquisition to (CCB) – Richard Tipping, Hold up DSC; J Hepburn Myrtle CBE; Margaret which the Foundation was the sole ahead 1983 2004, Wrong day 2012 Olley AC; John Olsen AO OBE; Max contributor is Yasumasa Morimura’s 2015 and Caution – there is no avant- Sandow AM; John SchaefferAO ; 2013 series Las meninas reborn in the garde 1993 2012

PARTNERSHIPS 67 Julie Schaeffer; Edward SternbergAM Andrew Klippel; Sophie Landa; Brian Society programs were well attended & Goldie Sternberg; Fred Street AM; Ladd; Mr & Mrs Teck-Chiow Lee; with 45,555 people attending 446 Diana Walder OAM; Peter Weiss AO; Adrian Claude Lette; Frank Lowy AC; events. The 2016 Art Appreciation Neville Wran AC QC; John Yu AC Jim Masselos; Jacqueline Menzies lecture series was fully subscribed OAM; David Moore; Catriona & Simon and the theme of ‘Collections and ART GALLERY OF NSW Mordant AM; Lewis Morley OAM; Carole collectors’ was found to be a rich FOUNDATION Muller; Judith & Kerr Neilson; Susan & source for content. Classes for children Garry Rothwell; Mrs GF Williams (Jean); were extremely popular, with 66 Kids The Gallery has acknowledged major Dr John Yu AC & Dr George Soutter AM Club workshops for 5–8 year olds and gifts and bequests of both works and 55 Art Club sessions for 9–12 year olds money (including pledged bequests) NEW BEQUESTS taking place. 1650 children attended through membership of its Foundation. and the average attendance rate was The three highest levels of Foundation The Trust received one new bequest 99% for Kids Club and 75% for Art membership, as at 30 June 2016, are this financial year from Lawrence Club. listed below: Hinchliffe, ‘to acquire a maritime- themed Australian or European International tours continue to be Life Benefactors painting’. popular, however, some destinations James Agapitos OAM & Ray Wilson The major bequests this year were reconsidered due to security OAM; Geoff Ainsworth AM & Jo were left to the Art Gallery of NSW concerns. There were 14 tours which Featherstone; Art Gallery Society of Foundation – see ‘Individual Giving’. included two to Eastern Europe, one NSW; Belgiorno-Nettis Family; Mary- to the Caucasus, five to Europe, one to Jane Brodribb; Maurice Cashmere; ART GALLERY SOCIETY the Middle East, three to Asia and two Ken Coles AM & Rowena Danziger OF NSW to the United States. AM; Crown Resorts Foundation; Les Moseley resigned as Society John Fairlie Cuningham; Sir William The Art Gallery Society of NSW was president in December and Brian Ladd, Dobell Foundation; Mr JO Fairfax AC; established in 1953 and is a public vice president, was elected president in James Gleeson AO & Frank O’Keefe; company limited by guarantee. the new year. Executive director Judith Mollie & Jim Gowing; Walter Hartwig; Its purpose is to provide a range White retired in December and Ron Dr Elizabeth Hazel; Mary Heseltine; of services and programs to its Ramsey commenced in the position in Mervyn Horton; John Kaldor Family; 27,000 members and to support the February. Yvonne Buchanan May & Hugh Gallery through financial assistance Buchanan May; Margaret Olley AC; for acquisitions, programs and Packer Family Foundation; Kenneth exhibitions – opportunities to enhance R Reed AM; Charles & Denyse Spice; the experience of the Gallery for our Mary Eugene Tancred; Peter Weiss AO; members and the public. Beryl Whiteley OAM In 2015–16 financial contributions Gold Benefactors to works of art included Martin Lewis’s Stoops in the snow 1930 and John Jim Bain AM & Janette Bain; The Balnaves Foundation; Dr Janet Carr; Russell’s In the afternoon 1891. The Society’s Dagmar Halas Bequest Susan Chandler; Patrick Corrigan AM; John Anthony (Tony) Gilbert; Nelson provided funds for the purchase of Meers Foundation; Vicki Olsson; Roger Hilda Rix Nicholas’s Through the gum Pietri; Alan & Jancis Rees; Barbara trees, Toongabbie c1920 and Grace Cossington Smith’s Arums growing Tribe; Wendy Whiteley OAM; Lyn 1926. Williams AM; David George Wilson Once again the Society supported Benefactors the Art After Hours program with a Paul & Valeria Ainsworth; Robert donation of $240,000. This popular Albert AO RFD RD & Elizabeth Albert; evening continues to be extremely Kathleen Elizabeth Armstrong; James successful for both members and the Barker; Mr & Mrs PL Binnie; Jillian public. The Society provided $30,000 Broadbent AO; Andrew Cameron AM to Learning and Participation and & Cathy Cameron; William & Florence $12,000 to the Staff Development Crosby; Francine de Valence; Vincent Scholarship, which was awarded to Fairfax Family Foundation; Mr John Kuldeep Duhan, head of security and Gandel AO & Mrs Pauline Gandel; Gallery services. John M Gillespie; Judy & Michael The Task Force volunteers continue Gleeson-White AO; David Gonski AC to provide excellent support for Society & Orli Wargon OAM; Robert Quentin programs as well as to the public. Hole; Fraser Hopkins; Isa & Hal Jones;

68 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Art Gallery of NSW Trust President: David Gonski AC Director: Michael Brand Staff: 212 (FTE) Net assets: $1.6 billion as at 30 June 2016

Art Gallery of NSW Brett Whiteley VisAsia Art Gallery Society Foundation Foundation Chairman: of NSW Chairman: Chairman: John Meacock Warwick Johnson President: Brian Ladd Andrew Cameron AM Value: $2.5 million as at Value: $1.4 million as at Executive director: Value: $56 million as at 30 June 2016 30 June 2016 Ron Ramsey 30 June 2016 Established: 1994 Established: 1999 Established: 1953 Established: 1983

Non-controlled entity Non-controlled entity Non-controlled entity A separate legal entity controlled ABN/gift deductible status ABN/gift deductible status ABN/gift deductible status and operated by the Society’s Council and members. Enabling legislation: Art Gallery Enabling legislation: Brett Enabling legislation: VisAsia of NSW Foundation Trust Whiteley Agreements 1994; Constitution 1999; incorporated The Art Gallery Society of New Deed 1983 with subsequent incorporated entity entity South Wales produces its own amendments annual report. Michael Brand and Ashley Purpose: to promote and Purpose: to promote Asian arts Dawson-Damer AM are Gallery Purpose: to raise funds through encourage knowledge and and culture representatives on the Society’s donations and bequests, invest appreciation of the work of Board of Directors comprises: Council. funds and use the income to the late Brett Whiteley Gallery representatives: acquire major artworks for the Board of Directors comprises: Michael Brand (director); John Gallery Independent representative: Richardson Board of Trustees comprises: John Meacock (chair) Company secretary: John Wicks Gallery representatives: Andrew Gallery representatives: Brian Director/member Cameron AM; Julien Playoust Ladd, former Gallery head, representatives: Warwick (deputy chair); Kiera Grant; public programs; Wayne Johnson (chair), Steve Burdon; Alison Tarditi; David Maloney; Tunnicliffe Philip Cox AO; Simon Chan; Mark Hughes Company secretary: John Wicks Sharon Chen; Evan Hughes; Company secretary: John Wicks Brett Whiteley Estate members: Ann Proctor; Judith Donor representatives: Justin Anna Schwartz; Wendy Rutherford AM Butterworth; Anne Fulwood; Whiteley OAM VisAsia has its own audited Christopher Fullerton; The Brett Whiteley Foundation financial statements that are Robyn Martin-Weber; John has its own audited financial lodged with the Australian Schaeffer AO; John Sharpe; statements that are lodged with Securities and Investment Alenka Tindale; Alison Tarditi; the Australian Securities and Commission (ASIC). In Peter Braithwaite Investment Commission (ASIC) December 2008 the VisAsia Finance Sub-Committee: Board resolved to change Julien Playoust (chair); Alison its constitution and removed Tarditi; Kiera Grant; Christopher control of the VisAsia Board by Fullerton the Gallery. As the operating mandate of VisAsia remains unchanged and benefits are still directed to the Gallery, the financial statements of VisAsia continue to be consolidated into the financial statements of the Gallery.

PARTNERSHIPS 69 Platforms meets each year with the senior RISK managers of the external and internal POLICY MANAGEMENT audit team to discuss findings from DEVELOPMENT their review of statutory accounts and Risk management is essential to good During the year, the Gallery continued other audited areas. corporate governance. The Gallery to revise and refresh key policies is committed to a risk-management including the corruption prevention approach when implementing activities INTERNAL AUDITS policy and the protected disclosures under our corporate plan’s seven 2015/16 policy as outlined under ‘Risk key strategic areas. External risks, management’. their indicators and the management There were three internal audit reviews strategies that control them are part completed by Deloitte during the year: of the Gallery’s strategic management OTHER GALLERY processes. Internal risks are addressed GIFTS AND BENEFITS ENTITIES through policies, procedures and AUDIT The Gallery is responsible for providing internal controls. The objective of the audit was to administrative support to three other The Gallery’s strategic risks include: evaluate the effectiveness of managing entities, namely the Art Gallery of strategic financial management; gifts, benefits and hospitality within the NSW Foundation, the Brett Whiteley remaining competitive; reputation and Sponsorship and Philanthropy teams. Foundation and VisAsia. Each of impact; Sydney Modern; corporate these entities has a separate legal strategy; government relationships; BUILDING SERVICES structure established by a trust deed and stakeholder management. AND SYDNEY or incorporated with a memorandum The operational risks are: corporate MODERN PROJECTS and articles of association. Each governance; damage, loss or theft PROCUREMENTS has a board of trustees/directors, as of art work; security management; INTERNAL AUDIT determined by its enabling legislation. business continuity/disaster recovery; The board meetings are generally held information security management; The objective of the audit was to on a quarterly basis. The Art Gallery of contract and procurement evaluate the design and operating NSW Foundation also has a Finance management; performance effectiveness of the key controls Sub-Committee which monitors the management and succession planning; established to mitigate specific funds invested. The support provided operational financial management; risks, associated with procurements by the Gallery includes management, intellectual property; work health undertaken by the Building Services finance, corporate secretariat and and safety; legislative compliance; and Sydney Modern Project teams. general administrative services. and management of hazardous substances. DIGITAL INFORMATION The Gallery’s risk-management SECURITY POLICY CUSTOMER SERVICE framework is managed in accordance INTERNAL AUDIT DELIVERY with the NSW Government’s Internal The objective of the audit was to Audit and Risk Management Policy In accordance with our pledge of evaluate the activities the Gallery has (Treasury Policy Paper: TPP 15–03). service, visitors to the Gallery are undertaken to meet the requirements The mandatory annual attestation invited to leave praise, criticisms and of the DISP and highlight any certification is included below. suggestions at the information desk identified potential gaps in meeting the via the Visitor Response Register. The Audit and Risk Sub-Committee requirements. In 2015–16, 665 comments were confirmed the setting of the Gallery’s Recommendations from the audits received in writing and via email. internal audit program and risk profile are implemented by management on Overall, there were 232 positive for 2015–16 and regularly reviewed an agreed timeframe, as resources comments, 343 negative comments work health and safety quarterly allow. The Audit and Risk Sub- and 90 suggestions. Comments reports. Committee review and monitor are responded to by reception desk Work undertaken in policy and implementation of internal audit review officers and referred to a relevant procedure areas included reviews of findings. senior staff member for their reference the Art Acquisition Policy, Exhibition or action, as appropriate. Development Policy, Incoming The majority of positive comments Loans Policy, Outgoing Loans Policy, INSURANCE received in 2015–16 related to public Provenance and Due Diligence programs and how enjoyable and Research Policy, Code of Ethics and As a NSW statutory authority, the informative the guided tours of Conduct Policy, Art Acquisition Policy, Gallery’s insurable risks are covered exhibitions were. This is testament to Safety Management Policy, Audit under the Treasury Managed Fund the Gallery’s commitment to providing and Risk Committee Charter and the (TMF), the NSW Government self- an enriching visitor experience. The Internal Audit Charter. The committee insurance scheme.

PLATFORMS 71 Greats: masterpieces from the National McGregor Coxall Unit Trust was LEGAL CHANGE Galleries of Scotland exhibition also engaged to provide landscape received a large number of positive architecture advice for the Sydney No changes were made to the Art comments, with one visitor remarking, Modern Project. Total cost $158,196. Gallery of New South Wales Act 1980 ‘One of the most important and Arup Pty Ltd was engaged to during the reporting period and there historical exhibitions to come to provide advice on a range of services were no significant judicial decisions Australian shores’ and another: ‘I was for the Sydney Modern Project affecting the Gallery. in awe of many works and still find covering security, civil engineering, myself reflecting on the experience. structural engineering, fire and traffic MAJOR ASSETS Thanks for the opportunity to catch a management. Total cost $317,521. The Gallery’s two major asset train for three hours each way and see Hibbs and Associates P/L was categories, as at 30 June 2015, are a world-class collection.’ engaged to provide advice regarding its artwork collection, valued at $1.3 Most of the complaints related to Gallery refurbishments. Total cost billion; and the perimeter land and visitors disagreeing with the choice $ 3 6 6,747. building in The Domain, Sydney, the of works included in the Archibald, Other consultancies included: Brett Whiteley Studio at Surry Hills and Wynne and Sulman prizes, which conservation and curatorial (one the building at Lilyfield, in total valued demonstrates an ongoing interest in engagement costing $698); at $211,458 million. this perennially engaging exhibition. construction and engineering (five Other areas of concern included engagements costing $43,104); PRIVACY MANAGEMENT some visitors wanting to see alternative information technology and During 2015–16 there were no internal menu options and design at the Gallery telecommunications (one engagement reviews conducted by or on behalf of café. costing $7000); management the Gallery under Part 5 of the Privacy services (five engagements costing and Personal Information Protection COMPLIANCE $50,967); marketing and public Act 1988 (the PPIP Act). relations (two engagements costing The Gallery’s designated privacy CREDIT-CARD USAGE $29,000); strategic development officer, in accordance with the and organisational review (three provision of the PPIP Act, can be The director certifies that credit- engagements costing $24,298); contacted at: card usage in the gallery has been Sydney Modern Project (14 Administration conducted in accordance with relevant engagements costing $236,401). Art Gallery of New South Wales Premier’s Memorandums and Treasury Art Gallery Road Directions. HERITAGE MANAGEMENT The Domain, Sydney, NSW 2000 CONSULTANTS The Gallery’s museum building Telephone: (02) 9225 1655 located in the Domain parklands of Fax: (02) 9225 1701 The Gallery engaged 37 consultancies Sydney’s CBD is listed on the NSW Email: [email protected] costing a total of $1,571,653 during Government’s heritage register. A the reporting period. Six of these conservation plan has been developed PUBLIC INTEREST consultancies were valued at greater to assist in the management and DISCLOSURES than $50,000. maintenance of the building. The During 2015–16 no public officials Fyusion Asia Pacific P/L was collection assets and works of art on made a Public Interest Disclosure engaged to provide strategic loan to the gallery are maintained to to the Gallery, no Public Interest organisation design advice regarding a international museum standards. Disclosures were received and no restructure of the Gallery’s workforce Public Interest Disclosures were including redesign of workflow LAND HOLDINGS AND finalised during the reporting period. systems. Total cost was $87,571. DISPOSALS Engtec P/L was engaged to provide mechanical engineering advice and Land owned by the Gallery as at guidance regarding the replacement 30 June 2016 includes: The Art Gallery of air conditioning chillers. Total cost of New South Wales site, Art Gallery $118,240. Road, The Domain, Sydney, NSW 2000; and the Brett Whiteley Studio, WSP Buildings P/L was engaged 2 Raper Street, Surry Hills, NSW 2010. to provide economically sustainable The Gallery did not dispose of any design advice regarding the major land during the reporting period. office fit-out on the upper level. Total cost $132,410.

72 ART GALLERY OF NSW ANNUAL REPORT 2015–16 GOVERNMENT INFORMATION (PUBLIC ACCESS) ACT 2009

The Gallery has reviewed information available to the public under section 7(3) of the Government Information (Public Access) Act 2009 (the Act). No new information has been identified as appropriate for public access. The Gallery received two access applications for information that was held by the Gallery. No access applications were refused by the Gallery because the application was for disclosure of information for which there is a conclusive presumption of overriding public interest against disclosure.

TABLE A: NUMBER OF APPLICATIONS BY TYPE OF APPLICANT AND OUTCOME*

Access Access Access Information Information Refuse to Refuse to Application granted granted refused not held already deal with confirm/deny withdrawn in full in part in full available application whether information is held Media 2 3 2 0 0 0 0 0 Members of 0 0 0 0 0 0 0 0 Parliament Private sector 0 0 0 0 0 0 0 0 business Not-for-profit 0 0 0 0 0 0 0 0 organisations or community groups Members of the 0 0 0 0 0 0 0 0 public (application by legal representative) Members of the 0 0 0 0 0 0 0 public (other)

*More than one decision can be made in respect of a particular access application. If so, a recording must be made in relation to each such decision. This also applies to Table B.

TABLE B: NUMBER OF APPLICATIONS BY TYPE OF APPLICATION AND OUTCOME

Access Access Access Information Information Refuse to Refuse to Application granted granted refused not held already deal with confirm/deny withdrawn in full in part in full available application whether information is held Personal 0 0 0 0 0 0 0 0 information application* Access applications 2 3 2 0 0 0 0 0 (other than personal information applications) Access applications 0 0 0 0 0 0 0 0 that are partly personal information applications and partly other

*A ‘personal information application’ is an access application for personal information (as defined in clause 4 of schedule 4 to the Act) about the applicant (the applicant being an individual).

PLATFORMS 73 TABLE C: INVALID APPLICATIONS TABLE F: TIMELINESS

REASON FOR INVALIDITY Number of applicants Number of applications Application does not comply with formal 0 Decided within the statutory 6 requirements (section 41 of the Act) timeframe (20 days plus any extension) Application is for excluded information 1 Decided after 35 days 1 of the agency (section 43 of the Act) (by agreement with applicant) Application contravenes restraint order 0 Not decided within time (deemed refusal) 0 (section 100 of the Act) TOTAL 7 Total number of invalid applications received 0 Invalid applications that subsequently 0 became valid applications TABLE G: NUMBER OF APPLICATIONS REVIEWED UNDER PART 5 OF THE ACT (BY TYPE OF REVIEW AND OUTCOME) TABLE D: CONCLUSIVE PRESUMPTION OF OVERRIDING PUBLIC INTEREST AGAINST DISCLOSURE – MATTERS LISTED IN Decision varied Decision upheld Total SCHEDULE 1 TO ACT Internal review 1 1 2 Review by Information Commissioner* 1 1 2 Number of times consideration used* Internal review following Overriding secrecy laws 0 recommendation under Cabinet information 0 section 93 of Act 1 0 1 Executive Council information 0 Review by ADT 0 0 0 Contempt 0 Total 3 2 5 Legal professional privilege 0 Excluded information 1 * The Information Commissioner does not have the authority to vary decisions, but can make recommendations to the original decision-maker. The data Documents affecting law enforcement 0 in this case indicates that a recommendation to vary or uphold the original and public safety decision has been made by the Information Commissioner. Transport safety 0 Adoption 0 Care and protection of children 0 TABLE H: APPLICATIONS FOR REVIEW Ministerial code of conduct 0 UNDER PART 5 OF THE ACT (BY TYPE OF Aboriginal and environmental heritage 0 APPLICANT) *More than one public interest consideration may apply in relation to a particular access application and, if so, each such consideration is to be Number of applications under review recorded (but only once per application). This also applies in relation to Table E. Application by access applicants 0 Applications by persons to whom 0 information the subject of access application TABLE E: OTHER PUBLIC INTEREST relates (see section 54 of the Act) CONSIDERATIONS AGAINST DISCLOSURE – MATTERS LISTED IN SECTION 14 OF ACT

Number of occasions when application not successful Responsible and effective government 0 Law enforcement and security 0 Individual rights, judicial processes 0 and natural justice Business interests of agencies and 4 other persons Environment, culture, economy and 0 general matters Secrecy provisions 0 Exempt documents under interstate 0 Freedom of Information legislation

74 ART GALLERY OF NSW ANNUAL REPORT 2015–16 INTERNAL AUDIT AND RISK-MANAGEMENT ATTESTATION FOR THE 2015–16 FINANCIAL YEAR FOR THE ART GALLERY OF NEW SOUTH WALES

I, Michael Brand, am of the opinion that the Art Gallery of New South Wales (the Gallery) has internal audit and risk management processes in place that are compliant with the core requirements set out in Treasury Circular NSW TC 15/03 Internal Audit and Risk Management Policy for the NSW Public Sector.

These processes, including the practicable alternative measures implemented, provide a level of assurance that enables the senior management of the Gallery to understand, manage and satisfactorily control risk exposures.

I, Michael Brand, am of the opinion that the Audit and Risk Committee for the Gallery is constituted and operates in accordance with the independent and governance requirements of Treasury Circular NSW TC 09/08. The independent chair and members of the Audit and Risk Committee are:

• Chair: Ms Samantha Meers, appointed to the Committee 12 February 2015 to 11 February 2018. • Member: Prof. S. Bruce Dowton, appointed to the Committee 8 February 2016 to 7 February 2019. • Member: Mr Miles Bastick, appointed to the Committee from August 2013 to 7 August 2019. • Member: Mr Ross Gavin, appointed to the Committee from March 2013 to 8 May 2019.

I, Michael Brand, declare that this Internal Audit and Risk Management Attestation is made on behalf of the Art Gallery of New South Wales.

Michael Brand John Wicks Director, Art Gallery of New South Wales Director, Finance and Commercial Operations

31 August 2016

PLATFORMS 75 76 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Sustainability of communication and collaboration • The Café at the Gallery was BUILDING among staff. Energy-saving LED reconfigured and refurbished in MANAGEMENT lighting has been introduced and the partnership with the operator, air-conditioning ductwork replaced. Morsul. The Café at the Gallery can BUILDING UPGRADE All fire dampers were upgraded now seat many more patrons and is Through ongoing generous NSW to comply with the current code, able to provide an enhanced food Government support, the Gallery as was new acoustic panelling and beverage offering. continues to upgrade and refurbish its installed above the ceiling. All building in line with other prominent electrical cabling was upgraded BUILDING MAINTENANCE state institutions and government and all smoke detectors, EWIS The maintenance of all three buildings requirements. In 2015–16 a number of speakers and detectors plus their owned by the Gallery – the Gallery building upgrades were implemented: cabling were replaced. During the Domain building, the off-site Collection • The Entrance Court, Court 1, was refurbishment the staff have been Store and the Brett Whiteley Studio fully refurbished including new LED generously housed in a vacant office – continued in 2015–16 to ensure the energy-saving exhibition lighting, a area in the Mitchell Library wing of buildings remained regulation and new three-circuit Dali lighting track the State Library of NSW. This has code compliant, as well as ensuring the and retrofitted house lights with ensured staff have readily stayed in buildings continued to operate within new energy-saving LED lights. All contact with the Gallery via a short the strict environmental standards walls were re-lined and all the air- walk across The Domain park and necessary to protect the collections conditioning ductwork was replaced. access to the Gallery’s server and and meet artwork loan requirements. All fire dampers were upgraded to phone system has been maintained comply with the current code, as seamlessly via a direct wireless link ENERGY MANAGEMENT was new acoustic panelling installed to the roof of the Gallery building. During 2015–16, parts of the Gallery above the ceiling. All electrical • The floor slab of the heritage Vernon were shut down for extended periods cabling was upgraded and all smoke wing below the entrance portico, due to upgrades, so it is difficult to detectors, EWIS speakers and cloaking and vestibule areas has obtain an accurate assessment of detectors plus their cabling were been refurbished and reinforced, how the Gallery is performing from replaced. with the original cast iron beams an energy management perspective. • The section of the Conservation rust-treated and additional steel However, all upgrades involve initiatives laboratories originally built in supports installed. These works which will increase efficiencies in 1972, the Captain Cook wing, ensure that the Vernon wing floor will energy consumption and management, was refurbished with new energy- remain structurally sound for another in particular the chiller upgrade project. saving LED lighting, ductwork 100 years and be able to support The forecast decrease in energy replacements, new electrical cabling, maintenance vehicles as well as the consumption is between 12% and an upgraded skylight to ensure many thousands of visitors entering 20%, which should start to be realised better daylighting for conservation through the building. ove r 2016 –17. work requiring daylight, an upgrade • The Gallery’s critical air-conditioning Our computer network has been to the fire damper in the ductwork system has received a major configured to automatically switch off and replacement smoke detectors upgrade. Two of the three chillers any computers left on by employees and wiring. had reached the end of their life at 9.30pm every night, potentially • The previously very congested and and have been replaced with two saving hours of unproductive wasted siloed administration, curatorial chillers that are considerably more electricity usage. The lights in the and executive office area is in the energy efficient, use less water and fire stairs have been replaced with process of being reconfigured and are quieter. As part of this chiller automatically dimming LED lights, refurbished to provide a more open replacement project the four cooling ensuring minimal power usage when plan and efficient office environment, towers have been reconfigured to the stairs are not in use. including more meeting spaces, be in parallel, with an increased Over the last year sophisticated break-out discussion facilities efficiency in power and water power consumption metres were and enhanced staff amenities. At usage. In addition, variable speed added to the key switchboards the time of writing the work was drives were added to the numerous throughout the Gallery, enabling 75% complete, with completion water pumps and the three chillers, more detailed collection of usage planned for October 2016. The office ensuring the power consumption is data. Electricity usage is monitored reconfiguration will ensure that the maintained at optimum efficiency. very closely to achieve minimum vast majority of staff will have direct The project is currently in the last consumption while maintaining access to daylight and views. stages of being completed. international museum standards for The open-plan configuration is temperature and humidity. intended to facilitate greater levels

78 ART GALLERY OF NSW ANNUAL REPORT 2015–16 ELECTRICITY WASTE REDUCTION Used toner cartridges, drums and waste collectors were sent for Our electricity usage currently With the implementation of a new CRM recycling, with 89 kilograms being comprises a 6% green energy system, the Gallery has moved to email diverted from landfill in 2015–16. component. The average daily invites for the majority of Gallery events The Research Library and Gallery electricity consumption at our Domain and other correspondence. This has Shop continue to reuse cardboard site in 2015–16 was 21,268 kilowatt- resulted in a significant reduction in boxes for packaging interlibrary loans hours. paper consumption. and filling visitor and ecommerce The main Gallery printers/ merchandise orders. All food and GAS photocopiers are set to default to beverage services are handled by our The average daily consumption of gas double-sided black and white printing. new contract caterer, Morsul, which in 2015/16 was 111 gigajoules. The printers also function as scanners ensures that all glass bottles from and staff are increasingly scanning the food outlets and functions are WATER documents, such as plans and appropriately recycled. contracts, rather than photocopying Through the Smart Green Business The IT Department participates in them and sending documents via the initiative by the City of Sydney in the SORT Recycling program (sort. post office. conjunction with Sydney Water, the org.au), a whole-of-government The development of the Gallery’s Gallery has fitted flow regulators to initiative which enables the donation intranet to replace previously paper- every tap in the Gallery building to of redundant computers to not-for- based systems continued in 2015–16. control the level of water usage. The profit organisations and disadvantaged The ‘Log a job’ feature allows staff to chiller upgrade project will enable a individuals. book work by, or report problems to, more efficient use of water in the air- our Building Services, Graphics, IT, conditioning system and a reduction is Photographic Studio, Security and AV forecast for 2016–17. Services departments. The information The average daily water usage in available in the intranet’s policy and 2015–16 was 99.8 kilolitres. procedures section was increased MOTOR VEHICLE FLEET again during the year, giving staff easy online access to information relevant to The Gallery’s permanent small fleet their work. of seven motor vehicles includes The Gallery continued to use a sedan and a van that run on E10 rechargeable batteries and recycle petrol, and a utility truck, a two-tonne used batteries. truck and a 4.5-tonne truck that use The Gallery will upgrade TRIM diesel. The Gallery’s wagon is a Prius to increase licenses and continue Hybrid vehicle, which is compliant to roll out the electronic documents with the NSW Government policy that management system to more users, all departments are required to meet which will decrease the use for paper- the vehicle fleet target of 5% of their based records. passenger fleet being hybrid, plug-in hybrid electric or electric vehicles by RESOURCE RECOVERY December 2015. INITIATIVES Acquisition and maintenance of the motor vehicle fleet is undertaken in A designated recycling mini-skip accordance with the NSW Government is located on the loading dock for fleet management policy, including the recycling all paper products, including purchasing of fuel-efficient cars. flattened cardboard boxes. Every workstation is issued with a recycling The Gallery’s motor vehicle bin, which is collected regularly by the procedures provide guidelines for cleaners. environmentally sound driving. All employees driving our fleet vehicles are Wherever possible, construction directed to use E10 unleaded petrol and display materials are reused for when refuelling, where applicable. exhibitions. All excess steel, wire and workshop and building materials are sent to an external recycler. The Conservation Department recycles its paper and cardboard off-cuts internally.

SUSTAINABILITY 79 Appendices OVERSEAS TRAVEL

Name Position Destination Purpose Period of travel

Steven Miller Head of Library Services Hong Kong, UK Investigate how best practice and innovation in 5/07/2015 – 24/07/2015 the way in which a public gallery’s core functions of conserving its collections and making them available for display and research are being extended and developed at some of the world’s leading art institutions. Carolyn Murphy Head of Conservation Hong Kong, UK Investigate how best practice and innovation in 5/07/2015 – 24/07/2015 and USA the way in which a public gallery’s core functions of conserving its collections and making them available for display and research are being extended and developed at some of the world’s leading art institutions. Jenni Carter Photographer China Supervise/art direct photography of Tang dynasty 3/08/2015 – 15/08/2015 objects in Xi’an for publication, exhibition graphics and interactive material for the Tang exhibition in 2016. Nicholas Chambers Senior Curator Japan and South View and conduct meetings concerning the Frida 9/08/2015 – 17/08/2015 International Art Korea Kahlo and Diego Rivera exhibition at the Seoul Olympic Museum of Art, which travelled to Gallery in 2016. Research potential partner venues for planned Gallery exhibitions. Conduct studio and gallery visits in relation to future exhibition and collection development opportunities. Suhanya Raffel Deputy Director Sri Lanka and Attend AGM and associated site visits for the 22/08/2015 – 7/09/2015 Japan Geoffrey Bawa Trust (Sri Lanka) and Sydney Modern Architecture workshop. Michael Brand Director Japan, Russia and Attend the first in a series of workshops with 26/08/2015 – 6/09/2015 Germany SANAA (the architect) for the Sydney Modern Project in Tokyo, meet with museum director in Germany regarding proposed exhibitions and collaborative projects, and attend State Hermitage Museum International Advisory Board meeting in St Petersburg, Russia. Judy Annear Senior Curator, USA Visit the Los Angeles Country Museum and the 31/08/2015 – 11/09/2015 Photography J Paul Getty Museum to finalise selection of works and loan details for a major exhibition to be held at the Gallery in 2017. Jacquie Riddell Director, Public Japan, Turkey, Participate in workshops with the architects 1/09/2015 – 17/09/2015 Engagement United Kingdom working on the Gallery’s new building project in Tokyo, attend the Communicating the Museum Conference 2015 in Istanbul, and meet with her counterparts in London-based cultural institutions to share ideas and working practices. Matthew Nix Designer USA, France, Conduct research on digital design innovation 2/09/2015 – 29/09/2015 Netherlands, best practices as part of a scholarship awarded Denmark, Germany by the Art Gallery of NSW Society. and Korea Michael Brand Director United Kingdom, Attend the Bizot group meeting of international 18/09/2015 – 5/10/2015 Germany, Italy art museum directors in Berlin, meet with directors of museums in London and attend the Venice Biennale. Charlotte Davy Head of Exhibitions USA Condition check and sign off indemnity for works 20/09/2015 – 29/09/2015 that have been loaned to the Gallery for the exhibition The Greats: masterpieces from the National Galleries of Scotland. Ms Davy and Ms Cumming accompanied the works back to Sydney. Frances Cumming Exhibition Conservator USA Condition check and sign off indemnity for works 20/09/2015 – 2/10/2015 that have been loaned to the Gallery for the exhibition The Greats: masterpieces from the National Galleries of Scotland. Ms Davy and Ms Cumming accompanied the works back to Sydney.

APPENDICES 81 OVERSEAS TRAVEL continued

Name Position Destination Purpose Period of travel

Diarne Wiercinski Exhibitions Manager USA Visit the Kimbell Art Museum to condition check 25/09/2015 – 02/10/2015 and sign off indemnity for works that have been loaned to the Gallery for the exhibition The Greats: masterpieces from the National Galleries of Scotland. Fiona Barbouttis Philanthropy Manager USA Tour manager for key Gallery supporters and 29/09/2015 – 13/10/2015 potential benefactors on an art tour of New York and Washington. Justin Paton Head of International USA Art guide for key Gallery supporters and potential 29/09/2015 – 13/10/2015 Art benefactors on an art tour of New York and Washington. Jane Wynter Head of Philanthropy USA Tour leader for key Gallery supporters and potential 29/09/2015 – 13/10/2015 benefactors on an art tour of New York and Washington. Suhanya Raffel Deputy Director Japan Attend CIMAM annual conference and attend second 6/11/2015 – 13/11/2015 Sydney Modern Architecture workshop. Georgia Connolly Touring Manager New Zealand Meet with major cultural institutions in Auckland, 9/11/2015 – 14/11/2015 Wellington and Christchurch to discuss the Gallery touring program and future opportunities for New Zealand institutions to host the Gallery’s touring exhibitions. Nicholas Chambers Senior Curator Hong Kong Participate in Asia Society’s 2015 Arts and Museum 18/11/2015 – 22/11/2015 International Art Summit, Hong Kong. Charlotte Davy Head of Exhibitions New Zealand Finalise contract negotiations and content for a joint 22/11/2015 – 24/11/2015 exhibition and catalogue. Lily Yang Conservator Asian Art China Undergo intensive study and research in the fields of 18/01/2016 – 29/01/2016 antique painting conservation and Tibetan Thangka conservation at the Palace Museum in . Funds for this section of Ms Yang’s visit were provided by the Edmund Capon Fellowship. Michael Brand Director Japan and Attend a workshop with SANAA (the architect) for 27/01/2016 – 3/01/2016 Netherlands the Sydney Modern Project in Tokyo and meet with colleagues at art museums in Amsterdam, including the Rijksmuseum. Suhanya Raffel Deputy Director Bangladesh Attend Dhaka Art Summit and present at panel 4/02/2016 – 8/02/2016 discussion. Nicholas Chambers Senior Curator USA Research for a major exhibition. 14/02/2016 – 23/02/2016 International Art Justin Paton Head of International United Kingdom Filming for a digital film featuring key artworks in their 5/03/2016 – 13/03/2016 Art collection that will accompany the Gallery’s major summer exhibition. Charlotte Cox Manger Loans and China Courier for exhibition Tang: treasures from the Silk 9/03/2016 – 24/03/2016 Touring Road capital. Frances Cumming Exhibition Conservator China Courier for exhibition Tang: treasures from the Silk 9/03/2016 – 23/03/2016 Road capital. Natalie Wilson Curator Australian Art New Zealand Attend XII International Symposium of the Pacific Arts 12/03/2016 – 20/03/2016 Association and the annual Pasifika Festival held in Auckland and meet with counterparts in New Zealand to discuss future collaborations. Suhanya Raffel Deputy Director Hong Kong Attend Art Basel Hong Kong and host a VIP event as 20/03/2016 – 25/03/2016 part of Art Basel in Hong Kong and host two events for current and potential benefactors. John Richardson Director, Business Hong Kong Attend Art Basel Hong Kong and host a VIP event as 20/03/2016 – 25/03/2016 Development a part of Art Basel in Hong Kong and host two events for current and potential benefactors Nicholas Chambers Senior Curator, Hong Kong Attend Art Basel Hong Kong Art Fair, finalise aspects 21/03/2016 – 10/04/2016 International Art and USA of developing an exhibition, including conduct research and studio visits towards other forthcoming projects.

82 ART GALLERY OF NSW ANNUAL REPORT 2015–16 OVERSEAS TRAVEL continued

Name Position Destination Purpose Period of travel

Francesca Ford Manager, Digital USA Work on digital initiatives with the Andy Warhol 24/03/2016 – 4/04/2016 Engagement museum digital team and while in New York meet a number of museum digital leaders. Diarne Wiercinski Exhibitions Manager United Kingdom, As part of the Trustees scholarship awarded for 2/04/2016 – 29/04/2016 Ireland, France, 2016, attend the International Meeting of Head of USA, Singapore Exhibitions in Dublin and to visit various museums and Taiwan in USA, UK and Paris regarding exhibitions in process and to visit galleries and make contact with colleagues to develop partnerships. Suhanya Raffel Deputy Director United Kingdom, Attend the International Exhibition Organisers 12/04/2016 – 24/04/2016 Ireland, France Conference in Dublin and to visit various museums in Britain and Paris regarding exhibitions in process. Justin Paton Head of International Art New Zealand Art guide for key Gallery supporters and potential 21/05/2016 – 29/05/2016 benefactors on an art tour of New Zealand.

Jane Wynter Head of Philanthropy New Zealand Tour leader and organiser for Gallery supporters 21/05/2016 – 29/05/2016 and potential benefactors on an art tour of New Zealand. John Richardson Director of Development United Kingdom Connect with key potential donors to the Gallery’s 6/06/2016 – 15/06/2016 and Switzerland new building project, Sydney Modern, and attend Art Basel. Frances Cumming Exhibition Conservator Mexico Condition report, sign on the indemnity and 12/06/2016 – 19/06/2016 accompany freight in transit from Mexico City to Sydney for works in Frida Kahlo and Diego Rivera: from the Jacques and Natasha Gelman Collection exhibition that have been loaned to the Gallery for the exhibition. Paula Dredge Head Paintings France Accompany works to Monaco, then oversee 14/06/2016 – 22/06/2016 Conservation installation and sign off indemnity.

APPENDICES 83 OVERSEAS TRAVEL continued

SYDNEY MODERN PROJECT

Name Position Destination Purpose Period of travel Sally Webster Sydney Modern Japan Attend the first in a series of workshops with 1/09/2015 – 6/09/2015 Project Manager SANAA (the architect) for the Sydney Modern Project. Sally Webster Sydney Modern Japan Attend the second in a series of workshops with 8/11/2015 – 13/11/2015 Project Manager SANAA (the architect) for the Sydney Modern Project. Michael Brand Director Japan Attend the second in a series of workshops with 10/11/2015 – 13/11/2015 SANAA (the architect) for the Sydney Modern Project. Suhanya Raffel Sydney Modern Japan Attend Sydney Modern architecture workshop. 16/12/2015 – 19/12/2015 Project Manager Sally Webster Sydney Modern Japan Attend workshops with SANAA (the architect) 16/12/2015 – 19/12/2015 Project Manager for the Sydney Modern Project and meet with 27/01/2016 – 30/01/2016 Ambassador to Japan. Sally Webster Sydney Modern USA Undertake site visits at art museums in Los 22/02/2016 – 29/02/2016 Project Manager Angeles with the SANAA team and meet with key museum personnel to further the development of the Sydney Modern design brief. Michael Brand Director USA Undertake site visits at art museums in Los 23/02/2016 – 3/03/2016 Angeles with the SANAA team and meet with key museum personnel to further the development of the Sydney Modern design brief. Sally Webster Sydney Modern Japan Attend workshops with SANAA (the architect) 27/03/2016 – 30/03/2016 Project Manager for the Sydney Modern Project and meet with 15/05/2016 – 19/05/2016 Ambassador to Japan. John Richardson Director Development Japan Attend workshops with SANAA (the architect) 15/05/2016 – 19/05/2016 for the Sydney Modern Project and meet with Ambassador to Japan.

84 ART GALLERY OF NSW ANNUAL REPORT 2015–16 art works donated and cash and FINANCIAL non-cash donations. These funds PERFORMANCE have already been expensed, either to acquire assets, such as works of The Gallery’s financial position in art or on specific capital projects, 2015–16 improved significantly over but the expense is recorded in the the financial position in 2014–15. Statement of Financial Position The Gallery was able to improve its (Balance Sheet) and not in the SOCI. financial position this financial year by Therefore, even though these revenue curtailing discretionary costs, despite items are included in arriving at the net the impact of government efficiency result in accordance with accounting dividend measures, and by increasing standards, the funds are not available non-government revenue. During the for operating purposes. The Gallery’s financial year, general visitation to the underlying operating result in 2015–16 Gallery increased over the previous was a surplus of $412,000. financial year. The main drivers for the increase in visitation were a successful LOOKING FORWARD exhibition program; creative use of the Gallery’s art collection in its various The Gallery has made strategic capital galleries in conjunction with a range of investments to curtail operating costs public programs; the ongoing success and increase commercial revenue in of the Art After Hours program on 2016–17 and forward years. There Wednesday nights; a popular lecture is a growing demand for the hiring program; other member activities; of the Gallery’s venues for functions excellent food options at the Gallery and events. The Gallery continues café and CHISWICK at the Gallery its successful partnership with Aria restaurant; high use of the Gallery’s Catering, enhancement of the café and venues for functions and events; and the revitalisation of the product range in sales in the Gallery Shop. the Gallery Shop. A popular exhibition In terms of revenue, exhibition program in the 2016–17 financial year ticket sales increased significantly in has already seen a significant increase 2015–16. Venue hire, catering revenue in visitor numbers to the Gallery in and shop revenue increased by 18% July and August 2016, and therefore over the previous year. Revenue from revenue in 2016–17 is expected to be exhibition ticket sales increased by higher than in 2015–16. 18%. The Gallery continues to attract a high level of donations of art works in kind ($6.2 million) and cash donations for the acquisition of art ($7.6 million) from benefactors. Cash sponsorship revenue was also higher than in the previous year. In terms of costs, employee costs have increased mainly due to the compulsory pay increase to all staff and a one-off redundancy cost funded by Treasury. Fixed and variable costs were less than the previous year due to control measures implemented during the year. The overall Net Result for the year was $26 million, as reported in the Gallery’s Statement of Comprehensive Income (SOCI), which is prepared in accordance with Australian Accounting Standards. This result includes non- operating specific purpose funds such as capital grants from government,

APPENDICES 85 BUDGET SUMMARY

Five-year Average UNIT 2011–12 2012–13 2013–14 2014–15 2015–16 total p.a.

Total visitors - incl touring/studio m 1.44 1.16 1.16 1.3 1.28 6.34 1.27

Artworks purchased $’m $7.2 $7.1 $5.7 $8.8 $6.3 $35.1 $7.0 Donations of artwork $’m $7.2 $8.6 $3.6 $4.2 $6.2 $29.8 $6.0 Total works of art acquired $’m $14.4 $15.7 $9.3 $13.0 $12.5 $64.9 $13.0

Exhibition admission revenue $’m $5.4 $3.0 $2.0 $3.8 $4.4 $18.6 $3.7 Merchandise, books and publication sales $’m $5.2 $3.1 $3.5 $3.3 $3.8 $18.9 $3.8 Other services/activities $’m $4.3 $5.4 $4.6 $5.1 $3.7 $23.1 $4.6 Bequests and special funds $’m $8.1 $8.4 $4.6 $12.0 $7.6 $40.7 $8.1 Other grants and contributions/other misc $’m $12.9 $12.8 $9.1 $9.6 $10.9 $55.3 $11.1 Total revenue from exhibitions, visitor services and benefaction $’m $35.9 $32.7 $23.8 $33.8 $30.4 $156.6 $31.3

Personnel expenses $’m $24.1 $23.9 $20.6 $22.2 $24.0 $114.8 $23.0 Depreciation $’m $5.4 $5.0 $4.1 $3.5 $2.5 $20.5 $4.1 Insurance $’m $3.5 $2.3 $1.2 $1.3 $1.3 $9.6 $1.9 Other operating expenses $’m $19.8 $15.6 $18.8 $19.4 $17.9 $91.5 $18.3 Total operating expenses $’m $52.8 $46.8 $44.7 $46.4 $45.7 $236.4 $47.3

Recurrent appropriation $’m $27.1 $27.3 $23.9 $23.8 $23.9 $126.0 $25.2 Liabilities assumed by government $’m $1.4 $0.2 $0.8 $1.0 $1.7 $5.1 $1.0 Capital appropriation/other $’m $3.0 $3.2 $6.0 $9.0 $15.6 $36.8 $7.4 Total government grants $’m $31.5 $30.7 $30.7 $33.8 $41.2 $167.9 $33.6

Total revenue $’m $67.4 $63.4 $54.5 $67.6 $71.6 $324.5 $64.9 Government recurrent contribution % 43% 46% 50% 41% 44% N/A 39% as a % of operating revenues Govt contribution as % of total revenue % 47% 48% 56% 50% 58% N/A 52%

Net surplus $’m $14.6 $16.6 $9.8 $21.2 $25.9 $88.1 $17.6 Employees – effective full-time (FTE) number 238 227 199 205 212 N/A 216 Average salary per head $’000 $101 $105 $103 $110 $110 N/A 106

Net assets $’m $1,338.0 $1,355.5 $1,366.8 $1,578.6 $1,620.1 N/A $1,451.8

Data in this table has not been subject to audit

86 ART GALLERY OF NSW ANNUAL REPORT 2015–16 AUDITED FINANCIAL STATEMENTS

APPENDICES 87 88 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 89 90 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 91 92 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 93 94 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 95 96 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 97 98 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 99 100 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 101 102 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 103 104 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 105 106 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 107 108 ART GALLERY OF NSW ANNUAL REPORT 2015–16 109 110 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 111 112 ART GALLERY OF NSW ANNUAL REPORT 2015–16 APPENDICES 113 114 ART GALLERY OF NSW ANNUAL REPORT 2015–16 115 116 ART GALLERY OF NSW ANNUAL REPORT 2015–16 117 118 ART GALLERY OF NSW ANNUAL REPORT 2015–16 119 120 ART GALLERY OF NSW ANNUAL REPORT 2015–16 121 122 ART GALLERY OF NSW ANNUAL REPORT 2015–16 123 VISITORS WITH GENERAL SPECIAL NEEDS ACCESS The Gallery is committed to providing access to our collections ACCESS and exhibitions for all audiences, The Gallery is open every including people with disabilities. day, except Easter Friday and For those requiring assisted Christmas Day, between 10am entry or entrance at the rear, and 5pm and until 10pm every we recommend you contact Wednesday for Art After Hours. the Gallery before arrival on General admission is free. 02 9225 1775. Entry fees apply to some major temporary exhibitions. ACCESS PROGRAM TOURS GALLERY SHOP Our range of access programs, The Gallery Shop is open including free Auslan interpreters, from 10am–4.45pm daily and sensory tours, audio-described Wednesdays until 9pm. tours, art and dementia program tours, and other tailored guided P STUDY ROOM tours, is aimed at engaging diverse Due to building works in the audiences with different abilities. Gallery, the study room’s opening Bookings and enquiries: hours have changed temporarily. 02 9225 1740 Until November 2016, we’re open Email: [email protected] to the public on Fridays only, T P 10am–4pm, and bookings are PHYSICAL AND POSTAL recommended. Closed public ADDRESS P holidays. Art Gallery of New South Wales The National Art Archive and the Art Gallery Road Capon Research Library The Domain The National Art Archive and the Sydney NSW 2000 Capon Research Library is open to Australia the public Tuesday, Thursday and Friday 10am–4pm, Wednesday CONTACT THE GALLERY 10am–6.30pm and Saturday Australia-wide toll-free 1800-NSW- 12pm-4pm. ART (1800-679-278) No appointment necessary. Information desk 02 9225 1744 Conditions apply to accessing the General switchboard archive. 02 9225 1700 Enquiries: 02 9225 1785 General fax 02 9225 1701 Email: [email protected] General email: [email protected] CHISWICK AT THE GALLERY SOCIAL NETWORKING CHISWICK is open from http://www.artgallery.nsw.gov.au/ 12pm–3.30pm Monday-Friday, youtube 12pm–9pm on Wednesday and http://www.artgallery.nsw.gov.au/ 12pm–4pm Saturday-Sunday. google http://www.artgallery.nsw.gov.au/ Enquiries and bookings: facebook 02 9225 1819 http://www.artgallery.nsw.gov.au/ twitter CAFÉ AT THE GALLERY http://www.artgallery.nsw.gov.au/ The Café is open 10am–4.30pm flickr daily and 10am–9.30pm Wednesdays.

BRETT WHITELEY STUDIO The Brett Whiteley Studio is located at 2 Raper Street, Surry Hills. It is open to the general public Friday–Sunday 10am–4pm. Free admission is made possible by J.P. Morgan. It is open to Education groups on Wednesdays and Thursdays. Charges apply. Enquiries: 02 9225 1740

124 ART GALLERY OF NSW ANNUAL REPORT 2015–16 Corporate partners

Strategic partners

Leadership partners

Presenting partners

Media partners Major partners

Support partners

Business councils Government partners Art Gallery of NSW Art Gallery Road The Domain Sydney NSW 2000 www.artgallery.nsw.gov.au