DOCSLIB.ORG

Annual Report 2002–2003 Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report 2002–2003 Annual Report annual report 2002–2003 annual report 2002–2003 NATIONAL GALLERY OF AUSTRALIA Annual Report 2002–2003 © National Gallery of Australia ISSN 1323-5192 All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage retrieval system, without permission in writing from the publisher. Produced by the Publications Department of the National Gallery of Australia, Canberra Editor: Alistair McGhie Designer: Kate Shackleford Printer: Paragon Printers Australasia National Gallery of Australia GPO Box 1150 Canberra ACT 2601 www.nga.gov.au Cover and left: David Moore, Parachute troops in training, Aldershot, UK 1953 gelatin silver photograph Gift of David Moore 1983 19 September 2003 Senator the Hon. Rod Kemp Minister for the Arts and Sport Parliament House CANBERRA ACT 2600 Dear Minister I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2002 to 30 June 2003. The report is submitted to you in accordance with the Commonwealth Authorities and Companies Act 1997 and the National Gallery Act 1975. The Report of Operations has been prepared consistent with the Commonwealth Authorities and Companies (Report of Operations) Orders 2002. The fi nancial statements have been prepared in accordance with the Finance Minister’s Orders made under the Commonwealth Authorities and Companies Act 1997. Yours sincerely Harold Mitchell Chairman of Council National Gallery of Australia Annual Report 2002–2003 iii Contents Letter of Transmittal iii Chairman’s Foreword 1 Director’s Report 3 Performance Report 2002–2003 Outcome and Outputs 7 Corporate Overview 9 Report against Strategic Plan 2001–2004 Goal 1 Acquire premium works of art 17 Goal 2 Strengthen and refi ne the national collection 17 Goal 3 Maintain and protect the national collection 29 Goal 4 Deliver an outstanding exhibition and display program 35 Goal 5 Promote and enhance access to the visual arts 45 Goal 6 Sustain an encouraging and inclusive environment for all staff 55 Goal 7 Refurbish and enhance the National Gallery building 63 Goal 8 Increase and broaden our revenue base 67 National Gallery of Australia Financial Reports 2002–2003 Independent audit report 72 Statement by Directors 74 Statement of Financial Performance 75 Notes to the Financial Statement 80 Appendixes 1. Council of the National Gallery of Australia 2002–2003 103 2. Staffi ng structure at 30 June 2003 105 3. Staff of the National Gallery of Australia at 30 June 2003 106 4. Acquisitions 2002–2003 109 5. Total Acquisitions including purchases and gifts 1945–2003 142 6. Exhibitions at the National Gallery of Australia 2002–2003 143 7. Attendance 1982–2003 144 8. Travelling Exhibitions 2002–2003 145 Locations visited by Travelling Exhibitions 1988–2003 148 Locations visited by the Elaine and Jim Wolfensohn Gift 1991–2003 149 9. Loans 2002–2003 150 (i) Outward loans to exhibitions—Australia 150 (ii) Outward loans to exhibitions—International 154 (iii) Inward loans 155 10. Outward loans including Travelling Exhibitions 1976–2003 157 11. Volunteers at 30 June 2003 158 12. Publications 2002–2003 160 13. Consultants 2002–2003 161 14. Performance Measures and Outcomes 162 15. Compliance Index and Contact Offi cers 164 Index 165 National Gallery of Australia Annual Report 2002–2003 v National Gallery of Australia Council (L–R) Dr Brian Kennedy, Mr Robert Champion de Crespigny AC, Mrs Roslyn Packer, Mrs Ann Lewis AM, Mr Harold Mitchell, Mrs Lyn Williams AM, Mr Philip Bacon AM, Mr Michael Chaney (Absent: Mr Anthony Berg AM, Dr Peter Farrell) vi National Gallery of Australia Annual Report 2002–2003 CHAIRMAN’S FOREWORD HAROLD MITCHELL CHAIRMAN This was a year of considerable achievement particularly in providing greater access to the Gallery’s collection. A record number of people attended National Gallery travelling exhibitions in the year. The National Gallery in October 2002 celebrated twenty years of public operations. Support for our twentieth anniversary celebration activities has been outstanding. In particular, the initiative Out and About: The National Gallery tours Australia, which provided twenty venues around the country with the opportunity to select works from a number of the Gallery’s most treasured icons for exhibition at their venues, has proved to be extremely popular, attracting great interest from the public in all states and territories. We also continued to make important progress in building the collection, which was again aided by the generous support of many donors and the outstanding efforts of the National Gallery of Australia Foundation under the leadership of its Chairman, Mr Tony Berg AM. The Council would like to thank all of our benefactors, donors, supporters and sponsors for their generosity, which assisted the Gallery greatly in presenting a varied program of exhibitions and other public activities. For the eighth successive year the number of works of art loaned increased and another record number of loans was achieved. The national focus of all our access initiatives was more evident this year than any other since the Gallery opened to the public in 1982. Electronic access to the Gallery and its collection also increased substantially during the year. National Gallery of Australia Annual Report 2002–2003 1 The Gallery building refurbishment and enhancement program continued to considerable acclaim, and the original building architect, Mr Colin Madigan AO, generously provided advice to the Gallery on the design principles for the building, which will assist further building development. A Development Manager was engaged to assist the Gallery in achieving an exciting design solution for the new front entrance. This project is expected to be completed by the end of 2006. Mr Philip Bacon AM concluded a six-year term with the Gallery Council and we acknowledge his dedication and commitment to the Gallery and his generosity in presenting gifts of works of art and helping the Gallery to acquire a number of major works. The Gallery benefi ts greatly from the many volunteers who provide guiding, research and other valuable services. The Council would like to thank them for their ongoing support. The Council would Elizabeth Nyumi also like to acknowledge the support received from the Australian Government throughout the year, Parwalla 2001 particularly that provided by our Ministers, Senator the Hon. Richard Alston and Senator the Hon. synthetic polymer paint Rod Kemp and the offi cers of the Department of Communications, Information Technology and the on linen Purchased 2002 Arts. We also acknowledge the support provided by Art Indemnity Australia, which indemnifi ed the exhibition Pierre Bonnard: Observing Nature at the Gallery in Canberra and the Queensland Art Gallery, and for its indemnifi cation of the Out and About tour. We also acknowledge the support of Visions Australia for this tour. I would like particularly to acknowledge the Director, Dr Brian Kennedy and the staff for their achievements during another great year for the Gallery. Harold Mitchell Chairman of Council On 4 October 2002 the current and former Chairs and Directors of the National Gallery celebrated the 20th anniversary of the Gallery’s opening to the public – L to R – The Hon. E Gough Whitlam AC QC (Chairman, January 1987 – December 1990), James Mollison AO (Director, February 1977 – October 1989), Betty Churcher AO (Director, February 1990 – July 1997), Dr Brian Kennedy (Director, September 1997 – current), Harold Mitchell (Chairman, January 2001 – current), Kerry Stokes AO (Chairman, January 1996 – December 2000), The Hon. Lionel Bowen AC (Chairman, January 1991 – December 1995), and L Gordon Darling AO CMG (Chairman, January 1982 – December 1986). 2 National Gallery of Australia Annual Report 2002–2003 DIRECTOR’S REPORT BRIAN KENNEDY DIRECTOR The impact of the Gallery’s activities nationally was very signifi cant in 2002–2003, our twentieth-anniversary year. Throughout the six years I have been at the National Gallery of Australia we have sought to increase our national role. The aspiration to increase access to works of art from the Gallery’s collection and to take works from the collection around the country and abroad was expressed in our plan, Into the New Millennium 1999– 2001, and again in our Strategic Plan 2001–2004. It is gratifying to note the record of achievement this year in pursuit of our ‘national’ objectives. We have successfully grown our loan and travelling exhibition programs. This year 1,291,880 people visited 20 National Gallery travelling exhibitions at 56 venues in Australia and abroad, and a further 367,547 people visited the Gallery in Canberra. In addition, 2,320,695 people visited exhibitions organised by others which included one or more works borrowed from the Gallery’s collection. A total of 1,151,442 people visited the Gallery’s website and viewed millions of pages. The number of works of art loaned by the Gallery climbed to a record 2,550 this year, representing the eighth consecutive year of increase. The Out and About: The National Gallery tours Australia initiative afforded an opportunity for 20 partner galleries, drawn from each state and territory, to select an iconic work or series of works from our collection to display at their venue to mark our twentieth anniversary of being open to the public. This initiative has proved a huge success with communities throughout Australia, whether in state and territory capitals or in regional National Gallery of Australia Annual Report 2002–2003 3 centres. Large numbers of people responded to the opportunity to view some of the most celebrated works of art in the Gallery’s collection. This program, which commenced with the loan of Willem de Kooning’s Woman V to the Art Gallery of New South Wales in December 2002, will conclude with the loan of Jackson Pollock’s Blue Poles to the National Gallery of Victoria in November 2003.
Load more

Recommended publications
  • OCR Document
    YUKULTJI NAPANGATI Sprache: Pintupi Region: Kiwirrkura, Northern Territory Geboren: ca. 1970 © Papunya Tula Artists Yukultji Napangati kam 1984 nach Kiwirrkura. Davor lebte sie mit acht ihrer engsten Angehörigen in dem Gebiet westlich von Lake Mackay. Man nimmt an, dass Yukultji, als sie mit ihrer Familie nach Kiwirrkura kam, 14 Jahre alt war. Im Jahre 1999 beteiligte sich Yukultji an dem gemeinschaftlichen Gemälde der Frauen von Kiwirrkura, das im Rahmen des „Western Desert Dialysis Appeal“ (Dialyse Aufruf der Western Desert Region) entstand. Sie wurde 2005 ausgewählt, als eine von neun Künstlern und Künstlerinnen auf der angesehenen Primavera Show im Museum of Contemporary Art in Sydney auszustellen. Dies ist eine begehrte Ausstellung für junge australische Künstler unter 35 Jahren. Im September 2009 reiste Yukulti gemeinsam mit der Künstlerin Doreen Reid Nakamarra nach New York, um die Ausstellung „Nganana Tjungurringanyi Tjukurrpa Nintintjakitja – We are here sharing our Dreaming“ in der 80 Washington Square East Gallery zu besuchen. 2015 wurde sie eingeladen, bei der 8th Asia Pacific Triennial of Contemporary Art in der Queensland Gallery of Modern Art auszustellen. AUSZEICHNUNGEN 2009 Finalist 26th Telstra National Aboriginal & Torres Strait Islander Art Award, Museums & Art Galleries of the Northern Territory, Darwin, Northern Territory 2010 Finalist 27th Telstra National Aboriginal & Torres Strait Islander Art Award, Museums & Art Galleries of the Northern Territory, Darwin, Northern Territory 2011 Finalist 28th Telstra National Aboriginal & Torres Strait Islander Art Award, Museums & Art Galleries of the Northern Territory, Darwin, Northern Territory 2011 Finalist Wynne Prize – Highly Commended, Art Gallery of New South Wales, Sydney, New South Wales 2012 The Alice Springs Art Prize – 1.
    [Show full text]
  • ART ABORIGÈNE, AUSTRALIE — Samedi 7 Mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie
    ART ABORIGÈNE, AUSTRALIE — Samedi 7 mars 2020 — Paris, Salle VV Quartier Drouot Art Aborigène, Australie Samedi 7 mars 2020 Paris — Salle VV, Quartier Drouot 3, rue Rossini 75009 Paris — 16h30 — Expositions Publiques Vendredi 6 mars de 10h30 à 18h30 Samedi 7 mars de 10h30 à 15h00 — Intégralité des lots sur millon.com Département Experts Index Art Aborigène, Australie Catalogue ................................................................................. p. 4 Biographies ............................................................................. p. 56 Ordres d’achats ...................................................................... p. 64 Conditions de ventes ............................................................... p. 65 Liste des artistes Anonyme .................. n° 36, 95, 96, Nampitjinpa, Yuyuya .............. n° 89 Riley, Geraldine ..................n° 16, 24 .....................97, 98, 112, 114, 115, 116 Namundja, Bob .....................n° 117 Rontji, Glenice ...................... n° 136 Atjarral, Jacky ..........n° 101, 102, 104 Namundja, Glenn ........... n° 118, 127 Sandy, William ....n° 133, 141, 144, 147 Babui, Rosette ..................... n° 110 Nangala, Josephine Mc Donald ....... Sams, Dorothy ....................... n° 50 Badari, Graham ................... n° 126 ......................................n° 140, 142 Scobie, Margaret .................... n° 32 Bagot, Kathy .......................... n° 11 Tjakamarra, Dennis Nelson .... n° 132 Directrice Art Aborigène Baker, Maringka ...................
    [Show full text]
  • Australia's National Heritage
    High Court–National Gallery Precinct AUSTRALI A N C A PI TA L T E R R ITORY The High Court–National Gallery Precinct is significant as a group of public buildings and landscape conceived as a single entity. The complex is stylistically integrated in terms of architectural forms and finishes, and as an ensemble of freestanding buildings in a cohesive landscape setting. The Precinct occupies a 16-hectare site in the north-east corner of the Parliamentary Zone. It includes the High Court, National Gallery of Australia and the Gallery’s Sculpture Garden. The landscape brief from the National Capital National Gallery of Australia Development Commission required that the High Court, National Gallery and surrounding landscape become a chambers. A waterfall designed by Robert Woodward and single precinct in visual terms, with the High Court as constructed from South Australian speckled granite runs the dominant element to be open to views from Lake the full length of the entry ramp. Burley Griffin. The National Gallery is a complex building of varied The Precinct is a synthesis of design, aesthetic, social and levels and spaces arranged on four floors of approximately environment values with a clear Australia identity. This 23 000 square metres. Like the High Court, much of the is represented in the pattern of functional columns and building is made of reinforced bush-hammered concrete, towers in the architectural elements, the sculptures of the an example of the architect’s philosophy that concrete has national collection in a landscaped setting, and the high as much integrity as stone.
    [Show full text]
  • The Garden of Australian Dreams: the Moral Rights of Landscape Architects
    EDWARD ELGAR THE GARDEN OF AUSTRALIAN DREAMS: THE MORAL RIGHTS OF LANDSCAPE ARCHITECTS DR MATTHEW RIMMER SENIOR LECTURER ACIPA, FACULTY OF LAW, THE AUSTRALIAN NATIONAL UNIVERSITY ACIPA, Faculty Of Law, The Australian National University, Canberra, ACT, 0200 Work Telephone Number: (02) 61254164 E-Mail Address: [email protected] THE GARDEN OF AUSTRALIAN DREAMS: THE MORAL RIGHTS OF LANDSCAPE ARCHITECTS DR MATTHEW RIMMER* * Matthew Rimmer, BA (Hons)/ LLB (Hons) (ANU), PhD (UNSW), is a Senior Lecturer at ACIPA, the Faculty of Law, the Australian National University. The author is grateful for the comments of Associate Professor Richard Weller, Tatum Hands, Dr Kathy Bowrey, Dr Fiona Macmillan and Kimberlee Weatherall. He is also thankful for the research assistance of Katrina Gunn. 1 Prominent projects such as National Museums are expected to be popular spectacles, educational narratives, tourist attractions, academic texts and crystallisations of contemporary design discourse. Something for everyone, they are also self-consciously set down for posterity and must at some level engage with the aesthetic and ideological risks of national edification. Richard Weller, designer of the Garden of Australian Dreams1 Introduction This article considers the moral rights controversy over plans to redesign the landscape architecture of the National Museum of Australia. The Garden of Australian Dreams is a landscaped concrete courtyard.2 The surface offers a map of Australia with interwoven layers of information. It alludes to such concepts as the Mercator Grid, parts of Horton’s Map of the linguistic boundaries of Indigenous Australia, the Dingo Fence, the 'Pope’s Line', explorers’ tracks, a fibreglass pool representing a suburban swimming pool, a map of Gallipoli, graphics common to roads, and signatures or imprinted names of historical identities.3 There are encoded references to the artistic works of iconic Australian painters such as Jeffrey Smart, Sidney Nolan, Arthur Boyd, and Gordon Bennett.
    [Show full text]
  • R084 National Gallery of Australia RSTCA
    Register of Significant Twentieth Century Architecture RSTCA No: R084 Name of Place: National Gallery of Australia Other/Former Names: Australian National Gallery Address/Location: Parkes Place PARKES 2600 Block B1.5 Section 29 of Parkes Listing Status: Registered Other Heritage Listings: Date of Listing: June 1993 Level of Significance: National Citation Revision No: Category: Educational Citation Revision Date: February 1993 Style: Late Twentieth Century Brutalist Date of Design: 1968-1972 Designer: Colin Madigan of Edwards, Madigan, Torzillo & Briggs Construction Period: 1973-1982 Client/Owner/Lessee: Commonwealth of Australia Date of Additions: Builder: Statement of Significance The National Gallery of Australia is one of the most forthright examples of Australian civic architecture of the 1970's. It is an important and prominent Australian example of Brutalist Architecture, and is the most decisive statement of the Brutalist philosophy as realised by Colin Madigan. It is a finely executed building reflecting great care and attention at all levels of detail throughout. His craft-based attitude to concrete construction is demonstrated in the quality finishes of the building. Madigan, working together with the landscape architect Harry Howard, has provided an outstanding landscape in which the building is sited with the sculpture garden on the lake side of the Gallery continuing the varied, spatial progression established within the building. It is difficult to describe the significance of the National Gallery and not mention the adjacent High Court building designed by the same firm in a similar style. The off form concrete masses, linking pedestrian bridge and strong, vertical elements at the entry of both the Gallery and High Court visually connect the two buildings.
    [Show full text]
  • Mr R Peters 1934 - 2020, Springvale Station, Turkey Creek, WA
    Mr R Peters 1934 - 2020, Springvale Station, Turkey Creek, WA BIOGRAPHY: Rusty Peters is a senior Gija man of Juwurru skin. His bush name Dirjji refers to dingo pups looking out of a hole at the sunrise. He was born under a Warlagarri or Supplejack tree on Springvale Station south west of Turkey Creek the same day as his jimarri or age mate Charlie McAdam. His spirit came from a crocodile his father had killed when his mother became pregnant. He grew up on Springvale learning traditional law and working as a stockman and at other things such as welding fences and stock yards. When his father was killed in a tragic riding accident at Roses Yard, the family moved to Mabel Downs where he became renowned as a horse breaker. He lived for some time at Nine Mile reserve at Wyndham after the introduction of award wages forced people off stations but then moved to Turkey Creek where with other senior Gija artists such as Hector Jandany and George Mung-Mung he helped start the school. In 1989 he moved to Kununurra where he was employed at Waringarri Aboriginal Arts as an assistant. He was a long time friend of Rover Thomas, caring for him on most of the trips he made in the later part of his life. He made prints and did some painting while working for Waringarri Arts. He moved to Crocodile Hole when Freddie Timms based the Jirrawun Aboriginal Arts group there in 1997 and began to paint on large canvases. His detailed knowledge of the land and stories from Springvale and neighbouring Moolabulla stations is reflected in distinctive paintings in traditional red and yellow ochres and black charcoal.
    [Show full text]
  • Ngarranggarni Gija Two-Way Learning and the University of Melbourne Gabriel Nodea and Robyn Sloggett
    ngarranggarni Gija Two-Way Learning and the University of Melbourne Gabriel Nodea and Robyn Sloggett Introduction knowledge and are responsible for many of the cattle stations, in the Warmun is a small township owned keeping it strong, and for teaching it early 1970s Warmun became a refugee and managed by Gija people in the to future generations. This knowledge camp. People were physically removed east Kimberley region of Western cannot be passed on without the from their country, so that simple acts Australia. Situated between Kununurra permission of the Old People. like finding food and water, as well as and Hall’s Creek, Warmun is also On one level, this article is about complex activities like ceremony and located on the ancient Wirnan an educational partnership between caring for country, could no longer be (sharing and trading) exchange the Grimwade Centre for Cultural carried out. This made Gija people route that stretched inland from the Materials Conservation at the feel disempowered and sad. They coastline around Derby to the west, to University of Melbourne and the felt as if they had been pushed aside that around Wadeye to the north-east. Warmun Art Centre, but it is also from the country they had looked Trade and shared knowledge have about the contemporary influence after through all time, and that they always been an important part of the of Ngarranggarni, which has become could no longer make decisions about social, cultural and spiritual fabric of an important part of the education caring for country. It brought down Gija life, and it was along this route programs at the Grimwade Centre, their spirits and made them feel that Gija people—working through and is now extending beyond like they were losing their strength.
    [Show full text]
  • Transported Roger Law Stephen Bird
    TRANSPORTED ROGER LAW STEPHEN BIRD 30 November – 23 December 2016 16 Dundas Street, Edinburgh EH3 6HZ Telephone 0131 558 1200 Email [email protected] www.scottish-gallery.co.uk Left: Fogg Dam Tapestry (detail), from an original watercolour, Early Morning - Fogg Dam, Roger Law (cat. 2) Front cover: Roger Law working at the Big Pot Factory, Jingdezhen, China. Photo: Derek Au Roger Law Toby, 2012 Self Portrait, 2012 Stephen Bird Stephen Bird clay, pigment, glaze, H35 x W18 x D24 cms clay, pigment, glaze, H36 x W16 x D20 cms 2 FOREWORD The exhibition quickly evolved as a two-hander with his Roger Law approached The friend Stephen Bird. The two had met in Sydney and Gallery in early 2014 with an idea Law wrote the introduction to Bird’s 2013 Edinburgh International Festival show with The Gallery My Dad was for an exhibition which centred Born on the Moon. Bird was born in The Potteries, trained at Duncan of Jordanstone in Dundee and making his around cultural transportation, home and a huge international reputation from Sydney he stemming from his own remains aloof from any artist pigeon-hole. Law’s subject is far from the historical-political world from which Bird experience of living and working extracts his concepts; he looks rather to nature (his subjects are delightful caricatures of the evolutionary process) in Australia and his various while his design emphasis is on the decorative. In common, journeys to China, where he both artists are essentially subversive with little interest in convention; both are master craftsmen and both have frequently works and from where completed residencies in China this year, acutely aware of the complex, vital history of their chosen medium between his ceramics return to Europe to China and the West.
    [Show full text]
  • Art Aborigène, Australie Samedi 10 Décembre 2016 À 16H30
    Art Aborigène, Australie Samedi 10 décembre 2016 à 16h30 Expositions publiques Vendredi 9 décembre 2016 de 10h30 à 18h30 Samedi 10 décembre 2016 de 10h30 à 15h00 Expert Marc Yvonnou Tel : + 33 (0)6 50 99 30 31 Responsable de la vente Nathalie Mangeot, Commissaire-Priseur [email protected] Tel : +33 (0)1 48 00 94 24 / Port : +33 (0)6 34 05 27 59 En partenariat avec Collection Anne de Wall* et à divers collectionneurs australiens, belges, et français La peinture aborigène n’est pas une peinture de chevalet. Les toiles sont peintes à même le sol. L’orientation des peintures est le plus souvent un choix arbitraire : c’est à l’acquéreur de choisir le sens de la peinture. Des biographies se trouvent en fin de catalogue. Des certificats d’authenticité seront remis à l’acquéreur sur demande. * co-fondatrice du AAMU (Utrecht, Hollande) 2 3 - - Jacky Giles Tjapaltjarri (c. 1940 - 2010) Eileen Napaltjarri (c. 1956 - ) Sans titre, 1998 Sans titre, 1999 Acrylique sur toile - 45 x 40 cm Acrylique sur toile - 60 x 30 cm Groupe Ngaanyatjarra - Patjarr - Désert Occidental Groupe Pintupi - Désert Occidental - Kintore 400 / 500 € 1 300 / 400 € - Anonyme Peintre de la communauté d'Utopia Acrylique sur toile - 73 x 50,5 cm Groupe Anmatyerre - Utopia - Désert Central 300/400 € 4 5 6 - - - Billy Ward Tjupurrula (1955 - 2001) Toby Jangala (c. 1945 - ) Katie Kemarre (c. 1943 - ) Sans titre, 1998 Yank-Irri, 1996 Awelye; Ceremonial Body Paint Design Acrylique sur toile - 60 x 30 cm Acrylique sur toile - 87 x 57 cm Acrylique sur toile Groupe Pintupi - Désert Occidental Groupe Warlpiri - Communauté de Lajamanu - Territoire du Nord 45 x 60 cm Cette toile se réfère au Rêve d’Emeu.
    [Show full text]
  • Lauraine Diggins Fine
    5 Malakoff Street, North Caulfield, Vic, 3161 Telephone: (61 3) 9509 9855 Facsimile: (61 3) 9509 4549 Email: [email protected] Website: www.diggins.com.au ABN.19006 457 101 L A U R A I N E · D I G G I N S · F I N E · A R T Memorial Service to celebrate the life of Lauraine Diggins OAM Monday 17th June 2019, The Pavilion, Arts Centre Melbourne TRIBUTES MC: Ruth Lovell, manager, Lauraine Diggins Fine Art Acknowledgement of Country: Professor Margo Neale, Senior Curator and Principal Indigenous Advisor, National Museum of Australia Speakers: Ms Lin Oke, O.T. Group Dr Daniel Thomas, Emeritus Director Art Gallery of South Australia Ms Antonia Syme, Director, Australian Tapestry Workshop Mr Adrian Newstead, Founding Director, Cooee Art Mr Steve Dimopoulos MP, Member for Oakleigh Mr Gerard Vaughan, former Director National Gallery of Australia Ms Anne-Marie Schwirtlich, former Director National Library of Australia (delivered by Nerida Blanche, daughter of Lauraine Diggins) Mr Michael Blanche, husband of Lauraine Diggins Tribute to Lauraine Diggins by Ms Lin Oke Reflections Occupational Therapy Back in 1965, 42 of us 17 and 18 year olds, from around Victoria started our journey into the Occupational therapy profession. Strong bonds of friendship developed amongst us. Lauraine stood out – vivacious, full of fun, elegant, tall – with those long legs that resulted in some of us calling her Lolly Legs. Following Lauraine’s passing we shared our memories and smiled on our reflections. I’m pleased to share some of these reflections with you today. One of our group summed up the closeness of Course 18 in this way: “In 1965 the small campus of the OT School at 33 Lansell Road provided an intimate atmosphere favourable for the development of strong bonds.
    [Show full text]
  • Sunday 24 March, 2013 at 2Pm Museum of Contemporary Art Sydney, Australia Tional in Fi Le Only - Over Art Fi Le
    Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia tional in fi le only - over art fi le 5 Bonhams The Laverty Collection 6 7 Bonhams The Laverty Collection 1 2 Bonhams Sunday 24 March, 2013 at 2pm Museum of Contemporary Art Sydney, Australia Bonhams Viewing Specialist Enquiries Viewing & Sale 76 Paddington Street London Mark Fraser, Chairman Day Enquiries Paddington NSW 2021 Bonhams +61 (0) 430 098 802 mob +61 (0) 2 8412 2222 +61 (0) 2 8412 2222 101 New Bond Street [email protected] +61 (0) 2 9475 4110 fax +61 (0) 2 9475 4110 fax Thursday 14 February 9am to 4.30pm [email protected] Friday 15 February 9am to 4.30pm Greer Adams, Specialist in Press Enquiries www.bonhams.com/sydney Monday 18 February 9am to 4.30pm Charge, Aboriginal Art Gabriella Coslovich Tuesday 19 February 9am to 4.30pm +61 (0) 414 873 597 mob +61 (0) 425 838 283 Sale Number 21162 [email protected] New York Online bidding will be available Catalogue cost $45 Bonhams Francesca Cavazzini, Specialist for the auction. For futher 580 Madison Avenue in Charge, Aboriginal Art information please visit: Postage Saturday 2 March 12pm to 5pm +61 (0) 416 022 822 mob www.bonhams.com Australia: $16 Sunday 3 March 12pm to 5pm [email protected] New Zealand: $43 Monday 4 March 10am to 5pm All bidders should make Asia/Middle East/USA: $53 Tuesday 5 March 10am to 5pm Tim Klingender, themselves aware of the Rest of World: $78 Wednesday 6 March 10am to 5pm Senior Consultant important information on the +61 (0) 413 202 434 mob following pages relating Illustrations Melbourne [email protected] to bidding, payment, collection fortyfive downstairs Front cover: Lot 21 (detail) and storage of any purchases.
    [Show full text]
  • Annual Report 2001–2002 Annual Report 2001–2002 NATIONAL GALLERY of AUSTRALIA Annual Report 2001–2002 © National Gallery of Australia
    NATIONAL GALLERY OF AUSTRALIA GALLERY NATIONAL NATIONAL GALLERY OF AUSTRALIA Annual Report 2001–2002 Annual Report 2001–2002 Annual Report NATIONAL GALLERY OF AUSTRALIA Annual Report 2001–2002 © National Gallery of Australia ISSN 1323-5192 All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage retrieval system, without permission in writing from the publisher. Produced by the Publications Department of the National Gallery of Australia, Canberra. Printed by Paragon Printers, Canberra, ACT National Gallery of Australia GPO Box 1150, Canberra ACT 2601 www.nga.gov.au cover and left: Paminggir people Lampung, Sumatra, Indonesia Ceremonial textile [tampan] 19th century Cotton, gold thread, dyes; supplement weft Acquired through gift and purchase from the Collection of Robert J. Holmgren and Anita E. Spertus, New York, 2000 iii Contents Letter of Transmittal iii Chairman’s Foreword 1 Director’s Report 3 Performance Report 2001–2002 Outcome and Outputs 7 Corporate Overview 9 Report against Strategic Plan 2001–2004 15 National Gallery of Australia Financial Reports 2001–2002 Independent audit report 54 Statement by Directors 56 Statement of Financial Performance 57 Notes to the Financial Statement 62 Appendixes 1. Council of the National Gallery of Australia 86 2. Management structure at 30 June 2002 88 3. Staff of the National Gallery of Australia at 30 June 2002 89 4. Acquisitions 2001–2002 92 5. Acquisitions including purchases and gifts 1945–2002 116 6. Exhibitions held at the National Gallery of Australia 117 7. Attendance at the National Gallery of Australia 1982–2002 119 8.
    [Show full text]