Art GAllery of New South wAleS appendices 2011–12

Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse Spice; Mary eugene City of Sydney Support sponsor: AND BEQUESTS tancred; Peter weiss AM; Beryl Archibald, wynne and Sulman Michael fraser, AGL Energy RECEIVED whiteley oAM Limited; Nigel williams, ANZ Prizes and Picasso: masterpieces GolD BeNefACtorS from the Musée National Banking Group; John Symond Geoff Ainsworth AM & Vicki Picasso, Paris AM, Aussie Home Loans; Giam Swiegers, Deloitte; Sandra Ainsworth; Jim Bain AM & Janette Delta Electricity Support sponsor: Chipchase, Destination NSW; Bain; the Balnaves foundation; Archibald, wynne and Sulman Life governors Damian hackett, Deutscher as at 30 June 2012 Susan Chandler; Patrick Corrigan Prizes and ARTEXPRESS and Hackett; emmanuel Pohl, AM; John Anthony (tony) Gilbert; Ernst & Young Principal sponsor: EC.Pohl & Co; rob Mcleod, the Gallery has acknowledged the Mervyn horton; Nelson Meers Picasso: masterpieces from the Ernst & Young; Peter fray, Fairfax significant support of the following foundation; Alan & Jancis rees; Musée National Picasso, Paris Media Limited; Kathryn everett, individuals by appointing them as lyn williams AM; David George life Governors: Freehills Principal sponsor: Freehills; Scott MacDonald, wilson legal provider Investa Property Group; David franco Belgiorno–Nettis AC BeNefACtorS Clarke, Investec Bank (Australia) CBe; Joseph Brender Ao; Jillian Hyperion Asset Management Limited; Stephen o’Connor, Broadbent Ao; edmund Capon Paul & Valeria Ainsworth; Kathleen conservation support for the william JCDecaux Australia; rob Priestley, AM oBe; Ken Cowley Ao; James elizabeth Armstrong; James Strutt painting David’s first victory J.P. Morgan; Martin Blake, KPMG; fairfax Ao; Brian france AM; James Barker; Mr & Mrs Pl Binnie; Jillian JCDecaux Media sponsor: robin Bishop, Macquarie Capital; Gleeson Ao & frank o’Keefe; Broadbent Ao; Andrew & Cathy Picasso: masterpieces from the John Clayton, Marsh; David Michael Gleeson–white Ao; David Cameron; francine de Valence; Musée National Picasso, Paris and hornery, National Australia Bank; Gonski AC; Mollie Gowing; Shosuke Patricia englund; Vincent fairfax Art After hours Kim williams, News Limited; Paul Idemitsu; James leslie AC MC; family foundation; Mr John Gandel Ao & Mrs Pauline Gandel; John M J.P. Morgan Principal sponsor: o’Sullivan, Optus; Kerr Neilson, frank lowy AC; John Morschel; Brett whiteley Studio and Major Platinum Asset Management; rupert Murdoch AC; Kenneth Myer Gillespie; David Gonski AC & orli sponsor: Picasso: masterpieces Alan Joyce, Qantas Airways; Alfred AC DSC; J hepburn Myrtle CBe; wargon oAM; robert Quentin hole; from the Musée National Picasso, Moufarrige oAM, Servcorp, ryan Margaret olley AC; John olsen fraser hopkins; Isa & hal Jones; Paris Stokes, Seven Group Holdings; Ao oBe; Max Sandow AM; John Andrew Klippel; Sophie landa; Kip frame, Stephenson Mansell Brian ladd; Mr & Mrs teck–Chiow Macquarie Capital Principal Schaeffer Ao; Julie Schaeffer; Group; luca Belgiorno–Nettis lee; Adrian Claude lette; Mr C sponsor: Art After hours edward Sternberg AM & Goldie AM, Transfield Holdings; Philip Sternberg; fred Street AM; Diana lloyd Jones CMG; frank lowy AC; Marsh Principal sponsor: Kamisaka Coleman, UBS AG Australia; walder oAM; Peter weiss AM; Jim Masselos; Jacqueline Menzies Sekka: dawn of modern Japanese Jeff Mitchell, Westpac Banking Neville wran AC QC; John yu AC oAM; David Moore; Catriona & design and risk and insurance Corporation Simon Mordant AM; lewis Morley partner Art Gallery of New South oAM; Carole Muller; Judith & Kerr Optus open Gallery Program for VisAsia Council Neilson; Susan & Garry rothwell; priority–funded schools Wales Foundation Isaac & Susan wakil; Dr John yu Members of the VisAsia Council the Gallery has acknowledged AC & Dr George Soutter AM Porter’s Original Paints official as at 30 June 2012 paint supplier major gifts and bequests of both warwick Johnson, Optimal Fund works and money (including President’s Council of the Art New bequests Management, chair pledged bequests) through Gallery of New South Wales membership of its foundation. the the following bequests were Major exhibitions program partner received and/or notified this Stephen Menzies, Ashurst; Bill three highest levels of foundation financial year: Qantas Airways Principal sponsor: ferris AC & Su–Ming wong, membership, as at 30 June 2012, yiribana Gallery of Aboriginal and CHAMP Ventures; Philip Cox are listed below: • Molly Gowing – $814,791 Ao, Cox Richardson; Seng torres Strait Islander art and official • John Anthony Gilbert huang lee, Mulpha Australia; lIfe BeNefACtorS airline: Kamisaka Sekka: dawn of – $1,148,500 modern Japanese design hiroyuki roy Nishikawa, Nomura James Agapitos oAM & ray wilson Australia Limited; Nicholas Curtis oAM; Art Gallery Society of New • Beryl whiteley – $1,248,011 Seven Network Media sponsor: AM, Riverstone Advisory Pty South wales; Mary–Jane Brodribb; Picasso: masterpieces from the • harold Schultz – $19,476 Ltd; william Purcell, University Maurice Cashmere; Ken Coles AM Musée National Picasso, Paris of Technology Sydney; Michael & rowena Danziger AM; Sir william Sofitel Sydney Wentworth official Sternberg, Valiant Hire Dobell foundation; Mr Jo fairfax hotel Partner and Support sponsor Ao; James Gleeson Ao & frank of: Archibald, wynne and Sulman o’Keefe; Mollie & Jim Gowing; prizes; and Picasso: masterpieces walter hartwig; Dr elizabeth hazel; from the Musée National Picasso, Mary heseltine; Mervyn horton; Paris John Kaldor family; yvonne The Sydney Morning Herald Buchanan May & hugh Buchanan Media sponsor: Picasso: May; News limited; Margaret olley

74 ART GALLERY OF NSW ANNUAL REPORT 11–12 ART PRIZES, ANNe lANDA AwArD generously allocated funds for the • Giacometti: sculptures, prints and this exhibition, with an acquisitive scholarship in memory of her son, drawings, Capon, softbound $45 GRANTS AND award of $25,000, is held every two the Australian artist Brett whiteley. • Half light: portraits from Black SCHOLARSHIPS years. It was established in honour In 2011 the scholarship was Australia, Perkins, softbound $45 awarded to Becky Gibson. of Anne landa, a former trustee of • Harold Cazneaux: artist in the Art Gallery of New South wales, StuDIoS IN PArIS photography, Bullock, softbound who died in 2002. entry is by $45 invitation only. the next Anne landa the Art Gallery of New South • Highlights from the Gallery Art prizes Award will open in May 2013. wales allocates tenancy to two art studios, the Moya Dyring Studio collection, Capon, flexibound $40 Competitions for the 2012 BulGArI Art AwArD and the Dr Denise hickey Memorial Archibald, wynne and Sulman • Homage to the ancestors: ritual Studio, which it leases at the Cité prizes, sponsored by ANZ, were this new annual award supports art from the Chu kingdom, liu, Internationale des Art in Paris. held in March 2012. A total of contemporary Australian painting. softbound $35 During the year the studios were 2,276 entries were received, 99 of each year, the Gallery will identify • Intensely Dutch: image, which were selected for display. a significant painting by a occupied by Philip Brophy, Stephen abstraction and the word, post– the Dobell Prize for Drawing, mid–career Australian artist to Copland, Dr Alex fensham, wanda war and beyond, Kolenberg, sponsored by the Sir william be acquired for its collection. Gillespie, Belem lett, Jai McKenzie, softbound $40 Dobell Art foundation, was held Sponsored by Bulgari, the award Angus Nivison, Anthony o’Carroll, Alex Pittendrigh and leigh rigozzi • Jeffrey Smart, Capon & Pearce, in November 2011. of the 734 consists of $50,000 for acquisition softbound $45, hardbound $66 entries received, 49 were selected of the painting and a residency for • John Kaldor Family Collection, for display. the artist in Italy valued at $30,000. tunnicliffe, hardbound $89.95 the Gallery’s Board of trustees and ArChIBAlD PrIZe the head curator of Australian art GALLERY • Justin O’Brien, Pearce softbound the prize of $75,000 for portraiture select the award. PUBLICATIONS $45 was awarded to tim Storrier for FOR SALE • Kamisaka Sekka: dawn of his work The histrionic wayfarer Grants and scholarships modern Japanese design, Trinh (after Bosch). the People’s Choice Bold denotes new titles in 2011–12 (ed), softbound and hardbound competition, for which the viewing BASIl AND MurIel hooPer $40* public vote for their favourite SCholArShIP • Let’s face it: the history of the Archibald Prize entry, was won by this annual scholarship, valued Archibald Prize, ross, softbound Jenny Sages for her work After at $4000 is aimed at fine-art • Adventures with form in space: $50 Jack. Sages received $2500 and students attending recognised fourth Balnaves Foundation a $1000 ANZ Visa Debit Card, as schools in NSw to assist with the • Lewis Morley, Annear, $40 Sculpture Project tunnicliffe, did the Gallery visitor whose vote costs of fees, costs of materials • Man Ray, Annear, softbound $30 was drawn from all votes cast for softbound $35 and general living expenses. this • Monet and the Impressionists, the winning artist. the winning • Alfred Stieglitz: the Lake George year’s scholarship was awarded to Shackelford, flexibound $40, voter also received one night’s Miranda Samuels. years, Annear, softbound $40 accommodation at the Sofitel hardbound $65 • An incomplete world, tunnicliffe, Sydney wentworth. • One sun one moon: Aboriginal art elIoth GruNer PrIZe softbound $45 the Packing room Prize gives the in Australia, Perkins, hardbound, this annual prize of $1,000 for • Anne Landa Award 2006, Gallery staff who receive the entries $120 the best landscape in oil by an tunnicliffe, softbound $25 for the Archibald Prize the chance art student was awarded to Kyle • Orientalism Delacroix to Klee, to vote for their favourite portrait. Murrell in 2011. • Anne Landa Award 2011: Benjamin (ed), softbound $45 unguided tours, Paton, softbound In 2012, the Packing room Prize • Paths to abstraction, Maloon, $20 was awarded to raelene Sharp for roBert le GAy BreretoN softbound $60 her work A strength of character. MeMorIAl PrIZe • Archibald 10, softbound $16 Sharpe received $1000 and • Photography collection, Annear, this prize, which aims to promote • Archibald 11, softbound $16 softbound, $45 a $500 ANZ Visa Debit Card. and encourage the art of • Archibald 12, softbound $16 draughtsmanship, is available each • Picasso: masterpieces from the wyNNe PrIZe year to art students. the prize of • Asian collections, Menzies, Musée National Picasso, Paris, the prize of $35,000 for an $800 was not awarded in 2011. softbound $45 Baldessari, softbound $50* Australian landscape or figure • Australian Symbolism: the art of • Robert Klippel, edwards, sculpture was awarded to DySoN BeQueSt dreams, Mimmocchi, hardbound softbound $50 Imants tillers for his work Administered under the terms of the $35 • Sidney Nolan: new retrospective, Waterfall (after Williams). will of the late Miss Anthea Dyason, • Bertram Mackennal, edwards, Pearce, softbound $50, truSteeS’ wAterColour this bequest provides grants of hardbound $80 hardbound $80 $5000 to Australian art students PrIZe • Still life; the inaugural Balnaves who have already won travelling • Brett Whiteley: studio, Pellow, Foundation Sculpture Project, entries in the wynne Prize are also scholarships so as to enable softbound $45 tunnicliffe, softbound $25 eligible for the trustees’ watercolour them to better study architecture, • Buddha: radiant awakening, Prize. In 2012 the $2000 prize was sculpture or painting in countries Menzies, softbound $35 • The mad square: modernity in awarded to Susan J white for her German art 1910–37, Strecker, other than Australia and New • Celestial silks: Chinese religious work Salamander Bay. softbound $50 and hardbound Zealand. In 2011 an award was and court textiles, rutherford & made to lachlan Anthony. $80 SIr JohN SulMAN PrIZe Menzies, softbound $35 • Tradition today: Indigenous art in Brett whIteley trAVellING • Contemporary: Art Gallery New the prize of $30,000 was judged by Australia, Perkins, softbound $40 the artist Susan Norrie and awarded Art SCholArShIP South Wales contemporary • Victorian visions: 19th-century to Nigel Milsom for his work Judo collections, tunnicliffe, flexibound this scholarship, was established art from the John Schaeffer house pt 4 (golden mud). $45 to provide young artists with the Collection, Beresford, softbound • Crossing country: the alchemy opportunity to travel to europe and $45 DoBell PrIZe for DrAwING further their artistic interests, this of western Arnhem Land art, the $25,000 prize, judged by the scholarship comprises $25,000 and Perkins, softbound $50 • What colour is that?, Keeler– Milne, softbound, $18.95 artist Guy warren, was awarded to a three–month residency in the Art • David Aspden: the colour Anne Judell for her work entitled Gallery of New South wales’s Paris of music and place, Ryan, • What number is that?, Keeler– Breath. studio. Beryl whiteley (1917–2010), hardbound $40 Milne, softbound, $18.95

APPENDICES 11–12 75 • Wilderness: Balnaves Education kits contemporary painting, tunnicliffe, • Adventures in Asia, education kit, $45 hardbound $40 • Art speaks Italian, education kit, $55 * title out of print • Art speaks Japanese, education kit, $55 • Aspects of Australian art, education kit, $45 • Country culture community, education kit, $45

VISITOR NUMBERS

MONTHLY VISITORS

Total visitors Domain Bw Studio touring Month 2007–08 2008–09 2009–10 2010–11 2011–12 2011–12 2011–12 2011–12 July 121,745 175,816 150,040 91,300 117,528 69,442 939 47,147 August 98,682 160,732 122,655 92,503 97,530 76,547 706 20,277 September 85,902 140,283 109,013 82,064 81,978 71,514 810 9,654 october 70,786 130,563 86,233 80,779 77,559 68,454 826 8,279 November 81,415 142,874 74,239 68,971 115,730 97,941 704 17,085 December 86,642 109,878 94,706 123,326 134,759 116,760 343 17,656 January 121,333 221,202 129,989 165,542 188,212 166,450 926 20,836 february 114,862 88,483 88,629 165,840 158,014 133,265 977 23,772 March 165,731 173,406 95,024 152,424 188,094 174,080 1,493 12,521 April 146,874 143,698 140,368 99,804 105,800 103,144 1,096 1,560 May 113,014 113,193 115,617 109,977 97,731 96,809 922 0 June 148,560 105,405 76,349 94,171 82,332 57,743 1,096 23,493 ytD totAl 1,355,546 1,705,533 1,282,862 1,326,701 1,445,267 1,232,149 10,838 202,280

Paid exhibition program 2011–12 Annual total visitor numbers 2002/03 to 2011–12 exhibition Months Visitors

the poetry of drawing: pre–raphaelite Jul–Sept 19,152 1.7

designs, studies and watercolours 1.6 the mad square: modernity in Aug–Nov 54,432 1.5 million German art 1910–37 Picasso: masterpieces from the Nov–Mar 366,753 1.4 Musée National Picasso, Paris 1.3

Archibald, wynne and Sulman Apr–June 114,856 1.2 prizes 2011 1.1 Kamisaka Sekka: dawn of modern June 1,906 02–03 05–06 06–07 1 million 03–04 04–05 Japanese design 07–08 08–09 09–10 10–11 11–12 TOTAL 557,099 0.9 0.8

76 ART GALLERY OF NSW ANNUAL REPORT 11–12 EXHIBITIONS LISTING

Dates Department Exhibition Ticketed Tour Catalogue 04.07.10–04.07.11 Australian: endlessnessism Brett whiteley Studio 05.05.11–10.07.11 Australian unguided tours: Anne landa Award for video and new media arts 2011 • 12.05.11–07.08.11 Asian eikoh hosoe: theatre of memory 21.05.11–14.08.11 western: contemporary Sam Smith: cameraman 21.05.11–18.09.11 western: photography tracey Moffatt: up in the sky 21.05.11–02.05.12 western: contemporary New contemporary galleries featuring the John Kaldor family Collection • 28.05.11–14.08.11 Australian Antonio Dattilo-rubbo • 18.06.11–04.09.11 western: european the poetry of drawing: pre-raphaelite designs, studies and watercolours • 25.06.11–04.12.11 Australian: Indigenous the new Australians 09.07.11–08.07.12 Australian: Blue Brett whiteley Studio 28.07.11–21.08.11 Australian tribute to Margaret olley 28.07.11–04.09.11 Australian David Aspden: the colour of music and place • 06.08.11–06.11.11 western: european the mad square: modernity in German art 1910–37 • • • 17.08.11–30.09.11 Australian Seasons of life 01.09.11–20.11.11 western: contemporary Kathy temin. My monument: black garden 01.09.11–15.01.12 Asian one hundred flowers 17.09.11–12.02.12 Australian 20th-century Australian collection 24.09.11–05.02.12 western: photography what’s in a face? Aspects of portrait photography 13.10.11–02.12.11 edmund and Joanna Capon 14th annual exhibition of the Australian Bookbinders research library 18.10.11–23.10.11 Australian operation art 2011 12.11.11–25.03.12 western: european Picasso: masterpieces from the Musée National Picasso, Paris • • 02.12.11–05.02.12 Australian Dobell Prize for Drawing 2011 08.12.11–05.02.12 western: contemporary Ms&Mr: XeroX MISSIVe 1977/2011 18.01.12–06.05.12 Asian Dragon 11.02.12–13.05.12 western: photography Making sense: contemporary lA photo artists 11.02.12–20.05.12 western: contemporary Mother India: video plays by Nalini Malani 22.02.12–22.04.12 Australian ArteXPreSS 2012 23.02.12–13.05.12 western: contemporary eugenia raskopoulos: footnotes 31.03.12–03.06.12 Australian Archibald, wynne and Sulman prizes 2012 • • 12.05.12–29.07.12 Australian Australian Symbolism: the art of dreams • 02.06.12–05.08.12 western: contemporary Simone Mangos: DAMAGeD – thalidomide victims in medical documents 02.06.12–09.09.12 western: photography Jacky redgate: the logic of vision 22.06.12–22.07.12; Asian Kamisaka Sekka: dawn of modern Japanese design • • 25.07.12–26.08.12 27.06.12–16.09.12 western: contemporary 18th Biennale of Sydney: all our relations 27.06.12–02.12.12 Australian: Indigenous home

Touring exhibitions Dates Venue Location Exhibition Attendance 02.07.11–31.07.11 tarrawarra Museum of Art healesville, VIC Archibald Prize 2011 47,147 05.08.11–11.09.11 tweed river Art Gallery tweed Valley, NSw Archibald Prize 2011 28,563 17.09.11–23.10.11 Moree Plains Gallery Moree, NSw Archibald Prize 2011 3688 05.10.11–27.11.11 Art Gallery of Ballarat North Ballarat, VIC Australian modern masterpieces 10,236 28.10.11–04.12.11 lake Macquarie City Art Gallery Booragul, NSw Archibald Prize 2011 10,584 25.11.11–04.03.12 National Gallery of Victoria Melbourne, VIC the mad square: 46,236 modernity in German art 1910–37 09.12.11–15.01.12 Casula Powerhouse Casula, NSw Archibald Prize 2011 4594 10.12.11–04.03.12 Newcastle Art Gallery Newcastle, NSw Australian modern masterpieces 13,851 20.01.12–26.02.12 orange regional Gallery orange, NSw Archibald Prize 2011 6859 02.03.12–08.04.12 Manning regional Art Gallery taree, NSw Archibald Prize 2011 7029 10.06.12–08.07.12 tarrawarra Museum of Art healesville, VIC Archibald Prize 2012 23,493 (June)

APPENDICES 11–12 77 (65 primary and 153 secondary) interpretation into selected Art After the main visitors’ elevator, servicing AGED AND participating in 27 groups. teachers hours celebrity talks also continued lower level 1, the ground floor and DISABILITY were able to select from six different this year. the upper level, has voice notification permanent collection workshops of floor and access information as ACCESS the Gallery’s open weekend based on the needs of their well as braille floor buttons. program in May 2012 included PROGRAMS students. tactile resources were selected Auslan-interpreted talks AND SERVICES incorporated into the workshops and an audio-described tour that Visitors with intellectual to assist students to relate to and attracted 20 people. the open disabilities engage with the selected artworks. weekend program was promoted Groups of visitors with intellectual Several schools that were unable through Access networks and disabilities are encouraged to contact the Gallery to discuss their the Art Gallery of New South wales to make the journey to the Gallery Accessible Arts. needs. free, guided tours of the recognises and supports the right could access education material the access coordinator participated permanent displays are available of people with disabilities to be online, with the Gallery’s coordinator in the Deaf Arts Access Project if booked at least two weeks in involved in the life of the community of access programs making contact organised by Accessible Arts and advance. generally and the cultural life of with schools and suggesting gave a presentation about the Sydney in particular. Accordingly, engagement strategies via the web. Gallery’s access and Signing Art the Gallery commits to providing programs at the Deaf Arts Access General people with disabilities with Visitors with physical forum in May 2012. the results and CoMMuNICAtIoNS equitable access to our services, recommendations of the project disabilities the Gallery’s website (www. the building, information and have assisted in marketing the A ramp for visitors with mobility artgallery.nsw.gov.au) can display opportunities. Signing Art program to the deaf issues, and with wheelchairs and large-print screen versions of community. prams, was installed at the entrance all information. the website Access programs to the Gallery. the ramp was Groups of visitors who are deaf also contains detailed access Access programs and services at designed to meet code as well as and who book at least two weeks information, including facilities, the Gallery incorporate a range of adaptive principles set out by the in advance can be provided with events and procedures. programs for general and education International Council on Monuments Auslan interpreters free of charge. and Sites (ICoMoS). the Gallery audiences with specific needs. the tty number, (02) 9225 1711, INforMAtIoN AND PuBlICIty In 2011–12 a total of 1635 people is involved in ongoing consultation is listed in the telstra tty directory the Gallery’s biannual Highlights accessed these services. in regard to access requirements and on the Gallery’s website, brochure, which includes information throughout the building. which also provides information on for visitors with specific needs, is Pilot program the Gallery has four disabled contacting the Gallery through the available free at the information desk with Holdsworth parking spaces: two at the front of National relay Service. along with brochures about our Community Centre the building and two at the rear in the Domain theatre and Centenary access programs. the Gallery’s parking area. Special A six-month pilot program (12 Auditorium are equipped with audio- arrangements are also made for helPerS sessions) was conducted from induction loop facilities. bus parking. Access to the parking July to December 2011 with the General entry to the Gallery is free spaces at the rear of the Gallery is holdsworth Community Centre for all visitors. however, where entry via the service road on the southern Visitors who are in woollahra, Sydney, to provide fees are charged for major temporary side of the building. from the car visually impaired art appreciation and art-making exhibitions, helpers accompanying park at the rear of the Gallery, the extension of In touch, the activities for elderly people and visitors with disabilities are admitted access to all exhibitions and public Gallery’s free program of guided people with dementia. the program free upon presentation of their and administrative areas is by ramps sensory sculpture tours, to was initiated in response to Companion Card. and lifts and is signposted. include audio descriptions of several requests from aged-care two-dimensional artworks led to StAff trAINING organisations wanting to give A wheelchair-accessible bus (route increased interest in the program Information and awareness sessions their clients art experiences. 441) runs from the Queen Victoria in 2011–12 from blind and visually are held for staff and volunteer Building to the Gallery. timetable impaired visitors. there were guides, with particular reference to Seniors Week details are available by telephoning also more enquiries due to Vision 13 15 00 or visiting www.131500.info Australia’s promotion of the service serving visitors with special needs. from 18–25 March 2012 the A designated education officer wheelchairs for use in the Gallery through their website. Gallery participated in Seniors week manages the access programs and are available free of charge at the events funded and promoted by the audio-described tours attracted facilities for people with disabilities. the NSw Department of Ageing, information desk and at the rear 35 blind or vision-impaired visitors Disability and home Care. A range entrance. and their 25 companions. Individuals eMPloyMeNt PrACtICeS of tours and drawing workshops for the Domain theatre and Centenary booked several programmed audio- the Gallery is committed to equal individuals and community groups Auditorium have access space described tours of the Picasso opportunity principles for recruitment was programmed across the week designed for wheelchair users. exhibition. As well as being available and general employment practice. in association with the Gallery’s to the general public, these tours of staff working at the Gallery, 1.6% exhibition Picasso: masterpieces wheelchair-accessible toilets are can be adapted to suit the particular have a disability and 0.6% require from the Musée National Picasso, located on the upper level, lower educational needs of K–12 school some form of adjustment to the Paris. the Seniors week events level 1 and lower level 3. students. In 2011–12, 16 school workplace. attracted more than 280 visitors, students booked into the In touch many of who were first-time visitors Visitors who are deaf and audio-described tours as part to the Gallery. or hearing–impaired of school excursions. A combination Signing Art is the Gallery’s longest of tactile resources, high-contrast Education programs running access program, providing black-and-white reproductions and Starting with Art is the Gallery’s Auslan-interpreted tours and events detailed descriptions were provided initiative for K–12 students with for deaf and hearing-impaired for the students and teachers. special learning needs. It presents people. It attracts a loyal audience Audio-described tours of the innovative workshops that utilise to regular and changing events. In permanent galleries and temporary the Gallery’s collections for students 2011–12, 162 deaf and hearing- exhibitions are available for visitors with intellectual disabilities. In 2011– impaired visitors attended the who are blind or vision-impaired 12 the program attracted interest Gallery’s free tours at 1.30pm on if booked at least two weeks in from both new and returning the last Sunday of every month. advance. A large- print booklet was schools with a total of 218 students the successful integration of Auslan produced for the Picasso exhibition.

78 ART GALLERY OF NSW ANNUAL REPORT 11–12 Tiwi artists’ talk a professional development and roy Kennedy, and participating ABORIGINAL in an art-making workshop led by the artists Pedro wonaeamirri, program for Indigenous arts workers AND TORRES the artists. the program was very Dymphna Kerinauia, raelene focussing on providing opportunities successful, with anecdotal evidence STRAIT ISLANDER Kerinauia and Brian farmer for arts workers to develop professional skills and experience provided by the schools indicating PROGRAMS AND Illortaminni from the tiwi that there was an improvement in Islands were invited to give two and develop career pathways for SERVICES Indigenous people seeking a career the students’ attendance, behaviour discussions, one focusing on and attitude to school. contemporary and traditional tiwi in arts centre management as well as opportunities for Indigenous art practice, and the other on DJAMu: SeNIor the significance of the Gallery’s people to gain employment in the the Gallery organises many Indigenous visual arts sector and Six Indigenous senior visual activities that are designed to commissioning, in 1958, of a series arts students in years 10 to 12 of Pukumani poles (graveposts) support for arts workers in job introduce Aboriginal and torres transition positions to secure full– participated in the Djamu: Senior Strait Islander visitors and others by tiwi artists – the first major program held over six days in Aboriginal art commission by time employment in the Indigenous to the history and culture of the visual arts sector. November 2011 and february Indigenous peoples of Australia. an Australian gallery. 2012. this intensive and immersive the program was initiated by these offerings include temporary program was designed to introduce the Australian Government’s exhibitions, public program and Aboriginal Artist in students to the range of vocational Department of the Prime Minister events, education programs and pathways in the arts, a sector Residence Research and Cabinet, office for the Arts artworks from the collection, in which Indigenous people are Program and NAIDOC (oftA) and Arts NSw as part of which are primarily displayed in currently underrepresented in the National Arts and Craft Industry the Gallery’s dedicated space for Week 2011 a professional capacity. the Support (NACIS) Professional Aboriginal and torres Strait Islander In 2011 the second annual program also provides professional Development fund. art, the yiribana Gallery. Aboriginal Artist-in-residence development opportunities for the the NSw Aboriginal Visual Arts this year the Gallery presented research Program was held Gallery’s Indigenous education staff Industry Introduction Program is a number of exhibitions, programs during NAIDoC week. each year who were involved in the program’s a strategic initiative in which the and events that celebrated the the Gallery facilitates a two-week planning, delivery and evaluation. residency for an emerging artist Gallery is working with key partners work and influence of Aboriginal Students became familiar with (or artists) from a local, regional or within the NSw Visual Arts sector and torres Strait Islander artists in the Gallery’s collections, spaces remote community. this program to provide a tailored program to Australia. In addition, the Aboriginal and history, and with the staff of not only celebrates NAIDoC week address professional development Collection Benefactors continued the Aboriginal and torres Strait through exhibitions and programs needs in the NSw Aboriginal Visual to raise funds for the acquisition Islander art department. they but also benefits community Arts sector. of Indigenous art. based artists by providing them developed their knowledge of with an opportunity to share In 2011 four emerging Indigenous Indigenous art practices, and of a Tracey Moffatt: their experience and knowledge, arts practioners (eIAP) investigated range of other art movements, and the role of the museum and its Up in the sky further strengthening the Gallery’s participated in extensive and diverse relationships with their communities. different areas, such as Curatorial, educational sessions, including (21 May – 18 Sep 2011) Conservation, Installation, Design, Artists are selected on the basis artist-run workshops and visits to Marketing, Collection Storage tracey Moffatt is one of Australia’s of their relationship to the Gallery’s specialised areas of the Gallery and Public Programs as part of most successful artists and is well exhibition program and collection. such as conservation and the Prints known around the world for her In 2011 five artists – Kamilaroi artist a two-week fully funded intensive and Drawings Study room. Artists film, photography and video works. elaine russell, tasmanian artist residency program. each eIAP such as Judy watson and tony Drawing on cinema, television and Vicki west and tiwi artists Dymphna was placed in a regional or Albert gave talks and led art-making the media, her work is inspired by Kerinauia, raelene Kerinauia and metropolitan gallery or organisation workshops, and provided students art history as well as popular culture Brian farmer Illortaminni – were for an extended 4 week with feedback and critiques of and memories of her childhood and chosen to participate. traineeship program. their hSC visual-arts projects. adolescence. During their residencies the artists offsite experiences included Up in the sky 1997, one of Moffatt’s received tailored professional Djamu: Indigenous art visits to artists’ studios and to larger photographic series, takes development training; researched other museums, galleries and many of its visual cues from Pier and engaged with the Gallery’s education cultural sites. Students developed Paolo Pasolini’s 1961 masterpiece collection and that of other relevant two annual Indigenous art confidence in negotiating the Gallery of Italian cinema Accattone. In Sydney institutions; met curators education programs were run at the spaces, discussing artworks and a series of 25 images Moffatt and artists; and were introduced Gallery in 2011 and 2012: Djamu: public speaking. the Gallery’s examines the subject of race to the local Sydney art industry in Senior, for Indigenous senior visual Indigenous educators led all of and violence, presenting a loose order to expand their professional arts and Aboriginal studies students, the sessions. narrative about a triangular mixed- networks. they also participated in and Djamu: Junior for students in the Gallery’s public programs. race relationship set against the years 5 and 6 in the Sydney region. Resources backdrop of an outback town the Gallery developed and delivered populated by misfits and marginal Kelp weaving workshop online education kits for secondary the programs in conjunction with characters. students were developed on Vicki west – a tasmanian sculptor, the Sydney region Aboriginal collection-based hangs and weaver and installation artist who education unit, local schools and special exhibitions. these kits are Open Weekend 2012 works with vines, kelp and textiles – educators, and artists and elders available as free downloads on gave two kelp-weaving workshops In May 2012 the Gallery held an in the community. at the Gallery. the Gallery’s website. the Gallery’s open weekend in association major collection-based education DJAMu: JuNIor with the relaunch of its Australian kit, Country culture community, galleries, featuring a new display of DeVeloPMeNt AND eDuCAtIoN from 14–28 June, 16 Indigenous featuring the work of 32 Aboriginal Australian and Indigenous art. the students in years 5 and 6 from and torres Strait Islander artists and schools in the Sydney local Gallery’s Aboriginal and torres Strait artist groups, can be purchased NSW Aboriginal Visual government area attended a three- Islander art department worked online and at the Gallery Shop. Arts Industry Introduction week art education program at the closely with artists and communities Volunteer guides received ongoing Program Gallery. the students attended the represented in the exhibition to program for one full day each week training on the Aboriginal and torres develop programming which best In 2011 the Aboriginal and torres during this period, meeting key Strait Islander collection. these represented them and reflected Strait Islander Art Department Indigenous artists in the Gallery’s important training sessions went and expressed their wishes. secured $106,000 to create collection, such as elaine russell beyond artworks to introduce

APPENDICES 11–12 79 guides to the many social and for respectful intercultural fIlM ProGrAM The mad square: modernity in political issues surrounding the community relations: leadership, the Weimar to Hollywood film German art 1910–37 was promoted production of Indigenous art in community harmony, access and series (10 Aug – 6 Nov 2011), widely to the German community Australia and to bring them up equity, and economic and cultural which screened in conjunction through direct marketing, including to date with the dynamic nature opportunities. with the exhibition The mad brochures and posters sent to of Indigenous art and culture. In working to achieve these square: modernity in German art cultural centres and community Guided tours were conducted objectives, the Gallery presented 1910–37, highlighted the radical groups. throughout the year for Aboriginal exhibitions, public and education innovations and impact of German A program of theatre, cabaret, audiences and groups to assist in programs and other initiatives filmmakers during the interwar music, film, exhibitions and strengthening their appreciation during the year that are listed years. Presenting classic cinema discussions inspired by 1920s Berlin of Aboriginal art and artists. two in the outcomes below. from the 1920s onwards, the series was held in association with The special Art Adventure tours – Let’s examined the work of the directors mad square. titled Berlin Sydney, go bush: our Australia and Yiribana: Priority outcomes fw Murnau and fritz lang in the festival was held at leading arts this way – have been designed for for 2011–12 Germany and traced their eventual venues across Sydney, including the K–6 students to encourage them immigration to and influence on Sydney theatre Company, Sydney to experience country and culture eXhIBItIoNS filmmaking in the united States. opera house, Seymour Centre, through Aboriginal and torres Strait (for a full description see p17) one of the highlights of the series, Museum of Sydney, Sydney College Islander art from the city to the and of the year, was the screening of the Arts (university of Sydney) desert. the Gallery continued to strengthen (on 2 and 3 September 2011) of and the Goethe Institut. A range of the character of Ngununy, the its commitment to the promotion the 1927 film Berlin: symphony of marketing collateral was produced cheeky fruit bat, continues to and celebration of cultural diversity a great city, directed by walther for the festival, and the Gallery take visitors on lively tours of the in 2011–12 as reflected in these ruttmann, alongside a live jazz worked closely with the Goethe Aboriginal art collection and to highlights from the exhibition performance by the Australian Institut to promote it and The mad promote a greater understanding program: composer Stu hunter and featuring square exhibition to the German of some of the Gallery’s key works. Eikoh Hosoe: theatre of memory the musicians Cameron undy community. Ngununy performed during NAIDoC (12 May – 7 Aug 2011) (bass), Matt Keegan (tenor sax), Picasso: masterpieces from the Julien wilson (tenor sax), James week and in the school holidays. The mad square, modernity Musée National Picasso, Paris was Greening (trombone and pocket promoted to french and Spanish Artist talks films in German art 1910–37 trumpet) and Simon Barker (drums). two four-minute-long films, Artist (6 Aug – 6 Nov 2010) cultural groups through direct talk: elaine russell and Artist talk: the film series Picasso goes to marketing, including brochures and One hundred flowers the movies (9 Nov 2011 – 25 posters sent to cultural centres, Vicki west, were produced by the (1 Sep 2011 – 15 Jan 2012) Aboriginal and torres Strait Islander Mar 2012), which screened in community groups and language art department to document Picasso: masterpieces from the conjunction with the exhibition schools. the Gallery’s Aboriginal Artist-in- Musée National Picasso, Paris Picasso: masterpieces from the A Japanese-language residence research Program. (12 Nov 2011 – 25 Mar 2012) Musée National Picasso, featured advertisement for the Picasso the films can be viewed on the Kamisaka Sekka: dawn of groundbreaking films from a century exhibition was placed in the Sydney multimedia channel on the modern Japanese design of european cinema. the films official Guide, available at Sydney Gallery’s website. (22 Jun – 22 July 2012; explored the disturbed atmosphere Airport and in hotels and other 25 July – 26 Aug 2012) of the Great Depression in france outlets in Sydney. Film production program (Zero for conduct, dir: Jean Vigo, In addition to the two Artist talk 18th Biennale: all out relations 1933); life in post-Second world the exhibition Kamisaka Sekka: films, the Aboriginal and torres (27 Jun – 16 Sept) war rome (Bicycle thieves, dir: dawn of modern Japanese design Strait Islander art department Vittorio De Sica, 1949); black- was promoted to Japanese eDuCAtIoN AND produced short films about its market operations in post-war audiences through advertisements PuBlIC ProGrAMS Djamu education program; the Vienna (The third man, dir: Carol in Japanese-language newspapers, (for a full description see p31) artists reko rennie and Pedro reed, 1949); post-war paranoia while brochures and posters were wonaeamirri; and footage of distributed to Japanese cultural the ongoing presentation of a and discontent (Orphée, dir: a ceremonial performance of the organisations and key community dynamic and culturally varied series Jean Cocteau, 1950; I Vitelloni, Gurrir Gurrir, which screened and arts groups. A partnership of public and education programs dir: federico fellini, 1953; and in the yiribana Gallery in 2012. was developed with the Japan reflects the Gallery’s commitment to The cranes are flying, dir: Mikhail Kalatozov, 1957); the 1960s foundation, which helped to making its collection and temporary promote the exhibition to their Indigenous employees exhibitions readily accessible to the ‘modernist’ renaissance (Hiroshima, mon amour, dir: Alain resnais, audience via their e-newsletter public. Aboriginal and torres Strait 1959); and post-war prosperity and through the marketing and Islanders represent 1.2% of the A key priority in 2011–12 was (Breathless, dir: Jean-luc Godard, distribution of exhibition material Gallery’s workforce, which is below building relationships in the 1959). at events. the NSw government’s Making multicultural community sector. In conjunction with the Sydney the Gallery’s guide maps are It our Business public sector one of the Gallery’s key film festival the Gallery hosted available in Japanese, Mandarin, employment target of 2.2% achievements was its hosting a retrospective of the work of Korean, Arabic, Italian, french, (2.6% by 2015). in May 2012 of the launch by the Italian film director Bernardo Spanish and German languages. the Minister for Citizenship and Bertolucci, including screenings of Communities, the hon Victor the Gallery’s comprehensive imported archival 35mm prints of collection of online education Dominello MP, of the 2011 MULTICULTURAL Before the revolution (1964), The kits has enabled wider access Community Relations Report. spider’s stratagem (1970), Last to a culturally diverse range of POLICIES AND this event was an opportunity to tango in Paris (1972), 1900 (1976), educational resources, including SERVICES PLAN attract significant new audiences La luna (1979), The last emperor online catalogues, education kits to the Gallery and to highlight the (1987), The sheltering sky (1990) and children’s trails. Collection Community Ambassadors program. and The dreamers (2003). notes can be downloaded from the In response to an increase in Gallery’s website (artgallery.nsw.gov. the Gallery is committed to the ProMotIoN AND reSourCeS principles of multiculturalism, Chinese-speaking visitors, the au/education). the highly successful as outlined in section 3 of the Gallery produced a flyer to insert Selected exhibitions and special Art Adventure tours designed to Community Relations Commission into Chinese-language maps to events were advertised in various introduce K–6 students to the and Principles of Multiculturalism the Gallery that welcomes visitors multicultural publications, and direct Gallery’s collection provide Act 2000. the NSw government and outlines its policies on marketing campaigns reached out a starting point for exploring diverse has identified four key objectives relevant issues. to diverse communities. cultures through practical activities.

80 ART GALLERY OF NSW ANNUAL REPORT 11–12 GAllery eMPloyeeS hours, the Brett whiteley Studio coincide with the exhibition Picasso: Art in New york, the tate in this year 15 of the Gallery’s and the Asian art collection – were masterpieces from the Musée london and the State hermitage employees were identified as consolidated into the current National Picasso, Paris and focused Museum in St Petersburg – in coming from a racial, ethnic website. old exhibition subsites can on the content people would most Google Art Project, the largest or ethnic-religious minority still be accessed via an archive site. likely want to access while visiting online art platform ever realised group, which is below the NSw Inside ARTEXPRESS was the Gallery: what’s on (exhibitions which provides internet access to government’s target of 20%. 16.5% incorporated into the main Gallery and events), audio tours, artworks thousands of works in museum of Gallery employees have advised website for the first time. Now on display, collection highlights collections around the world. Invited that their first language spoken database driven, it brings together and visitor information such as by Google to become a partner in as a child was not english. A number all material relating to each student opening hours and directions. Stage the second phase of the project of employees who speak community on one page and allows users to two, released a couple of months – Google Art Project 2 (GAP2) languages assist other staff and filter works by expressive form, later, included mobile-optimised – the Gallery uploaded 415 high- visitors, earning them a Community those with connections to the versions of the Gallery Shop and resolution images of works from language Allowance. As at 30 collection and those with process channel, and extended information its collection (with accompanying June 2012 the Gallery had staff diaries. with this infrastructure about the 2012 ARTEXPRESS and metadata), including a one officially designated as able to in place for future ArteXPreSS Archibald, wynne and Sulman prize gigapixel-resolution image of a key offer assistance in hindi, Polish, exhibitions, we have also begun to exhibitions. the mobile site can be work, Arthur Streeton’s Fire’s on Italian, Mandarin, Spanish and add data retrospectively, which will accessed using any smartphone or 1891. further, the Gallery was one Indonesian. An annual calendar of allow users to search across years. mobile device. further sections of of only two Australian art museums the desktop website will be mobile- to be offered Museum View, the 3D significant religious and holy days A new online Gallery Shop was was circulated to all supervisors optimised over the coming year. walkthrough technology available launched in November 2011 with on Google Art Project. the Gallery to enable scheduling of employees’ additional features such as member A free iPhone app, was released commitments to meet their on the itunes App Store in January will continue to add works to this discounts, product prompts, staff growing database. religious obligations. recommendations, feature lists, 2012 where it was a featured app promotional banners and branding during the 2012 Archibald, wynne the Gallery’s participation in GAP2 Priority goals for 2012–13 in line with the refurbished onsite and Sulman prize exhibitions. By 30 was the subject of the first post shop. Sales have continued to June 2012 it had been downloaded on the Gallery’s blog, which was the Gallery’s major exhibition grow, with an increase of 21% on 7140 times. It is designed to launched in April 2012 and is program and associated education 2010–11, with 1028 transactions enable visitors to plan their visit to located on the Gallery’s website. and public program activities will totalling $80,092. this is the the Gallery and to access audio the blog will feature posts – continue to reflect and promote first phase in a broader online tours and videos. Its most popular including text, images and video cultural diversity and harmony. retailing strategy that will integrate sections are the calendar, event – from staff across the Gallery and An exhibition of works by the mobile commerce (m-commerce), information and art sections, the invites comments from the public. Indonesian artist Dadang Christanto business-to-business (B2B) and latter featuring works currently on is scheduled to open in September social media. display. rather than building a new WiFi 2012 followed by India’s Hindu app for each major exhibition, the In 2011–12 free public wi-fi was universe in 2013. the exhibition app is updated to reflect changes made available through 80% of Eugène Atget: Old Paris opens in New online projects to the Gallery’s website. As well as the Gallery’s building. this enables August 2012. and content giving the Gallery exposure on the visitors with mobile devices to the Gallery will present public and Audience engagement with the itunes App Store, the presence of access online material through education programs and events to Gallery’s video content continues to the app icon on a user’s phone is the Gallery’s mobile-optimised support these and other exhibitions, grow in all areas, especially in digital an ongoing reminder of the Gallery website and apps, and to share including symposia in conjunction communications and education. as a destination. their experiences of the Gallery with the exhibition Francis Bacon: A dedicated online channel was following its launch at the Gallery through social media. the wi-fi five decades (17 Nov 2012 – 24 added to the Gallery’s website in May 2011, the free iPad app service is promoted by the Gallery feb 2013), ongoing children’s in october 2011. It currently Contemporary: Art Gallery of New on its electronic signage, online and family programs, educational showcases videos related to the South Wales was released on the and in print, including its website, resources related to the exhibitions collection, exhibitions and education itunes App Store in September e-newsletters and exhibition that are consistent with the NSw programs. the videos are optimised 2011. In its first week it was brochures. users must accept educational syllabus, and a variety for delivery across multiple devices, selected as App of the week and a set of industry-standard terms of talks, performances, films, including smart phones and tablets, subsequently featured in the and conditions before logging on. workshops and tours. Several of as well as electronic whiteboards what’s hot and Staff Picks listings. these programs, including open and high-definition television. users By 30 June 2012 the app had Overall visitation Gallery and Artside-In!, focus on been downloaded more than including educators and students the total number of visits to culturally diverse groups. 14,000 times. are able to embed and share this all websites for the year was the Gallery will also continue to content through their own online A second app in the series, 2,423,103 (using Google analytics). encourage staff to participate in the and social-media networks. Australian: Art Gallery of New South this equates to an average of 6639 Community language Allowance the most popular video content wales, featuring 45 artists from the visits per day, peaking at 31,230 on scheme and to extend the range this year was for the exhibition The Gallery’s collection of Australian art, 30 March 2012, which corresponds of languages currently represented. mad square: modernity in German was produced to correspond with with the announcement of the art 1910–37, which had more than the rehang of the Australian galleries winners of the 2012 Archibald, 10,000 views, followed by the 2012 in May 2012. the rehang includes wynne and Sulman prize. overall ELECTRONIC Archibald, wynne and Sulman a dedicated space for iPad users there was a 30% increase in online SERVICE DELIVERY prizes, which had over 4000 views. known as the Art lounge. like the visitation from the previous financial Videos featuring students in the Contemporary app, Australian: Art year. 2012 ARTEXPRESS exhibition Gallery of New South wales will proved popular with younger be released on the Apple itunes what’s on (including exhibitions, events, programs and prizes) was Website upgrade project audiences. App Store after an in-house testing period and is another step towards by far the most visited section of the During the year the out-of-date In 2012–13 the development focus Gallery’s website (48%), followed of the Gallery channel will shift to making the Gallery’s collection content management systems accessible to a wider community. by Collection (17%), Visit us (6%), and hosting arrangements on audio. education (4%) and About us (4%). the Gallery’s website were shut A mobile-optimised website was In April 2012 the Gallery joined 150 the home page received 7% down. where appropriate, legacy released in two stages during the other international art museums – of traffic. sites – such as those for Art After year. Stage one was launched to including the Museum of Modern

APPENDICES 11–12 81 84% of all online visitations are Email newsletters Prepare and research for exhibition from Australia, with approximately As part of this process, business objectives, database sizes and frequency of Mongolian art 75% of this figure from people in of send were established for email communications from various Gallery Simon Ives, paintings conservator NSw. departments. the next stage includes a redesign of templates to take UK 10–18 Jan 2012 advantage of new functionality and to ensure consistency of style and oversee the unpacking, condition Messaging via the websites branding. and installation checking of David In December 2011 the various the Gallery published six email newsletters, as follows: hockney’s A closer winter tunnel online contact forms on the at the royal Academy of Arts and accept indemnity and visit Gallery’s website were consolidated title Issues & list size conservation studios to research into one system. Consequently, frequency statistics are only available for into Infra red imaging systems 1 January – 30 June 2012. Artmail 15 (monthly, plus specials) 196,000 Natasha Bullock, curator, During this period the main Contact Art After hours 48 (weekly) 8050 contemporary art India 20–27 Jan 2012 us form was used for 1216 Asian Art e–news 4 (quarterly) 3100 messages from the general public. Attend stakeholder meetings at the General enquiries accounted for Brett whiteley Studio Artmail 5 2600 National Museum of Art New Delhi 41% of these messages, followed education update (K–12) 3 (once per term) 660 to discuss the presentation of the 12th Adelaide Biennial of Australian by 19% for exhibition, events and tertiary update 5 1900 program enquiries, 11% for the Art and participate in the India Archibald and other prizes, 7% Art fair. for education and 6% for the Art In addition, 65 media releases were emailed as necessary to various Anneke Jaspers, assistant curator, Gallery Society of New South segments of the media. contemporary art wales. A separate form in the Japan 7 Mar – 4 Apr 2012 Gallery Shop section of the website research trip to Japan under the was used for 255 messages, an OVERSEAS TRAVEL auspices of the Japan foundation’s increase of 184% on 2010–11. JeNeSyS funding program the frequently asked questions Caroline Geragthy, assistant form was used for 28 messages registrar and the website feedback form Japan 15–24 Mar 2012 for 61 messages. Donna Hinton, head, Musée National Picasso, Paris objects conservation exhibition oversee the unpacking, the edmund and Joanna Capon acclimatisation, condition and Mexico 29 July – 4 Aug 2011 Margaret Sawicki, head of frame research library received 495 installation checking of Paul Courier return of work by ron conservation online enquiries over the last Cézanne’s Banks of the Marne Mueck Untitled (old woman in bed) Canada 13–25 Oct 2011 financial year. there has been Present paper at the Canadian that the Gallery is lending for a significant increase in library Anthony Morris, head of security the exhibition Cezanne–Paris– New Zealand 21 – 24 Aug 2011 Conservation Institute International enquiriessince the replacement Symposium 2011 Provence and accept the indemnity in february 2012 of the Gallery’s represent the Gallery as Chairman responsibility for the transit of Carolyn Murphy, acting head art appraisal service with an of Protection of Australasian Cultural the work. conservation online information service Assets forum France 15–22 Oct 2011 Francesa Ford, manager, new media Sheona White, head, public programs oversee packing, sign off condition France 30 Mar – 5 Apr 2012 Singapore, Germany, UK, USA Online education resources reports and accept indemnity Attend the launch of the Google 21 Aug – 20 Sept 2011 In 2011–12 the Gallery ceased responsibility for the Piscasso: Art Project 2 (GAP2) at the Musée Art Gallery of New South wales producing education kits as masterpieces from the Musée D’orsay downloadable PDfs as they did trustees’ Scholarship to research National Picasso, Paris exhibition Carolyn Murphy, acting head, not meet the legally mandated learning and explore experiential practices in art galleries in the Khanh Trinh, curator, Japanese art conservation accessibility requirements for NSw Japan 16–23 Oct 2011 21st Century France 8–15 Apr 2012 government websites. All new loan research for Master of Modern oversee the unpacking, sign off education content is now available Edmund Capon, director Japanese Art & Design: Kamisaka condition reports and accept via htMl pages on the website, UK, Austria, France Sekka exhibition indemnity Piscasso: masterpieces making it more accessible and 16–28 Sept 2011 Judy Annear, senior curator, from the Musée National Picasso, searchable and enabling hyperlinks Meet with Director Musee Picasso photography Paris exhibition to additional material, including to finalise plans and layout for Japan, Netherlands, USA collection records, videos and Piscasso: masterpieces from the Amanda Green, acting collections external sources. over time this Musée National Picasso, Paris 24 Oct–15 Nov 2011 registrar resource will be extended as older exhibition and Director of the Meetings in Japan to discuss USA 14–19 Apr 2012 kits are reconfigured into htMl. Kunsthistorisches Museum to acquisitions and possible programs, oversee packing, supervise transit discuss an exhibition of old visit Atget exhibition in rotterdam to of Claude Monet’s The chateau Master paintings examine layout, design and content d’Antibes 1888 Social media Frances Cummings, exhibitions and attend oracle conference in the Gallery has a presence in Jane Wynter, head of philanthropy and loans conservator Philadelphia the following social–media sites: Korea, Japan, 15–28 Apr 2012 USA 6–16 Oct 2011 Natasha Bullock, curator, Guide and escort Gallery • facebook – the Gallery page Sign off condition reports and contemporary art benefactors on the Art of Japan accept indemnity responsibility for now has 25,000 likes uK 11–28 Nov 2011 tour Piscasso: masterpieces from the research artists’ works for • youtube – the dedicated Musée National Picasso, Paris exhibition of contemporary Jackie Menzies, head curator, Art Gallery of New South wales exhibition and visit San francisco photomedia (the Balnaves Asian art channel has 1026 subscribers Museum of Modern Art to discuss foundation series) Korea, Japan, 15–28 Apr 2012 with a total of 479,953 views current preservation techniques Felicity Jenkins, photographer Guide and escort Gallery • twitter – 15,900 followers Charlotte Davy, senior Mongolia 13–21 Nov 2011 benefactors on the Art of Japan tour • Google+ – 5566 followers exhibitions registrar Photograph works for exhibition of Simon Ives, paintings conservator USA 9–16 Oct 2011 Mongolian art Thailand 21–27 Apr 2012 oversee packing and accept Jackie Menzies, head curator, Present paper at The Conservation indemnity responsibility for Asian art of Material Culture in Tropical Piscasso: masterpieces from the Mongolia 13–21 Nov 2011 climates: the 3rd APTCCARN

82 ART GALLERY OF NSW ANNUAL REPORT 11–12 (Asia Pacific twentieth Century Rachel Ellis (Australia, b1967), Hector Burton (born c1937), Yakari Napaltjarri (Australia), Conservation Art Network) Meeting Evensong 2011, charcoal on paper. Arumara Tjukurpa 2011, synthetic Ngaminya 2009, etching on hahnemühle rag paper Donna Hinton, head, objects thea Proctor Memorial fund 2012 polymer paint on canvas. conservation E Phillips Fox (Australia; france, Purchased with funds provided Walangkura Napanangka Thailand, 21–27 Apr 2012 1865–1915), Nasturtiums c1912, oil by the Aboriginal Collection (Australia, born c1946), 2 prints: Benefactors’ Group 2012 Present paper at The Conservation on canvas. Purchased in memory of Tjintjintjin 2009, etching on of Material Culture in Tropical Margaret olley with funds donated Wawiriya Burton (b1925), hahnemühle rag paper; Tjintjintjin climates: the 3rd APTCCARN by the Art Gallery Society of New Ngayuku Mamaku Ngura 2011, 2009, etching on hahnemühle rag (Asia Pacific twentieth Century South wales Collection Circle 2011 synthetic polymer paint on canvas. paper Conservation Art Network) Meeting Purchased with funds provided James Gleeson (Australia, Florrie Napangati (Australia), by the Aboriginal Collection Amanda Green, acting collections 1915–2008), Sketchbook 1978–79, Benefactors’ Group 2011 Tjanyinki 2009, etching on registrar charcoal, ink wash, pencil, chalk, hahnemühle rag paper Germany 15–24 May 2012 pen and ink. Purchased 2012 Tjampawa Katie Kawiny (Australia, oversee unpacking, acclimatisation, born c1921), Seven sisters 2010, Yukultji Napangati (Australia, Hans Heysen (Germany; Australia; condition and installation of works synthetic polymer paint on canvas. born c1970), 2 prints: Yunala france, 1877–1968), Travelling by Margaret Preston the Gallery is Purchased with funds provided 2009, etching on hahnemühle rag sheep c1916, pencil on paper. lending for the dOCUMENTA (13) by the Aboriginal Collection paper; Yunala 2009, etching on Australian Prints, Drawings and exhibition Benefactors’ Group 2011 hahnemühle rag paper watercolours Benefactors fund 2011 Frances Cumming, exhibitions and Ngupulya Pumani (Australia), Ningura Napurrula (Australia, Peter Kennedy (Australia, b1945), loans conservator Maku inmaku pakani 2012, born c1938), 2 prints: Wirrul Floor piece 2 1970, 2011, coloured Japan 26 May – 3 June 2012 synthetic polymer paint on canvas. 2009, etching on hahnemühle rag fluorescent tubes, electrical cord, Sign off the condition reports, Purchased with funds provided paper; Wirrul 2009, etching on industrial metal mesh, wooden supervise packing and accept by the Aboriginal Collection hahnemühle rag paper indemnity responsibility for the plinth. Barbara tribe Bequest fund Benefactors Group 2012 transit of Master of Modern 2011 Naata Nungurrayi (Australia, Ray James Tjangala (Australia, born c1932), 5 prints: Unkunya Japanese Art & Design: Kamisaka Jennifer Marshall (Australia, born c1958), Untitled 2010, 2009, etching on hahnemühle rag Sekka exhibition b1944), 3 prints: Beachcomber, synthetic polymer paint on canvas. paper; Marrapinti 2009, etching on Michael Brown, senior display Bruny Island 1997, linocut, printed Purchased with funds provided hahnemühle rag paper; Karrilwarra technician from two blocks in black, indigo and by the Aboriginal Collection 2009, etching on hahnemühle rag Spain, France, Germany, Sweden, green ink on hand–made oriental Benefactors’ Group 2011 4 June – 7 July 2012 paper; Bruny 1997, linocut, printed paper; Ngaminya 2009, etching on Joseph Jurra Tjapaltjarri (Australia, Art Gallery of New South wales from one block in indigo ink on hahnemühle rag paper; Karrilwarra born c1952), Untitled 2010, trustees Scholarship visiting major hosho paper; Bruny 1997, linocut, 2009, etching on hahnemühle rag synthetic polymer paint on canvas. institutions and exploring the use printed from one block in black ink paper Purchased 2011 of colour in exhibition design and on hosho paper. Purchased with Nancy Nungurrayi (Australia), attending the International Colour funds provided by the Australian Harry Tjutjana (Australia, born Marrapinti 2009, etching on Design workshop Prints, Drawings and watercolours c1930), Wanka (Spider) 2011, hahnemühle rag paper synthetic polymer paint on canvas. Simon Ives, paintings conservator Benefactors fund 2012 Purchased with funds provided Patrick Olodoodi Tjungurrayi Japan 11–15 June 2012 Ana Pollak (Australia, b1958), by the Aboriginal Collection (Australia, born c1935), 2 Sign off the condition reports, Flux 2012, digital film, 16:9, stereo Benefactors’ Group 2012 prints: Wirrilpi 2009, etching on supervise packing and accept sound, 2:48 mins. Purchased with hahnemühle rag paper; Wirrilpi indemnity responsibility for the funds provided by the Australian Various artists, 40 prints from 2009, etching on hahnemühle rag transit of Cezanne’s Banks of the Prints, Drawings and watercolours the suite Tjukurrpa Palurukutu, paper Marne Benefactors fund 2012 Kutjupawana Palyantjanya – same stories, a new way 2009: Jeremiah Tjakamarra (Australia), Natalie Seiz, acting registrar, Anne Starling (Australia, b1967), curatorial Urban monoliths 2012, triptych: Doreen Reid Nakamarra (Australia, Palipalintjanya 2009, etching on Japan 12–16 June 2012 acetate etching, collagraph on c1955–2009), 2 prints: Marrapinti hahnemühle rag paper Sign off condition reports, supervise BfK rives paper. Australian 2009, etching on hahnemühle rag Ronnie Tjampitjinpa (Australia, packing and accept indemnity Prints, Drawings and watercolours paper; Marrapinti 2009, etching on born c1942), Tjintjintjin 2009, hahnemühle rag paper responsibility for the transit of Benefactors fund 2012 etching on hahnemühle rag paper edward Burne Jones’ St George Kawayi Nampitjinpa (Australia), Mary Webb (Australia; france, Ray James Tjangala (Australia, Kills the Dragon Pinpirrnga 2009, etching on 1901–58), Joie de vivre 1958, oil on born c1958), Yunala 2009, etching hahnemühle rag paper canvas. Purchased 2011 on hahnemühle rag paper Yinarupa Nangala (Australia), 2 David Brian Wilson (Australia, prints: Mukula 2009, etching on Ronnie Tjampitjinpa (Australia, COLLECTION – 1946–98), Howling man in hahnemühle rag paper; Mukula born c1942), Tjintjintjin 2009, landscape c1995, pen, brush PURCHASES 2009, etching on hahnemühle rag etching on hahnemühle rag paper and brown ink on Khadi paper. paper Joseph Jurra Tjapaltjarri (Australia, Australian Prints, Drawings and born c1952), 2 prints: Ngatjapirritji watercolours Benefactors fund Eileen Napaltjarri (Australia, Australian art 2011 b1956), Tjitjurrulpa 2009, etching on 2009, etching on hahnemühle rag hahnemühle rag paper paper; Ngatjapirritji 2009, etching Antonio Dattilo–Rubbo (Australia, SuBtotAl 14 worKS on hahnemühle rag paper 1870–1955), bearded old man Payu Napaltjarri (Australia), c1925, etching, printed in black Ngaminya 2009, etching on Raymond Tjapaltjarri (Australia), ink on ivory laid paper. Australian hahnemühle rag paper Wirrilpi 2009, etching on Prints, Drawings and watercolours Aboriginal and Torres Strait Wintjiya Napaltjarri (Australia, hahnemühle rag paper Benefactors fund 2011 Islander art born c1932), 3 prints: Watanuma Warlimpirrnga Tjapaltjarri John Davis (Australia, 1936–99), Daniel Boyd (Australia, b1982), 2009, etching on hahnemühle rag (Australia, born c1959), 2 prints: Potkarok 1979–80, wood, twigs, Untitled 2012, oil and archival paper; Watanuma 2009, etching on Marrawa 2009, etching on calico, papier mâché, adhesive, glue on canvas. Purchased with hahnemühle rag paper; Watanuma hahnemühle rag paper; Marrawa cooton thread. D G wilson Bequest funds provided by the Aboriginal 2009, etching on hahnemühle 2009, etching on hahnemühle fund 2012 Collection Benefactors Group 2012 rag paper rag paper

APPENDICES 11–12 83 Nyilyari Tjapangati (Australia), 2 Unknown artist Uga Benzaiten Lyndell Brown and Charles Jude Rae (b1956), Sl266 2010, oil prints: Wilkinkarra 2009, etching on and her fifteen attendants (‘dõji’) Green (Australia, b1961, Australia, on linen. Contemporary Collection hahnemühle rag paper; Wilkinkarra 1400s–1500s, Muromachi b1953), Deep Rock 2011, oil on Benefactors 2012 linen. Contemporary Collection 2009, etching on hahnemühle rag (Ashikaga) period 1392 –1573, Alex Rizkalla (egypt; Australia, Benefactors 2012 paper Johnny yungut tjupurrula, hanging scroll, ink, colour and gold b1950), 3 assemblages from the 2 prints: Wirrul 2009, etching on on silk. Asian Collection Benefactors Angela de la Cruz (Spain; england, series Remains/Vestiges: dispersal hahnemühle rag paper; Wirrul funds 2012 b1965), Squashed (green/brown) 1993: Remains/Vestiges: dispersal 2010, oil on canvas. Purchased 2009, etching on hahnemühle rag SuBtotAl 4 worKS 1993, mixed media; fur jacket, paper 2011 ceramic plate, cigarette lighter, aquatint photograph, glass case; Matthew Tjupurrula (Australia), tIBet Barry Flanagan (wales; england, 1941–2009), Hole in the sea 1969, Remains/Vestiges: dispersal 1993, Palipalintjanya 2009, etching on Unknown artist Cakravala, the 2 gelatin silver photographs. Mervyn mixed media; white jacket, crab hahnemühle rag paper. Purchased Buddhist World System 1600s, horton Bequest fund 2011 pincers, glass tube, ceramic reels; with funds provided by the distemper on cotton. Purchased 2011 Remains/Vestiges: dispersal 1993, Rodney Glick (Australia, b1964), Aboriginal Collection Benefactors’ mixed media; ceramic flying duck, SuBtotAl 1 worK Everyone No.83 2009, carved and Group 2011 thorns, black glove. Contemporary totAl ASIAN Art DePArtMeNt painted wood. Puchased with funds Djirrirra Wunungmurra (Australia, Collection Benefactors’ 2011 8 worKS provided by the Contemporary b1968), Yukuwa 2011, natural Collection Benefactors 2012 Karl Schmidt–Rottluff (Germany, pigments on bark. Purchased with 1884–1976), Dunes and pier 1917, David Haines and Joyce funds provided by the Aboriginal colour woodcut, printed in black European art pre–1900 Hinterding (england; Australia, and two shades of blue. Purchased Collection Benefactors’ Group 2012 b1966; Australia, b1958), The Honoré Daumier (france, 1808– 2011 outlands 2011, projected real time SuBtotAl 49 worKS 79), Rue Transnonain, 15 April Richard Serra (united States 1834 1834, lithograph. Purchased three–dimensional environment totAl AuStrAlIAN Art of America, b1939), Plate, pole, with funds provided by Geoffrey utilising the unreal engine additional DePArtMeNt 63 worKS prop 1969, 1983, hot rolled steel. Ainsworth and the Parramore sound: rosy Parlane, Michael Purchased with funds provided by Purchase fund 2012 Morley and Danny Butt. Anne landa Award and Contemporary the Art Gallery of New South wales Asian art Hendrick Goltzius, after Collection Benefactors 2011 foundation and the ruth Komon Bartholomaeus Spranger Bequest in memory of rudy Komon ChINA Mathew Jones (Australia, b1961), (Netherlands, 1558–1617; 2011 YANG Yongliang (China, b1980), Netherlands, 1546–1611), Mars and The New York Daily News on the Sam Smith (Australia, b1980), Infinite Landscape 2011, Blu– Venus 1588, engraving. Purchased day before the Stonewall Riot Cameraman 2011, 2–channel ray hD disk, 7:23 mins. Asian 2011 copied by hand from microfilm Collection Benefactors’ fund 2011 records 1996, artist’s bound video installation; 4K and Super William Hogarth (england, book: 54 leaves, 100 individually 8 16mm film transferred to hD SuBtotAl 1 worK 1697–1764), 3 prints: Beer street photocopied drawings, hand video, 16:9, stereo, colour, 31:14 1751, etching and engraving; Gin tinted with ink and watercolour on mins. Contemporary Collection INDIA Lane 1751, etching and engraving; ivory Ingres paper. Contemporary Benefactors 2011 The gate of Calais or the roast beef Nalini Malani (India, b1946), Collection Benefactors 2012 Kathy Temin (Australia, b1968), My of old England 1749, etching and Mother India: Transactions in the monument: black garden 2010–11, engraving. Purchased 2011 Wolfgang Laib (Germany, b1950), Construction of Pain 2005, video Reishaus 2007–08, Indian granite, synthetic fur and filling, steel and play; five video projectors in sync, Francesco Xanto Avelli (Italy, soot and sunflower oil, rice. Mervyn wood. Contemporary Collection sound, 5 minutes. Purchased with c1486–c1542), Large plate: An horton Bequest fund 2012 Benefactors 2011 funds provided by the Art Gallery allegory on the sack of Rome 1530, Janet Laurence (Australia, b1949), Justene Williams (Australia, Society of New South wales maiolica. Purchased 2011 The memory of nature 2010, b1970), Big city big hat 2011, Contempo Group 2011 SuBtotAl 6 worKS acrylic, scientific glass, dried plants, 5 channel hD DVD, 12 Crt SuBtotAl 1 worK seeds sulphur, salt, amethyst, televisions, 7 painted wood taxidermied owls, shellac tulle, pallets. Contemporary Collection INDoNeSIA Benefactors’ 2011 Modern and wood, burnt bones, hand bones, Unknown artist Nias, Central Nias, hand–blown glass, oil paint, mirrors. SuBtotAl 27 worKS Coconut scraper 1900s, wood. contemporary art Purchased with funds provided Purchased with Christopher worrall Eddy Batache (france; Australia), by the Art Gallery Society of New wilson Bequest funds 2011 8 inkjet prints from the suite Francis South wales Contempo Group Photography SuBtotAl 1 worK Bacon in France 1978–1991: Paris, and the Contemporary Collection Judy Fiskin (united States of rue de Birague 1978 (printed later), Benefactors with the generous America, b1945), The end of JAPAN inkjet print; Paris, rue de Birague III, assistance of Geoffrey Ainsworth photography 2006, black and Chikatoshi ENOMOTO (1898– with Eddy Batache and Reinhard AM, Peter Braithwaite, Sally Breen, white super–8 film transferred to 1973), Ginza Willow early 1930s, Hassert 1876 (printed later), inkjet Andrew & Cathy Cameron, Ginny & single channel, standard definition hanging scroll; ink and colour on print; Paris, rue de Birague V, with leslie Green, Michael hobbs, ray video, 4:3 aspect ratio 2.30 min. silk. Purchased with funds provided Reinhard Hassert 1986 (printed wilson oAM 2012 Purchased with funds provided later), inkjet print; Paris, rue de by yasuko Myer 2011 Katie Paterson (Scotland, b1981), by the Photography Collection Birague VII, with Eddy Batache Earth–Moon–Earth (Moonlight Benefactors Program 2012 TERAOKA Masami (Japan; united 1986 (printed later), inkjet print; Sonata reflected from the surface of States of America, b1936), Geisha Paris, rue de Birague VIII, with Eddy Bill Henson (Australia, b1955), 2 the moon) 2007, Disklavier Grand in a bath from the Aids series 2008, Batache 1986 (printed later), inkjet photographs: Untitled 2009/2010 Piano, sound file on uSB stick, 46 colour woodblock print on Kozo print; Paris, Musée d’Art Moderne 2009–10, archival inkjet pigment earth–moon–earth book, headsets. paper. Asian Collection Benefactors de la Ville de Paris, Giacometti print; Untitled 2009/2010 2009–10, Gift of Geoffrey & Vicki Ainsworth fund 2012 exhibition, with Reinhard Hassert archival inkjet pigment print. 2011 Unknown artist Sanbõ Kõjin 1991 (printed later), inkjet print; Purchased with funds provided by and two attendants late 1300s, Paris, Boulevard Saint Germain, Patricia Piccinini (Sierra leone; the Art Gallery of New South wales Nanbokucho period 1336–1392/ bus stop rue Saint Guillaume 1990 Australia, b1965), The comforter 2011 Japan, hanging scroll; ink, colour (printed laer), inkjet print; Chantilly 2010, mixed media; silicone, Jacky Redgate (england; Australia, and gold on silk. Asian Collection 1978 (printed later), inkjet print. fibreglass, steel, human hair and fox b1955), Light throw (mirrors) Benefactors funds 2012 Purchased 2012 fur, clothing. Purchased 2011 #1 from the series Light throw

84 ART GALLERY OF NSW ANNUAL REPORT 11–12 (mirrors) 2009 (printed 2011), type totAl All DePArtMeNtS David Rose (Australia, 1936–2006), paper; Study of trees and fence, C photograph. Purchased with PurChASeD 121 worKS Ourimbah studio 1978, aquatint, Northwood Point, pencil on paper; funds provided by the Photography printed in black ink on white recto: Two studies of South Coast Collection Benefactors wove paper hills verso: Two sheets of studies of Program 2011 COLLECTION – Jörg Schmeisser (Australia; a boy, pencil on paper; recto: Study Wolfgang Sievers (Germany; GIFTS Germany, 1942–2012), Ladakh for ‘Dusk at North Ryde’ verso: Australia, 1913–2007), 4 1985, colour soft ground etching, Landscape c1948, recto: carbon photographs: Australian Paper aquatint on white wove paper pencil on paper verso: pencil on Pulp Mills, Burnie, Tasmania paper; recto: Trees, shed and 1956 (printed 1962), gelatin silver Australian art MIChAel AND heleN CArAPIet. houses verso: Hillside landscape DoNAteD throuGh the c1949, pencil on paper; recto: photograph; Miner in forward lode, ACQuIreD Pre 1979 North Mine, Broken Hill, NSW 1959 AuStrAlIAN GoVerNMeNt’S Study of farm gate verso: Illawarra (printed later), type C photograph; Murray Griffin (Australia, 1903–92), CulturAl GIftS ProGrAM landscape, pencil on paper; Werri Thirsty one 1936, colour linocut on Sulphuric acid plant, Electrolytic Brett Whiteley (Australia; england, Creek, carbon pencil, charcoal, thin ivory wove paper Zinc, Risdon Road, Tasmania 1959, 1939–92), Listening to nature watercolour on paper; Study for gelatin silver photograph; Hamersley ANoNyMouS GIft. DoNAteD c1964, oil, resin, fabric and collage ‘The harbour from McMahon’s Iron, iron ore stockpiling, Dampier, throuGh the AuStrAlIAN on plywood Point’ c1950, carbon pencil, brown WA 1971 (printed 1999), type C GoVerNMeNt’S CulturAl GIftS conté on paper; View of the city photograph. Purchased with funds ProGrAM ChrIStoPher DAy from the North Shore, Sydney 1960, carbon pencil, charcoal, provided by the Photography Clement Meadmore (united States William Dobell (Australia; england, pastel, wash on paper; Sydney, the Collection Benefactors of America; Australia, 1929–2005), 1899–1970), Study for ‘Portrait of harbour and island (1965), charcoal, Program 2011 Study for ‘Upended’ 1969, Brian Penton’ 1942, pencil pencil, watercolour, pastel on paper; Robyn Stacey (Australia, b1952), painted steel on paper recto: Hermes verso: Corner of St Chatelaine from the series Tall tales SyDNey BAll John’s Cathedral interior, pencil on and true 2010 (printed 2011), type the truSteeS of the Sydney Ball (Australia, b1933), pale grey laid paper; Homer, from C photograph. Purchased with SIr wIllIAM DoBell Art 10 prints from the Persian series a cast 1915, pencil on pale grey funds provided by the Photography fouNDAtIoN 1967: Khamsa pink 1967, colour laid paper; Écorché – study of male Collection Benefactors Anne Judell (Australia, b1942), screenprint on white paper; Shiraz figure 1916, pencil on pale grey Program 2011 Breath 2011, pastel, graphite, black journey 1967, colour screenprint laid paper; recto: Rodin’s ‘Burgher gesso on paper Darren Sylvester (Australia, on white paper; Transoxiana 1967, of Calais’ and Michelangelo’s b1974), They return to you in song colour screenprint on white paper; BeQueSt of JulIuS wIlfreD ‘Struggling Captive’ verso: Foliage 2001 (printed 2012), lightjet print. Zafar nama 1967, colour screenprint (wIlf) hIlDer studies, pencil on off white thin Purchased with funds provided on white paper; Sassan bend card; Michelangelo’s ‘Pietà’ and by the Photography Collection 1967, colour screenprint on white J J Hilder (Australia, 1881–1916), Rodin’s ‘Burghers’, pencil on off Benefactors Program 2002 paper; Shiraz nama 1967, colour Deviation work (c1913), pencil, white thin card; House on Highgate watercolour Shōmei TŌMATSU (Japan, b1930), screenprint on white paper; Black Hill, from across the river at St shiraz with silver lining 1967, colour Lucia, pencil on pale grey laid 2 photographs: Bottle melted BArBArA MerrINGtoN and deformed by atomic bomb screenprint on white paper; Isfahan paper; Milton, afternoon light on a heat, radiation and fire, Nagasaki 1967, colour screenprint on white Margaret Olley (Australia, typical cottage (1915–16), pencil 1961 (printed 1974), gelatin silver paper; Silver sassanian jump 1967, 1923–2011), Concarneau 1952, on paper; recto: Study of the nave photograph; Untitled from the colour screenprint on white paper; monotype, printed in dark green/ with pulpit, St Brigid’s verso: Figure series Eros, Tokyo 1969 (printed Qazvin blue 1968, colour screenprint brown ink, watercolour wash, on terrace, St Brigid’s, Red Hill and 1978), gelatin silver photograph. on white paper scraping out on grey textured paper Study of the landscape from the terrace 1916, pencil on pale grey Purchased with funds provided tIM olSeN. DoNAteD GrAhAM BloNDel. DoNAteD laid paper; recto: Ship at wharf, by Joanna Coghlan with support throuGh the AuStrAlIAN from Cameron williams, and the throuGh the AuStrAlIAN Brisbane River verso: Study from GoVerNMeNt’S CulturAl GIftS GoVerNMeNt’S CulturAl Photography Collection GIftS ProGrAM a plaster cast 1914, pencil on pale Benefactors 2012 ProGrAM grey laid paper; Ferry approaching Fred Cress (India; Australia, 1938– John Olsen (Australia; england; wharf (Mosman), pencil on paper; Unknown (Australia), 3 Spain; Portugal, b1928), Miró 1987, 2009), Stages 1986, colour etching, Studies of interior of St Paul’s photographs: untitled 1848–55, 9th pen, brush & ink, ink wash, pastel aquatint, scraping out on cream Cathedral, London – under the plate daguerreotype, cased; untitled on paper 1848–52, 9th plate daguerreotype, wove paper dome and architectural details (1923), pencil on paper; Study hand–coloured, cased; untitled Joe Furlonger (Australia, b1952), PetA PhIllIPS under the dome, interior of St Paul’s 1843–50, 9th plate daguerreotype, Madonna and child 1989, George Haynes (Kenya; Australia, Cathedral, London 1923, pencil cased. Purchased with funds lithograph, printed from one stone in b1938), Garden 1987, charcoal on on paper; Cornish house (1923), provided by the Photography black in on cream wove paper paper Collection Benefactors pencil on paper; Garrett Street, (Australia, Program 2012 Michael Kempson Anne Judell (Australia, b1942), Cawsand, Cornwall (1923), pencil b1961), Classic literati or Windswept 2 drawings: The order II 1996, on paper; Pilchard and herring Emma White (Australia, b1976), style 1990, etching, aquatint, printed charcoal and pastel on paper; The salting shed, Cawsand (1923), Still life with objects from the series in black ink with plate tone on white order IV 1996, charcoal and pastel pencil on paper; House in Paris? The plastic arts 2011, archival inkjet wove paper on paper (1923), pencil on paper; Study for print. Viktoria Marinov Bequest fund 2012 Sidney Nolan (Australia; england, William Rose (Australia, 1929–97), ‘House in Campagna’ (1924), pencil 1917–92), untitled (carcase), Untitled (1995), pen and coloured on paper; The Governor’s Bath Anne Zahalka (Australia, b1957), inks, watercolour on paper House, Parramatta Park, pencil on Nicole Kidman 2007 from the lithograph, printed in black ink on ivory wove paper paper; Lennox Bridge, Parramatta, series The immortals 2011, archival AlAN AND JANCIS reeS. pencil on paper; George Street pigment ink photograph. Purchased John Peart (Australia, b1945), DoNAteD throuGh the with Old Court House Tower, with funds provided by the Kirribilli – XXXVI 1985, colour AuStrAlIAN GoVerNMeNt’S Parramatta, pencil on paper; Study Photography Collection Benefactors monotype on white wove paper CulturAl GIftS ProGrAM for ‘Round towards Berry’s Bay’ Program 2011 Graeme Peebles (Australia, b1955), Lloyd Rees (Australia, 1895–1988), c1932, pencil on paper; Harbour SuBtotAl 17 worKS They mute horses don’t they? 48 drawings: recto: Study for study with trees and house early totAl weSterN Art 1974, colour mezzotint on ivory ‘Spring sunshine’ verso: Harbour 1930s, pencil on paper; Rocky DePArtMeNt 50 worKS wove paper with houses (1938), pencil on shore, pencil on paper; Study for

APPENDICES 11–12 85 The Port Jackson fig tree (1934), gathering vine prunings 1981, WU Deyi (China, 1864–1928), and synthetic dyes; continuous pencil on paper; recto: Ball’s head, lithograph, black ink on ivory wove Landscape after Zhao Boju (1127– supplementary warp and weft Sydney harbour verso: A sketch lana paper; Sunday afternoon 1162) 1887 Qing dynasty 1644– weaving of the Sobraon (1931), pencil on rugby 1981, lithograph, black ink on 1911, ink and colour on paper; one Hainan Island, Ikat tube skirt paper; Balls Head, Sydney Harbour ivory wove lana paper; A very old leaf from an album 1900s, cotton, natural indigo dye; (1931), pencil on paper; recto: woman 1981, lithograph, black ink ikat dyeing technique, continuous GeorGe Soutter AND JohN yu Study for ‘Sydney skyline from on ivory wove lana paper; Young supplementary warp decoration 2 Ink mortars decorated with McMahon’s Point’ verso: Balls Head Catalan woman 1981, lithograph, Guizhou, Festival jacket 1900s, floral designs 1700s–1800s, Qing c1932, recto: pencil, watercolour on black ink on ivory wove lana paper; cotton, indigo, paper paper verso: watercolour on paper; The relieving priest 1981, lithograph, dynasty 1644 – 1911, porcelain, End of the deck, Sydney Harbour black ink on ivory wove lana paper underglaze blue 5 ceramics: SuBtotAl 46 worKS Bridge (1932), pencil on paper; The Ceramic brush pot decorated with valley of Pleistos, Delphi (1966), SuBtotAl 95 worKS female musicians among clouds INDIA 1800s–1900s, porcelain; Ink mortar carbon pencil, watercolour on VerN CorK 2011 totAl AuStrAlIAN Art paper; Rocky hill face, compressed decorated with landscape scene DePArtMeNt 95 worKS Unknown (India), Indian gouache charcoal, carbon pencil, grey wash 1700s–1800s, Qing dynasty 1644 – 1911, porcelain with underglaze painting on canvas 1900s, gouache on paper; Bathurst countryside blue decoration; Square ink mortar on canvas 1966, carbon pencil, compressed Asian art decorated with landscape scenes charcoal, watercolour on paper; AFGHANISTAN and poem 1700s–1800s, porcelain NAlINI MAlANI recto: Werri Beach Headland verso: with underglaze blue decoration; Nalini Malani (India, b1946), 3 Beach scene with bathers 1973, PAtrICK MAtthIeSeN Ink mortar 1800s–1900s, porcelain time–based media: Unity in diversity recto: carbon pencil, charcoal, Gandhara, Head of the Buddha with overglaze red decoration; 2003, video installation, 7½ minutes watercolour, black ball–point pen c200s–c300s, stucco Water dropper in the shape of a looped, sound; Stains 2002, on paper verso: pen and black dog 1600s–1700s, porcelain with SuBtotAl 1 worK animation, single channel video, ink, charcoal on paper; Rocks underglaze blue spots installation, 8½ minutes looped, at Werri Beach, carbon pencil, CAMBODIA 13 items of woodwork: Bamboo sound; Memory: Record/Erase compressed charcoal, watercolour 1996, single channel animated JohN yu, IN MeMory of Brush pot decorated with the on paper; View towards the city, video, 10 minutes looped, sound GeorGe Soutter scene from the story ‘News of carbon pencil, black ball–point Victory at Dongshan’ in low relief pen, watercolour on paper; Oil Woman’s skirt cloth 1900s, silk 1700s–1900s, bamboo; Large JIM MASSeloS 2011 tanks, Berrys Bay, carbon pencil, with continuous and discontinuous bamboo brush pot decorated Bourne and Shepherd (India), H.H. compressed charcoal, watercolour supplementary weft weaving with a scene from ‘Sima Guang Man Singh, Raja of Dhrangadhra on mulberry paper; House and trees Breaking the Water Urn to save early 1870s, carbon print, brown 1980, wax crayon, watercolour on SuBtotAl 1 worK his friend’ in high relief; a carved tone paper; Misty landscape and sketch Tang dynasty poem by Zhang CHINA Samuel Bourne (england; India, of the river from Northwood, pastel, Ji (c.756–c.779) 1800a–1900s, 1834–1912), 2 photographs: watercolour on paper; recto: Self JoCelyN Chey AM bamboo; Bamboo brush pot Cascades on Scinde River 1864, portrait verso: Study of tree fern in HUANG Yongyu (China, b1924), decorated with carved plants and albumen silver print; View on the landscape, pencil on paper Trees without wind: impression of a poem in low relief 1800s–1900s, Dhal Canal, Kashmir 1864, albumen Australia 1993, ink and colour on bamboo; Bamboo brush pot silver print mounted on card eStAte of wIllIAM roSe decorated with landscape and paper Samuel Bourne, Shepherd & (Australia, 1929–97), pavilion in low relief 1800s–1900s, William Rose Robertson (england; India, 1834– Dr Peter ellIott bamboo; Bamboo brush pot 5 drawings: Construction 7 c1957, 1912 and India, 1862–63), A bound pen and black in on ivory wove Jarlet with stylised dragon and decorated with a bearded man in a boat and a poem in low relief volume of 34 albumen silver prints paper; Construction 8 (c1957), pen floral decoration Yuan dynasty c1862–70, albumen silver print and black and red inks on ivory 1279 – 1368, celadon; Jarlet with 1800s–1900s, bamboo; Bamboo brush pot decorated with bamboo Fred Bremner (united Kingdom; wove paper; Construction 9, pen dragon decoration Yuan dynasty motif and Chinese verses in low India, 1863–1940), untitled (Winter and black ink on thin cream paper; 1279 – 1368, celadon; 9 brushes relief 1800s, bamboo; Bamboo landscape) c1900, gelatin silver Construction 10 (1963), charcoal, for painting and calligraphy 1900s, brush pot decorated with landscape photograph watercolour on cream wove paper; animal hair, wood; Ink stone in low relief 1800s–1900s, bamboo; untitled (I must draw ...) (c1960s), Randolph Holmes (1888–1973), decorated with a bearded man Bamboo brush pot decorated with pen and blue ink, pencil on ivory On the Dal Lake early 1900s, gelatin 1800s–1900s, stone; ‘Chaoshou’ three human figures in front of a wove paper ink stone Song dynasty 960 – 1279, silver photograph mounted on pavilion in high relief 1700s–1800s, brown card Ming dynasty 1368–1644, clay, bamboo; Bamboo brush pot hANNS AND PAMelA SChÜttler (India, wood (?); Ink stone with decoration decorated with engraving of a Shepherd & Robertson AuStrAlIAN GoVerNMeNt’S 1862–63), 2 photographs: Right: on the surface and inscriptions on bearded man holding a fishing CulturAl GIftS ProGrAM Golas or salt makers Left: Rangrez the side, stone; Seated Buddha rod 1700s–1800s, bamboo; or Dyers 1862–1863, two albumen Noel Counihan (Australia, 1913– 1700s, gilt bronze Bamboo wrist–rest carved with two silver prints mounted on card; 86), 12 prints from the suite Images cranes on rocks under a tree in Rangrez or Dyers 1862–1863, of opoul 1981: Three villagers and Dr. JAMeS hAyeS low relief 1800s–1900s, bamboo; albumen silver print mounted on Château D’Opoul 1981, lithograph, DAI Xi (China, 1801–post 1860), Bamboo wrist–rest carved with card black ink on ivory wove lana paper; Four leaves from a landscape album texts in regular script february Winter meeting 1981, lithograph, Qing dynasty 1644–1911, ink and 1816, Jiaqing 1796 – 1820, Taurines studio (1885–1902), 2 black ink on ivory wove lana paper; colour on paper bamboo; Bamboo wrist–rest photographs: recto: Nautch girls, Place de la Toue, winter 1981, ZHANG Erkang (China, active late carved with texts in running script Bombay verso: (2 women) c1880s, lithograph, black ink on ivory wove 1800s), Landscape after Dai Xi 1800s–1900s, bamboo; Bamboo albumen silver print; one leaf from lana paper; Women talking 1981, 1896 Qing dynasty 1644–1911, ink perfume holder carved with 15 an album; recto: Maharattas, lithograph, black ink on ivory wove on paper Luohans in low relief 1800s–1900s, Bombay (11 family members) verso: Maharattas, Bombay (7 family lana paper; Old woman 1981, bamboo with ivory pieces on both CEN Guangyue (China, 1876– members) c1880s, albumen silver lithograph, black ink on ivory wove ends 1960), Du Fu’s poem in running print; one leaf from an album lana paper; Woman at window script, ink on paper JohN yu, IN MeMory of Unknown (India), untitled (Flayed 1981, lithograph, black ink on ivory DENG Lin (China, 1829–93), Sun GeorGe Soutter wove lana paper; Pruning the Guoting’s ‘Treatise on Calligraphy’ in tiger) late 1800s–early 1900s, vines 1981, lithograph, black ink cursive script Qing dynasty 1644– Bai Sa county, Hainan Island, albumen silver print on ivory wove lana paper; Woman 1911, ink on paper 3 Skirts 1900s, cotton, natural

86 ART GALLERY OF NSW ANNUAL REPORT 11–12 Willoughby Wallace Hooper Shino ware (Japan), Sake cup with European art pre–1900 Rodney Glick (Australia, b1964), (1837–1912), 2 photographs: gold lacquer mending 1600s, edo hANNS AND PAMelA SChÜttler Everyone no 92 2009, carved and Marked down c1872, albumen (tokugawa) period 1615 – 1868, painted wood silver print mounted on card; earthenware, gold lacquer, maki–e Félix Buhot (france, 1847–98), 2 Killed c1872, albumen silver print prints: Winter in Paris 1879, etching, StePheN GrANt AND BrIDGet mounted on card SuBtotAl 5 worKS aquatint and drypoint; The cats PIrrIe. DoNAteD throuGh the North India, Painting of the Taj 1868–69, etching and aquatint AuStrAlIAN GoVerNMeNt’S LAOS CulturAl GIftS ProGrAM. Mahal on ivory c1860s, pigment on SuBtotAl 2 worKS ivory with oval brass frame Dr Peter ellIott Sam Smith (Australia, b1980), Control structure 2008, hoop pine SuBtotAl 18 worKS Seated Buddha on inscribed plinth Modern and plywood, maple plywood, polyester 1500s–1700s, bronze contemporary art resin, fibreglass, mortar, aggregate, INDONESIA JohN yu, IN MeMory of ANoNyMouS GIft. DoNAteD polyurethane foam, silicone, lCD monitor Dr Peter ellIott GeorGe Soutter throuGh the AuStrAlIAN Sumatra, Magic horn stopper of Attapeu province, Loincloth 1900s, GoVerNMeNt’S CulturAl StePheN AND MIChele JohNS. figure riding on a composite animal cotton, natural dyes, including GIftS ProGrAM. DoNAteD throuGh the (‘singa’) late 1800s–early 1900s, indigo, and white glass beads Jonathan Jones (Australia, b1978), AuStrAlIAN GoVerNMeNt’S figure with hair, pony tail, patina Sam Nuea, ‘Phaa hom lai’ 2 installations: untitled (domestic CulturAl GIftS ProGrAM heavily encrusted with smoke as is (sleeping blanket) with six lozenge heads or tails) 2009, fluorescent Larry Bell (united States of the Singha, on which it rides shapes and figures 1900s, cotton, tubes, powder–coated metal, America, b1939), Cube # 9 (Amber) electrical wiring Sumatra, Magic horn stopper of natural indigo dye; continuous 2005, coloured glass coated with figure riding on a composite animal supplementary weft weaving Tim Maguire (united Kingdom; inconel (‘singa’) late 1800s–early 1900s, Sam Nuea, ‘Phaa tuum’ (shoulder Australia, b1958), Red tanks 1990, the JohN KAlDor fAMIly wood; black patina wrap blanket) with diamond pattern oil on canvas ColleCtIoN 1900s, cotton, natural indigo dye; SuSAN ArMItAGe. DoNAteD DruSIllA MeGGet continuous supplementary weft Thomas Demand (Germany, throuGh the AuStrAlIAN Lampung, Sumatra, Tapis kaca skirt weaving b1964), Flare 2002, 28 type C GoVerNMeNt’S CulturAl cloth 1900s, silk and cotton or bast photographs/ Diasec Sam Nuea, ‘Phaa tuum’ (shoulder GIftS ProGrAM. fibres, wool, sequins, gold and silver wrap blanket) with ‘kuut lek fai’ Urs Fischer (Switzerland, b1973), 2 Ivan Navarro (Chile; united States wrapped thread, mica, and paper– (fern) pattern 1900s, silk, cotton, sculptures: Crisis from 6½ domestic of America, b1972), Backstage/ card, and natural dyes natural dyes; continuous and pairs project 2000–05, cast blue sawhorse 2005, fluorescent discontinuous supplementary weft aluminium, enamel paint; Lamp from JohN yu, IN MeMory of light, metal fixtures and electric weaving, zone dyeing 6½ domestic pairs project 2000–05, GeorGe Soutter energy cast alimunium, enamel paint, light North Java, Batik cloth (‘kain SuBtotAl 5 worKS eDDy BAtAChe AND reINhArD bulb, electric cable panjang’) with ‘megamundung’ hASSert Andreas Gursky (Germany, (heavy with clouds) motif 1900s, MYANMAR b1955), 3 photographs: Centre cotton Eddy Batache (france; Australia), Dr Peter ellIott 8 photographs from the series Georges Pompidou 1995, type C Lampung, Sumatra, Woman’s jacket photograph; Dusseldorf, Flughafen 2 sculptures: Seated Buddha 1926, Francis Bacon in France 1977–80 1900s, homespun and machine II 1994, type C photograph; Untitled bronze; Mandalay–style Buddha in (printed later): Vaux le Vicomte loomed cotton, cowrie shells, and XII (No.3) from the series Untitled XII Bhumisparsa Mudra early 1900s, 1977 (printed later), inkjet print; mirrors 2000, type C photograph mounted marble Paris, rue Saint Guillaume 1980 Palembang?, Sumatra, Tie–dyed (printed later), inkjet print; Paris, rue on Plexiglass in artist’s frame decorative cloth 1900s, silk, JohN yu, IN MeMory of Saint Guillaume I, with Reinhard Jeff Koons (united States of probably synthetic dyes, silver– GeorGe Soutter Hassert 1980 (printed later), inkjet America, b1955), White terrier from wrapped yarns Man’s blanket 1900s, cotton print; Paris, rue Saint Guillaume the series Made in heaven 1991, with two–faced and mixed–faced II 1980 (printed later), inkjet print; polychromed wood SuBtotAl 6 worKS supplementary weft patterning, Paris, rue Saint Guillaume III 1980 Sol LeWitt (united States of countered weft twining, pom–poms (printed later), inkjet print; Paris, America, 1928–2007), 4 drawings: JAPAN gathered along the seam, and rue Saint Guillaume IV 1980 Wall drawing #337: Two part JoANNA AND eDMuND CAPoN running overhand knots (printed later), inkjet print; Paris, rue drawing. The wall is divided Saint Guillaume V 1980 (printed Yokoi KINKOKU (Japan, 1761– vertically into two parts. Each part SuBtotAl 3 worKS later), inkjet print; Paris, rue Saint 1832), Landscape 1806, hanging is divided horizontally and vertically Guillaume VI 1980 (printed later), scroll; ink and light colour on silk into four equal parts. 1st part: Lines NEPAL inkjet print in four directions, one direction Dr Peter ellIott in each quarter. 2nd part: Lines Dr Peter ellIott JulIe DAVIeS. DoNAteD in four directions, superimposed Small Buddhist travelling shrine Edo throuGh the AuStrAlIAN Vajrasattva 1500s–1600s, wood progressively. 1971, pencil; Wall (Tokugawa) period 1615 – 1868, GoVerNMeNt’S CulturAl drawing #338: Two part drawing. lacquer; wood SuBtotAl 1 worK GIftS ProGrAM The wall is divided vertically into leSley Kehoe GAllerIeS Alex Rizkalla (egypt; Australia, two parts. Each part is divided VIETNAM b1950), 2 sculptures from the OGAWA, Kazumasa and horizontally and vertically into series Remains/Vestiges: dispersal TAKASHIMA, Suteta (Japan, roSS AND IreNe lANGlANDS IN four equal parts. 1st part: Lines 1993: Remains/Vestiges: dispersal 1860–1929 and Japan), Chirimen MeMory of GeorGe Soutter in four directions, one direction 1993, mixed media; clock, wood; in each quarter. 2nd part: Lines book: Illustrations of Japanese Unknown (Viet Nam), Seated Remains/Vestiges: dispersal 1993, in four directions, superimposed Life, vol.1 1896, 12 handcoloured Buddha early 1600s, le dynasty mixed media; wooden shoe moulds progressively. 1971, coloured collotypes on crepe paper c1420–1787, laquer pencil; Wall drawing #303: Two part roDNey GlICK. DoNAteD PetA PhIllIPS SuBtotAl 1 worK drawing. 1st part: circle, square, Seto ware (Japan), Sake bottle with throuGh the AuStrAlIAN triangle, superimposed (outlines). totAl ASIAN Art DePArtMeNt gold lacquer mending 1600s, edo GoVerNMeNt’S CulturAl 2nd part: rectangle, parallelogram, 87 worKS (tokugawa) period 1615–1868, GIftS ProGrAM. trapezoid, superimposed (outlines) earthenware, gold lacquer, maki–e 1977, black crayon; Wall drawing

APPENDICES 11–12 87 #23: Drawing series A on aluminium sculptures each on 2 bases, electrophotographs, mechanism, photograph; Sunday 2:09pm 1995 box. One series on each face 1969, each with shelf, cd and cd player; black cloth inside covers, brown (printed 1997), type C photograph; painted aluminum box with pencil Yourizen 2008, life cast self–portrait vinyl with gold double line motif Saturday 5:18pm 1995 (printed Sol LeWitt (united States of head in silicone rubber and plaster covered photo album 1997), type C photograph; Sunday America, 1928–2007), 2 paintings: cast gilded with silver leaf, and Benjamin Lord (united States 11:08am 1995 (printed 1997), type Wall drawing #1091: arcs, circles mantilla of America, b1972), Humaliwo C photograph and bands (room) 2003, synthetic chambers 2010, black laminated PetA PhIllIPS SuBtotAl 18 worKS polymer paint; Wall drawing #870: MDf stereoscopic stand with viewer A black wall divided horizontally by a Jiri Anderle (Czech republic, made from metal, mirror and black totAl weSterN Art wavy line. Top: flat; bottom: glossy b1936), 4 prints: Dívka a Πr2, plastic, three brown cardboard DePArtMeNt 84 worKS 1998, synthetic polymer paint softground etching; Five figures portfolios containing: 1. one colour totAl All DePArtMeNtS 408, etching and aquatint; Konto Sol LeWitt (united States of offset lithograph printed on white 266 worKS GIfteD student, softground etching; concertina card and one beige card America, 1928–2007), 5 sculptures: totAl worKS PurChASeD Zvestovani 1990, etching with printed explanation of project; Three–part variations on three AND GIfteD IN 2011–12: 387 different kinds of cubes – elements 2. 12 colour offset lithographs hANNS AND PAMelA SChÜttler Jean–Antoine Watteau, Study of for serial projects: 2 2 3 (4 parts) printed on 12 white cards (1 image (france, 1887–1966), three male figures c1713, red chalk 1975, baked enamel on steel; Jean Arp each card); 3. 12 colour offset Untitled 1959, etching Incomplete open cube 4/5 1974, lithographs printed on 12 white baked enamel on aluminium; Otto Dix (Germany, 1891–1969), cards (1 image each card) and one COLLECTION – Incomplete open cube 5/6 1974, Battle weary troops retreating – brown card folder containing white baked enamel on aluminium; Battle of the Somme from the series card with colour image LOANS Incomplete open cube 5/8 1974, Der Krieg 1924, etching Orlan (france, b1947), One Orlan * renewed loans baked enamel on aluminium; George Grosz (Germany, 1893– body of books 2007, colour inkjet Incomplete open cube 7/21 1974, 1959), Memory of New York 1915– photograph baked enamel on aluminium 16, photo–lithograph leA AND hIltoN CANNoN Works lent to the Gallery Richard Long (england, b1945), Fernand Léger (france, 1881– Stone line 1977, blue metal stone 1955), 2 prints from the portfolio Cecil Bostock (Australia, 1884–1939), 1 photograph and BrIAN BlANChflower Nam June Paik (Korea; united La Ville 1959: The two birds 1959, 1 portfolio of photographs: Pax Brian Blanchflower, Canopy States of America, 1932–2006), 3 colour lithograph; The Eiffel Tower Vobiscum 1932–1935, gelatin LI (Scelsi I – IV) 2001, oils, wax time–based media sculptures: TV 1959, colour lithograph silver photograph; A portfolio of art medium, pumice powder, acrylic on Buddha 1976, television monitor, Joan Miro (Spain, 1893–1983), photographs 1917, portfolio of 10 laminated hessian video camera, painted wooden Aidez l’Espagne 1937, pochoir gelatin silver photographs Buddha, tripod, plinth; Kaldor (colour stencil) BuChMANN GAlerIe candle 1996, closed–circuit camera, Dr MArIANA MINerBo IN Emil Orlik (Czechoslovakia; tripod, 3 metal television shells, 2 MeMory of her fAther, Aurel Wolfgang Laib, Reishaus 2007– Germany, 1870–1932), Woman television monitors, candles; TV ABrAMoVICI 2008, Indian granite, soot and in a compartment, woodcut sunflower oil, rice cello 1976, transparent synthetic Aurel Abramovici (romania, polymer resin, television monitors, Max Pechstein (Germany, 1881– 1901–61), 2 photographs: untitled *ClIVe eVAtt video tape and player, wood, mixed 1955), Klouruback 1917, woodcut (sailboats in a harbour) 1930s, Rene Magritte, La belle captive media Jacques Villon (france, 1875–1963), gelatin silver photograph; untitled 1931, oil on canvas 3 prints: Portrait of Félix Barré 1913, (winter scene in a village) 1931, the lewItt eStAte to drypoint; Portrait of the artist 1955, gelatin silver photograph Andy Warhol, Flowers 1964, colour the JohN KAlDor fAMIly etching, drypoint and aquatint (in screenprint on canvas ColleCtIoN At the Art three colours); Marcel Duchamp wAyNe PrIDDle GAllery of New South wAleS 1956, etching Sue Paull (Australia, b1955), *CoMMoNweAlth BANK of Sol LeWitt (united States of Wayne Brown 1997, gelatin silver AuStrAlIA America, 1928–2007), White AleXANDrA AND hANNAh photograph attrib. Yõshin, Kanzan and Jittoku Styrofoam on black wall 1994, SeABrooK 19th century, single six–fold screen; Styrofoam, synthetic polymer paint Robert Priseman (england, b1965), ANNe ZAhAlKA. DoNAteD ink on silver ground Mortuary from the series Hospital throuGh the AuStrAlIAN MIKe PArr. DoNAteD 2005, oil on linen GoVerNMeNt’S CulturAl DroGA 8 ColleCtIoN throuGh the AuStrAlIAN GIftS ProGrAM SHEN Shaomin, I want to know GoVerNMeNt’S CulturAl SuBtotAl 64 worKS Anne Zahalka (Australia, b1957), 2 what infinity is 2011, silica gel GIftS ProGrAM photographs: The writer (Dr Michael simulation, wooden deck chair Mike Parr (Australia, b1945), 6 Photography Haerdter/director, Künstlerhaus multimedia: Cartesian Corpse, Bethanien) from the series *JAMeS oSwAlD fAIrfAX AC ACCeSSIoNeD 2011 performance for as long as Resemblance 1987 (printed 2007), Three scenes from the ‘Tale of possible, 21–22 November 2008 Kerry & Co (Australia, estab.1884– Ilfochrome photograph; The girls Genji’ late 19th century, single 2008, hDV video recording, 16:9, closed 1917), The giant fig–tree #2, Cronulla beach from the series six–fold screen; ink, colour and gold colour, sound, 33:31:36; Cart NSW c1890–1910, albumen Scenes from the Shire 2007, type C on paper Corpse 2008, hDV video recording, photograph photograph 16:9, colour, sound, 2 hours; *JohN KAlDor fAMIly Artesian Bore 2008, hDV video Geoff AND VICKI AINSworth Anne Zahalka (Australia, b1957), ColleCtIoN 2 photographs from the series recording, 16:9, colour, sound, Allan Sekula (united States of Francis Alÿs, New York triptych Artists 1990: Artist #47 (Debra 2:25:39; flies 2008, hDV video America, b1951), Meditations on a 1995–1996, triptych: oil on canvas, Phillips) from the series Artists recording, 16:9, colour, sound, triptych 1973–1978, three type C enamel on metal series consisting 1990, Duraflex photograph; Artist 10:07 mins; Major/ Minor 2008, photographs, reading table, chair, of one painting by francis Alÿs #33 (Anne Zahalka) from the series 16mm film converted to video, 16:9, booklet and two sign paintings by enrique Artists 1990 (printed 2007), type C colour, silent, 9:15 mins; Minor/ huerta and emilio rivera; Untitled photograph Major 2008, hDV video recording, ANoNyMouS GIft 1999, mixed media on tracing 16:9, colour, sound Peter Coffin (united States Anne Zahalka (Australia, b1957), paper; Untitled (study for The Mike Parr (Australia, b1945), of America, b1972), untitled 4 photographs from the series modern procession) 2002, collage, 2 sculptures: Aluminium from (spiral, pop–up photo album) Open house 1995: Wednesday oil and pencil on tracing paper; the mouth 2001, 5 aluminium 2006, spirally arranged colour 8:40pm 1995 (printed 1997), type C Railings 2004, 3 single–channel

88 ART GALLERY OF NSW ANNUAL REPORT 11–12 videos, stereo sound, colour, 6:30 punishment (formerly Perseus) Shaun Gladwell, Approach to lines from midpoints mostly 1974, min; Sleepers II 2001, 80 slide 2005, archival inkjet print; No Mundi Mundi 2007, hD/DVD, 16:9, pencil and ink and paper carousel projection; The last clown taxation without representation colour, silent, 8:37 mins Richard Long, Southern gravity 2001, video animation (black– (formerly Andromeda) 2005, Andreas Gursky; Chicago 2011, mud; A hundred mile walk and–white version), 60 min; study: archival inkjet print; Right to keep Mercantile Exchange 1997, type C along a straight line in Australia pencil and enamel on tracing paper; and bear arms (formerly Cancer) photograph; Meersbusch, Krefeld 1977, 3 gelatin silver photographs, Three men in cravats triptych 1995, 2005, archival inkjet print; Right 1989, type C photograph pencil on board; A moved line triptych: oil on board, enamel on to peaceably assemble (formerly in Japan 1983, text work in red metal series consisting of one Cassiopeia) 2005, archival inkjet Gary Hill, Liminal objects #5 1996, and black; Circle in Africa 1978, painting by francis Alÿs and two print; Separation of church and single–channel video installation, gelatin silver photograph, coloured sign paintings by Juan Garcia and state (formerly Gemini) 2005, black–and–white, silent modified pencil on board; Sydney Harbour emilio rivera; Untitled 2005, mixed archival inkjet print; Beginning of black–and–white monitor, metal driftwood 1977, driftwood, 16 media on tracing paper; Untitled love, end of war III 2006, charcoal stand, laserdisc player and laserdisc pieces; River Avon mud drawing (man asleep with hand on head) on paper; Beginning of love, end Jeff Koons, Vase of flowers 1983, mud on paper; Spring 2000, chalk; Untitled (man curled of war V 2006, charcoal on paper; 1988, mirror; Basketball 1985, showers circle 1992, delabole asleep) 2000, chalk; Untitled (study Untitled (drawing for 5th light) bronze; Split–rocker (green/blue) (Cornish) slate; River Avon mud for The modern procession, and 2006, charcoal and cut paper; 1999, polychromed aluminium; drawing 1983, mud on paper Girl with skeleton) 2001, collage, oil Untitled (drawing for 5th light) 2006, Art Ad Portfolio 1988–1989, four and pencil on tracing paper; Untitled charcoal and cut paper; 4th light Barry McGee, Untitled (man with lithographic prints on paper (study for The modern procession 2006, digital video projection, baseball hat) 2000, housepaint on II) 2002, collage, oil and pencil on 14 min Michael Landy, Common metal, 70 panels tracing paper; Untitled (study for dandelion 2002, etching; Feverfew Christo, Package 1967, TV Moore, The dead zone 2003, The modern procession III) 2000, 2002, etching; Four walls 2004, polyethylene, fabric, rope, staples; two–channel DV/DVD, colour, collage, oil and pencil on tracing DVD, 4:3, colour, sound, 34:57 min; The Gates, Project for Central Park, sound, 3:30 mins each paper; Untitled (study for The H.2.N.Y. Self–destroying work of art NYC 1985, diptych: pencil charcoal, modern procession–Frida Kahlo) 2006, oil stick on paper; Michael Saskia Olde Wolbers, Placebo pastel, wax crayon, enamel paint, 2001, collage, oil and pencil on Landy’s (lifestyle) destruction of 2002, video for projection, colour, three photographs by wolfgang tracing paper personal property 1988, pen and sound, 6 min loop; trailer 2005, Volz and map; Packed Coast, One ink on paper; Michael Landy’s video for projection, colour, sound, Carl Andre, Steel–copper plain Million Square Feet, Project for (lifestyle) household contents 1998, 10 min loop 1969, steel and copper; The way Australia 1969, scale model: fabric, pen and ink on paper; Drawing (2) north, south and west (uncarved rope, twine, staples, cardboard, Nam June Paik, Video design 2007, charcoal on paper, Painting blocks) 1975, western red cedar wood, plaster, paint, pencil, 1985, type C photograph; TV birds (1) 2007, paint on metal; Sculpture perspex; Running Fence, Project 1976, coloured pencil on paper, 12 Bernd Becher, Hilla Becher, 2007, paint on metal; Shelf Life for Sonoma and Marin Counties, panels; TV faces 1976, coloured Coal mines and steel plants 1988 2004, 16mm film transferred to State of California 1974, collage: pencil on paper, 12 panels {printed}, 4 unique gelatin silver DVD, 16:9, colour, sound, 49:37 fabric, staples, cardboard, brown photographs; Cooling towers, min; Singing of the fairies I 2004, Paul Pfeiffer, Corner piece 2004, paper, pencil, charcoal, crayon, Germany 1964–1993 {printed crayon on paper; The consuming digital video, 2:10 min loop, metal ballpoint pen, Show Window 1966, later}, 9 gelatin silver photographs, paradox 1999, mixed media armature, monitor, DVD player; Framework houses 1959 – 1971 galvanized metal, aluminium, wood, collage; Print 2007, ink on paper; Goethe’s message to the New {printed later}, 15 gelatin silver perspex; Surrounded Islands, Scrapheap services, 1995, ink on Negroes 2001, digital video, 0:30 photographs, Quenching towers: Project for Biscayne Bay, Greater paper min loop, metal armature, lCD Zeche Hugo, Gelsenkirchen, D Miami, Florida 1982, diptych: monitor, DVD player; Goethe’s Sol LeWitt, Wall structure 1978 {printed later}, gelatin silver pencil, pastel, charcoal, wax message to the New Negroes 123454321 1979, baked enamel on photograph; Blast furnaces, crayon, enamel paint, photographs; 2002, digital video, 0:39 min loop, Germany, France, Luxembourg, brass with black line (nine pieces); The Umbrellas, Project for Japan metal armature, lCD monitor, DVD United States 1970 – 1984 {printed Non–geometric form (splotch) and Western USA 1986, collage: player; Caryatid 2004, digital video, later}, 12 gelatin silver photographs; #2 1999, painted fiberglass; wax crayon, pastel, fabric, pencil; 1:46 min loop, chromed 33cm Quenching towers: Zeche Emscher– Non–geometric form (splotch) Wrapped Island, Project for South television and DVD player Lippe, Datteln, D 1985 {printed Pacific Ocean 1970, collage: pencil, #6 1999, painted fiberglass; later}, gelatin silver photograph fabric, twine, staples, photograph, Non–geometric form (splotch) Richard Prince, Untitled Vanessa Beecroft, VB40.070. crayon, charcoal, pastel #4 1999, painted fiberglass; (cowboy) 1980 – 1989, ektacolor Non–geometric form (splotch) #3 photograph; Untitled (sunset) 1981, VB.POL 1999, digital type C Daniel Crooks, Elevator no.3 2002, 1999, painted fiberglass; Non– ektacolor photograph; Untitled photograph DV/DVD PAl, 4:3, colour, silent, geometric form (splotch) #1 1999, (hippie drawing) 2000 – 2005, , Frise 1979, work 3:52 mins; Static no.6 2003, DV/ Daniel Buren painted fiberglass; Non–geometric ink and synthetic polymer paint in situ DVD PAl, 16:9, colour, stereo, form (splotch) #5 1999, painted on paper; Untitled 1989 – 1990, 3:04 mins, Christian Capurro, Compress (pit fiberglass; Pyramid 2005, painted synthetic polymer paint and of doublivores) 2006 – 2007, 14 Aleks Danko, Art stuffing 1970, wood; Wall structure 54321 1979, silkscreen on canvas; Untitled works–on–paper drawn under the synthetic polymer paint on paper baked enamel on brass with black (protest painting) 1994, synthetic pressure of erasing other images, stuffed hessian bag; Just one more line (five pieces); Rectangle – open polymer paint on canvas; American then corrected; magazine pages light work 1974, chair, light sockets, 1977, painted wood; All two part English (If I die in a combat zone) with erasure, correction fluid, ink bulbs, electrical flex, wheels, combinations of arcs from four 2006, 2 books in a case made of and pins traffolyte panels; Log dog 1970, corners, arcs from four sides, bondo, synthetic polymer paint and Paul Chan, A free press (formerly wood, metal, chain, leather, casters straight, not–straight and broken wood lines in four directions 1977, ink Ursa Minor) 2005, archival inkjet Thomas Demand, Flare 2002, Robert Rauschenberg, Air ration and pencil on paper; Form derived print; 1st light 2005, digital video 28 type C photographs/ Diasec; winter glut 1987, riveted metal from a cube 1982, pencil on paper; projection, 14 min; A jury of peers Gangway 2001, type C photograph/ parts; Dylaby 1962, rubber tyre, oil Form derived from a cube 1982, (formerly Aquarius), 2005, archival Diasec; Modell/ Model 2000, type on packing case timber, iron nails; pencil on paper; Irregular grid 2001, inkjet print; Democracy to come C photograph/ Diasec; recorder Nugget 1976, fabric, bamboo pole, gouache on paper; Tangled bands (formerly Ursa Major) 2005, archival 2002, 35mm film/loop, 2:17 min; string, tin cans; Zurich pool glut 2002, gouache on paper; Tangled inkjet print; Distributive justice Rolltreppe/ Escalator, 2000, 35mm 1988, assembled metal parts (formerly Orion) 2005, archival film/animation, Dolby Sr, 2 min bands 2002, gouache on paper; inkjet print; Freedom of speech The location of six geometric figures Ugo Rondinone, clockwork for (formerly Centaurus) 2005, archival Gilbert & George, Dig 2005, 1975, pencil and ink on paper; The oracles 2011, mirror, colour plastic inkjet print; No cruel and unusual mixed media location of twenty–one lines with gel, wood, paint, mixed media; all

APPENDICES 11–12 89 MOMENTS stop here and together stone seals; 3 metals tools; 2 and synthetic polymer paint on Edmund Leighton, till death do us we become every memory that has brushes; 1 ceramic (water) vessel canvas part 1878–1879, oil on canvas ever been. 2002, plexiglass; William Kentridge, Bird catching Thomas Sidney Cooper, Reposing fuenfterdezemberzweitausendundf– *ColIN MCDoNAlD sets I, II, III 2006, 10 acquaint and on God’s acre 1874–1875, oil on uenf 2005, pencil, synthetic polymer Shodai MASAHIRO, Sword post drypoint on paper; Drawing from canvas paint on linen; sechsundzwanzig– 1628, steel ‘Woyzeck on the Highveld’ 1992, sterseptemberzweitausendundfuenf Edward Ward, The last parting of Ozaki SUKETAKA, Ko–wakizashi charcoal on paper; Eight figures 2005, pencil, synthetic polymer Marie Antoinette and her Son 1856, 1802, steel paint on linen; sechsundzwan– Ugo Rondinone, The twenty–third oil on canvas zigsterseptemberzweitausendundf– Satsuma TADASHIGE, Sword hour of the poem 2010, cast wax, Henry Pegram, R.A., Perseus and 1688–1704, steel pigments 2010, poster paint, uen 2005, pencil, synthetic Andromeda 1906–1907, bronze, charcoal, coloured pencil, pastel polymer paint on linen; MURAKAMI Michimasa, Sword octagonal relief siebenundzwanzigsterjanuarzweita– May 1941, steel on paper usendundnull 2000, ink on paper, PrIVAte ColleCtIoN Ozaki Masataka, Ko–wakizashi and PrIVAte ColleCtIoN wooden frame, plexiglass plaque koshirae 1830–1876, steel with caption; fuenfzehnterfebruar– John Beard, Head–SP4 1997– Shaun Gladwell, Tangara 2003, zweitausendundzwei 2002, Chu–Mihara School, Tachi and 1998, oil, wax on linen; Head–SP9 single–channel digital video, 4:3, ink on paper, wooden frame, koshirae late 14th century–early 2000, oil, wax on linen; Head–SP2 silent, 14 min plexiglass plaque with caption; 15th century, steel 2001–2002, wax on linen; Head– PrIVAte ColleCtIoN siebterdezemberzweitausend– Kunitoshi, Tanto and koshirae SP1 2009, oil, wax on linen undfuenf 2005, pencil, synthetic 1830–1876, steel Claude Monet, The chateau *PrIVAte ColleCtIoN d’Antibes 1888, oil on canvas polymer paint on linen; Yamato–Mino SENSHUIN, Sword sechsundzwanzigsteraug– and koshirae 1331–1334, steel Brian Blanchflower, Canopy XXXIII PrIVAte ColleCtIoN ustzweitausendundnull 2000, Ishigoro ICHIJU, Tsuba with design (Skin) 1995–1996, micaceous synthetic polymer paint on acrylic with powdered pumice on Fred Sandback, Untitled (sculptural polyester, plexiglass plaque of Nabeshima style crest 19th study, three–part construction) century acrylic gesso on laminated hessian; with caption Canopy XXXVIII (blue/sliver) 1997, 1987–2009, black acrylic yarn Goto School, Menuki with design oils with powdered pumice on Peter Rostovsky, Epiphany model: of playing chinese lions late 18th BeN QuIlty the painter 2004, oil on linen, acrylic gesso on laminated hessian century Ben Quilty, Margaret Olley 2011, super–sculpey, wood, plastic, paper, *PrIVAte ColleCtIoN oil on linen flocking, synthetic polymer paint Hachizaemon JINPO, Kozuka with design of a samurai on a tiger 18th Harold Cazneaux, Untitled (Phillida Frank Stella, Untitled 1965, PrIVAte ColleCtIoN century Cooper, daughter of journalist synthetic polymer paint on canvas Brett Whiteley, Grey harbour circa Waki–Goto School, Menuki with Nora Cooper in ballet dress) circa 1978, oil and charcoal on canvas; Thomas Struth, Chicago Board design of playing chinese lions 1932, gelatin silver photograph; Soup kitchen 1958, oil on canvas; of Trade I, Chicago 1990, type 1830–1844 Music in the alley 1924, gelatin Untitled abstract circa 1960, oil and C photograph; Chiesa dei Frari silver photograph; Untitled (Captain Kawamura JAKUSHI, Tsuba with charcoal on canvas; Untitled red 1995, type C photograph; Stanze F de Groot) 1932, gelatin silver design of Chinese landscape 17th painting II circa 1960–circa 1961, oil di Raffaello II, Roma 1990, type C photograph; Untitled (HRH Edward, century; Fuchi–gashira with design on canvas Prince of Wales, standing in open photograph of dragons in clouds 17th century motor car during his visit to Sydney) Ricky Swallow, Picture a *Mr AND MrS SCott reID Kaga style, Kozuka with design of 1920, gelatin silver photograph; screaming sculpture 2003, piezo flying cranes 19th century His structure still defies the blast Ritual vessel ding, bronze pigment print on hahnemuhle paper, Hamano NAOYUKI, Kozuka with 1906, gelatin silver photograph; The moulded frame, museum glass *SAlAVIlle Pty ltD retIreMeNt design of tiger and bamboo 1781– spirit of endurance 1937, gelatin fuND Meyer Vaisman, Not just shelf 1789; tsuba with design of Kanzan, silver photograph; Landscape 1986, process inks, polyester on Jittoku and tiger 1781–1789 (approaching the mountains), gelatin Gordon Bennett, Metaphysical silver photograph; Black swans circa landscape II 1990, oil on canvas canvas Hamano school, Menuki with 1934, gelatin silver photograph; design of guardian deities (Nio) 18th GreGor SChNeIDer Daniel von Sturmer, Limits of the Veteran gum, Castlemaine Victoria century model (sequence 3) 2006, single 1935, gelatin silver photograph; Gregor Schneider, BASEMENT channel digital video, 16:9, colour, Untitled (Hume highway, near KELLER Haus u r 1985–2012, built silent, 13:36 mins; The truth effect J w Power ColleCtIoN, uNIVerSIty of SyDNey Gunning), gelatin silver photograph; rooms 2003, installation of five single Lakeside (Narrabeen), gelatin silver channel videos, 4:3, colour, sound, John Power, Woman with parasol photograph; Clearing storm c1906– PrIVAte ColleCtIoN circa 1927, oil on linen canvas five screens, plans for table and c1907, gelatin silver photograph, Tony Oursler, Blue 2006, base, and installation *PowerhouSe MuSeuM vintage; Majestic gums II, Melrose fiberglass, DVD projection, sound Gregor Schneider, Totes Haus u 1935, gelatin silver photograph; Not r Im Kern Venedig 2001, gelatin Jingdezhen ware, Armorial plate interested pre 1924, gelatin silver *tAte BrItAIN silver photograph; Totes Haus u r bearing the arms of Booth impaling photograph Bertram Mackennal, Diana Keller Venedig 2001, gelatin silver Irvine of Drum c1723, porcelain with wounded 1907, marble; The Earth photograph; Totes Haus u r Unter ‘rouge de fer’ enamel; gilt *PrIVAte ColleCtIoN and the Elements 1907, marble on im Kern Venedig 2001, gelatin silver Altar vase (‘zun’) 1796–1820, Lord Frederic Leighton, An athlete onyx base photograph porcelain; monochrome blue wrestling with a python, white enamel glaze marble; the sluggard, bronze Works lent by the Gallery *JohN KIley AND euGeNe SIlBert PrIVAte ColleCtIoN Artus Wolffort, Christ and the pool of Bethesda c1620–c1630, oil on NAtIoNAl GAllery of Bill Henson, Untitled 1997/2000 Francis Bacon, Self portrait 1980, canvas AuStrAlIA 1997–2000, type C photograph oil on canvas; Portrait of a dwarf Out of the West (the dwarf) 1975, oil on canvas Evelyn De Morgan, An Angel MrS lye MeNG luKe piping to the souls in Hell circa National Gallery of Australia PrIVAte ColleCtIoN 1910–c1915, oil on canvas 8 July 2011 – 26 June 2013 Loke Peng Hoon, Set of Buddhist figure seals and tools, 18 stone John Baldessari, Sediment: foot, Gustave Mossa, Christus 1908, oil James W. R. Linton Yallingup seals; 5 bamboo seals; 18 apricot person and barrel 2010, inkjet print on canvas (1925) pencil, watercolour

90 ART GALLERY OF NSW ANNUAL REPORT 11–12 GIPPSlAND Art GAllery Douglas Dundas, Sheep country, Gippsland Art Gallery Charles Conder An Impressionist William Delafield Cook: a survey Burra 1950, oil on canvas; Self 17 September–13 November 2011 (Tom Roberts) (c1889),oil on cedar Gippsland Art Gallery portrait (c1951) oil on canvas Geelong Art Gallery panel 16 July – 11 September 2011 Hilda Rix Nicholas, Portrait, 26 November 2011–12 february E Phillips Fox Adelaide 1895, tarrawarra Museum of Art charcoal, pastel 2012 oil on canvas; Arranging flowers (1906), oil on canvas 15 october 2011–12 february 2012 Kevin Connor Portrait 1 1965, Nicholas Chevalier Self portrait William Delafield Cook A waterfall oil on hardboard; Self portrait III 1857, oil on cardboard; A Victorian Grace Joel Portrait of G.P. Nerli (Strath Creek) 1980–1981, synthetic 1992, brush and black ink, white homestead, (circa 1860), oil on (mid 1890s), oil on canvas on polymer paint on canvas; The gouache; Haymarket 8 a.m. 1963, cardboard on hardboard; Tunnel plywood Quarry, Euroa 1989–1990 synthetic oil on hardboard; Pyrmont (view to Rock, Cape Schanck, Victoria Frederick McCubbin Self portrait polymer paint on canvas Blackwattle Bay) 1992, black ink, 1862, oil on cardboard; Pulpit Rock, 1886, oil on canvas on hardboard gouache Cape Schanck, Victoria 1860s, oil Hugh Ramsay The sisters 1904, oil on paperboard on hardboard; the on canvas on hardboard uNIVerSIty Art GAllery, Stan de Teliga The flight 1962, ovens Valley, Victoria, 1893, oil on uNIVerSIty of SyDNey oil, synthetic polymer paint on Tom Roberts Frances Ross, hardboard; W.F. Pond (1969), canvas actress (c1898), oil on wood; Freedom Riders synthetic polymer paint on canvas Smike Streeton age 24 1891, oil on university Art Gallery, canvas; Eileen 1892, oil on canvas; Eric Smith Portrait of Rodney NAtIoNAl GAllery of university of Sydney Silent Bob Bates 1895, oil on cedar Milgate 1966–1967, synthetic VICtorIA: INterNAtIoNAl 1 August – 16 october 2011 panel; Miss Florence Greaves 1898, Tjukurrtjanu: Origins of polymer paint, collage on canvas pastel on paper Robert Campbell Jnr Map of on hardboard Western Desert art the massacres of blacks on the John Peter Russell Madame Macleay Valley 1991 Rodney Milgate Thoughts on Ian Potter Centre: NGV Australia Sisley on the banks of the Loing at synthetic polymer paint on canvas holism 1974, oil, synthetic polymer 30 September 2011–12 february Moret (1887), oil on canvas; Mon paint on hardboard 2012 Elaine Russell Inspection day ami Polite 1900, oil on canvas; 1994, synthetic polymer paint on Frank Hinder “Burn off, Willaroo Uta Uta Tjangala Untitled Five studies of Vincent van Gogh cardboard Creek Queensland” 1982, gouache c1971,synthetic polymer paint on (c1886–c1888), fine conté or carbon pencil on laid paper Rah Fizelle Head of a man c1935, hardboard; Untitled 1972, synthetic pencil polymer powder paint and natural Arthur Streeton Mrs W.H. Read NAtIoNAl GAllery of earth pigments on hardboard 1890, oil on canvas AuStrAlIA Hector Gilliland Gaol wall, Trial Abbey Alston Bertram Mackennal Bay, New South Wales 1951,pencil, Shorty Lungkata Tjungurrayi Fred Williams: infinite horizons 1894, carbon pencil on paper pen and brown ink, watercolour; Women’s dreaming (Two women) National Gallery of Australia Lilyfield 1959 charcoal 1972, synthetic polymer powder A Henry Fullwood Reflections 12 August – 6 November 2011 paint on hardboard 1898, pastel on brown laid paper Jean Appleton Still life (1956), oil Ian Potter Centre: NGV Australia on hardboard Clifford Possum Tjapaltjarri, Tim 7 April – 22 Jul 2012 Leura Tjapaltjarri Warlugulong MorNINGtoN PeNINSulA Fred Williams, You Yangs Henri Bastin (Queensland 1976, synthetic polymer paint on reGIoNAl GAllery landscape) 1964, oil on hardboard landscape, 1963, oil on hardboard; canvas Sea of Dreams: the lure of Port My garden (1965–1967) oil on George Duncan Heave Ho! 1940, Phillip Bay 1830 – 1914 canvas; Waterfall polyptych (1979) watercolour, charcoal on paper QueeNSlAND Art GAllery Mornington Peninsula oil on canvas; Landscape with bent Alison Rehfisch Landscape after regional Gallery tree c1958–c1959 watercolour, Daphne Mayo: let there be the fire oil on jute canvas; Oranges 7 December 2011–19 february gouache, brush and black ink on sculpture and lemons (c1934), oil on canvas; 2012 wove paper; Fallen tree (1962) Window in spring (1953), oil on jute Queensland Art Gallery watercolour, gouache on paper Walter Withers S.S. Excelsior canvas 5 November 2011 – 15 January rounding Pt. Henry (c1890), oil on 2012 Weaver Hawkins Jitterbugs 1945, canvas MACQuArIe uNIVerSIty oil on canvas; Atomic power 1947 Daphne Mayo John Young Art GAllery oil on hardboard; Self portrait 1920, 1942, bronze; Dr Christine rivett, BAllArAt fINe Art GAllery Song of earth and sea: Shay etching, printed in black ink with 1950,1956 {cast} bronze; A young Michael Shannon: Australian Docking 1955–1996 pale plate tone on ivory wove paper Australian 1930, 1931 {cast} romantic realist Macquarie university Art Gallery Sidney Nolan The journey (1986), bronze Ballarat fine Art Gallery 26 August – 14 october 2011 acrylic enamel spray on canvas 10 Dec 2011–26 feb 2012 Shay Docking South Seas icon: Grace Cossington Smith; Signing S.h. erVIN GAllery Michael Shannon Autumn Horn of the Earth 1972–1973 oil, 1945, oil on paperboard; Bonfire in Elemental reckoning: the art of Tim landscape, Heathcote no. 1 1985, tempera, synthetic polymer paint on the bush (c1937), oil on paperboard Storrier 1981–2011 oil on canvas hardboard; Landscape with Nikau Ken Whisson Flag for an S.h. ervin Gallery palms and thermal lake 1968 GlASShouSe ArtS pastel on paper on hardboard; Australian backyard no. 2 (Flag of 11 November – 18 December 2011 my disposition no. 13) (c1980) oil CoNfereNCe AND Angophora over Ku–ring–gai Chase Tim Storrier The afternoon 1993, on canvas; Australian light 1984, eNtertAINMeNt CeNtre 1978 pencil; Fallen angophora synthetic polymer paint on canvas; coloured crayons on paper; Railway William Kentridge (Ku–ring–gai Chase) 1976, pencil Afternoon study (1993), synthetic station 1962, oil on hardboard on ivory wove paper; Escarpment polymer paint on wood Glasshouse Arts, Conference and of the Olgas 1987, pencil; Ploughed Roland Wakelin The bridge 1958, entertainment Centre fields at Mirboo North near oil on hardboard 15 December 2011 – 12 february Thorpedale, Victoria 1955, pencil, NAtIoNAl PortrAIt GAllery 2012 Salvatore Zofrea Portrait of my watercolour, gouache; Angophoras Impressions: painting light and life mother 1970s, etching on copper, William Kentridge Tide table 2003, and Hawkesbury 1975, pencil on National Portrait Gallery black ink on ivory wove paper animated film, 35mm film, video and white wove paper 25 November 2011 – 4 March 2012 DVD transfer with sound, 8:53 min Ian Fairweather Seated figure 1948, pencil, gouache on Julian Ashton Study of Alice S.h. erVIN GAllery orANGe reGIoNAl GAllery cardboard Muskett 1893, oil on wood An expanded vision: Rupert Bunny Portrait of the Luminous: the landscapes Mary turner collection GIPPSlAND Art GAllery artist’s wife (c1902),oil on canvas; of Elisabeth Cummings orange regional Gallery Nicholas Chevalier: Australian Returning from the garden (c1906), S.h. ervin Gallery 27 August – 30 october 2011 odyssey oil on paperboard 7 Jan – 12 feb 2012

APPENDICES 11–12 91 Elisabeth Cummings Arkaroola State library of Victoria 1 April – 31 July 2012 regional Gallery landscape 2004, oil on canvas; 9 March–1 July 2012 State library of New South wales 30 June – 5 August 2012 Black Sally reflections, Namadgi Unknown artist (Persia), Kay 20 August 2012 – 28 october 2012 Russell Drysdale Stockman 1996, gouache, synthetic polymer Khusraw crossing the River Jihun Luciana Arrighi Voss opera – (c1957), pen and ink, wash on ivory paint on white wove paper (recto) part of the text of the Shah– Laura 1986, pen and black ink, wove paper; Seated male figure nama (verso) c1590, gouache and watercolour; Voss opera – Nie, Nie wearing a cap (1938), pen, brown gold leaf on paper; Bahram Gur the IAN Potter MuSeuM Niemals 1986, pen and black ink, ink and wash on ivory wove paper; of Art performing a feat before gaining watercolour the throne c1600, gouache, gold recto: Study for ‘Drought’ series Jenny Watson: here, there and leaf and ink on paper; An old Maie Casey recto: Nude with verso: (related doodles) 1945, pencil everywhere man bewitched c1560, opaque gloves walking along beach verso: on ivory machine wove paper; the Ian Potter Museum of Art watercolour on paper; verso 14 (Female study) charcoal, gouache, Kimberley landscape 1961,pencil, watercolour 18 January – 8 April 2012 lines double column fine black pen and black ink, watercolour; ‘nasta’liq’ script; Leaf from a Martin Coyte Figures in a Woman lounging (c1941), pen and Jenny Watson Dubonnet 1978, Shahnama [Kings conversing] landscape, pencil, coloured pencil coloured crayons heightened with black ink, dry brush and brown ink opaque watercolour on paper on paper white body colour over pencil over on paper; The barman (c1957), line; European drawings 1982, Desmond Digby ‘A cheery soul’ pen and ink with colour wash on NAtIoNAl Art CeNter, toKyo Pastel (1–10 parts) (Mrs Lillie Act II) 1963, mixed grey laid paper; Model, George Bell Cézanne: Paris–Provence media; ‘A cheery soul’ (Six old School (Wolf Cardamatis) (1939), ladies from Sundowne Home) pencil on cream wove paper; royAl ACADeMy of ArtS National Art Center, tokyo 28 March–11 June 2012 1963, mixed media; The Misses Female nude 1937, pencil and David Hockney RA: A bigger picture Patricia and Ethel White (portrait of watercolour on ivory wove paper Paul Cézanne Banks of the Marne, Patrick White and pug dog) 1964, royal Academy of Arts c1888, oil on canvas oil on paperboard; Patrick White 21 January – 9 April 2012 (1965), oil on hardboard; Visitors GeeloNG Art GAllery Guggenheim Museum Bilbao MuSeuM of 2–4 (1966), synthetic polymer paint In search of the picturesque – the 14 May – 30 September 2012 CoNteMPorAry Art on hardboard; Lady with dog (set architectural ruin in art David Hockney A closer winter Marking time for ‘A Cheery Soul’) (c1966), oil on hardboard; The Cockatoos (book 21 April – 24 June 2012 tunnel february–March, 2006 oil 29 March – 3 June 2012 on canvas, 6 panels cover design), oil on paper; the eye J Bluck Sudeley Castle 1791–1831, Katie Paterson Earth–moon–earth of the storm (book cover design), watercolour over pencil (moonlight sonata reflected from collage, oil on paper CArrIAGeworKS the surface of the moon) 2007, John Buckler Fountains Abbey, Roy de Maistre Mrs Geoffrey Peck Yorkshire 1809, watercolour over Bronwyn Bancroft 1981–2011 Disklavier Grand Piano, sound file (c1938), oil on canvas; Patrick White on uSB stick, earth–moon–earth pencil (1939), oil on canvas; The concert Carriageworks book, headsets 2 february – 17 March 2012 (c1943), oil on paperboard, Figure Louis Haghe, after David Roberts in a garden (The aunt) (1945), oil on Baalbec 1843, lithograph, tinted Bronwyn Bancroft You don’t even heIDe MuSeuM of MoDerN Art hardboard look Aboriginal 1991,gouache, Blamire Young Rat’s castle Hobart Ken Whisson: As If collage on paper; Black Sister Erica McGilchrist Mandala for my c191919, watercolour Family 1995, gouache on paper heide Museum of Modern Art mother and father 1971, synthetic 31 March – 15 July 2012 polymer paint on canvas NAtIoNAl PortrAIt GAllery S.h. erVIN GAllery Museum of Contemporary Art Stanislaus Rapotec Zeus, White Whiteley 1 oct 2012 – 29 Nov 2012 Poseidon, Pluton 1969, triptych: Russell Drysdale drawings National Portrait Gallery Ken Whisson Railway station synthetic polymer paint on S.h. ervin Gallery 1962, oil on hardboard; Flag for an hardboard [Parliamentary Zone] 17 february – 25 March 2012 10 May – 29 July 2012 Australian backyard no. 2 (Flag of Martin Sharp Signal driver Russell Drysdale Picture of Donald my disposition no. 13) (c1980), oil (theatre poster) (1979), two–colour Louis Kahan Portrait of Patrick Friend (1948), oil on hardboard; on canvas; Man seated 1967, pen screenprint, printed on white White 1962, oil, synthetic polymer Road to the Black Mountains and black ink; Male and female paper; Couples 1979, collage on paint on hardboard (c1952), oil on canvas; Shopping 1975, pen and ink hardboard day (1953), oil on canvas Brett Whiteley Patrick White Brett Whiteley Patrick as a Flaws in the Glass 1981,oil, plaster hIStorIC houSeS truSt of headland, (1980), oil on canvas on canvas on plywood; Study of ShePPArtoN Art MuSeuM New South wAleS Patrick White 1980, pencil on white home front: wartime Sydney Sir John Longstaff AuStrAlIAN NAtIoNAl MArItIMe cardboard; Patrick White, brush Shepparton Art Museum Museum of Sydney MuSeuM and blue ink on ruled paper; Portrait 18 february – 22 April 2012 31 March – 9 September 2012 Fish and fishing in Australian Art of Patrick White, watercolour, John Longstaff Lady in black 1893, Ludwig Hirschfeld–Mack Australian National gouache on ivory wove paper from oil on canvas; Miss Rose Scott Desolation, Internment camp, Maritime Museum sketch book; Study for Patrick Orange, NS 1941, woodcut, printed (1922), oil on canvas; Portrait of 5 April – 1 october 2012 White, pencil on brown packing Lydia Rolin (c1931), oil on canvas in black ink on thin ivory wove paper; First preliminary sketches, paper; Fred Leist 1943 (1943), oil Margaret Olley Still life with pink fish 1948, oil on cheesecloth on for ‘Portrait of Patrick White’ 1979, StAte lIBrAry of on paperboard on hardboard hardboard black fibre–tipped pen on three New South wAleS Weaver Hawkins Atomic power sheets of buff wove paper on James Gleeson Study 1983, pastel Lewin: Wild Art 1947, oil on hardboard on black paper; Study 1983, pastel three sheets of white wove paper; Frank Hinder Drawing 1945, black State library of New South wales on dark blue/grey paper Patrick sketch 1981, brush and 5 March – 27 May 2012 conté black ink on rice paper, Four views Margaret Preston Japanese of Patrick White 1980, pen, brush J W Lewin The variegated lizard CArrICK hIll of New South Wales 1807, pencil, submarine exhibition (1942), oil on and black ink, gouache, collage watercolour, opaque white, gum canvas Russell Drysdale drawings on ivory cardboard; From walks on paper Carrick hill in Centennial Park with Patrick NAtIoNAl lIBrAry of 5 April – 17 June 2012 White 1991, pen and black ink on StAte lIBrAry of VICtorIA AuStrAlIA S.h. ervin Gallery white wove paper, four feathers, Love and devotion: Patrick White: Eye of the Storm 17 february – 25 March 2012 brush and black ink on white from Persia and beyond National library of Australia Mornington Peninsula cardboard, 1979

92 ART GALLERY OF NSW ANNUAL REPORT 11–12 DoCuMeNtA Fernand Léger The bicycle 1930, Lawrence Daws, Poinciana tree I Margaret Olley, Still life with leaves dOCUMENTA (13) oil on canvas 1991, oil on hardboard c1960, oil on hardboard Documenta Lawrence Daws, The recluse 1997, Tom Roberts, Trawool landscape 9 June – 16 September 2012 toKyo ShIMBuN JAPAN oil on canvas 1928, oil on canvas on cardboard Doreen Reid Nakamarra Untitled Edward Burne Jones Russell Drysdale, Rocky landscape Bryan Westwood, South of Alice 2007, synthetic polymer paint on c1952, oil on canvas Springs after good rains 1992, oil Mitsubishi Ichigokan Museum on canvas canvas 23 June – 19 Aug 2012 Sali Herman, Lane at the Cross Margaret Preston Western 1946, oil on canvas on plywood hyogo Prefectural Museum of Art New South wAleS PArlIAMeNt Australian gum blossom 1928, oil 1 September – 14 october 2012 Michael Kmit, Woman and girl on canvas; The brown pot (1940), 1957, oil on hardboard houSe – PreSIDeNt of the oil on canvas; I lived at Berowra Koriyama City Museum of Art leGISlAtIVe CouNCIl 23 october– 9 December 2012 Charles Lloyd Jones, Afternoon 1941, oil on canvas; Grey day in the light 1941, oil on canvas on François Bossuet, La Place de la ranges 1942, oil on hardboard Edward Burne–Jones The fight: paperboard constitution 1880, oil on paper over St George kills the dragon VI 1866, masonite oil on canvas Dora Meeson, Thames at Chelsea tAMworth reGIoNAl GAllery Reach, oil on canvas Rupert Bunny, Waterfront, Bandol Angus Nivison c1929, oil on canvas; Fishermen’s NAtIoNAl PortrAIt GAllery Sidney Nolan, Ant hills, Australia houses, Port Vendres c1926, oil on tamworth regional Gallery 1950, synthetic polymer paint on canvas 16 June – 28 July 2012 (renewed long term loan) hardboard; Elephant 1963, synthetic William Dobell Sir Robert Menzies polymer paint on hardboard Douglas Dundas, The towers of Newcastle region Art Gallery San Gimignano, oil on canvas 21 September – 24 November 2012 (1960), oil on hardboard Douglas Pratt, The old toll house, Henry Edgecombe, Nerriga Sh ervin Gallery renewed to December 2013 Rushcutters Bay 1959, oil on canvas landscape c1946, oil on canvas 5 Jan 2013 – 10 feb 2013 on cardboard AuStrAlIAN wAr MeMorIAl Max Ragless, Second valley university of Newcastle Elaine Haxton, Sweet and sour (renewed long term loan) c1954, oil on canvas 24 oct – 10 Nov 2012 1958, oil on hardboard George W Lambert La croix de Angus Nivison Uncertain light Nora Heysen, Petunias 1930, oil guerre (detail) (circa 1922), oil on 2006, triptych: synthetic polymer Albert Rydge, Morning in Neutral on canvas paint, charcoal on canvas canvas Bay c1955, oil on hardboard Clifton Pugh, The eagle and renewed to february 2014 Paquita Sabrafen, Australian the baobab trees 1957, oil on uNIVerSIty Art MuSeuM wildflowers 1990, oil on canvas hardboard (uNIVerSIty of QueeNSlAND) Furnishing loans Jeffrey Smart, Parkland 1950, Tom Roberts, On the Timbarra – Return to Sender GoVerNor MACQuArIe tower oil on canvas – offICe of the PreMIer Reek’s and Allen’s sluicing claim university Art Museum Lance Solomon, Country lane c1894, oil on canvas on hardboard (university of Queensland) Arthur Boyd, Reflecting rocks 1947, oil on canvas on hardboard Arthur Streeton, Beneath the 16 June – 26 August 2012 c1975, oil on canvas peaks, Grampians c1921, oil Robyn Stacey Ice 1989, Sidney Nolan, Broome – New South wAleS PArlIAMeNt on canvas Cibachrome on plexiglass; flame, Continental Hotel 1949, synthetic houSe – leGISlAtIVe CouNCIl 1989, Cibachrome on plexiglass polymer paint and red ochre oil paint on hardboard John Longstaff, Sir George Reid, oil on canvas MorNINGtoN PeNINSulA Paul Partos, Untitled (black–grey) 1990, oil on canvas Tom Roberts, Sir Henry Parkes reGIoNAl GAllery c1894, oil on canvas Controversy: the power of art the hoN NICK GreINer Mornington Peninsula regional New South wAleS PArlIAMeNt Gallery Ray Crooke, Normanton, North houSe – MINISter for heAlth 21 June – 12 August 2012 Queensland c1962, oil on canvas; AND MeDICAl reSeArCh Chillagoe 1961, oil on canvas on John Bloomfield Tim Burstall Hans Heysen, A bowl of roses hardboard 1975, synthetic polymer paint on 1924, oil on canvas canvas Robert Dickerson, Boys and billy cart 1971, oil on canvas on Margaret Preston, Rose and Brett Whiteley My relationship hardboard banksia 1936, oil on canvas between screenprinting and Regents Park Zoo: title page (1965), Kenneth Green, Fallen tree 1968, New South wAleS PArlIAMeNt three–colour screenprint, printed oil on hardboard houSe – offICe of the on paper, frontispiece: Swinging Wallace Thornton, Landscape PreMIer monkey 2: no. 2 (1965), three– Binnia Downs 1946, oil on canvas colour screenprint, printed on paper Arthur Boyd, Cattle on hillside, Shoalhaven c1975, oil on canvas Sir Eduardo Paolozzi I was a rich lowy INStItute John Eldershaw, Tilba Tilba N.S.W. man’s plaything 1972, colour photo Howard Ashton, Jamieson Valley screenprint, collage 1931, oil on canvas c1938, oil on canvas William Kentridge Tide table 2003, Will Ashton, Kosciusko c1930, oil Rita Kunintji, Special Law and animated film, 35mm film, video and on canvas Ceremony Ground, synthetic DVD transfer with sound, 8:53 min polymer paint on canvas Charles Bush, Landscape Peter Kennedy November Eleven near Tarquinia, Italy 1952, oil on Sidney Nolan, Gallipoli soldier 1979, u–matic video, 18 minutes hardboard (3), synthetic polymer paint on hardboard; Magpie 1950, synthetic Criss Canning, Waratah in a green polymer paint on hardboard; Burke MuSeuM of olD AND New Art jug 1999, oil on canvas and Wills expedition, ‘Gray sick’ Theatre of The World Eugene Crick Claux, Street scene, 1949 synthetic polymer paint and 23 June 2012 – 7 April 2013 oil on canvas oil–based red ochre on hardboard; Max Ernst L’imbécile 1961, bronze, Kevin Connor, Man on stairs 1963, Wounded Kelly 1969, synthetic marble base oil on hardboard polymer paint on hardboard

APPENDICES 11–12 93 STAFF, Graphic designers Karandeep Gill Assistant registrar (curatorial), Karen Hancock Telly Linakis western art VOLUNTEERS Matt Nix Milorad Linjakovic Judy Peacock BA, Grad Dip App Valita Manu AND INTERNS Managing editor Sc, M Art Admin Dane Mcintosh Julie Donaldson Curator, contemporary art Robert Partridge Natasha Bullock BA (hons), rights and image licensing manager Hudson Qureshi, Be Postgrad Dip (Art Curatorship and Donna Brett BA MA (Art history John Saleh Staff Museum Management), MA and theory) Peter Shepherdson As at 30 June 2012 rights and image licensing James Utatao Assistant curators, coordinator Lorraine Xuereb contemporary art Anneke Jaspers BArtth, MA Director Michelle Andringa BA (Art history), team leaders, Gallery services Dr Michael Brand BA (hons) MA, MA (fine Arts) (Museum Studies) Kuldeep Duhan Joel Mu PhD (history) Image licensing officer Janak Kadian BA executive personal assistant to the Megan Young Robert Milne Senior curator, photographs Judy Annear BA director Manager, AV services Sheila Weir Lisa Franey BA (hons) Laurence Hall BA (Com) Gallery officers Assistant curators Vigen Galstyan head, philanthropy Coordinators, AV services Arian Arghandewal Eleanor Weber Jane Wynter BA, llB John Harman Jerome Aurelio Philanthropy manager Mark Taylor Samih Baket head curator, Asian art Ian Bolt Jackie Menzies oAM, BA (hons), Fiona Barbouttis BA, Dip ed, M film program coordinator Arthur Boucas MA Art Admin Robert Herbert Kevin Callope Philanthropy and development Curator, Chinese art Manager, building services Anthony Caracoglia manager Yin Cao BA, MA, ABD Luke Simkins Ana Crespi Clare Temple (Archaeology) Manager engineering services Romeo Domingo Curator, Japanese art Deputy director Ray Cunico Adv Dip Terry Forde Khanh Trinh Pompili BA, MA, PhD Director exhibitions and Mechengineering Kathryn Glasgow publications, building and security Senior coordinator, Asian Programs Maintenance officer David Grech Anne Flanagan Dip Int Design, Dip Ann MacArthur BA (east Asian Rob Schumacher Brian Hope–Johnstone ed, Dip ed Vis Arts Sheraj Hundal Studies), M Intl Mgmt hVAC plant technicians Senior exhibitions Manager Rita Ibrahim Assistant registrar, (curatorial) Julio Angulo BA (hons) Carlos Kacanas Asian art Erica Drew Guiseppe Geranio Peter Karamanis exhibitions Curator Natalie Seiz BA (hons), M Art trade assistant Rajesh Kodwani Jacqueline Strecker BA (hons), Admin Lindsay Drummond Juan Lira PhD Coordinator, Asian programs Senior lighting technician Rashed Mahmud and coordinator Community exhibitions assistant Simm Steel Grad Cert (lighting) Manish Malik Elizabeth Lynch Ambassadors head, installation Stuart Matheson Chye Lim PhD (Philosophy) exhibitions project officer, Jamil Mati Nikolaus Rieth Dip Proj Mgt head curator, Australian art installation Stefanie Tarvey Emil Matrljan Installation officers Kevin Nguyen Wayne Tunnicliffe BA (hons), MA, Senior registrar, exhibitions Mary–Anne Cornford Ray Nguyen M. Art Admin Charlotte Davy BA (Art history), Brett Cuthbertson Tom Pang Senior curator, Australian art Adv Dip (fashion Design) John Freckleton Gregory Petterson (19th century and modern collection Peter Tsangarides registrar, exhibitions Dominque Pirrie to 1960) Charlotte Cox BA, Grad Dip Stores officer Stephen Ransome Deborah Edwards BA (hons), M (works of Art) Steve Peters JP Peter Rawlins Phil Assistant registrar Stores Assistant Debasish Ray Assistant registrar, (curatorial) Sophie Moran BA, M (Mus Studies) Alyosha Pearce Sharat Sharma Australian art ticketing supervisors Senior display technician, carpentry Martin Smyth Helen Campbell BA (hons), Grad Chris Aronsten Bill Viola Lisa Siale Dip (Museum Studies) Joan Standfield Carmel Crisp Senior display technician, painting Assistant curators, Australian art Russell Ward Michael Brown Denise Mimmocchi BA (hons), MA ticketing officer Gisela Weber Minette Brewin Display technicians, carpentry (Art history and theory) Director, curatorial, Natalie Wilson BA (Visual Arts), MA Information officers Gary Bennett Anthony Bond oAM B ed (hons) (Art history and theory) Michelle Berriman BA (hons), Luke James Dip he Ram Mudaliar Curatorial assistant Assistant curators Lucinda Chambers Display technicians, painting Macushla Robinson Jasmin Dessmann Kate Dorrough Daniel Green Collection systems manager Jade Williamson Tracey Keogh Alan Hopkinson Jesmond Calleja BA Assistant registrar Candice Reid–Latimer Theodore Tsanidis Coordinators, study room Nicholas Yelverton Lisbeth Star head, security and gallery services Deborah Jones BA, Grad Dip. Senior curator, Australian works Print production manager/studio Anthony Morris (Museum Studies) (maternity leave) on paper coordinator Security supervisor Anne Gerard–Austin Hendrik Kolenberg Cara Hickman B Sc (Arch) Bryan Reynolds Senior curator, european art, Curator, Australian prints (on maternity leave) Security officers pre–1900 Anne Ryan BA (hons), M Art Admin Penny Sanderson David Anderson Richard Beresford BA (hons), Curators, Aboriginal and torres Senior graphic designer Matthew Bates MBA, PhD Strait Islander Art Analiese Cairis Emilio Cruz Curator, european prints, drawings Jonathan Jones BA (fine Arts) New media design manager Thomas Fielding and watercolours Cara Pinchbeck BA (Visual Arts), Jo Hein Simon Gavaghan Peter Raissis BA (hons) MA (Visual Arts)

94 ART GALLERY OF NSW ANNUAL REPORT 11–12 Coordinator, Aboriginal programs Emma Collerton BA (Visual Arts), executive assistant, finance and Venue manager Ashlie Hunter BCA (Visual and M Mus Studies secretariat Caroline Harvey Performing Arts) (maternity leave) Acting head, conservation Moira Guthrie Venue coordinator Amanda Peacock BA (Visual Arts), Carolyn Murphy BA, Grad Dip financial controller Karen Shapiro–Lee Dip. ed. (Museum Studies), B App Sc Surangani Kulasinghe fCMA, Director, Marketing and head, librarian services (Cons), MA (writing) CGMA, CPA, B Bus, (Accounting), Development Steven Miller BA (hons), B theol, Senior conservator, paintings AIB, IMS Dip Kirsten Downie Grad Dip IM (Archiv), M th e o l Paula Dredge B App Sc (Cons), Accounts payable supervisor Business development manager Senior librarian/ technical services BA (fine Arts) (on leave) Graeme Callaghan Holly Vale BA (hons) Kay Truelove BA, Dip lib Conservator, paintings Accounts payable clerk Marketing manager librarians Simon Ives Maria Montenegro Claire Macready Claire Eggleston BA, Dip IM Matt Cox BA (Indonesian Studies), Management accountant Vivian Huang B App Sc, lIM Assoc MA (Art history and theory) Media relations managers Bernadine Fong B Bus (Banking Susanne Briggs Assoc Dip B Dip Arts (on leave) and finance) Robyn Louey Bl Arch, Grad Dip Andrea Nottage Studies Dip Counselling IM (lib) Michelle Wassall Accounting clerks Claire Martin BA (hons), Dip Rita Briguglio Marketing head, public programs Assistant conservator Viva Chelvadurai Sheona White BA, Post Grad Prof Melissa Harvey Corporate partnerships manager Art Studies and Visual Arts Manager, information and Penny Cooper BA (Art history) Conservator, works on paper technology Senior coordinator, public Analiese Treacy BA (hons), Campaign manager Maurice Cirnigliaro M Bus Sangeeta Chandra and tertiary programs and MA (fine Art Conservation) (Information technology) Art After hours (maternity leave) Development coordinator Manager, network operations Josephine Touma Clare Temple Conservator Theo Papalimperis Public programs coordinator Sarah Bunn Marketing executive front of house systems manager Andrew Yip BA (hons) (Art history), Svetlana Mironov head, objects conservation Deepak Duhan M Sc (It) MBA (It) PhD Donna Hinton MA Applied Science help desk officers Program assistant (Cons), Dip Museum tech Volunteers Prativa Gurung M Sc (It) Ekaterina Abramova AGS VoluNteer GuIDeS Conservator, objects Roseann Papalimperis Coordinator, contemporary art Kerry Head Carolyn Bethwaite, volunteer guides Manager, web public programs coordinator 2012 head, frames conservation Brooke Carson–Ewart Alexandra Gregg Malgorzata (Margaret) Sawicki Inez Abbott; Victoria Alexander; Manager, new media BA (Cons), MA App Sc (Mat Cons), Dale Amir; Carolyn Andrew; Jan Coordinator, photography education Francesca Ford programs PhD Angus; Margaret Anthony; Phillippa Amanda Peacock BA (Visual Arts), Conservators, frames online producer, content and Baird; Adriana Bakovic; robyn Dip ed David Butler projects Bathurst; Annabel Baxter; Sue Kirsten Tilgals BA (Comm) Bearman; Dale Bird, Jenny Birt; Art After hours coordinator Barbara (Basia) Dabrowa MA rosalie Blackshaw; lilo Blyton; Ashlie Hunter BCA (Visual and (Cons) Manager, human resources Jennifer Albert Jan Bressan; Vicki Brown; Cathy Performing Arts) (maternity leave) Senior conservator, Asian art Donna Grubb Cameron; lisa Campbell; Bella Art After hours assistant Yang Yan Dong human resources coordinator Church; Catherine Clelland; liz Emma Robertson Assistant conservators Yingying Mai BA (Art ed), M Art Crenigan; Sally Cullen; Maragret Thomas Langlands Senior coordinator, education Admin, M Art and Design ed Cunningham; lorraine Davids; MA (Visual Arts) programs Nick Strike Jackie De Diana; Mary de Mestre; human resources coordinator Victoria Collings BA (hons), MA Senior registrar, collections Allan Digby; Anna Duggan; Jill Kimberley Milicevic (Museum Studies) Emma Smith BA, Grad Dip Dunlop; Patricia elliott; lorraine Decorative Arts Manager, Administration and ennis; Diane everett; louise fennel; Coordinator, 7–12 education Strategy Gwen ferguson; robyn flick; Judy registrar, collections programs Trish Kernahan friend; Pam fuller; Caroline furniss; Amanda Buxton BA, Dip Leeanne Carr B ed (Visual Arts) Jennifer Gardiner; Mary lou Gilbert; (Prehistoric and historical Administration services supervisor Senior coordinator, online public Kalina Glajz; Anne Gray; Deirdre Archaeology), Grad Dip Louise Fischer BA, MA programs Greatorex; Alison Gross; Callie (Museum Studies) Administrative support officer Jonathan Cooper Dip Art ed Guinness; Alisa halkyard; estelle registrar Deborah Spek Access and K–6 programs harman; Jennifer harrison; eve Brent Willison BA (Visual Arts) Manager, retail and publishing coordinator harrison; Annie herron; Catherine Richard Harling BA (hons) hickson; Shirley hillman; helen Danielle Gullotta Assistant registrars Caroline Geraghty BA (Art history retail operations manager holmes; Pia hughes; roslyn Coordinator, open Gallery and and Criticism), M Art Admin Rebecca Allport hunyor; Marie huxtable; elizabeth Artside In Paul Solly Janssen; Margot Johnston; Diane Book buyer and stock control Louise Halpin Graeme Robinson Kempson; Jill Kloster; Kay Knight; Denise Faulkner BA (fine Arts) Clerical manager Nick Strike MA (Visual Arts) Pat Kreuiter; Dorothea labone; Camilla Shanahan Paul Thoms Product developer Meri lane; Jenny latham; Shirley Maryanne Marsh lilienthal; Adele lingard; Sue Bookings officers head, photographic studio lowes; fiona loxton; Angela Karen–Anne Coleman Jenni Carter wholesale and children’s books Cassandra Willis luessi; Susan Ma; Catherine Mairs; Rachael Hallinan Photographers Susan Marjoram; Sandra Marsh; wholesale stock and Amber Reid Felicity Jenkins Joan Massey; Jann McClintock; sales officer Image library researcher Diana Panuccio Judy McComas; Juliet McConochie; Lynne Barwick BA (Visual Arts), Christopher Snee frances McNally; Cherry Mcwilliam; Eric Riddler MA (writing) Mim Stirling Susan Mitchell; Gwyneth Morgan; Coordinator, Brett whiteley Studio Director, finance and corporate Stock and sales officer Sian Morgan hall; Janet Morse; les Alec George Dip ed services Daniel McCready Moseley; Christine Moult; Catherine Administrative assistant, John Wicks fCPA, B Bus Bookshop stores officer Muir; Maureen Murphy; Diana Brett whiteley Studio (Accounting) Bevynn Wilkerson Northedge;

APPENDICES 11–12 95 edwina o’Donnell; Dianne ottley; fell; Coralie fergus; Carol forsythe; CoNteMPo STAFF Angeline oyang; Mandy Palmer; Kitty Gassner; yvette Geczy; Andrea Brown, President wendy Payne; Philippa Penman; Phillip Good; Patricia Governor; PUBLICATIONS, Carolyn Penn; Penny Porter; Keith Sheba Greenberg; Maria Greene; Nicole Boeree; Michelle Cottrell; PRESENTATIONS Potten; Caroline Presland; Judi Mary Grice; Beverley Griffiths; Candice Gilmore; Dan henry; redelman; Jenny reed; Kate Kirsten Gross; Janette habel; ooma Khurana; hayden McClean; AND RELATED reede; Dilys renham; Pamela rex; Aiko hagiwara; Ben hall; Simone Alison McDonald; Prudence ACTIVITIES Peter richardson; Pam rogers; Ana hancock; Sue hancock; Karen McKiernan; lynleigh McPherson; ross; Christine rustamzadeh; Kica hannon; Carmella harding; Averil leona Ng; Gaston Nguyen; Saar; louise Samer; Pauline Sayle; hargreaves; Ine harrison–latour; lynn oxford; Alicia Parlby; Abbreviations: lilli Scott; Beverley Shea; Jo–Ann Susan hartigan; Cynthia haskell; renee Siros; lee Stylianou Smith; Beatrice Sochan; Amanda fran hellier; Ann henderson; AAANZ: Art Association of Solomon; Denyse Spice; libby Susan hill; Mary hillier; Sally hollis; Tertiary internships Australia and New Zealand Stanton Cook; fiona Still; Dianne AGSA: Art Gallery of South Australia Jenny hough; Diana hudson; (Gallery supervising staff member) Stinson; Caroline Storch; Dorinda Margaret hunt; Madeline hunter; Zuza Zochowski, Conservation AGSoC: Art Gallery Society Sullivan; Jennifer Sutton; Susan Paul hurley; teresa Jakubowski; (Barbara Dabrowa); Dominic AICCM: the Australian Institute of Swan; Prue todd; Sam tonkin; lee Patricia James; heather Jelfs; Shanahan, university of Canberra, the Conservation of Cultural Material tredinnick; Jan tydd; Susan urwin; Jennifer Jenkins; felicita Jennings; registration (emma Smith); ANu: Australian National university Cilla warre; Patricia wilson; Brenda Krystyna John; Patricia Johnson; Alexandra Sutcliffe, prints and woods; Angelica yezerszi; Sally CofA: College of fine Arts Karen Johnston; Marg J Johnston; drawings (Peter raissis); Anna young; linda Zurnamer NGA: National Gallery of Australia Nita Jones; Sandra Jones; rhonnie lutkajtis, university of Sydney, Joyce; Craig Karsten; Donna Kelly; NAS: National Art School CoMMuNIty AMBASSADorS public programs (Andrew yip); Sue Kemp; Vere Kenny; Sue Kerr; Marian Simpson, university of NGV: National Gallery of Victoria Kyumi Ahn; Kyung–hwa Ahn; Suzanne Kerr (P); Jullette Khouri; Sydney, exhibitions and public NPG: National Portrait Gallery liwanna Chan; Peter Chan; Simon helen Kidman; ursula Knight; Ira programs (Josephine touma and QAG: Queensland Art Gallery Chan; Jean yueh–chen Chen; hà Kowalski; triny lademann; Brenda erica Drew); francesca ferrari, uMelb: university of Melbourne Phong lû; Aiko hagiwara; Daisy lee; laura lyubomirsky; Kristine utS, public programs (Andrew hsu; hiromi Kamokasu; elizabeth MacKenzie; Sue Mandelberg; yip); Stephanie Maxwell, university uNSw: university of New South wales Kao; Betty Kim; Joanna King; hisae Carolyn Marsh; Margaret Marshall; of Sydney, marketing, (Sangeeta Kobayashi; Sonia Kuo; Naoko Jan McClelland; ray McDonald; Chandra); lindsay Scott, university uSyd: university of Sydney Matsumoto lambert; linna le Glen Mclellan; Margaret Mclellan; of Sydney, conservation (Carolyn Judy Annear (senior curator, Boursicot; Jean lee; hoim lee; Marlene McPherson; emma Murphy); Alexander Boyes, photographs) hyun Ju lee; lin Su Jen; Jennifer Mendelsohn; John Menzies; Mary university of Sydney, conservation Mok; Kaoru Morioka Murray; Meppem; Julie Miller; robin Miller; (lisa Charlston); Sarah heenan, exh curator: What’s in a face? franklin M.y. Nieh; Kana Nishimuta; Sheilah Milroy; Susan Mitchell; Scott university of Sydney, conservation aspects of portrait photography, Angeline oyang; Keiko Parsonson; Mitchelmore; Barry Molloy; ray (Donna hinton); Cait Burgoyne, AGNSw, 24 Sept 2011 – 5 feb Irene tseng; helen Changken Moss (P); hilary Moxon; Colleen university of Melbourne, 2012 wong; Janet wu; Xie Qianwen, Mulvey; Gael Murphy; yvonne conservation (Carolyn Murphy); Sharon; Nahomi yoshizawa Newhouse; Kate Noble; helena exh curator: Making sense: Georgina Cole, university of Sydney, contemporary LA photo artists, Novy; Brian Nugent; Sandy Nugent; audience research (Josephine AGS tASK forCe AGNSw, 11 feb – 13 May 2012 ruth osen; Sue Pajor; Glenda touma); hayley Munro, university Susan Dadswell, task force Paradine; Jenny Parker; Maria of Canberra, conservation (Simon exh curator: Jacky Redgate: the coordinator 2012 Pirello; Dian Pitson; Michael Poole; Ives); Nicole Brun, university of logic of vision, AGNSw, 2 June Dianne Adams; robin Amm; Judy Preshaw; Cynthia Pretty; Sydney, web and new media – 9 Sept 2012 Greeba Pritchard; Marie Puntigam; Jan Anderson; Julie Apps; Greta (Brooke Carson–ewart); lauren exhibition managing curator: Margaret radford; Patricia reed; Archbold; Mara Ashmore; ruth turton, utS, media (Claire Martin); Eugène Atget: Old Paris Peter richardson; Kate richmond; Attwood; Meredith Aveling; Margot Danny Zhu, university of Sydney, (forthcoming 2012 ) Bain; Chris Baines; Julia Baldo; Astrid robinson; Carol roth; Barry curatorial (yin Cao); Gabriela Victoria Ball; Jennifer Barnes; linda rushton; Kim Sandford; Maryanne yerbury, utS, legal (Sandra Bella); exhibition – Curator ‘a history of the Barnes; Kaye Barrett; Sandra Sansom; libby Scanlan; luisa Katrina Savage, university of photograph in Australia’, AGNSw Beesley; Diana Berlyn; Anne Scutts; Annette Searle; Cassie Sydney, public programs (Andrew (forthcoming 2015 ) Sheehan; Judy Sherman; Irene Blomfield; Georgina Blythe; Joyce yip); Jenny Alder, Deakin university, Article: ‘why photograph people? Shillington; Dana Skakavac; Joyce Botta; Spencer Bough; Penny conservation (Margaret Sawicki); Sousveillance from hippolyte Bowen; Susan Boyd; Valda Brook; Smith; Victoria Smyth; lesley ellen Smith, university of Sydney, Bayard to Sue ford’, Artlink vol 31 John Buchanan; Sue Buchanan; Sommerville; Merrilyn Sowell; Judith conservation (Carolyn Murphy); no 3, 2011, pp 36–39 Geraldine Bull; Susan Bye; wendy Stefanek; May Steilberg; leslie eilysh toose, university of Sydney, Cat essay: ‘Jenny watson: Canning; Jennifer Carey; Annette Stevenson; Jenny Strachan; Peter conservation (Simon Ives); Nicole painter of the mirror’, Volume Carlisle; Mary Casey; faith Charity; Strand; Ann Sutherland; Marsha Isaakson, utS, exhibition design one: MCA collection, Museum of Susan Charlton; June Chatfield; Swenson; Julie tariel; Anne t aylor; (tanguy le Moing); tan Siu li, Contemporary Art Australia, Sydney Joyce Cheam; Stephanie Chinnock; Adrian thaweeskulchai; Irene thom; Singapore Art Museum, public 2012, pp 431–440 Birgit Christensen; Jill Clapin; Annie Kathryn ting; Susan tompkins; programs (Sheona white); yvette Clarke; lea Clarke; rhonda Clasper; Judy tribe; Judith twist; Mary wilson, CofA, web and new media Media interview: ABC radio for hill Cook; Jenny Coolican; Gabrielle unwin; ursula ure; lynda Vaculik; (Brooke Carson–ewart); Katherine Making sense: contemporary LA Cousins; Peter Craswell; elizabeth theodora Vagenas; Valerie Vogt; Sheldon, Alfred university, access photo artists Cummings; Patricia Curtis; Beverley Beverley von lucken; John wagner; programs (Danielle Gullotta); Judge: San Pellegrino Student Darby; Ann Dawson; francine de Jeffrey wai–yee; Julie wallace; June Jessica hope, university of Sydney, Photography Award 2011 Valence; Gail Dendle; lyn Dening– wangmann; Norma warman; Gail photography (Judy Annear); Deirdre franklin; Charlotte Denison; Diane watt; rita weberbauer; Maggie Cannon, Melbourne university, lecture: Postwar photography in Devine; Ann Dodd; John Doherty; weiley; Paul weingott; Peter contemporary art (Natasha Bullock); Japan and yasumasa Morimura, lindsay Donnan; June Donsworth; whawell; Annie wicks; Beverley Sarah freeman, university of Innovasian: Asian art 1960s to now, ruth Dornan; Jutta Dubiel; Judy wilson; Joanne wilson; wood Jenni; Canberra, conservation (Carolyn Arts of Asia lecture series, AGNSw, Duff; Catherine Duggan; Anna Barbara worrall; Jill wunderlich Murphy) 12 July 2011 Duschletta; Caroline eburn; Gordon lecture: the dilemmas of post–war elliott; Judy embrey; Daile falconer; Australian photography 1950–70, Ingrid farago; eva feher; yvonne european preludes and parallels: Art

96 ART GALLERY OF NSW ANNUAL REPORT 11–12 and Australia diploma lecture series essay: ‘Swapping public and talk: ‘weimar photography’, The private function, AGSA, 2 March, AGSoC, 31 Aug and 1 Sept 2011 private’ Cultural Hijack: Rethinking mad square: modernity in German 2012 Intervention, ed Ben Parry with Art 1910–1937, Sept 2011 lecture: August Sander and talk: Gertrude contemporary Myriam tahir and Sally Medlyn, the utopian vision in weimar Symposium: ‘A battery of ideas: breakfast, AGSA, 3 March 2012 liverpool university Press, 2012. photography, Apocalyptic visions reading Beuys today’, uSyd, 5 May talk: with artist richard Bell, AGSA, lectures: Creativity to catastrophe in review: ‘Susan Best Visualising 2012 3 March 2012 the weimar republic, AGSoC, feeling: affect and the feminine lecture: ‘thomas Demand and The avant–garde” Art and Australia talk: university of Adelaide 4 Sept 2011 Dailies’, Kaldor Public Art Projects, contemporary art course, AGSA, 5 lecture: on Bill henson, AGSoC, review: ‘Ken unsworth, “As I 12 and 19 Apr 2012 March, 2012 crossed the bridge of Dreams”’ 16 feb 2012 PhD candidate: uSyd, Seeing and Art and Australia talk: teacher’s previews x 2, AGSA, not seeing: photographing place Public lecture 2:’ Bill henson’, 5 March, 2012 university of technology, Sydney lecture: ‘Joseph Beuys’, uSyd in Germany after 1945, submitted PSM, Sydney 5 Mar, 2012 Joseph Beuys symposium, May June 2012 talk: 12th Adelaide Biennial of 2012 Australian Art, AGSA, 6 March 2012 lecture: on Bill henson and tracey Committee: International Art Critics Moffatt’, Dept Media, Music, lecture: ‘Performing Bodies’, Association, Australia (AICA), talk: ‘reflections on the 12th Communication & Cultural Studies, uNSw treasurer Adelaide Biennial’, AGSA, 28 April 2012 Macquarie university, 4 April 2012 lecture: ‘Contemporary art in Committee: AAANZ Japan’, orion lectures I and II, Panel discussion: Are we too lecture: young art collectors: Committee: DAAo reviewer photography, Contempo seminar, April 2012 concerned with the new?, panel Committee: Peloton Gallery, Sydney discussion with lisa havilah and AGSoC (with Andrew Cameron and lecture: ‘Picasso and Bacon’, owen Craven, Danks Street, 2 May Kon Gouriotis), 23 May 2012 AGNSw, March 2012 Committee: regional and Public 2012 Galleries Association, NSw Paper: Introduction, Borderlands: lecture: ‘richard Serra Context, Media interview: Nikki Marcel, annual photography symposium, Minimalism and its legacies’, Natasha Bullock (curator, ‘Parallel collisions: Adelaide Biennial AGNSw, 31 Mar, 2011 AGNSw, March 2012 contemporary art) of Australian Art’, Radio Adelaide, Member: Photography Collection lecture: ‘Performing Bodies’, Co-curator and editor: Parallel 25 february, 2012 Benefactors committee, AGNSw uNSw collisions: 12th Adelaide Biennial of Media interview: Amelia Barikin, Australian Art, AGSA, 2 Mar - 29 Member: Academic promotions lecture: ‘German art after 1945’, ‘Parallel Collisions: 2012 Adelaide committee, university of Sydney, NAS April 2012 Biennial of Australian Art curators Nov 2011 Alexie Glass Kantor and Natasha Paper: ‘Conservation of Co-selector: AGNSw contemporary Bullock’, Broadsheet, Issue 41, no Contemporary art’ paper, AICCM, projects series Anne Gerard-Austin (study room 1, pp 34-40 coordinator) 2011 Cat essay: ‘The proposition’ Parallel collisions: 12th Adelaide Biennial of Media interview: Browyn Bailey- Article: ‘the luminous brush. International advisor: echigo Australian Art, AGSA, , Adelaide, Chatris in Das Super Paper, Issue unearthing “little wonders” from tsumari triennial Japan, since 2008 2012, pp 143-51 22: their slumbers’, Look, April 2012, Member: Biennale of Sydney pp12–13 selection panel Article: ‘In the wake of the image: http://www.dasplatforms.com/ superpaper/alexie-natasha- entry: harbour view and Bruges, Christian Capurro’s Vacant Bazaar’, Member: Council for the Power Column #8, Artspace, pp 26-9 interview/radio Adelaide, Sydney Long. The spirit of the land, foundation, uSyd, since 2001 NGA, Canberra, 2012 Article: ‘Stephen Bush: when I was Media interview: tim lloyd, ‘Double lecture: In the footsteps of eP fox Assessor: Australian research here, I wanted to be there’, Art & act make biennial twice as nice, and ethel Carrick, New Voices, Council Grants, category of fine Australia, vol 49, no 2, Summer Adelaide Advertiser, 3 March 2012, QAG, Brisbane, July 2011 Arts, since 1995 2011, pp 278-85 unpaginated PhD candidate: uSyd and la Donna West Brett (manager; rights Guest co-editor, Das SuperPaper, Media interview: ABC arts online, Sorbonne, Paris, art history (in & image licensing; publishing) Issue 22, Sydney, ‘Parallel collisions co-curators Natasha Bullock and Alexie Glass- progress) Co-author, ‘Parallel Collisions: exh Curator: Joseph Beuys and the Kantor’, 21 March, 2012: http:// 12th Adelaide Biennial of Australian Richard Beresford (senior curator, ‘Energy Plan’, uSyd Art Museum, www.abc.net.au/arts/stories/ Apr – June 2012 Art: Susan Jacobs and Michelle european art pre–1900) s3460579.htm ussher’, Art & Australia, vol 49, no Article: ‘Absolutism to Article – ‘the event horizon: 3, Autumn 2012, pp 488-99 Media interview: ‘Adelaide Biennial englightenment: the swing era?’, returning after the fact’, with Ann curators’, StudiotV Art Break, Look, Nov 2011 Shelton, Memory Connection, online Co-author, ‘Parallel ideas’, The March 2012 journal, vol 1, no 1, 2011 Adelaide Review, April 2012, lecture: ‘Italian maiolica from the unpaginated Committees: exhibition advisory Kenneth reed collection’, Sydney Conference co–convenor: group, Gertrude Contemporary, Ceramics Collectors’ Society, 5 Dec Together<>Apart, AAANZ annual talk: Australian Business Arts Melbourne 2011 conference, co–convenor with Dr foundation (Abaf) and Advantage Susan Best, uSyd, July 2012 lecture: ‘the shrinking planet’, AGS SA Cocktail Party, AGSA, Adelaide, Jesmond Calleja (collection diploma course, 1–2 feb 2012 Conference chair: ‘the Aftermath, 28 february 2012 systems manager) photography, history, memory’, lecture: ‘Jan van huysum: the rise talk: AGSA Members Preview, Paper: Jumping on the mobile session co–convenor with Ann 1 March, 2012 and strange demise of the baroque Shelton (NZ), together<>Apart, device network, Sign & return: flower piece’, AGS diploma course, AAANZ annual conference, uSyd, talk: AGSA contemporary Informing Collection Documentation 21–22 March 2012 July 2012 collectors, AGNSw contemporary conference, 8 feb 2012, NGV collection benefactors group and Anthony Bond OAM (director, Paper: Digitisation at the Art Gallery Paper: ‘Seeing and not seeing: Departure Members Preview, AGSA, curatorial) photographing history in Germany of New South wales, Digitising the 1 March 2012 Collection symposium, 31 May Cat essay: ‘John Beard greets after 1945’, AAANZ conference, talk: the Balnaves foundation 2012, Powerhouse Museum the Spinx’ co–authored wellington NZ December 2011 Private Dinner, AGSA, 1 March, monograph with Dr Stephen talk: ‘Joseph Beuys and the Paper: Google Art at the Art 2012 Bann, hardie Grant, Melbourne, ‘energy Plan’’, uSyd, Gallery of New South wales – Nov 2011. April–June 2012 talk: Contemporary collectors a conversation, Digitising the

APPENDICES 11–12 97 Collection symposium, 31 May Jonathan Cooper (senior Article: ‘the logic of vision’, Look, Louise Halpin (coordinator 2012, Powerhouse Museum coordinator of online public May 2012, pp 22–23 outreach programs) programs) Yin Cao (curator of Chinese art) Article: ‘Man behind the camera’, Paper: ‘equity in the Gallery: lecture: ‘using myVirtualGallery for Look, August 2012, pp 28–31 outreach for low SeS Schools exh curator: Dragons, AGNSw, AGNSw 5th BIeNNIAl eQuIty years K–6’, staff development day, research (ongoing): PhD, Power January – May 2012 CoNfereNCe 2011 SCHOOLING 19 July 2011 Institute of fine Arts, uSyd Media interview: fairfax interview, FOR FUTURES Sydney Convention lecture: ‘V.A.S.t.: looking at art in and exhibition Centre, Aug 2011 Dragons exhibition fresh ways’, Artside–In program, Alexandra Gregg (coordinator, contemporary programs) Media interview: radio eastside Boggabilla Central School, 28 July Dr Lim Chye Hong (coordinator interview, Dragons exhibition 2011 Paper: ‘Contemporary Art at the Asian programs and coordinator AGNSw: works, Programs and community ambassadors program) exhibition opening speech: Prof lecture: ‘unwrapping the world New–Media’, Australian Art Gallery of art’, Anglican Men’s Group, translation: Auspicious Metal from Wan Yipeng’s paintings, Australian Guides organisation Annual Gosford, 9 Aug 2011 the Jianghan Plain: Shang and Zhou tai Chi and Cultural Association, Conference, Sydney, oct, 2011 Bronzes from the Collection of the Chatswood, 9 June, 2012 lecture: ‘Art misbehavin’, National Paper: [with Andrew yip], ‘Virtual Hubei Provincial Museum, Cultural Seniors Australia, Gosford, 6 Sept research current – the exhibition Space: extending gallery learning relics Press, China, April 2012 “the Silk road Saga– yuhong’s 2011 and engagement through iPad apps Sub–editor: The Tao Gives Rise to sarcophagus” and new media channels’, National lecture: ‘landscape since the Ten Thousand Things: Taoist Relics Visual Arts education Conference, Chinese calligraphy art heidelberg School’, Newcastle from the Chu Region. Cultural relics region Gallery, 13 Dec 2011 NGA, 2012 Press, China, March 2012 Leeanne Carr (education talk: ‘Bill Viola’, figure of fame coordinator, secondary programs, lecture : ‘Moderna arto: Kio gi Paper: A Tale of Two ‘Cities’: series in association with the curator AGNSw ArtXePreSS) estas? De kie gi venis?’ (Modern Translating sense and sensibility, art: what is it? where did it come Archibald prize, AGNSw, Sydney, AAANZ 2011 conference, exh Curator: ArteXPreSS 2012, from?), in esperanto, esperanto April 2012 wellington, New Zealand, Dec 2011 AGNSw, 22 feb – 22 April 2012 house, redfern, 26 May 2012 talk: ‘New york in the 1960s’, Judge: Arts Speaks Japanese Media interview: Kim Arlington, lecture: ‘James, 7th earl of AGNSw, Sydney, July 2011 Comes Alive contest. Japan latter–day leonardo serves up a lauderdale, by Sir Joshua Chair, Art forum: contemporary art , foundation of Sydney, oct 2011 twist the Sydney Morning herald, reynolds’, public collection talk in AGNSw, August 2012 22 feb 2012 (ArteXPreSS) association with the Archibald Prize, Anneke Jaspers (assistant curator, Judge: MuSe Awards, American 30 May 2012 contemporary art) Media interview: elizabeth Association of Museums, fortescue, Art Attack, the Daily Judge: MuSe Awards (education washington, DC, 2012 exh curator: Kathy Temin: My telegraph, 18–22 feb 2012 and outreach division), March 2012 Monument: Black Garden, AGNSw, (ArteXPreSS) Danielle Gullotta (coordinator 1 Sept – 20 Nov 2011 Member: Art Advisory Committee, education programs, access Media interview: rachel Bentley and exh curator: Ms&Mr: XEROX william fletcher foundation, Sydney programs and K–6 programs) Scott richardson, ARTEXPRESS: MISSIVE 1977/2011, AGNSw, 8 The inside story, television Sydney Paula Dredge (paintings conservator) Paper: ‘removing social barriers: Dec 2011 – 5 feb 2012 tVS 3 part documentary, 13, 20 promoting inclusion in galleries Poster presentation – ‘Ir exh curator: Eugenia Raskopoulos: and 27 March 2012 through Access programs’ AAANZ microspectroscopy of zinc footnotes, AGNSw, 23 febr – 13 Conference, New Zealand, research (current): Masters of Arts carboxylate distributions in May 2012 Dec 2011 Administration, CofA, uNSw paintings’, Poster presentation at Ass curator: annual contemporary the Australian Synchrotron users Paper: ‘Access to art: removing collection display, AGNSw, 2 June Victoria Collings (senior coordinator, Meeting 2011, 8–9 Dec 2011, Co– barriers to participation in museums 2012 – 2013 online public programs) authored poster with osmond, G. and galleries spaces for students Cat essay: ‘Jason Maling: & Best, S. with disabilities is vital for social Judge: operation Art, the Armoury, Physician’, Local Positioning inclusion’ National Visual Arts Sydney olympic Park, 8 Sept 2011 lecture: ‘the history and analysis Systems, Performance Space, education Conference, 23–25 Jan of Australian made nitrocellulose Sydney, 2012 (forthcoming) Media interview: Sydney weekender 2012, NGA and alkyd paints with case studies Channel 7 – Picasso: Masterpieces Cat essay: ‘George Poonkhin Khut: from the Museé National Picasso, of their use by artists’, Centre for talk: ‘Portraiture and the Prize’ the heart library’, wonderland, Paris exhibition and children’s Cultural Materials Conservation, Archibald Prize 2011 regional MoCA taipei, 2012, pp 88–93 programs, 10 November 2011 Student research Day, university tour, tweed river regional Gallery, Cat essay: ‘XeroX MISSIVe for program which aired on 17 of Melbourne, 28 oct, 2011. 7 Sept 2011 1977/2011’, Ms&Mr, AGNSw, December, Channel 7 research (current): PhD talk: ‘Access programs at the Sydney, 2011, unpaginated Media interview: radio podcast conservation, Centre for Cultural AGNSw: audience development’, Materials Conservation, uMelb Deaf Arts forum, Parramatta Article: ‘Atsuko tanaka: the art of interview for 2Ser with Angela connecting’, ArtAsiaPacific, Issue Stretch for Picasso: Masterpieces riverside theatre, 12 May 2012 Vigen Galstyan (assistant curator 79, 2012, pp 110 from the Museé National Picasso, talk: ‘Portraiture and the Prize’ photographs (p/t)) Article: ‘Brook Andrew: the Pledge’, Paris exhibition, 1 December 2011 regional Gallery educators Day, exh assistant curator: What’s Column, Issue 9, 2012, pp 18–19 Professional Mentorship Program: AGNSw, 22 May 2012 in a face: aspects of portrait Article: ‘tom Nicholson’, Das Mentor to a Gallery educator from training: Access Awareness training photography, AGNSw, 24 Sep– 5 Superpaper, Issue 22, Adelaide Bundaberg regional Gallery as part for Biennale of Sydney, AGNSw, feb 2012 Biennial, March 2012, pp 16–21 of the 2012 Mentorship, exchange 15 June 2012 and fellowship Program organised exh assistant curator: Making Article: ‘Artist self–organisation as by the Museum and Gallery Services Sense: contemporary LA photo Rachael Hallinan (bookings officer/ durational praxis’, Column, Issue 8, Queensland, 10 – 20 April 2012 artists, AGNSw, 11 feb – 13 May, teacher lecturer) Nov 2011, pp 46–50 2012 Professional Mentorship Program: Publication: Operation Art Teacher’s Article: ‘the rehearsal of repetition, Mentor to a Gallery educator from exh assistant curator: Jacky Resource CD, the Arts unit, Social Sculpture & Naked’, Art & Singapore Art Museum, 10 – 27 Redgate: the logic of vision, Department of education and Australia, Volume 49, Issue 1, Sept April 2012 AGNSw, 2 June – 9 Sep, 2012 training NSw, Sydney 2012 2011, pp 156–157

98 ART GALLERY OF NSW ANNUAL REPORT 11–12 residency/Grant: Japan foundation Steven Miller (head, edmund and and NPG, Canberra, 23, 24 and 25 Anne Ryan (curator, Australian JeNeSyS Program, curatorial Joanna Capon research library) Jan 2012 prints) research residency, tokyo, March– exh: Australian Bookbinders XIVth training: Volunteer Guides, exh curator: David Aspden, the April 2012 Annual Exhibition, research library wollongong City Gallery, Sept 2011 colour of music and place, AGNSw, 28 July – 4 Sept 2011 lecture: ‘the John Kaldor family and Archive, AGNSw, 12 oct–2 hSC Visual Arts examination Study Collection’, uSyd MA Art history Dec 2011 Day, wollongong City Gallery, 3 April Publication: David Aspden, the and MA Curatorship students, Publication: Dogs in Australian art: a 2012 colour of music and place, AGNSw, AGNSw, 21 Sept 2011 new history of Antipodean creativity, Sydney 2011 Cara Pinchbeck (curator Aboriginal lecture: ‘from object to post– wakefield, Adelaide, 2012. and torres Strait Islander art) Article: ‘rew hanks, a year in the object art in Australia 1968–1975’, review: ‘Concerning the spiritual: gardens’ Imprint vol 46, no 1, exh Curator: Art Centres, yiribana for uSyd MA Art history and MA Art the influence of the theosophical Autumn 2011. p 6 Curatorship students, AGNSw, 9 Gallery, 17 Dec 2011 – 17 June society on Australian artists 1890– Cat essay: ‘the Governor’s garden’ May 2012 2012 1934’, Australian Book Review, Rew Hanks linocuts, the Governor’s Public presentation: Chair of July–Aug 2012, p 60 exh Co–Curator: Home, yiribana Garden’ royal Botanic Gardens, Gallery, 26 June –2 Dec 2012 roundtable ‘Curating in the ArI lecture: ‘Specialist libraries, their Sydney, 2011 sector’, NAVA National ArI collections and needs’, Charles entry: ‘Niningka lewis’, Tjanpi Judge: 6th hazelhurst Art Award, Symposium, 3 Sept 2011 Sturt university, 10 Aug 2011. Desert Weavers, NPy women’s hazelhurst Gallery, Sydney 8 Jul–14 Council, Macmillan Art Publishing, Public presentation: uSyd Careers lecture: ‘the 1939 herald exhibition Aug 2011 South yarra, Vic, 2012 evening in Museums, Galleries and and Australian modernism between Natalie Seiz (assistant registrar; Auction houses, 5 oct 2011 the wars’, Newcastle region Art entry: ‘Mirdidingkingathi Juwamda Sally Gabori’, Undisclosed: 2nd curatorial (Asian)) Member: AGNSw Contemporary Gallery, Newcastle, 6 Dec 2011 National Indigenous Art Triennial, research (current): PhD Candidate, Projects curatorium, feb 2012 lecture: ‘the founding years of the (exh cat), NGA, Canberra, 2012 Contemporary women artists in AGNSw’, university of the third Member: utS faculty of Design, taiwan, Department of Art history Age, Berowra, 13 feb 2012 Article: ‘the impetus behind the Architecture & Building, DAB lab art’, Look, Vol 2, 2012, p.29 & film Studies, uSyd program committee, April 2012 lecture: ‘Doggie style’, Sydney writers’ festival, 18 May 2012. Macushla Robinson (curatorial Jacqueline Strecker (curator, Member: Artspace International special exhibitions) residency selection panel, Darling lecture: ‘Managing and caring for assistant) foundry/Montreal, May 2012 institutional archives’, AGNSw, 21 Article: ‘Nalini Malani: bodies in exh curator: The mad square: June 2012 pain’ in Art & Australia, Vol. 49 No. modernity in German art 1910–37, Media: ‘tastemakers’, Art Collector, 3 Autumn 2012, pp 464 – 472 AGNSw, 6 Aug – 6 Nov 2011; NGV Issue 59, Jan–March 2012, pp Media interview: ron Cerabona, 25 Nov 2011 – 4 Mar 2012 183–184 Canberra Times, 2 April 2012 lecture: ‘Mother India: transactions in the construction of pain’, in editor: The mad square: modernity Media interview: Claire Gorman, Hendrik Kolenberg (senior curator association with the exhibition in German art 1910–37, AGNSw, ABC Canberra, 26 April 2012 Australian prints, drawings and Mother India: Nalini Malani’s video 2011 Awarded the best large watercolours) Member: Secretary, Arts libraries plays, 29 feb 2012; 28 March 2012 exhibition catalogue in 2011 by the Society/Australia and New Zealand Art Association of Australia & New Article: ‘Stephen hart and lecture: ‘Picasso/Bacon Zealand everyman’ in Stephen Hart, spent Member: Australian Society of intersections and divergences’, time Brisbane, Arthouse 2011 Archivists in association with the Sydney Chapters, translations and extended pp19–23 International Art series, 27 March texts: ‘Introduction’; ‘German Carolyn Murphy (acting head, 2012 realist portraits of the 1920s’; ‘In Article: ‘the return of Daybreak, gift conservation) the twilight of power’, in The mad Paper: panel convenor and speaker, from a renowned Dutch artist’ Look square: modernity in German art Paper: ‘friends of Conservation. ‘In Memory of a Name seminar’, July 2011 pp14, 15 1910–37, AGNSw, 2011 raising funds for Conservation 4A Centre of Contemporary Art, 18 Article: ‘A fine harvest of at the Art Gallery of New feb 2012 exhibition opening speeches: The drawings, legacy of an exceptional South wales’, AICCM National Age of Expressionism, rex Irwin Conference presentation: interview draughtsman’ Look November 2011 Conference, 19 october 2011 Art Dealer, 26 July 2011 pp 28–31 with Mike Parr presented at talk: ‘Paper Conservation at the Art Impact7 Monash university 27 – 30 exhibition opening speech: Jurgis Article: ‘heysen to heysen, letters Gallery of NSw’, Presentation for Sept 2011 and as part of Mike Parr: Miksevicius, everglades Gallery, across a generation’ Look March taskforce volunteers, AGNSw, 17 Brain Coral, National Art School leura, 19 Nov 2011 2012 pp 33–36 March 2012 Gallery March 2012 Article: ‘the mad square: modernity Ann MacArthur (senior coordinator talk: ‘Contemporary photography, Paper: ‘thinking through the body: in German art’ LOOK, July 2011 of Asian programs; senior traditional materials: New Zealand transcription and its visual image Article: ‘Art tribute: frank coordinator community programs) artist Ben Cauchi’, AGNSw, 28 in the work of Bea Maddock’, McDonald’, Art & Australia, June Sept 2011 presented at Impact7, Monash Judge: Art speaks: Japanese 2012 university 27 – 30 September 2011 Comes Alive contest, Japan Amanda Peacock (coordinator; Article: ‘exhibiting German art foundation, october 2011 Aboriginal and photography Paper: ‘Art in the wake of violence: today’, panel discussion, AGNSw, education programs) the work of Nalini Malani’ world and Presentation: ‘Art Gallery of world Making in Art: Connectivities 7 Aug 2011 New South wales Community Paper: Reflections and shadows: and Difference, ANu, 11 – 13 lecture: ‘Curator’s overview: Ambassadors Program’, the shifting identities of William August 2011 Apocalyptic Visions’, AGNSw, Multicultural Coordinators forum, Murrangurk Buckley Art Association 3 July 2011 Community relations Commission, of Australia and New Zealand 2011 Media interviews – Preeti Verma lal, february 2012 Annual Conference, New Zealand, ‘our women, our Country’ times of lecture: ‘Curatorial perspectives 7–9 Dec 2011 India, 3 March 2012 on “the mad square”’, AGNSw, Member: writer, Asian cross– 6 Aug 2011 curricular priority for Australian Paper: Djamu – a case study: Curatorium member – In Memory of Curriculum for the Arts, Australian Indigenous art education in a a Name, edge of elsewhere 2012, lecture: ‘the mad square’, Curriculum and reporting Authority, museum context National Visual 4A Centre for Contemporary Asian foundation talks, AGNSw, May 2012 ongoing Arts education Conference, NGA Art, Sydney Australia 9 & 11 Aug 2011

APPENDICES 11–12 99 lecture: ‘the mad square’, Media interview: Sylvia rosenblum, Media interview: Michael Zavros: Judge: 2012 AGNSw Grants and Contemporary Collection radio eastside, 31 Aug 2011 (the Daily telegraph, Australian financial scholarships: Paris Studios, Basil Benefactors, 13 Aug 2011 mad square) review, Sydney Morning herald, and Muriel hooper Scholarship, the Australian April 2012 elioth Gruner Prize lecture: ‘overview of “the mad Media interview: Adam Gifford, ‘on square”’, College of fine Arts, the brink of catastrophe’, Weekend Media interview: Brett whiteley exhibition opening speech: 16 Aug 2011 Herald, Auckland, 3 Dec 2011 Studio: SBS News, ABC tV news, huskisson, ‘Anindilyakwa to June 2012 Numbulwar’ feb 2012 lecture: ‘Introduction to “the mad Analiese Treacy (paper square”’, AGNSw, 19 Aug 2011 conservator) Media interview: Archibald tour: lecture: ‘Australian Impressionism’, the Age, May 2012; the Newcastle Community Ambassadors lecture lecture: ‘overview of “the mad Article: toulouse lautrec article in herald, June 2012 series, March 2012 square”’, NAS, 14 Sept 2011 (look magazine) Judge: Churchill fellowships New lecture: ‘Modern Australian women lecture: ‘the mad square’, AGS talk: ‘the challenges of conserving South wales, April 2012 Artists’, Community Ambassadors corporate talks, 22 Sept and 17 contemporary photographs – Kaldor lecture series, May 2012 oct 2011 collection’, AGNSw 21 Sept 2011 Judge: City of hobart Art Prize, round one, hobart, June 2012 lecture: ‘Introduction to the lecture: ‘Degenerate Art: talk: ‘Conserving the posters Archibald wynn & Sulman Prize’, Judge: John fries Memorial Prize, Apocalyptic Visions’, AGNSw, of henri de toulouse lautrec’, AGS Corporate events, various round one, Sydney, June 2012 25 Sept 2011 AGNSw, 15 feb 2012 dates 2012 Speech: hossein Valamanesh book lecture: ‘Introduction to “the mad lecture: ‘Introduction to Wayne Tunnicliffe launch, AGNSw, Sept 2011 square”’, AAGGo, AGNSw, 5 oct (head, Australian art) endlessnessism’, Brett whiteley 2011 Speech: robyn Backen book Studio Corporate event, May 2012 exh curator: Australian launch, AGNSw, oct 2011 lecture: ‘Curatorial overview of “the Masterpieces (with Deborah Conference paper: ‘‘thinking, mad square”’, NGV, 25 Nov 2011 edwards), rudy Komon Gallery, Speech: NG Gallery opening feeling & responding in the gallery lecture: ‘Nolde and Pechstein AGNSw, oct 2011 to 12 feb 2012 speech, Sydney, November 2011 in the 21st century’, CofA’s reprogramming the Museum, in the South Seas’, Melbourne Speech: Archibald – innumerable exh curator: Archibald Prize, AGNSw, Sept, 2011 Museum, 20 feb 2012 AGNSw, 31 March – 3 June 2012 speeches, talks, lectures Member: higher education Media interview: Mark Mordue, Speech: Australian collection – exh curator: Australian Collection Accreditation Committee NSw ‘lust for life’, The Weekend (with Deborah edwards), AGNSw, many speeches and talks Australian, July 2011 Department of education May 2012 ongoing Speech: Bulgari Award launch, Media interview: Brook turner, Cat essay: ‘Stephen Bush’ in April 2012 Natalie Wilson (assistant curator, ‘high anxiety: the fraught art of Vitamin P2, Phaidon, london 2011 Australian art) Eleanor Weber (assistant curator borrowing’, The Australian Financial Article: ‘exploring PNG: following Review, July 2011 Cat essay: ‘Geoff Kleem’ in less is photographs (p/t)) more, minimal art in Australia, heide the past into the present’, looK, Media interview: Nick Dent, ‘the Museum of Modern Art, Melbourne research (completed): – Bachelor feb 2012, pp 24–27 of Arts (Advanced)(honours), 1st mad square’, Time Out Sydney, 2012 Judge: elioth Gruner Prize, April Class, the university of Sydney Aug 2011 2012 talk: ‘robert rauschenberg’, 2012 Media interview: leta Keens, AGNSw, July 2011 Judge: Basil and Muriel hooper ‘weimar breaks down the barriers’, Cat essay: ‘Doing Becoming Being’, talk: ‘In conversation with Kathy Scholarship, April 2012 The Australian, Aug 2011 tCB art Inc., Melbourne 2012 temin’, AGNSw, Aug, 2011 lecture: ‘Pop and Colour field’, Media interview: Nicholas Pickard, talks: Margaret olley – various Sheona White (head, public Volunteer Guides Australian Art ‘wild about weimar’, The Daily programs) lecture Series, AGNSw, oct 2011 Telegraph, Aug 2011 Chair: artist panel with rosemary laing, Janet laurence, Imants Media interview: ABC tV News lecture: ‘Becoming Modern: Media interview: Madeleine hinchy, tillers, Australian open weekend, Breakfast, Virginia trioli, Picasso; Sydney artists and the art of being Vogue Living’s blog, Aug 2011 AGNSw, May 2011 Masterpieces from the Musee modern’, Australian National Picasso, Paris, Nov 2011 Media interview: ‘Shannon talk: ‘In conversation with wendy modern masterpieces from the Connellan wanders among the whiteley’, Australian open Media interview: 702 ABC Sydney, AGNSw exhibition lecture series, “isms”’, Honi Soit, 10 Aug 2011 weekend, AGNSw, May 2011 Sarah MacDonald, Picasso; Newcastle Art Gallery, oct 2011 Masterpieces from the Musee Media interview: fenella Kernebone, Media interview: General: Spectrum, National Picasso, Paris, Nov 2011 lecture: ‘In their footsteps: Art Nation, ABC tV, 27 Aug 2011 Sydney Morning herald Aug 2011 tuckson, Moriarty, Dobell’, AGS, (the mad square) Media interview: elizabeth feb 2012 Media interview: Archibald: ABC fortescue, Sunday telegraph, Media interview: Adrian roschella, tV news, ABC Arts Quarter, ABC Picasso; Masterpieces from the Conference paper: co–author with ABC tV News, 4 Aug 2011 (the world today; Musee National Picasso, Paris Nov Donna hinton, ‘Conserving living mad square) Media interview: Channel 7 news, 2011 traditions in Papua New Guinea’, the Conservation of Material Media interview: Amanda Smith, Channel 9 news, SBS news, Media interview: Natalie Smith, Culture in tropical Climates: the ‘Artworks’, ABC radio National, Qantas inflight, ABC 2rrr Community radio, Picasso; 14 Aug 2011 (the mad square) Media interview: radio, fBI radio, Masterpieces from the Musee 3rd APtCCArN Meeting, presented by Donna hinton, thailand, April Media interview: trudi latour, 6– financial review, Sydney Morning National Picasso, Paris, Nov 2011 herald, Daily 2012 part series in German, SBS radio, Media interview: yasmin Bright, 25 Aug – 13 oct 2011 (the mad Media interview: telegraph – 2Ser Community radio, Picasso; Award: Moya Dyring Studio square) all March 2012 Masterpieces from the Musee residency, Cité Internationale des Arts, Paris, to be taken up Jan–feb Media interview: Natalie Smith, National Picasso, Paris Nov 2011 Media interview: Australian 2013 2rrr radio, 20 Aug 2011 (the collection: Spectrum, Sydney Media interview: Steve Meacham, mad square) Morning herald; Daily telegraph SMh, Gallery guiding programs, Member: Art advisory committee, Sh ervin Gallery, Sydney Media interview: ‘what’s on’, Media interview: Australian; Sydney March 2012 Qantas in–flight audio visual Morning herald, ABC radio, fBI Judge: 2012 royal easter Show Dr Andrew Yip (coordinator, public program, Sept 2011 radio April 2012 Arts & Craft section programs)

100 ART GALLERY OF NSW ANNUAL REPORT 11–12 Article: ‘Bugatti type 35: a Guided tours and other interested parties. It is mythological beast for a mechanical CUSTOMER also available as free downloadable SERVICE DELIVERY 32 positive comments were age’, look, April 2012, pp 28–9 received regarding the free guided PDf files, divided into three key segments (main text, appendices, lecture: “‘the big thing in the war’: tours of the collection and temporary financial statements), in the About the discovery and destruction of exhibitions, led by the Gallery’s us section on the Gallery’s website Australian masculinity at Gallipoli”, volunteer guides. In accordance with our pledge of (www.artgallery.nsw.gov.au/ AGNSw, 2012 service, visitors to the Gallery are aboutus). lecture: ‘ethel Carrick and Margaret invited to leave praise, criticisms Mobility–impaired access and suggestions at the information Preston: modern painters’, More the issue of access for mobility– desk via the Visitor response Credit card usage women of Distinction, weA, 2012 impaired people was addressed register. More than 1.2 million in 2011–12 by the completion of the director certifies that credit lecture: ‘love and lust: penetrating people visited the Gallery at its an accessible entrance ramp at card usage in the Gallery has been the harem’, Arts of Asia lecture Domain and Brett whiteley Studio the front of the building which was conducted in accordance with series, AGNSw, 2012 sites in 2011–12. In this period made possible by funding of $1.17 relevant Premier’s Memorandums 535 comments were received in talk: ‘the Art of war: otto Dix and million from the NSw Government. and treasury Directions. writing and via email. overall there German Modernism’, exhibition there were 12 complaints before were 216 positive comments, talk for Mad Square: modernity the completion of the ramp. Consultants in German art 1910–37, AGNSw, 143 negative comments and A small number of complaints there were 19 consultancies 2011 176 suggestions. Comments are responded to by information officers registered that the new foyer costing a total of $173,265. No lecture: ‘the Art and life of Grace and, where appropriate, referred to ramp was inadequate however single contract was valued at Cossington Smith’, More women of a relevant senior staff member or the heritage nature of the foyer greater than $50,000. Distinction, weA, 2011 the Gallery’s executive for further placed constraints on installation of the ramp. Additionally, there Heritage management talk: ‘ricky Swallow’s killing time’, action. were requests for bike racks to be AGNSw, 2011 the majority of positive remarks the Gallery’s museum building reinstalled which are now located at received in 2011–12 were for located in the Domain Parklands Paper: [with Alexandra Gregg], the side and rear of the building. the Gallery’s major temporary of Sydney’s CBD is listed on ‘Virtual Space: extending gallery exhibitions and collection displays. the NSw government’s heritage learning and engagement through the breadth and quality of Seating register. A conservation plan has iPad apps and new media education and public programs been developed to assist in the channels’, National Visual Arts the lack of sufficient seating in was also highly praised, as were management and maintenance education Conference 2012, NGA, the Gallery’s public spaces has the Gallery’s entrance staff and of the building. the collection 2012 been addressed by new bench volunteer guides. the majority of seating being placed throughout assets and works of art on loan Symposium chair: Borderlands: complaints were regarding access the galleries and in temporary to the Gallery are maintained to photography and cultural contest, and signage. exhibitions. A small number of international museum standards. AGNSw,2012 the level of complaints relative to complaints were received regarding Land holdings and forum chair: Art Forum: placing overall visitor numbers remains seating being too low for elderly disposals photography in the 21st century, low, reflecting a high level of overall patrons. the Gallery also purchased AGNSw, 2012 visitor enjoyment and satisfaction. a number of portable stools which the only land owned by the Gallery Areas of major concern to visitors are are available to the general as at 30 June 2012 is located at: forum chair: Archibald Prize 2012 in 2011–12 were: public upon request from the Art Gallery road artists’ panel, AGNSw, 2012 Information Desk. the Domain Panel member: Art Forum: Comments and requests Sydney NSw 2000 portraiture and the Archibald Prize, regarding art on display Food service AGNSw, 2012 the Gallery did not acquire or Many comments, both positive During well–attended exhibitions, dispose of any land during the Media interview: Picasso: and negative, were received about such as Picasso: masterpieces reporting period. masterpieces from the Musée temporary exhibitions and the from the Musée National Picasso, National Picasso, Paris, Daily Gallery’s collection in general. 60 Paris and the Archibald, wynne and Legal change telegraph, 25 Aug 2011 negative comments were received, Sulman Prizes, increased pressure the majority in relation to the timed is placed on the Gallery’s food No changes were made to the Art Media interview: Picasso: ticketing system introduced for and beverage service due to high Gallery of New South Wales Act masterpieces from the Musée Picasso: masterpieces from the customer numbers. 24 complaints 1980 during the reporting period National Picasso, Paris, Channel 7 Musée National Picasso, Paris. were received in relation to the and there were no significant judicial It’s Academic, 14 March 2012 48 positive comments were also service of food in the café mainly in decisions affecting the Gallery. Media interview: Archibald Prize received about the introduction relation to the issue of slow service. 2012, eastside fM, 5 April 2012 of timed ticketing as well as the Major assets Media interview: Open Weekend website and public programs, the Gallery’s two major assets 2012, Daily telegraph, 4 May 2012 Art After hours and education COMPLIANCE categories, as at 30 June 2012, are programs. A small number of its artwork collection valued at $1.1 Media interview: Open Weekend complaints were made about REPORTING billion; and the perimeter land and 2012, radio 2GB, 9 May 2012 inadequate seating, font sixe on building in the Domain, Sydney, and Media interview: Open Weekend labels and the need for an audio the building at lilyfield valued 2012, fBI radio, 12 May 2012 tour. Visitors also expressed interest 2011–12 annual report at $194.5 million. in purchasing a season ticket for Media interview: Open Weekend production the major temporary exhibition The Privacy management 2012, radio 2rrr, 12 May 2012 mad square: modernity in German the total external costs incurred During 2011–12 there were no Council member: Power Institute art 1910–37. (An audio tour, in the production of the Gallery’s internal reviews conducted by Director’s Advisory Council downloadable exhibition app and 2011–12 annual report are a season ticket will be available for approximately $20,000 (including or on behalf of the Gallery under the Gallery’s forthcoming exhibition text editing, print management and Part 5 of the Privacy and Personal Francis Bacon: five decade). print production). the report, printed Information Protection Act 1988 in hard copy on recycled paper, is (PPIP Act). provided free to key stakeholders

APPENDICES 11–12 101 the Gallery’s designated privacy p 24: Kathy Temin My monument: p 67: E Phillips Fox Nasturtiums officer, in accordance with the black garden 2010–2011, synthetic c1912, oil on canvas, 91.5 x provision of the PPIP Act, can be fur and filling, steel and wood, 3.5 x 71.5 cm. Purchased in memory of contacted at: 3.5 x 8.5, Contemporary Collection Margaret olley with funds donated Manager, human resources Benefactors 2011 © Kathy temin by the Art Gallery Society of New South wales Collection Circle 2011 Art Gallery of NSw p 32: Charles Meere Australian Art Gallery road beach pattern 1940, oil on canvas, p 68: Richard Serra Plate, pole, the Domain Sydney NSw 2000 91.5 x 122 cm. Purchased 1965 © prop 1969, 1983, hot rolled steel, telephone: (02) 9225 1795 Charles Meere estate 240 x 240 x 100 cm installed. fax: (02) 9225 1622 p 35: Tom Roberts Bailed up 1895, Purchased with funds provided by email: [email protected] 1927,oil on canvas, 134.5 x 182.8 the Art Gallery of New South wales cm. Purchased 1933 foundation and the ruth Komon Bequest in memory of rudy Komon p 35: Arthur Streeton Fire’s on 2011 © richard Serra. ArS/ IMAGE DETAILS 1891, oil on canvas, 183.8 x 122.5 licensed by Viscopy cm. Purchased 1893 AND CREDITS p 69: Francesco Xanto Avelli p 35: Sidney Nolan First-class Large plate: An allegory on the sack marksman 1946, ripolin enamel of Rome 1530, maiolica, 46 cm on hardboard, 90.2 x 121.2cm. diam. Purchased 2011 Cover and p 20: Laurie Nelson Purchased with funds provided by the Gleeson o’Keefe foundation p 70: Honoré Daumier Rue Mungatopi, Bob One Apuatimi, Transnonain, 15 April 1834 Jack Yarunga, Don Burakmadjua, 2010 © the trustees of the Sidney Nolan trust/ Bridgeman Art library 1834, lithograph, 28.8 x 44.5cm. Charlie Quiet Kwangdini, Artist Purchased with funds provided by Unknown Tutini (Pukumani p 38: Sol LeWitt Pyramid 2005, Geoff Ainsworth and the Parramore graveposts) 1959 (detail),natural painted wood, 121.9 x 121.9 Purchase fund 2012 pigments on wood, various sizes. x 121.9 cm. John Kaldor family Gift of Dr Stuart Scougall 1959 Collection © estate of Sol lewitt. p 72: Anne Judell Breath 2011, © the artists and their estates. ArS/licensed by Viscopy pastel, graphite, black gesso on Jilamara Arts and Crafts paper, 52 x 37 cm, Gift of the p 41: Tony Albert Headhunter trustees of the Sir william Dobell Cover: Tony Tuckson White lines 2007, synthetic polymer paint Art foundation 2012 © Anne Judell (vertical) on ultramarine 1970–73, and vintage Aboriginal ephemera, diptych: synthetic polymer paint on 110 x 370 cm overall installation. p 62: John Olsen Five bells 1963, hardboard, 213.5 x 244.6 cm. Gift Purchased with funds provided oil on hardboard, 264.5 x 274 cm of Annette Dupree 1976 © Margaret by the Aboriginal Collection board. Purchased with funds tuckson; Tony Tuckson Five Benefactors’ Group 2007 © tony provided by the Art Gallery Society white lines (vertical), black ground Albert, courtesy Sullivan+Strumpf of New South wales 1999 © John 1970–73, synthetic polymer paint Gallery, Sydney olsen. licensed by Viscopy, Sydney on hardboard, 213.5 x 122 cm p 66: Janet Laurence The memory p 63: Stanislaus Rapotec Spring board Bequest of Annette Margaret of nature 2010, acrylic, scientific 1968, synthetic polymer paint on Dupree 1996 © Margaret tuckson; glass, dried plants, seeds sulphur, hardboard, 137 x 122 cm. Gift of Ian Fairweather Last Supper salt, amethyst, taxidermied owls, Patrick white 1983 © Stanislaus 1958, synthetic polymer paint and shellac tulle, wood, burnt bones, rapotec estate gouache on three sheets of laid hand bones, hand-blown glass, p 71: WC Piguenit The flood in the paper on hardboard, 97 x 244 cm. oil paint, mirrors, 180.5 x 300.5 Darling 1890 1895, Art Gallery of Purchased with funds in memory x 170.3 cm. Purchased with funds New South wales. Purchased 1895 of Patrick white, Norman Schureck provided by the Art Gallery Society and Susan Chandler 2010 © Ian of New South wales Contempo fairweather/DACS. licensed by Group and the Contemporary Viscopy, Sydney Collection Benefactors with the p 3: James Angus Bugatti Type 35 generous assistance of Geoff 2006, steel, aluminium, fiberglass, Ainsworth AM, Peter Braithwaite, rubber, leather, automotive lacquer, Sally Breen, Andrew & Cathy 193 x 115 x 366 cm. Purchased Cameron, Ginny & leslie Green, with funds provided by Andrew Michael hobbs, ray wilson oAM Cameron, the Contemporary 2012 © Janet laurence Collection Benefactors and the p 70: Japan Sanbõ Kõjin and two rudy Komon Memorial fund 2006 attendants late 1300s, hanging © James Angus, Courtesy roslyn scroll; ink, colour and gold on silk, oxley9 Gallery 57 x 31.5 cm. Asian Collection p 18: Pablo Picasso Massacre in Benefactors funds 2012 Korea 18 Jan 1951, oil on plywood, p 67: Tjampawa Katie Kawiny 110 x 210 cm. Pablo Picasso gift Seven sisters 2010, synthetic in lieu, 1979, MP 203 © Sucession polymer paint on canvas, 197 x Picasso/licensed by Viscopy © 198 cm stretcher. Purchased with Paris, rMN © Musee National funds provided by the Aboriginal Picasso, Paris Collection Benefactors’ Group 2011 © tjampawa Katie Kawiny p 23: Nan Goldin Siobhan at the A-House: nude, Provincetown p 67: J J Hilder Deviation work 1990, printed 2002, Cibachrome c1913, pencil, watercolour, 65 x photograph. Purchased with funds 52 cm. Bequest of Julius wilfred provided by the Photography (wilf) hilder 2011 Collection Benefactors p 67: Tibet Cakravala, the Buddhist Program 2002 World System 1600s, distemper on cotton, 110.5 cm x 85 cm. Purchased 2011

102 ART GALLERY OF NSW ANNUAL REPORT 11–12 Summary of senior officer positions as at 30 June 2012

No of Positions held Position level senior positions by women 2010–11 Senior executive service 4 1 0 Senior executive service 3 1 1 Senior officer 3 2 0 Senior officer 2 1 1 Senior officer 1 2 1 2011–12 Senior executive service 7 1 0 Senior executive service 3 1 1 Senior officer 3 2 0 Senior officer 2 1 1 Senior officer 1 2 1

Major capital works

Costs 2011–12 Completion Overruns Capital works project $’000 date $ Artworks purchased 7,129 ongoing nil Building works 4,769 ongoing nil Plant and equipment replacement 495 ongoing nil total 12,393

APPENDICES 11–12 103 Payment performance

Current within Less than Between Between More than due date 30 days 30 & 60 days 60 & 90 days 90 days overdue overdue overdue overdue Quarter All Suppliers Sept 2011 745,786.41 52,244.07 727.97 365.25 -16,255.52 Dec 2011 304,359.70 4,229.16 -1,409.48 61.50 -10,374.67 Mar 2012 603,446.77 10,207.15 -18.66 0.00 -10,418.38 June 2012 809,698.69 174,165.73 16,104.09 629.77 -11,990.21

Small Business Sept 2011 723,142.85 50,676.75 727.97 365.25 -16,255.52 Dec 2011 295,278.23 4,229.16 -1,409.48 61.50 -10,374.67 Mar 2012 585,342.62 9,900.79 -18.66 0.00 -10,418.38 June 2012 785,407.73 168,940.76 16,104.09 629.77 -11,990.21

Sep 2011 Dec 2011 Mar 2012 Jun 2012 All Suppliers total No. of accounts due for payment 1,212 1,356 1,300 1,370 No. of accounts paid on time 1,200 1,342 1,263 1,350 % of accounts paid on time based 99 99 97 99 on no. of accounts $ amount of accounts due for payment 10,140,265 7,397,351 6,951,365 5,124,822 $ amount of accounts paid on time 10,138,862 7,383,378 6,913,016 4,996,701 % of accounts paid on time based 99 99 99 97 on $ amount of accounts No. of payments for interest 0 0 0 0 on overdue accounts Interest paid on overdue accounts 0 0 0 0

Small Business total No. of accounts due for payment 1,176 1,315 1,170 941 No. of accounts paid on time 1,164 1,302 1,170 914 % of accounts paid on time based 99 99 100 97 on no. of accounts $ amount of accounts due for payment 9,836,057 7,175,430 6,256,228 3,564,024 $ amount of accounts paid on time 9,787,696 7,173,676 6,256,228 3,457,102 % of accounts paid on time based 99 99 100 97 on $ amount of accounts No. of payments for interest 0 0 0 0 on overdue accounts Interest paid on overdue accounts 0 0 0 0

104 ART GALLERY OF NSW ANNUAL REPORT 11–12 EEO statistics

Parliamentary annual report tables A. Trends in the representation of EEO groups % of total staff EEO group Benchmark or target 2010 2011 2012 Women 50% 53% 53% 52.6% Aboriginal and Torres Strait Islander people 2.6% 2.1% 1.6% 1.2% People whose first language was not English 19.0% 15.8% 17.1% 15% People with a disability N/A 2.1% 2.5% 1.6% People with a disability requiring work–related adjustment 1.5% 0.4% 0.4% 0.8%

B. Trends in the distribution of EEO groups Distribution index EEO group Benchmark or target 2010 2011 2012 Women 100 108 124 129 Aboriginal and Torres Strait Islander people 100 na na na People whose first language was not English 100 88 86 90 People with a disability 100 na na na People with a disability requiring work–related adjustment 100 na na na

Notes: 1. A Distribution Index of 100 indicates that the centre of the distribution of the eeo group across salary levels is equivalent to that of other staff. Values less than 100 mean that the eeo group tends to be more concentrated at lower salary levels than is the case for other staff. the more pronounced this tendency is, the lower the index will be. In some cases the index may be more than 100, indicating that the eeo group is less concentrated at lower salary levels. 2. the Distribution Index is not calculated where eeo group or non–eeo group numbers are less than 20.

Government Information (Public Access) Act 2009 During the reporting period, the Gallery received 1 formal access the Gallery has reviewed information available to the public under application. Section 7(3) of the Act. No new information has been identified as No access applications were refused by the Gallery because appropriate for public access. 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/ withdrawn in full in part in full available application deny whether information is held Media 0 0 0 1 0 0 0 0 Members of Parliament 0 0 0 0 0 0 0 0 Private sector business 0 0 0 0 0 0 0 0 Not–for–profit organisations 0 0 0 0 0 0 0 0 or community groups Members of the 0 0 0 0 0 0 0 0 (application by legal representative) Members of the public (other) 0 0 0 0 0 0 0 0

* 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

APPENDICES 11–12 105 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/ withdrawn in full in part in full available application deny whether information is held Personal information applications* 0 0 0 0 0 0 0 0 Access applications (other than 0 0 0 1 0 0 0 0 personal information applications) Access applications that are partly personal 0 0 0 0 0 0 0 0 information applications and partly other

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

Table C: Invalid applications

No of reason for invalidity applicants Application does not comply with formal requirements 0 (section 41 of the Act) Application is for excluded information of the agency 0 (section 43 of the Act) Application contravenes restraint order 0 (section 100 of the Act) total number of invalid applications received 0 Invalid applications that subsequently became valid applications 0

Table D: Conclusive presumption of overriding public interest against disclosure: matters listed in schedule 1 of the Act

No of times reason for invalidity consideration used* overriding secrecy laws 0 Cabinet information 0 executive Council information 0 Contempt 0 legal professional privilege 0 excluded information 0 Documents affecting law enforcement and public safety 0 transport safety 0 Adoption 0 Care and protection of children 0 Ministerial code of conduct 0 Aboriginal and environmental heritage 0

* More than one public interest consideration may apply in relation to a particular access application and, if so, each such consideration is to be recorded (but only once per application). this also applies to table e.

106 ART GALLERY OF NSW ANNUAL REPORT 11–12 Table E: Other public interest considerations against disclosure: matters listed in section 14 of the Act

No of occasions when application reason for invalidity not successful responsible and effective government 0 law enforcement and security 0 Individual rights, judicial processes and natural justice 0 Business interests of agencies and other persons 0 environment, culture, economy and general matters 0 Secrecy provisions 0 exempt documents under interstate freedom of Information legislation 0

Table F: Timeliness

No of reason for invalidity applicants Decided within the statutory timeframe (20 days plus any extension) 1 Decided after 35 days (by agreement with applicant) 0 Not decided within time (deemed refusal) 0 totAl 1

Table G: Number of applications reviewed under Part 5 of the Act (by type of review and outcome)

Decision Decision varied upheld total Internal review 0 0 0 review by Information Commissioner* 0 0 0 Internal review following recommendation 0 0 0 under section 93 of the Act Internal review 0 0 0 totAl

* More than one public interest consideration may apply in relation to a particular access application and, if so, each such consideration is to be recorded (but only once per application). this also applies to table e.

Table H: Applications for review under Part 5 of the Act (by type of applicant)

No of applications reason for invalidity under review Application by access applicants 0 Applications by persons to whom information the subject of access application relates (see section 54 of the Act) 0

APPENDICES 11–12 107 108 ART GALLERY OF NSW ANNUAL REPORT 11–12