Art Gallery of 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 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 () 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 Torres Strait Islander art and Official AO, Cox Richardson; Seng Huang Lee, Mulpha Australia; LIFE BENEFACTORS • John Anthony Gilbert 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 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 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 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 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 , 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, 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, ’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– 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), (born c1937), Yakari Napaltjarri (Australia), Conservation Art Network) Meeting Evensong 2011, charcoal on paper. Arumara Tjukurpa 2011, synthetic Ngaminya 2009, etching on Donna Hinton, head, objects Memorial Fund 2012 polymer paint on canvas. Hahnemühle rag paper Purchased with funds provided conservation E Phillips Fox (Australia; France, Walangkura Napanangka by the Aboriginal Collection Thailand, 21–27 Apr 2012 1865–1915), Nasturtiums c1912, oil (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), Amanda Green, acting collections by the Aboriginal Collection 1915–2008), Sketchbook 1978–79, Tjanyinki 2009, etching on registrar Benefactors’ Group 2011 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, (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 Sign off the condition reports, fluorescent tubes, electrical cord, Purchased with funds provided paper; Wirrul 2009, etching on supervise packing and accept industrial metal mesh, wooden 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, Japanese Art & Design: Kamisaka born c1932), 5 prints: Unkunya Jennifer Marshall (Australia, born c1958), Untitled 2010, Sekka exhibition 2009, etching on Hahnemühle rag 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 Spain, France, Germany, Sweden, green ink on hand–made oriental Benefactors’ Group 2011 2009, etching on Hahnemühle rag 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), funds provided by the Australian Harry Tjutjana (Australia, born attending the International Colour Marrapinti 2009, etching on Design Workshop Prints, Drawings and Watercolours c1930), Wanka (Spider) 2011, synthetic polymer paint on canvas. Hahnemühle rag paper 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 supervise packing and accept sound, 2:48 mins. Purchased with prints: Wirrilpi 2009, etching on indemnity responsibility for the funds provided by the Australian Various artists, 40 prints from Hahnemühle rag paper; Wirrilpi transit of Cezanne’s Banks of the Prints, Drawings and Watercolours the suite Tjukurrpa Palurukutu, 2009, etching on Hahnemühle rag Marne Benefactors Fund 2012 Kutjupawana Palyantjanya – same paper stories, a new way 2009: Natalie Seiz, acting registrar, Anne Starling (Australia, b1967), Jeremiah Tjakamarra (Australia), curatorial Urban monoliths 2012, triptych: (Australia, Palipalintjanya 2009, etching on Japan 12–16 June 2012 acetate etching, collagraph on c1955–2009), 2 prints: Marrapinti Hahnemühle rag paper 2009, etching on Hahnemühle rag Sign off condition reports, supervise BFK Rives paper. Australian Ronnie Tjampitjinpa (Australia, packing and accept indemnity paper; Marrapinti 2009, etching on Prints, Drawings and Watercolours born c1942), Tjintjintjin 2009, responsibility for the transit of Hahnemühle rag paper Benefactors Fund 2012 etching on Hahnemühle rag paper Edward Burne Jones’ St George Mary Webb (Australia; France, Kawayi Nampitjinpa (Australia), Kills the Dragon Pinpirrnga 2009, etching on Ray James Tjangala (Australia, 1901–58), Joie de vivre 1958, oil on Hahnemühle rag paper born c1958), Yunala 2009, etching 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 Australian Prints, Drawings and Joseph Jurra Tjapaltjarri (Australia, Watercolours Benefactors Fund Eileen Napaltjarri (Australia, born c1952), 2 prints: Ngatjapirritji 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 (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 Fund 2012 Collection Benefactors Group 2012 rag paper

appendices 11–12 83 2009, etching on Hahnemühle and gold on silk. Asian Collection 1978 (printed later), inkjet print. fibreglass, steel, human hair and fox rag paper Benefactors Funds 2012 Purchased 2012 fur, clothing. Purchased 2011 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 2009, etching on Hahnemühle rag (Ashikaga) period 1392 –1573, linen. Contemporary Collection Alex Rizkalla (Egypt; Australia, paper Johnny Yungut Tjupurrula, hanging scroll, ink, colour and gold Benefactors 2012 b1950), 3 assemblages from the 2 prints: Wirrul 2009, etching on on silk. Asian Collection Benefactors Angela de la Cruz (Spain; , series Remains/Vestiges: dispersal Hahnemühle rag paper; Wirrul Funds 2012 b1965), Squashed (green/brown) 1993: Remains/Vestiges: dispersal 2009, etching on Hahnemühle rag SUBTOTAL 4 WORKS 2010, oil on canvas. Purchased 1993, mixed media; fur jacket, paper 2011 ceramic plate, cigarette lighter, TIBET Barry Flanagan (Wales; England, aquatint photograph, glass case; Matthew Tjupurrula (Australia), Remains/Vestiges: dispersal 1993, Unknown artist Cakravala, the 1941–2009), Hole in the sea 1969, Palipalintjanya 2009, etching on mixed media; White jacket, crab Hahnemühle rag paper. Purchased Buddhist World System 1600s, 2 gelatin silver photographs. Mervyn Horton Bequest Fund 2011 pincers, glass tube, ceramic reels; with funds provided by the distemper on cotton. Purchased 2011 Remains/Vestiges: dispersal 1993, Aboriginal Collection Benefactors’ Rodney Glick (Australia, b1964), mixed media; ceramic flying duck, SUBTOTAL 1 WORK Group 2011 Everyone No.83 2009, carved and 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, Collection Benefactors’ Group 2012 and two shades of blue. Purchased Honoré Daumier (France, 1808– b1966; Australia, b1958), The 2011 79), Rue Transnonain, 15 April outlands 2011, projected real time SUBTOTAL 49 WORKS 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 Hendrick Goltzius, after Asian art Collection Benefactors 2011 Foundation and the Ruth Komon Bartholomaeus Spranger CHINA Bequest in memory of Rudy Komon (Netherlands, 1558–1617; Mathew Jones (Australia, b1961), 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 records 1996, artist’s bound video installation; 4K and Super Collection Benefactors’ Fund 2011 William Hogarth (England, book: 54 leaves, 100 individually 8 16mm film transferred to HD 1697–1764), 3 prints: Beer street SUBTOTAL 1 WORK photocopied drawings, hand video, 16:9, stereo, colour, 31:14 1751, etching and engraving; Gin tinted with ink and watercolour on mins. Contemporary Collection Lane 1751, etching and engraving; INDIA 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 Francesco Xanto Avelli (Italy, play; five video projectors in sync, soot and sunflower oil, rice. Mervyn wood. Contemporary Collection c1486–c1542), Large plate: An sound, 5 minutes. Purchased with 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 televisions, 7 painted wood SUBTOTAL 1 WORK seeds sulphur, salt, amethyst, pallets. Contemporary Collection taxidermied owls, shellac tulle, INDONESIA Benefactors’ 2011 Modern and wood, burnt bones, hand bones, Unknown artist Nias, Central Nias, SUBTOTAL 27 WORKS contemporary art hand–blown glass, oil paint, mirrors. Coconut scraper 1900s, wood. 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 with Eddy Batache and Reinhard Chikatoshi ENOMOTO (1898– 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 Benefactors Program 2012 TERAOKA Masami (Japan; United 1986 (printed later), inkjet print; Earth–Moon–Earth (Moonlight States of America, b1936), Geisha Paris, rue de Birague VIII, with Eddy Sonata reflected from the surface of Bill Henson (Australia, b1955), 2 in a bath from the Aids series 2008, Batache 1986 (printed later), inkjet the moon) 2007, Disklavier Grand photographs: Untitled 2009/2010 46 colour woodblock print on Kozo print; Paris, Musée d’Art Moderne Piano, sound file on USB stick, 2009–10, archival inkjet pigment paper. Asian Collection Benefactors de la Ville de Paris, Giacometti Earth–moon–earth book, headsets. print; Untitled 2009/2010 2009–10, Fund 2012 exhibition, with Reinhard Hassert Gift of Geoffrey & Vicki Ainsworth archival inkjet pigment print. Unknown artist Sanbõ Kõjin 1991 (printed later), inkjet print; 2011 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,

84 ART GALLERY OF NSW annual report 11–12 Jacky Redgate (England; Australia, SUBTOTAL 17 WORKS Graeme Peebles (Australia, AUSTRALIAN GOVERNMENT’S b1955), Light throw (mirrors) TOTAL WESTERN ART b1955), They mute horses don’t CULTURAL GIFTS PROGRAM #1 from the series Light throw DEPARTMENT 50 WORKS they? Lloyd Rees (Australia, 1895–1988), (mirrors) 2009 (printed 2011), type 1974, colour mezzotint on ivory TOTAL ALL DEPARTMENTS 48 drawings: recto: Study for C photograph. Purchased with wove paper PURCHASED 121 WORKS ‘Spring sunshine’ verso: Harbour funds provided by the Photography David Rose (Australia, 1936–2006), with houses (1938), pencil on Collection Benefactors Ourimbah studio 1978, aquatint, paper; Study of trees and fence, Program 2011 COLLECTION – printed in black ink on white Northwood Point, pencil on paper; Wolfgang Sievers (Germany; wove paper recto: Two studies of South Coast GIFTS hills verso: Two sheets of studies of Australia, 1913–2007), 4 Jörg Schmeisser (Australia; a boy, pencil on paper; recto: Study photographs: Australian Paper Germany, 1942–2012), Ladakh for ‘Dusk at North Ryde’ verso: Pulp Mills, Burnie, Tasmania 1985, colour soft ground etching, Landscape c1948, recto: carbon 1956 (printed 1962), gelatin silver Australian art aquatint on white wove paper photograph; Miner in forward lode, pencil on paper verso: pencil on North Mine, Broken Hill, NSW 1959 ACQUIRED PRE 1979 MICHAEL AND HELEN CARAPIET. paper; recto: Trees, shed and (printed later), type C photograph; Murray Griffin (Australia, 1903–92), DONATED THROUGH THE houses verso: Hillside landscape Sulphuric acid plant, Electrolytic Thirsty one 1936, colour linocut on AUSTRALIAN GOVERNMENT’S c1949, pencil on paper; recto: Zinc, Risdon Road, Tasmania 1959, thin ivory wove paper CULTURAL GIFTS PROGRAM Study of farm gate verso: Illawarra gelatin silver photograph; Hamersley landscape, pencil on paper; Werri ANONYMOUS GIFT. DONATED Brett Whiteley (Australia; England, Iron, iron ore stockpiling, Dampier, Creek, carbon pencil, charcoal, THROUGH THE AUSTRALIAN 1939–92), Listening to nature WA 1971 (printed 1999), type C watercolour on paper; Study for GOVERNMENT’S CULTURAL GIFTS c1964, oil, resin, fabric and collage photograph. Purchased with funds ‘The harbour from McMahon’s PROGRAM on plywood provided by the Photography Point’ c1950, carbon pencil, brown Clement Meadmore (United States Collection Benefactors CHRISTOPHER DAY conté on paper; View of the city Program 2011 of America; Australia, 1929–2005), from the North Shore, Sydney Study for ‘Upended’ 1969, William Dobell (Australia; England, Robyn Stacey (Australia, b1952), 1960, carbon pencil, charcoal, painted steel 1899–1970), Study for ‘Portrait of pastel, wash on paper; Sydney, the Chatelaine from the series Tall tales Brian Penton’ 1942, pencil and true 2010 (printed 2011), type SYDNEY BALL harbour and island (1965), charcoal, on paper pencil, watercolour, pastel on paper; C photograph. Purchased with Sydney Ball (Australia, b1933), recto: Hermes verso: Corner of St funds provided by the Photography 10 prints from the Persian series THE TRUSTEES OF THE John’s Cathedral interior, pencil on Collection Benefactors 1967: Khamsa pink 1967, colour SIR WILLIAM DOBELL ART pale grey laid paper; Homer, from Program 2011 screenprint on white paper; Shiraz FOUNDATION a cast 1915, pencil on pale grey journey 1967, colour screenprint Darren Sylvester (Australia, Anne Judell (Australia, b1942), laid paper; Écorché – study of male on white paper; Transoxiana 1967, b1974), They return to you in song Breath 2011, pastel, graphite, black figure 1916, pencil on pale grey colour screenprint on white paper; 2001 (printed 2012), lightjet print. gesso on paper laid paper; recto: Rodin’s ‘Burgher Zafar nama 1967, colour screenprint Purchased with funds provided of Calais’ and Michelangelo’s on white paper; Sassan bend BEQUEST OF JULIUS WILFRED by the Photography Collection ‘Struggling Captive’ verso: Foliage Benefactors Program 2002 1967, colour screenprint on white (WILF) HILDER paper; Shiraz nama 1967, colour studies, pencil on off white thin Shōmei TŌMATSU (Japan, b1930), J J Hilder (Australia, 1881–1916), screenprint on white paper; Black card; Michelangelo’s ‘Pietà’ and 2 photographs: Bottle melted Deviation work (c1913), pencil, shiraz with silver lining 1967, colour Rodin’s ‘Burghers’, pencil on off and deformed by atomic bomb watercolour screenprint on white paper; Isfahan white thin card; House on Highgate heat, radiation and fire, Nagasaki 1967, colour screenprint on white Hill, from across the river at St 1961 (printed 1974), gelatin silver BARBARA MERRINGTON paper; Silver sassanian jump 1967, Lucia, pencil on pale grey laid photograph; Untitled from the Margaret Olley (Australia, colour screenprint on white paper; paper; Milton, afternoon light on a series Eros, Tokyo 1969 (printed 1923–2011), Concarneau 1952, Qazvin blue 1968, colour screenprint typical cottage (1915–16), pencil 1978), gelatin silver photograph. monotype, printed in dark green/ on white paper on paper; recto: Study of the nave Purchased with funds provided brown ink, watercolour wash, with pulpit, St Brigid’s verso: Figure by Joanna Coghlan with support GRAHAM BLONDEL. DONATED scraping out on grey textured paper on terrace, St Brigid’s, Red Hill and from Cameron Williams, and the THROUGH THE AUSTRALIAN Study of the landscape from the TIM OLSEN. DONATED Photography Collection GOVERNMENT’S CULTURAL GIFTS terrace 1916, pencil on pale grey THROUGH THE AUSTRALIAN Benefactors 2012 PROGRAM laid paper; recto: Ship at wharf, GOVERNMENT’S CULTURAL (Australia), 3 Brisbane River verso: Study from Unknown Fred Cress (India; Australia, 1938– GIFTS PROGRAM a plaster cast 1914, pencil on pale photographs: untitled 1848–55, 9th 2009), Stages 1986, colour etching, John Olsen (Australia; England; grey laid paper; Ferry approaching plate daguerreotype, cased; untitled aquatint, scraping out on cream Spain; Portugal, b1928), Miró 1987, wharf (Mosman), pencil on paper; 1848–52, 9th plate daguerreotype, wove paper hand–coloured, cased; untitled pen, brush & ink, ink wash, pastel Studies of interior of St Paul’s 1843–50, 9th plate daguerreotype, Joe Furlonger (Australia, b1952), on paper Cathedral, London – under the cased. Purchased with funds Madonna and child 1989, dome and architectural details PETA PHILLIPS provided by the Photography lithograph, printed from one stone in (1923), pencil on paper; Study Collection Benefactors black in on cream wove paper George Haynes (Kenya; Australia, under the dome, interior of St Paul’s Program 2012 Michael Kempson (Australia, b1938), Garden 1987, charcoal on Cathedral, London 1923, pencil paper Emma White (Australia, b1976), b1961), Classic literati or Windswept on paper; Cornish house (1923), Still life with objects from the series style 1990, etching, aquatint, printed Anne Judell (Australia, b1942), pencil on paper; Garrett Street, The plastic arts 2011, archival inkjet in black ink with plate tone on white 2 drawings: The order II 1996, Cawsand, Cornwall (1923), pencil print. Viktoria Marinov Bequest wove paper charcoal and pastel on paper; The on paper; Pilchard and herring order IV 1996, charcoal and pastel salting shed, Cawsand (1923), Fund 2012 Sidney Nolan (Australia; England, on paper pencil on paper; House in Paris? Anne Zahalka (Australia, b1957), 1917–92), untitled (carcase), (1923), pencil on paper; Study for Nicole Kidman 2007 from the William Rose (Australia, 1929–97), lithograph, printed in black ink on ‘House in Campagna’ (1924), pencil series The immortals 2011, archival ivory wove paper Untitled (1995), pen and coloured pigment ink photograph. Purchased inks, watercolour on paper on paper; The Governor’s Bath with funds provided by the John Peart (Australia, b1945), House, Parramatta Park, pencil on Photography Collection Benefactors Kirribilli – XXXVI 1985, colour ALAN AND JANCIS REES. paper; Lennox Bridge, Parramatta, Program 2011 monotype on white wove paper DONATED THROUGH THE pencil on paper; George Street with Old Court House Tower,

appendices 11–12 85 Parramatta, pencil on paper; Study lithograph, black ink on ivory wove CEN Guangyue (China, 1876– bamboo with ivory pieces on both for ‘Round towards Berry’s Bay’ Lana paper; Woman at window 1960), Du Fu’s poem in running ends c1932, pencil on paper; Harbour 1981, lithograph, black ink on ivory script, ink on paper study with trees and house early wove Lana paper; Pruning the DENG Lin (China, 1829–93), Sun JOHN YU, IN MEMORY OF 1930s, pencil on paper; Rocky vines 1981, lithograph, black ink Guoting’s ‘Treatise on Calligraphy’ in GEORGE SOUTTER shore, pencil on paper; Study for on ivory wove Lana paper; Woman cursive script Qing dynasty 1644– Bai Sa county, Hainan Island, The Port Jackson fig tree (1934), gathering vine prunings 1981, 1911, ink on paper 3 Skirts 1900s, cotton, natural pencil on paper; recto: Ball’s Head, lithograph, black ink on ivory wove WU Deyi (China, 1864–1928), and synthetic dyes; continuous Sydney Harbour verso: A sketch Lana paper; Sunday afternoon Landscape after Zhao Boju (1127– supplementary warp and weft of the Sobraon (1931), pencil on rugby 1981, lithograph, black ink on 1162) 1887 Qing dynasty 1644– weaving paper; Balls Head, Sydney Harbour ivory wove Lana paper; A very old 1911, ink and colour on paper; one Hainan Island, Ikat tube skirt (1931), pencil on paper; recto: woman 1981, lithograph, black ink leaf from an album 1900s, cotton, natural indigo dye; Study for ‘Sydney skyline from on ivory wove Lana paper; Young GEORGE SOUTTER AND JOHN YU ikat dyeing technique, continuous McMahon’s Point’ verso: Balls Head Catalan woman 1981, lithograph, supplementary warp decoration c1932, recto: pencil, watercolour on black ink on ivory wove Lana paper; 2 Ink mortars decorated with Guizhou, Festival jacket 1900s, paper verso: watercolour on paper; The relieving priest 1981, lithograph, floral designs 1700s–1800s, Qing cotton, indigo, paper End of the deck, Sydney Harbour black ink on ivory wove Lana paper dynasty 1644 – 1911, porcelain, Bridge (1932), pencil on paper; The underglaze blue 5 ceramics: SUBTOTAL 46 WORKS valley of Pleistos, Delphi (1966), SUBTOTAL 95 WORKS Ceramic brush pot decorated with carbon pencil, watercolour on female musicians among clouds INDIA TOTAL AUSTRALIAN ART paper; Rocky hill face, compressed 1800s–1900s, porcelain; Ink mortar DEPARTMENT 95 WORKS VERN CORK 2011 charcoal, carbon pencil, grey wash decorated with landscape scene Unknown (India), Indian gouache on paper; Bathurst countryside 1700s–1800s, Qing dynasty 1644 – 1911, porcelain with underglaze painting on canvas 1900s, gouache 1966, carbon pencil, compressed Asian art blue decoration; Square ink mortar on canvas charcoal, watercolour on paper; AFGHANISTAN decorated with landscape scenes recto: Werri Beach Headland verso: and poem 1700s–1800s, porcelain NALINI MALANI Beach scene with bathers 1973, PATRICK MATTHIESEN with underglaze blue decoration; recto: carbon pencil, charcoal, Gandhara, Head of the Buddha Nalini Malani (India, b1946), 3 Ink mortar 1800s–1900s, porcelain time–based media: Unity in diversity watercolour, black ball–point pen c200s–c300s, stucco with overglaze red decoration; 2003, video installation, 7½ minutes on paper verso: pen and black Water dropper in the shape of a looped, sound; Stains 2002, ink, charcoal on paper; Rocks SUBTOTAL 1 WORK dog 1600s–1700s, porcelain with animation, single channel video, at Werri Beach, carbon pencil, CAMBODIA underglaze blue spots installation, 8½ minutes looped, compressed charcoal, watercolour 13 items of woodwork: Bamboo sound; Memory: Record/Erase on paper; View towards the city, JOHN YU, IN MEMORY OF Brush pot decorated with the 1996, single channel animated carbon pencil, black ball–point GEORGE SOUTTER scene from the story ‘News of video, 10 minutes looped, sound pen, watercolour on paper; Oil Woman’s skirt cloth 1900s, silk Victory at Dongshan’ in low relief tanks, Berrys Bay, carbon pencil, with continuous and discontinuous 1700s–1900s, bamboo; Large JIM MASSELOS 2011 compressed charcoal, watercolour supplementary weft weaving bamboo brush pot decorated Bourne and Shepherd (India), H.H. on mulberry paper; House and trees with a scene from ‘Sima Guang Man Singh, Raja of Dhrangadhra SUBTOTAL 1 WORK 1980, wax crayon, watercolour on Breaking the Water Urn to save early 1870s, carbon print, brown paper; Misty landscape and sketch his friend’ in high relief; a carved tone of the river from Northwood, pastel, CHINA Tang dynasty poem by Zhang Samuel Bourne (England; India, watercolour on paper; recto: Self JOCELYN CHEY AM Ji (c.756–c.779) 1800a–1900s, 1834–1912), 2 photographs: portrait verso: Study of tree fern in HUANG Yongyu (China, b1924), bamboo; Bamboo brush pot Cascades on Scinde River 1864, landscape, pencil on paper Trees without wind: impression of decorated with carved plants and albumen silver print; View on the Australia 1993, ink and colour on a poem in low relief 1800s–1900s, ESTATE OF WILLIAM ROSE Dhal Canal, Kashmir 1864, albumen paper bamboo; Bamboo brush pot silver print mounted on card William Rose (Australia, 1929–97), decorated with landscape and Samuel Bourne, Shepherd & 5 drawings: Construction 7 c1957, DR PETER ELLIOTT pavilion in low relief 1800s–1900s, Robertson (England; India, 1834– pen and black in on ivory wove bamboo; Bamboo brush pot Jarlet with stylised dragon and 1912 and India, 1862–63), A bound paper; Construction 8 (c1957), pen floral decoration Yuan dynasty decorated with a bearded man in a boat and a poem in low relief volume of 34 albumen silver prints and black and red inks on ivory 1279 – 1368, celadon; Jarlet with c1862–70, albumen silver print wove paper; Construction 9, pen dragon decoration Yuan dynasty 1800s–1900s, bamboo; Bamboo and black ink on thin cream paper; 1279 – 1368, celadon; 9 brushes brush pot decorated with bamboo Fred Bremner (United Kingdom; motif and Chinese verses in low India, 1863–1940), untitled (Winter Construction 10 (1963), charcoal, for painting and calligraphy 1900s, relief 1800s, bamboo; Bamboo landscape) c1900, gelatin silver watercolour on cream wove paper; animal hair, wood; Ink stone brush pot decorated with landscape photograph untitled (I must draw ...) (c1960s), decorated with a bearded man in low relief 1800s–1900s, bamboo; pen and blue ink, pencil on ivory 1800s–1900s, stone; ‘Chaoshou’ Randolph Holmes (1888–1973), Bamboo brush pot decorated with wove paper ink stone Song dynasty 960 – 1279, On the Dal Lake early 1900s, gelatin three human figures in front of a silver photograph mounted on Ming dynasty 1368–1644, clay, pavilion in high relief 1700s–1800s, HANNS AND PAMELA SCHÜTTLER wood (?); Ink stone with decoration brown card AUSTRALIAN GOVERNMENT’S bamboo; Bamboo brush pot on the surface and inscriptions on decorated with engraving of a Shepherd & Robertson (India, CULTURAL GIFTS PROGRAM the side, stone; Seated Buddha bearded man holding a fishing 1862–63), 2 photographs: Right: Noel Counihan (Australia, 1913– 1700s, gilt bronze rod 1700s–1800s, bamboo; Golas or salt makers Left: Rangrez 86), 12 prints from the suite Images Bamboo wrist–rest carved with two or Dyers 1862–1863, two albumen of Opoul 1981: Three villagers and DR. JAMES HAYES cranes on rocks under a tree in silver prints mounted on card; Château D’Opoul 1981, lithograph, DAI Xi (China, 1801–post 1860), low relief 1800s–1900s, bamboo; Rangrez or Dyers 1862–1863, black ink on ivory wove Lana paper; Four leaves from a landscape album Bamboo wrist–rest carved with albumen silver print mounted on Winter meeting 1981, lithograph, Qing dynasty 1644–1911, ink and texts in regular script February card black ink on ivory wove Lana paper; colour on paper 1816, Jiaqing 1796 – 1820, Taurines studio (1885–1902), 2 Place de la Toue, winter 1981, ZHANG Erkang (China, active late bamboo; Bamboo wrist–rest photographs: recto: Nautch girls, lithograph, black ink on ivory wove 1800s), Landscape after Dai Xi carved with texts in running script Bombay verso: (2 women) c1880s, Lana paper; Women talking 1981, 1896 Qing dynasty 1644–1911, ink 1800s–1900s, bamboo; Bamboo albumen silver print; one leaf from lithograph, black ink on ivory wove on paper perfume holder carved with 15 an album; recto: Maharattas, Lana paper; Old woman 1981, Luohans in low relief 1800s–1900s, Bombay (11 family members) verso: Maharattas, Bombay (7 family

86 ART GALLERY OF NSW annual report 11–12 members) c1880s, albumen silver PETA PHILLIPS SUBTOTAL 1 WORK RODNEY GLICK. DONATED print; one leaf from an album Seto ware (Japan), Sake bottle with TOTAL ASIAN ART DEPARTMENT THROUGH THE AUSTRALIAN Unknown (India), untitled (Flayed gold lacquer mending 1600s, Edo 87 WORKS GOVERNMENT’S CULTURAL tiger) late 1800s–early 1900s, (Tokugawa) period 1615–1868, GIFTS PROGRAM. albumen silver print earthenware, gold lacquer, maki–e European art pre–1900 Rodney Glick (Australia, b1964), Shino ware (Japan), Sake cup with Willoughby Wallace Hooper Everyone no 92 2009, carved and gold lacquer mending 1600s, Edo HANNS AND PAMELA SCHÜTTLER (1837–1912), 2 photographs: painted wood Marked down c1872, albumen (Tokugawa) period 1615 – 1868, Félix Buhot (France, 1847–98), 2 silver print mounted on card; earthenware, gold lacquer, maki–e prints: Winter in Paris 1879, etching, STEPHEN GRANT AND BRIDGET aquatint and drypoint; The cats PIRRIE. DONATED THROUGH THE Killed c1872, albumen silver print SUBTOTAL 5 WORKS mounted on card 1868–69, etching and aquatint AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM. North India, Painting of the Taj LAOS SUBTOTAL 2 WORKS Mahal on ivory c1860s, pigment on Sam Smith (Australia, b1980), ivory with oval brass frame DR PETER ELLIOTT Control structure 2008, hoop pine Seated Buddha on inscribed plinth Modern and plywood, maple plywood, polyester SUBTOTAL 18 WORKS 1500s–1700s, bronze contemporary art resin, fibreglass, mortar, aggregate, ANONYMOUS GIFT. DONATED polyurethane foam, silicone, LCD JOHN YU, IN MEMORY OF INDONESIA THROUGH THE AUSTRALIAN monitor GEORGE SOUTTER GOVERNMENT’S CULTURAL DR PETER ELLIOTT STEPHEN AND MICHELE JOHNS. Attapeu province, Loincloth 1900s, GIFTS PROGRAM. Sumatra, Magic horn stopper of cotton, natural dyes, including DONATED THROUGH THE Jonathan Jones (Australia, b1978), figure riding on a composite animal indigo, and white glass beads AUSTRALIAN GOVERNMENT’S (‘singa’) late 1800s–early 1900s, 2 installations: untitled (domestic CULTURAL GIFTS PROGRAM Sam Nuea, ‘Phaa hom lai’ heads or tails) 2009, fluorescent figure with hair, pony tail, patina Larry Bell (United States of (sleeping blanket) with six lozenge tubes, powder–coated metal, heavily encrusted with smoke as is America, b1939), Cube # 9 (Amber) the Singha, on which it rides shapes and figures 1900s, cotton, electrical wiring natural indigo dye; continuous 2005, coloured glass coated with Tim Maguire (United Kingdom; Sumatra, Magic horn stopper of supplementary weft weaving inconel figure riding on a composite animal Australia, b1958), Red tanks 1990, (‘singa’) late 1800s–early 1900s, Sam Nuea, ‘Phaa tuum’ (shoulder oil on canvas THE JOHN KALDOR FAMILY wood; black patina wrap blanket) with diamond pattern COLLECTION SUSAN ARMITAGE. DONATED 1900s, cotton, natural indigo dye; Thomas Demand (Germany, THROUGH THE AUSTRALIAN DRUSILLA MEGGET continuous supplementary weft b1964), Flare 2002, 28 type C GOVERNMENT’S CULTURAL weaving photographs/ Diasec Lampung, Sumatra, Tapis kaca skirt GIFTS PROGRAM. cloth 1900s, silk and cotton or bast Sam Nuea, ‘Phaa tuum’ (shoulder Urs Fischer (Switzerland, b1973), 2 Ivan Navarro (Chile; United States fibres, wool, sequins, gold and silver wrap blanket) with ‘kuut lek fai’ sculptures: Crisis from 6½ domestic of America, b1972), Backstage/ wrapped thread, mica, and paper– (fern) pattern 1900s, silk, cotton, pairs project 2000–05, cast blue sawhorse 2005, fluorescent card, and natural dyes natural dyes; continuous and aluminium, enamel paint; Lamp from light, metal fixtures and electric discontinuous supplementary weft 6½ domestic pairs project 2000–05, energy JOHN YU, IN MEMORY OF weaving, zone dyeing cast alimunium, enamel paint, light GEORGE SOUTTER bulb, electric cable SUBTOTAL 5 WORKS EDDY BATACHE AND REINHARD North Java, Batik cloth (‘kain HASSERT Andreas Gursky (Germany, panjang’) with ‘megamundung’ MYANMAR Eddy Batache (France; Australia), b1955), 3 photographs: Centre (heavy with clouds) motif 1900s, Georges Pompidou 1995, type C cotton DR PETER ELLIOTT 8 photographs from the series Francis Bacon in France 1977–80 photograph; Dusseldorf, Flughafen Lampung, Sumatra, Woman’s jacket 2 sculptures: Seated Buddha 1926, (printed later): Vaux le Vicomte II 1994, type C photograph; Untitled 1900s, homespun and machine bronze; Mandalay–style Buddha in 1977 (printed later), inkjet print; XII (No.3) from the series Untitled XII loomed cotton, cowrie shells, and Bhumisparsa Mudra early 1900s, Paris, rue Saint Guillaume 1980 2000, type C photograph mounted mirrors marble (printed later), inkjet print; Paris, rue on Plexiglass in artist’s frame Palembang?, Sumatra, Tie–dyed Saint Guillaume I, with Reinhard Jeff Koons (United States of JOHN YU, IN MEMORY OF decorative cloth 1900s, silk, Hassert 1980 (printed later), inkjet America, b1955), White terrier from GEORGE SOUTTER probably synthetic dyes, silver– print; Paris, rue Saint Guillaume the series Made in heaven 1991, wrapped yarns Man’s blanket 1900s, cotton II 1980 (printed later), inkjet print; polychromed wood with two–faced and mixed–faced Paris, rue Saint Guillaume III 1980 Sol LeWitt (United States of supplementary weft patterning, SUBTOTAL 6 WORKs (printed later), inkjet print; Paris, America, 1928–2007), 4 drawings: countered weft twining, pom–poms rue Saint Guillaume IV 1980 Wall drawing #337: Two part gathered along the seam, and JAPAN (printed later), inkjet print; Paris, rue drawing. The wall is divided running overhand knots Saint Guillaume V 1980 (printed JOANNA AND EDMUND CAPON vertically into two parts. Each part later), inkjet print; Paris, rue Saint is divided horizontally and vertically Yokoi KINKOKU (Japan, 1761– SUBTOTAL 3 WORKs Guillaume VI 1980 (printed later), into four equal parts. 1st part: Lines 1832), Landscape 1806, hanging inkjet print scroll; ink and light colour on silk in four directions, one direction NEPAL in each quarter. 2nd part: Lines JULIE DAVIES. DONATED DR PETER ELLIOTT in four directions, superimposed DR PETER ELLIOTT THROUGH THE AUSTRALIAN progressively. 1971, pencil; Wall Small Buddhist travelling shrine Edo Vajrasattva 1500s–1600s, wood GOVERNMENT’S CULTURAL drawing #338: Two part drawing. (Tokugawa) period 1615 – 1868, GIFTS PROGRAM lacquer; wood SUBTOTAL 1 WORK The wall is divided vertically into Alex Rizkalla (Egypt; Australia, two parts. Each part is divided b1950), 2 sculptures from the LESLEY KEHOE GALLERIES VIETNAM horizontally and vertically into series Remains/Vestiges: dispersal four equal parts. 1st part: Lines OGAWA, Kazumasa and ROSS AND IRENE LANGLANDS IN 1993: Remains/Vestiges: dispersal in four directions, one direction TAKASHIMA, Suteta (Japan, MEMORY OF GEORGE SOUTTER 1993, mixed media; clock, wood; in each quarter. 2nd part: Lines 1860–1929 and Japan), Chirimen Unknown (Viet Nam), Seated Remains/Vestiges: dispersal 1993, book: Illustrations of Japanese in four directions, superimposed Buddha early 1600s, Le dynasty mixed media; wooden shoe moulds Life, vol.1 1896, 12 handcoloured progressively. 1971, coloured c1420–1787, laquer collotypes on crepe paper pencil; Wall drawing #303: Two part

appendices 11–12 87 drawing. 1st part: circle, square, Major 2008, HDV video recording, ANONYMOUS GIFT Artists 1990 (printed 2007), type C triangle, superimposed (outlines). 16:9, colour, sound Peter Coffin (United States photograph 2nd part: rectangle, parallelogram, Mike Parr (Australia, b1945), of America, b1972), untitled Anne Zahalka (Australia, b1957), trapezoid, superimposed (outlines) 2 sculptures: Aluminium from (spiral, pop–up photo album) 4 photographs from the series 1977, black crayon; Wall drawing the mouth 2001, 5 aluminium 2006, spirally arranged colour Open house 1995: Wednesday #23: Drawing series A on aluminium sculptures each on 2 bases, Electrophotographs, mechanism, 8:40pm 1995 (printed 1997), type C box. One series on each face 1969, each with shelf, cd and cd player; black cloth inside covers, brown photograph; Sunday 2:09pm 1995 painted aluminum box with pencil Yourizen 2008, life cast self–portrait vinyl with gold double line motif (printed 1997), type C photograph; Sol LeWitt (United States of head in silicone rubber and plaster covered photo album Saturday 5:18pm 1995 (printed America, 1928–2007), 2 paintings: cast gilded with silver leaf, and Benjamin Lord (United States 1997), type C photograph; Sunday Wall drawing #1091: arcs, circles mantilla of America, b1972), Humaliwo 11:08am 1995 (printed 1997), type and bands (room) 2003, synthetic chambers 2010, black laminated C photograph PETA PHILLIPS polymer paint; Wall drawing #870: MDF stereoscopic stand with viewer SUBTOTAL 18 WORKS A black wall divided horizontally by a Jiri Anderle (Czech Republic, made from metal, mirror and black wavy line. Top: flat; bottom: glossy b1936), 4 prints: Dívka a Πr2, plastic, three brown cardboard TOTAL WESTERN ART 1998, synthetic polymer paint softground etching; Five figures portfolios containing: 1. One colour DEPARTMENT 84 WORKS Sol LeWitt (United States of 408, etching and aquatint; Konto offset lithograph printed on white America, 1928–2007), 5 sculptures: student, softground etching; concertina card and one beige card Three–part variations on three Zvestovani 1990, etching with printed explanation of project; COLLECTION – different kinds of cubes – elements 2. 12 colour offset lithographs HANNS AND PAMELA SCHÜTTLER for serial projects: 2 2 3 (4 parts) printed on 12 white cards (1 image LOANS 1975, baked enamel on steel; Jean Arp (France, 1887–1966), each card); 3. 12 colour offset * Renewed loans Incomplete open cube 4/5 1974, Untitled 1959, etching lithographs printed on 12 white baked enamel on aluminium; Otto Dix (Germany, 1891–1969), cards (1 image each card) and one 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 Works lent to the Gallery Incomplete open cube 5/8 1974, Der Krieg 1924, etching Orlan (France, b1947), One Orlan baked enamel on aluminium; BRIAN BLANCHFLOWER George Grosz (Germany, 1893– body of books 2007, colour inkjet Incomplete open cube 7/21 1974, 1959), Memory of New York 1915– photograph Brian Blanchflower, Canopy baked enamel on aluminium 16, photo–lithograph LI (Scelsi I – IV) 2001, oils, wax Richard Long (England, b1945), LEA AND HILTON CANNON medium, pumice powder, acrylic on Fernand Léger (France, 1881– Stone line 1977, blue metal stone laminated hessian 1955), 2 prints from the portfolio Cecil Bostock (Australia, 1884–1939), 1 photograph and Nam June Paik (Korea; United La Ville 1959: The two birds 1959, BUCHMANN GALERIE States of America, 1932–2006), 3 colour lithograph; The Eiffel Tower 1 portfolio of photographs: Pax Wolfgang Laib, Reishaus 2007– time–based media sculptures: TV 1959, colour lithograph Vobiscum 1932–1935, gelatin Buddha 1976, television monitor, silver photograph; A portfolio of art 2008, Indian granite, soot and Joan Miro (Spain, 1893–1983), video camera, painted wooden photographs 1917, portfolio of 10 sunflower oil, rice Aidez l’Espagne 1937, pochoir Buddha, tripod, plinth; Kaldor gelatin silver photographs (colour stencil) *CLIVE EVATT candle 1996, closed–circuit camera, DR MARIANA MINERBO IN tripod, 3 metal television shells, 2 Emil Orlik (Czechoslovakia; MEMORY OF HER FATHER, AUREL Rene Magritte, La belle captive television monitors, candles; TV Germany, 1870–1932), Woman ABRAMOVICI 1931, oil on canvas cello 1976, transparent synthetic in a compartment, woodcut Aurel Abramovici (Romania, Andy Warhol, Flowers 1964, colour polymer resin, television monitors, Max Pechstein (Germany, 1881– 1901–61), 2 photographs: untitled screenprint on canvas video tape and player, wood, mixed 1955), Klouruback 1917, woodcut (sailboats in a harbour) 1930s, media *COMMONWEALTH BANK OF Jacques Villon (France, 1875–1963), gelatin silver photograph; untitled AUSTRALIA THE LEWITT ESTATE TO 3 prints: Portrait of Félix Barré 1913, (winter scene in a village) 1931, drypoint; Portrait of the artist 1955, gelatin silver photograph attrib. Yõshin, Kanzan and Jittoku THE JOHN KALDOR FAMILY 19th century, single six–fold screen; COLLECTION AT THE ART etching, drypoint and aquatint (in WAYNE PRIDDLE ink on silver ground GALLERY OF NEW SOUTH WALES three colours); Marcel Duchamp 1956, etching Sue Paull (Australia, b1955), Sol LeWitt (United States of DROGA 8 COLLECTION Wayne Brown 1997, gelatin silver America, 1928–2007), White ALEXANDRA AND HANNAH photograph SHEN Shaomin, I want to know Styrofoam on black wall 1994, SEABROOK what infinity is 2011, silica gel Styrofoam, synthetic polymer paint Robert Priseman (England, b1965), ANNE ZAHALKA. DONATED simulation, wooden deck chair THROUGH THE AUSTRALIAN MIKE PARR. DONATED Mortuary from the series Hospital GOVERNMENT’S CULTURAL *JAMES OSWALD FAIRFAX AC THROUGH THE AUSTRALIAN 2005, oil on linen GIFTS PROGRAM Three scenes from the ‘Tale of GOVERNMENT’S CULTURAL SUBTOTAL 64 WORKS Genji’ late 19th century, single GIFTS PROGRAM Anne Zahalka (Australia, b1957), 2 photographs: The writer (Dr Michael six–fold screen; ink, colour and gold Mike Parr (Australia, b1945), 6 Photography Haerdter/director, Künstlerhaus on paper multimedia: Cartesian Corpse, Bethanien) from the series performance for as long as ACCESSIONED 2011 *JOHN KALDOR FAMILY Resemblance 1987 (printed 2007), possible, 21–22 November 2008 Kerry & Co (Australia, estab.1884– COLLECTION 2008, HDV video recording, 16:9, Ilfochrome photograph; The girls closed 1917), The giant fig–tree #2, Cronulla beach from the series Francis Alÿs, New York triptych colour, sound, 33:31:36; Cart NSW c1890–1910, albumen 1995–1996, triptych: oil on canvas, Corpse 2008, HDV video recording, Scenes from the Shire 2007, type C photograph photograph enamel on metal series consisting 16:9, colour, sound, 2 hours; of one painting by Francis Alÿs Artesian Bore 2008, HDV video GEOFF AND VICKI AINSWORTH Anne Zahalka (Australia, b1957), and two sign paintings by Enrique recording, 16:9, colour, sound, Allan Sekula (United States of 2 photographs from the series Huerta and Emilio Rivera; Untitled 2:25:39; Flies 2008, HDV video America, b1951), Meditations on a Artists 1990: Artist #47 (Debra 1999, mixed media on tracing recording, 16:9, colour, sound, triptych 1973–1978, three type C Phillips) from the series Artists paper; Untitled (study for The 10:07 mins; Major/ Minor 2008, photographs, reading table, chair, 1990, Duraflex photograph; Artist modern procession) 2002, collage, 16mm film converted to video, 16:9, booklet #33 (Anne Zahalka) from the series oil and pencil on tracing paper; colour, silent, 9:15 mins; Minor/ 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 () (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 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 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 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 black ink, dry brush and brown ink coloured crayons heightened with 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 c1938, oil on canvas screenprint, collage 1931, 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 TOTAL ALL DEPARTMENTS Cara Hickman B Sc (Arch) Security supervisor (Museum Studies) (maternity leave) 266 WORKS GIFTED (on maternity leave) Bryan Reynolds Anne Gerard–Austin TOTAL WORKS PURCHASED Penny Sanderson Security officers Senior curator, European art, AND GIFTED IN 2011–12: 387 Senior graphic designer David Anderson pre–1900 Jean–Antoine Watteau, Study of Analiese Cairis Matthew Bates Richard Beresford BA (Hons), three male figures c1713, red chalk New media design manager Emilio Cruz MBA, PhD Jo Hein Thomas Fielding Curator, European prints, drawings Simon Gavaghan Graphic designers and watercolours Karandeep Gill STAFF, Karen Hancock Peter Raissis BA (Hons) Telly Linakis VOLUNTEERS Matt Nix Assistant registrar (curatorial), Milorad Linjakovic western art AND INTERNS Managing editor Valita Manu Judy Peacock BA, Grad Dip App Julie Donaldson Dane Mcintosh Sc, M Art Admin Rights and image licensing manager Robert Partridge Donna Brett BA MA (Art History , BE Curator, contemporary art Staff Hudson Qureshi and Theory) John Saleh Natasha Bullock BA (Hons), As at 30 June 2012 Postgrad Dip (Art Curatorship and Rights and image licensing Peter Shepherdson Museum Management), MA coordinator James Utatao Assistant curators, Director Michelle Andringa BA (Art History), Lorraine Xuereb contemporary art Dr Michael Brand BA (Hons) MA, MA (Fine Arts) Team leaders, Gallery services Anneke Jaspers BArtTh, MA PhD (History) Image licensing officer Kuldeep Duhan (Museum Studies) Executive personal assistant to the Megan Young Janak Kadian BA Robert Milne Joel Mu director Manager, AV services Sheila Weir Senior curator, photographs Lisa Franey BA (Hons) Laurence Hall BA (Com) Gallery officers Judy Annear BA Head, philanthropy Coordinators, AV services Arian Arghandewal Assistant curators Jane Wynter BA, LLB John Harman Jerome Aurelio Vigen Galstyan Mark Taylor Philanthropy manager Samih Baket Eleanor Weber Fiona Barbouttis BA, Dip Ed, M Film program coordinator Ian Bolt Head curator, Asian art Art Admin Robert Herbert Arthur Boucas Jackie Menzies OAM, BA (Hons), Philanthropy and development Manager, building services Kevin Callope MA manager Luke Simkins Anthony Caracoglia Curator, Chinese art Clare Temple Ana Crespi Manager engineering services Yin Cao BA, MA, ABD Romeo Domingo Deputy director Ray Cunico Adv Dip (Archaeology) Director exhibitions and MechEngineering Terry Forde publications, building and security Kathryn Glasgow Curator, Japanese art Maintenance officer David Grech Khanh Trinh Pompili BA, MA, PhD Anne Flanagan Dip Int Design, Dip Rob Schumacher Ed, Dip Ed Vis Arts Brian Hope–Johnstone Senior coordinator, Asian Programs HVAC plant technicians Sheraj Hundal Senior Exhibitions Manager Ann MacArthur BA (East Asian Julio Angulo Rita Ibrahim Erica Drew BA (Hons) Studies), M Intl Mgmt Guiseppe Geranio Carlos Kacanas Exhibitions Curator Assistant registrar, (curatorial) Trade assistant Peter Karamanis Asian art Jacqueline Strecker BA (Hons), Lindsay Drummond Rajesh Kodwani Natalie Seiz BA (Hons), M Art PhD Senior lighting technician Juan Lira Admin Exhibitions assistant Rashed Mahmud Simm Steel Grad Cert (Lighting) Coordinator, Asian programs Elizabeth Lynch Manish Malik Head, installation Stuart Matheson and coordinator Community Exhibitions project officer, Nikolaus Rieth Dip Proj Mgt Ambassadors Jamil Mati installation Stefanie Tarvey Chye Lim PhD (Philosophy) Installation Officers Emil Matrljan Senior registrar, exhibitions Mary–Anne Cornford Kevin Nguyen Head curator, Australian art Charlotte Davy BA (Art History), Brett Cuthbertson Ray Nguyen Wayne Tunnicliffe BA (Hons), MA, Adv Dip (Fashion Design) John Freckleton Tom Pang M. Art Admin Peter Tsangarides Registrar, exhibitions Gregory Petterson Senior curator, Australian art Charlotte Cox BA, Grad Dip Stores officer Dominque Pirrie (19th century and modern collection (Works of Art) Steve Peters JP Stephen Ransome to 1960) Assistant registrar Stores Assistant Peter Rawlins Deborah Edwards BA (Hons), M Sophie Moran BA, M (Mus Studies) Alyosha Pearce Debasish Ray Phil Sharat Sharma Senior display technician, carpentry Assistant registrar, (curatorial) Ticketing supervisors Martin Smyth Bill Viola Australian art Chris Aronsten Lisa Siale Carmel Crisp Senior display technician, painting Helen Campbell BA (Hons), Grad Joan Standfield Dip (Museum Studies) Ticketing officer Michael Brown Russell Ward Minette Brewin Display technicians, carpentry Gisela Weber Assistant curators, Australian art Denise Mimmocchi BA (Hons), MA Information officers Gary Bennett Director, curatorial, (Art History and Theory) Michelle Berriman BA (Hons), Luke James Anthony Bond OAM B Ed (Hons) Natalie Wilson BA (Visual Arts), MA Dip HE Ram Mudaliar Curatorial assistant (Art History and Theory) Lucinda Chambers Display technicians, painting Macushla Robinson Kate Dorrough Daniel Green Assistant curators Tracey Keogh Alan Hopkinson Collection systems manager Jasmin Dessmann Candice Reid–Latimer Theodore Tsanidis Jesmond Calleja BA Jade Williamson Lisbeth Star Head, security and gallery services Coordinators, study room Assistant registrar Print production manager/studio Anthony Morris Deborah Jones BA, Grad Dip. Nicholas Yelverton coordinator

94 ART GALLERY OF NSW annual report 11–12 Senior curator, Australian works Bookings officers Head, photographic studio Wholesale and children’s books on paper Karen–Anne Coleman Jenni Carter Cassandra Willis Hendrik Kolenberg Rachael Hallinan Photographers Wholesale stock and Curator, Australian prints Amber Reid Felicity Jenkins sales officer Anne Ryan BA (Hons), M Art Admin Image library researcher Diana Panuccio Lynne Barwick BA (Visual Arts), MA (Writing) Curators, Aboriginal and Torres Eric Riddler Christopher Snee Mim Stirling Stock and sales officer Strait Islander Art Coordinator, Brett Whiteley Studio Director, finance and corporate Daniel McCready Jonathan Jones BA (Fine Arts) Alec George Dip Ed Cara Pinchbeck BA (Visual Arts), services Bookshop stores officer Administrative assistant, MA (Visual Arts) John Wicks FCPA, B Bus Bevynn Wilkerson Brett Whiteley Studio (Accounting) Coordinator, Aboriginal programs Emma Collerton BA (Visual Arts), Venue manager Executive assistant, finance and Ashlie Hunter BCA (Visual and M Mus Studies Caroline Harvey Performing Arts) (maternity leave) secretariat Venue coordinator Amanda Peacock BA (Visual Arts), Acting head, conservation Moira Guthrie Carolyn Murphy BA, Grad Dip Karen Shapiro–Lee Dip. Ed. Financial controller (Museum Studies), B App Sc Director, Marketing and Head, librarian services Surangani Kulasinghe FCMA, (Cons), MA (Writing) Development Steven Miller BA (Hons), B Theol, CGMA, CPA, B Bus, (Accounting), Kirsten Downie Grad Dip IM (Archiv), M T h e o l Senior conservator, paintings AIB, IMS Dip Paula Dredge B App Sc (Cons), Business development manager Senior librarian/ technical services Accounts payable supervisor BA (Fine Arts) (on leave) Holly Vale BA (Hons) Kay Truelove BA, Dip Lib Graeme Callaghan Conservator, paintings Marketing manager Librarians Accounts payable clerk Simon Ives Claire Macready Claire Eggleston BA, Dip IM Maria Montenegro Matt Cox BA (Indonesian Studies), Media relations managers Vivian Huang B App Sc, LIM Assoc MA (Art History and Theory) Management accountant Dip Arts Bernadine Fong B Bus (Banking Susanne Briggs Assoc Dip B (On leave) Studies Dip Counselling Robyn Louey BL Arch, Grad Dip Andrea Nottage and Finance) IM (Lib) Claire Martin BA (Hons), Dip Michelle Wassall Accounting clerks Head, public programs Rita Briguglio Marketing Assistant conservator Corporate partnerships manager Sheona White BA, Post Grad Prof Melissa Harvey Viva Chelvadurai Art Studies and Visual Arts Penny Cooper BA (Art History) Conservator, works on paper Manager, information and Senior coordinator, public technology Campaign manager Analiese Treacy BA (Hons), Sangeeta Chandra and tertiary programs and MA (Fine Art Conservation) Maurice Cirnigliaro M Bus Art After Hours (maternity leave) (Information Technology) Development coordinator Josephine Touma Clare Temple Conservator Manager, network operations Public programs coordinator Sarah Bunn Theo Papalimperis Marketing executive Andrew Yip BA (Hons) (Art History), Svetlana Mironov Head, objects conservation Front of house systems manager PhD Deepak Duhan M Sc (IT) MBA (IT) Donna Hinton MA Applied Science Volunteers Program assistant (Cons), Dip Museum Tech Help desk officers Ekaterina Abramova AGS VOLUNTEER GUIDES Conservator, objects Prativa Gurung M Sc (IT) Coordinator, contemporary art Kerry Head Roseann Papalimperis Carolyn Bethwaite, volunteer guides public programs coordinator 2012 Head, frames conservation Manager, web Alexandra Gregg Malgorzata (Margaret) Sawicki Brooke Carson–Ewart Inez Abbott; Victoria Alexander; Coordinator, photography education BA (Cons), MA App Sc (Mat Cons), Manager, new media Dale Amir; Carolyn Andrew; Jan programs PhD Francesca Ford Angus; Margaret Anthony; Phillippa Amanda Peacock BA (Visual Arts), Baird; Adriana Bakovic; Robyn Conservators, frames Online producer, content and Dip Ed Bathurst; Annabel Baxter; Sue David Butler projects Bearman; Dale Bird, Jenny Birt; Art After Hours coordinator Barbara (Basia) Dabrowa MA Kirsten Tilgals BA (Comm) Ashlie Hunter BCA (Visual and Rosalie Blackshaw; Lilo Blyton; (Cons) Manager, human resources Performing Arts) (maternity leave) Jan Bressan; Vicki Brown; Cathy Senior conservator, Asian art Jennifer Albert Cameron; Lisa Campbell; Bella Art After Hours assistant Yang Yan Dong Donna Grubb Church; Catherine Clelland; Liz Emma Robertson Assistant conservators Human resources coordinator Crenigan; Sally Cullen; Maragret Senior coordinator, education Thomas Langlands Yingying Mai BA (Art Ed), M Art Cunningham; Lorraine Davids; programs Nick Strike MA (Visual Arts) Admin, M Art and Design Ed Jackie De Diana; Mary de Mestre; Victoria Collings BA (Hons), MA Senior registrar, collections Human resources coordinator Allan Digby; Anna Duggan; Jill (Museum Studies) Emma Smith BA, Grad Dip Kimberley Milicevic Dunlop; Patricia Elliott; Lorraine Ennis; Diane Everett; Louise Fennel; Coordinator, 7–12 education Decorative Arts Manager, Administration and Gwen Ferguson; Robyn Flick; Judy programs Registrar, collections Strategy Friend; Pam Fuller; Caroline Furniss; Leeanne Carr B Ed (Visual Arts) Amanda Buxton BA, Dip Trish Kernahan Jennifer Gardiner; Mary Lou Gilbert; Senior coordinator, online public (Prehistoric and Historical Administration services supervisor Kalina Glajz; Anne Gray; Deirdre programs Archaeology), Grad Dip Louise Fischer BA, MA Greatorex; Alison Gross; Callie (Museum Studies) Jonathan Cooper Dip Art Ed Administrative support officer Guinness; Alisa Halkyard; Estelle Access and K–6 programs Registrar Deborah Spek Harman; Jennifer Harrison; Eve Brent Willison BA (Visual Arts) Harrison; Annie Herron; Catherine coordinator Manager, retail and publishing Danielle Gullotta Assistant registrars Hickson; Shirley Hillman; Helen Richard Harling BA (Hons) Holmes; Pia Hughes; Roslyn Coordinator, Open Gallery and Caroline Geraghty BA (Art History and Criticism), M Art Admin Retail operations manager Hunyor; Marie Huxtable; Elizabeth Artside In Rebecca Allport Janssen; Margot Johnston; Diane Louise Halpin Paul Solly Graeme Robinson Book buyer and stock control Kempson; Jill Kloster; Kay Knight; Clerical manager Nick Strike MA (Visual Arts) Denise Faulkner BA (Fine Arts) Pat Kreuiter; Dorothea Labone; Camilla Shanahan Meri Lane; Jenny Latham; Shirley Paul Thoms Product developer Lilienthal; Adele Lingard; Sue Maryanne Marsh

appendices 11–12 95 Lowes; Fiona Loxton; Angela Cummings; Patricia Curtis; Beverley Beverley von Lucken; John Wagner; programs (Danielle Gullotta); Luessi; Susan Ma; Catherine Mairs; Darby; Ann Dawson; Francine de Jeffrey Wai–Yee; Julie Wallace; June Jessica Hope, University of Sydney, Susan Marjoram; Sandra Marsh; Valence; Gail Dendle; Lyn Dening– Wangmann; Norma Warman; Gail photography (Judy Annear); Deirdre Joan Massey; Jann McClintock; Franklin; Charlotte Denison; Diane Watt; Rita Weberbauer; Maggie Cannon, Melbourne University, Judy McComas; Juliet McConochie; Devine; Ann Dodd; John Doherty; Weiley; Paul Weingott; Peter contemporary art (Natasha Bullock); Frances McNally; Cherry McWilliam; Lindsay Donnan; June Donsworth; Whawell; Annie Wicks; Beverley Sarah Freeman, University of Susan Mitchell; Gwyneth Morgan; Ruth Dornan; Jutta Dubiel; Judy Wilson; Joanne Wilson; Wood Jenni; , conservation (Carolyn Sian Morgan Hall; Janet Morse; Les Duff; Catherine Duggan; Anna Barbara Worrall; Jill Wunderlich Murphy) Moseley; Christine Moult; Catherine Duschletta; Caroline Eburn; Gordon Muir; Maureen Murphy; Diana Elliott; Judy Embrey; Daile Falconer; Northedge; Ingrid Farago; Eva Feher; Yvonne STAFF Edwina O’Donnell; Dianne Ottley; Fell; Coralie Fergus; Carol Forsythe; CONTEMPO PUBLICATIONS, Angeline Oyang; Mandy Palmer; Kitty Gassner; Yvette Geczy; Andrea Brown, President Phillip Good; Patricia Governor; PRESENTATIONS Wendy Payne; Philippa Penman; Nicole Boeree; Michelle Cottrell; Sheba Greenberg; Maria Greene; Carolyn Penn; Penny Porter; Keith Candice Gilmore; Dan Henry; AND RELATED Mary Grice; Beverley Griffiths; Potten; Caroline Presland; Judi Ooma Khurana; Hayden McClean; ACTIVITIES Kirsten Gross; Janette Habel; Redelman; Jenny Reed; Kate Alison McDonald; Prudence Aiko Hagiwara; Ben Hall; Simone Reede; Dilys Renham; Pamela Rex; McKiernan; Lynleigh McPherson; Hancock; Sue Hancock; Karen Peter Richardson; Pam Rogers; Ana Leona Ng; Gaston Nguyen; Hannon; Carmella Harding; Averil Ross; Christine Rustamzadeh; Kica Lynn Oxford; Alicia Parlby; Abbreviations: Hargreaves; Ine Harrison–Latour; Saar; Louise Samer; Pauline Sayle; Renee Siros; Lee Stylianou AAANZ: Art Association of Lilli Scott; Beverley Shea; Jo–Ann Susan Hartigan; Cynthia Haskell; Australia and New Zealand Smith; Beatrice Sochan; Amanda Fran Hellier; Ann Henderson; AGSA: Art Gallery of South Australia Susan Hill; Mary Hillier; Sally Hollis; Tertiary internships Solomon; Denyse Spice; Libby AGSOC: Art Gallery Society Stanton Cook; Fiona Still; Dianne Jenny Hough; Diana Hudson; (Gallery supervising staff member) AICCM: The Australian Institute of Stinson; Caroline Storch; Dorinda Margaret Hunt; Madeline Hunter; Zuza Zochowski, Conservation the Conservation of Cultural Material Sullivan; Jennifer Sutton; Susan Paul Hurley; Teresa Jakubowski; (Barbara Dabrowa); Dominic Swan; Prue Todd; Sam Tonkin; Lee Patricia James; Heather Jelfs; Shanahan, University of Canberra, ANU: Australian National University Tredinnick; Jan Tydd; Susan Urwin; Jennifer Jenkins; Felicita Jennings; registration (Emma Smith); COFA: College of Fine Arts Cilla Warre; Patricia Wilson; Brenda Krystyna John; Patricia Johnson; Alexandra Sutcliffe, prints and NGA: National Gallery of Australia Karen Johnston; Marg J Johnston; Woods; Angelica Yezerszi; Sally drawings (Peter Raissis); Anna NAS: National Art School Young; Linda Zurnamer Nita Jones; Sandra Jones; Rhonnie Lutkajtis, University of Sydney, NGV: National Gallery of Victoria Joyce; Craig Karsten; Donna Kelly; public programs (Andrew Yip); COMMUNITY AMBASSADORS Sue Kemp; Vere Kenny; Sue Kerr; Marian Simpson, University of NPG: National Portrait Gallery Kyumi Ahn; Kyung–hwa Ahn; Suzanne Kerr (P); Jullette Khouri; Sydney, exhibitions and public QAG: Queensland Art Gallery Liwanna Chan; Peter Chan; Simon Helen Kidman; Ursula Knight; Ira programs (Josephine Touma and UMelb: University of Melbourne Kowalski; Triny Lademann; Brenda Chan; Jean Yueh–chen Chen; Hà Erica Drew); Francesca Ferrari, UNSW: University of New Phong Lû; Aiko Hagiwara; Daisy Lee; Laura Lyubomirsky; Kristine UTS, public programs (Andrew South Wales MacKenzie; Sue Mandelberg; Hsu; Hiromi Kamokasu; Elizabeth Yip); Stephanie Maxwell, University USyd: University of Sydney 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 Judy Annear (senior curator, Matsumoto Lambert; Linna Le Glen McLellan; Margaret McLellan; of Sydney, conservation (Carolyn photographs) Boursicot; Jean Lee; Hoim Lee; Marlene McPherson; Emma Murphy); Alexander Boyes, Exh curator: What’s in a face? Hyun Ju Lee; Lin Su Jen; Jennifer Mendelsohn; John Menzies; Mary University of Sydney, conservation aspects of portrait photography, Mok; Kaoru Morioka Murray; Meppem; Julie Miller; Robin Miller; (Lisa Charlston); Sarah Heenan, AGNSW, 24 Sept 2011 – 5 Feb Franklin M.Y. Nieh; Kana Nishimuta; Sheilah Milroy; Susan Mitchell; Scott University of Sydney, conservation 2012 Angeline Oyang; Keiko Parsonson; Mitchelmore; Barry Molloy; Ray (Donna Hinton); Cait Burgoyne, Irene Tseng; Helen Changken Moss (P); Hilary Moxon; Colleen University of Melbourne, Exh curator: Making sense: Wong; Janet Wu; Xie Qianwen, Mulvey; Gael Murphy; Yvonne conservation (Carolyn Murphy); contemporary LA photo artists, Sharon; Nahomi Yoshizawa Newhouse; Kate Noble; Helena Georgina Cole, University of Sydney, AGNSW, 11 Feb – 13 May 2012 Novy; Brian Nugent; Sandy Nugent; audience research (Josephine Exh curator: Jacky Redgate: the AGS TASK FORCE Ruth Osen; Sue Pajor; Glenda Touma); Hayley Munro, University logic of vision, AGNSW, 2 June Paradine; Jenny Parker; Maria of Canberra, conservation (Simon Susan Dadswell, task force – 9 Sept 2012 coordinator 2012 Pirello; Dian Pitson; Michael Poole; Ives); Nicole Brun, University of Judy Preshaw; Cynthia Pretty; Sydney, web and new media Exhibition managing curator: Dianne Adams; Robin Amm; Greeba Pritchard; Marie Puntigam; (Brooke Carson–Ewart); Lauren Eugène Atget: Old Paris Jan Anderson; Julie Apps; Greta Margaret Radford; Patricia Reed; Turton, UTS, media (Claire Martin); (forthcoming 2012 ) Archbold; Mara Ashmore; Ruth Peter Richardson; Kate Richmond; Danny Zhu, University of Sydney, Attwood; Meredith Aveling; Margot Exhibition – Curator ‘a history of the Astrid Robinson; Carol Roth; Barry curatorial (Yin Cao); Gabriela Bain; Chris Baines; Julia Baldo; photograph in Australia’, AGNSW Rushton; Kim Sandford; Maryanne Yerbury, UTS, legal (Sandra Bella); Victoria Ball; Jennifer Barnes; Linda (forthcoming 2015 ) Sansom; Libby Scanlan; Luisa Katrina Savage, University of Barnes; Kaye Barrett; Sandra Scutts; Annette Searle; Cassie Sydney, public programs (Andrew Article: ‘Why photograph people? Beesley; Diana Berlyn; Anne Sheehan; Judy Sherman; Irene Yip); Jenny Alder, Deakin University, Sousveillance from Hippolyte Blomfield; Georgina Blythe; Joyce Shillington; Dana Skakavac; Joyce conservation (Margaret Sawicki); Bayard to Sue Ford’, Artlink vol 31 Botta; Spencer Bough; Penny Smith; Victoria Smyth; Lesley Ellen Smith, University of Sydney, no 3, 2011, pp 36–39 Bowen; Susan Boyd; Valda Brook; Sommerville; Merrilyn Sowell; Judith conservation (Carolyn Murphy); John Buchanan; Sue Buchanan; Cat essay: ‘Jenny Watson: Stefanek; May Steilberg; Leslie Eilysh Toose, University of Sydney, Geraldine Bull; Susan Bye; Wendy painter of the mirror’, Volume Stevenson; Jenny Strachan; Peter conservation (Simon Ives); Nicole Canning; Jennifer Carey; Annette one: MCA collection, Museum of Strand; Ann Sutherland; Marsha Isaakson, UTS, exhibition design Carlisle; Mary Casey; Faith Charity; Contemporary Art Australia, Sydney Swenson; Julie Tariel; Anne Taylor; (Tanguy Le Moing); Tan Siu Li, Susan Charlton; June Chatfield; 2012, pp 431–440 Adrian Thaweeskulchai; Irene Thom; Singapore Art Museum, public Joyce Cheam; Stephanie Chinnock; Kathryn Ting; Susan Tompkins; programs (Sheona White); Yvette Media interview: ABC radio for Birgit Christensen; Jill Clapin; Annie Judy Tribe; Judith Twist; Mary Wilson, COFA, web and new media Making sense: contemporary LA Clarke; Lea Clarke; Rhonda Clasper; Unwin; Ursula Ure; Lynda Vaculik; (Brooke Carson–Ewart); Katherine photo artists Hill Cook; Jenny Coolican; Gabrielle Theodora Vagenas; Valerie Vogt; Sheldon, Alfred University, access Cousins; Peter Craswell; Elizabeth

96 ART GALLERY OF NSW annual report 11–12 Judge: San Pellegrino Student Lecture: ‘Jan van Huysum: the rise Conference chair: ‘The Aftermath, SA Cocktail Party, AGSA, Adelaide, Photography Award 2011 and strange demise of the baroque photography, history, memory’, 28 February 2012 flower piece’, AGS diploma course, session co–convenor with Ann Lecture: Postwar photography in Talk: AGSA Members Preview, 21–22 March 2012 Shelton (NZ), Together<>Apart, Japan and Yasumasa Morimura, AAANZ annual conference, USyd, 1 March, 2012 Innovasian: Asian art 1960s to now, Anthony Bond OAM (director, July 2012 Talk: AGSA contemporary Arts of Asia lecture series, AGNSW, curatorial) collectors, AGNSW contemporary 12 July 2011 Paper: ‘Seeing and not seeing: Cat essay: ‘John Beard greets photographing history in Germany collection benefactors group and Lecture: The dilemmas of post–war the Spinx’ co–authored after 1945’, AAANZ conference, Departure Members Preview, AGSA, Australian photography 1950–70, monograph with Dr Stephen NZ December 2011 1 March 2012 European preludes and parallels: Art Bann, Hardie Grant, Melbourne, Talk: The Balnaves Foundation and Australia diploma lecture series Nov 2011. Talk: ‘Joseph Beuys and the AGSOC, 31 Aug and 1 Sept 2011 ‘Energy Plan’’, USyd, Private Dinner, AGSA, 1 March, Essay: ‘Swapping public and April–June 2012 2012 Lecture: August Sander and private’ Cultural Hijack: Rethinking Talk: ‘Weimar photography’, The Talk: Contemporary collectors the utopian vision in Weimar Intervention, Ed Ben Parry with private function, AGSA, 2 March, mad square: modernity in German photography, Apocalyptic visions Myriam Tahir and Sally Medlyn, 2012 lectures: Creativity to catastrophe in Liverpool University Press, 2012. Art 1910–1937, Sept 2011 Talk: Gertrude contemporary the Weimar Republic, AGSOC, Symposium: ‘A battery of ideas: Review: ‘Susan Best Visualising breakfast, AGSA, 3 March 2012 4 Sept 2011 Feeling: affect and the feminine reading Beuys today’, USyd, 5 May Talk: with artist Richard Bell, AGSA, Lecture: On Bill Henson, AGSOC, avant–garde” Art and Australia 2012 3 March 2012 16 Feb 2012 Review: ‘Ken Unsworth, “As I Lecture: ‘Thomas Demand and The Talk: University of Adelaide Public lecture 2:’ Bill Henson’, crossed the bridge of Dreams”’ Dailies’, Kaldor Public Art Projects, contemporary art course, AGSA, 5 University of Technology, Sydney Art and Australia 12 and 19 Apr 2012 March, 2012 PSM, Sydney 5 Mar, 2012 Lecture: ‘Joseph Beuys’, USyd PhD candidate: USyd, Seeing and Talk: Teacher’s previews x 2, AGSA, Lecture: On Bill Henson and Tracey Joseph Beuys symposium, May not seeing: photographing place in Germany after 1945, submitted 5 March, 2012 Moffatt’, Dept Media, Music, 2012 June 2012 Communication & Cultural Studies, Talk: 12th Adelaide Biennial of Lecture: ‘Performing Bodies’, Macquarie University, 4 April 2012 Australian Art, AGSA, 6 March 2012 UNSW Committee: International Art Critics Association, Australia (AICA), Talk: ‘Reflections on the 12th Lecture: Young art collectors: Lecture: ‘Contemporary art in Treasurer Adelaide Biennial’, AGSA, 28 April photography, Contempo seminar, Japan’, Orion lectures I and II, 2012 AGSOC (with Andrew Cameron and April 2012 Committee: AAANZ Kon Gouriotis), 23 May 2012 Panel discussion: Are we too Lecture: ‘Picasso and Bacon’, Committee: DAAO reviewer Paper: Introduction, Borderlands: concerned with the new?, panel AGNSW, March 2012 Committee: Peloton Gallery, Sydney annual photography symposium, discussion with Lisa Havilah and AGNSW, 31 Mar, 2011 Lecture: ‘Richard Serra Context, Committee: Regional and Public Owen Craven, Danks Street, 2 May Minimalism and its legacies’, Galleries Association, NSW 2012 Member: Photography Collection AGNSW, March 2012 Benefactors committee, AGNSW Natasha Bullock (curator, Media interview: Nikki Marcel, Lecture: ‘Performing Bodies’, contemporary art) ‘Parallel collisions: Adelaide Biennial Member: Academic promotions UNSW of Australian Art’, Radio Adelaide, committee, University of Sydney, Co-curator and editor: Parallel 25 February, 2012 Nov 2011 Lecture: ‘German art after 1945’, collisions: 12th Adelaide Biennial of NAS Australian Art, AGSA, 2 Mar - 29 Media interview: Amelia Barikin, Anne Gerard-Austin (study room ‘Parallel Collisions: 2012 Adelaide Paper: ‘Conservation of April 2012 coordinator) Biennial of Australian Art curators Contemporary art’ paper, AICCM, Co-selector: AGNSW contemporary Alexie Glass Kantor and Natasha Article: ‘The luminous brush. 2011 projects series Bullock’, Broadsheet, Issue 41, no Unearthing “little wonders” from International advisor: Echigo 1, pp 34-40 their slumbers’, Look, April 2012, Cat essay: ‘The proposition’ Parallel Tsumari Triennial Japan, since 2008 pp12–13 collisions: 12th Adelaide Biennial of Media interview: Browyn Bailey- Member: Biennale of Sydney Australian Art, AGSA, , Adelaide, Entry: Harbour view and Bruges, Chatris in Das Super Paper, Issue selection panel 2012, pp 143-51 . The spirit of the land, 22: NGA, Canberra, 2012 Member: Council for the Power Article: ‘In the wake of the image: http://www.dasplatforms.com/ Foundation, USyd, since 2001 Christian Capurro’s Vacant Bazaar’, Lecture: In the footsteps of EP Fox superpaper/alexie-natasha- Column #8, Artspace, pp 26-9 interview/Radio Adelaide, and Ethel Carrick, New Voices, Assessor: Australian Research QAG, Brisbane, July 2011 Council Grants, category of Fine Article: ‘Stephen Bush: When I was Media interview: Tim Lloyd, ‘Double here, I wanted to be there’, Art & PhD candidate: USyd and La Arts, since 1995 act make biennial twice as nice, Australia, vol 49, no 2, Summer Sorbonne, Paris, art history (in Adelaide Advertiser, 3 March 2012, 2011, pp 278-85 progress) Donna West Brett (manager; rights unpaginated & image licensing; publishing) Guest co-editor, Das SuperPaper, Richard Beresford (senior curator, Media interview: ABC arts online, Issue 22, Sydney, european art pre–1900) Exh Curator: Joseph Beuys and the ‘Parallel collisions co-curators ‘Energy Plan’, USyd Art Museum, Natasha Bullock and Alexie Glass- Article: ‘Absolutism to Co-author, ‘Parallel Collisions: Apr – June 2012 Kantor’, 21 March, 2012: http:// Englightenment: the swing era?’, 12th Adelaide Biennial of Australian www.abc.net.au/arts/stories/ Look, Nov 2011 Article – ‘The event horizon: Art: Susan Jacobs and Michelle returning after the fact’, with Ann Ussher’, Art & Australia, vol 49, no s3460579.htm Lecture: ‘Italian maiolica from the Shelton, Memory Connection, online 3, Autumn 2012, pp 488-99 Media interview: ‘Adelaide Biennial Kenneth Reed collection’, Sydney journal, vol 1, no 1, 2011 Ceramics Collectors’ Society, 5 Dec Co-author, ‘Parallel ideas’, The curators’, StudioTV Art Break, Conference co–convenor: 2011 Adelaide Review, April 2012, March 2012 Together<>Apart, AAANZ annual unpaginated Lecture: ‘The shrinking planet’, AGS conference, co–convenor with Dr Committees: exhibition advisory diploma course, 1–2 Feb 2012 Susan Best, USyd, July 2012 Talk: Australian Business Arts group, Gertrude Contemporary, Foundation (AbaF) and Advantage Melbourne

appendices 11–12 97 Jesmond Calleja (collection from the Museé National Picasso, Vigen Galstyan (assistant curator Talk: ‘Portraiture and the Prize’ systems manager) Paris exhibition, 1 December 2011 photographs (p/t)) Regional Gallery Educators Day, AGNSW, 22 May 2012 Paper: Jumping on the mobile Professional Mentorship Program: Exh assistant curator: What’s device network, Sign & Return: Mentor to a Gallery Educator from in a face: aspects of portrait Training: Access Awareness Training Informing Collection Documentation Bundaberg Regional Gallery as part photography, AGNSW, 24 Sep– 5 for Biennale of Sydney, AGNSW, conference, 8 Feb 2012, NGV of the 2012 Mentorship, Exchange Feb 2012 15 June 2012 and Fellowship Program organised Paper: Digitisation at the Art Gallery Exh assistant curator: Making by the Museum and Gallery Services Rachael Hallinan (bookings officer/ of New South Wales, Digitising the Sense: contemporary LA photo Queensland, 10 – 20 April 2012 teacher lecturer) Collection symposium, 31 May artists, AGNSW, 11 Feb – 13 May, 2012, Powerhouse Museum Professional Mentorship Program: 2012 Publication: Operation Art Teacher’s Mentor to a Gallery Educator from Resource CD, The Arts Unit, Paper: Google Art at the Art Exh assistant curator: Jacky Singapore Art Museum, 10 – 27 Department of Education and Gallery of New South Wales – Redgate: the logic of vision, April 2012 Training NSW, Sydney 2012 a conversation, Digitising the AGNSW, 2 June – 9 Sep, 2012 Collection symposium, 31 May Jonathan Cooper (senior Louise Halpin (coordinator 2012, Powerhouse Museum Article: ‘The logic of vision’, Look, 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: Outreach for Low SES Schools Exh curator: Dragons, AGNSW, Lecture: ‘Using myVirtualGallery for Look, August 2012, pp 28–31 Years K–6’, staff development day, AGNSW 5TH BIENNIAL EQUITY January – May 2012 Research (ongoing): PhD, Power 19 July 2011 CONFERENCE 2011 SCHOOLING Media interview: Fairfax interview, Institute of Fine Arts, USyd FOR FUTURES Sydney Convention Dragons exhibition Lecture: ‘V.A.S.T.: looking at art in and Exhibition Centre, Aug 2011 fresh ways’, Artside–In program, Alexandra Gregg (coordinator, Media interview: Radio Eastside Boggabilla Central School, 28 July contemporary programs) Dr Lim Chye Hong (coordinator interview, Dragons exhibition 2011 Paper: ‘Contemporary Art at the Asian programs and coordinator community ambassadors program) Exhibition opening speech: Prof Lecture: ‘Unwrapping the world AGNSW: Works, Programs and Wan Yipeng’s paintings, Australian of art’, Anglican Men’s Group, New–Media’, Australian Art Gallery Translation: Auspicious Metal from Tai Chi and Cultural Association, Gosford, 9 Aug 2011 Guides Organisation Annual the Jianghan Plain: Shang and Zhou Chatswood, 9 June, 2012 Conference, Sydney, Oct, 2011 Bronzes from the Collection of the Lecture: ‘Art misbehavin’, National Research current – The exhibition Paper: [with Andrew Yip], ‘Virtual Hubei Provincial Museum, Cultural Seniors Australia, Gosford, 6 Sept “The Silk Road Saga– Yuhong’s Space: extending gallery learning Relics Press, China, April 2012 2011 sarcophagus” and engagement through iPad apps Sub–editor: The Tao Gives Rise to Lecture: ‘Landscape since the and new media channels’, National Ten Thousand Things: Taoist Relics Chinese calligraphy art ’, Newcastle Visual Arts Education Conference, from the Chu Region. Cultural Relics Leeanne Carr (education Region Gallery, 13 Dec 2011 NGA, 2012 Press, China, March 2012 coordinator, secondary programs, Lecture : ‘Moderna arto: Kio gi Talk: ‘Bill Viola’, Figure of fame Paper: A Tale of Two ‘Cities’: curator AGNSW ARTXEPRESS) estas? De kie gi venis?’ (Modern series in association with the Translating sense and sensibility, Exh Curator: ARTEXPRESS 2012, art: What is it? Where did it come Archibald prize, AGNSW, Sydney, AAANZ 2011 conference, AGNSW, 22 Feb – 22 April 2012 from?), in Esperanto, Esperanto April 2012 Wellington, New Zealand, Dec 2011 House, Redfern, 26 May 2012 Media interview: Kim Arlington, Talk: ‘New York in the 1960s’, Judge: Arts Speaks Japanese Latter–day Leonardo serves up a Lecture: ‘James, 7th Earl of AGNSW, Sydney, July 2011 Comes Alive contest. Japan Foundation of Sydney, Oct 2011 twist The Sydney Morning Herald, Lauderdale, by Sir Joshua Chair, Art Forum: contemporary art , Reynolds’, public collection talk in 22 Feb 2012 (ARTEXPRESS) AGNSW, August 2012 Anneke Jaspers (assistant curator, association with the Archibald Prize, contemporary art) Media interview: Elizabeth 30 May 2012 Judge: MUSE Awards, American Fortescue, Art Attack, The Daily Association of Museums, Exh curator: Kathy Temin: My Judge: MUSE Awards (Education Telegraph, 18–22 Feb 2012 Washington, DC, 2012 Monument: Black Garden, AGNSW, and outreach division), March 2012 (ARTEXPRESS) 1 Sept – 20 Nov 2011 Danielle Gullotta (coordinator Member: Art Advisory Committee, Media interview: Rachel Bentley and education programs, access Exh curator: Ms&Mr: XEROX Scott Richardson, ARTEXPRESS: William Fletcher Foundation, Sydney programs and K–6 programs) MISSIVE 1977/2011, AGNSW, 8 The inside story, Television Sydney Dec 2011 – 5 Feb 2012 Paula Dredge (paintings conservator) TVS 3 part documentary, 13, 20 Paper: ‘Removing social barriers: Exh curator: Eugenia Raskopoulos: and 27 March 2012 Poster presentation – ‘IR promoting inclusion in galleries footnotes, AGNSW, 23 Febr – 13 microspectroscopy of zinc through Access programs’ AAANZ Research (current): Masters of Arts May 2012 carboxylate distributions in Conference, New Zealand, Administration, COFA, UNSW paintings’, Poster presentation at Dec 2011 Ass curator: annual contemporary Victoria Collings (senior coordinator, the Australian Synchrotron Users Paper: ‘Access to art: Removing collection display, AGNSW, 2 June 2012 – 2013 online public programs) Meeting 2011, 8–9 Dec 2011, Co– barriers to participation in museums authored poster with Osmond, G. and galleries spaces for students Cat essay: ‘Jason Maling: Judge: Operation Art, The Armoury, & Best, S. with disabilities is vital for social Physician’, Local Positioning Sydney Olympic Park, 8 Sept 2011 Lecture: ‘The history and analysis inclusion’ National Visual Arts Systems, Performance Space, Media interview: Sydney Weekender of Australian made nitrocellulose Education Conference, 23–25 Jan Sydney, 2012 (forthcoming) Channel 7 – Picasso: Masterpieces 2012, NGA and alkyd paints with case studies 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 December, Channel 7 1977/2011’, Ms&Mr, AGNSW, Research (current): PhD Talk: ‘Access programs at the Sydney, 2011, unpaginated Media interview: Radio podcast conservation, Centre for Cultural AGNSW: audience development’, interview for 2SER with Angela Materials Conservation, UMelb Deaf Arts Forum, Parramatta Stretch for Picasso: Masterpieces Riverside Theatre, 12 May 2012

98 ART GALLERY OF NSW annual report 11–12 Article: ‘Atsuko Tanaka: The art of Ann MacArthur (senior coordinator Talk: ‘Contemporary photography, Paper: ‘Thinking through the body: connecting’, ArtAsiaPacific, Issue of Asian programs; senior traditional materials: New Zealand transcription and its visual image 79, 2012, pp 110 coordinator community programs) artist Ben Cauchi’, AGNSW, 28 in the work of Bea Maddock’, Sept 2011 presented at Impact7, Monash Article: ‘Brook Andrew: The Pledge’, Judge: Art speaks: Japanese University 27 – 30 September 2011 Column, Issue 9, 2012, pp 18–19 Comes Alive contest, Japan Amanda Peacock (coordinator; Article: ‘Tom Nicholson’, Das Foundation, October 2011 Aboriginal and photography Paper: ‘Art in the wake of violence: the work of Nalini Malani’ World and Superpaper, Issue 22, Adelaide Presentation: ‘Art Gallery of education programs) World Making in Art: Connectivities Biennial, March 2012, pp 16–21 New South Wales Community Paper: Reflections and shadows: and Difference, ANU, 11 – 13 Ambassadors Program’, Article: ‘Artist self–organisation as the shifting identities of William August 2011 durational praxis’, Column, Issue 8, Multicultural Coordinators Forum, Murrangurk Buckley Art Association Nov 2011, pp 46–50 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 Article: ‘The Rehearsal of Repetition, 7–9 Dec 2011 India, 3 March 2012 Social Sculpture & Naked’, Art & Member: writer, Asian cross– Australia, Volume 49, Issue 1, Sept curricular priority for Australian Paper: Djamu – a case study: Curatorium member – In Memory of 2011, pp 156–157 Curriculum for the Arts, Australian Indigenous art education in a a Name, Edge of Elsewhere 2012, Curriculum and Reporting Authority, museum context National Visual 4A Centre for Contemporary Asian Residency/Grant: Japan Foundation May 2012 ongoing Arts Education Conference, NGA Art, Sydney Australia JENESYS Program, curatorial Steven Miller (head, Edmund and and NPG, Canberra, 23, 24 and 25 research residency, Tokyo, March– Anne Ryan (curator, Australian Joanna Capon Research Library) Jan 2012 April 2012 prints) Exh: Australian Bookbinders XIVth Training: Volunteer Guides, Lecture: ‘The John Kaldor Family Exh curator: David Aspden, the Annual Exhibition, Research Library Wollongong City Gallery, Sept 2011 Collection’, USyd MA Art History colour of music and place, AGNSW, and Archive, AGNSW, 12 Oct–2 and MA Curatorship students, HSC Visual Arts Examination Study 28 July – 4 Sept 2011 Dec 2011 Day, Wollongong City Gallery, 3 April AGNSW, 21 Sept 2011 Publication: David Aspden, the Publication: Dogs in Australian art: a 2012 colour of music and place, AGNSW, Lecture: ‘From object to post– new history of Antipodean creativity, Sydney 2011 object art in Australia 1968–1975’, Wakefield, Adelaide, 2012. Cara Pinchbeck (curator Aboriginal for USyd MA Art History and MA Art and Torres Strait Islander art) Article: ‘Rew Hanks, a year in the Review: ‘Concerning the spiritual: Curatorship students, AGNSW, 9 gardens’ Imprint vol 46, no 1, The influence of the theosophical Exh Curator: Art Centres, Yiribana May 2012 Autumn 2011. p 6 society on Australian artists 1890– Gallery, 17 Dec 2011 – 17 June 2012 Public presentation: Chair of 1934’, Australian Book Review, Cat essay: ‘The Governor’s garden’ roundtable ‘Curating in the ARI July–Aug 2012, p 60 Exh Co–Curator: Home, Yiribana Rew Hanks linocuts, the Governor’s sector’, NAVA National ARI Gallery, 26 June –2 Dec 2012 Garden’ Royal Botanic Gardens, Symposium, 3 Sept 2011 Lecture: ‘Specialist libraries, their Sydney, 2011 collections and needs’, Charles Entry: ‘Niningka Lewis’, Tjanpi Public presentation: USyd Careers Sturt University, 10 Aug 2011. Desert Weavers, NPY Women’s Judge: 6th Hazelhurst Art Award, Evening in Museums, Galleries and Council, Macmillan Art Publishing, Hazelhurst Gallery, Sydney 8 Jul–14 Lecture: ‘The 1939 Herald exhibition Auction Houses, 5 Oct 2011 South Yarra, Vic, 2012 Aug 2011 and Australian modernism between Member: AGNSW Contemporary the wars’, Newcastle Region Art Entry: ‘Mirdidingkingathi Juwamda Natalie Seiz (assistant registrar; Projects curatorium, Feb 2012 Gallery, Newcastle, 6 Dec 2011 Sally Gabori’, Undisclosed: 2nd curatorial (Asian)) National Indigenous Art Triennial, Member: UTS Faculty of Design, Lecture: ‘The founding years of the (exh cat), NGA, Canberra, 2012 Research (current): PhD Candidate, Architecture & Building, DAB Lab AGNSW’, University of the Third Contemporary women artists in program committee, April 2012 Age, Berowra, 13 Feb 2012 Article: ‘The impetus behind the Taiwan, Department of Art History art’, Look, Vol 2, 2012, p.29 & Film Studies, USyd Member: Artspace International Lecture: ‘Doggie style’, Sydney Residency selection panel, Darling Writers’ Festival, 18 May 2012. Macushla Robinson (curatorial Jacqueline Strecker (curator, Foundry/Montreal, May 2012 Lecture: ‘Managing and caring for assistant) special exhibitions) Media: ‘Tastemakers’, Art Collector, institutional archives’, AGNSW, 21 Article: ‘Nalini Malani: bodies in Exh curator: The mad square: Issue 59, Jan–March 2012, pp June 2012 pain’ in Art & Australia, Vol. 49 No. modernity in German art 1910–37, 183–184 3 Autumn 2012, pp 464 – 472 Media interview: Ron Cerabona, AGNSW, 6 Aug – 6 Nov 2011; NGV 25 Nov 2011 – 4 Mar 2012 Hendrik Kolenberg (senior curator Canberra Times, 2 April 2012 Lecture: ‘Mother India: transactions in the construction of pain’, in Australian prints, drawings and Media interview: Claire Gorman, Editor: The mad square: modernity association with the exhibition watercolours) ABC Canberra, 26 April 2012 in German art 1910–37, AGNSW, Mother India: Nalini Malani’s video 2011 Awarded the best large Article: ‘Stephen Hart and Member: Secretary, Arts Libraries plays, 29 Feb 2012; 28 March 2012 exhibition catalogue in 2011 by the Everyman’ in Stephen Hart, spent Society/Australia and New Zealand Art Association of Australia & New time Brisbane, Arthouse 2011 Lecture: ‘Picasso/Bacon Member: Australian Society of intersections and divergences’, Zealand pp19–23 Archivists in association with the Sydney Chapters, translations and extended Article: ‘The return of Daybreak, gift International Art series, 27 March texts: ‘Introduction’; ‘German from a renowned Dutch artist’ Look Carolyn Murphy (acting head, 2012 realist portraits of the 1920s’; ‘In July 2011 pp14, 15 conservation) Paper: panel convenor and speaker, the twilight of power’, in The mad Article: ‘A fine harvest of Paper: ‘Friends of Conservation. ‘In Memory of a Name seminar’, square: modernity in German art drawings, legacy of an exceptional Raising funds for Conservation 4A Centre of Contemporary Art, 18 1910–37, AGNSW, 2011 draughtsman’ Look November 2011 at the Art Gallery of New Feb 2012 Exhibition opening speeches: The pp 28–31 South Wales’, AICCM National Conference, 19 October 2011 Conference presentation: interview Age of Expressionism, Rex Irwin Article: ‘Heysen to Heysen, letters with Mike Parr presented at Art Dealer, 26 July 2011 across a generation’ Look March Talk: ‘Paper Conservation at the Art Impact7 Monash University 27 – 30 Exhibition opening speech: Jurgis 2012 pp 33–36 Gallery of NSW’, Presentation for Sept 2011 and as part of Mike Parr: Taskforce volunteers, AGNSW, 17 Brain Coral, National Art School Miksevicius, Everglades Gallery, March 2012 Gallery March 2012 Leura, 19 Nov 2011

appendices 11–12 99 Article: ‘The mad square: modernity Media interview: Fenella Kernebone, Media interview: General: Spectrum, Masterpieces from the Musee in German art’ LOOK, July 2011 Art Nation, ABC TV, 27 Aug 2011 Sydney Morning Herald Aug 2011 National Picasso, Paris, Nov 2011 (The mad square) Article: ‘Art tribute: Frank Media interview: Archibald: ABC Media interview: Elizabeth McDonald’, Art & Australia, June Media interview: Adrian Roschella, TV news, ABC Arts Quarter, ABC Fortescue, Sunday Telegraph, 2012 ABC TV News, 4 Aug 2011 (The World Today; Picasso; Masterpieces from the mad square) Musee National Picasso, Paris Nov Article: ‘Exhibiting German art Media interview: Channel 7 news, 2011 today’, panel discussion, AGNSW, Media interview: Amanda Smith, Channel 9 news, SBS news, 7 Aug 2011 ‘Artworks’, ABC Radio National, Qantas inflight, ABC Media interview: Natalie Smith, 14 Aug 2011 (The mad square) 2RRR Community Radio, Picasso; Lecture: ‘Curator’s overview: Media interview: Radio, FBI Radio, Financial Review, Sydney Morning Masterpieces from the Musee Apocalyptic Visions’, AGNSW, Media interview: Trudi Latour, 6– National Picasso, Paris, Nov 2011 3 July 2011 part series in German, SBS Radio, Herald, Daily 25 Aug – 13 Oct 2011 (The mad Media interview: Yasmin Bright, Lecture: ‘Curatorial perspectives Media interview: Telegraph – square) all March 2012 2SER Community Radio, Picasso; on “The mad square”’, AGNSW, Masterpieces from the Musee 6 Aug 2011 Media interview: Natalie Smith, Media interview: Australian National Picasso, Paris Nov 2011 2RRR Radio, 20 Aug 2011 (The collection: Spectrum, Sydney Lecture: ‘The mad square’, mad square) Morning Herald; Daily Telegraph Media interview: Steve Meacham, Foundation talks, AGNSW, SMH, Gallery guiding programs, 9 & 11 Aug 2011 Media interview: ‘What’s On’, Media interview: Australian; Sydney March 2012 Qantas in–flight audio visual Morning Herald, ABC Radio, FBI Lecture: ‘The mad square’, program, Sept 2011 Radio April 2012 Judge: 2012 Royal Easter Show Contemporary Collection Arts & Craft section Benefactors, 13 Aug 2011 Media interview: Sylvia Rosenblum, Media interview: Michael Zavros: Radio Eastside, 31 Aug 2011 (The Daily Telegraph, Australian Financial Judge: 2012 AGNSW Grants and Lecture: ‘Overview of “The mad mad square) Review, Sydney Morning Herald, scholarships: Paris Studios, Basil square”’, College of Fine Arts, The Australian April 2012 and Muriel Hooper Scholarship, 16 Aug 2011 Media interview: Adam Gifford, ‘On Elioth Gruner Prize the brink of catastrophe’, Weekend Media interview: Brett Whiteley Lecture: ‘Introduction to “The mad Herald, , 3 Dec 2011 Studio: SBS News, ABC TV news, Exhibition opening speech: square”’, AGNSW, 19 Aug 2011 June 2012 Huskisson, ‘Anindilyakwa to Analiese Treacy (paper Numbulwar’ Feb 2012 Lecture: ‘Overview of “The mad Media interview: Archibald tour: conservator) square”’, NAS, 14 Sept 2011 The Age, May 2012; The Newcastle Lecture: ‘Australian ’, Community Ambassadors lecture Lecture: ‘The mad square’, AGS Article: Toulouse Lautrec article in Herald, June 2012 (Look magazine) series, March 2012 corporate talks, 22 Sept and 17 Judge: Churchill Fellowships New Oct 2011 Talk: ‘The challenges of conserving South Wales, April 2012 Lecture: ‘Modern Australian Women contemporary photographs – Kaldor Artists’, Community Ambassadors Lecture: ‘Degenerate Art: Judge: City of Hobart Art Prize, collection’, AGNSW 21 Sept 2011 lecture series, May 2012 Apocalyptic Visions’, AGNSW, round one, Hobart, June 2012 25 Sept 2011 Talk: ‘Conserving the posters Lecture: ‘Introduction to the Judge: John Fries Memorial Prize, of Henri de Toulouse Lautrec’, Archibald Wynn & Sulman Prize’, Lecture: ‘Introduction to “The mad round one, Sydney, June 2012 AGNSW, 15 Feb 2012 AGS Corporate events, various square”’, AAGGO, AGNSW, 5 Oct Speech: Hossein Valamanesh book dates 2012 2011 Wayne Tunnicliffe launch, AGNSW, Sept 2011 Lecture: ‘Introduction to Lecture: ‘Curatorial overview of “The (head, Australian art) Speech: Robyn Backen book Endlessnessism’, Brett Whiteley mad square”’, NGV, 25 Nov 2011 Exh curator: Australian launch, AGNSW, Oct 2011 Studio Corporate event, May 2012 Masterpieces (with Deborah Lecture: ‘Nolde and Pechstein Conference paper: ‘‘Thinking, Edwards), Rudy Komon Gallery, Speech: NG Gallery opening in the South Seas’, Melbourne feeling & responding in the gallery AGNSW, Oct 2011 to 12 Feb 2012 speech, Sydney, November 2011 Museum, 20 Feb 2012 in the 21st century’, COFA’s Speech: Archibald – innumerable Media interview: Mark Mordue, Exh curator: Archibald Prize, Reprogramming the Museum, speeches, talks, lectures ‘Lust for life’, The Weekend AGNSW, 31 March – 3 June 2012 AGNSW, Sept, 2011 Australian, July 2011 Exh curator: Australian Collection Speech: Australian collection – Member: Higher Education many speeches and talks Media interview: Brook Turner, (with Deborah Edwards), AGNSW, Accreditation Committee NSW ‘High anxiety: the fraught art of May 2012 ongoing Speech: Bulgari Award Launch, Department of Education borrowing’, The Australian Financial April 2012 Cat essay: ‘Stephen Bush’ in Natalie Wilson (assistant curator, Review, July 2011 Vitamin P2, Phaidon, London 2011 Eleanor Weber (assistant curator Australian art) Media interview: Nick Dent, ‘The Cat essay: ‘Geoff Kleem’ in Less is photographs (p/t)) Article: ‘Exploring PNG: following mad square’, Time Out Sydney, more, minimal art in Australia, Heide Research (completed): – Bachelor the past into the present’, LOOK, Aug 2011 Museum of Modern Art, Melbourne of Arts (Advanced)(Honours), 1st Feb 2012, pp 24–27 2012 Media interview: Leta Keens, Class, The University of Sydney Judge: Elioth Gruner Prize, April ‘Weimar breaks down the barriers’, Talk: ‘Robert Rauschenberg’, 2012 2012 The Australian, Aug 2011 AGNSW, July 2011 Cat essay: ‘Doing Becoming Being’, Judge: Basil and Muriel Hooper Media interview: Nicholas Pickard, Talk: ‘In conversation with Kathy TCB art Inc., Melbourne 2012 Scholarship, April 2012 ‘Wild about Weimar’, The Daily Temin’, AGNSW, Aug, 2011 Sheona White (head, public Lecture: ‘Pop and Colour Field’, Telegraph, Aug 2011 Talks: Margaret Olley – various programs) Volunteer Guides Australian Art Media interview: Madeleine Hinchy, Chair: artist panel with Rosemary Lecture Series, AGNSW, Oct 2011 Media interview: ABC TV News Vogue Living’s blog, Aug 2011 Laing, Janet Laurence, Imants Breakfast, Virginia Trioli, Picasso; Tillers, Australian Open Weekend, Lecture: ‘Becoming Modern: Media interview: ‘Shannon Masterpieces from the Musee AGNSW, May 2011 Sydney artists and the art of being Connellan wanders among the National Picasso, Paris, Nov 2011 modern’, Australian “isms”’, Honi Soit, 10 Aug 2011 Talk: ‘In conversation with Wendy Whiteley’, Australian Open Media interview: 702 ABC Sydney, Weekend, AGNSW, May 2011 Sarah MacDonald, Picasso;

100 ART GALLERY OF NSW annual report 11–12 modern masterpieces from the National Picasso, Paris, Daily Gallery’s collection in general. 60 Sulman Prizes, increased pressure AGNSW exhibition lecture series, Telegraph, 25 Aug 2011 negative comments were received, is placed on the Gallery’s food Newcastle Art Gallery, Oct 2011 the majority in relation to the timed and beverage service due to high Media interview: Picasso: ticketing system introduced for customer numbers. 24 complaints Lecture: ‘In their footsteps: masterpieces from the Musée Picasso: masterpieces from the were received in relation to the Tuckson, Moriarty, Dobell’, AGS, National Picasso, Paris, Channel 7 Musée National Picasso, Paris. service of food in the café mainly in Feb 2012 It’s Academic, 14 March 2012 48 positive comments were also relation to the issue of slow service. Conference paper: co–author with Media interview: Archibald Prize received about the introduction Donna Hinton, ‘Conserving living 2012, Eastside FM, 5 April 2012 of timed ticketing as well as the traditions in Papua New Guinea’, website and public programs, Media interview: Open Weekend The Conservation of Material Art After Hours and education COMPLIANCE 2012, Daily Telegraph, 4 May 2012 Culture in Tropical Climates: the programs. A small number of REPORTING Media interview: Open Weekend 3rd APTCCARN Meeting, presented complaints were made about 2012, Radio 2GB, 9 May 2012 by Donna Hinton, Thailand, April inadequate seating, font sixe on labels and the need for an audio 2012 Media interview: Open Weekend 2011–12 annual report 2012, FBI Radio, 12 May 2012 tour. Visitors also expressed interest Award: Moya Dyring Studio in purchasing a season ticket for production Residency, Cité Internationale des Media interview: Open Weekend the major temporary exhibition The The total external costs incurred Arts, Paris, to be taken up Jan–Feb 2012, Radio 2RRR, 12 May 2012 mad square: modernity in German in the production of the Gallery’s 2013 Council member: Power Institute art 1910–37. (An audio tour, 2011–12 annual report are Member: Art advisory committee, Director’s Advisory Council downloadable exhibition app and approximately $20,000 (including SH Ervin Gallery, Sydney a season ticket will be available for text editing, print management and the Gallery’s forthcoming exhibition print production). The report, printed Dr Andrew Yip (coordinator, public Francis Bacon: five decade). in hard copy on recycled paper, is programs) provided free to key stakeholders and other interested parties. It is Article: ‘Bugatti Type 35: a Guided tours CUSTOMER also available as free downloadable mythological beast for a mechanical 32 positive comments were PDF files, divided into three key age’, Look, April 2012, pp 28–9 SERVICE DELIVERY received regarding the free guided 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 volunteer guides. Australian masculinity at Gallipoli”, In accordance with our pledge of (www.artgallery.nsw.gov.au/ AGNSW, 2012 service, visitors to the Gallery are aboutus). Mobility–impaired access Lecture: ‘Ethel Carrick and Margaret invited to leave praise, criticisms Preston: modern painters’, More and suggestions at the information The issue of access for mobility– Credit card usage desk via the Visitor Response impaired people was addressed Women of Distinction, WEA, 2012 The director certifies that credit Register. More than 1.2 million in 2011–12 by the completion of card usage in the Gallery has been Lecture: ‘Love and Lust: penetrating people visited the Gallery at its an accessible entrance ramp at conducted in accordance with the harem’, Arts of Asia lecture Domain and Brett Whiteley Studio the front of the building which was relevant Premier’s Memorandums series, AGNSW, 2012 sites in 2011–12. In this period made possible by funding of $1.17 and Treasury Directions. Talk: ‘The Art of War: Otto Dix and 535 comments were received in million from the NSW Government. writing and via email. Overall there German Modernism’, exhibition There were 12 complaints before Consultants talk for Mad Square: modernity were 216 positive comments, the completion of the ramp. 143 negative comments and in German art 1910–37, AGNSW, A small number of complaints There were 19 consultancies 176 suggestions. Comments are 2011 registered that the new foyer costing a total of $173,265. No responded to by information officers ramp was inadequate however single contract was valued at Lecture: ‘The Art and Life of Grace and, where appropriate, referred to the heritage nature of the foyer greater than $50,000. Cossington Smith’, More Women of a relevant senior staff member or placed constraints on installation Distinction, WEA, 2011 the Gallery’s executive for further of the ramp. Additionally, there Heritage management action. Talk: ‘Ricky Swallow’s killing time’, were requests for bike racks to be The Gallery’s museum building AGNSW, 2011 The majority of positive remarks reinstalled which are now located at located in the Domain Parklands Paper: [with Alexandra Gregg], received in 2011–12 were for the side and rear of the building. of Sydney’s CBD is listed on ‘Virtual Space: extending gallery the Gallery’s major temporary the NSW government’s heritage learning and engagement through exhibitions and collection displays. Seating register. A conservation plan has iPad apps and new media The breadth and quality of been developed to assist in the education and public programs The lack of sufficient seating in channels’, National Visual Arts the Gallery’s public spaces has management and maintenance was also highly praised, as were of the building. The collection Education Conference 2012, NGA, been addressed by new bench the Gallery’s entrance staff and assets and works of art on loan 2012 seating being placed throughout volunteer guides. The majority of to the Gallery are maintained to Symposium chair: Borderlands: the galleries and in temporary complaints were regarding access international museum standards. photography and cultural contest, and signage. exhibitions. A small number of AGNSW,2012 complaints were received regarding The level of complaints relative to seating being too low for elderly Land holdings and Forum chair: Art Forum: placing overall visitor numbers remains patrons. The Gallery also purchased disposals photography in the 21st century, low, reflecting a high level of overall a number of portable stools which The only land owned by the Gallery AGNSW, 2012 visitor enjoyment and satisfaction. are are available to the general as at 30 June 2012 is located at: Areas of major concern to visitors Forum chair: Archibald Prize 2012 public upon request from the in 2011–12 were: 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 The Gallery did not acquire or AGNSW, 2012 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, Paris and the Archibald, Wynne and

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 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 Art Gallery of New South Wales FINANCIAL STATEMENTS 11–12

Financial commentary 110 Financial summary 112 START OF AUDITED STATEMENTS Independent audit opinion 113 Statutory financial statements for the year ended 30 June 2012: Trustees statement 115 Statement of comprehensive income 116 Statement of financial position 117 Statement of changes in equity 118 Statement of cash flows 119 notes to and forming part of the financial statements: note 1: Summary of significant accounting policies 120 note 2: Expenses excluding losses 128 note 3: Revenue 129 note 4: Gain / (loss) on disposal 130 note 5: Conditions on contributions and restricted assets 130 note 6: Current assets – cash and cash equivalents 131 note 7: Current assets – receivables 131 note 8: Current assets – inventories 131 note 9: Non-current assets – financial assets at fair value 131 through profit and loss note 10: Non current assets – property, plant and equipment 132 (consolidated and parent entity) note 11: Non current assets – intangible assets 133 note 12: Current/non-current liabilities – trade and other payables 133 note 13: Reconciliation of cash flows from operating activities to net result 134 note14: Non-cash financing and investing activities 134 note15: Financial instruments 134 note16: Budget review 137 note17: Events after the reporting periods 137 note18: Contingent liabilities 137 note19: Commitments for expenditure 137 END OF AUDITED STATEMENTS Financial commentary

Financial performance may be preserved as a capital base. 51% as at 30 June 2012) is held in The Gallery’s financial performance in There are currently 82 individual bequests cash, which enabled the Gallery to 2011–12 was excellent with an operating and special fund accounts, many of achieve a rate of 5.4% pa (weighted surplus of $1.9m which was $1.4m which date back several decades. At the average) on bank deposits compared better than budget. A highly successful end of June 2012 the total amount of with the TCorp benchmark of 5.37%. exhibition program together with an bequests and special funds was $25.4 The equity investment returns during increase in demand for the hiring of million, much of which was given to the 2011–12 produced a positive return of Gallery’s venues, and an increase in the Gallery for specific purposes (primarily 4.28% on TCorp’s medium-term facility use of the café and restaurant, helped art acquisitions and other projects such (compared with the benchmark of 4.69%) produce this result and made the year as art prizes and awards). and (0.73%) on TCorp’s long-term one of the most successful in recent facility (compared with the benchmark Financial stewardship times. The renovation of the Gallery Shop of (0.61%)). The benchmarks quoted The Gallery applies rigorous budgetary during the year and rebuilding of the on- are sourced from the TCorp Hour-Glass and expenditure control to ensure line shop capability resulted in very good Facility Performance Summary for stewardship of assets, cash flow sales during the second half of the year. June 2012. management and revenue enhancement. Management also implemented economic The Gallery’s accounting and management Commercial services measures during the year to control reporting system enables us to produce Visitors continue to enjoy the Gallery’s operating costs which were successful facilities, including the Gallery Shop, food in keeping employees related expenses timely reports on a cost centre and and beverage services, and venue hire under budget. Despite this result, the business activity level, so that functions. Gallery’s core operations produced a management, the Board of Trustees This year the venue hire activity and deficit of $1.5 million mainly due to the and the NSW government can monitor food and beverage services, including impact of the 2.5% pay increase. financial aspects of the Gallery and a cafe and restaurant, fared extremely well The overall financial surplus which direct resources in a timely and effective with total net revenue exceeding $1.12 includes capital grants, donations in cash manner. The overall salaries expenditure million. In 2011–12 the Gallery’s function and kind this year was $14.5m. Donations increased by 5.3% over the previous spaces available for hire by corporate were received from individuals, Art year. This increase is a result of the guests were host to more than 500 Gallery of New South Wales Foundation, 2.5% pay increase and the full year events, resulting in a very good year Art Gallery Society of New South Wales impact of a restructured marketing for this business unit. and corporate contributors for the major and business development division. The Gallery Shop provides high quality acquisitions. This year, the Gallery Fixed assets art books, catalogues and merchandise, received $7.2m in donation of art works. The Gallery has $1.34 billion in net assets, such as prints and posters, relating to NSW government contribution comprising $1.1 billion in artworks and the Gallery’s collection and temporary This year the NSW government’s library collection, $194.6 million in land exhibitions. The largest art museum contribution to the Gallery was $27.1m. and building, $17.0 million in financial bookstore in Australia, the shop, which The government’s recurrent contribution assets and $27.4 million in other minor underwent a major facelift this year, made in 2011–12 was 40% of our total revenues assets, offset by $6.4 million of liabilities. around $5.3 million in sales this year. in 2011–12. However, the inclusion of In 2011/12, the Gallery’s art collection the NSW government’s funding of was re-valued by an independent expert, Looking forward personnel services liabilities and capital which resulted in an increase of $249.9 The Gallery is expected to have a quieter contribution for building works the million to the value of the collection. year in 2012–13. The exhibition program government contribution increases is relatively smaller and the cross the Investments to 47% of total revenues. board NSW government budget cuts will The Gallery’s policy is to invest its have a negative effect on the operating Donations and bequests/ bequests and special funds in a portfolio activity of the Gallery. taxation incentives comprising term deposits and TCorp’s The budget summary below is in During the year the Gallery acquired Hour-Glass Investment Facilities – in accordance with the NSW government’s more than $14.401 million of artworks, particular, the medium- and long-term 2012–13 budget. This differs slightly of which $7.272 million were gifts. growth facilities. These investments from internal budgets, which have more Donations were also received in are in accordance with NSW Treasury stringent targets. support of various initiatives, including requirements under the Public Authorities scholarships, prizes and research. The (Financial Arrangements) Act 1987, Australian Government’s Cultural Gifts which confines investments to term Program is an incentive for artists and deposits with approved banks and donors to provide gifts of artworks financial institutions and TCorp, the NSW to the Gallery. These contributions are government investment facility. In the past a significant resource for the acquisition three years the Gallery’s Finance Sub- of artworks and for special projects Committee has restricted investment of that would not otherwise be feasible. non-capital funds to the four major banks. Subject to the conditions of individual This policy will be reviewed annually. bequests, a component of the donations A proportion of funds ($18.8 million,

110 ART GALLERY OF NSW annual report 11–12 Budget summary for 2012–13

Revenue $m NSW government – recurrent 26.1 NSW government – capital 3.2 Other revenue 20.4

Expenditure Personnel services 24.3 Insurance 2.1 Depreciation 5.3 Other operating 14.9 Surplus 3.1

Note: The figures quoted in the financial commentary have not been subject to audit.

FINANCIAL STATEMENTS 11–12 111 Financial summary

Five–year Average 2007–08 2008–09 2009–10 2010–11 2011–12 total p.a.

Total visitors – incl touring/studio million 1.35 1.54 1.28 1.33 1.44 6.94 1.39

Artworks purchased $’m $12.4 $17.2 $10.7 $4.6 $7.2 $56.8 $11.4 Donations of artworks $’m $1.7 $1.4 $1.1 $11.5 $7.2 $18.4 $3.7 Total works of art acquired $’m $14.1 $18.6 $11.8 $16.1 $14.4 $68.0 $13.6

Exhibition admission revenue $’m $2.6 $4.8 $1.9 $7.3 $5.4 $18.5 $3.7 Merchandise, books and publication sales $’m $4.5 $5.0 $3.5 $4.8 $5.2 $21.8 $4.4 Other services/activities $’m $2.4 $4.4 $4.5 $5.4 $4.3 $18.6 $3.7 Bequests and special funds $’m $10.1 $19.0 $9.8 $8.2 $8.0 $63.1 $12.6 Other grants and contributions/other misc $’m $3.4 $3.7 $3.2 $14.4 $12.9 $30.4 $6.1 Total revenue from exhibitions, visitor services and benefaction $’m $23.1 $36.9 $22.9 $40.1 $35.8 $152.5 $30.5

Personnel expenses $19.1 $20.0 $20.1 $22.8 $24.1 $99.3 $19.9 Depreciation $2.1 $2.1 $3.2 $4.7 $5.4 $14.2 $2.8 Insurance $0.5 $0.6 $0.6 $1.3 $3.5 $6.3 $1.3 Other operating expenses $17.8 $14.3 $13.3 $18.3 $19.8 $77.9 $15.6 Total operating expenses $’m $39.5 $37.0 $37.2 $47.1 $52.8 $197.7 $39.5

Recurrent appropriation $’m $19.6 $20.5 $20.7 $24.8 $27.1 $107.0 $21.4 Liabilities assumed by government $’m $1.0 $1.3 $1.2 $1.1 $1.4 $5.7 $1.1 Capital appropriation/other $’m $13.6 $5.8 $15.4 $5.8 $3.0 $45.9 $9.2 Total govt grants $’m $34.2 $27.6 $37.3 $31.7 $31.5 $158.6 $31.7

Total revenue $’m $57.3 $64.5 $60.2 $71.8 $67.3 $311.1 $62.2

Govt’s recurrent contribution 47% 37% 49% 39% 44% 42% as a % of operating revenues Govt contribution as % of total revenue 60% 43% 62% 44% 47% 51%

Net surplus $’m $17.7 $27.5 $23.0 $24.7 $14.5 $92.7 $18.5

Employees – effective full time (FTE) number 220 236 227 238 248 226 Average salary per head (FTE) $’000 $87 $85 $89 $96 $97 $88

Net assets $’m $998.2 $1,026.0 $1,048.7 $1,073.0 $1,338.0

Data in this table has not been subject to audit

112 ART GALLERY OF NSW annual report 11–12 FINANCIAL STATEMENTS 11–12 113 114 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Statutory financial statements For the year ended 30 June 2012

START OF AUDITED FINANCIAL STATEMENTS

STATEMENT IN ACCORDANCE WITH SECTION 41C (1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983

Pursuant to Section 41C (1C) of the Public Finance and Audit Act, 1983 and in accordance with the resolution of the Board of Trustees of the Art Gallery of New South Wales Trust, we state that:

(a) The accompanying financial statements have been prepared in accordance with the provisions of the Public Finance and Audit Act 1983, the Public Finance and Audit Regulations 2010, applicable Australian Accounting Standards and the Financial Reporting Code for the NSW General Government Sector Entities.

(b) In our opinion, the financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June 2012 and the financial performance for the year then ended;

Further, we are not aware of any circumstances which would render any particulars included in the financial statements misleading or inaccurate;

S Lowy M Brand President Director

D Baffsky J Wicks Chairman Director Audit and Risk Committee Finance and Resources

Dated: 19 September 2012

START OF AUDITED FINANCIAL STATEMENTS

FINANCIAL STATEMENTS 11–12 115 ART GALLERY OF NEW SOUTH WALES TRUST Statement of comprehensive income For the year ended 30 June 2012

Consolidated ANNUALANNUAL PARENT Entity BUDGETBUDGET Entity 2012 2011 2012 2012 2011 Notes $’000 $’000 $’000 $’000 $’000 Expenses excluding losses Operating expenses Personnel Services 2 (a) 24,147 22,840 22,760 24,147 22,840 Other operating expenses 2 (b) 23,306 19,642 23,422 23,297 19,622 Depreciation and amortisation 2 (c) 5,389 4,688 5,334 5,389 4,688 Total expenses excluding losses 52,842 47,170 51,516 52,833 47,150

Revenue Sale of goods and services 3 (a) 13,541 14,032 11,528 13,541 14,032 Grants and contributions 3 (b) 52,537 55,261 40,940 52,482 55,004 Investment revenue 3 (c) 1,233 2,240 1,950 1,138 2,157 Other revenue 3 (d) 72 5 – 72 5 Total revenue 67,383 71,538 54,418 67,233 71,198 Gain / (loss) on disposal 4 (a&b) 21 831 – 21 831 Net Result 14,562 25,199 2,902 14,421 24,879 Other comprehensive income Net increase in property, plant and equipment asset revaluation surplus 249,888 (313) – 249,888 (313) Total other comprehensive income 249,888 (313) – 249,888 (313) Total comprehensive income 264,450 24,886 2,902 264,309 24,566

* The ‘net result’ for the year includes capital grants and cash and in–kind donations and bequests. Therefore the amount of $14.5 million does not represent surplus cash available for operational requirements. The accompanying notes form part of these financial statements

116 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Statement of financial position As at 30 June 2012

Consolidated ANNUAL PARENT Entity BUDGET Entity 2012 2011 2012 2012 2011 Notes $’000 $’000 $’000 $’000 $’000

ASSETS Current assets Cash and cash equivalents 6 18,817 17,295 16,419 17,064 15,687 Receivables 7 1,429 2,528 1,553 1,415 2,518 Inventories 8 1,154 911 1,189 1,154 911 Total current assets 21,400 20,734 19,161 19,633 19,116

Non–current assets Financial assets at fair value through profit or loss 9 17,499 17,540 18,540 17,499 17,540 Property plant and equipment 10 land 17,250 17,250 17,250 17,250 17,250 Buildings 177,338 176,876 178,885 177,338 176,876 Plant and equipment 5,863 6,326 3,863 5,863 6,326 Collection assets 1,105,005 840,894 844,331 1,105,005 840,894 Total property, plant and equipment 1,305,456 1,041,346 1,044,329 1,305,456 1,041,346

Intangible assets Software 11 140 286 211 140 286 Total non–current assets 1,323,095 1,059,172 1,063,080 1,323,095 1,059,172 Total assets 1,344,495 1,079,906 1,082,241 1,342,728 1,078,288

LIABILITIES Current liabilities Trade and other payables 12 6,413 6,283 6,278 6,400 6,278 Total current liabilities 6,413 6,283 6,278 6,400 6,278

Non–current liabilities Total current liabilities 12 31 22 23 31 22 Total non–current assets 31 22 23 31 22 Total liabilities 6,444 6,305 6,301 6,431 6,300 Net assets 1,338,051 1,073,601 1,075,940 1,336,297 1,071,988

EQUITY Reserves 1 (g) (a) 575,210 325,348 325,348 575,210 325,348 Accumulated funds 1 (g) (b) 762,841 748,253 750,592 761,087 746,640 Total equity 1,338,051 1,073,601 1,075,940 1,336,297 1,071,988

The accompanying notes form part of these financial statements

FINANCIAL STATEMENTS 11–12 117 ART GALLERY OF NEW SOUTH WALES TRUST Statement of changes in equity For the year ended 30 June 2012

Consolidated Entity Asset Accumulated Revaluation Total Funds Surplus Equity $’000 $’000 $’000

Balance at 1 July 2010 722,935 325,780 1,048,715 Net result for the year 25,199 – 25,199 Other comprehensive income Valuation increment / decrement – (313) (313) Transfers on disposal 119 (119) – Total other comprehensive income 119 (432) (313) Total comprehensive income for the year 25,318 (432) 24,886 Balance at 30 June 2011 748,253 325,348 1,073,601

Balance at 1 July 2011 748,253 325,348 1,073,601 Net result for the year 14,562 – 14,562 Other comprehensive income Valuation increment / (decrement) – 249,888 249,888 Transfers on disposal 26 (26) – Total other comprehensive income 26 249,862 249,888 Total comprehensive income for the year 14,588 249,862 264,450 Balance at 30 June 2012 762,841 575,210 1,338,051

PARENT Entity

Balance at 1 July 2010 721,642 325,780 1,047,422 Net result for the year 24,879 – 24,879 Other comprehensive income Valuation increment / decrement – (313) (313) Transfers on disposal 119 (119) – Total other comprehensive income 119 (432) (313) Total comprehensive income for the year 24,998 (432) 24,566 Balance at 30 June 2011 746,640 325,348 1,071,988

Balance at 1 July 2011 746,640 325,348 1,071,988 Net result for the year 14,421 – 14,421 Other comprehensive income Valuation increment / decrement – 249,888 249,888 Transfers on disposal 26 (26) – Total other comprehensive income 26 249,862 249,888 Total comprehensive income for the year 14,447 249,862 264,309 Balance at 30 June 2012 761,087 575,210 1,336,297 The accompanying notes form part of these financial statements

118 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Statement of cash flows For the year ended 30 June 2012

Consolidated ANNUAL PARENT Entity BUDGET Entity 2012 2011 2012 2012 2011 Notes $’000 $’000 $’000 $’000 $’000

CASH FLOWS FROM OPERATING ACTIVITIES Payments Personnel Services (23,867) (21,248) (22,760) (23,867) (21,248) Other (22,458) (21,915) (20,237) (22,607) (21,895) Total payments (46,325) (43,163) (42,997) (46,474) (43,143)

Receipts Sale of goods and services 11,984 13,539 11,013 11,973 13,539 Grants and contributions 42,260 39,186 34,491 42,355 38,929 Interest received 1,796 2,303 1,727 1,716 2,222 Other 4,315 4,569 2,325 4,315 4,569 Total receipts 60,355 59,597 49,556 60,359 59,259 NET CASH FLOWS FROM OPERATING ACTIVITIES 13 14,030 16,434 6,559 13,885 16,116

CASH FLOWS FROM INVESTING ACTIVITIES Proceeds from sale of property, plant and equipment 222 1,095 – 222 1,095 Proceeds from sale of investments 1,144 177 – 1,144 177 Purchases of property, plant and equipment (12,224) (17,101) (6,635) (12,224) (17,101) Purchases of investments (1,650) (7,726) (800) (1,650) (7,726) NET CASH FLOWS FROM INVESTING ACTIVITIES (12,508) (23,555) (7,435) (12,508) ( 23,555)

NET INCREASE/(DECREASE) IN CASH AND CASH EQUIVALENTS 1,522 (7,121) (876) 1,377 (7,439) Opening cash and cash equivalents 17,295 24,416 17,295 15,687 23,126 CLOSING CASH AND CASH EQUIVALENTS 6 18,817 17,295 16,419 17,064 15,687

The accompanying notes form part of these financial statements

FINANCIAL STATEMENTS 11–12 119 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (a) Reporting entity The Art Gallery of NSW Trust (the Gallery) as a reporting entity comprises all the activities under the Gallery’s control including the Gallery’s exhibitions, merchandising, venue hire, and catering as well as the activities of the Australian Institute of Asian Culture and Visual Arts (VisAsia). Other entities associated with the Gallery but not consolidated include the Art Gallery of NSW Foundation and the Brett Whiteley Foundation. In the process of preparing the consolidated financial statements for the economic entity consisting of the two entities, all inter–entity transactions and balances have been eliminated. The Art Gallery of NSW Trust is a statutory body of the NSW State government. The Gallery is a not–for–profit entity (as profit is not its principal objective) and it has no cash generating units. The reporting entity is consolidated as part of the NSW Total State Sector Accounts. These financial statements have been authorised for issue by the Board of Trustees on 19 September 2012.

(b) Basis of preparation The Gallery’s financial statements are a general purpose financial statement, which has been prepared in accordance with: • applicable Australian Accounting Standards (which include Australian Accounting Interpretations) • the requirements for the Public Finance and Audit Act 1983, the Public Finance and Audit Regulation 2010; and • the Financial Reporting Directions published in the Financial Reporting Code for NSW General Government Sector Entities issued by the Treasurer. Property, plant and equipment, collection assets, and financial assets at ‘fair value through profit or loss’ are measured at fair value. Other financial statements items are prepared in accordance with historical cost convention. Judgements, key assumptions and estimates that management have made are disclosed in the relevant notes to the financial statements. All amounts are rounded to the nearest one thousand dollars and are expressed in Australian currency.

(c) Changes to accounting policy There were no changes to accounting policy this year.

(d) Statement of compliance The financial statements and notes comply with Australian Accounting Standards, which include Australian Accounting Interpretations.

(e) Income recognition Income is measured at the fair value of the consideration or contribution received or receivable. Additional comments regarding the accounting policies for the recognition of income are discussed below: (i) Grants and contributions Grants and contributions include donations and grants from Department of Trade and Investment, Regional Infrastructure and Services (DTIRIS) (Communities NSW in 2011). Grants and contributions from other bodies (including donations) are generally recognised as income when the Gallery obtains control over the assets comprising the grants / contributions. Control over grants and contributions is normally obtained when the obligations relating to the receipt have been met and, in the case of donations, upon receipt of cash. (ii) Sale of goods revenue from the sale of goods is recognised as revenue when the Gallery transfers the significant risks and rewards of ownership of the assets.

120 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

(iii) Rendering of services revenue is recognised when the service is provided. Royalty revenue is recognised in accordance with AASB 118 Revenue on an accrual basis in accordance with the substance of the relevant agreement. (iv) Investment revenue Interest revenue is recognised using the effective interest method as set out in AASB 139 Financial Instruments: Recognition and Measurement. TCorp Hour Glass distributions are recognised in accordance with AASB 118 Revenue when the Gallery’s right to receive payment is established. The movement in the fair value of the Hour Glass Investment facilities incorporates distributions receivable as well as unrealised movements in fair value and is reported as ‘Investment revenue’.

(f) Personnel services and other provisions (i) Personnel services arrangements As a result of the restructure of NSW government agencies in April 2011, DTIRIS now has the responsibility for providing personnel services to the Gallery. All payments to personnel and related obligations are done in the DTIRIS name and ABN and are classified as “Personnel Services” costs in these financial statements. Prior to April 2011 these services were provided by Communities NSW. (ii) Personnel services – salaries and wages, annual leave, sick leave and on–costs liabilities for personnel services are stated as liabilities to the service providers DTIRIS. Salaries and wages (including non–monetary benefits), annual leave and paid sick leave that fall due wholly within 12 months of the reporting date are recognised and measured in respect of employees’ services up to the reporting date at undiscounted amounts based on the amounts expected to be paid when the liabilities are settled. If applicable, long–term annual leave that is not expected to be taken within twelve months is measured at present value in accordance with AASB 119 Employee Benefits. Market yields on government bonds are used to discount long–term annual leave. unused non–vesting sick leave does not give rise to a liability, as it is not considered probable that sick leave taken in the future will be greater than the benefits accrued in the future. The outstanding amounts of payroll tax, workers’ compensation insurance premiums and fringe benefits tax, which are consequential to the provision of personnel services by DTIRIS, are recognised as liabilities and expenses where the personnel services to which they relate have been recognised. (iii) Long service leave and superannuation In the financial statements of Communities NSW and DTIRIS, the liabilities for long service leave and defined benefit superannuation are assumed by the Crown Entity. Consequently the Gallery accounts for the equivalent expense and income in its financial statements to reflect this provision of personnel services. long service leave is measured at present value in accordance with AASB 119 Employee Benefits. This is based on the application of certain factors (specified in NSW TC 12/06) to employees with five or more years of service, using current rates of pay. These factors were determined based on an actuarial review to approximate present value. The superannuation expense for the financial year is determined by using the formulae specified in the NSW Treasury Circular TC 11/04. The expense for certain superannuation schemes (i.e. Basic Benefit and First State Super), is calculated as a percentage of the employees’ salary. For other superannuation schemes (i.e. State Superannuation Scheme and State Authorities Superannuation Scheme), the expense is calculated as a multiple of the employees’ superannuation contributions.

(g) Equity and reserves (a) Revaluation surplus The revaluation surplus is used to record increments and decrements on the revaluation of non–current assets. This accords with the Gallery’s policy on the revaluation of property plant and equipment as discussed in note l. (b) Accumulated Funds The category of ‘Accumulated Funds’ includes all current and prior period retained funds. (c) Separate reserve accounts are recognised in the financial statements only if such accounts are required by specific legislation or Australian Accounting Standards (e.g. revaluation surplus and foreign currency translation reserve).

FINANCIAL STATEMENTS 11–12 121 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

(h) Insurance The Gallery’s insurance activities are conducted through the NSW Treasury Managed Fund Scheme of self insurance for Government agencies. The expense (premium) is determined by the Fund Manager based on past claim experience, asset values and risk.

(i) Accounting for the Goods and Services Tax (GST) revenues, expenses and assets are recognised net of the amount of GST, except where: • the amount of GST incurred by the Gallery as a purchaser that is not recoverable from the Australian Taxation Office is recognised as part of the cost of acquisition of an asset or as part of an item of expense: and • receivables and payables are stated with the amount of GST included. Cash flows are included in the statement of cash flows on a gross basis. However, the GST component of cash flows arising from investment and financing activities which are recoverable from, or payable to the Australian Taxation Office are classified as operations cash flows.

(j) Acquisitions of assets The cost method of accounting is used for the initial recording of all acquisitions of assets controlled by the Gallery. Cost is the amount of cash or cash equivalents paid or the fair value of the other consideration given to acquire the asset at the time of its acquisition or construction or where applicable the amount attributed to that asset when initially recognised in accordance with the specific requirements of other Australian Accounting Standards. Gifts of artworks or works acquired at no cost, or for nominal consideration, are initially recognised at their fair value at the date of acquisition and brought to account as assets and revenues for the period. Fair value is the amount for which an asset could be exchanged between knowledgeable, willing parties in an arm’s length transaction. Where payment for an asset is deferred beyond normal credit terms, its cost is the cash price equivalent, i.e. the deferred payment amount is effectively discounted at an asset–specific rate.

(k) Capitalisation thresholds Property, plant and equipment, and intangible assets costing $5,000 and above individually (or forming part of a network costing more than $5,000) are capitalised.

(l) Revaluation of property, plant and equipment and collection assets Physical non–current assets are valued in accordance with the “Valuation of Physical Non–Current Assets at Fair Value” Policy and Guidelines Paper (TPP07–1). This policy adopts fair value in accordance with AASB 116 Property, Plant and Equipment. Collection assets include art works. There is a part of the building that is listed in the heritage assets. Property, plant and equipment is measured on an existing use basis, where there are no feasible alternative uses in the existing natural, legal, financial and socio–political environment. However, in the limited circumstances where there are feasible alternative uses, assets are valued at their highest and best use. Fair value of property, plant and equipment is determined based on the best available market evidence, including current market selling prices for the same or similar assets. Where there is no available market evidence, the asset’s fair value is measured at its market buying price, the best indicator of which is depreciated replacement cost. The Gallery revalues each class of property, plant and equipment at least every five years or with sufficient regularity to ensure that the carrying amount of each asset in the class does not differ materially from its fair value at reporting date. Details of the last revaluations are shown at Note 10 and were based on independent assessments. non–specialised assets with short useful lives are measured at depreciated historical cost, as a surrogate for fair value. When revaluing non–current assets by reference to current prices for assets newer than those being revalued (adjusted to reflect the present condition of the assets), the gross amount and the related accumulated depreciation are separately restated. For other assets, any balances of accumulated depreciation at the revaluation date in respect of those assets are credited to the asset accounts to which they relate. The net asset accounts are then increased or decreased by the revaluation increments or decrements.

122 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

revaluation increments are credited directly to the asset revaluation surplus, except that, to the extent that an increment reverses a revaluation decrement in respect of that class of asset previously recognised as an expense in the net result, the increment is recognised immediately as revenue in the net result. Revaluation decrements are recognised immediately as expenses in the net result, except that, to the extent that a credit balance exists in the asset revaluation surplus in respect of the same class of assets, they are debited directly to the asset revaluation surplus. As a not–for–profit entity, revaluation increments and decrements are offset against one another within a class of non–current assets, but not otherwise. Where an asset that has previously been revalued is disposed of, any balance remaining in the asset revaluation surplus in respect of that asset is transferred to accumulated funds.

(m) Impairment of property, plant and equipment As a not–for–profit entity with no cash generating units, the Gallery is effectively exempted from AASB 136 Impairment of Assets and impairment testing. This is because AASB 136 modifies the recoverable amount test to the higher of fair value less costs to sell and depreciated replacement cost. This means that, for an asset already measured at fair value, impairment can only arise if selling costs are material. Selling costs are regarded as immaterial.

(n) Intangible assets The intangible assets held by the Gallery comprise the website and software for internal use and is recognised at cost. Intangible assets are subsequently measured at fair value only if there is an active market. As there is no active market for the Gallery’s intangible assets the assets are carried at cost less any accumulated amortisation. The useful life of intangible assets is assessed to be finite. The Gallery’s intangible assets are amortised on a straight line basis over three years. All intangible assets were assessed for impairment as at 30 June 2012. No intangible assets were found to be impaired.

(o) Assets not able to be reliably measured The Gallery does not hold any assets other than those recognised in the Statement of Financial Position.

(p) Depreciation of property, plant and equipment Except for certain heritage assets and collection assets, depreciation is provided for on a straight–line basis for all depreciable assets so as to write off the depreciable amount of each asset as it is consumed over its useful life to the Gallery. All material separately identifiable component assets are depreciated over their shorter useful lives. land is not a depreciable asset. Certain heritage assets have an extremely long useful life, including original art works and collections and heritage buildings because of appropriate curatorial and preservation policies that are been adopted. Depreciation for those items cannot be reliably measured because the useful life and the net amount to be recovered at the end of the useful life cannot be reliably measured. In these cases, depreciation is not recognised. The decision not to recognise depreciation for these assets is reviewed annually. depreciation rates for each category of depreciable assets are as follows: Plant and equipment 7–20% Motor vehicles 20% Furniture and fittings 20% Office equipment 33% Computer equipment 33% Catering equipment 20% Other equipment 20% Building infrastructure 3–7% These rates are reviewed annually to ensure they reflect the assets’ current useful life and residual values.

(q) Maintenance day–to–day servicing costs or maintenance are charged as expenses as incurred, except where they relate to the replacement of a part or component of an asset, in which case the costs are capitalised and depreciated.

FINANCIAL STATEMENTS 11–12 123 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

(r) Leased assets The Gallery does not have any assets subject to finance leases. Operating lease payments are charged to the Statement of Comprehensive Income in the periods in which they are incurred.

(s) Inventories The Gallery’s inventories are held for sale and are stated at the lower of cost and net realisable value. Cost is calculated using the weighted average cost method. The Gallery does not have any inventories acquired at no cost or for nominal consideration. Net realisable value is the estimated selling price in the ordinary course of business less the estimated costs of completion and the estimated costs necessary to make the sale.

(t) Financial instruments policies The Gallery’s principal financial instruments policies and the main risks arising from financial instruments are outlined below, together with the Gallery’s objectives, policies and processes for measuring and managing risk. Further quantitative and qualitative disclosures are included throughout these financial statements. These financial instruments arise directly from the Gallery’s operations or are required to finance its operations. The Gallery does not enter into or trade financial instruments including derivative financial instruments for speculative purposes. (i) Financial instruments (a) Cash and term deposits Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances and received monthly at the normal commercial rate. The Gallery has placed funds in bank deposits “at call” or for a fixed term. The interest rate payable is negotiated initially and is fixed for the term of the deposits. These term deposits are usually held to maturity. The fair value includes the interest accrued as at 30 June 2012. (b) Trade and other receivables Trade and other receivables are non–derivative financial assets with fixed or determinable payments that are not quoted in an active market. These financial assets are recognised initially at fair value, usually based on the transaction cost or face value. Subsequent measurement is at amortised cost using the effective interest method, less an allowance for any impairment of receivables. All trade debtors are recognised as amounts receivable at balance date. Collectability of trade debtors is reviewed on an ongoing basis. Procedures as established in the NSW Treasurer’s Directions are followed to recover outstanding amounts, including letters of demand. Debts which are known to be uncollectible are written off. An allowance for impairment is raised when there is objective evidence that the entity will not be able to collect all amounts due. Any changes are accounted for in the Statement of Comprehensive Income when impaired, derecognised or through the amortisation process. The evidence included past experience and current and expected changes in economic conditions and debtors credit ratings. No interest is earned on trade debtors. The carrying amount approximates fair value. Sales are made on 30 day terms. Short–term receivables with no stated interest rate are measured at the original invoice amount where the effect of discounting is immaterial. (c) Investments In accordance with the Investment Policy and in line with NSW Treasurer’s Direction, the only equity based investments permitted are in TCorp, a government approved investment fund. The Gallery determines the classification of its investments after initial recognition and when allowed and appropriate, re–evaluates this at each financial year end. Fair value through profit or loss – The Gallery investments in TCorp Hour Glass medium and long term facilities are classified as “at fair value through profit or loss” based on its investment strategy. The Gallery’s investments are represented by a number of units in managed investments within the facilities. Each facility has different investment horizons and comprises a mix of asset classes appropriate to the investment horizon. The fair value of these investments is determined by reference to quoted current bid prices at the close of business on the Statement of Financial Position date. Any change in unit price impacts directly on profit (rather than equity). The movement in the fair value of the Hour Glass Investment facilities incorporates distributions receivable as well as unrealised movements in fair value and is reported in the line item ‘Investment revenue’.

124 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

These investments are generally able to be redeemed with 24 hours notice. The value of the investments represents the Gallery’s share of the value of the underlying assets of the funds and is stated at fair value, based on the market value. TCorp appoints and monitors fund managers and establishes and monitors the application of appropriate investment guidelines. (d) Held to maturity investments and available for sale investments The Gallery does not have any financial assets in these categories. (e) Payables These amounts represent liabilities for goods and services provided to the Gallery and other amounts, including interest. Trade and other payables are recognised initially at fair value usually based on the transaction cost or face value. Subsequent measurement is at amortised cost using the effective interest method. Short–term payables with no stated interest rate are measured at the original invoice amount where the effect of discounting is immaterial. (f) Financial guarantees A financial guarantee contract is a contract that requires the issuer to make specified payments to reimburse the holder for a loss it incurs because a specified debtor fails to make payment when due in accordance with the original or modified terms of a debt instrument. Financial guarantee contracts are recognised as a liability at the time the guarantee is issued and initially measured at fair value, where material. After initial recognition, the liability is measured at the higher of the amount determined in accordance with AASB 137 Provisions, Contingent Liabilities and Contingent Assets and the amount initially recognised, less accumulated amortisation, where appropriate. The Gallery has not granted any financial guarantees. However, refer Note 19 regarding disclosures on contingent liabilities. (ii) Risk management The Gallery’s Investment Policy and its Strategic Risk Management Plan were reviewed by the Audit and Risk Management Committee and the Board of Trustees during 2011/12. The Gallery’s Audit and Risk Committee has overall responsibility on behalf of the Board for the establishment and oversight of risk management and reviews and recommends policies for managing each of these risks. Risk management policies are established to identify and analyse the risks faced by the Gallery, to set risk limits and controls and to monitor risks. Compliance with policies relating to financial matters is managed by the Finance Committee and will be reviewed by the Audit and Risk Committee on a periodic basis. The risk management analysis reviewed the major risks associated with the financial instruments i.e. Credit, Liquidity, Market, Interest rate, Currency and other risks. Risk impact area and implications arising from each risk factor is analysed and a risk rating has been assigned. The likelihood and the consequences of each risk were analysed and the controls and risk mitigation strategies confirmed. (a) Credit risk Credit risk arises when there is the possibility of the Gallery’s debtors defaulting on their contractual obligations, resulting in a financial loss to the Gallery. The maximum exposure to credit risk is generally represented by the carrying amount of the financial assets (net of any allowance for impairment). The Gallery is not materially exposed to concentrations of credit risk to a single trade debtor or group of debtors. NSW Treasurer’s Directions are followed to recover outstanding amounts, including letters of demand. The credit risk for trade debtors is the carrying amount (net of any allowance for impairment). no collateral is held by the Gallery. Credit risk associated with the Gallery’s financial assets, other than receivables, is managed through the selection of counterparties and establishment of minimum credit rating standards. In accordance with the Gallery’s Investment Policy cash and term deposits will only be made in those banks and building societies approved by the Reserve Bank/Australian Prudential Regulatory Authority (APRA) and included in the “AGNSW Approved List” all of which have A ratings or better and no more than 30% of the Gallery’s funds or $6 million (whichever is the smaller) to be invested in any one institution. The Finance Committee during 2011/12 continued to confine the deposits to the four major banks and this policy remains unchanged.

FINANCIAL STATEMENTS 11–12 125 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Gallery deposits held with NSW TCorp are guaranteed by the State. The value that best represents the maximum credit risk exposure is the fair value. (b) Liquidity risk liquidity risk is the risk that the Gallery will be unable to meet its payment obligations when they fall due. The Gallery continuously manages risk through monitoring future cash flows and maturities planning to ensure adequate holding of high quality liquid assets. The Gallery has no loans or overdrafts and no assets have been pledged as collateral. An overdraft facility is not considered necessary as arrangements have been put in place to call in term deposits at short notice if needed. A penalty of reduced interest rate may sometimes be incurred. The liabilities are recognised for amounts due to be paid in the future for goods or services received, whether or not invoiced. Amounts due to suppliers (which are unsecured) are settled in accordance with the policy set out in NSW Treasury circular TC 11/12. If trade terms are not specified, payment is made no later than the end of the month following the month in which an invoice or a statement is received. (c) Market risk Market risk is the risk that the fair value or future cash flows of a financial instrument will fluctuate because of changes in market prices. The Gallery endeavours to limit the market risk by investing in NSW TCorp funds which provide diversification through asset allocation over a spread of financial assets (cash, bonds, fixed interest securities and equities) over medium and long term investment horizons. NSW TCorp is required to act in the best interest of the unit holders and to administer the investments accordingly. Notwithstanding these controls, market risk is inevitable in the equity markets, which is subject to global volatility. (d) Currency risk The Galley is exposed to currency risk on purchases made in currencies other than Australian Dollars. The Gallery fully hedges any substantial future foreign currency purchases when contracted. The Gallery uses forward exchange contracts to hedge its currency risk, as soon as the liability arises. (e) Interest rate risk Interest rate risk is limited as the Gallery only enters into fixed interest terms on its term deposits. The Gallery has no interest bearing liabilities and therefore is not exposed to interest rate risk on borrowings. (iii) Fair value Financial instruments are measured at amortised cost, with the exception of TCorp Hour Glass facilities, which are carried at fair value. As discussed, the value of the Hour Glass investment is based on the Gallery’s share of the value underlying assets of the facility, based on the market value. However, the fair value of the other classes of financial instruments approximates their carrying value. (iv) Impairment of financial assets All financial assets, except those measured at fair value through profit and loss, are subject to an annual review for impairment. An allowance for impairment is established when there is objective evidence that the Gallery will not be able to collect all amounts due. Any reversals of impairment losses are reversed through the net result, where there is objective evidence. (v) De–recognition of financial assets and liabilities A financial asset is de–recognised when the contractual rights to the cash flows from the financial assets expire; or if the Gallery transfers the financial asset: • Where substantially all the risks and rewards have been transferred; or • Where the Gallery has not transferred substantially all the risks and rewards, if the entity has not retained control. Where the Gallery has neither transferred nor retained substantially all the risks and rewards or transferred control, the asset is recognised to the extent of the Gallery’s continuing involvement in the asset. A financial liability is de–recognised when the obligation specified in the contract is discharged or Cancelled or expired.

126 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

(u) Current assets held for resale Current Assets held for sale are recognised at lower of carrying amount and fair value less costs to sell. These assets are not depreciated while they are held for sale.

(v) Bequests and special purpose funds The Gallery receives monies and gifts of works of art. The aggregate of these contributions received for the year has been stated as revenue in the ‘Bequest and Special Purpose Funds’ Statement of Comprehensive Income in Note 5. These revenues provide for expenditure in the current year and in future years. Any revenues unspent in the current year have been carried forward for appropriate expenditure in future years.

(w) Budgeted Amounts The budgeted amounts are drawn from the original budgeted financial statements presented to the parliament in respect of the reporting period, as adjusted for section 24 of the PFAA, where there has been a transfer of functions between departments. Other amendments made to the budget are not reflected in the budgeted amounts.

(x) Comparative information Except when an Australian Accounting Standard permits or requires otherwise, comparative information is disclosed in respect of the previous period for all amounts reported in the financial statements.

(xi) Trustee benefits The trustees of the Gallery have not entered into any contract with the Gallery.

(xii) Taxation status The activities of the Gallery are exempt of income tax. The Gallery is registered for GST purposes and has gift deductible recipient status.

(xiii) Services provided at no cost Where material contributions are made to the Gallery at no charge an expense is recorded in the accounts to reflect activities at the Gallery and is offset by an equivalent revenue entry. Services provided by volunteers are calculated using the actual hours worked at an average museum guide salary rate – refer to note 14.

(xiv) New Accounting Standards issued but not effective At reporting date a number of accounting standards adopted by the AASB had been issued but are not yet operative. At present New South Wales Treasury is mandating not to early adopt any of the new Standards / interpretations. As such, these new Standards/ Interpretations have not been early adopted by the Gallery. It is considered that the implementation of these standards will not have any impact on the Gallery’s financial statements.

FINANCIAL STATEMENTS 11–12 127 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 2 EXPENSES EXCLUDING LOSSES (a) Personnel Services Salaries and wages (including recreation leave) 19,717 18,804 19,717 18,804 Superannuation – defined benefit plans* 372 427 372 427 Superannuation – defined contribution plans 1,471 1,394 1,471 1,394 long service leave* 1,008 685 1,008 685 Workers’ compensation insurance 292 367 292 367 Payroll tax on superannuation* 20 23 20 23 Other payroll tax and fringe benefit tax 1,267 1,140 1,267 1,140 24,147 22,840 24,147 22,840

* These are provided free of charge by DTIRIS (Communities NSW in 2011). A corresponding amount is also shown under note 3(b). There were no personnel services costs capitalised and excluded from above in 2012 (Nil in 2011).

(b) Other operating expenses Auditor’s remuneration – audit of the financial statements 66 74 61 69 Cost of sales 2,372 2,678 2,372 2,678 Travel and accommodation 925 1,353 925 1,353 Operating lease rental expense – minimum lease payments 163 136 163 136 Maintenance (refer reconciliation below) 757 728 757 728 Insurance 3,567 1,350 3,567 1,350 Consultants 173 218 173 218 Contractors 667 688 667 688 Consumables 773 840 773 840 Exhibition fees and related costs 3,167 1,848 3,167 1,848 Fees – general professional 290 223 290 223 Freight, packing and storage 1,020 1,325 1,020 1,325 Marketing and promotion 2,080 2,025 2,080 2,025 Printing/graphics 622 400 622 400 Property expenses 2,517 2,295 2,517 2,295 Value of services provided by volunteers – Note 3 (b) 2,018 1,937 2,018 1,937 Other 2,129 1,524 2,125 1,509 23,306 19,642 23,297 19,622

Reconciliation – total maintenance Maintenance expense as above 757 728 757 728 Employee related maintenance expense included in Note 2(a) 526 493 526 493 Total maintenance expenses included in Note 2(a) & 2(b) 1,283 1,221 1,283 1,221

(c) Depreciation and amortisation Buildings 3,043 2,573 3,043 2,573 Plant and equipment 2,120 2,040 2,120 2,040 Intangibles 226 75 226 75 5,389 4,688 5,389 4,688

128 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 3 REVENUE (a) Sale of goods and services Sale of goods Merchandise, book and publication sales 5,183 4,803 5,183 4,803 rendering of services Admission fees 5,416 7,309 5,416 7,309 Venue hire and catering 1,668 1,355 1,668 1,355 Other 1,274 565 1,274 565 8,358 9,229 8,358 9,229 13,541 14,032 13,541 14,032

(b) Grants and contributions From Department of Trade & Investment, Regional Infrastructure and Services (DTIRIS) (Communities NSW in 2011) recurrent grants 27,133 24,847 27,133 24,847 Capital grants 3,020 5,862 3,020 5,862 Personnel services benefits and liablities provided free of charge by DTIRIS 1,401 1,136 1,401 1,136 31,554 31,845 31,554 31,845 Donations – cash (1) 8,091 6,966 7,888 6,709 Sponsorship – cash 2,517 1,359 2,667 1,359 Grants – other 248 153 246 153 Sponsorship – in kind 837 903 837 903 Donations – works of art 7,272 12,098 7,272 12,098 Value of services provided by volunteers – Note 2(b) 2,018 1,937 2,018 1,937 20,983 23,416 20,928 23,159

(1) Donations include funding for acquisition of the ‘Serra’ and other specific purposes.

(c) Investment revenue TCorp Hour Glass investment facilities 332 1,113 332 1,030 Interest 901 1,127 806 1,127 1,233 2,240 1,138 2,157

(d) Other revenue Workers compensation recovery 72 5 72 5 72 5 72 5

FINANCIAL STATEMENTS 11–12 129 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 4 Gain/(loss) on disposal (a) Proceeds from disposal of property, plant & equipment and art works Proceeds from disposal 222 1,095 222 1,095 Written down value of assets disposed (201) (276) (201) (276) 21 819 21 819

(b) Other gains / (losses) Proceeds from disposal of investments – 177 – 177 Written down value of investments disposed – (165) – (165) – 12 – 12

5 CONDITIONS ON CONTRIBUTIONS AND RESTRICTED ASSETS Investments in the following are restricted use assets to the extent that they represent bequests and donations held by the Gallery to be used in accordance with the deed of trust or other documents governing these funds.

Bequest and Special Purpose Fund Short term deposits 7,988 5,794 7,988 5,794 TCorp Hour Glass investment – medium term and long term facilities 17,499 17,540 17,499 17,540 25,487 23,334 25,487 23,334

Included in the total accumulated funds is an amount attributed to the bequests and special purpose funds as follows:

Revenue Sale of goods and services 1 8 1 8 Investment revenue 687 1,690 687 1,690 Grants and contributions 5,472 4,451 5,472 4,451 Other revenue (1) – (1) – 6,159 6,149 6,159 6,149

Expenditure Personnel Services 280 253 280 253 Other 415 301 415 301 695 554 695 554 Surplus for the year 5,464 5,595 5,464 5,595 Equity Opening balance 23,334 25,368 23,334 25,368 Transfers 9,356 5,907 9,356 5,907 Acquisitions (12,667) (13,536) (12,667) (13,536) Surplus for the year 5,464 5,595 5,464 5,595 Closing balance 25,487 23,334 25,487 23,334

130 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 6 CURRENT ASSETS – CASH AND CASH EQUIVALENTS

Cash at bank and on hand 1,357 875 1,264 687 Short term deposits 17,460 16,420 15,800 15,000

18,817 17,295 17,064 15,687

For the purpose of the Statement of Cash Flows, cash includes cash at bank, cash on hand and short term deposits. Cash and cash equivalent assets recognised in the Statement of Financial Position are reconciled at end of the financial year to the Statement of Cash Flows as follows:

Cash and cash equivalents (per Statement of Financial Position) 18,817 17,295 17,064 15,687 Closing cash and cash equivalents (per Statement of Cash Flows) 18,817 17,295 17,064 15,687

Details regarding credit risk, liquidity risk and market risk arising from financial instruments are disclosed in notes 1(s) (i) (a) and 15.

7 CURRENT ASSETS – RECEIVABLES Trade debtors (sale of goods and services) 137 283 139 283 Accrued income 762 300 747 290 Other receivables 414 1,094 414 1,094 Prepayments 116 851 115 851 Total receivables 1,429 2,528 1,415 2,518

details regarding credit risk, liquidity risk and market risk, including financial assets that are either past due or impaired are disclosed in notes 1 (s) (i) (b) and 15.

8 CURRENT ASSETS – INVENTORIES Held for resale Stock on hand – at cost 1,154 911 1,154 911

9 NON–CURRENT ASSETS– FINANCIAL ASSETS AT FAIR VALUE THROUGH PROFIT AND LOSS TCorp Hour Glass investment – medium term and long term facilities 17,499 17,540 17,499 17,540

details regarding credit risk, liquidity risk and market risk are disclosed in notes 1(s) (i) (c) and 15.

FINANCIAL STATEMENTS 11–12 131 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Land Buildings Plants & Collection Total equipment Assets $’000 $’000 $’000 $’000 $’000 10 NON CURRENT ASSETS – PROPERTY, PLANT AND EQUIPMENT (CONSOLIDATED AND PARENT ENTITY) At 1 July 2010 – fair value Gross carrying amount 17,250 196,839 14,843 824,755 1,053,687 Accumulated depreciation and impairment – (27,868) (7,938) – (35,806) net carrying amount 17,250 168,971 6,905 824,755 1,017,881

At 1 July 2011 – fair value Gross carrying amount 17,250 207,317 15,888 840,894 1,081,349 Accumulated depreciation and impairment – (30,441) (9,562) – (40,003) net carrying amount 17,250 176,876 6,326 840,894 1,041,346

At 30 June 2012 – fair value Gross carrying amount 17,250 210,822 17,408 1,105,005 1,350,485 Accumulated depreciation and impairment – (33,484) (11,545) – (45,029) net carrying amount 17,250 177,338 5,863 1,105,005 1,305,456

Reconciliation A reconciliation of the carrying amount of each class of property, plant and equipment at the beginning and end of the each reporting period are set out below:

Year ended 30 June 2011 Fair value at 1 July 2010 17,250 168,971 6,905 824,755 1,017,881 Additions/Transfers – 10,478 1,473 16,717 28,668 disposals – – (12) (265) (277) depreciation expense – (2,573) (2,040) – (4,613) net revaluation increment less revaluation decrements – – – (313) (313) Fair value at 30 June 2011 17,250 176,876 6,326 840,894 1,041,346

Year ended 30 June 2012 Fair value at 1 July 2011 17,250 176,876 6,326 840,894 1,041,346 Additions/Transfers – 3,505 1,680 14,401 19,586 disposals – – (23) (178) (201) depreciation expense – (3,043) (2,120) – (5,163) net revaluation increment less revaluation decrements – – – 249,888 249,888 Fair value at 30 June 2012 17,250 177,338 5,863 1,105,005 1,305,456

land was revalued in 2010 at fair value by a registered valuer from the Land and Property Management Authority.

The Gallery’s building was revalued in December 2007 at fair value by a senior quantity surveyor from the former NSW Department of Commerce.

library collection was valued in 2011 at fair value by Mr Simon Taaffe, accredited valuer for the Taxation Incentives for the Arts Scheme for Australian books, including artists’ books and manuscripts after 1900.

Art works in the collection were valued in February 2012 at fair value by Mr Simon Storey MAVA. The increase in value is recorded in the asset revaluation surplus. These values do not differ materially from their fair values at reporting date.

132 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity Software Software $’000 $’000 11 NON CURRENT ASSETS – INTANGIBLE ASSETS At 1 July 2011 Cost (gross carrying amount) 361 361 Less: accumulated amortisation (75) (75) N net carrying amount 286 286

At 30 June 2012 Cost (gross carrying amount) 441 441 Less: accumulated amortisation (301) (301) N net carrying amount 140 140

Year ended 30 June 2012 Net carrying amount at start of year 286 286 Additions 80 80 Amortisation (226) (226) N net carrying amount at end of year 140 140

At 30 June 2011 Cost (gross carrying amount) 361 361 Less: accumulated amortisation (75) (75) N net carrying amount 286 286

Year ended 30 June 2011 Net carrying amount at start of year – – Additions 361 361 Amortisation (75) (75) N net carrying amount at end of year 286 286

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 12 CURRENT / NON–CURRENT LIABILITIES – TRADE AND OTHER PAYABLES (a) Non derivative financial liabilities Trade creditors 3,390 3,692 3,377 3,687 Capital creditors 181 11 181 11 Creditors personnel services; Accrued personnel services costs 506 470 506 470 recreation leave 1,753 1,693 1,753 1,693 long service leave on–costs 614 439 614 439 6,444 6,305 6,431 6,300

Current 6,413 6,283 6,400 6,278 non–current 31 22 31 22 6,444 6,305 6,431 6,300

(b) Derivative financial liabilities Forward exchange contracts used for hedging (less than six months)* Outflow – (707) – (707) Inflow – 707 – 707 – – – –

Details regarding credit risk, liquidity risk and market risk are disclosed in notes 1(i) (e) and 15.

FINANCIAL STATEMENTS 11–12 133 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 13 RECONCILIATION OF CASH FLOWS FROM OPERATING ACTIVITIES TO NET RESULT net Cash used on operating activities 14,030 16,434 13,885 16,116 net gain / (loss) on sale of non–current assets 21 819 21 819 net gain / (loss) on sale of investments – 12 – 12 depreciation and amortisation (5,389) (4,688) (5,389) (4,688) Increase / (decrease) – other financial assets (547) (42) (547) (42) Gifts of works of art 7,272 12,098 7,272 12,098 (Increase) / decrease in trade and other payables 31 (156) 39 (158) Increase / (decrease) in trade and other receivables (1,099) 1,000 (1,103) 1,000 Increase / (decrease) in inventories 243 (278) 243 (278) Net result 14,562 25,199 14,421 24,879 14 NON–CASH FINANCING AND INVESTING ACTIVITIES The following non–cash transactions are included in the financial statements for the year. donations of assets – brought to account by creating an asset and crediting non cash donations

Works of art 7,272 12,098 7,272 12,098

The following items are brought to account as expenses in the statement of comprehensive income and are credited as income in the form of non–cash sponsorships, non–cash donations or services provided free of charge:

Services provided by volunteers 2,018 1,937 2,018 1,937 Advertising, freight, accommodation, travel, legal fees and similar expenses 837 903 837 903 15 FINANCIAL INSTRUMENTS The Gallery’s principal financial instruments are outlined below. (a) Financial Instrument categories

Financial Assets Carrying Carrying Carrying Carrying Notes Category Amount Amount Amount Amount Class Cash and cash equivalents 6 n/A 18,817 17,295 17,064 15,687 Receivables 7 Receivables 117 256 117 256 (excluding prepayments and (at amortised cost) statutory receivables) Financial assets at fair value 9 At fair value through profit 17,499 17,540 17,499 17,540 or loss – designated as such upon initial recognition

Payables (excluding unearned revenue and 12 Financial liabilities 6,444 5,598 6,431 5,593 statutory payables) (at amortised cost)

Receivables – trade debtors 117 256 117 256 Past due < 3 months 4 3 4 3

The Gallery is not materially exposed to concentrations of credit risk to a single trade debtor or group of debtors. The only financial assets that are past due are ‘sales of goods and services’ category of the Statement of Financial Position. There are no impaired debtors as at 30 June 2012 (2011 nil).

134 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 Notes $’000 $’000 $’000 $’000 Financial assets at fair value 7 At fair value through profit 17,499 17,540 17,499 17,540 or loss designated as such upon initial recognition

TCorp Hour Glass Investment facilities The Gallery has investments in the following TCorp’s Hour Glass Investment facilities. The Gallery’s investments are represented by a number of units in managed investments within the facilities.

2012 2011 2012 2011 $’000 $’000 $’000 $’000 Carrying Carrying Carrying Carrying Facility Investment sectors Investment horizon Amount Amount Amount Amount Medium term Cash, Australian bonds 3 years to 7 years 8,702 8,505 8,702 8,505 growth facility Australian and international shares listed property and emerging markets Long term Cash, Australian bonds 7 years and over 8,797 9,035 8,797 9,035 growth facility Australian and international shares listed property and emerging markets Total 17,499 17,540 17,499 17,540 The unit price of each facility is equal to the total fair value of net assets held by the facility divided by the total number of units on issue for that facility. Unit prices are calculated and published daily.

(b) Interest rate risk As the Group has no debt obligations, interest rate risk is considered minimal. The Group’s exposure to interest rate risk is set out below: Change in interest rate Impact on net result / equity Cash & cash equivalents +/– 1.00 188 173 171 157

(c) Sensitivity analysis Change in unit price Impact on net result / equity Medium–term growth facility +/– 7.00 609 595 609 595

long–term growth facility +/– 15.00 1,320 1,355 1,320 1,355

Returns 2012 2011 2012 2011 Medium term growth facility Achieved 4.28% 7.13% 4.28% 7.13% Benchmark 4.69% 7.06% 4.69% 7.06% Long term growth facility Achieved (0.73) 8.51% (0.73) 8.51% Benchmark (0.61) 8.43% (0.61) 8.43%

FINANCIAL STATEMENTS 11–12 135 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 (d) Fair value recognised in the statement of financial position The Gallery uses the following hierarchy for disclosing the fair value of financial instruments by valuation technique: Level 1 – Derived from quoted prices in active markets for identical assets / liabilities Level 2 – Derived from inputs other than quoted prices that are observable directly or indirectly Level 3 – Derived from valuation techniques that include inputs for the asset / liability not based on observable market data (unobservable inputs) 2011 Level 1 Level 2 Level 3 Total $’000 $’000 $’000 $’000 Financial assets at fair value TCorp Hour–Glass investments – 17,540 – 17,540 – 17,540 – 17,540 2012 Level 1 Level 2 Level 3 Total $’000 $’000 $’000 $’000 Financial assets at fair value TCorp Hour–Glass investments – 17,499 – 17,499 – 17,499 – 17,499 (The table above only includes financial assets, as no financial liabilities were measured at fair value in the statement of financial position)

(e) Payables non–derivative financial liabilities Notes Trade and other payables – non–interest bearing 12 6,444 5,598 6,431 5,598

The table below summarises the maturity profile of the Gallery’s financial liabilities.

Maturity Dates < 1 yr 1–5 yrs > 5 yrs 2011 $’000 $’000 $’000 Payables: Accrued salaries 446 – – Creditors 2,086 – – 2,532 – – 2012 Payables: Accrued salaries 482 – – Creditors 2,045 – – 2,527 – –

The amounts disclosed are the contractual undiscounted cash flow based on the earliest date on which the entity can be required to pay and therefore will not reconcile to the statement of financial position.

derivative financial liabilities Forward exchange contracts used for hedging Liabilities – (707) – (707) Fair value – (707) – (707)

There was no exposure to foreign currency risk at balance date. (2011 $707,000)

136 ART GALLERY OF NSW annual report 11–12 ART GALLERY OF NEW SOUTH WALES TRUST Notes to and forming part of the financial statements For the year ended 30 June 2012

Consolidated PARENT Entity Entity 2012 2011 2012 2011 $’000 $’000 $’000 $’000 16 BUDGET REVIEW Net result The actual net result was better than the budget by $11,660,000, mainly due to cash donations & sponsorships and gift of Art works recording better than budgeted amounts by $6,708,000 and $5,272,000 respectively. The sale of goods and services also recorded a favourable result due to the Picasso exhibition held during the financial year.

Assets and Liabilities The variance of $2,239,000 between the actual and budgeted current assets is due to the increase in cash assets as a result of the favourable Net result. The unfavourable variance in Non current financial assets is due to the fluctuations in the equity markets (ref note 15c). The increase in total property, plant and equipment is due to the net increase in the revaluation of the Collection of Art works during 2012.

Cash flows The variances in net cash flows from operating activities is $7,471,000 better than the budget due to the increase in cash donations and sale of goods and services mainly due to Picasso. The net cash flows from investing activities is mainly due to the variance in the purchase of Art works by $5,129,000.

17 EVENTS AFTER THE REPORTING PERIODS There are no significant events after the reporting period that will impact the financial statements.

18 CONTINGENT LIABILITIES The Treasury Managed Fund normally calculates hindsight premiums each year. There are no other contingent liabilities. (2011– Nil)

19 COMMITMENTS FOR EXPENDITURE

(a) Capital commitments There are $204,283 (incl GST) capital commitments outstanding as at 30 June 2012. (2011 $1,161,694)

(b) Other expenditure commitments There were $124,562 (incl GST) other expenditure commitments outstanding as at 30 June 2012. (2011 – $152,801)

(c) Operating lease commitments Future non–cancellable operating lease rentals not provided for and payable:

Not Later than one year 109 155 109 155 Later than one year and not later than 5 years 46 113 46 113

Total 155 268 155 268 The total commitments above include input tax credits of $43,985 ($143,860 in 2011) that are expected to be recovered from the Australian Taxation Office.

END OF AUDITED FINANCIAL STATEMENTS

FINANCIAL STATEMENTS 11–12 137 GENERAL Tours for student groups Edmund and Joanna Venue hire Special tours are available for Capon Research Library www.artgallery.nsw.gov.au/hire ACCESS booked education groups. Details www.artgallery.nsw.gov.au/ available on the website or contact The Gallery has a range of function INFORMATION research/library public programs: tel (02) 9225 1740 areas and facilities available, email [email protected] The Edmund and Joanna Capon both during and after normal Research Library is open to the Gallery opening hours. Enquiries: Access Personal tours public Tuesday to Friday between tel (02) 9225 1836 email 10am and 4pm and until 7.30pm [email protected]. www.artgallery.nsw.gov.au/visit–us Personal tours for private groups each Wednesday (excluding public can be booked two weeks in The Gallery is open every day, holidays and the Christmas–New advance. Charges apply. Visitors with special except Easter Friday and Christmas Year period). Some conditions apply Enquiries: (02) 9225 1703 needs Day, between 10am and 5pm and to archive access. Details available until 9pm every Wednesday for Art on the website or contact the www.artgallery.nsw.gov.au/ Access program tours After Hours. General admission is library: tel (02) 9225 1785 email special–needs free. Entry fees apply to some major In addition to the monthly Auslan [email protected] There are four free dedicated temporary exhibitions. tours above, free Auslan interpreters accessible parking spaces at the are available for groups. Free touch Study room Gallery: two at the front and two Tours tours and audio–described tours in the rear carpark. There is are available for people who are www.artgallery.nsw.gov.au/ www.artgallery.nsw.gov.au/tours a permanent accessible ramp at blind or vision impaired. Free guided venues/study–room the entrance to the building and tours of the permanent displays are Visit the study room to see works Tours of the Gallery and an accesible entrace at the rear. available for groups with intellectual on paper from the Gallery’s collection collections Assisted entry is available on disabilities. Bookings must be made of prints, drawings, photographs request. All areas inside the building You can choose from a range of two weeks in advance. Contact and watercolours not currently on can be accessed by ramps and lifts. free one–hour public tours, led by public programs: tel (02) 9225 1740 display. Open to the public Monday The Domain Theatre and Centenary our trained volunteer guides. There’s email [email protected] to Friday 10am to 4pm and until no need to book just meet at the Auditorium have seating spaces 7.30pm each Wednesday (except designed for wheelchairs. Accessible information desk near the Gallery Audio tours public holidays and the Christmas– entrance. toilets are located on the upper Audio tours highlighting works in New Year period). Student groups level, lower level 1 and lower level Collection highlights our permanent galleries and some welcome but there is a limit of 12 3. Wheelchairs are available from Daily, 11am (except Mondays) temporary exhibitions are available people in the room at one time. the information desk and rear Australian collection highlights free on the website. They can also Bookings preferred. Enquiries: entrance for use within the Gallery Daily, 2pm be hired at the Gallery; charges tel (02) 9225 1758. without charge. may apply. Asian galleries For those requiring assisted entry, Daily, 12 noon Gallery Shop accessible parking or wheelchair Tours of the exhibitions www.artgallery.nsw.gov.au/ access to the Research Library and Contemporary collection There are free guided tours of Daily, 12noon; Wednesday, 7.15pm galleryshop Archive, we recommend contacting our temporary exhibitions. Details Open daily, 10am to 5pm, the Gallery before arrival: tel (02) Yiribana Gallery: Aboriginal and available on the website or at 9225 1775. Torres Strait Islander art the Gallery. Wednesday until 8.45pm, the Gallery Daily, 1pm Shop offers the finest range of Groups of visitors with intellectual art books in Australia and stocks disabilities are encouraged to Cantonese language Library tours an extensive range of posters, contact the Gallery to discuss their Tuesdays, 11am Free introductory tours of the cards, replicas and giftware. It also needs: tel (02) 9225 1740 or (02) Korean language library can be arranged by specialises in school and library 9225 1738, email [email protected] Fridays, 11am appointment with the Head supply. A selected product range Librarian on 9225 1762. An audio–induction loop is available Mandarin language is available online. Enquiries: in the Domain Theatre and Thursdays, 11am tel (02) 9255 1718 email Centenary Auditorium and portable [email protected] Japanese language Exhibitions and events FM–transmitter systems can be used Fridays, 11am www.artgallery.nsw.gov.au/whats–on for guided tours on request. Auslan– interpreted events for adults and Auslan (Australian sign language) Detailed information about exhibitions Cafe and restaurant children are held throughout the year, Last Sunday of every month and events is available on the www.artgallery.nsw.gov.au/food including tours and performances (except December), Gallery’s website. The cafe, situated on lower level 1, on the last Sunday of each month 1.30pm, 45 minutes Email newsletters covering is open daily from 10am to 4.30pm. (except December), and selected exhibitions and events are sent On Wednesday nights, it remains Art After Hours events are also Tours for tots regularly. You can subscribe via our open until 8.45pm as the ArtBar. Auslan–interpreted. See also Access Tours for 3–5 year olds website (www.artgallery.nsw.gov/ The restaurant, situated on the program tours above. (accompanied by an adult) are held artmail) or email [email protected] ground floor, is open for lunch Where entry fees are charged for on the last Tuesday every month, A free regular print publication, 12 to 3pm and high tea 2 to major temporary exhibitions, a carer with a different theme each time. Highlights, which lists current 4pm daily. Restaurant bookings: or person who supports a visitor Limited numbers so bookings are exhibitions, key public programs tel (02) 9225 1819 email with a disability or who is frail is essential. Cost is $20 per child. and general visitor information, [email protected]. admitted free upon presentation Details available on the website or is available from the Gallery’s of a companion card. contact public programs: tel (02) information desk, ground level. 9225 1740 email [email protected]

138 ART GALLERY OF NSW annual report 11–12 Details available on the website or GENERAL contact public programs: tel (02) ACCESS 9225 1740 email [email protected] INFORMATION

Access Tours for student groups www.artgallery.nsw.gov.au/visit–us Special tours are available for booked education groups. Details The Gallery is open every day, available on the website or contact except Easter Friday and Christmas public programs: tel (02) 9225 1740 Day, between 10am and 5pm and email [email protected] until 9pm every Wednesday for Art After Hours. General admission is Personal tours free. Entry fees apply to some major temporary exhibitions. Personal tours for private groups can be booked two weeks in advance. Charges apply. Tours Enquiries: (02) 9225 1703 www.artgallery.nsw.gov.au/tours Mart in Place Access program tours Tours of the Gallery and In addition to the monthly Auslan Stat ion collections tours above, free Auslan interpreters You can choose from a range of are available for groups. Free touch free one–hour public tours, led by tours and audio–described tours our trained volunteer guides. There’s are available for people who are no need to book just meet at the Sydney blind or vision impaired. Free guided information desk near the Gallery Tower P tours of the permanent displays are St James Domain entrance. Stat ion Parking available for groups with intellectual disabilities. Bookings must be made Collection highlights Station two weeks in advance. Contact Daily, 11am (except Mondays) public programs: tel (02) 9225 1740 Australian collection highlights email [email protected] Daily, 2pm Asian galleries Audio tours Daily, 12 noon Audio tours highlighting works in Contemporary collection our permanent galleries and some Daily, 12noon; Wednesday, 7.15pm Getting here Train: closest stations are St James temporary exhibitions are available and Martin Place. Both are a 10 free on the website. They can also Yiribana Gallery: Aboriginal and www.artgallery.nsw.gov.au/ minute walk. be hired at the Gallery; charges Torres Strait Islander art getting–here Daily, 1pm Bicycle: a bike rack is situated at may apply. Bus: Bus 441 stops at the Gallery the front entrance. Cantonese language en route to the Queen Victoria Tours of the exhibitions Tuesdays, 11am Building. The service runs every 20 Parking: There is limited meter There are free guided tours of minutes on weekdays and every 30 parking outside the Gallery and Korean language our temporary exhibitions. Details minutes on weekends and public additional meter parking in Mrs Fridays, 11am available on the website or at holidays. For more details: tel 131 Macquarie’s Road. The nearby Mandarin language the Gallery. 500 or www.131500.info. The Domain Parking Station is open Thursdays, 11am Gallery operates a free courtesy daily. Have your parking ticket Library tours Japanese language minibus 7.15pm to 9.30pm every stamped at the Gallery’s information Fridays, 11am Wednesday night. It makes its final desk for a discounted rate. Free introductory tours of the Auslan (Australian sign language) run from the Gallery at 9.15pm. library can be arranged by Last Sunday of every month The bus loops down past Mrs appointment with the Head (except December), Macquarie’s Chair, then on to the Librarian on 9225 1762. 1.30pm, 45 minutes Domain Parking Station, Wilson Parking Station (Sydney Hospital) Exhibitions and events Tours for tots and Martin Place train station. www.artgallery.nsw.gov.au/whats–on Tours for 3–5 year olds Detailed information about exhibitions (accompanied by an adult) are held and events is available on the on the last Tuesday every month, Gallery’s website. with a different theme each time. Limited numbers so bookings are Email newsletters covering essential. Cost is $20 per child. exhibitions and events are sent

GENERAL ACCESS INFORMATION 11–12 139 collection – gifts 85 future vision under development 19 overseas travel 82 INDEX collection – loans 88

collection – purchases 83 G P Gallery shop 138 philanthropy and bequests 18th Biennale of Sydney: community 31 received 74 all our relations 18 Community Ambassadors 36 gas 47 Phillips Fox, E 65 getting here 139 A compliance reporting 101 photography 139 Aboriginal and Torres Strait Islander photography international 23 programs and services 79 conservation 71 H highlights 2010–11 2 Picasso: masterpieces from the Musée access 138 contact the gallery 139 Hilder, JJ 65 National Picasso, Paris 18 Home 22 accessible entrance ramp 47 contents 2 President’s foreword 8 I access programs 36 corporate governance 50 Indonesia 68 primary education programs aged and disability programs and industrial relations 61 (YK–6) 39 services 78 corporate plan 2010–15 5 customer service delivery 101 insurance 54 Prints and Drawings Study Room AGNSW contemporary projects 25 xx D internal audits 2011–12 54 publishing 26 AGNSW publications 26 Daumier, Honoré 69 AGNSW publications for sale 75 David Aspden: the colour international art 17, 69 purpose 5 of music and place 18 Archibald, Wynne and Sulman Director’s statement 11 Prizes 20 J R Art After Class 40 E Jacky Redgate: the logic of vision 25 recycled content 48 Art After Hours 33 EEO statistics 104 Japan 65 Art Gallery of NSW Foundation 56 Edmund and Joanna Capon Research registration 72 library 9, 71, 138 K Art Gallery Society of NSW 57 education 39 Kaldor, John – Family Collection 70 resource recovery initiatives 48 Kamisaka Sekka: dawn of modern ARTEXPRESS 2012 20 education resources 41 Japanese design 23 risk management 53 Kathy Temin My Monument: ARTEXPRESS Connects Out West 42 electricity 47 Black Garden 25 S art prize 75 electronic services delivery 81 L secondary education programs Laib, Wolfgang 70 (Y7–12) 39 Artside–In! 39 employee assistance program 61 Laurence, Janet 65 Serra, Richard 69 Asian art 22, 65 engaging 30 M Simone Mangos: DAMAGED The mad square: modernity – thalidomide victims audience by program 31 energy management 47 in German art 1910–37 17 in medical documents 25 sponsorship 74 Australian art 18, 65 Enomtoro, Chikatoshi 68 major collection acquisitions 65 Australian art Indigenous 22 Eugène Atget: Old Paris 25 staff 12, 94 Eugenia Raskopoulos: footnotes 25 Making sense: contemporary staff profile 61 Australian Symbolism: European prints, drawings and lA photo artists 23 the art of dreams 22 watercolours international 69 management committees 55 staff publications, presentations awards 41 Executive 58 and related activities 96 Mother India: video plays exhibitions 8 by Nalini Malani 23 stewarding 44 motor vehicle fleet 48 B exhibitions and audience programs 17 strategic direction 5 Bell, Larry 70 Ms&Mr XEROX MISSIVE 1977/2011 Board of Trustees 50 exhibitions and events 140 25 Study room 138 multicultural policies and services Boyd, Daniel 65 exhibitions listing 77 plan 80 Sunday concerts 34 Brett Whiteley Studio 139 Brand, Michael 8, 11, 58 building and environmental F T management 47 family and childrens programs 31 O tertiary education programs One hundred flowers 22 (universities and TAFE) 40 business development 57 film program 33 online publications 26 financial 12 Tibet 69 open gallery 39 Tjampawa Katie Kawiny 65 financial commentary 110 tours 138 C Open Weekend 31 cafe and restaurant 138 financial statements 116 Trustee meetings 52 organisation structure 60 Cakravala, the Buddhist financial summary 112 world system 69 other collection activity 71 Cameron, Andrew – gift 84 Francis Bacon: five decades 25 V future exhibitions 25 other gallery entities 55 venue hire 138 collecting 62 Outreach Regional NSW 42 vision 5

140 ART GALLERY OF NSW annual report 11–12