Annual Report 2019–20 Snapshot of the National Gallery of Australia
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2018 Adelaide Biennial of Australian Art
DIVIDED ART GALLERY OF SOUTH AUSTRALIA WORLDS 2018 ADELAIDE BIENNIAL OF AUSTRALIAN ART The cat sits under the dark sky in the night, watching the mysterious trees. There are spirits afoot. She watches, alert to the breeze and soft movements of leaves. And although she doesn’t think of spirits, she does feel them. In fact, she is at one with them: possessed. She is a wild thing after all – a hunter, a killer, a ferocious lover. Our ancestors lived under that same sky, but they surely dreamed different dreams from us. Who knows what they dreamed? A curator’s dream DIVIDED WORLDS ART 2018 GALLERY ADELAIDE OF BIENNIAL SOUTH OF AUSTRALIA AUSTRALIAN ERICA GREEN ART ARTISTS LISA ADAMS JULIE GOUGH VERNON AH KEE LOUISE HEARMAN ROY ANANDA TIMOTHY HORN DANIEL BOYD KEN SISTERS KRISTIAN BURFORD LINDY LEE MARIA FERNANDA CARDOSO KHAI LIEW BARBARA CLEVELAND ANGELICA MESITI KIRSTEN COELHO PATRICIA PICCININI SEAN CORDEIRO + CLAIRE HEALY PIP + POP TAMARA DEAN PATRICK POUND TIM EDWARDS KHALED SABSABI EMILY FLOYD NIKE SAVVAS HAYDEN FOWLER CHRISTIAN THOMPSON AMOS GEBHARDT JOHN R WALKER GHOSTPATROL DAVID BOOTH DOUGLAS WATKIN pp. 2–3, still: Angelica Mesiti, born Kristian Burford, born 1974, Waikerie, 1976, Sydney Mother Tongue, 2017, South Australia, Audition, Scene 1: two-channel HD colour video, surround In Love, 2013, fibreglass reinforced sound, 17 minutes; Courtesy the artist polyurethane resin, polyurethane and Anna Schwartz Gallery Melbourne foam, oil paint, Mirrorpane glass, Commissioned by Aarhus European Steelcase cubicles, aluminium, steel, Capital of Culture 2017 in association carpet, 261 x 193 x 252 cm; with the 2018 Adelaide Biennial Courtesy the artist photo: Bonnie Elliott photo: Eric Minh Swenson DIRECTOR'S 7 FOREWORD Contemporary art offers a barometer of the nation’s Tim Edwards (SA), Emily Floyd (Vic.), Hayden Fowler (NSW), interests, anxieties and preoccupations. -
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
AUIP Itinerary
Itinerary for PSU SOVA 2021 Social and Cultural Explorations in the Visual Arts: in Sydney, Australia 13 July 2021 - 24 July 2021 Tuesday 13 July Day 1: Sydney 8:50 AM Group flight arrives 9:30 AM Welcome to Sydney Your guide for today’s walking tour will greet you upon arrival at the airport with a sign that reads "PENN STATE UNIVERSITY." Please meet at Exit A at the northern end of the terminal. If you miss your flight and will be arriving late, please contact your faculty leader, Dr. Angela Rothrock (Phone: 011 61 420 675 797 or Email: [email protected]), to let her know when you will be arriving. You will then be responsible for making your own way from the airport to the accommodation. Please notify your family of your safe arrival. 10:15 AM Depart by coach to Travelodge Sydney (travel time approximately 30 minutes) Please store your luggage at Travelodge Sydney. You will be able to check in after 3:30 PM. Please notify hotel staff of any valuables (laptop computers, jewellery, electronics, etc.) and they can lock them in a secure room for you. 11:10 AM Depart by coach to The Rocks historic neighborhood (travel time approximately 20 minutes) 11:30 AM Guided walking tour of The Rocks Your guide will provide you with a detailed history of The Rocks as you visit sites of interest in the area. Topics include Aboriginal history and culture, Australia’s history as a convict penal colony, the start of European migration to Australia and Sydney landmarks. -
Shimmen Full CV 2019
HEATHER SHIMMEN Born 1957, Melbourne 78. BA Fine Art (Painting), RMIT, Melbourne 2010 Artists in residence, RMIT, Melbourne , Vic 2013 Artist in residence, The Art Vault, Mildura, VIC SOLO EXHIBITIONS 2019. ‘Ladies of the Pleiades’, Sale Regional Gallery, Sale 2017. 'Time Warps',Australian Galleries,Melbourne 2014. 'Insectivoria', Australian Galleries, Melbourne 2011. ‘The Swamp Maidens Tale’, Australian Galleries, Smith Street, Melbourne 2008. ‘Betwixt’, Gallery 101, Melbourne 2006 ‘I Dreamt I Dwelt in Marble Halls’, Stonnington Stables Museum of Art, Deakin University, Melbourne ‘Whispers’ Adele Boag Gallery, Adelaide 2005 ‘Figment, Fragment’, Gallery 101, Melbourne 2002 ‘Things That Float In The Air’, Joshua McClelland Print Room, Melbourne 1999. ‘The Sutured Heart’, Bulle Gallery, Melbourne 1997. ‘The Invisible Hand of the Future’, Lyall Burton Gallery, Melbourne 1996. Lyall Burton Gallery, Melbourne Adelaide Central Gallery, Adelaide 1993 Adelaide Central Gallery, Adelaide Lyall Burton Gallery, Melbourne 1991. Realities Gallery, Melbourne 1990. Realities Gallery, Melbourne 1986. Realities Gallery, Melbourne 1984 Bitumen River Gallery, Canberra 1983. Anthill Theatre, Melbourne 1982. Drummond Street Gallery, Melbourne GROUP EXHIBITION 2020. ‘Let All the Birds Fly- the hybrid print’,Maitland Regional Galleries,NSW ‘Fem -aFfinity’, Devonport Regional Art Gallery Tas Benalla Art GalleryVic Noosa Regional Art Gallery Qld Horsham Regional Art Gallery Vic Bunjil Place Gallery Vic Riddoch Art GallerySA 2019 ‘Paper Made’, Australian Galleries, Melbourne ‘Fem-aFfinity’, Arts Project, Melbourne ‘Beyond the Veil’,Art for the World Gallery, Cannaregio, Biennale de Venetzia, Venice,Italy ‘Beyond the Veil’,Memoire de L’Avenir Espace cultures pluridisciplinairl, Paris, France ‘2019 Ulsan International Woodcut Biennale’ South Korea ‘Round About’ Gecko Gallery, Fish Creek,VIC ‘Sydney Contemporary Art Fair’Sydney,NSW ‘Art Meets Nature’,WAMA, Sofitel,Melbourne ‘A Fine Line’, Bright Space, Melbourne 2018. -
Library Board of Victoria Annual Report 2016
Library Board of Victoria Victoria Library of Board Library Board of Victoria Annual Report 2016–17 Annual ReportAnnual 2016–17 Library Board of Victoria Annual Report 2016–17 Published by State Library Victoria 328 Swanston Street Melbourne VIC 3000 Australia Also published on slv.vic.gov.au © State Library Victoria 2017 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Authorised by the Victorian Government 328 Swanston Street Melbourne VIC 3000 Australia Typeset by Cannon Typesetting Cover photograph: The night garden, illumination created by Nick Azidis, Lisa Greenaway and Rose Staff for White Night Melbourne 2017. Photograph by James Braund. Contents 2 President’s report 4 Chief Executive Officer’s year in review 6 Vision and values 7 Report of operations 22 Financial summary 24 2016–17 key performance indicators 25 Service Agreement with the Minister for Creative Industries 26 Output framework 28 Acquisitions statistics 29 Library Board and corporate governance 33 Library Executive 34 Organisational structure 35 Occupational health and safety 37 Public sector values and employment principles 38 Statement of workforce data and merit and equity 40 Environmental performance 42 Diversity and Social Inclusion Plan 43 Freedom of information 44 Protected Disclosure Act 2012 44 Compliance with the Building Act 1993 45 Victorian Industry Participation Policy 45 National Competition Policy 46 Government advertising expenditure 46 Major contracts 47 Consultancies 48 Financial information 49 Risk attestation Financial statements 51 Auditor-General’s report 53 Library Board of Victoria letter 54 Financial report for year ended 30 June 2017 59 Notes to the financial statements 105 Disclosure index President’s report I am pleased to present my sixth report as the donated $2 million to establish Start Space, a new President of the Library Board of Victoria. -
Compliance by Former Ministers of State With
September 2018 Who’s in the room? Access and influence in Australian politics Danielle Wood and Kate Griffiths Who’s in the room? Access and influence in Australian politics Grattan Institute Support Grattan Institute Report No. 2018-12, September 2018 Founding members Endowment Supporters This report was written by Danielle Wood, Kate Griffiths and Carmela The Myer Foundation Chivers. Grattan interns Tim Asimakis, Matthew Bowes, Isabelle National Australia Bank Hughes and Anne Yang provided research assistance and made Susan McKinnon Foundation substantial contributions to the report. We would like to thank the members of Grattan Institute’s Public Policy Affiliate Partners Committee for their helpful comments. We also thank AJ Brown, Ken Medibank Private Coghill, Belinda Edwards, Darren Halpin, Serena Lillywhite, Cameron Susan McKinnon Foundation Murray, Joo-Cheong Tham and Anne Twomey for their suggestions, and staff of the Australian Electoral Commission, NSW Electoral Commission, NSW ICAC and other government and industry bodies for Senior Affiliates their technical input. Google Maddocks The opinions in this report are those of the authors and do not necessarily represent the views of Grattan Institute’s founding PwC members, affiliates, individual board members, committee members or McKinsey & Company reviewers. Any errors or omissions are the responsibility of the authors. The Scanlon Foundation Grattan Institute is an independent think-tank focused on Australian Wesfarmers public policy. Our work is independent, practical and rigorous. We aim Westpac to improve policy outcomes by engaging with both decision-makers and the community. Affiliates For further information on the Institute’s programs, or to join our mailing Ashurst list, please go to: http://www.grattan.edu.au/. -
Sylvia Kanytjupai Ken, Tjungkara Ken & the Ken Sisters Collaborative
Sylvia Kanytjupai Ken, Tjungkara Ken & the Ken Sisters Collaborative Seven Sisters: Kungkarangkalpa 24 August – 18 September 2021 The exhibition ‘Seven Sisters’ showcases the distinct artistic styles and visions of Sylvia Ken and Tjungkara Ken, two award-winning female indigenous artists, both at the forefront of contemporary painting in Australia. Alongside the work of Sylvia Ken and Tjungkara Ken, the exhibition also features large scale paintings by the renowned Ken Sisters Collaborative (Freda Brady, Sandra Ken, Tjungkara Ken, Maringka Tunkin and Yaritji Young). Based in the Amata community in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia and painting at Tjala Arts, Sylvia and Tjungkara’s evocative paintings are a celebration of Anangu culture and connection to country alongside their individual expression of 'Tjukurpa'(ancestral knowledge and law). Sylvia and Tjungkara paint, in different but related ways, the Seven Sisters creation story, an ancestral narrative of the Pleiades constellations (the sisters) and a sinister man (Orion) who followed them across earth and sky. Both Sylvia and Tjungkara’s family are traditional owners of significant sites where the Seven Sisters story takes place with each painting referencing this story and the important sites within the vast landscape. These stories are the artists’ birthright and come with a responsibility to continue the passing of culture and knowledge to the next generation. “I listen to the old people’s stories and I think about these stories, and then ideas come for my paintings. I listen to my mother and father, to my grandmother and grandfather. I listen when they are talking about ‘Tjukurpa’ and telling creation stories and when they say to me ‘No, you should paint this way, the Seven Sisters’’. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
Art Gallery of South Australia Major Achievements 2003
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2003 – 30 June 2004 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-second Annual Report of the Art Gallery Board of South Australia for the Gallery’s 123rd year, ended 30 June 2004. Michael Abbott QC, Chairman Art Gallery Board 2003–2004 Chairman Michael Abbott QC Members Mr Max Carter AO (until 18 January 2004) Mrs Susan Cocks (until 18 January 2004) Mr David McKee (until 20 July 2003) Mrs Candy Bennett (until 18 January 2004) Mr Richard Cohen (until 18 January 2004) Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr. Philip Speakman (commenced 20 August 2003) Mr Andrew Gwinnett (commenced 19 January 2004) Mr Peter Ward (commenced 19 January 2004) Ms Louise LeCornu (commenced 19 January 2004) 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2003-2004 6 Issues and Trends 9 Major Objectives 2004–2005 11 Resources and Administration 13 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 27 Appendix B1 Art Gallery Board 29 Appendix B2 Members of the Art Gallery of South Australia 29 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 30 Appendix B4 Art Gallery Staff and Volunteers 31 Appendix C Staff Public Commitments 33 Appendix D Conservation 36 Appendix E Donors, Funds, Sponsorships 37 Appendix F Acquisitions 38 Appendix G Inward Loans 50 Appendix H Outward Loans 53 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 61 Appendix K Gallery Guide Tour Services 61 Appendix L Gallery Publications 62 Appendix M Annual Attendances 63 Information Statement 64 Appendix N Financial Statements 65 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance. -
Ben Quilty: a Case Study(PDF, 558KB)
EDUCATION RESOURCE KIT A CASE STUDY BEN QUILTY 1 INTRODUCTION Written by Kate Caddey and published by Lake Macquarie City Art Gallery (LMCAG), this education kit is designed to assist senior secondary Visual Arts teachers and students in the preparation, appreciation and understanding of the case study component of the HSC syllabus. LMCAG is proud to support educators and students in the community with an ongoing series of case studies as they relate to the gallery’s exhibition program. This education kit is available in hard copy directly from the gallery or online at www.artgallery.lakemac.com.au/learn/schools. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the Higher School Certificate (HSC) course. The selection of content for the case study should relate to various aspects of critical and historical investigations, taking into account practice, the conceptual framework and the frames. Emphasis may be given to a particular aspect of content although all should remain in play. Case studies should be 4–10 hours in duration in the HSC course. Cover: Ben Quilty Cook Rorschach 2009 NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 oil on linen 140 x 190cm © the artist CONTENTS THE ARTIST 5 PRACTICE 7 Conceptual Practice 7 Explorations of masculinity and mortality 7 Humanitarianism and social issues 14 Australian identity and history 15 Material Practice 16 THE FRAMES 18 Artwork Analysis Using the Frames 18 Structural frame 18 Cultural frame 20 Subjective frame 21 Postmodern frame 23 THE CONCEPTUAL FRAMEWORK 24 Artist 25 Audience 24 Artwork 24 World 24 PREVIOUS HSC EXAMINATION QUESTIONS RELEVANT TO THIS CASE STUDY 26 GLOSSARY 27 REFERENCES AND FURTHER READING 28 Websites 28 Videos 29 Articles and catalogues 30 A CASE STUDY BEN QUILTY 3 A CASE STUDY BEN QUILTY 4 THE ARTIST Ben Quilty in front ‘I am an Artist. -
Exhibiton Checklist
FACE TO FACE An exhibition of portrait and figurative photography from the Albury Regional Art Gallery Collection 29 January – 6 March 2005 Face to Face brings together a selection of works from the extensive Albury Regional Art Gallery Collection of Australian photography that focuses on the human figure including formal and informal portraits and a variety of ideas expressed through narrative, composition and the many avenues available through photographic means. Since its beginnings in 1982, the collection has evolved into one of the finest photographic collections in the country. Seventy-five portrait and figurative works have been specially selected for exhibition at S.H. Ervin Gallery in Sydney. Following the establishment of the Gallery, a collection policy was adopted in 1982 and cited one of the major areas of focus to be Works on Paper, with an emphasis on Photography. To support this mission, the National Photographic Purchase Award was founded in 1983. Since 1999 the Albury Wodonga Regional Art Foundation has sponsored the Award, recognising the value of the collection and the enhanced reputation of the Art Gallery and its standing as a leading supporter of photographic practice in Australia. The National Photographic Purchase Award continues to be a major biennial event attracting artists from a national field and adding new works to the collection. Early purchases and gifts included important suites of work by Max Dupain, Harold Cazneaux, and the popular Siblings series by Robert Rosen. The collection now includes the work of David Moore, J.J. Voss, Brenda Croft, Destiny Deacon, Leah King Smith, Tracey Moffatt, Fiona Hall, Philip Quirk and many other important Australian photographers who have key works included in the exhibition. -
2013 Olive Cotton Award List of Finalists
Olive Cotton Award 2013 – list of exhibition finalists 1. Michele Aboud Sydney NSW Cate Blanchett digital print 2. Belinda Allen Bundeena NSW Dear departed - my sister Kate pigment inkjet print on cotton rag paper 3. Melissa Anderson Cleveland QLD Golden anniversary archival pigment print on fine art photography paper 4. Daniel Arnaldi Sydney NSW Tawf the butcher digital print 5. Narelle Autio Adelaide SA Dash and the spectrum pigment print on cotton rag paper from film 6. Lyn Balzer and Anthony Perkins Sydney NSW Jenny Kee at the Altar Lambda print 7. Janie Barrett Sydney NSW Labelled digital print 8. Katalin Bayer Sydney NSW Six pigment print on cotton rag paper 9. Simon Bernhardt Sydney NSW Jessica TBA 10. Brett Boardman Sydney NSW Mick Deni, Ute Muster 2011 Lambda print 11. Bonney Bombach Hideaway Bay QLD Homeward journey (Wayan) digital print 12. Sally Bongers Sydney NSW Australia archival inkjet print from 6x7" film on cotton rag 13. Chris Budgeon Melbourne VIC Chet Faker archival pigment print 14. Elaine Bull Newcastle NSW Double dare print from medium format Ektachrome film 15. Trish Callaghan Murwillumbah NSW Now, you are cats digital print 16. Michael Cook Brisbane QLD Stickman #10 inkjet print on archival Hahnemuhle cotton paper 17. Michael Corridore Sydney NSW Elisabeth archival pigment print 18. Ross Coulter Melbourne Vic Self portrait as Aussie Jesus (after Durer) type C print 19. Bryson Coverdale Banora Point NSW Cousins - 20 years on giclee print 20. Athene Currie Mt Glorious QLD 8 TBA 21. Helga Dalla Buddina QLD My boys fine art archival cotton rag 22.