DOCSLIB.ORG

S H E R M a N G a L L E R I

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
S H E R M a N G a L L E R I Mike Parr 17 March – 1 April 2006 SHERMAN GALLERIES End of Nature 1, 1998, video still, courtesy the artist and Sherman Galleries, Sydney Victim of Success ike Parr’s slide work, 150 Programs & Investigations, 1971–72, includes themselves classic examples of the power of the video medium. Some works, Mthe statement: ‘If it’s socially impotent then it’s not art.’ Thirty years on, this such as The End of Nature, 18 February 1998, a performance on the Baltic Sea, once profoundly radical declaration might find a place in a public art statement or Forms of Independence, 1999, were performed with complete cognizance by the most conservative provincial council in Australia, since almost all art is of the video camera and anticipation of a filmic viewer. Both have a hypnotic now seemingly motivated by some instrumental or social purpose. But social quality that can only result from the unremitting, inescapable framing of the purpose and social potency are two different things. Parr has not succumbed to performer in the context of a contingent sequence: in the first case, the the current trend for artists to add value to social experience by playing the disturbing image of Parr in long wig and flimsy white bridal gown walking polite role of intuitive outsider. After thirty-five years of art practice, Mike Parr is across the frozen water towards the receding camera; and in the second a towering figure in the Australian art scene yet he is still one of the few artists example, attempting to tie his shoelaces with one hand. Often the echo of willing to do the dirty work of dismantling attempts at political or social control. home video production is evoked as Parr attempted to domesticate rather than His recent performance work, Sitting Member, staged in Newcastle, New aestheticise the record of the performance. South Wales on 3 October 2005, follows a series of most disturbing and Certainly, it is possible to see an entirely different sensibility, if not sensitivity, gruelling events in which Parr obliterated the maxim that art and politics do not in Parr’s use of the medium of film, as demonstrated in the 16mm film, Family mix. For Sitting Member, Parr sat for eight hours enclosed in a large wooden Under Water, 1978–81, where a series of fragmentary, distorted portraits box positioned in the middle of a massive, abandoned railway workshop that seamlessly glide together in a fluid sequence. This work is from a period in the reverberated with the booming sound of recorded Parliamentary debates on late 1970s when Parr began his Self Portrait Project and took particular interest the Federal Government’s Industrial Relations reforms. Since the stump of his in editorial control over the filmmaking process. Not unrelated was his renewed left arm protruded through a hole in the box as an obscene appendage, the pun interest in drawing. Cloacal Corridor (O vio Prote / O vio Proto / O vio Loto / in the title is obvious, but this event collapsed one myth propagated by the new O Thété) Self Portrait as a Pair or Self Portrait as a Pun, is a seminal work from conservatives – that workers without collective power will be free agents – with 1983, first exhibited at the Institute of Modern Art in Brisbane in conjunction an even more powerful fiction, first proposed by Karl Marx in 1847 – that artists with a film showing. The four large drawings take Antonin Artaud’s chaotic are the only free spirits operating outside the slavery of wage labour.1 writings and drawings as a point of departure. Reading in a sequence from left In 1970, when Parr set his agenda to close the gap between art and lived to right, Parr’s gridded self-portrait head is squeezed, skewed and squashed as experience, the avant-garde art scene was dominated by rarefied varieties of if by the force of a lumpy peristalsis as it moves through the passage of formal abstraction. Art for art’s sake was such an entrenched philosophy that discarded graphic fragments and gestures. there was often no distinction made between means and ends in art Any aficionado of 1980s expressionist figuration might locate this work in production. The painted surface was the terrain of painting and the essence of that decade, although its timeless impact results from the astringent critique of film or video was sought in the nature of the filmic process rather than through the stylistic options of the period. The parody that motivated so much 1980s art narrative or symbolic form. Parr’s 1971 work, Pushing a camera over a hill, is here turned inside out, as the Cartesian grid confronts the self-deprecating perfectly evokes the period. It was originally shown at Inhibodress Gallery in option of the comic totem or the bold gesture and obsessive mark. This series Sydney in what was the first exhibition of video art in Australia. In his review of of drawings encapsulates the histrionics involved in fabricating the fantasy of the exhibition, Daniel Thomas highlighted this work precisely because of its the artist. All the options are present and accounted for: the big secret, the big exploitation of the ‘eyes and ears of a camera’. Watching the DVD version of gesture, the big joke, the big dick, the big mark and the big explosion. Pushing a camera over a hill confirms Daniel Thomas’s assessment: ‘very These drawings also highlight a particular paradox in much of Mike Parr’s disorienting and illuminating it [is] to travel for ten minutes so close to the work. The more he attempts to dismantle the mechanisms by which style, ground and to hear so much noisy grass’.2 processes and formal qualities dictate the value of art, the more his art is valued. This happens to be one of the few surviving examples of Parr’s early video Ross Woodrow works, although it is atypical in the sense that the performer, as camera operator, is out of view. In most of his early work with video, Parr was searching Ross Woodrow is Senior Lecturer in Art Theory at the University of Newcastle, for a synergy between camera and audience for his performance pieces. As he New South Wales. discovered, the static camera acting as an impassive substitute-viewer 1 From Karl Marx, Wage Labour and Capital, quoted in Helen Molesworth (ed.), Work intensified the focus on the recorded performance and created something that Ethic, exhibition catalogue, Baltimore Museum of Art, Baltimore, Maryland, 2003, p. 138. was not quite a surrogate or substitute, but a new work. By eschewing the desire 2 Quoted in David Bromfield, Identities: A Critical Study of the Work of Mike Parr to find the art in video, the filmic records of Parr’s performance works are 1970 –1990, University of Western Australia Press, Perth, 1991, p. 21. left top: House of Cards 1, 2004, video still, courtesy the artist and Sherman Galleries, Sydney right top: House of Cards 8, 2004, video still, courtesy the artist and Sherman Galleries, Sydney left below: Family Under Water 1, 1978, video still, courtesy the artist and Sherman Galleries, Sydney right below: Family Under Water 4, 1978, video still, courtesy the artist and Sherman Galleries, Sydney SELECTED SOLO EXHIBITIONS 1993–2006 Concentration Camps, performance, 15 June, Monash Museum, Weserburg, Bremen, Germany; Staatliche 1993 100 Breaths/100 Songs from (ALPHABET/ University Museum of Art, Melbourne Sammlung fur Kunst, Chemnitz, East Germany; Telling HAEMORRHAGE) Black Box of 100 Self Portrait Etchings 5, 2003 Aether/Awe, Anna Schwartz Gallery, Melbourne; Tales, Ivan Dougherty Gallery, College of Fine Art, 1993–1994, performance, 25 February, Art Gallery of Film Noir/Politique Blanche, Adam Geczy/Mike Parr, University of NSW, Sydney and Neue Galerie am South Australia, Adelaide. Performer: John Breheney; Performance Space, Sydney; Experimental Art Landesmuseum Joanneum, Graz, Austria Pinch, performance, 24 June, Victorian College of the Arts, Foundation, Adelaide; Perth Institute of Contemporary 1999 Other Stories: Five Australian Artists, Hokkaido Melbourne; Visiting Australian Artist, performance, Arts (PICA), Perth; and Queensland Contemporary Art Museum of Modern Art, Sapporo, Japan (Asialink 4 August, Kunst, Sydney; Mike Parr, Roslyn Oxley9 Gallery, Gallery, Griffith Artworks, QLD; Aussie, Aussie, Aussie, exhibition); Parr Sachs Tillers Young, Orange Regional Sydney; Black Mirror/Pale Fire, Various Routes, Oi, Oi, Oi (Democratic Torture), 30-hour performance, Gallery, Orange, NSW; Home and away, Auckland Art Whistle/White, 3 performances, 21–23 October, Ivan 2–3 May, Artspace, Sydney Gallery, Auckland, NZ; Five Continents and One City, Dougherty Gallery, College of Fine Art, University of NSW, 2004–05 The Mass Psychology of Fascism: Zip-a-dee- Mexico City Gallery, Mexico; Trace: The Liverpool Biennial Sydney doo-day, Zip-a-dee-ay, Monash University Gallery, of Contemporary Art, The Walker Art Gallery, Liverpool, UK 1994 Mike Parr, Anna Schwartz Gallery, Melbourne; Melbourne, 2 December 2004 – 3 February 2005 1999–2000 Global Conceptualism: Points of Origin, Works from the Self Portrait Project, Brisbane City Hall Art 2005 Cut Your Throat an Inch at a Time: A Survey of the Queens Museum, Miami Arts Center, MIT List Visual Arts Gallery and Museum, Brisbane; Echolalia (the road): Prints Work of Mike Parr 1970–2005, Newcastle Region Art Center, MIT, Cambridge, MA from the Self Portrait Project: Mike Parr 1987–1994, Gallery, NSW; Sitting Member, performance, 3 October, 2000 12th Biennale of Sydney, Art Gallery of New South National Gallery of Victoria, Melbourne; Fathers 11 The Machine Shop, Newcastle, New South Wales: Wales; Museum of
Load more

Recommended publications
  • Foundation Annual Report 2012–13
    FOUNDATION ANNUAL REPORT 2012–13 FOUNDATION ANNUAL REPORT 2012–13 Polixeni Papapetrou born Australia 1960 Mark Elvis impersonator at Elvis Grotto Melbourne 1992 gelatin silver photograph image 100 x 100 cm gift of Patrick Corrigan, 2013 through the Australian Government’s Cultural Gifts Program © Polixeni Papapetrou Contents Office bearers 5 Objectives 5 Chairman’s report 7 Contributors 22 Membership 39 Financial statements 61 Colin McCahon New Zealand 1919–1987 Muriwai. Necessary protection 1972 synthetic polymer paint on composition board 60.8 x 81.2 cm bequest of Jane Flecknoe, 2013 100 Works for 100 Years © Colin McCahon Research and Publication Trust 4 natIonal gallerY of AUStralIA Office bearers Objectives Patron The National Gallery of Australia Her Excellency Ms Quentin Bryce AC Foundation, a company limited by The Governor-General of the Commonwealth of Australia guarantee under the Corporations Law, is a non-profit organisation established to Board members support the National Gallery of Australia. Mr John Hindmarsh AM (appointed 20.9.04; The principal objectives of the Foundation Chairman 27.10.10) are to: Ms Susan Armitage (appointed 11.5.11) Mr Philip Bacon AM (appointed 26.10.00) ■■ maintain, improve and develop Mr Julian Beaumont (appointed 28.10.09) the national collection of works of Ms Sandra Benjamin OAM (appointed 27.4.06) art owned by the National Gallery Mr Anthony R Berg AM (appointed 16.3.99; of Australia Chairman 16.3.99 to 26.4.06) ■■ promote, maintain, improve and Mrs Robyn Burke (appointed 29.8.06) develop the National Gallery of Australia Mr Terrence A Campbell AO (appointed 28.2.07) ■■ support the development and conduct Mr David Coe (appointed 13.10.00, resigned 21.1.13) by the National Gallery of Australia of The Hon Mrs Ashley Dawson-Damer (appointed 5.5.04) travelling exhibitions of works of art Dr Lee MacCormick-Edwards (appointed 26.10.11) ■■ raise money to achieve these Mr James Erskine (appointed 11.5.11) objectives.
    [Show full text]
  • Collective Identity(Ies): This Is That Time
    EDUCATION RESOURCE KIT A CASE STUDY COLLECTIVE IDENTITY(IeS): THIS IS THAT TIME 1 INTRODUCTION With the education strategies written by Kate Caddey, the exhibition text prepared by Lisa Corsi and published by Lake Macquarie City Art Gallery, 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. The gallery 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 resource kit is available directly from the gallery, or online at www.artgallery.lakemac.com.au. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the HSC course. The selection of content for the case study should relate various aspects of critical and historical investigations, taking into account practice, the conceptual framework Cover: and the frames. Emphasis may be given to a particular Gordon Bennett aspect of content although all should remain in play. The Nine Ricochets (Fall down black fella, jump up white fella) 1990 Case studies should be 4–10 hours in duration in the oil and synthetic polymer paint HSC course. on canvas and canvas boards 220 x 182cm image courtesy the artist and NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 Milani Gallery, Brisbane. photo Carl Warner private collection, Brisbane CONTENTS ABOUT THIS EDUCATION RESOURCE KIT COLLECTIVE IDENTITY(IeS) ESSAY
    [Show full text]
  • Annual Report 2008–09 Annu Al Repor T 20 08–0 9
    ANNUAL REPORT 2008–09 ANNUAL REPORT 2008–09 REPORT ANNUAL ANNUAL REPORT 2008–09 The National Gallery of Australia is a Commonwealth authority established under the National Gallery Act 1975. The vision of the National Gallery of Australia is the cultural enrichment of all Australians through access to their national art gallery, the quality of the national collection, the exceptional displays, exhibitions and programs, and the professionalism of Gallery staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2008–09, the National Gallery of Australia received an appropriation from the Australian Government totalling $78.494 million (including an equity injection of $4 million for development of the national collection and $32.698 million for Stage 1 of the building extension project), raised $19.32 million, and employed 256.4 full- time equivalent staff. © National Gallery of Australia 2009 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Carla Da Silva Printed by Blue Star Print, Canberra National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/reports
    [Show full text]
  • Mike Parr Blind Self Portraits
    ARNDT BERLIN POTSDAMER STRASSE 96 10785 BERLIN GERMANY PHONE +49 30 206 138 70 [email protected] WWW.ARNDTBERLIN.COM MIKE PARR BLIND SELF PORTRAITS 21 SEPTEMBER – 02 NOVEMBER 2013 FOREWORD I knew of Mike Parr’s performance work long before I was aware it was the work of an Australian artist. When I moved to Australia with my family two years ago, my goal was to focus on bringing major international and Asian art to Australia and the best work from Southeast Asia to Europe. I decided to leave Australian art to the experts, who could serve the work far better. On a number of occasions over the past twenty-five years of my career, reality has shown that exceptions need to be made, and this was now the case with Australian art. For whenever and wherever I went in Australia – museums, foundations and private collections – I saw the most stunning, breathtaking works by Mike Parr. For the past twenty years my mission in Berlin has been to bring major artists and their work to audiences who would otherwise not encounter these radical positions, and this mission continues for the Asia-Pacific art landscapes. When Mike Parr and I finally met about his work, we discovered our missions and visions overlapped. I felt strongly that his work needed to be seen and engaged within a European context. Meanwhile, he was prepared to dedicate two years of creation towards an exhibition of new work in Berlin. The result: Berlin and Western audiences connect immediately and instinctively with Mike Parr’s work, without questioning whether they are viewing the work of an Australian artist.
    [Show full text]
  • Gordon Craig Thesis (PDF 2MB)
    Out of the Shadows: The Mezzotints of Graeme Peebles ♦ Gordon Craig Visual Arts Department Creative Industries Faculty Queensland University of Technology This thesis is presented as part of the requirements for the award of the Degree of Master of Arts (Research) 2005 Keywords Peebles, Graeme; Young, Bill; art; printmaking; mezzotint; Melbourne; Point Lonsdale; Eucumbene; metaphysics. Abstract Out of the Shadows: The Mezzotints of Graeme Peebles investigates Victorian printmaker Graeme Peebles’ engagement with the mezzotint medium since the early 1970s. Over fifty works from the artist’s oeuvre of nearly 300 mezzotints are examined to demonstrate Peebles’ high quality technical skills and his unique approach to subject matter. This has ranged from enigmatic, surrealist-inspired subject matter to landscapes of the Lake Eucumbene region in the Kosciusko National Park, which range from the ominous and foreboding to the romantic and sublime. In this thesis I explore the intellectual groundwork on which much of Peebles work is based. In doing so I am redressing the imbalance between the popularity of Peebles’ work and the lack of critical writing about his art. While his work has been widely collected (see for instance the list of Public Collections that contain holdings of Peebles’ work, on page 96), to date his work has not received the attention as deserved by a master of their chosen medium. In reviewing his work in such a manner I believe that Peebles deserves greater recognition in contemporary Australian Art. In conjunction with this thesis I have curated an exhibition bearing the same title, which was displayed at the QUT Art Museum, Brisbane, 12 March – 30 May 2004.
    [Show full text]
  • Annual Report 2018–19 Snapshot of the National Gallery of Australia
    Annual Report 2018–19 Snapshot of the National Gallery of Australia Who we are What we do The National Gallery of Australia The Gallery provides opened to the public in October 1982 exceptional experiences of and is the Commonwealth of Australia’s rich visual arts Australia’s national cultural institution for the culture. Through the national collection, visual arts. Since it was established in 1967, it exhibitions, educational and public programs, has played a leadership role in shaping visual outreach initiatives, research and publications, arts culture across Australia and its region and infrastructure and corporate services, the continues to develop exciting and innovative Gallery is a model of excellence in furthering ways to engage people with the national knowledge of the visual arts. The Gallery art collection. makes art accessible, meaningful and vital to diverse audiences, locally, nationally and internationally. Our purpose and outcome Our staff As Australia’s pre-eminent visual staff at 30 June 2019. The Gallery arts institution, the Gallery provides 326 has an inclusive workforce, social and cultural benefits for the employing people with a disability and people community and enhances Australia’s with culturally diverse backgrounds, including international reputation. The Gallery’s one Indigenous Australians. Women represent outcome, as outlined in the Portfolio Budget 67% of the Gallery’s workforce and 50% Statements 2018–19, is ‘Increased of its Senior Management Group. Detailed understanding, knowledge and enjoyment staffing information is on pages 72–7. of the visual arts by providing access to, and information about, works of art locally, nationally and internationally’. Our collection Our supporters Over nearly half a century of The Gallery nurtures strong collecting, the Gallery has achieved relationships with external extraordinary outcomes in acquiring stakeholders, such as artists and and displaying Australian and international art.
    [Show full text]
  • Parr Cv 2019
    ANNA SCHWARTZ GALLERY MIKE PARR BIOGRAPHY 1945 Born Sydney, Australia Lives and works in Sydney, Australia EDUCATION 1965 The University of Queensland, Brisbane 1968 National Art School of Sydney, Sydney SOLO EXHIBITIONS 2019 The Eternal Opening, Schwartz Carriageworks, Sydney Towards a Black Square, DARK Mofo, Hobart 2018 KINDNESS IS SO GANGSTER, Anna Schwartz Gallery, Melbourne Underneath the Bitumen the Artist, 72 hour durational performance, Dark MOFO, Hobart 2017 LEFT FIELD [for Robert Hunter], Anna Schwartz Gallery, Melbourne Empty Ocean, as part of ‘DARK MOFO’, Dennes Point, Bruny Island 2016 Give The People What They Want / Ideal Unions / Nazi Milk , Campbelltown Arts Centre Foreign Looking, survey exhibition, National Gallery of Australia, Canberra Asylum, as part of 'DARK MOFO', former Royal Derwent Hospital, Hobart Entry by Mirror Only, 72-hour continuous performance as part of 'DARK MOFO', formerly the Willow Court Female Maximum Security Ward for the Criminally Insane 2015 Towards a Blind Self Portrait Anna Schwartz Gallery, Melbourne Dark Cave, Anna Schwartz Gallery, Melbourne Deep North, Anna Schwartz Gallery, Sydney THE GHOST WHO TALKS, 55th Biennale di Venezia, Palazzo Mora 2013 Easter Island, Anna Schwartz Gallery, Sydney Blind Self Portraits, ARNDT, Berlin 2012 Mike Parr. Edelweiß., survey exhibition, Kunsthalle Wien, Vienna Brain Coral, The National Art School Gallery, Sydney 2011 The Golden Age, Anna Schwartz Gallery, Sydney 2010 The Hallelujah Chorus, Anna Schwartz Gallery, Melbourne Fresh Skin like a Baby, performance,
    [Show full text]
  • Appendices 08–09
    Art Gallery of NSW Appendices 08–09 Sponsorship and philanthropy 74 Art prizes, grants and scholarships 75 AGNSW publications for sale 76 Visitor numbers 77 Exhibitions listing 78 Aged and disability access programs and services 79 Aboriginal and Torres Strait Islander programs and services 80 Ethnic affairs priorities statement 80 Electronic service delivery 82 Overseas travel 83 Collection – purchases 84 Collection – gifts 86 Collection – loans 90 Staff, volunteers and interns listing 98 Staff publications, presentation and related activities 101 Customer response 106 Compliance reporting 107 ART GALLERY OF NSW APPENDICES 08–09 73 President’s Council of the Art Longes; David Lowy; John & Jane KPMG; John C Conde AO, MBF SPONSORSHIP Gallery of NSW: Major exhibitions Morschel; Roslyn Packer AO; Australia; Bill Wavish, Myer; Paul AND program partner Bridget Pirrie & Stephen Grant; O’Sullivan, Optus; Mark Johnson, PHILANTHROPY Qantas: Principal sponsor: Steven & Lisa Pongrass; John L PricewaterhouseCoopers; Alan Yiribana Gallery; Official airline: Sharpe; Brian Sherman AM; Joyce, Qantas; Greg Bartlet, The lost Buddhas, Monet and the Dr Gene Sherman; Geoffrey St.George Bank; Justin Miller, Impressionists Susskind; Michael & Eleonora Sotheby’s; Luca Belgiorno- Sponsors Triguboff; Malcolm & Lucy Turnbull; Nettis, Transfield Holdings; Philip at 30 June 2009 Sofitel Sydney Wentworth: Official and Phillip Wolanski AM. Coleman, UBS AG Australia; and hotel partner and support sponsor: Sally Herman, Westpac Banking Avant Card: Support sponsor: Archibald, Wynne and Sulman Corporation. general Prizes 2009, Monet and the Masterpiece Fund City of Sydney: Support sponsor: Impressionists Patrons of the Masterpiece Fund as at 30 June 2009: VisAsia Council Archibald Prize 08, Monet and the The Sydney Morning Herald: Members of the VisAsia Council as Impressionists Media sponsor: The lost Buddhas, Art Gallery of NSW Foundation; at 30 June 2009: Clayton Utz: Disability access Monet and the Impressionists Art Gallery Society of NSW; and Margaret Olley AC.
    [Show full text]
  • Evoking a Critical Dialogue Around Self-Representation in Contemporary Arts Practice Sue Bessell University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2014 The 'Liminal Self ': Evoking a critical dialogue around self-representation in contemporary arts practice Sue Bessell University of Wollongong Recommended Citation Bessell, Sue, The 'Liminal Self': Evoking a critical dialogue around self-representation in contemporary arts practice, Master of Creative Arts (Research) thesis, Faculty of Creative Arts, University of Wollongong, 2014. http://ro.uow.edu.au/theses/4391 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The ‘Liminal Self’: Evoking a critical dialogue around self-representation in contemporary arts practice A thesis submitted in partial fulfillment of the requirements for the award of the degree MASTER OF CREATIVE ARTS (RESEARCH) from UNIVERSITY OF WOLLONGONG by Sue Bessell (BCA Hons) Faculty of Creative Arts 2014 CERTIFICATION I, Sue Bessell, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Master of Creative Arts – Research, in the Department of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Sue Bessell 28th October 2014 Table of Contents 1. Chapter 1 – Introduction 1 2. Chapter 2 – Methodology 3 3. Chapter 3 - Theoretical Context 16 4. Chapter 4 – My Practice 23 5. Chapter 5 – Conclusion 29 6. Bibliography 31 List of Illustrations Fig.1. Photographer unknown, Charles Mowbrey Bessell (1841- 1914), black-and-white photograph, in possession of the author, Wollongong, NSW.
    [Show full text]
  • Foundation Annual Report 2015–16
    National Gallery of Australia Foundation Annual Report 2015–16 Foundation Annual Report 2015 –16 Published by the National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 nga.gov.au/aboutus/reports National Gallery of Australia Foundation Office T +61 (0)2 6240 6408 © National Gallery of Australia 2016 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Prepared by the NGA Foundation Edited by Eric Meredith Designed by Kirsty Morrison Printed by Union Offset Printers Cover: Fred Williams Lightning storm, Waratah Bay 1971–72 (detail). Gift of Lyn Williams AM, 2015. Donated through the Australian Government’s Cultural Gifts Program. © Estate of Fred Williams Page 4: Tim Fairfax AC with graduating Summer Art Scholar Solomona Nona, 12 January 2016 Page 13: This year’s NGA Summer Art Scholars on Jim Lambie’s floor installation Sound system 2015, purchased through the Poynton Bequest Page 16: Denis Savill and Anne Clarke with Tom Roberts’s A break away! 1891 during the Gala Dinner viewing of Tom Roberts at the NGA, 12 March 2016 Page 43: Pipilotti Rist Worry will vanish revelation, from the series Worry work family 2015, audio-video installation, music by Anders Guggisberg. Courtesy the artist, Hauser & Wirth and Luhring Augustine. © Pipilotti Rist 2 CONTENTS Introduction Chair’s report 5 Foundation
    [Show full text]
  • Annual Report
    ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2002–30 June 2003 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 122nd year, ended 30 June 2003. Michael Abbott QC, Chairman Art Gallery Board 2002–2003 Chairman Michael Abbott QC Members Mr Max Carter AO Mrs Susan Cocks Mr David McKee Mrs Candy Bennett Mr Richard Cohen Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2002-2003 6 Issues and Trends 9 Major Objectives 2003–2004 11 Resources and Administration 13 Collections 21 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 26 Appendix B1 Art Gallery Board 28 Appendix B2 Members of the Art Gallery of South Australia 28 Foundation Council and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 29 Appendix B4 Art Gallery Staff and Volunteers 30 Appendix C Staff Public Commitments 34 Appendix D Conservation 37 Appendix E Donors, Funds, Sponsorships 38 Appendix F Acquisitions 39 Appendix G Inward Loans 51 Appendix H Outward Loans 54 Appendix I Exhibitions and Public Programs 56 Appendix J Schools Support Services 62 Appendix K Gallery Guide Tour Services 62 Appendix L Gallery Publications 63 Appendix M Annual Attendances 65 Information Statement 66 Appendix N Financial Statements 67 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.
    [Show full text]
  • Pinpointing and Preventing Imminent Extinctions Introduction
    ZeroALLIANCE FOR Extinction Pinpointing and Preventing Imminent Extinctions Introduction he Alliance for Zero Extinction (AZE), a joint initiative of 52 biodiversity conservation orga- nizations, aims to prevent extinctions by identifying and safeguarding key sites, each one of Twhich is the last remaining refuge of one or more Endangered or Critically Endangered species. AZE’s goal is to create a front line of defense against To date, AZE has identified 595 sites that each repre- extinction by eliminating threats and restoring habitat sent the last refuge of one or more of the world’s most to allow wildlife populations to rebound. highly threatened species. is report presents an over- view of these sites, and explains how they were identi- Extinction can be a natural process, but human activi- fied and how they can be protected. We hope that this ties have led to global extinction rates that are between information will prompt a renewed worldwide effort 100 and 1,000 times higher than those typical of “re- to prevent extinctions. We welcome the participation cent” millennia. Habitat loss, commercial exploitation, of any group or individual sharing our concern for the disease, and the introduction of invasive species have future of our planet’s biodiversity, and wishing to help reduced populations and ranges, and increased the in this vital global endeavor. extinction risk for an ever-increasing proportion of the approximately 26,000 species of terrestrial vertebrates. e Alliance wishes to thank the many groups Unless we stem the tide, our descendants will inherit a and individuals that have made the AZE effort biologically impoverished world, look back with regret, to date possible.
    [Show full text]