POWER INSTITUTE

Foundation For Art & Visual Culture

Annual Report 2018

Power Institute Foundation For Art & Visual Culture

Mission Power Foundation Council Members

The object of the Power institute Foundation Mrs Lynn Fern, President for Art & Visual Culture is to assist the Professor Mark Ledbury University of Sydney, through the Power Professor Annamarie Jagose Institute, to realise the aims of the Bequest of Professor Umberto Ansaldo Dr J.W. Power. Professor Gerard Goggin Ms Melissa Bonevska The Foundation aims to: Ms Julie Ewington Ms Anna Waldmann • bring ideas and scholarship in the Ms Marie Chretien visual arts to the Australian people; Ms Lesa-Belle Furhagen • support research and scholarship, Ms Susan Acret particularly in the Department of Art Mr Simon Chan History & Film Studies, and any other Mr Imants Tillers initiative of the Power Institute; • support the development of the Life Members/Governors of the Schaeffer Fine Arts Library Foundation (incorporating the Power Research Library of Contemporary Emeritus Professor Bernard Smith, Life Art), Power Publications and the Governor Power Public Education Program; Mr John Schaeffer (AO) • enhance the reputation and Mr Peter Burrows (AO) effectiveness of the Institute and Dr Gene Sherman Department within national and Professor Terry Smith international networks; and • seek financial and other assistance Director for the power institute’s activities. Professor Mark Ledbury

Secretary

Ms Susan Thomas

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CONTENTS

President’s Report 3. Director’s Report 5. Deputy Director’s Report 7. Update 2: A new report on our progress against our strategic plan in 2015-20 9. 2018 Workshops, Conferences and Symposia 11. 2018 Seminars 13. 2018 Public Talks 14. 2018 Power Publications book launches 16. Publications and Communication 17. Schaeffer Library 19. Financial statements 2018 20. Foundation governance statement 25.

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President’s report Lynn Fern

IN the conclusion to my report last year I It is with great pleasure that we congratulate wrote that after an impressive year in 2017 Professor Virginia Spate on the award of I looked forward to the year ahead. It gives Companion of the Order of Australia. Those me much pleasure to say that I did so with of us who have known her as a teacher and good reason — the achievements of 2018 a colleague are most glad on her behalf. have surpassed even those of 2017. I shall The last part of her citation recognised her refer to only a few of these achievements as as a role model for young art historians and our Director Professor Mark Ledbury covers as she was J W Power Professor and these in greater detail in his report. Over the Director of the Power Institute of Fine Arts at last year the work of the Power Institute has the University of Sydney from 1978 until ranged far and wide — the subjects of its 1994 one can wonder, too, whether Dr John scholarly enquiry extending from sixth Power might have foreseen what careers century France (exploring the marvels of the and distinctions could result from his bequest. Dame a La Licorne tapestries while they resided at the AGNSW) to contemporary The Foundation Council has grown this year Singapore where the Connecting Art Histories and it is a pleasure to work with new initiative funded by the Getty continues to members and those who have been with us a explore relationships in art practice little longer. I would like to express my throughout the region. thanks to all of them. I would also like to join Mark Ledbury in expressing appreciation of Noteworthy amongst the considerable list of the Dean of the Faculty of Arts and Sciences achievements this year was the symposium Professor Annamarie Jagose and our newly held on the Aboriginal Memorial held at the arrived Head of the School of Literature Art NGA with colleagues from Melbourne, and Media Professor Umberto Unsaldo for Canberra & the Northern Territory; the their crucial roles in providing wisdom and wonderful workshop on teaching with objects support for all that the Power sets out to do. led by Mimi Hellman from Skidmore College and the exciting interdisciplinary There are already provisions in place for an Synaesthesia Symposium held off campus and exciting year ahead — including making use of scientific and artistic input and engagement with the Chau Chak Wing exchange. The book Ambitious Alignments Museum and with the Sydney College of the which was the product of the Getty Initiative Arts as they relocate to Campus and an Connecting Art Histories in Singapore has impressive program for another exciting gone into a second printing — provides an year of visiting speakers and continuing example of one of a number of impressive contributions from the tireless scholars in the projects for Power Publications. department whose teaching and research are integral to the wonderful scholarship of the Power Institute.

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The aims and ambitions of the Power are contingent on inspiring and resolute leadership and we are fortunate to have as our Director, Professor Mark Ledbury, whose energy imagination and vision mean that each year our goals both expand and are fine-honed.

With his leadership we look forward to another remarkable year for the Power.

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Director’s report Mark Ledbury

2018 has perhaps been the very busiest second printing due to high demand. More year for Power since I arrived in Sydney, can be heard from our Publications and we’ve had many busy ones! Our flagship Manager, Marni Williams, in this Annual lecture series, the Keir Lectures on Art and Report. the Sydney Asian Art Series brought brilliant and diverse minds to campus, sharing not Internationally, from CAA Los Angeles, to only public talks but workshops, seminars, Yangon, Singapore, Hue, Williamstown and object study and much else with students and Penang we have certainly taken our “Art in colleagues across Sydney. We have used our the World: International Collaborations” generous support from foundations in other brief seriously and seen the fruits of vital ways too, expanding one of our briefs international collaborations. We’ve also known as “Art Works: Interdisciplinary addressed burning political and social Innovation Hub” in an event off campus questions with colleagues in Melbourne, exploring Synaesthesia with expert scientific Canberra and the Northern Territory in a and artistic voices. Many of you might have moving, thought-provoking symposium on heard the podcasts of the All in the Mind the Aboriginal Memorial at the National programmes that Lynne Malcolm, a guest Gallery of Australia. We’ve been delighted that night, subsequently made with our to partner with the Australian Institute for Art colleagues and participants. If not you can History and our colleagues at the Art catch them on the ABC site. Gallery of NSW on a symposium on artists archives, entitled “Heat and Dust” and we We also participated in events celebrating have celebrated the great honour accorded the sheer beauty, and mystery, of the Dame to Virginia Spate AC, and 50 years of a La Licorne tapestries on the occasion of teaching in the Department of Art History, their remarkable sojourn at the Art Gallery which, along with the Power Institute, was the of New South Wales, we programmed an great gift and brainchild of John expert workshop on teaching with objects, Power. And just this week we’re announcing brilliantly led by Mimi Hellman from the news of our Power Publications Award for Skidmore College, we convened our first Indigenous Art Writing which we’re delighted plenary Site and Space in Southeast to have awarded to Cara Pinchbeck. Asia workshop for our Getty Foundation Connecting Art Histories initiative in However gratifying it is to look back at the Singapore, which was also the occasion to many successes of this year, and to recognize launch the product of the previous, highly how many of them directly result from new successful Getty initiative, a book, Ambitious and renewed support from foundations and Alignments which has now already gone to a individuals who continue to play a vital role in helping us grow and thrive, I must also use

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my introduction to express my deepest thanks exciting and concrete shape on campus and to the many colleagues who have helped we’re actively planning how Power will work make this standout year possible. We are with the Museums team and the Department privileged to benefit from the ongoing and to benefit teaching, engagement and wise counsel and support of the inspired research on collections and exhibitions. Dean of the Faculty of Arts and Social The Sydney College of the Arts will transition Sciences, Professor Annamarie Jagose, and to Campus, too and that will bring a the newly arrived Head of the School of wonderful new set of opportunities to share Literature Art and Media, Professor Umberto knowledge and partnerships with the Unsaldo, who ensure that Power works within talented artists who make the heart of any thriving organizational frames and remind us great art school. And of course, we are that Power is part of a wider University looking forward to hosting a full complement enterprise; The Power Foundation Council, of speakers and events, to hosting our which has grown again this year, is a crucial first Terra Foundation Visiting Professor of resource for support and fundraising, advice First Nations Art to welcoming new and suggestions. I am so grateful to all the colleagues to the Department, including volunteers from beyond the University who Peyvand Ferouzeh, expert in Islamic Art and constitute the council, and particularly to our Architecture, and to much else, including the ever supportive and wise Chair, Lynn Fern. launch of new books including our ambitious co-publication on the Bauhaus in But I must here give a special thank you to Australia, and to the many other events that the Power team, with whom I’m privileged to will enliven our field and enrich our work day-to-day. I would be lost without the community in 2019. wisdom and good humour of Susan Thomas; we’ve all benefited enormously from the In this context of many exciting developments ideas, commitment and perspectives, as well and positive changes, we also face as expert foodie knowledge, of Kate Ukleja, challenges as a non-profit foundation within whom we welcomed as our Events and the context of a world-leading research Programmes coordinator after the departure university. We are delighted to be so of Isabelle Hore-Thorburn for Berlin; Toby generously supported in many areas of our Fitch has been a brilliant and diligent activity by generous and committed assistant editor in Publications. However, I philanthropic foundations. However, any must especially thank our exceptional responsible long-term plan for the growth Publications Manager, Marni Williams, who and flourishing of the Power Institute involves has transformed and grown Power further and deeper engagement with alumni, Publications, and whose year has been both friends and supporters, and as the remarkably busy and very successful – University’s Inspired campaign reaches a the AAANZ book award for No Idols has major milestone, we’ll be setting ambitious capped a truly splendid 12 months; and it goals , too, over the coming 12 months, to finally pains me to have to say that we will support and build on Power Publications be deprived of the inspiration, energy and success; to help maintain and develop our commitment of Stephen Whiteman as deputy unique Schaeffer Library resources, to fund director of Power, as Stephen will be leaving and secure our Power Cité des Arts studio in the University to take up a highly prestigious Paris; and to further our commitments to a post at the Courtauld Institute in London. I truly global, engaged history of art in cannot find words adequately to thank culture. This will require generosity and Stephen for everything he’s done for Power, effort on all our parts, and of course, will be and for his humour, collegiality and built on our passion and seriousness as a commitment to the field. We do look forward Foundation and on raising our profile still to continuing to work with Stephen on Site further with an arts and humanities sector and Space but also to developing potential that has at times felt beleaguered in the past new collaborations with the Courtauld year. We will also need to think big, in Institute. collaboration with other Universities, museums and organizations across the country and And it is to the future that I turn, in the last internationally, if we are to grow and few sentences of this report. The plans for prosper and achieve the ambitious aims John the Chau Chak Wing Museum are now taking Power set out for this Foundation.

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Deputy Director’s report Stephen Whiteman

2018 was an exciting and rich year for also presented on a second occasion, Power’s initiatives in Asian art. From the ranging from participation in the Art Gallery Sydney Asian Art Series to the launch of Site of New South Wales’ public film series and Space in Southeast Asia, our projects (Sinha) to seminars for University of Art have taken us around the world and brought History undergraduates, Masters students, the world to Sydney, inviting us to rethink and the interested public. seemingly familiar ground and explore new territory. For 2019, the Sydney Asian Art Series will In its second year, the Sydney Asian Art turn to architecture, urban environments, and Series took up the theme of Uncertain the spatial dimensions of art history, a Objects: Trajectories of Asian Art. Art history reflection of a shared interest in these has, traditionally, been organised around questions among our three presenting national, or failing that, clearly defined partners, the Power Institute, the University of civilizational lines. Yet as the global turn has Sydney China Studies Centre, and the come to our field, alongside new ways of VisAsia Council, and our two supporting thinking about artistic production, reception, organisations, the Art Gallery of New South and the “social lives” of objects, our eyes are Wales and the University of Sydney, through being opened not only to the connectedness Sydney Ideas. Scheduled speakers include of the premodern and modern world across Sussan Babaie (Courtauld Institute of Art), a national lines, but to the transnational specialist in the early modern Islamic world, construction and expression of culture. Four Malini Guha (Carleton University), a speakers explored these concerns in widely specialist in South Asian Film, Yasufumi different contexts this year, including Winnie Nakamori (Tate Modern), whose research in Wong (Berkeley) on 18thc. Canton painting photography and new media focuses and the circulation of images between China particularly on Japanese cities, and Cole and Europe; Ajay Sinha (Mt Holyoke Roskam (University of Hong Kong), College) on the photographic encounter presenting new work on architecture and between the Indian dancer Ram Gopal and urbanism in 1970s and ‘80s China. We thank photographer Carl van Vechten in 1930s all our supporters, institutional and individual, New York; Timon Screech (SOAS, University for another wonderful year and look of London) on the English East India Company forward to presenting another engaging in Japan; and Nancy Um (Binghamton series in the year to come. University) on the commissioning of Japanese

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Our second major initiative this year lies ideas; little did he know how much he would entirely outside Sydney, focusing on site- see of me in the coming years! based research in Myanmar, Malaysia, and Vietnam. Site and Space in Southeast Asia, With the Mark’s support, and that of many, porcelain as diplomatic gifts across the early many others at Power, in RC Mills, and across modern Indian Ocean world. Each speaker the University and Sydney community, I am funded through the Getty Foundation’s immensely proud of the strides we have Connecting Art Histories initiative, seeks to made towards a more global, diverse, and build professional networks and research inclusive art history through our programming capacity among early career art and and research support. Power is, more than architectural historians working in, and on, ever, recognised as a force for good in our Southeast Asia, through a collaborative field, not only in Australia, but across the research project. Building on our first region and, increasingly, around the world. Connecting Art Histories program, Ambitious We are focused on creating access and Alignments: New Histories of Southeast Asian opportunities for early career researchers of Art, which concluded in 2016, Site and Space incredible promise and are being richly involves fifteen researchers working in three rewarded for that faith and initiative—that teams. Each team is focused on a different the edited volume emerging from Ambitious city—Huê, Penang, and Yangon—and will Alignments, published jointly by Power and produce collaborative and individual NGS early this year, is already on its second research over the coming two years. This printing and has been very well reviewed is year’s activities included our opening but the most apparent example. I am very workshop, hosted by our partner National sorry that I will miss other great evidence of Gallery Singapore, and field schools in each this drive—the welcoming of Australia’s first of the three cities. The project emphasises continuing lecturer in arts of the Islamic world developing local partnerships with to the department in 2019, as well as our individuals and institutions in our focus first of three Terra Visiting Professors in the communities and across Southeast Asia, and Arts of First Nations America later in the we look forward to the growth of these year—but I am so grateful for the small part relationships over the next two years. On I have been able to play in these behalf of my fellow Chief Investigators, Mark developments. I hope and trust that they will Ledbury and Adrian Vickers, our team continue long after I have left Sydney—that leaders, Caroline Herbelin of the University Power, and this Department, will continue to of Toulouse, Tom Patton of the City University model the just, equitable, and inclusive of Hong Kong, and Simon Soon of the society we wish to see around us through our University of Malaya, and all our teaching, research, and advocacy—and I participants, we want to extend our will not only be cheering from London, but appreciation to the Getty Foundation, hope to continue to be involved in any way National Gallery Singapore, Nanyang that I can. Technological University Libraries, Dumbarton Oaks, and all our other partners in this exciting venture. In early 2019, my family and I relocated to London, where I will take up a newly established post at the Courtauld Institute of Art teaching the Arts of China. When I first visited Sydney in 2013, job offer in hand but not yet on staff, Mark Ledbury spoke to me of his desire for Power to broaden its reach beyond a traditional focus on European, Australian, and American art, to model a more “global” art history, and to lead in its development in our department and in Australia more broadly. He invited me to consider supporting this when I felt I was ready, and to come to him if I had any

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A REPORT ON OUR PROGRESS AGAINST OUR STRATEGIC PRIORITIES IN 2015-2020

The following strategic priorities were the digital sphere are enormous for a small- expressed in the Power Institute strategic scale but resonant operation like Power. plan. 4. Access to Excellence: bringing great 1. Shaping the future of Art History; ideas closer to a wider and more varied National and International Leadership in public the Promotion of Art History and related John Power believed that art could have disciplines and their transformation. meaning and relevance to a large and Power needs to be in the front line of the diverse and audience in Australia. Over the advocacy of the vitality and importance of next five years, expanding access — not Art History as a viable and robust subject in only to Power’s programs and events but the twenty-first century, in the context of new also to the discipline of Art History itself, and tougher enrolment environments and should be a constant aim. Thus, true pressures from funding agencies. To show engagement — framing and explaining, leadership in this sphere is to promote digesting and publicizing our events and excellence within the Department, continue to speakers, promoting the resources of the link Sydney with existing centres of research Schaeffer, publishing books for larger and engagement excellence, and curate a publics, using media and publicity in more program which proves the vitality of the effective ways, ensuring we reach diverse discipline and its relevance to contemporary audiences and reflect the diversity of Australia. thought, invention and ideas in visual art, and communicating into new constituencies 2. Creating the Showcase for Art and (age/demographic, geographic, etc.) will be Ideas: The University Museum and Cultural another guiding principle of the next phase Precinct Project. of Power’s existence The University is now committed to the most exciting transformational project in a Progress against these Priorities as of generation for the visual arts at Sydney – March 2019 – update and Power needs to play a full part in 1. National and International Leadership articulating and supporting the vision and The “Site and Space in Southeast Asia” raising funds for its completion. The impact project, created by Power in partnership with of the project on Power and on teaching, the Getty Foundation is an example of the research and public engagement in the visual kind of leadership we have shown in shaping arts is potentially enormous, and the next a new and truly global and engaged vision five years will be decisive in shaping the of Art History. We have continued to plan project. It is appropriate that the Power and carry out collaborations with major place its fundraising and programmatic museums and institutions including ANU, NGA, energies at the disposal of this wider AGNSW, AIAH, and are now speaking University project at a crucial phase of its directly to Melbourne University colleagues development. and those in other places across Australia, about deepening a commitment to a truly 3. 3. Embracing the Digital Sphere – national network for our field, unburdened enhancing research, teaching, engagement by the inter-state rivalries and politics of the and publications past epoch. We continue to plan for new We have worked hard to build new modes collaborations with world-leading research of diffusion and dissemination in the past five centres in our field, including the Courtauld years but only now are ready to take major Institute (where our former Deputy Director, steps towards an embrace of new outlets, Stephen Whiteman, now works) and INHA in platforms and modes of diffusion and an Paris. expanded understanding of publication informed by the on-line sphere. It is in some Progress Summary: Excellent so far but I am senses a risk to leap into the digital unknown looking for a major funded initiative to but the risks of stasis are greater and the cement an Australia-wide leadership role. potential rewards of successful moves into

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2. The University Museum 4. Access to Excellence This year has been a very exciting one for In 2017-18 this strategic initiative informed our colleagues in the Museum service and for our events such as the “Synaesthesia” night all those of us with a keen interest in the as well as our funding of the “Propaganda” success of the new Chau Chak Wing museum festival planned for September 2019. These We continue to plan actively with the new events linked us and will link us to new Chau-Chak Wing Museum staff on plans for audiences. We also sense that our exhibitions, publications and projects from publications launches and the books 2020 when the Museum opens; Mark themselves have allowed us some access to Ledbury and Chiara O’Reilly have a new audiences. We must now work on further proposed exhibition; Mark Ledbury, Donna moves and initiatives to diffuse our ideas and Brett and others are implementing new knowledge – through podcasting, through courses based around museum collections increased (but we hope subtle and and “problem based” methodologies. We appropriate) social media presence, and by are also hoping to launch a series of talks continuing to encourage partnership with called “The Collection Revealed” to highlight student-focused organizations. We’re gems of the art collection over the course of continuing to invest in Indigenous art 2019-20. We have proposed a funded communities and practices and hope to series of talks to take place at the CCW develop further partnerships in this space in from its opening. 2019. We’re also going to dedicate specific funds and time to ensuring that a wide Progress summary: Good so far, but we will student audience is attracted to our events only see the fruits of this strategy in 2020. and becomes involved with them.

Progress Summary: On track, but the 3. Embracing the Digital Sphere breakthroughs are still to come in many We have perhaps moved more slowly areas. towards this goal than we had hoped. Our Power Publications website (funded through the Meers Foundation digital initiatives grant) has made a difference to our ability to sell e-books and diffuse our podcasts, etc. We are involved in several digital initiatives, re-publishing backlist becoming involved in Facebook Live streaming of events (Versailles was a trial run). However we have not so far implemented our plans for a podcast series or rolled out as much of our backlist as we might have hoped. In some ways the ‘recovery’ of the book (and the decline in e-book sales) has been an unexpected setback to this part of our plans though it benefits our book publishing in general. Marni Williams won a research exchange grant to visit the Frick collection library in New York and learn more about a platform called Quire which would allow us to present and digitally publish a variety of material. This is a very hopeful development.

Progress Summary: More attention is needed to this strategic aim in the next couple of years and we need to find further funding to bring in the necessary expertise and technology.

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2018 Workshops, Conferences and questions of global modernity and Empire Symposia “look” from which were held at the University of Sydney. The first workshop explored how Workshop | Objects and Problems: The questions of global modernity and Empire Museum and the Curriculum “look” from distinct and/or multiple Friday 25 May 2018: 35 registrations geographic vantage points. The second Workshop held in the Woolley Building, workshop shifted diachronically, by traversing University of Sydney brought together the modern and early modern eras in order experts on Problem-Based, Enquiry-Based to debate the pertinent concepts for writing and Object-Based learning with academic longue durée histories of world art. This third staff and the University Museum staff to workshop examined modes of writing and discuss the many ways in which the visualizing such art histories. Invited curriculum, in art history and beyond, can be participants were invited to reflect upon which enriched by close study of objects. The Chau objects escape or exceed our modes of Chak Wing museum project will give vital analysis, and in doing so to engage new opportunities for staff and students to speculatively, imaginatively, and even directly engage with objects of all kinds - playfully with these questions. investigating them not only in their material being but as portals to disciplinary and Speakers: interdisciplinary enquiry. Objects might be Lisa Saltzmann, Starr Director, Research and problems to be solved, triggers to Academic Program, Spyros Papapetros, innovation, time machines, or sites of Princeton, Nikolas Drosos, University of historical, ethical, philosophical and cultural Toronto, Avinoam Shalem, Columbia, Mary dispute. How could our curricula and our Roberts, University of Sydney, Ahmet Ersoy, students' experiences be enriched by close Bosphorus University, Kailani Polzak, Williams, and sustained engagement with the Kailani Polzak, Williams College Special extraordinarily diverse range of objects in Collections, Ian McLean, University of Museums at the University and beyond? Melbourne, Robert Wellington, Australian National University, Tim Barringer, Yale, Speakers: Henry F. Skerritt, UVA, Adam Jasienski, SMU, Professor Mimi Hellman, Skidmore College, Stephen H. Whiteman, University of Sydney, Massachusetts Adam Jasienski, SMU, Meadows School of the Professor Les Kirkup, University of Arts Technology, Sydney and University of Sydney Conference | Mining Value Dr Tanya Rose, Macquarie University Art and the Extraction of Resources Dr Ted Robinson, University of Sydney Thursday 9 & Friday 10 August 2018 71 registrations Workshop | Writing Global Histories of The Power Institute together with the Terra Art Foundation and the Sydney Environment June 26-27, 2018 Institute presented a two-day conference Clark Art Institute, Williamstown, MA. “Mining Value: Art and the Extraction of The Clark Workshop was supported by John Resources”. The event was held at the Schaeffer, The Power Institute Foundation University of Sydney’s Womens College with for Art and Visual Culture and the Andrew visits to the Australian Museum and Mitchell W. Mellon Foundation. Library. Convened by: Professor Mary Roberts and The Conference was convened by: Dr Robert Wellington Professor Mark Ledbury, Director of the Chaired by: Keith Moxey, Mary Roberts, Power Institute, in conjunction with Maggie Holly Edwards, Lauren Cannady, Robert Cao (University of North Carolina), Alex J Wellington Taylor (University of Pittsburgh) and Sophie

Cras (University of Paris 1). This was the final of three workshops on

Global Histories of Art, the first two of Speakers: which were held at the University of Anne Dunlop, University of Melbourne, Sydney. The first workshop explored how

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Amy Ogata, University of Southern The symposium was convened by: Steven California, Anna Arabindian-Kesson, Miller, Manager National Art Archive, and Princeton University; Matthew Hunter, McGill Capon Research Library at the Art Gallery of University, Iain McCalman, University of NSW, Professor Mark Ledbury, Director of Sydney, Ann Elias (University of Sydney), the Power Institute and Alison Inglis, Associate Ian McLean, University of Melbourne and Professor in Art History, University of Maggie Cao. Respondents include Jennifer Melbourne. Ferng, University of Sydney, Ute Eickelcamp, University of Sydney, Sophie Speakers: Cras and Alex J Taylor. Nyurpaya Kaika Burton, Senior Anangu artist from Amata, Skye O’Meara, APY Art Centre Symposium | Memorial 30th Anniversary collective manager, Dr Susan Lowish, at the National Gallery of Australia University of Melbourne Lisa Catt, Assistant Friday 12 & Saturday 13 October 2018 Curator international art, AGNSW, Emeritus 150 registrations Professor John Clark, Dr Paula Dredge, Two-day symposium examined the ongoing Senior paintings conservator, AGNSW, significance of The Aboriginal Professor Harriet Edquist, Director, RMIT Memorial (1987–1988) and its context Design Australia, Claire Eggleston, Archivist, within contemporary art, Yolngu culture and AGNSW, Hannah Fink, Writer, Dr Catriona creative practices, as well as relation to Moore, University of Sydney, Asti Sherring, recent memorials from across Australia and Time-based art conservator, AGNSW, Dr Ann internationally. This nationally significant Stephen, Senior Curator, University Art work of art and was curated by Djon Collections, University of Sydney, Dr Anthony Mundine, OAM in 1988 and represented a White, Senior lecturer, School of Culture and forest of souls commemorating all the Communication, University of Melbourne. Indigenous people who, since 1788, have lost their lives defending their land. Site and Space Field Schools Site and Space in South East Asia |Yangon, The symposium was convened by: Penang, Huế Djon Mundine OAM, independent curator Over the course of a two-year research and conceptual producer of The Aboriginal period commending in June 2018, this project Memorial (1987–1988), Franchesca Cubillo, explores the intersections of urban space, art Senior Curator, Aboriginal and Torres Strait and culture in three cities—Yangon, Islander Art, National Gallery of Australia, Myanmar, Penang, Malaysia, and Huế, Professor Ian McLean, Hugh Ramsay Chair Vietnam—through collaborative, site-based in Australian Art History, University of research. With major funding from the Getty Melbourne, Professor Mark Ledbury, Power Foundation’s Connecting Art Histories Professor of Art History and Visual Culture, Initiative and partners, including National Director of the Power Institute, The Gallery Singapore, Nanyang Technological University of Sydney. University, Power Institute and Dumbarton Oaks Research Library and Collection, Site and Space in Southeast Asia, continues to Symposium | Heat & Dust: Artists, support innovative research in the art and Archives, Art History architectural histories of the region, foster Friday 23 & Saturday 24 November 2018 professional networks among early career 85 registrations scholars, and expand engagement with an The Art Gallery of New South Wales ever more global field. together with the Power Institute and the AIAH (Australian Institute of Art History) Project leaders: presented a two-day symposium Heat & Caroline Herbelin (Toulouse), Field Director, Dust: artists, archives, art history. The event Huế was held at the Art Gallery of New South Mark Ledbury (Sydney), Chief Investigator Wales and the University of Sydney. Heat & Dust investigated various Simon Soon (Malaysia), Field Director, applications of and concepts within archival Penang practices with the intent to inspire further Adrian Vickers (Sydney), Chief Investigator and deeper questioning of the histories, Stephen Whiteman (Sydney), Chief contexts and futures of the archive. Investigator, Projector Director

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2018 Seminars

Seminar | Professor Ewa Lajer-Burcharth critical part of the art historical endeavour The Painter's Touch: Materiality and Meaning enables us to reconsider not only our objects Wednesday 7 March 2018: of study but also our roles as writers, curators, 31 registrations and critics. Ewa Lajer-Burcharth, Professor of Fine Arts in the Department of History of Art and Seminar | Criticism in Moving Images: The Architecture at Harvard and author of “The Video Essay in Theory and Practice Painter’s Touch.” What can be gained from Wednesday 5 September: 105 registrations considering a painting not only as an image Dr Shane Denson, Assistant Professor of Film but also a material object.? The lunchtime and Media Studies in the Department of Art seminar focused on this question of the & Art History at Stanford University relation between materiality and meaning Conor Bateman, Digital and Social Content in the context of the Enlightenment. Creator, ABC,4:3 Video essay practitioners Dr Shane Denson Seminar | Curating the Queer Archive: and Conor Bateman presented their recent Curating Queer Performance work and discussed from scholarly and critical Amelia Jones, Robert A. Day Professor at perspectives, the theory and practice of the the Roski School of Art and Design at video essay form. How does digital video University of Southern California. enable the presentation of research, Monday 19 March 2018: 36 registrations argumentation, and critical analysis of film In this lunchtime seminar, Amelia Jones and other moving-image media? A Q&A was invited students to consider the complexities conducted at the end of the seminar chaired of curatorial practice in relation to by Dr Susan Potter, Lecturer of Film Studies, coalitionally driven art movements and the Department of Art History, University of archives that document queer and feminist Sydney. (and other coalitional) communities. Participants were invited to submit their own Seminar | Tracing the Global Desire for Asian questions and ideas for discussion for Jones Ceramics from Shipwrecks to the Gallery to respond to, as they relate to identity 18 October 2018: 28 registrations politics, archival practices, and how to Nancy Um, Professor, Binghamton University historicize art and activism. Art Gallery of New South Wales, part of the Master of Art Curating degree course, Seminar | Tales, Fables, and Anecdotes: Curating Asian Art. Narrating Anonymity in Chinese Art This seminar explored the shifting global Associate Professor Winnie Wong desire for Asian ceramics, through pieces held Tuesday 24 April 2018: 30 registrations in the collection of the Art Gallery of New The seminar drew from Associate Professor South Wales. These objects will be linked to Winnie Wong’s essay ‘Lover of the Strange, those that have been excavated from Sympathizer of the Rude, Barbarianologist of shipwrecks and pictured in European the Farthest Peripheries‘ as a point of paintings, thus providing a multi-dimensional departure for considering the study of view of Asian ceramics and their appeal Chinese Art in a Eurocentric art historical through the ages. paradigm. Winnie Wong is an Associate Professor of Rhetoric and History of Art at the University of California, Berkeley.

Seminar | Art History’s Racial Unconscious Wednesday 15 Aug 2018: 26 registrations Steven Nelson, Professor of African and African American Art and Director of the UCLA African Studies Center This seminar invited participants to explore the intersections of race and art history. From acts of creation to reception, we will investigate how positioning race as

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2018 Power public talks Sydney Asian Art Series: Transcultural Keir Lectures on Art: Rethinking Drawing: Attractions: Photographs of an Indian Dancer Fragonard in Tivoli Ajay Sinha, Professor of Art History, Asian Ewa Lajer-Burcharth, Professor of Fine Arts Studies, and Film Studies programs at Mount in the Department of History of Art and Holyoke College, U.S.A Architecture at Harvard University. Tuesday 29 May 2018: 177 registrations Tuesday 6 March: 150 registrations The University of Sydney’s China Studies The first of the Keir Lectures, Professor Centre, The Power Institute and VisAsia, with Lajer-Burcharth examined Jean-Honoré support from the Art Gallery of New South Fragonard’s extraordinary series of views Wales and Sydney Ideas presented the from the Villa d’Este in Tivoli, described as second of Sydney Asian Art Series at the “one of the most beautiful red chalk AGNSW. drawings ever made.” In the Spring of 1938, an Indian dancer, Ram Sydney Asian Art Series: Until You See the Gopal, posed in a variety of fantastical Original Again: Lam Qua, Chinese Export costumes for the American photographer, Carl Artist Van Vechten, in New York City. Professor Winnie Wong, Associate Professor of Ajay Sinha’s lecture discussed the resulting Rhetoric and History of Art at the University series of 100 remarkable, large-size of California, Berkeley. photographs, to build an illustrated story of Saturday, 28 April 2018: 390 registrations mutual fascination and transcultural The University of Sydney’s China Studies exchanges triggered by the camera placed Centre, The Power Institute and VisAsia, with between the dancer and the photographer support from the Art Gallery of New South during the photoshoot. Wales and Sydney Ideas presented the first of Sydney Asian Art Series at the AGNSW. Power Lecture: Imagining an Altogether Ann Reynolds, Associate Professor, Art The first of the SAAS talks, Associate History (Modern and Contemporary Art and Professor Wong’s lecture examined the Visual Culture), University of Texas Chinese painter known to Europeans as Tuesday 5 June: 62 registrations “Lam Qua” and one of the most well- Using a group of literary and documented artisans working in the port of cinematic descriptions of cocktail parties from Guangzhou in the early 19th century. While this decade, Reynolds’ lecture considered how very little historical Chinese records have collectivity was experienced, even if been found to clarify Lam Qua’s biography, fleetingly, and how she, and hopefully others, he left a fascinating corpus of paintings, lacking other types of archival evidence, including both originals and copies to might use these descriptions of social examine. Winnie Wong challenged whether collectives to imagine history differently. “he was an early exemplar of modern art in China, or a mere copyist of European Keir Lectures on Art: Post-Soul pictures?” Gesamtkunstwerk: Julie Mehretu’s Abstract Power Lecture: A Plan, A Testimony, and A Spectacle Digital Map: Analyzing the Architecture of the Steven Nelson, Professor of African and Holocaust African American Art and Director of the Paul Jaskot, Professor of Art, Art History & UCLA African Studies Center at UCLA. Visual Studies, Duke University. Tuesday 14 August 2018 Thursday 10 May 2018: 92 registrations 114 registrations Taking an architectural plan and a specific This was the second talk in the Keir Lectures survivor testimony as examples, on Art. Ethiopian-born, New York-based artist Jaskot’s talk explored how recent methods Julie Mehretu’s work brings together painting, in the Digital Humanities–particularly digital drawing and architectural painting, drawing mapping – can be used to investigate plans and architectural rendering to create massive and testimonies to raise new questions about works to enact confrontations between the spatial and historical significance of the different syntaxes of meaning. This discussion Holocaust. Jaskot addressed how explores the intersection of these mediums perpetrators thought of their building with the tools of the geographer as a means projects and, conversely, how victims to understand how her work details and experienced these oppressive spaces.

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critiques our globalized, seemingly placeless an arena that stretched from the mountains of present. Ethiopia to the Qing Emperor’s court. This lecture traced these intriguing items from their Sydney Asian Art Series: The Shogun's diverse places of manufacture to their points Silver Telescope: Art in the First English of distribution and demonstrated their Encounters with Japan, 1611-1616 strategic power as bestowals. Timon Screech; Professor of the History of Art at the School of Oriental and African Studies (SOAS), University of London. 2018 other events 23 August 2018: 252 registrations The University of Sydney’s China Studies The Taste of Purple Centre, The Power Institute and VisAsia, with An Evening of Synaesthesia at Cake Wines support from the Art Gallery of New South Wednesday 14 March 2018: Wales, presented the third Sydney Asian 100 registrations Art Series talk for 2018. The Power Institute with support from The In 1611, the East India Company in London Sydney Medical School and the Synaesthesia planned a voyage to Japan. An Research Group hosted an evening of appropriate gift was selected for the interdisciplinary collaboration, exploring the Japanese ruler, and when one of the ships mysteries of Synaesthesia. Held in the arrived in 1613, Tokugawa Ieyasu was ambience of the Cellar Door audiences were presented with a large, silver-gilt telescope, invited to test themselves, to hear, see and in the name of King James. It was the first touch the phenomenon of synaesthesia, and telescope ever to leave Europe and the first take part in hands-on illusions. built as a presentation object. Before news Speakers: Mark Ledbury; Power Professor of of this success was reported home, the Art History and Visual Culture at the English sent another ship, this time loaded University of Sydney and Director of the with oil paintings and prints. Screech’s talk Power Institute; Joshua Berger, a Doctor of investigated the reasons for the East India Philosophy Candidate from the Sydney Company’s interest in Japan, for the Medical School and School of Psychology selection of these unexpected items, and for studying Synaesthesia; and Associate their impact in Japan. Professor Anina Rich, who heads the Synaesthesia Research group at Macquarie Sydney Asian Art Series: Boxes Fit for University. Kings: Aromatic Gifts around the Late- Seventeenth- and Early-Eighteenth-Century ReCollection: Sèvres Indian Ocean Mimi Hellman, Associate Professor of Art Nancy Um, Professor and Department History, Skidmore College, US Chair of Art History at Binghamton Wednesday 24 May 2018: 115 registrations University. Mimi Hellman presented a casual lunchtime Wednesday 17 October: 127 registrations talk as part of the Art Gallery of New South The University of Sydney’s China Studies Wales ReCollection series. Hellman, Associate Centre, The Power Institute and VisAsia, with Professor of Art History, Skidmore College, US, spoke about Tea canister and support from the Art Gallery of New South Wales, are proud to present the fourth and cover 1759-1760 by Sèvres. final of our Sydney Asian Art Series talks Dame a La Licorne: The Lady and the Unicorn for 2018, with a lecture by Professor Nancy Art Gallery of New South Wales Um. Saturday June 2 2018: 90 registrations Gilded glass bottles blown in India and The Power Institute participated in events porcelain flasks produced in Japan celebrating the sheer beauty, and mystery, of circulated around the Indian Ocean, filled the Dame a La Licorne tapestries on the with aromatic oils and packaged in custom- occasion of their remarkable sojourn at the made boxes. These fragrant items were Art Gallery of New South Wales. Revered as doled out as gifts by the Dutch East India a French national treasure The lady and the Company, distributed to gain commercial unicorn tapestry series, made its exclusive appearance in Sydney at the Art Gallery leverage with high-profile recipients across of NSW through a generous and

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exceptional loan from the collection of the Douglas, Bonita Ely, Adam Geczy, Mimi Kelly Musée de Cluny – Musée national du and Hannah Mathews. Moyen Âge in Paris. Melbourne Book Launch & Reception Thursday 16 August 2018; 93 registrations Celebration of 50 Years of Teaching at the Buxton Contemporary, Dodds St & Southbank Power Institute Blvd, Southbank, VIC 31 October 2018: 232 registrations The book was launched by Edward Colless The Power Institute and the Department of Head of Critical and Theoretical Studies, Art History celebrated the 50th Anniversary Victorian College of the Arts, University of of Teaching over an evening of live music, Melbourne. The event also brought together a conversation and drinks. Distinguished dynamic discussion chaired by Dr Edward alumni and faculty reminisced about Colless, with Adam Geczy, Sean Lowry, Mimi memorable moments and reflected on the Kelly, Hannah Mathews, Jill Orr and Mark Power Institute’s continuing impact. Shorter.

2018 Power Publications book Imants Tillers: Journey to Nowhere launches Wednesday 21 November: 148 registrations Premiere Film Screening & Book Launch Ambitious Alignments: New Histories of Veolia Lecture Theatre, Level 2 Southeast Asian Art, 1945-1990 Museum of Contemporary Art Australia Edited by: Stephen H. Whiteman, Sarena Power Publications partnered with the Latvian Abdullah, Yvonne Low, Phoebe Scott National Museum of Art to co-publish Journey Singapore Book Launch | Wednesday, 23 to Nowhere. This book is a substantial May 2018: registrations monograph on the artist and the first to Co-published by Power Publications and consider the influence of Tillers’ Latvian National Gallery Singapore, this new heritage on his work. volume explores the art and architecture of The screening was followed by a short Q&A Southeast Asia in the postwar period. Ten between Professor Mark Ledbury and Imants essays by emerging scholars draw upon Tillers, and a launch reception. unexplored archives and works of art, bearing witness to rich local histories and Contributors: uncovering complex artistic exchanges Māra Lāce, Professor Mark Ledbury, Graham across Cambodia, Indonesia, Hong Kong, Coulter-Smith, Professor Ian McLean, Imants Myanmar, the Philippines, Singapore, Tillers, Elita Ansone, Jennifer Slatyer and Thailand and beyond. Olivia Sophia Sydney Book launch – Monday, 2 July 2018: 71 registrations Coincided with the Asian Studies Association 2018 Book Prizes of Australia Conference, held at the Winner of the AAANZ Best Book Prize 2018 Abercrombie Business School, University of for No Idols: The Missing Theology of Art by Sydney. Thomas Crow. The book was launched by Adrian Vickers, Professor of Southeast Asian Studies.

What is Performance Art? Australian Perspectives Edited by: Adam Geczy, Mimi Kelly Sydney Book Launch & Reception| Wednesday 1 Aug 2018: 156 registrations Museum of Contemporary Art, 140 George St, The Rocks NSW 2000

The event Brought together a dynamic discussion chaired by Blair French, Director, Curatorial & Digital at the Museum of Contemporary Art Australia, with Blak

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Power Publications & communication

Annual Report 2018 as National Gallery Singapore, the Asian Power Publications has been making strides Studies Association of Australia, Museum of in 2018 towards a solid frontlist and setting Contemporary Art and Buxton Contemporary. strategic priorities to launch new series and to make the press more financially We have continued to recognise our sustainable. Intersections between the local publishing peers through the Power and global have been reflected in our Publications Award for Indigenous Art publishing activities, which this year have Writing, which was presented to Cara included the bilingual monograph Imants Pinchbeck, Curator of Indigenous and Torres Tillers: Journey to Nowhere, the Strait Islander Art at the Art Gallery of New anthology Ambitious Alignments: New South Wales for her catalogue essay ‘Taking Histories of Southeast Asian Art, 1945– Memories Back’ for the exhibition Art from 1990—already in its second print run, with Milingimbi: Taking Memories Back. We four positive reviews across Southeast Asia acknowledged dissertations on Indigenous art so far—and What is Performance Art? by Catherine Massola and Mathieu Gallois Australian Perspectives, a compilation that and are grateful for the generous support of connects an Australian history of the Copyright Agency Cultural Fund for these performance with many international prizes. threads through the voices of forty scholars, curators and artists. Submissions continue to be received on a regular basis, with a still significant proportion We also published our final issues of unable to be moved forward to peer review the Australian & New Zealand Journal of Art, and acceptance due to the press’ limited wrapping up five years of production that resources. Applications were submitted for have reflected an increasingly diverse cast project and series funding in 2018, however, of scholars and subjects. With access to an and more ambitious funding proposals are international readership online, the Journal planned for 2019 in the hope that the press has now registered almost 30,000 full text can expand its capacity. The imprint has downloads and continues to grow its continued to pursue co-publishing partnerships audience. We would like to thank the for increased markets and reduced outlays: various editors across the ten issues and 2018 partners included National Gallery acknowledge those for Issue 1, 2018, Singapore and Latvian National Museum of Donna West Brett—also the Journal’s Art and 2019 introduces partnerships with tireless Reviews Editor—and Deborah Melbourne University Press, Formist Editions, Ascher Barnstone; and for Issue 2, Ann Elias and Prague-based academic publisher NAMU and Stephen Whiteman. Thanks are due to Press. Power’s Assistant Editor, Toby Fitch, for his marshalling and copy editing of the Journal The books released in 2018 were kept to this year, and for his work on all Power’s lean budgets. What is Performance Art? was publications. printed in mono and other project funds were supplemented through co-publication We were thrilled that No Idols: The Missing arrangements, which amounted to savings of Theology of Art by Thomas Crow was approximately $40,000. Distributor revenue awarded Best Book at the Art Association of recovered in 2018 alongside steady direct Australia and New Zealand conference and and event sales to a total of $41,201, but it celebrated three new titles with three should be noted that with increased co- Sydney launches as well as occasions in publication agreements, the imprint is Latvia, Melbourne and Singapore. The press required to pay out greater proportions of continued its high level of productivity with this revenue to co-publishers. Despite 120 contributors engaged across 2018 and publishing more frequently, our specialist 2019 titles. Panel discussions and in- press has limited revenue streams and conversations around our 2018 titles unpredictable copyright licensing payments, involved nineteen scholars and artists and so it is imperative that the press work to fund were hosted by a range of institutions such all its projects and personnel through various

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forms of external support so as to not only Titles in press in 2018: take advantage of increased submissions • Eugenia Raskopoulos: Vestiges of the and assert its strategic plan with series Tongue, an artist monograph with commissions, but also to retain revenue for contributions from Huang Du, Ann our increased running costs such as accounts Finnegan, Anneke Jaspers, Victoria administration, packing and postage, Lynn, Anne Marsh, Daniel Mudie storage and shipping, marketing and Cunningham, Robert Nelson, Nikos website maintenance. Papastergiadis, Isobel Parker Philip, Nicholas Tsoutas (co-pub: Formist) As a not-for-profit academic press of • Bauhaus Diaspora and Beyond: growing ambitions and modest scale, we Transforming Education in Art, cannot produce rigorous scholarship and Architecture and Design, an anthology make quality books without working with edited by Philip Goad, Andrew supporters and partners. Power would like McNamara, Ann Stephen, Harriet to acknowledge those who have provided Endquist and Isobel Wünsche (co-pub: much-needed financial support for our MUP) publishing programs and related launch • Apparitions: Photography and events, all the writers who have contributed Dissemination, by Geoffrey Batchen their expertise and efforts, our esteemed (co-pub: NAMU Press) co-publishers who have come on the journey with us, and the advice and collegiality from Outside In: Ten Essays on UnAustralian members of the Journal’s Editorial Advisory • Board and Power’s Advisory Committee. Art, a co-authored anthology by Rex Butler and ADS Donaldson (post- Titles launched in 2018: review revisions)

• Ambitious Alignments: New Histories Marni Williams of Southeast Asian Art, 1945–1990, Publications Manager an anthology edited by Stephen H. Whiteman, Phoebe Scott, Yvonne Low and Sarena Abdullah, with ten contributors (co-pub: National Gallery Singapore) • Imants Tillers: Journey to Nowhere, a monographic exhibition publication with contributions from Elita Ansone, Graham Coulter-Smith, Mark Ledbury and Ian McLean (in editing; co-pub: Latvian National Gallery) • What is Performance Art? Writings on Performance from Australian Scholars, Curators and Artists, an anthology edited by Adam Geczy and Mimi Kelly, with 40 Australian contributors • Australian & New Zealand Journal of Art, July issue, editors: Deborah Ascher Barnstone and Donna West Brett • Australian & New Zealand Journal of Art, December issue, editors: Ann Elias and Stephen H. Whiteman

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Schaeffer Library

2018 was the third consecutive year in which The other major actions planned for 2019 significantly increased use of study spaces are the installation of additional shelving in was noted, together with a greater presence the library mezzanine and the renovation of of students and researchers during mornings three of the smaller rooms on this level. The and evenings. The library Seminar Room is former photocopier room (322) will be re- now regularly opened as a general study purposed as a Rare Books storage area, space to accommodate the expanding room 328 will receive improved facilities for number of clients. its use as a Large Format Publication archive, and the Toshiba Room will be expanded Several facility enhancements and with new shelving. The former staff maintenance projects were completed during workroom on the northern corner of the 2018: mezzanine will be re-purposed for general storage of infrequently used materials.2018 • Cedar venetian blinds were installed also saw the library’s 5-year collection to the large west-facing windows in maintenance project nearing completion, with the Fern Reading Room. This has the achievement of final goals anticipated enhanced the aesthetic appeal of the for the last quarter of 2019. This project has room and allows staff to better involved the processing of several thousand control light and heat in the area (a items held in storage, four donated notable comfort improvement that collections of monographs, and the has been very well received by enhancement of metadata for clients). approximately 800 items already held in the library but formerly with only minimal • The wi-fi network was replaced and upgraded to provide considerably information in the university catalogue. expanded coverage and signal strength. Schaeffer Library has been responsible for its own cataloguing since 2016 (rather than • Two new desktop computers were this task being outsourced to Fisher Library). installed for the use of visiting It was the transfer of this responsibility back researchers and post-graduate to Schaeffer that directly enabled the students. It is anticipated that the 6 increase in processing capacity from a few public-access computers for hundred items annually to over 10,000 items undergraduate use will be upgraded in 3 years. These achievements have been in 2019. made in addition to the processing of 380 • Most lighting throughout the library newly purchased items, acquired at the was converted from fluorescent tubes request of academics from the Department and high voltage halogen bulbs to of Art History. The mean processing time for LED, with excellent results. In 2019 new items, from receipt of request to some remaining lights will be availability on the shelf, is 10 working days. similarly converted, as funds allow. • The air-conditioning system was Anthony Green balanced and is now working Senior Schaeffer Librarian effectively. • The library was professionally cleaned throughout, including steam- cleaning of all upholstery and carpets, re-polishing and oiling of all woodwork, and repainting in some areas.

In 2019 the aging photocopier in the Fern Room will be replaced with a multi-function printer that will enable full-colour scanning, printing and photocopying for clients.

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FINANCIAL STATEMENTS

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FOUNDATION GOVERNANCE STATEMENT

The Power Council Foundation recognises the Name: Mrs Lynn Fern importance and benefit of reviewing its Qualifications and experience: President, adoption and alignment with governance Power Institute Foundation for Art and Visual principles and provides the following report Culture Current Term of Appointment: Principle 1 — Lay solid foundations for 4/05/2011 to 31/03/2019 management and oversight Number of meetings attended: 2 eligible to attend: 4 Nature of the Entity The Power Institute Foundation for Visual Art Name: Professor Mark Ledbury and Culture is a part of the University of Qualifications and experience: Power Sydney ABN 15211513464 and not Professor of Art history and Visual Culture separately incorporated under a state or Director of the Power Institute commonwealth Act. The Foundation is required to gain prior approval for its Current Term of Appointment: fundraising activities from the appropriate 4/05/2011 to 31/03/2019 University delegate. The Foundation’s Number of meetings attended: 4 activities are not-for-profit and covered by eligible to attend: 4 the DGR status of the University of Sydney. The University is exempted from the Name: Professor Annamarie Jagose requirement to hold an Authority to Qualifications and experience: Dean, Faculty Fundraise and obligations upon holders of such an authority but is still required to of Arts and Social Sciences, FASS comply with the balance of provisions of the Current Term of Appointment: Charitable Fundraising Act. 4/05/2011 to 31/03/2019 Number of meetings attended: 2 Roles of Council and Management eligible to attend: 4 The Foundation operates under the authority of the Senate of the University of Sydney, as Name: Professor Gerard Goggin approved on 1 October 2006 and has no Qualifications and experience: powers of delegation. The Foundation Acting Head of School, SLAM conducts its affairs pursuant to the Current Term of Appointment: Foundation Rules and the relevant policies of 31/03/2018 to 15/05/2018 the University. The Foundation is to be Number of meetings attended: 1 reviewed every three years from the date of eligible to attend 2 its approval. The Board structure of the Foundation was reviewed actively in 2018, Name: Professor Umberto Ansaldo and reoriented towards an externally Qualifications and experience: focused, fundraising role. Three council Head of School, SLAM members were co-opted in 2018. The Current Term of Appointment: Foundation had its annual fundraising plan 21/08/2017 to 31/03/2019 approved and was able to meet its Number of meetings attended: 2 objectives. eligible to attend 4

Principle 2 — Structure of the council to Name: Ms Melissa Bonevska add value Qualifications and experience: Development The Council of the Foundation in 2017 Manager, University Foundations, Division of consisted of the following members: Alumni and Development Current Term of Appointment:

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24/05/2016 to 31/03/2019 Name: Mr Simon Chan Numbers of meetings attended: 1 Qualifications and experience: Power eligible to attend 4 Institute Foundation for Art and Visual Culture, Council Member Name: Ms Julie Ewington Current Term of Appointment: to Qualifications and experience: Power 21/08/2018 to 31/03/2019 Institute Foundation for Art and Visual Number of meetings attended: 2 Culture, Council Member eligible to attend: 2 Current Term of Appointment: 27/3/2012 to 31/03/2019 Name: Mr Imants Tillers Number of meetings attended: 3 Qualifications and experience: Power eligible to attend: 4 Institute Foundation for Art and Visual Culture, Council Member Name: Ms Anna Waldmann Current Term of Appointment: 27/11/2018 Qualifications and experience: Power to 31/03/2019 Institute Foundation for Art and Visual Number of meetings attended: 1 Culture, Council Member eligible to attend: 1 Current Term of Appointment: 27/3/2012 to 31/03/2019 Number of meetings attended: 2 Principle 3 — Promote ethical and eligible to attend: 4 responsible decision-making Council members have been provided with Name: Ms Marie Chretien the University of Sydney Foundation Qualifications and experience: Power Governance Guide, Foundation Rules, Code Institute Foundation for Art and Visual of Conduct, Conflicts of Interest Policy and Culture, Council Member the Occupational Health & Safety Policy. The Current Term of Appointment: Code of Conduct, Conflict of Interest Policy 24/05/2016 to 31/03/2019 and the Occupational Health & Safety Policy Number of meetings attended: 3 are also available on the University’s public eligible to attend: 4 website as are other relevant University policies regarding gift acceptance, Name: Ms Lesa-Belle Furhagen harassment, grievance procedures and other Qualifications and experience: Power related policies. Institute Foundation for Art and Visual Culture, Council Member Principle 4 — Safeguard integrity in Current Term of Appointment: financial reporting 08/11/2016 to 31/03/2019 The annual accounts of the Foundation are Number of meetings attended: 4 prepared by the financial staff of the eligible to attend: 4 University, signed off by Professor Annamarie Jagose and included in this Name: Ms Susan Acret Annual Report to the Senate. The Foundation Qualifications and experience: Power is part of the University and therefore does Institute Foundation for Art and Visual not have its own audit sub-committee. The Culture, Council Member University is audited by the Audit Office of Current Term of Appointment: to NSW. The Director meets regularly with the 21/08/2018 to 31/03/2019 Foundation Finance officer of the Faculty to Number of meetings attended: 2 ensure Under the Charitable Fundraising Act, eligible to attend: 2 communication, and running audit of current costs.

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External funds continued to be pledged to industry bodies and the University, whose the Power Institute. The Foundation received input is invited via the Annual General support and instalments from the Bushell Meeting and Council meetings of the Foundation, Terra Foundation, Getty Foundation. The following forums/mechanisms Foundation, CAL, John Schaeffer, Nelson have been held during the year to involve Meers Foundation, Terrence and Lynnette stakeholders in election of the Council, Fern, Terry Smith, Lesa-Belle Furhagen, activities of the foundation or other Phillip Keir Foundation and other individual stakeholder participation through a number donors. No specific requests for information of public lectures and book launches. were made to the Foundation Office. Other enquiries may have been made to other The University may be questioned about any parts of the University. appeal on details of the purpose of the appeal such as the appeal target, objectives, We continue to explore ideas for major gifts distribution of proceeds, etc. and the process in collaboration with the Faculty’s to provide answers. During the year the development team. In conducting those Foundation published information on its appeals, the Foundation took all reasonable website/other means and outlines those steps to ensure that commissions paid or activities in this annual report. payable to any person, as part of a fundraising appeal, did not exceed one-third Principle 7 — Recognise and manage risk of the gross money obtained by that person The Foundation recognises its activities within in the appeal and appropriate particulars of University premises or other premises require all items of gross income received or risks such as health and safety, environmental receivable. All items of expenditure incurred, protection, privacy, trade practices, and including the application or disposition of compliance with the Charitable Fundraising any income obtained from the appeal, and Act to be considered and managed. The particulars of those transactions to which they Foundation has managed these risks during related, were recorded in the minutes of the the year by complying with University Foundation. policies and procedures.

Principle 5 — Make timely and balanced Principle 8 — Remunerate fairly and disclosure responsibly The Foundation complied with the reporting No member of a Council is entitled to receive and disclosure requirements of the Senate. any remuneration for acting in that capacity These include an annual budget and this except reasonable remuneration on a basis Annual Report. Members and Council have that has first been approved in writing by been made aware of the processes for the University Officer (Foundations). disclosure pursuant to the Code of Conduct, Conflicts of Interest policy, which include Members of the Foundation Council may be protected disclosure to the ICAC, the reimbursed for reasonable expenses after Ombudsman or the Auditor General. written approval of the University Officer (Foundations). Any such instances are Principle 6 — Respect the rights of recorded in the minutes of the Council. members, staff, volunteers, clients, & other stakeholders The Foundation Council and/or membership consists of members of the community,

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Contact Power Institute Foundation For Art & Visual Culture RC Mills Building, A26 The University of Sydney NSW, 2006 Australia

Telephone: +61 2 9351 4211 sydney.edu.au/arts/power/ www.powerpublications.com.au

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