DOCSLIB.ORG

Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. • To display the collections. • To program temporary exhibitions. • To ensure the preservation and conservation of Gallery collections. • To research and evaluate the collections, and to make the collections and documentation accessible to others for the purposes of research, as a basis for teaching and communication. • To document the collections within a central cataloguing system. • To provide interpretative information about collection displays and temporary exhibitions and other public programs. • To promote the Gallery’s collections and temporary exhibitions. • To ensure that the Gallery’s operations, resources and commercial programs are managed efficiently, responsibly and profitably. • To advise the South Australian Government on the allocation of South Australian resources to works of art, art collections, art museums and art associations. These objectives can be summarised as: preservation, research and communication. They are consistent with the objectives of all major art museums and galleries throughout the world. 5 ART GALLERY OF SOUTH AUSTRALIA MAJOR ACHIEVEMENTS 2002–2003 • The Gallery received a record number of gifts of works of art. • The value of gifts and purchases of works of art is nearly $4.8 million. • Heading the list of major international heritage acquisition are a large Renaissance altarpiece by Passerotti, a twelfth century sculpture of a Jain saint, a sculpture by the French nineteenth century sculptor Carpeaux, a rare watercolour design and a valuable handknotted William Morris carpet, a collection of Japanese woodcuts and a significant collection of ancient Islamic ceramics. Major twentieth century and contemporary acquisitions include works by Stella Bowen, Horace Trenerry, Clarice Beckett, Jeffrey Smart, Tony Tuckson, Robert Hunter, Marcel Breuer, Donald Judd, Robert Rooney, Juan Davila, Patricia Piccinini, Fiona Hall and John Mowanjul. • For the second year fifty-seven percent of the Gallery’s more than $13,808,000 in cash revenue, donated works of art and in-kind sponsorship was raised privately or through the Gallery’s commercial activities. This is a much higher proportion of self-funding than other art institutions. • The Gallery has received acquisition bequest funds amounting to nearly $1.6 million, a record amount. • The Gallery’s large collection has been officially revalued and is now worth approximately $540 million, $200 million more than the last official valuation five years ago; The Art Gallery of South Australia is the state’s single most valuable asset. • Over 460,000 people visited the Gallery, the third highest Australian Gallery visitation (after Melbourne and Sydney). • 60,000 people visited Gallery touring exhibitions. • There was a record number of visits to the Gallery’s website of over 1.2 million and for the first time the Gallery introduced virtual tours of exhibitions. • The Gallery staged a well-balanced and successful program of nine exhibitions, most of which were curated by the Gallery. They included Arid Arcadia: Art of the Flinders Ranges, Stella Bowen, Morris & Co., Art of Arnhem Land: 1940s– 6 1970s, SEEING THE CENTRE: The art of Albert Namatjira, JOURNEY TO NOW: John Kaldor Art Projects & Collection and The Morgan Thomas Bequest Centenary Exhibition. • In its third year, the post-graduate Art History Course, which the Gallery conducts jointly with the University of Adelaide, achieved record enrolments. • The Gallery reviewed and updated its risk management policies. • The Gallery reviewed Occupational Health, Safety and Welfare policies, improved Occupational Health, Safety and Welfare systems and upgraded facilities at the Unley Store to meet requirements. • Plans were developed for a refurbishment and expansion of the Bookshop and the creation of a fundraising lounge. • The Gallery completed a review of its Public Programs section and implemented major changes. • Nearly 4,234 digital images were added to the Gallery’s collections database making a total of 14, 685 representing almost half of the Gallery’s collect on. • The Gallery stock-checked the European and Australian painting collections and European and Australian ceramic collections. • The international tour of the Gallery’s exhibition Love & Death: Art in the Age of Queen Victoria was completed this year. • A new benefactors’ group was successfully launched for contemporary art called the Contemporary Collectors. • The Gallery toured its Lionel Lindsay exhibition to Carrick Hill and to four South Australian regional galleries. • The Gallery continued to build on its reputation as a major art publisher and published two major books including its most elaborately illustrated book Morris & Co. with a broad international market. • The Gallery’s publications Morris & Co. and The Encounter 1802 both won national prizes for printing. • The Gallery won the Golden Service Award for excellent cleaning of a public institution. 7 • As an initiative of the State Government, solar panels were installed on the roof of the Gallery to help reduce electricity consumption. 8 ISSUES AND TRENDS • The Gallery’s enhanced collection displays, exhibitions, publications and marketing program have continued to result in increases in attendances and visitor enjoyment. • There has been a steady increase in international and interstate tourists visiting the Gallery making it one of the State’s major tourist attractions. • There is growing support for the Gallery both within South Australia and interstate resulting in the steady increase in gifts of money and works of art. • The Gallery now operates in an environment of intense competition in the ‘leisure and entertainment industry’ and is having to compete with many more events to keep and develop its audience. • The national and international trend of declining attendances to paid exhibitions continues, mainly through significant changes in work and leisure patterns. • The costs of staging exhibitions, including insurance, has increased markedly over the last five years. • The Gallery’s unique self-funded exhibition program faces difficulties absent in other state capitals, including a smaller audience base, lower average income, a diminishing number of Adelaide-based corporations to provide sponsorship, no Government funding for exhibitions and fierce competition from other arts, entertainment and sporting organisations. • Cultural institutions are becoming increasingly aware that they need to attract more diverse audiences. • The community now has greater expectations of state-owned cultural resources such as the Gallery. • There is some pressure from the community for the Gallery to remain open every day of the week as well as to open later on weekends and one evening per week. • There is demand from other galleries for the Gallery’s travelling exhibitions. • There is an international demand to borrow the Gallery’s major works for important overseas exhibitions. • Declining rates of return have effectively reduced the income from the Gallery’s Foundation and other investment funds by more than 50% over the last decade or so. 9 • Over the last five years the falling value of the Australian dollar has decreased opportunities for acquiring major works overseas. • There is an ever-growing demand for popular and scholarly publications on the Gallery’s collections and exhibitions. • The Gallery has a growing reputation as a prestigious art publisher both in Australia and abroad. • There is burgeoning demand for the Gallery’s postcards, greeting cards and reproductions of works in the Gallery's collection. • There is increasing demand to disseminate information about the collections through lectures, seminars, special guided tours and the internet. • The Gallery increasingly relies on funds generated through its commercial
Load more

Recommended publications
  • James Turrell's Skyspace Robert Dowling Life, Death
    HANS HEYSEN ROBERT DOWLING ROBERT LIFE, DEATH AND MAGIC AND MAGIC LIFE, DEATH JAMES TURRELL’S SKYSPACE SKYSPACE TURRELL’S JAMES ISSUE 62 • winter 2010 artonview ISSUE 62 • WINTER 2010 NATIONAL GALLERY OF AUSTRALIA The National Gallery of Australia is an Australian Government Agency Issue 62, winter 2010 published quarterly by 3 Director’s foreword National Gallery of Australia GPO Box 1150 exhibitions and displays Canberra ACT 2601 nga.gov.au 6 Robert Dowling: Tasmanian son of Empire ISSN 1323-4552 Anne Gray Print Post Approved 10 Life, death and magic: 2000 years of Southeast Asian pp255003/00078 ancestral art © National Gallery of Australia 2010 Copyright for reproductions of artworks is Robyn Maxwell held by the artists or their estates. Apart from 16 Hans Heysen uses permitted under the Copyright Act 1968, no part of artonview may be reproduced, Anne Gray transmitted or copied without the prior permission of the National Gallery of Australia. 20 Portraits from India 1850s–1950s Enquiries about permissions should be made in Anne O’Hehir writing to the Rights and Permissions Officer. 22 In the Japanese manner: Australian prints 1900–1940 The opinions expressed in artonview are not necessarily those of the editor or publisher. Emma Colton Produced the National Gallery of Australia Publishing Department: acquisitions editor Eric Meredith 26 James Turrell Skyspace designer Kristin Thomas Lucina Ward photography Eleni Kypridis, Barry Le Lievre, Brenton McGeachie, Steve Nebauer, 28 Theo van Doesburg Space-time construction #3 David Pang,
    [Show full text]
  • Australian Army Journal Is Published by Authority of the Chief of Army
    Australian Army Autumn edition 2019 Journal Volume XV, Number 1 Australian Army Journal Autumn edition 2019 Volume XV, Number 1 The Australian Army Journal is published by authority of the Chief of Army. The Australian Army Journal is sponsored by Head Land Capability. © Commonwealth of Australia 2019. This journal is copyright. Apart from any fair dealing for the purpose of study, research, criticism or review (as permitted under the Copyright Act 1968), and with standard source credit included, no part may be reproduced by any process without written permission. Contributors are urged to ensure the accuracy of the information contained in their articles; the Editorial Advisory Board accepts no responsibility for errors of fact. Permission to reprint Australian Army Journal articles will generally be given by the Managing Editor after consultation with the author(s). Any reproduced articles must bear an acknowledgement of source. The views expressed in the Australian Army Journal are the contributors’ and not necessarily those of the Australian Army or the Department of Defence. The Commonwealth of Australia will not be legally responsible in contract, tort or otherwise for any statement made in this journal. ISSN: 1448-2843 Website: army.gov.au/our-future/aarc Twitter: @flwaustralia The Australian Army Journal Staff Editorial Director: COL Peter Connolly DSC, CSC Managing Editor: Major Cate Carter Editorial Advisory Board MAJGEN Craig Orme (Ret’d) AM, CSC, DSC Prof Genevieve Bell Prof John Blaxland Prof Peter Dean Dr Lyndal Thompson
    [Show full text]
  • Adelaidean November 2008 Volume 17 Number 9
    FREE Publication November 2008 | Volume 17 | Number 9 inside this issue 5 PM’s science prize Institute’s early health focus shines light on 7 research The good oil: making a difference to premature babies 11 Enjoyment the key to success for new Rhodes Scholar 13 Physics for Innovation, Industry, Science & Above: Group defi es Research Senator Kim Carr. This new class of optical fi bres has a variety species loss Professor Monro is Director of of medical and defence applications University of Adelaide physicist the Centre of Expertise in Photonics Professor Tanya Monro has been within the University of Adelaide’s Professor Monro said she was awarded a Prime Minister’s Science School of Chemistry and Physics “absolutely thrilled” to receive Prize for 2008. and, at just 35, is already regarded what she regarded as the highest Professor Monro has created as one of the world’s leaders in recognition possible by this stage in a new class of optical fi bres with optical fi bre technology. Earlier this her career. innovative potential applications in year she was awarded one of the “It’s recognition that the research medical research, defence, industry 2008 Australian Research Council I and my fabulous team are doing and environmental science. (ARC) Federation Fellowships. is of world-class quality and She has been awarded the This new class of optical fi bres, importance,” she said. Malcolm McIntosh Prize for containing air holes and made from “We are not just concentrating Physical Scientist of the Year which soft glass, is broadening the role of on a narrow area of science.
    [Show full text]
  • 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]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our 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 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 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 Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • Annual Report 2014–15
    Annual Report 2014–15 Annual Report 2014–15 Published by the National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 nga.gov.au/aboutus/reports ISSN 1323 5192 © National Gallery of Australia 2015 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 Governance and Reporting Department Edited by Eric Meredith Designed by Carla Da Silva Pastrello Figures by Michael Tonna Index by Sherrey Quinn Printed by Union Offset Printers Cover: The 2015 Summer Art Scholars with Senior Curator Franchesca Cubillo in the Indigenous Urban gallery, 14 January 2015. 16 October 2015 Senator the Hon Mitch Fifield Minister for Communications Minister for the Arts Minister Assisting the Prime Minister for Digital Government Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s annual report covering the period 1 July 2014 to 30 June 2015. This report is submitted to you as required by section 39 of the Public Governance, Performance and Accountability Act 2013. It is consistent with the requirements set out in the Commonwealth Authorities (Annual Reporting) Orders 2011, and due consideration has been given to the Requirements for Annual Reports approved by the Joint Committee of Public Accounts and Audit under subsections 63(2) and 70(2) of the Public Service Act 1999 and made available by the Department of the Prime Minister and Cabinet on 25 June 2015.
    [Show full text]
  • Australian Art
    Australian Art Collectors’ List No. 166, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Established 1977 103a Anzac Parade, Kensington (Sydney) NSW Post: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 166, 2013 Australian Art 1. Ian Armstrong (Aust., 1923-2005). 2. Ian Armstrong (Aust., 1923-2005). [Nurse Writing], 1968. Etching and aqua- [Nurse With Medications], 1968. Etching On exhibition from Sat., 28 September to Sat., 9 November. tint, editioned 10/10, signed and dated in and aqua­­tint, editioned 4/10, signed and All items will be illustrated on our website from 5 October. pencil in lower margin, 13.5 x 11.8cm. Glue dated in pencil in lower margin, 13.4 x stains to margins. 11.7cm. Glue stains to margins. Prices are in Australian dollars and include GST. Exch. rates as at $770 Armstrong’s images may have been inspired $770 time of printing: AUD $1.00 = USD $0.92¢; UK £0.59p by his stay in hospital due to a heart attack and © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 subsequent surgery. Ref: Wiki. Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka Rex Dupain 3.
    [Show full text]
  • Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970S Sydney
    Heather Barker and Charles Green, Flight from the Object: Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970s Sydney HEATHER BARKER AND CHARLES GREEN Flight from the Object: Donald Brook, Inhibodress and the Emergence of Post-Studio Art in Early 1970s Sydney ABSTRACT In the early 1970s, within the small art worlds of Melbourne and Sydney, the contributions of art theorist Donald Brook were as crucial to the innovation of Conceptual art as the art itself. He was an important, prescient but ultimately lonely participant in these developments, as were artists Peter Kennedy and Mike Parr, and alternative Sydney galleries Inhibodress and the University of Sydney workshop, Tin Sheds. Brook considered that national identity was irrelevant in art; was resolutely concerned with art but not at all concerned with “Australian art”. He was opposed to a methodology that excluded everything that did not fit into a preconceived and often teleological system, insisting that if a theory could not account for post-object art then the theory was flawed and not the art. While conceding that there may have been a basis for claims that post- object art was ‘simply not art’, he criticised conservatives for resisting post-object art, insisting that the issue was still to be argued. Introduction This essay examines the turn away from defensive nationalism to internationalist autobiography in the art and theories of contemporary art during the early 1970s. It is paradoxical that this turn occurred in the process of young artists’ disillusionment with an art movement that was the most truly globalised and the least tainted by nationalism or provincialism – Conceptual art.
    [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]
  • Graven Images in the Promised Land
    v {i} E ;.! :?? #:b 1l'ii .t.- Y* ; l i: j'f q€ !.ri lrrj PROPAGAN DA AN D OTHER DEVICES: THE COLON IAL YEARS The artist's 'print' or multiple image of a of the most important printed images of the chosen single vision has always been a way to new land.s disseminate information. ln the early history of South Australia the information was neither The earliest were produced before European primarily personal nor aesthetic but literally settlement: the visual records of Matthew informative about what the place and its Flinders'voyage published in England and inhabitants looked like. lt was propaganda of N icholas Baudin's published in France, by, the most basic kind. respectively, the artists William Westall and C. A. Lesueur (cat. 1 -4). They show a dark, South Australia was founded as a commercial primeval land, only yust touched by the men in enterprise: the South Australian Company was ships. South Australian historian K. formed to populate and profit from T. Borrow the underlines the importance of the views made southern central part of the new conti nent, the on Flinders'voyage by quoting fhe land of promise indeed.r Within this however Westrninster Reylew of 1834, which warned its the tenor of the new colony was relatively readers against the proposed colony of South altruistic. The backers of the Company, their Australia: An Act of the Reformed Parliament is chosen men and the early leaders in the to sanction the new the evidences community were basically Protestant Utopia. hard for the eligibility of the locality consist of three working products of Victorian Britain, bringing captains of the navy .
    [Show full text]
  • Biographie Peter Churcher
    Galerie Thomas Fuchs GmbH & Co. KG Peter Churcher Biographie 1964 geboren in Brisbane, AU 1992 Bachelor of Fine Arts am Victorian College ( heute Deacon University ), Melbourne, AU Peter Churcher lebt und arbeitet in Barcelona, ES Einzelausstellungen ( Auswahl ) 2018 "Water falling", Philip Bacon Galleries, Brisbane, AU 2017 "Peter Churcher", Olsen, Sydney, AU 2015 Philip Bacon Galleries, Brisbane, AU 2014 "Recent PainWngs", Australian Galleries, Melbourne, AU 2012 Philip Bacon Galleries, Brisbane, AU 2011 "Recent PainWngs", Australian Galleries, Sydney, AU 2010 "Recent PainWngs", Australian Galleries, Melbourne, AU 2009 Philip Bacon Galleries, Brisbane, AU 2008 "21 months in Barcelona", Australian Galleries, Melbourne, AU 2007 "PainWngs from Barcelona", Phillip Bacon Galleries, Brisbane, AU Galerie Thomas Fuchs GmbH & Co. KG ( Amtsgericht Stugart HRA 735442 ) Reinsburgstr. 68A I 70178 Stugart I Germany Tel.: +49 711 93342415 I Mail: [email protected] I Web: www.galeriefuchs.de vertreten durch Galerie Thomas Fuchs Verwaltungs-GmbH ( Amtsgericht Stugart HRB 768563 ) Geschäasführer: Thomas Fuchs, Andreas Pucher Galerie Thomas Fuchs GmbH & Co. KG 2006 "The hunt, sacrifices and other rituals", Australian Galleries, PainWng & Sculpture, Melbourne, AU "The hunt, sacrifices and other rituals", Australian Galleries, Melbourne Art Fair, Royal ExhibiWon Building, Melbourne, AU 2005 Philip Bacon Galleries, Brisbane, AU 2004 "Recent PainWngs", Lauraine Diggins Fine Art, Melbourne, AU 2003 "Recent PainWngs", Australian Galleries, Sydney, AU 2002 "Recent works including painWngs from the Persian Gulf", Philip Bacon Galleries, Brisbane, AU 2001 Lauraine Diggins Fine Art, Melbourne, AU 2000 "Recent PainWngs", Australian Galleries, Sydney, AU 1999 Lauraine Diggins Fine Art, Melbourne, AU 1998 Philip Bacon Galleries, Brisbane, AU 1996 Lauraine Diggins Fine Art, Melbourne, AU 1994 Lauraine Diggins Fine Art, Melbourne, AU Gruppenausstellung ( Auswahl ) 2020 "WasserLust — Badende in der Kunst", Schloss Wilhelmshöhe, Museumslandschaa Hessen Kassel, DE 2019 "Male.
    [Show full text]
  • Australian War Memorial Annual Report 2006–2007 Australian War Memorial Annual Report 2006–2007
    AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 The Hon. John Howard MP, Prime Minister of Australia, in the Courtyard Gallery on Remembrance Day. Annual report for the year ended 30 June 2007, together with the financial statements and the report of the Auditor-General. Images produced courtesy of the Australian War Memorial, Canberra Cover: Children in the Vietnam environment in the Discovery Zone Child using the radar in the Cold War environment in the Discovery Zone Air show during the Australian War Memorial Open Day Firing demonstration during Australian War Memorial Open Day Children in the Vietnam environment in the Discovery Zone Big Things on Display, part of the Salute to Vietnam Veterans Weekend Back cover: Will Longstaff, Menin Gate at midnight,1927 (AWM ART09807) Stella Bowen, Bomber crew 1944 (AWM ART26265) Australian War Memorial Parade Ground William Dargie, Group of VADs, 1942 (AWM ART22349) Wallace Anderson and Louis McCubbin, Lone Pine, diorama, 1924–27 (AWM ART41017) Copyright © Australian War Memorial 2007 ISSN 1441 4198 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced, copied, scanned, stored in a retrieval system, recorded, or transmitted in any form or by any means without the prior written permission of the publisher. Australian War Memorial GPO Box 345 Canberra, ACT 2601 Australia www.awm.gov.au iii AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 iv AUSTRALIAN WAR MEMORIAL ANNUAL REPORT 2006–2007 INTRODUCTION TO THE REPORT The Annual Report of the Australian War Memorial for the year ended 30 June 2007 follows the format for an Annual Report for a Commonwealth Authority in accordance with the Commonwealth Authorities and Companies (CAC) (Report of Operations) Orders 2005 under the CAC Act 1997.
    [Show full text]