ART GALLERY OF ANNUAL REPORT 2001

1 TABLE OF CONTENTS ART GALLERY OF NEW SOUTH WALES HIGHLIGHTS

PRESIDENT’S REPORT 2 NEW ATTENDANCE RECORD SET FOR THE POPULAR ARCHIBALD, WYNNE AND SULMAN PRIZES, WHICH HAD MORE THAN 98,000 VISITORS. DIRECTOR’S REPORT 4 1

YEAR IN REVIEW 8 TWO NEW MAJOR AGNSW PUBLICATIONS, IN THE ART GALLERY OF NEW SOUTH WALES AND PAPUNYA TULA: GENESIS AIMS/OBJECTIVES/PERFORMANCE INDICATORS 26 2 AND GENIUS. CORPORATE GOVERNANCE 32 DEDICATION OF THE MARGARET OLLEY TWENTIETH CENTURY EUROPEAN LIFE GOVERNORS 34 3 GALLERIES IN RECOGNITION OF HER CONTINUING AND SUBSTANTIAL SENIOR MANAGEMENT PROFILE 34 ROLE AS A GALLERY BENEFACTOR. ORGANISATION CHART 36 COLLECTION ACQUISITIONS AMOUNTED TO $7.8 MILLION WITH 946 FINANCIAL STATEMENTS 41 4 PURCHASED AND GIFTED WORKS ACCESSIONED INTO THE PERMANENT COLLECTION.TOTAL ACQUISITIONS HAVE GROWN BY MORE THAN $83.4 APPENDICES 62 MILLION IN THE PAST 10 YEARS. INDEX 92 MORE THAN 1.04 MILLION VISITORS TO OVER 40 TEMPORARY, TOURING GENERAL INFORMATION 93 5 AND PERMANENT COLLECTION EXHIBITIONS STAGED IN , REGIONAL NSW AND INTERSTATE.

COMMENCED A THREE-YEAR, $2.3 MILLION, NSW GOVERNMENT 6 FUNDED PROGRAMME TO DIGITISE IMAGES OF ALL WORKS IN THE GALLERY’S PERMANENT COLLECTION. Bob Carr MP Premier, Minister for the Arts, and Minister for Citizenship DEVELOPED GALLERY WEBSITE TO ALLOW ONLINE USERS ACCESS TO Level 40 7 DATABASE INFORMATION ON THE GALLERY’S COLLECTION, INCLUDING Governor Macquarie Tower AVAILABLE IMAGES AND SPECIALIST RESEARCH LIBRARY CATALOGUE. 1 Farrer Place SYDNEY NSW 2000 CREATED A MAJOR NEW FAMILY PROGRAMME, FUNDAYS AT THE 8 GALLERY, IN PARTNERSHIP WITH A FIVE-YEAR SPONSORSHIP FROM THE Dear Premier, SUNDAY TELEGRAPH.

In accordance with the requirements of the Annual Report (Statutory Bodies) VISASIA, THE INSTITUTE OF ASIAN CULTURE AND VISUAL ARTS, Act 1984, we have pleasure in submitting to you the Annual Report for the 9 LAUNCHED BY FORMER PRIME MINISTER HON. PAUL KEATING, AND ITS Art Gallery of New South Wales for the year ended 30th June, 2001, for BUSINESS COUNCIL ESTABLISHED. presentation to Parliament. IN CONJUNCTION WITH THE EXHIBITION PAPUNYA TULA: GENESIS AND The annual report of the Gallery, in our opinion, has been prepared in full GENIUS, THE GALLERY HOSTED A SOTHEBY’S AUCTION OF ABORIGINAL compliance with the requirements of the Annual Reports (Statutory Bodies) 10 Top: Paul Newton AND TORRES STRAIT ISLANDER ART AND RAISED $1 MILLION FOR THE Act and the Annual Reports (Statutory Bodies) Regulations. Roy and H.G. (John Doyle and Greig Pickhaver) WESTERN DESERT DIALYSIS APPEAL. People’s choice Award 2001 © Paul Newton

Yours sincerely, Middle: David Gonski, President Art Gallery Trust, Edmund Capon, Director and artist Margaret Olley

Bottom: Fundays at the Gallery launch featuring Monica Trapaga David Gonski Edmund Capon Cover: Tjuntupulnga 2000 (detail) President Director Bobby West Tjupurrula, Kenny Williams Tjampitjinpa, Charlie Tjapangati, Warlimpirrnga Tjapaltjarri sand and wamulu, 3.6 x 4 metres © Aboriginal Artists Agency Ltd

2 PRESIDENT’S FOREWORD

A year of outstanding artistic achievements by the Art Gallery of New South Wales has been consolidated by major steps towards extending and upgrading the building as a means of offering even greater opportunities to the public for enjoying art and activities connected with it.

The first project to be undertaken by the Centenary Fund has Roger Wilkins, the newly appointed Director General of the been under construction in the year under review and will Ministry for the Arts, has also visited us on numerous open before the end of 2001. This is the 100-seat auditorium, occasions. We welcome him and thank him for the help he which is located directly below the Gallery Shop and beside has already given us. the main gallery for temporary exhibitions. We also acknowledge with thanks the assistance we received The new auditorium will provide a first-class venue for the over many years from Roger’s predecessor, Evan Williams. Art Gallery to undertake its role as a centre for discussion and education. This would not have been possible without The Art Gallery has, as in previous years, received enormous the generosity of the Centenary Fund patrons and we thank assistance from so many people. These include the members ASIAN GALLERY AND ASSOCIATED WORKS them most sincerely. of the President’s Council, the Art Gallery Foundation, the Asian gallery Art Gallery Society and their excellent voluntary guides. Restaurant & café (below) After a delay while funding was confirmed, the new Asian Without the involvement and commitment of these groups Temporary exhibition gallery gallery project is moving ahead. Designs have been prepared and their members, the Art Gallery would not be the place it for the additional gallery above and connected to the present is today. Conservation Asian area, for the extension of conservation studio and display space for contemporary art gallery, the relocation of I take this opportunity of thanking all Trustees and welcome, the restaurant and café with a new functions area. The as a new Trustee, the well-known and respected Australian budget for this project has increased by over $1 million to a artist Imants Tillers. Particular thanks to Mary Turner, who new total of $16 million left the Trust this year. Her assistance, especially on regional New Asian gallery and associated works by Johnson, Pilton, Walker. Colour highlights show planned new works zones. matters, is much appreciated. Clearly, as we go into the rebuilding phase, the Trustees understand that is going to be difficult for everybody – those Above all, I thank the Director and staff of the Art Gallery. who work at the Art Gallery and our visitors. We know that Their commitment and expertise are the keys to the vibrancy all at the Art Gallery will do their utmost to minimise and relevance of the Art Gallery, its exhibitions and its many disruptions and we are sure that the reward is undoubtedly related activities. going to be enormous.

During the year, we have received encouraging support from David Gonski the NSW Government with numerous visits from the Premier, President Bob Carr, and also the Treasurer, Michael Egan. We thank Art Gallery of New South Wales them for their interest and assistance in our activities.

2 3 DIRECTOR’S REPORT

This reporting year has included many highlights including the Art Gallery’s participation in the 2000 Sydney Olympics Arts Festival with two fantastic Australian and Aboriginal art shows plus the Dead Sea Scrolls presented in for the very first time.

The first show being the Australian Icons exhibition featuring three-dimensional mandala, or cosmic diagram, of Hevajra. 20 key Australian artists and their works all sourced from The base is in the shape of an eight-petalled lotus with our permanent Collection – this free exhibition was extended Hevajra in the centre, originally surrounded by seven dakini for an additional two months due to it popularity with the or yogini, minor female divinities in Tantric Buddhism, and visiting public. It’s curator Barry Pearce was also responsible one erect figure. Typically this Hevajra figure has sixteen for the Australia Art in the Art Gallery of New South Wales arms fanned out like wings and eight heads arranged on three book published this year. levels in the order of three, four and one head at the top. The hands each hold the correct attributes as ascribed to Hevajra The second exhibition was the major temporary exhibition by the Tantric texts. Hevajra’s dance posture symbolises the Papunya Tula: Genesis and Genius, curated by Hetti Perkins, dynamics of the process of enlightenment, which includes which for the first time traced the phenomena of the Papunya trampling underfoot the four chief evils, personified here by a Tula art movement out of the small remote community of the four headed prostrate figure. The deity Hevajra is the chief same name in the Northern Territory. The other major deity of the Tantric Buddhist path to enlightenment. The cult publication this year was this exhibition’s catalogue featuring of Hevajra flourished in Cambodia between the tenth and more than 150 . This book was awarded the Art thirteenth centuries, only to disappear with the collapse of the Exhibitions Australia Inaugural Award for best catalogue Angkor Empire. issued through the Art Association of Australia and . In 1972, the Art Gallery purchased Self Portrait c.1940 by Pierre Bonnard. This is one of the most important In additional, the continuing support of two of our most paintings in the Art Gallery’s Modern European Collection generous benefactors have added two major works to the and has been extensively exhibited and reproduced. Bust in Collection. A very beautiful painting by the French artist, profile, red background, c. 1920 is an fine complement to the Pierre Bonnard Bust in profile, red background c.1920 was Self Portrait as it is an example of the artist’s most recurrent purchased with funds provided by the Art Gallery of New theme depicting candid images of his wife, Marthe, having a South Wales Foundation and the Margaret Hannah Olley Art bath or in an unposed naked state. These uncontrived poses, Trust and an exceptionally rare Khmer bronze, Hevajra lying down, reaching for something, looking in the mirror, mandala, from the Bayon period (12th/13th century) was etc. give these painting a sensuous voyeuristic feel as if the purchased with funds provided by the Edward and Goldie subject was unaware of the artist’s adoring scrutiny. This Sternberg Southeast Asian Art Purchase Fund with a special painting is essentially a study in form and colour – on one extra contribution provided by Mrs Goldie Sternberg. side the distinctive profile of Marthe is silhouetted against an almost abstract background of red and yellow while the Hevajra mandala The Khmer bronze, Hevajra mandala, is the most important illusion of depth is created by the receding sofa on the right 12th – 13th century bronze 39 x 23.5 cm work from ancient Cambodia to enter the collection. It is a hand side. Edward and Goldie Sterberg Southeast Asian Art Purchase Fund 2001

4 Launch of VisAsia, May 2001 – John Yu, Art Gallery Trustee and Chairperson of Margaret McLenaghan and artist Margaret Olley VisAsia, Hon. Bob Debus, Minister Assisting the Premier on the Arts, Former Prime Minister Hon. Paul Keating and Kenson Kwok, Director Asian Civilisation Museum, Singapore.

Margaret Olley also donated two major etchings to the Art will double the permanent exhibition space for Asian art as Gallery; After Chardin 2000 by Lucian Freud and Still life with well as provide space for temporary Asian exhibitions. This five objects 1956 by Giorgio Morandi. The Morandi print is year we have been busy building the new Centenary Fund the second etching by this artist to be donated by Margaret Auditorium underneath the bookshop which is due to open in Olley following her 1999 gift of Still life 1933. The major November 2001. painting by Morandi, Still life 1957 was purchased in 1997 with the assistance of funds provided by the Margaret Hannah As always, my gratitute extends to all the staff and volunteers Olley Art Trust. On 30 May, 2001, at a special function, for their continuing effort and support. This year I would like these and other examples of Margaret Olley’s extraordinary to express a particular gratitude to Margaret McLenaghan generosity were recognised by the renaming of the 20th who will be retiring from the Art Gallery in September 2001. century European galleries on level 2, which is now called the Margaret started working in the Public Sector in 1978 and Margaret Olley Twentieth Century European Galleries. for the past 21 years has been my extremely efficient personal assistant. She will be greatly missed by us all and we wish her A new initiative, VisAsia was launched this year by the Hon. great happiness in her retirement. Paul Keating, with major support from the Ipoh Corporation and other corporate donors. The objective of the venture is to Finally, I would like to thank David Gonski and the other further the awareness and appreciation for Asian art and members of the Board of Trustees for their continuing culture, nationally and regionally. VisAsia seeks to establish a support and to express our gratitude to the generosity and network of special interest groups, regional galleries and effort of the Art Gallery Foundation and its board of Pierre Bonnard museum, educational institutions and corporations with a Trustees, The President’s Council, The Centenary Fund and Bust in profile, red background (study) c.1920 oil on canvas 46 x 52 cm specific interest in the Asian region. A website the Art Gallery Society and its Council. Purchased with funds provided by the Art Gallery of New South Wales Foundation www.visasia.com.au was established providing global access and the Margaret Hannah Olley Trust 2000 to the information on exhibitions, lecture courses and other activities from around the region. We have already commenced an education program through a series of lectures courses and in due course we hope to provide scholarships for research, sponsorship of exhibitions, publication of catalogues, brochures, videos etc. all of which are intended to promote the understanding and appreciation of Asian art and culture.

The launch of VisAsia is also a prelude to our building of a new Asian Gallery due to commence in early 2002, which

6 7 YEAR IN REVIEW

Some outstanding acquisitions this year have boosted the primary objective of the Art Gallery of New South Wales: developing the collections. New additions range from three important paintings by , two 1933 paintings by Ian Fairweather, Pierre Bonnard’s Buste de profil, fond rouge c.1920, to a rare Cambodian Khmer Ian Fairweather bronze figure of Hevajra with attendant deities. Chinese Mountain 1933 oil and gouache on cardboard 48.7 x 59 cm Purchased 2001

Gifts of art works and donations from individuals, as well as Such is Margaret Olley’s generosity that she is probably better money raised by the Art Gallery Society and the Art Gallery represented in the Art Gallery as a benefactor than an artist. Foundation, have assisted in expanding the collections. Purchase of a 1948 painting Still life in green goes some way Without this help, it would not have been possible to make towards amending that situation – and it is particularly acquisitions at this level. important in that her early paintings are rare because so many were destroyed in a fire at her mother’s house. The value of our art holdings increased this year by $7.78 million with 275 purchased and 671 gifted works being Seven watercolours by the Australian Impressionist John Peter accessioned into the permanent Collections. The value of the Russell, who live on Belle-Ile and painted with Monet, form a Collection has increased by more than $83.35 million in the varied group in approach and subject matter. They were past ten years. purchased from a private collection in , and were originally owned by the artist’s daughter.

COLLECTIONS Three artists books and 140 drawings for almost all the paintings made by James Gleeson since 1983 - the most AUSTRALIAN ART significant and consistent period of his work to date - have Three superb Sidney Nolan paintings make a significant been given by the artist. Adding to his work already held by addition to what is already a relatively strong holding of this the Art Gallery, they make the most important collection of artist’s work. They take another step to representing Nolan at Gleeson’s drawings in Australia. It includes more than 100 his very best, and add to the themes of his prolific output. early drawings given in 1993 by Frank O’Keefe and bound Colonial head and Fraser Island, both from 1947, and the this year into an album with funds from the Sir William nostalgic European landscape Boat 1959, were bought with Dobell Foundation through the Friends of Conservation. funds from the Art Gallery Society.

Rosemary Madigan, arguably Australia’s most significant Until two 1933 paintings of Chinese subjects by Ian figurative carver, has had her representation at the Art Gallery Fairweather came into the collection, this artist’s work was extended through the purchase of Mnemosyne 1976, with not well represented in that area. Chinese mountain and West funds from the David George Wilson Bequest. Lake, Hangchow were painted the year before Fairweather Ian Fairweather arrived in , where the artists he got to know West Lake, Hangchow 1933 Other highlights acquired in the past year include work by the oil and gouache on paper on canvas on cardboard 47.5 x 55 cm included Lina Bryans, in whose memory one of these works Gift of Edward Bryans 2001 South Australian artist Horace Trenerry, sculptor Rayner was donated. Hoff, Charles Blackman and Shay Docking.

8 Far right: Owen Yalandja Yawk Yawk 1999 natural pigments on Kurrajong 261.5 x 12.2 x 8.5 cm Mollie Gowing Aquisition Fund for Contemporary Aboriginal Art 2000 © Owen Yalandja

Right: Owen Yalandja Yawk Yawk 1999 natural pigments on Kurrajong 22.7 x 9.8 x 8.4 cm Mollie Gowing Aquisition Fund for Contemporary Aboriginal Art 2000 © Owen Yalandja

Left: John Mawurndjul Mardayin Ceremony 2000 natural pigments on eucalyptus bark 170 x 78cm Don Mitchell Bequest Fund 2000 © John Mawurndjul

Dragon ewer, mid 15th century Insignia badge for the wife of a 6th rank official, 1736-1795 porcelain, moulded with underglaze blue and white decoration embroidery, 23.6 x 23.6cm 22.3 x 17 x 7.8cm Gift of Judith Rutherford 2001 Purchased 2000

ABORIGINAL AND TORRES STRAIT ISLANDER ART The first painting by Ningura Naparula to join the collection, WESTERN/EUROPEAN ART WESTERN / AUSTRALIAN CONTEMPORARY ART Realisation of the exhibition Papunya Tula: Genesis and Untitled (Wirrulnga) 2000, is a tour de force depicting designs Pierre Bonnard’s Self portrait c. 1940, purchased by the Art Key acquisitions of Australian art included Simryn Gill’s Genius provided the opportunity to acquire significant recent associated with the rockhole site of Wirrulnga, east of the Gallery in 1972, was complemented this year by the Roadkill 2000, which is made up of small objects found paintings by artists who have painted for Papunya Tula Kiwirrkura community in the Northern Territory. It is the acquisition of a portrait of his wife Marthe, Buste de profil, squashed on the roads of various cities and fitted with tiny Artists over the past 30 years. The Mollie Gowing Acquisition second large painting done by one of the Pintupi women to fond rouge c. 1920. It is essentially a study in form and wheels. They are placed on the floor in a compelling Fund for Contemporary Aboriginal Art purchased a date. colour, and is already proving very popular with the public. configuration, all heading like lemmings in the same direction significant body of this work, including major paintings by towards an unspecified direction. Roadkill embodies the Turkey Tolson Tjupurrula, Timmy Payungka Tjapangati, George Tjungurrayi is one of the senior Papunya Tula artists Auguste Rodin’s Burghers of Calais were cast in a limited interweaving of humour and politics in her practice. Naata Nungarruyi, Walangkura Napanangka and Makinti and his painting Untitled 2000 is considered a definitive work edition of 12 by the Musee Rodin in 1972 from the original Napanangka. This Fund also bought two carved and painted in terms of its scale. Featuring designs associated with the modelling of 1885. Number five of this edition, plus several John Young’s Hermit painting #3 is a superb example of his figures of Yawk Yawks by Owen Yalandja from Maningrida travels of Tingari men and women across the country, it is other Rodin limited edition bronze casts have been given to recent work, combining painted copies of found images of in central Arnhem Land. typical of this artist whose bold linear compositions evoke the Art Gallery. nudes with a digital scan of a Chinese landscape painting. It sand hills and the marks made on them by the wind. encapsulates the dialectic in his practice between his Hong Paintings were acquired from Ikuntji (Haasts Bluff) artists WESTERN/INTERNATIONAL CONTEMPORARY ART Kong born Chinese background and experiences growing up Mitjili Naparrula, Long Tom Tjapanangka and Narputta ASIAN ART British artists Gilbert and George, who have performed their in Australia. Nangala, and an etching by Alice Nampitjinpa. Other A Khmer bronze Hevajra mandala of the Bayon period art at the Art Gallery, are now represented in a permanent acquisitions include a series of etchings by Walayirti artists (12th/13th Century) is a rare piece of outstanding quality. form by the 30-panel, ink transfer on paper Reaming 1982. Geoff Kleem’s 35º 09’ 53” S - 150º 34’ 35” E 2000 and 33º 36’ Lucy Yukenbarrie, Eubena Nampitjin and Helicopter Surrounded by six dancing dakinis and one erect figure Its purchase was funded by the Art Gallery Society. 52” S - 150º 16’ 05’ E are photographic with titles Tjungurrayi as well as two important paintings based on offering lotus buds, this Hegajra figure has 16 arms fanned derived from the global positioning system. Kleems’ work is Kimberley massacres from Jirrawun artists Dirrji (Rusty out like wings and eight heads arranged on three levels in the Stephen Willats, another British artist, pioneered the concept distinguished by its ambiguous conceptual nature and references Peters) and the late Kamaliny Palmentarri (Timmy Timms). order of three, four and one head on top. The acquisition was of making portraits of people and communities by assembling to American minimalism, and these works are significant significantly assisted by the Edward and Goldie Sternberg objects of significance to them and collecting their thoughts additions to the Art Gallery’s Collection of works in this style. A major painting, Mardayin ceremony 2000, by John Southeast Asian Art Purchase Fund. on their context. Pat Purdy and the glue sniffers camp 1981, Mawurndjul from Maningrida was purchased by the Don set in a West housing estate, is considered a seminal Mike Parr’s 26 Untitled self-portraits plus portraits of F & C Mitchell Bequest Fund, which also bought two paintings by Other highlights in Asian art acquisitions for the year include work in his development. 1981-1996 and 12 Untitled portraits of G 1998-1999 add Kutuwalumi Purawarrumpatu (Kitty Kantilla) from Melville a dragon ewer from Vietnam; a massive pottery horse from greatly to the Art Gallery’s breadth and depth of Parr’s Island. China, dating from the Han dynasty, 1st-2nd Century CE; a Two etchings by Lucian Freud enable the Art Gallery to drawing work and his self-portrait project. Parr later gave colour woodcut, Three lights 1998, by Hasegawa Yuichi; and represent this major British artist, whose paintings sell at such video and photographic work relating to his performances a Qing dynasty embroidery insignia badge for the wife of a high prices that they are out of reach. The etchings are Self from the early 1970s to now, making the Art Gallery the key 6th rank Chinese military official. portrait: Reflection 1996 and Head of an Irishman 1999. repository of his performance works.

10 11 Gilbert and George Reaming 1982 Sidney Nolan photo-piece: ink transfer on paper (30 panels) 302 x 302 cm Fraser Island 1947 László Moholy-Nagy Purchased with funds provided by the Art Synthetic polyer paint on hardboard 76 x 104 cm An outline of the universe 1930 Gallery Society of New South Wales 2000 Purchased with funds provided by the gelatin silver photograph, vintage 23.9 x 18.2 cm © Gilbert and George Art Gallery Society of New South Wales 2001 Purchased with funds provided by the © Lady Nolan Photography Collection Benefactors’ Program 2001

Ken Unsworth gave his 1976 Propped stone piece, Ignacy Witkiewicz - and a contemporary photograph by and further Australian acquisitions – all made this year with Adam Fuss from the series My Ghost 2000. funds raised by the Contemporary Collection Benefactors – included Department One: The Drawing Room 1993-94 by ARCHIVE Aleks Danko, Helga Groves’ Flood 1999 and Peter Callas’ The Art Gallery’s Archive was greatly enriched this year with Fish Market, Manaus 1999. the donation by the research library’s principal patron, Patrick Corrigan, of more than 400 original drawings and prints for PHOTOGRAPHY bookplates and Christmas cards by Australian artists Australian photographer Tracey Moffatt, now based in New including Margaret Preston, Lloyd Rees, Roy de Maistre and York, has been praised for the breakthrough in content and Francis Lymburner. technique with her Invocations 2000, a series of 13 photo silkscreens printed in an edition of 60 by Gene Licht. Two The Goethe Institute in Sydney donated 300 monographs and of these have been bought for the Art Gallery. 45 videos on German art and photography of the 19th and 20th Centuries. Baroness Brigitte von Wietersheim gave a fine Well 1986, a cibachrome photograph by Berlin-based collection of about 3,000 20th century monographs and other Australian Simone Mangos who is also known for her works on German, Dutch and Italian medieval and installations, makes a handsome addition to the collection. Renaissance artists. It was given by Alan Matthews. EXHIBITION A gelatin silver photograph by László Moholy-Nagy, An It was a strong and varied year for exhibitions at the Art outline of the universe 1930, reflects the utopian vision Gallery of New South Wales, with more than 1.26 million amongst the European avant garde of the era in which artists visitors attracted to over 40 temporary, touring and would create a “visual order expressive of a new world” permanent collection exhibitions staged in Sydney, regional where education for the masses would be guaranteed. New South Wales and interstate.

Purchase of this photograph was funded by the Photography Sidney Nolan While Sydney was overflowing with visitors for the 2000 Boat 1959 Collection Benefactors Program, as were two other vintage Olympic Games, the Art Gallery was showing two major Polyvinyl acetate on hardboard 122.5 x 154 cm European photographs – Portrait of Grit Kallin, Bauhaus exhibitions of Australian work: Aboriginal paintings from Purchased with funds provided by the Art Gallery Society of New South Wales 2001 Dessau 1928 by Irene Bayer and Fright 1931 by Stanislaw Papunya Tula and Australian Icons, comprising 19th and © Lady Nolan

12 Australian Galleries Nicholas Harding Head with gold leaf including Portrait of John Bell as King Lear 2001 Late Shang (c. 1200-11BCE) Australian Icons 4th August 2000 to 31st January 2001 © Nicholas Harding Bronze height 42.5cm, width 19.6 cm, weight 2550 g Winner 2001 Archibald prize Excavated from Sanxingdui Pit II Archibald, Wynne and Sulman Prizes 17th March to 15th May, 2001 Sanxingdui: Masks of Mystery 21st December, 2001 to 18th March, 2001

20th century works from the collection. There was also a photo- Between these two major projects, a rehanging in the Dorothy This year the Archibald Prize broke records. It set a new of Papunya, about 250 kilometres west of Alice Springs. They graphic exhibition spanning 125 years, My City of Sydney. Street Galleries of Twentieth Century Art for a year from attendance record with 98,000 visitors, and achieved a record showed why this extraordinary art movement has placed World Without End, the photographic tour de force, was the February 2001 has taken the opposite direction to the level of media coverage nationally on TV and radio, with Aboriginal art – some would say Australian art – firmly in the main event over the summer holiday period and Renoir to monographic basis of Australian Icons. Entitled Decades, it is front page news stories in major newspapers including The international arena. Picasso: Masterpieces from the Musee de l’Orangerie – opening structured on a chronological sequence of spaces containing Age and The Times, as well as international a month before the end of the year under review - was showing works executed within a decade – 1910-1920, 1920-1930 and attention in Asia and New Zealand. The 2001 Archibald The paintings in this exhibition were drawn from major public the promise of continuing to attract large audiences. so on through to 1970. In addition, for six weeks around the Prize was won by Nicholas Harding for his portrait of John collections – many from the Art Gallery’s own Collection – as month of May 2001, works from 1970-2000 were exhibited Bell as King Lear. The People’s Choice went to Paul Newton’s well as private collections in Australia, Canada, , AUSTRALIAN ART in the ground level project space, enabling the public to see a Roy and H.G. (John Doyle and Greig Pickhaver). Germany, Holland and the USA. The highlight of the year was Australian Icons: Twenty artists range of Australian artistic practice to the end of the millennium. from the Collection. It was timed to coincide with the Artexpress, the annual free exhibition of outstanding works It was presented in association with Papunya Tula Artists Pty Ltd, Olympic Games in Sydney and generously sponsored by ABN The Australian Collection Focus series of exhibitions created for the HSC was again extremely popular, attracting and after it closed an auction of more than 20 donated paintings AMRO Rothschild, whose support included conservation and sponsored by ABN AMRO Rothschild continued to give a more than 100,000 visitors, including 13,030 booked students. and four commissioned collaborative canvases were auctioned, restoration of these important works from the collection. high profile to works in the Art Gallery’s Collection. It raising $1 million for the Western Desert Dialysis Appeal. remains extremely popular – all brochures are sold out – and A series of exhibitions mounted at the Brett Whiteley Studio, Barry Pearce, Head Curator of Australian Art put together received wide and positive critical review. Highlights this year organised with help from Wendy Whiteley, included the Brett Title Deeds: Works from the Aboriginal and Torres Strait more than 300 paintings, sculptures and works on paper included Colin Lanceley’s The dry salvages 1964 and Gemini Whiteley Travelling Art Scholarship, Brett Whiteley Graphics Islander Collection was also on display during the Olympic presented a powerful panorama of Australian art. From Roberts 1964, John Glover’s Natives on the Ouse River, Van Dieman’s and Affinities: Brett Whiteley and Lloyd Rees. Arts Festival. It was followed by Ochre: bark paintings from the and Streeton, representing that inspiring moment of national Land 1838 and Russell Drysdale’s Sunday Evening 1941. Collection, and then an exhibition of recently acquired paintings. identity first achieved by the , this exhibition of ABORIGINAL AND TORRES STRAIT ISLANDER ART work by 20 artists went through to major figures of the late 20th The Archibald Prize remains the Art Gallery’s great annual Papunya Tula: Genesis and Genius was the first major ASIAN ART century such as John Olsen, Fred Williams and Brett Whiteley. crowd-pleaser, attracting a wide range of people not only to exhibition of Aboriginal art, curated by Hetti Perkins, Senior Sanxingdui: Masks of Mystery brought to Australia for the first see its finalist entries but also those of its companion events, Curator of Aboriginal Art, to trace the phenomena of the time a remarkable exhibition of bronze masks from the sacrificial This exciting and refreshing presentation of selected strengths the Wynne, Sulman and Dobell Drawing Prize. The Wynne Papunya Tula movement from the early 1970s to the present. pits of the ancient Shu kingdom in southwest China, dating of the collection was free and drew large crowds, resulting in and Sulman Prizes were sponsored by the Colonial Foundation The exhibition was part of the Art Gallery’s contribution to from the Bronze Age more than 3000 years ago. They were found its extension to the end of the calendar year and plans for a Charitable Trust. The Dobell Drawing Prize, which was the Sydney 2000 Olympic Arts Festival. accidentally in 1986 by workers digging for earth to make bricks. companion show. ABN AMRO Rothschild has generously judged by Margaret Olley, and was sponsored by the Sir agreed to sponsor a second exhibition in this series for early William Dobell Foundation. Some 150 paintings charted the development of the Western Buried with about 1000 objects in bronze, gold, jade and 2002 which will be entitled Parallel Visions. Desert art movement which originated in the small community pottery under a layer of elephant tusks and charred bones,

14 15 Above: ONCHI Kôshirô A face 1914 colour woodcut 14.7 x 11.1 cm Yasuko Myer Bequest Fund 2000 © ONCHI Kôshirô Hanga: Japanese Creative Prints 28th October, 2000 to 7th February, 2001

Right top: Lalit ragini c.1640 Central India Private collection Indian Paintings 6th April to 11th June, 2001

Opposite: Masterpieces of Victorian Art from John and Julie Schaeffer Collection including sculptures by Frederick, Lord Leighton 12th October, 2000 to 24th June, 2001 there were more than 100 bronze human and semi-human preparing Buddha: Radiant Awakening, which will run from images with large, dramatic eyes, strongly curled nostrils and 10 November 2001 to 24 February 2002. This is an tight-lipped mouths. Other characteristics were curiously long enormous undertaking by the Art Gallery, which is not only pupils bulging from their eyes and faces covered with gold leaf. bringing images of Buddha from many countries for a major and exclusive exhibition, but is also planning a wide range of Indian Painting curated by Haema Sivanesan, Assistant public program that, even before it opens, has generating Curator, Asian Art featured more than 80 works from the Art exceptional interest and involvement from local Buddhist Gallery’s growing collection of Indian art, as well as from community groups. The exhibition will be presented by VisAsia. private collections. Spanning four centuries to the present, this exhibition provided a survey of the diverse, aesthetically rich WESTERN/EUROPEAN ART tradition of painting in India, reflecting the wide range of Renoir to Picasso: Masterpieces from the Musee de influence that continues to shape it. l’Orangerie, Paris organised by Terence Maloon, Curator Exhibitions showcased 81 paintings by some of the greatest Heroes and Villains from Japan’s Floating World curated by names in modern French art, including Renoir, Cezanne, Chiaki Ajioka, Curator of Japanese Art presented characters Matisse, Monet, Modigliani, Derain, de Chirico, Utrillo, immortalised in Japanese literature, poetry and folklore in Soutine and Picasso. paintings, prints and objects. They ranged from 12th Century samurai to popular kabuki actors and sumo wrestlers of the They came from a legendary collection founded by the Edo period (1615-1867) when the hedonistic “floating world” Parisian art dealer Paul Guillaume over two decades from flourished. 1913 until his death in 1934 at 42. His widow, Domenica, bequeathed the collection to the Musee de l’Orangerie in Paris, Hanga: Japanese Creative Prints also curated by Chiaki Ajioka, where renovations enabled its three-State Australian tour. investigated the theme of Western inspiration in the arts of Japan, raising the notion of individuality in a culture known Masterpieces of Victorian Art from the John and Julie Schaeffer for its conformity. Five decades were represented by a panorama Collection marked the inauguration of the gallery which bears of prints, many of which came from the Art Gallery’s Collection. the names of these two generous benefactors. Together with the Art Gallery’s most famous works of the period, they made Much time during the year under review has been spent by up what was almost certainly the finest representation of Jackie Menizes, Head Curator of Asian art and her team, British Victorian painting to be seen in the world.

17 Background: Action Men 2000 Christopher Langton Rineke Dijkstra Psalm Scroll. Fragment from the Dead Seas Scroll Psalms and Hymns (chapters 101-105), courtesy Israel Antiquities Authority Foreground: Car nuggets; they’re good for you 1998 Patricia Piccinini Kolobrzeg, Poland, July 26 1992 1992 Dead Sea Scrolls Exhibition 14th July to 15th October 2000 Plastic Life: Patricia Piccinini and Christopher Langton type C photograph 153.0 x 129.0 16th July to 20th August 2000 courtesy the artist, Amsterdam World Without End: Photography and the 20th Century 1st December, 2000 to 25th February, 2001

Two major events scheduled for the next financial year – for curator, Victoria Lynn, as “an all-encompassing aesthetic SPECIAL OLYMPIC EXHIBITION output. Both are on the art of Australia and they reinforce the which preparations have been made over the year under experience”. An exhibition of those enigmatic manuscripts, the Dead Sea Art Gallery’s strong reputation as an art publisher. review – are Belle-Ile, curated by Ursula Prunster, Museum Scrolls, was presented for the first time in Australia by the Art Educator, which will present work by the Australian PHOTOGRAPHY Gallery of New South Wales with the Israel Antiquities Authority. Australian Art in the Art Gallery of New South Wales records Impressionist John Peter Russell in context with colleagues World Without End: Photography and the 20th Century, the many great artists represented in the Art Gallery’s Monet and Matisse, and Australasia’s first intensive exploration curatored by Judy Annear, Senior Curator of Photography, A selection of Dead Sea Scroll fragments was displayed within permanent collection. They range from John Glover of the of work by the celebrated European artist Anselm Kiefer. brought together some 200 works by 42 acclaimed Australian the context of archaeological fragments from the Khirbet colonial era to artists working today such as William and international artists, including Diane Arbus, Max Qumran site, including textile, stone, numismatic and leather Robinson, Colin Lanceley and Aida Tomescu. Through CONTEMPORARY ART Dupain, Frank Hurley, Man Ray, Tracey Moffatt and Alfred artefacts. The presentation of this material was designed to paintings, sculptures and works on paper, it offers a Phenomena: New Painting in Australia is the first of a series Stieglitz. In addition, more than 80 publications were exhibited illuminate significant issues about the study of these ancient panorama of non-indigenous Australian art in more than 300 of current painting in this country. It shows that the art of to reflect the broad influence of images in the 20th century on texts, and their relevance for Judaism and Christianity. pages with 200 colour plates, which are accompanied by painting is still important in the 21st Century despite the the perceptions and sensibilities of the modern world. extracts of contemporary letters and journals. diversions of technology and popular fashion. Fourteen artists ARCHIVE from around Australia explored the phenomena of the human This was the first major international photographic exhibition The research library and archive held four exhibitions during the Head Curator of Australian art, Barry Pearce, conceived and imagination in diverse styles. Andersen was the Primary to have been curated and organised from Australia. Among year. The first was devoted to the art of Arthur Murch, drawn compiled the volume. He also wrote the introduction and Sponsor and the exhibition will also be seen in the Potter the 40 institutional and private lenders to World Without End from his extensive collection of correspondence, notebooks, several of the 12 essays, all by Art Gallery staff, which reflect Gallery at the University of Melbourne. were the J. Paul Getty Museum, George Eastman House, the teaching diagrams and photographs in the Art Gallery’s Archive. the history and character of collecting in the Art Gallery of National Gallery in Washington, New York’s Metropolitan New South Wales – in turn echoing the life and times of the The contemporary projects series has seven or eight Museum of Art and the Museum of Modern Art. A seasonal exhibition was devoted to Christmas cards by nation over more than a century. exhibitions a year to profile the most innovative examples of Australian artists. An exhibition dedicated to the Sydney contemporary art practice with new works created by artists A wide range of public programs and a substantial catalogue Camera Circle showed the work of Sydney photographers Papunya Tula: Genesis and Genius records in book form the such as Aleks Danko, Patricia Piccinini and Christopher accompanied the exhibition. Its examination of the imaginative document from 1930 to 1940. The Art Gallery’s Collection of first major exhibition of Aboriginal art tracing the Papunya Langton, Stephen Birch, Nigel Helyer, David Sequeira and hold that photographs have on artist and audience made it a artists’ books provided material for the final exhibition, Tula movement from the early 1970s to the present. This full John Meade. It is unique in Australian State Galleries and critical success and a major event in the 2001 Sydney Festival. encouraged by art students’ requests about the book as a colour catalogue features more than 150 paintings – evidence of the Art Gallery’s commitment to fostering a medium for art. reproductions of all works in the exhibition – and 11 essays, critical contemporary culture. My City of Sydney, on show during the Sydney Olympic including an interview with artist Turkey Tolson Tjupurrula Games, introduced viewers to the harbour city through PUBLICATIONS and accounts by people associated with the Papunya Tula Being prepared for opening early in the new financial year is photographs taken over a century, the earliest from as long Two major publications were produced this year by the Art movement over the years. It is distributed in the UK and Space Odysseys: Sensation and Immersion described by its ago as 1875. Gallery of New South Wales in addition to its customary Europe, as well as Australia, by Thames and Hudson.

18 19 Chinese Dance School of Sydney, Launch of Fundays at the Gallery featuring Monica Trapaga, April 2001. A free programme to explore art through drama, storytelling, music, mine and workshops. Sanxingdui: Masks of Mystery Performance December 2000

Hanga: Japanese Creative Prints embraces five decades of Brett Whiteley Graphics 1961-1992 by Hendrik Kolenberg exhibition, a mutually beneficial professional relationship was temporary exhibitions, and for marketing and educational Japanese creativity, with many examples from the Art and Affinities: Brett Whiteley and Lloyd Rees by Lou Klepac forged with ABC TV and Radio National. The Art Gallery’s purposes. The videos also provide important documentation Gallery’s Collection and new research by the Curator of were also published by the Art Gallery in 2001. audience reach was significantly extended through live web- of lectures, performances, art installations, special events and Japanese art, Chiaki Ajioka. casting of specific programmes, and through ABC marketing artists’ profiles. Art Gallery videos were seen in regional NSW Publishing plans for next year include a book on the Art and publicity. Broadcaster Dr Rachael Kohn introduced and galleries accompanying touring exhibitions and in NSW Although Fragrant Space: Chinese Flower and Bird Painting Gallery’s Contemporary art collection, 1968-2002, and an chaired these events, including an international symposium schools. They included the 2001 Archibald Prize exhibition, a from the Guangdong Provincial Museum exhibition finished Asian art handbook. and a series of dialogue seminars. Another initiative for this symposium video for World Without End, the Papunya Tula at the close of the last financial year, its exhibition catalogue exhibition was the Ecumenical Blessing, a unique event of introductory video and the documentary of the sand-painting by Art Gallery Curator Liu Yang, with bi-lingual entries, All these publications are produced substantially in-house, spiritual and cultural significance. It was necessary to repeat at the Art Gallery, the Colin Lanceley Focus Exhibition and continues to be distributed by Thames and Hudson in Europe, with design by the Graphics Department. many events due to audience demand. Phenomena: New Painting in Australia. the UK and Australia. AUDIENCES During the Papunya Tula exhibition, an international symposium The profile of film at the Art Gallery has been significantly World Without End: Photography and the 20th Century, the The Art Gallery’s Public Programmes department is seen as a brought together key figures associated with Papunya Tula raised with curated film programmes covering a diverse range first major international photographic exhibition to be trend-setter amongst Australian art museums for developing and Western Desert art: Geoffrey Barden, art teacher at of cinema classics, documentaries, experimental films, animation curated and organised from Australia, was the source of a existing and new audiences in this specialised field through Papunya 1971-72, Professor Fred Miles, Profession and Chair and shorts. They are screened with major temporary substantial catalogue by the Art Gallery’s Curator Judy Annear. relevant, stimulating, imaginative and wide-ranging Programmes. of Anthropology at New York University, Professor Marcia exhibitions and have attracted a new, committed following. In the year under review, overall participation rates at events Langton, Chair of Australian Indigenous Studies, University Pre-Raphaelites and Olympians brought together fascinating and programmes were above 200,000, including 83,617 of Melbourne, Dr Vivien Johnson, author and academic, and A new education kit for the Australian collection, Aspects of examples of Victorian art from the John and Julie Schaeffer booked students. This means that about one in five visitors to John Kean producer Australian Studies, Museum of Victoria. Australian Art includes 16 colour reproductions of key works collection, which are displayed at the Art Gallery alongside the Art Gallery participated in an education or public accompanied by informative text and student activities for paintings from our own Collection and that of the National programme. Student visitation to major temporary exhibitions Fundays at the Gallery was launched with a five-year years K-12 school groups. Wide-ranging exhibition programmes Gallery of Victoria. over the year remained high at 29,862. The most popular was sponsorship from The Sunday Telegraph to continue were developed for Australian Icons, Papunya Tula, Hanga: the Archibald, Wynne and Sulman Prizes exhibition at development of the Art Gallery’s children and family Japanese Prints, World Without End, Masks of Mystery, the Smaller publications include three in the Australian Collection 12,221, but in the first four weeks only of Renoir to Picasso, programmes. They include Sunday Afternoon for Families and Archibald, Wynne and Sulman Prizes, Denise Green and Focus Series. They are Colin Lanceley: The Dry Salvages 1963- 5,534 student visits were recorded. free kids activity booklets for the permanent collections, with Renoir to Picasso. Education kits were produced for the six 64 and Gemini 1964, written by the artist, Barry Pearce and the first released this year: The Great Australian Art Hunt. major events and hosted on the Art Gallery’s website. Deborah Edwards; John Glover: Natives on the Ouse River; and Some of the most successful and innovative programmes Russell Drysdale: Sunday evening 1941 during the last 12 months occurred in conjunction with the The Audio-Visual department has developed a new capacity Free performances were given of two theatrical pieces produced Olympic Arts Festival. At the time of the Dead Sea Scrolls to produce professional standard videos for use with to complement the Australian collection - By Jingo and Hester

20 21 – and dance performances with replicas of ancient Chinese Seven portraits by Tom Roberts were lent to the Inverell Art bells to go with the Sanxingdui: Masks of Mystery exhibition. Gallery, highlighting the diversity of his interests in subjects across Australian society and illuminating his distinguished As the Art Gallery’s regular formal education courses are achievement in portraiture. Festival organisers declared the conducted on a calendar year basis during the 2000/01 paintings to be integral to the success of the festival, which reporting period there were two part years of different Art will continue its impact through a video made of Art Gallery Appreciation courses held including the diploma lecture series curator Barry Pearce’s lecture which will be shown in local organised in conjunction with the Art Gallery Society; two schools and neighbouring Galleries. diploma Contemporary art courses – Conversations with Contemporary Artists, 2000 and Making Connections: Inverell Art Society secretary Beth Farrell wrote to Art Gallery Contemporary Art + Everything Else, 2001 and a further two Director, Edmund Capon,: “Your undertaking of this loan to Asian art diploma courses Fifteenth to Twentieth Century 2000 our Gallery has confirmed your commitment to establishing and The Arts of Buddhism 2001. In addition, during this ‘regional partnerships’ and we look forward to strengthening reporting period there was a once-off Australian art lecture this partnership in the future.” series held relating to the Australia Icons Collection presentation. More than 50 drawings from the Art Gallery and three from DIGITISATION the Brett Whiteley Studio were supplied on loan to Sydney’s New equipment for capturing and delivering first class images newest Regional Gallery, Hazelhurst, which directed its for all kinds of applications has been installed in space set exhibition towards senior secondary students in the aside in the sub basement. More than 8,000 images a year can Sutherland Shire area to give them the opportunity to study be processed in this facility. diverse approaches to figure drawing.

The new equipment enables the Art Gallery to scan from The George Lambert exhibition, reflecting the regard in which transparencies and deliver images electronically or to produce he was held for championing Australian art at the time of slides, large format transparencies or top quality colour prints Federation, began at the Regional Gallery in May in house at a fraction of the cost of laboratory processing – 2001, and will tour for more than a year to Galleries in for instance 50 cents for a 35 mm slide from digital format Armidale, Gosford, Albury, Bendigo and Gymea. compared with $27 charged commercially. The prime application of digitisation is to replace the film archive of the The 2000 Archibald Prize touring exhibition opened in George W. Lambert Holiday in Essex 1910 Art Gallery collection with a permanent digital record. This not Dubbo Regional Gallery in July 2001 ahead of Tweed Heads, oil on canvas 183.8 x 230.6 cm Purchased with the assistance from the Art Gallery Society of New South Wales and the Marshall Bequest Fund 1981 only has a longer life than film, it can be exported to the website Lismore then travelled on to Melbourne. Frame conservation work by David Bulter, funded by ABN AMRO Rothschild Australian art and exhibition sponsors for access by the public. Audio-visual Services have moved in Australian Icons 4th August, 2000 to 31st January, 2001 with Photography Studio Department as a step towards the Further a field, Fire’s on 1891 by was lent to creation of a media unit that can share digital resources. the Victoria and Albert Museum in London for the exhibition Inventing New Britain: The Victorian Vision. The painting SUPPORT PRINCIPAL SPONSORS In April 2001, responsibility for the website was given to the was sought for its heroic scale and achievement in capturing The Art Gallery of New South Wales enjoys a wide range of ABN AMRO Rothschild’s substantial support for Australian Public Programme department under the newly created the light, heat and colour of Australia; its subject showing the strategic partnerships with the corporate sector through its art at the Art Gallery culminated in the landmark exhibition position Manager of Information. Improvements by the end impact of Victorian technology so far from Britain; and for extensive sponsorship programme. In the past year, a total of Australian Icons, which was part of the 2000 Sydney of June included more easily accessible listing for all events, Streeton’s command of a modern subject. $729,000 in cash and in-kind support of $926,000 were Olympics Arts Festival. The Australian also provided and the addition of a mailing list and bulk email facility for secured. This was an increase from the previous year of 27.3% invaluable support as media sponsor for the exhibition. alerting interested people to new developments. The entire Back on home ground, Australian artworks were lent to the for cash contributions and 87.1% for in-kind contributions. Westfield was principal sponsor of the Dead Sea Scrolls research library catalogue is on-line – allowing remote access National Gallery of Australia for Federation: One Hundred It is the Art Gallery’s objective to develop long-term, mutually exhibition, which was in the programme for the 2000 Sydney by the public and Art Gallery staff - and almost the entire Years of Australian Art, scheduled for an interstate tour after beneficial partnerships with major corporations across all its Olympic Arts Festival. Collection database, with images available for some works its Canberra showing. The exhibition’s aim was to investigate activities. This is achieved through the establishment and continued its support of Aboriginal and Torres Strait and more to come as the digitisation project proceeds. the way political, social and religious issues have been maintenance of flexible and dynamic relationships between Islander art as principal sponsor of Papunya Tula: Genesis portrayed in the nation’s art over the 20th century. the Gallery and each sponsor. These relationships ensure that and Genius, also part of the 2000 Sydney Olympic Arts The Art Gallery’s website achieved number one ranking for each company’s objectives are met in full. Festival. Australian art-related sites, according to Hitwise Australia. In Two paintings by Fred Williams were lent to the New The Sydney Morning Herald was principal sponsor of World the last week of June 2001, the Art Gallery’s share of hits was England Regional Art Museum for its exhibition of Australian Support for the Art Gallery can be provided as a cash Without End: Photography and the 20th Century, presented 12.73%. Plans for next year include E-commerce on the website landscape to celebrate the Centenary of Federation. Works contribution or in kind, or as a combination of both, and is as an event in the 2001 Sydney Festival. – purchasing merchandise and booking for events on-line – as were also lent to Wollongong City Gallery and approved for directed largely towards the Art Gallery’s programme of The Sunday Telegraph became Principal Sponsor of the five- well as enhancing the site with video and audio content, and exhibitions in the next financial year at the new Coffs temporary exhibitions. These exhibitions provide high public year programme, Fundays at the Gallery – a year-long creating a network with other art museum and art-related sites. Harbour Regional Art Gallery, Global Arts Link, Ipswich, and and media exposure, branding and awareness opportunities, programme of free performances, workshop and activities the Phillips Collection, Washington DC, which wants Pierre as well as client entertainment in a unique setting. especially for families and younger children. REGIONAL CONTACT Bonnard’s Self portrait c1940 for a proposed exhibition of his Andersen were Principal Sponsor of the first of three annual Many works were lent to other institutions for exhibitions work to help “provide a powerful glimpse into the The Art Gallery gratefully acknowledges the continuing exhibitions, New Painting in Australia. around Australia, with particular assistance given this year to complexities of the artist at the end of an important decade in support of its Corporate Partners, who provide valuable links The Colonial Foundation Charitable Trust was principal Inverell Art Gallery for its Tom Roberts Festival, to his career”. between the Art Gallery and the business sector. We also financial supporter for the 2001 Archibald, Wynne and Hazelhurst Regional Art Gallery for its Bodyline exhibition – welcome several new corporate partners, including Tower, Sulman Prizes. based entirely on Australian figure drawings from the Art In support of regional contact, the Art Gallery library has The Sydney Morning Herald, Westfield, The Australian, the Merrill Lynch HSBC was the NSW Sponsor for Renoir to Gallery’s Collection – and to Dubbo Regional Gallery for an included all Regional Galleries in its exchange programme. Bass Hotel Group, Merrill Lynch HSBC and The Sunday Picasso: Masterpieces from the Musee de l’Orangerie, Paris. exhibition on the work of George Lambert mounted in They receive all Art Gallery publications free of charge. Telegraph. We look forward to a continuing relationship with Tower sponsored Sanxingdui: Masks of Mystery, also part of conjunction with celebrations for the Centenary of Federation. these major companies. the 2001 Sydney Festival.

22 23 The last in the annual Guinness Contemporary Art project series, Membership is by invitation only to the Chairman, CEO or enabling it to help purchase Pierre Bonnard’s Buste de profil, The Conservation Department will gain space in the long run, Fun Five Fun Story, presented the work of five artists from Africa. Senior Executives of major companies. This year, there were fond rouge c.1920. but for nine months next year the Department’s activities will three new members: Justin Miller, Chairman of Sotheby’s be curtailed in temporary office accommodation without a The following companies provided invaluable support in cash Australia, Robin Dixon, Managing Director of Getronics COMMERCIAL studio causing a reuction in loans and limited conservation and kind throughout the year as supporting sponsors: (Australia) Pty Limited, and Scott Walters, CEO of Merrill work on the collection. VENUE HIRE JCDecaux, Hotel Inter-Continental Sydney, Bass Hotel Group, Lynch HSBC – please see appendices for a full membership The Venue Hire Department, which is responsible for the CODY Outdoor, The Mode Group, The Seven Network, listing. This project involves issues of building in an operating management of the retail food outlets, Art Gallery functions Bloomberg, Squiz.net, McWilliams Wines, Lion Nathan, environment, a constrained site establishment space, a high and corporate functions, achieved a record revenue level Avant Card. ART GALLERY SOCIETY profile public building and complex Art Gallery exhibition during the year with income at $793,000 (up from $672,000 The Art Gallery Society remains the largest body of arts programming requirements. Everything will be kept open as in the previous year). VISASIA supporters in the country, and by the end of the financial year much as possible, however as building construction will be VisAsia, the Institute of Asian Culture and Visual Arts, was its membership had begun to grow again, with visitors to done in business hours it will be noisy with some areas facing This 29% increase in net revenue from the previous year was the formally launched and its Business Council established in Renoir to Picasso joining up in the hundreds, taking the total reduced natural lighting. result of a targeted marketing strategy and a strong exhibition May 2001. VisAsia’s aims are “to further the study, membership to more than 31,000 people. schedule. The Dead Sea Scrolls, Archibald, Wynne and Sulman promotion and appreciation of Asian visual arts and culture”. AUDITORIUM Prizes and Renoir to Picasso exhibitions all provided higher The Society provided funds for some major acquisitions Work has been undertaken on the new 100-seat auditorium than usual utilisation of the retail food outlets and appealed At the launch by former Prime Minister Paul Keating, Art during 2000/2001: Gilbert and George’s Reaming 1982, and which is the Centenary Fund’s first project. It is located to corporate clients for functions. Many new corporate clients Gallery Director Edmund Capon said the creation of VisAsia three important works by Sidney Nolan – Fraser Island 1947, alongside the main temporary exhibition gallery, directly were secured, adding to those who return to host events year “recognises the crusial role which our understanding of Asian Colonial head 1947 and Boat 1959. below the new Gallery Shop. It is due to open early in the after year in the Art Gallery’s unique and stylish environment. culture will play in the development of Asian-Australian new financial year, providing the Art Gallery with a well- relations in the 21st century”. The Society’s two volunteer bodies contributed substantially equipped venue to carry out its role in offering a forum for Highlights of the year included two Deutsche Bank Olympic to the work of the Gallery. The Volunteer Guides conducted discussion and education. dinner functions and the launch of VisAsia. The VisAsia Business Council was established to support the 29,000 adults (including many overseas visitors) and 12,500 objectives of the Institute and to provide companies with children during the year, and the Task Force provided almost MARGARET OLLEY A sales and marketing plan will be developed to promote the access to business and cultural links in the region. Please see 15,000 hours of voluntary labour on entry desks at The Margaret Olley Twentieth Century European Galleries Art Gallery’s new restaurant and refurbished café, due to appendices for full membership listing. exhibitions and functions. The estimated saving to the Gallery were named in May 2001 by Art Gallery director Edmund open in 2003. was some $1.12 million. For its support to the exhibition Capon in honour of this artist’s generosity as a benefactor. Sculpture by the Sea in October, the Task Force has been There are now 93 works that owe their place in the Art GALLERY SHOP nominated for a National Year of the Volunteer award. Gallery’s permanent Collection due to her generosity. The Gallery Shop turnover was maintained at last year’s record levels, despite GST implementation – which had an GALLERY ACCESS adverse impact on most retail establishments in the early part Fresh schemes have been submitted to the relevant of the year - shop relocation and modest attendances during stakeholders to improve pedestrian access to the Domain car the Olympic period. park. Key publications this year included Australian Art in the Art Gallery of New South Wales and Papunya Tula: Genesis and Genius. They added to the Art Gallery’s reputation as a major art publisher, with distribution of its publications national and internationally.

During the year, the Gallery Shop commissioned reprints of AGNSW publications Let’s Face It (revised second edition), Orientalism (1,500 copies for the UK market) and Retrospective (17,000 copies sold) to supply local and international demand. Jackie Menizes, Art Gallery Head Curator of Asian Art, Christina Chu, Chief In May, 2001 Director Edmund Capon helped celebrate International Year of the Curator Hong Kong Museum of Art, John Yu, Art Gallery Trustee and Chairperson Volunteer with many of the Society’s Volunteer Guides thanking them for their of VisAsia at May 2001 launch of VisAsia valuable contribution to the Art Gallery. BUILDING ASIAN ART GALLERY AND ASSOCIATED WORKS CENTENARY FUND Despite interruptions to the programme resulting from the The project of building a new Asian gallery has recommenced The Centenary Fund is limited to 100 patrons who have been Sydney Olympic Games, a surplus of $813,222 was achieved after a break since October 1998 while funding was secured. Construction underway for the new Centenary Fund Auditorium due for completion in November, 2001. invited to contribute $100,000 over a specified period of time. on activities during the year 2000. The Society enhanced its The budget is now $1 million, design plans have been It was launched on 24 February 2000 and its first project – a programme of events by establishing a concert series titled approved and construction is due to commence in early 2002. new auditorium which is critical to the Art Gallery’s role as a Resonate, and marked the Centenary of Federation by The architect is Richard Johnson from Johnson Pilton Walker. forum for discussion and education – is due to be completed devoting its diploma lecture series for 2001 to Australian art. in November, 2001. So far, 27 patrons have pledge their The new Asian gallery will be built directly above the present support – please see appendices for full membership listing. ART GALLERY FOUNDATION one, with a linking stairway. The upper level temporary The principal objective of the Art Gallery Foundation is to exhibition space will increase to 550 square metres with the THE PRESIDENT’S COUNCIL raise funds for investment and apply the derived income to relocation of the conservation studio and resturant. The café The President’s Council, established in 1995, builds business purchase works of art for the Art Gallery’s permanent will be renovated and extended, with its present outdoor area networks and financial support for the Art Gallery’s Collection. This year the Foundation’s capital increased to brought indoors and replaced with a new outdoor section. exhibitions and publications programme, with its members $13.4 million (compared with $12.5 m in 1999/2000 and The restaurant will reappear in an exciting new site on the giving high-level business advice. $12.2 m in 1998/99), generating more than $1 million and top level with a large function room.

24 25 STRATEGIES TARGETS PERFORMANCE OUTCOMES

Review and revise Collection Collection registration database was reviewed and updated to information prior to database allow over 90% of defined fields of information on works of integration with website. art held within our Collection to be released for website integration.

Focus conservation priorities • ABN AMRO Rothschild sponsorship of the Australian art on permanent Collection to Collection Exhibition Australian Icons, enabled frame AIM, OBJECTIVES AND PERFORMANCE INDICATORS meet in-house developed conservation including the magnificent hand carved/glided exhibition programme needs. frame for George Lambert’s Holiday in Essex. CHARTER OBJECTIVES • Conservation benefactors also sponsored conservation of The primary purpose of the Art Gallery, as defined by the Art Strategies have been developed in the corporate plan 1999- Lambert’s The White Glove. Gallery of New South Wales Act 1980, is to develop and 2005 to meet the following objectives: • Art Gallery Society continued to sponsor the conservation of maintain a Collection of works of art, and to propagate and • Enhance and conserve the State’s art collection and heritage the Aboriginal bark painting Collection. increase knowledge and appreciation of art. building. • The Art Gallery commissioned a review on the conservation • Operate a varied, exciting and active exhibition programme of the contemporary Aboriginal paintings on canvas. VISION to encourage visitors and expand appreciation of art. To be the great Australian arts museum reflecting our heritage • Provide educational and research programmes and services to Provide professional • Presented an intensive conservation workshop at Te Papa and vitality, and to be recognised nationally and internationally an ever-broadening public. development, through external Museum in Wellington, NZ. for our Collection, services and commitment. • Inspire and explore artistic attitude and aspiration. or in-house workshops and • A German and a French university student worked • Operate the Art Gallery in an efficient and effective manner internships, to representatives Conservation Department internships. MISSION that encourages an increasing level of public visitation. from other arts institutions. • Assisted the Inverell Art Gallery with their Tom Roberts To achieve the purpose stated in the charter, the Art Gallery • Ensure effective funding sources for the Art Gallery to Festival exhibition. has set itself the following goals: support its acquisition program and expansion of services. • Assisted Hazelhurst Regional Art Gallery with their Bodyline • To acquire, collect and present to the public the finest exhibition, based entirely on Australian figure drawings from works of art available, with a special emphasis on the Measures of achievement towards these objectives are set out our Collection. artistic traditions of Australia. in a chart of key performance indicators following the review • Assisted Dubbo Regional Gallery with an exhibition of George Lambert works – a Centenary of Federation event • To explore and inspire through our collection and exhibitions, of activities in the year to 30 June 2000. • Australian Art Department’s internship continued with the emotional and intellectual resources of our audiences. students from College of Fine Arts, Sydney; University of • To create a sense of belonging and provide our visitors with Western Sydney; and . an enjoyable and enduring experience.

KEY PERFORMANCE INDICATORS – 2000/2001 1.3. Maintain and refurbish the Design and build a new 100 Construction of the Centenary Fund Auditorium commenced in building in keeping with seat auditorium providing May to be completed by November 2001 – totally funded by STRATEGIES TARGETS PERFORMANCE OUTCOMES its heritage value and as a enhanced public facilities for the private sector. public venue access to Art Gallery’s Objective 1 Enhance and preserve the states art collection and heritage building. education programmes / activities. 1.1 Increase acquisitions of art Increase Collection value by Over $7.8 million of artworks were acquired / gifted this year, works 1% an increase of 1%; Total value of the Collection increased by Finalise building extension NSW Government Capital works funding of $15 million over $63 million to $588 million due to acquisition and plans to expanded exhibition approved. Design plans approved and expression of interest appreciation in value of artworks. display area by 10%. sought for construction tender. However, the construction has been delayed due to Olympic period - work now scheduled to Develop a major acquisition The acquisition fund amounted to over $300,000, as at 30th start following completion of the auditorium with the building fund for the year 2005 June, 2001. extension targeted to be completed within 2 years.

Enhance the quality of our • Acquired Pierre Bonnard’s Buste de profil, fond rouge c 1920. Implement second year of the Maintenance work completed on time and on budget for items Collection with a major work • Acquired a Cambodian Khmer (12th-13th century) bronze five year Total Asset such as lifts, escalators, compactus storage, electrical upgrade figure of Hevajra. Maintenance (TAM) plan. of plant room, parquet flooring in Asian Gallery, lighting upgrade to display courts 6 and 7; safe and accessible building 1.2 Maintain high standards Focus acquisitions of works on The acquisition of 3 major Sidney Nolan works has ensured conditions maintained for both the protection of the Collection of curatorial work and Collection priority areas this prominent Australian artist is represented at his best in his and visitors. conservation to achieve a various focus series. ‘centre of excellence’ Upgraded storage facilities Transferred off-site storage to a location with superior security standard. Publish a Collection book. Australian Art in the Art Gallery of New South Wales and environmental storage conditions; new lease ensures long published – major book with 320 pages, with 200 colour images. term safe housing of equipment and archival records materials

Curatorial staff to publish 6 books specifically on the Art Gallery’s Collection published Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art. information about the since 1994 featuring major essays by curators. Refer Collection. information see Publication listing appendix. 2.1 Exhibit and feature the Profile Australian artist from • Artists highlighted in focus series included Colin Lanceley, Increase staff skills levels – • Peter Raissis, Art Gallery Curator, undertook a 3 month permanent Collection in as the permanent Collection via John Glover and Russell Drysdale – all free entry exhibitions. training courses, seminars, internship at Musee du Louvre, Paris. attractive a manner as possible; ‘focus series’ exhibition • In addition, this year the Australian Icons exhibition conference. • Edmund Capon, Director awarded a Doctor of Letters Provide Temporary programme. highlighted 20 major Australian artists from our Collection – honoris causa from University of New South Wales and the Exhibitions. also free entry. Chevalier of arts and letters from the French Government.

26 27 STRATEGIES TARGETS PERFORMANCE OUTCOMES STRATEGIES TARGETS PERFORMANCE OUTCOMES

Major temporary exhibition Provided our visitors with an educational and personally Lend works from our • 160 works lent to other Australian galleries included 105 to programme to include Dead enriching opportunity to view, in many cases for the first time Collection to all requesting various NSW Museum and Galleries Association institutions Sea Scrolls; World Without in Australia, major art works with some items entrusted on institutions. ensuring increased public access to the Art Gallery’s Collection. End; Renoir to Picasso. loan exclusively to the Art Gallery of New South Wales. • 4 major works lent internationally, including Australian artist Balance free vs paid exhibition • Paid entry imposed on only 6 of 38 exhibitions at the Art Arthur Streeton’s Fire’s On to the Victoria & Albert entry to ensure equitable access Gallery. Museum, London, enhancing the exhibitions presented by to art for all visitors by • Ticketed exhibition programme supported cost of all these countries. neutralising the impact of the exhibitions. GST and competition on Toured exhibitions to Regional • Ensured our Collection was accessible to Regional NSW and pricing. NSW and other Australian the general public in other Australian states; including 56 locations. works from our Collection lent to Hazelhurst Regional 2.2 Foster our visitors to Target for new Art Gallery The Art Gallery Society attracted 2,543 new members during Gallery and Arts Centre for their Bodyline exhibition. encourage loyalty and Society memberships achieved. the year keeping the total membership the highest membership • Visitor numbers from touring exhibitions totalled 362,880 longer-term commitments. level for arts associations within Australia. across Australia.

Capture an increased youth Introduced a successful programme of non-exclusive art Objective 3 Provide educational and research programmes and services to an ever-broadening public. audience. activities such as free Sunday lunchtime concerts performed by Students of the Australian Institute of Music. 3.1 Conduct public Continue to develop and • Presentation of academic lecture series including Art History programmes to further present comprehensive and Appreciation, Contemporary Art and Asian Art courses Expand tourism packages / • Special accommodation / exhibition tickets deals run in enjoyment, appreciation and educational lecture series. met public demand for quality art eduction. opportunities available to conjunction with Sanxingdui Masks of Mystery, World understanding of art. • Approximately 1 in 5 visitors to the Art Gallery participate visitors. Without End: Photography and the 20th century and 2001 in an education or public programme. Archibald Prize exhibitions. • Close to 4,000 joint entry tickets sold to the Art Gallery’s 3.2 Encourage young people to Develop education kits for Education Kits were produced for The Dead Sea Scrolls; World Without End and Full Moon exhibition held at the appreciate, enjoy and students based on major Australian Icons; Papunya Tula; World Without End and the Museum of Contemporary Art, Sydney. understand art through exhibitions.. Archibald, Wynne and Sulman exhibitions. • Family tickets available for all paying exhibitions held at the stimulating education Art Gallery. programmes. Develop and present education • Education Co-ordinators presented K-6 Student programmes: 2.3 Raise awareness of the Art Use the Art Gallery’s website to • Developed the website functionality to include a register of programmes specifically for Art Adventures; Aboriginal Art Programmes; Asian Art Gallery and its exhibitions increase public awareness of interested online users to receive, approximately every two young people / students. Programmes; 7-12 Students programmes Discussion Tours; so that the public is keen our activities. weeks, an emailed electronic newsletter ‘Artmail’. Workshop Tours; Studio Sessions; Study Mornings; Study to attend and be • Website visited increased to over 1,000 visitors per day; Days; Aboriginal Art Programmes and Asian Art associated with the Art consistently ranking our site as #1 arts website within Programmes. Gallery Australia. • Public Programmes had 83,617 booked students. • For the 2nd year, awarded a Brett Whiteley Travelling Arts Increase visitor attendance by Record number of visitors attended the 2001 Archibald Prize Scholarship valued at $25,000 plus a three month residency in obtained extensive media exhibition and over 57,146 attended the first month of the the Art Gallery’s Paris studio, to an artist under 30 years. coverage for major exhibitions Renoir to Picasso exhibition (June 2001) – this exhibition including Archibald Prize and continued into July, 2001 and attracted in total of 138,154 visitors. 3.3 Disseminate information Expand website functionality Website search functionality allows users direct online access to Renoir to Picasso. on art and contribute to to allow online database database information about art works held within our scholarship. interrogation. collection and all art publications held with our specialist art 2.4 Expand the Art Gallery Secure recognition of the Art • Hon. Paul Keating, on behalf of the Art Gallery, officially research library. profile by establishing a Gallery’s expertise with regard launched VisAsia in May 2001. ‘centre of excellence’ in to Asian art. • Official VisAsia website launched.– www.visasia.com.au Reprint major AGNSW Gallery shop commissioned reprints of Let’s Face It (revised Asian arts and maintaining publications. second edition); Orientalism (for UK markets) and Jeffrey Australian cultural focus Continue education Fifteen to Twentieth Century Asian art lunch-time lecture series Smart (over 17,000 copies sold) to supply local and programme under VisAsia. held between February – November 2000. international market demands.

Present Indian Painting, • 3 of the 4 exhibitions had free entry to visitors. Objective 2 Operate a varied, exciting and active exhibition programme to encourage visitors and expand their appreciation of art. Hanga: Japanese Prints, • Enhanced presentation of exhibition by lecture series lead to Objective 3 Provide educational and research programmes and services to an ever-broadening public. Sanxingdui: Masks of Mystery a greater audience understanding of cultural significance of and Heroes and Villains from these works and / or events leading up to their creation. 4. Inspire and explore artistic Continue encouragement and A total over $119,200 from art prizes and scholarships the Floating World exhibitions attitude and aspiration. financial support for Australian awarded to artists supporting their efforts to continue to create which featured Asian arts and artists. new works and participate in the arts community. cultures. Present ‘Level 2 Project’ By providing display space in Australia’s most respected arts 2.5 Lend / Borrow works of Borrowed significant art works • Over 250 works borrowed from over 40 institutions and contemporary art exhibition institution this specially developed exhibition programme art to / from other from international museums private lenders enable the presentation of world class programme. brings vital exposure for emerging contemporary artists to a galleries to make a wide for World Without End and temporary exhibitions to the public. broad audience. range of art accessible to Renoir to Picasso exhibitions. • Relationships developed with other international museums the public. and individuals to the point of being able to obtain exclusive art loans never before released to the care and control of an Australian museum.

28 29 STRATEGIES TARGETS PERFORMANCE OUTCOMES STRATEGIES TARGETS PERFORMANCE OUTCOMES

Objective 5 Operate the Gallery in an efficient and effective manner that encourages an increasing level of public visitation. Review issues of permanency Employee turnover of permanent staff remained low. for employees 5.1 Manage the Art Gallery Continuous access for the Opened to the public 363 days this year without disruptions to operations effectively. public without industrial action services in spite of building construction for auditorium being Objective 6 Ensure effective funding sources for the Gallery to support its acquisition programme and expansion of services. or services disruptions. underway.

Extend opening hours for Taking advantage of daylight savings, opening hours were 6.1 Effective use of Manage operations within Continued successful operations and service level outputs exhibition programme as extended to 8pm for the five Wednesday’s in January 2001 Government funding and Government allocations within budgetary constraints. required to meet public demand. allowing the public greater access to the major temporary improve government exhibition World Without End. relations.

Maintain or improve net cost Net cost of services per visitor decreased to $14.80 compared 6.2 Increase funding from Increase both commercial • Total revenue from sales of goods and services increased of service per visitor. with $15.20 in the previous 2 years while maintaining staffing commercial activities, activities revenues and from $7.6m (1999/2000) to $8.3 million this year. at 1999/2000 levels. bequests, donations and sponsorship / donations. • Increased sponsorship and donations by $721,000 to just sponsorships under $2 million. Complete EPA Waste Implementation of waste reduction strategies improved rubbish Reduction and Purchasing disposal processing and assisted environmental conditions with Negotiate a major sponsorship 5 year sponsorship deal agreed with Sunday Telegraph for the Policy 3 year review. use of recycled products where possible. agreement. kids programme Fundays at the Gallery launch in April 2001.

5.2 Meeting customer needs Continue commercial activities Provided greater accessibility to the Art Gallery and our total 6.3 Manage our Trust, Meet all corporate governance Effectively managed operations to ensure that all statutory and by improving service to support general gallery commercial revenue increased by $1.4m (13%). Foundation, Brett requirements. corporate governance requirements were met and GST levels. operations. Whiteley Foundation, requirements were implementated for each of the four entities. VisAsia entities to comply Provide multi language version Developed new General Information Brochure in several with statutory of the Gallery Guide community languages including Italian, Spanish, French and requirements German 6.4 Enhance returns from Increase investment returns on • Interest received on Bequests and Special Purpose Funds Participate in the Sydney 2000 Presented 3 exhibitions as a major contribution to the 2000 Gallery funds, whilst Art Gallery Funds increased from $545,000 to $657,000. Olympic Arts Festival. Sydney Olympic Festival visual art program. maintaining acceptable • Achieved a weighted interest rate of 5.9%. risk levels and improve • Art Gallery Foundation funds generated over $1 million in 5.3 Implement state of the art Commence Digital Imaging Stage one of project completed on time and on budget. contributions net income technology and corporate and Access IT Project. Purchased an IBM eServer 660 as the platform for the new systems image repository system.

Upgraded finance, human • Computer systems configured with latest software releases resources and Internet systems allowing complex analysis reporting which assists to meet new taxation and other management decisions on key areas of financial management federal and state statutory and personnel management. requirements. • Participate in joint agency e-commerce portal development for integration with our website – due for completeion in October, 2001.

Review archive and record Worked co-operatively with other national art galleries and management requirements. museums to develop a common Records Management Thesaurus ensuring compliance with State Record Act 1999.

Combine with other Arts Provided detailed statistical information against key Portfolio institutions develop performance indicators to be published by the Council on the common benchmarks Cost and Quality of Government in the 2001 Arts and Culture review. 5.4 Manage staff resources effectively to ensure high Improve reporting on workers Treasury Managed Fund statistics indicated improved reporting employee morale, high compensation claims. times for workers compensation claims which assists faster skills level and support for return to work of employees. continued expansion. Maintain low instances of Formal grievances were resolved in a timely manner; no major employee industrial dispute. disputes.

Provide skills development Casual vacancies filled through internal sources where possible; opportunities to staff. 9 staff were provided with development opportunities under this arrangement.

30 31 Lachlan Murdoch Chairman and Chief TRUSTEE MEETINGS AND COMMITTEES Executive of News Limited; Senior ATTENDANCES AT BOARD OF TRUSTEE MEETINGS Executive Vice President, and a Director There were six board meetings of the Trust during the period of The News Corporation Limited; July, 2000 to June, 2001. Trustee attendances were as follows: Chairman of Queensland Press; a David Gonski (President) 6 Director of The Herald & Weekly Times Jillian Broadbent (Vice President) 4 Limited, Foxtel and One.Tel.; Deputy Pierce Cody 3 Chairman of Star Television Limited. Anne Landa 6 CORPORATE GOVERNANCE Initial date of appointment was 1st Janet Laurence 2 January, 1999 and expiry of current John Morschel 6 term is 31st December, 2001. Lachlan Murdoch 1 Imants Tillers 3 (from 1.1.01) Pierce Cody Chairman and Managing Mary Turner 3 (to 31.12.00) BOARD OF TRUSTEES Ms Anne Landa Director since inception Director of Cody Outdoor. Director of Dr John Yu 5 The Art Gallery of New South Wales Trust is constituted by in 1984 of the Landa Piano Scholarship; The Outdoor Advertising Association of Apologies were submitted for all Trustee absences and Section 5 of the Art Gallery of New South Wales Act, 1980. Member of the Quality Review Australia; Member of the Director’s authorised leave was granted. Section 6 stipulates that: ‘the Trust shall consist of 9 Trustees Committee of the Darling Harbour Council of the National Gallery of who shall be appointed by the Governor on the recommendation Authority; Advisory Council Member Victoria; Director of Adcorp; Director TRUST COMMITTEES of the Minister for the Arts and at least two of whom shall be for the Australian Chamber Orchestra; and Governor of The Australian Ireland Acquisitions and Loans knowledgeable and experienced in the visual arts’. Trustees for the College of Fine Arts, University Fund; Member of the Oasis Advisory John Yu, David Gonski (ex-officio), Anne Landa, Janet are appointed for a term not exceeding three years and may of New South Wales; for the Centre for Board. Initial date of appointment was Laurence Imants Tillers, Edmund Capon - Director, Anthony serve four consecutive terms. Immunology, St Vincents Hospital and 1st January 2000 and expiry of current for the New Children’s Hospital, term is 31st December, 2002. Bond - General Manager, Curatorial Services, Michael Wardell - Curatorial Services Co-ordinator. PRESIDENT Westmead. Initial date of appointment Mr David Gonski Principal of Wentworth was 1st January, 1996 and expiry of Mary Turner OAM. Chair of the Orange Music Association; Exhibitions Associates Pty Limited; Chairman of current term is 31st December, 2001. Member of the Orange Regional Gallery Advisory Committee David Gonski (ex-officio), Pierce Cody, Janet Laurence, Anne Morgan Stanley Dean Witter Australia since 1983; Member of the Music Committee of the Art Landa, Greg Daniel, Edmund Capon – Director, Anne Limited; Chairman Coca-Cola Amatil Ms Janet Laurence Mixed media Advisory Council; Board Member of the Music Council of Flanagan – General Manager, Exhibitions and Building Limited; Director of John Fairfax installation artist. Former member of Australia. Co-Director of the Macquarie Galleries, Sydney Services, Anthony Bond – General Manager, Curatorial Holdings Ltd and Westfield Holdings SOCOG Cultural Committee (Visual (1956-1978); Director of the Murray Crescent Galleries, Services, Erica Drew - Exhibitions Co-ordinator. Limited; Trustee of Sydney Grammar Arts) and Board of Australian Centre of Canberra (1978-1981). Received an Order of Australia in School. Initial date of appointment was Photography; RAIA Lloyd Rees award 1993 ‘for services to the arts, particularly music and painting’. Finance and Audit 1st January, 1997 and expiry date of for urban design 1995; Rockefeller Board member Arts OutWest Inc since 1997-1999. Founder Jillian Broadbent (Chairperson), David Gonski, Bruce Cutler, current term is 31st December, 2003. Fellowship 1996 and Australia Council and Managing Trustee of the Godfrey Turner Music Trust, Fellowships 1992, 1996; Permanent formed in 1989 “to raise the standard of appreciation and Edmund Capon – Director, Rosemary Senn – General Manager, Finance and Management Services VICE-PRESIDENT public commissions include the Tomb of practice of music in the region of which the centre is the City Ms Jillian Broadbent Board Member of the Unknown Soldier in Canberra, The of Orange..”; Trustee of the Margaret Henderson Music Building the Reserve Bank of Australia; Director Edge of the Trees at the Museum of Trust, established in 1996 “to assist by award of scholarship. John Morschel, David Gonski (ex-officio), Pierce Cody, of Woodside Petroleum Limited, Coca- Sydney, Stilled Lives, Melbourne Museum, outstanding young musicians of Orange to pursue advanced Edmund Capon - Director, Anne Flanagan - General Manager, Cola Amatil Limited, and of the Sydney of Trees in the Domain, Sydney, 49 studies in music..’ Initial date of appointment was 1st January, Exhibitions and Building Services Theatre Company; Member of the windows for the Central Synagogue 1998 and expiry of current term is 31st December, 2000. Advisory Board of the Salvation Army. in Bondi and environmental art work VisAsia Initial date of appointment was 1st for the Homebush Bay Olympic site. Imants Tillers. Visual artist, widely exhibited internationally. John Yu (Chairperson), Justice Kim Santow, Bob Seidler, January, 1993 and expiry date of Initial date of appointment was 1st Initial date of appointment was 1st January 2001 and expiry Goldie Sternberg, Stephen Menzies, Edmund - Capon, current term is 31st December, 2001. January, 1997 and expiry of current of current term is 31st December 2003. term is 31st December, 2002. Director, Jackie Menzies - Head Curator of Asian Art, Honorary Solicitors to the Trust: Freehill Hollingdale and Rosemary Senn - General Manager, Finance and Management Services. MEMBERS Dr John Yu AC, Hon MD(Syd.), Hon Page Mr John Morschel Chairman of CSR Dlitt (UWS), MB BS DCH (RCP&S), Regional Limited and Deputy Chairman of FRACP, FRACMA. Chancellor, John Yu, Imants Tillers, Jillian Broadbent, Mary Turner, Leighton Holdings Limited. He is a University of New South Wales; Chair, David Gonski, Michael Wardell - Curatorial Services Co- director of Rio Tinto plc, Rio Tinto Australia China Council of DFAT; ordinator. Limited, Singapore Telecommunications Chair, Specialist Advisory Committee of Limited, Tenix Pty Ltd, and Gifford NSW Commission for Children and Paris Studio Communications Pty Ltd. Patron of the Young People; Chair, VisAsia; Member Barry Pearce – Head Curator, Australian Art, Victoria Lynn – Property Industry Foundation. Initial date of Board of National Australia Day Curator, Contemporary Art of appointment was 1st January, 1995 Council, Walter and Eliza Hall Trust, and expiry date of current term is 31st Myer Grace Bros Community Fund; December, 2003. Formerly Chief Executive, Royal Alexandra Hospital for Children. Initial date of appointment was 1st January, 1997 and expiry of current term is 31st December, 2002.

32 33 FINANCIAL AND MANAGEMENT SERVICES OTHER GALLERY ENTITIES He obtained his Master of Philosophy degree in Chinese Art Ms Flanagan is responsible for the exhibition programme Financial Reporting The Art Gallery is also responsible for managing the activities and Archaeology (including language) from the London including design, development and financial management, The Gallery’s financial soundness is a key priority, which is of its other entities, namely the Art Gallery of New South University School of Oriental and African Studies. Edmund building services including capital and maintenance maintained through rigorous budgetary/expenditure control, Wales Foundation, the Brett Whiteley Foundation and the has also completed studies on 20th century painting at the programmes and all security services within the Art Gallery. stewardship of assets, cash flow management, and revenue VisAsia Foundation. Each of the Boards meets on a quarterly Courtauld Institute of Art, London University. enhancement. Our accounting systems enabled timely and basis. The support provided includes management, finance, Edmund is recognised as a world expert in his particular field Rosemary Senn effective reporting of financial information to the Board and corporate secretariat and general administrative support. and has published several books and catalogues including General Manager, Finance and Management Services management. The annual financial statements were completed Princes of Jade (1974); Art and Archaeology in China (1977); Rosemary Senn is a Fellow of the Australian Society of within the planned 15 working days after the end of the year. Brett Whiteley Foundation Qin Shihuang: Terracotta Warriors and Horses (1982); and Certified Practising Accountants and holds a Degree of Monthly reporting to the Board encompasses operating David Kent Tang China: Vision and Splendour of a Golden Age (1989), Commerce with the University of Melbourne. results, balance sheets, cash flow, debtors and foreign Wendy Whiteley as well also many selected articles for Australian and She also holds qualifications in company directorship and currency reports. During the year we fully integrated the Arkie Whiteley international newspapers and professional art journals. taxation matters. She has been with the Art Gallery for close management reporting system with the accounting system Edmund Capon, Director to three years and prior to that she worked for a major listed enabling us to produce reports within 6-10 working days of Barry Pearce, Head Curator, Australian Art Mr Capon was made a Member of the Order of Australia in corporation, doing business both domestically and the end of the month. These reports enable management, the 1994. In 2000 he was awarded a Doctor of Letters honoris internationally over several years. Board and Government, to monitor financial aspects of the VisAsia Board casua from University of New South Wales and a Chevalier of Ms Senn is the Art Gallery’s chief financial officer, and is also Gallery and take action as needed in a prompt and targeted John Yu (Chairperson) arts and letters from the French Government He is also a responsible for other management services, which include manner. Justice Kim Santow member of the Advisory Council of the Asia Society corporate secretariat services for the Trust and other Art Bob Seidler AustralAsia Centre and a member of the Council of Gallery entities, human resources management, corporate Investments Goldie Sternberg Australian Art Directors (CAAMD). services, administration and information technology. Also Over $13 million of Trust funds are invested in a selection of Stephen Menzies included in her responsibilities is the Gallery Shop and fixed interest and cash securities. These are spread over 5-6 Edmund Capon, Director Anthony Bond Copyright services. financial institutions. Jackie Menzies, Head Curator of Asian Art General Manager, Curatorial Services The Art Gallery also manages investments on behalf of its Anthony Bond joined the Art Gallery in 1984 as Curator of Jane Westbrook related entities, namely the Art Gallery of NSW Foundation Foundation Contemporary Art. In January, 1995 he was appointed to the General Manager, Business Development [$15 million] and smaller amounts [less than $100,000 each] Art Gallery of New South Wales Foundation produces a position of General Manager, Curatorial Services to oversee Jane Westbrook joined the Art Gallery in April 1999. She has for the Brett Whiteley Foundation and VisAsia entities. separate Annual Report available from the Art Gallery. the curatorial staff together with responsibility for the overall over 20 years experience in senior arts management in a wide management of Curatorial Services Departments: range of cultural institutions, including the Sydney Opera Cultural Bequests/Taxation Incentives The Art Gallery acknowledges the significant support of the Conservation, Registration, Public Programmes, Library and House, the British Council, the Australia Council and the The Art Gallery maintains a portfolio of over 30 bequests and following individuals by awarding Life Governors membership. the Photography Studio. This is coupled with his role as Powerhouse Museum. She holds Masters and First Class special funds, valued at $10 million, which have been granted Head Curator, Western Art with special responsibility for Honours degrees from the University of New South Wales and over several years. These contributions have provided a Life Governors 20th Century and contemporary International collections. He was awarded a Churchill Fellowship. significant resource for acquisitions of artworks and special Franco Belgiorno-Nettis AC CBE was formerly Director of Wollongong City Gallery and Ms Westbrook is responsible for the Art Gallery’s Business projects, which would not otherwise have been feasible. Joseph Brender AO Assistant Director of Art Gallery of Western Australia. Development activities, which includes sponsorship and Ken Cowley AO Mr. Bond has published extensively and continues to maintain fundraising, as well as all aspects of Marketing, including Risk Management and Insurance James Fairfax AO a strong commitment to 20th Century International art public relations, advertising and promotions, venue The Art Gallery, as a NSW Government Agency, continues to Michael Gleeson-White AO through collection development and curating thematic management and tourism. be insured by the Treasury Managed Fund, a government self- Mollie Gowing exhibitions. In 1999 his book Body that accompanied the From March, 2001 when Belinda Hanrahan returned to the insurance scheme administered by the GIO. There were no Shosuke Idemitsu exhibition of that name at the Art Gallery in 1997 was Art Gallery to manage the Marketing Division, Jane significant claims on this scheme during this financial year. James Leslie AC, MC awarded the inaugural Power institute award for the best Westbrook has focused exclusively on sponsorship and The annual premium amounted to $746,600 reflecting the Frank Lowy AO book of Art history, an award offered through the AAANZ. fundraising as General Manager, Development. value of the State asset holdings of the Art Gallery’s Rupert Murdoch AC In 1999 he was invited to Direct Trace, the inaugural permanent art Collection, our heritage building plus art Kenneth Myer (the late) AC, DSC Liverpool Biennial of Contemporary Art in England. His Belinda Hanrahan works on loan for temporary exhibitions. J. Hepburn Myrtle (the late) CBE academic qualifications include B.Ed (Hons) from the Manager, Marketing (from March 2001) Margaret Olley AO and he is currently undertaking a Ph.D Belinda Hanrahan initially joined the Art Gallery in Internal Audit Max Sandow AM at The University of Sydney. He is a member of various November 1992 where she had responsibilities for marketing Reviews were conducted during the year on Gallery Shop John and Julie Schaeffer committees including the Executive Committee of the and business development until September 1998, rejoining the operations, Accounts Receivable, Accounts Payable, Personnel Goldie and Edward Sternberg (the late) AM AAANZ, Australia 2002 committee at ARCO Madrid, City Art Gallery in March 2001. She holds a Bachelor of and Payroll Procedures, GST compliance and Chris (payroll) Fred Street of Sydney Sculpture Walk Selection Committee, Australian Commerce from the University of New South Wales and has system. Favourable reports were received on all audits with Diana Walder OAM Center for Photography (Chair), Bundanon Trust Residency twenty years experience in marketing management. Prior to no significant matters arising. All recommendations were AC, QC Committee and serves on Academic advisory panels and acts joining the Art Gallery, Belinda worked in marketing carefully considered and implemented where appropriate. The as external assessor at several Universities. He also acts as an management for Unilever and Johnson & Johnson for ten Finance and Audit sub-committee of the Board are advised of SENIOR MANAGEMENT PROFILE assessor for the Australian Research Foundation (visual arts) years, later forming her own marketing training consultancy audit outcomes to re-affirm the importance of the Board’s role Edmund Capon, AM for a major employer organisation. in audit matters. The cost of internal audit work is borne by Director Anne Flanagan As Marketing Manager, Belinda is responsible for advertising the Ministry for Arts from a central allocation of funds for Edmund Capon has been the Director of the Art Gallery of General Manager, Exhibitions and Building Services and promotions, publicity, tourism and visitor service for the the Arts Portfolio. New South Wales since 1978. For five years before leaving Anne Flanagan joined the Art Gallery in March 1992. Her Art Gallery and its exhibitions London he held the position of Assistant Keeper, Far Eastern academic background includes visual arts, interior design and Secretariat Support Section at the Victoria and Albert Museum, having started at education. For the last fifteen years she has worked within Corporate secretariat support is provided for the Trust Board that Museum in 1966 in the Textile Department specialising arts organisations initially at the Crafts Council of NSW, and five sub-committees, each of which meet approximately in Chinese textiles and costume, and European tapestries. He Powerhouse Museum, Biennale of Sydney, Australian six times a year. Support is also provided for the Boards of has also managed a commercial gallery in London primarily Bicentennial Authority and then at the Historic Houses Trust the other Gallery entities. concerned with modern British paintings and sculpture. of NSW before joining the Art Gallery.

34 35 ORGANISATIONAL STRUCTURE STAFF PROFILE The Art Gallery’s organisational structure was modified Average over 12 months 30/6/01 slightly this year to split Business Development and Marketing into separate function areas. There are currently five major Building and Security Services 61 functions of the Art Gallery’s operations: Curatorial Services Staff 43 • Curatorial services Curatorial Staff 25 • Finance and Management services Exhibitions/Display 20 • Building and Exhibition services Corporate Services 18 • Business Development Commercial Services 13 • Marketing Marketing 13 A General Manager heads each of the first four function areas Total 193 and a Manager heads the Marketing Department. Art Gallery staffing has been organised into activity Departments under these four major functions and each Department Manager reports to their responsible General Manager.

ORGANISATION CHART

GENERAL MANAGER CURATORIAL SERVICES

WESTERN ASIAN AUSTRALIAN EUROPEAN ART Japan Paintings & Sculpture pre – 1900 China Prints, Drawings & Watercolours Contemporary South-East Asia Aboriginal & Torres Strait Islander Photography India

Conservation Registration

Library Public Programmes

Curatorial Services Photography Studio

GENERAL MANAGER FINANCE & MANAGEMENT SERVICE

Human Resources Finance

Administration and Copyright Corporate Secretariat DIRECTOR Information Technology Gallery Shop

GENERAL MANAGER EXHIBITIONS & BUILDING SERVICES

Gallery Services Building Management

Exhibitions Workshop

Installation Security

Graphics

GENERAL MANAGER BUSINESS DEVELOPMENT

Venue Management Membership Services

Sponsorship

MANAGER MARKETING

Publicity Advertising / Promotions

Information Desk and Tourism

36 ART GALLERY OF NEW SOUTH WALES FINANCIAL REPORTS Operating Expenses sources Total Revenuefromcommercialandprivate Other CommercialActivities/othermisc Sponsorships andcontributions Exhibition Admissionrevenue Total WorksofArtAcquired Donations ofArtworks/fundstoacquireartworks Artworks Purchased Total Attendances-MainBuilding Attendances -FreeaccessMain Attendances -Paidexhibitions Total Attendances-InclTouring/Studio Net cashflows Employees -EffectiveFulltime(EFT's) Net Surplus Total Revenue Government fundingasa%oftotal revenues Total GovtGrants Capital appropriation/Other Recurrent appropriation Net CostofServices(exc.Bequests) Bequest/Special fundsincome Revenue fromCommercialactivities * Datanotavailable Net CostofServices pervisitor Net Assets ART GALLERYOFNEWSOUTHWALES Financial Summary REVENUE RECEIVED OVER TEN YEARS TO 2000/01 REVENUES AND OPERATING EXPENSES $312 Million Number million million million million % $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $'m $ 1991-92 1992-93 1993-94 1994-95 1995-96 1996-97 1997-98 1998-99 1999-2000 2000-2001 Total Average Total p.a. 2000-2001 1999-2000 1998-99 1997-98 1996-97 1995-96 1994-95 1993-94 1992-93 1991-92 1.0$34 1.0$17 1.0$31 1.0$52 1.0$14.80 $780.8 $15.20 $712.8 $15.20 $641.8 $17.60 $13.10 $616.0 $11.00 $606.0 $524.0 $11.70 $10.90 $518.0 $485.0 $13.40 $474.0 $10.50 $477.8 2. 1. 1. 2. 2. 2. 2. 2. 2. 2. 225$22.3 $17.1 $222.5 $171.4 $27.1 $21.2 $24.6 $16.0 $26.1 $17.5 $26.1 $19.2 $23.7 $15.5 $23.2 $20.4 $20.1 $19.9 $16.9 $16.3 $14.2 $7.4 $20.5 $18.0 2. 1. 2. 3. 3. 3. 3. 3. 3. 3. 325$31.2 $14.11 $312.5 $12.6 $141.1 $39.4 $18.2 $125.8 $33.1 $17.1 $33.3 $14.8 $15.8 $37.0 $13.7 $31.3 $17.8 $14.5 $32.8 $15.8 $16.2 $12.4 $32.2 $13.2 $27.0 $12.2 $10.9 $17.2 $10.7 $11.5 $29.1 $9.8 $9.9 $11.2 $10.0 $11.0 .507 .109 .910 .209 .010 .60.95 0.60 0.35 9.46 5.99 3.48 1.00 0.72 0.28 0.90 0.64 0.26 0.95 0.65 0.30 0.92 0.65 0.27 1.01 0.56 0.45 0.99 0.59 0.40 0.99 0.63 0.35 0.91 0.48 0.43 0.75 0.57 0.18 1.05 0.51 0.54 8 7 0 8 8 0 8 7 2 6 5 45% 45% 46% 52% 47% 48% 50% 38% 38% 40% 57% 38% 84$. 93$13$. 50$. 59$. 89$46$7.5 $4.9 $2.3 $9.7 $2.5 $74.6 $48.7 $23.3 $8.3 $6.2 $96.8 $2.1 $24.8 $8.9 $6.1 $3.8 $12.3 $83.4 $62.4 $5.2 $21.0 $2.5 $5.7 $10.8 $3.0 $5.9 $2.1 $7.8 $6.2 $1.6 $5.1 $11.6 $3.8 $9.3 $2.7 $5.2 $4.3 $0.9 $9.9 $5.4 $2.1 $5.0 $2.4 $4.1 $3.7 $0.3 $10.5 $5.4 $2.6 $8.0 $2.5 $12.4 $11.3 $7.2 $6.3 $4.1 $3.1 $11.3 $2.9 $5.5 $8.6 $4.3 $1.2 $4.3 $9.3 $1.5 $10.3 $7.0 $2.8 $7.4 $2.9 $3.7 $3.2 $0.9 $12.4 $2.3 $4.2 $10.4 $2.3 $1.9 $8.4 $1.0 $9.8 $0.8 $9.5 $8.2 $4.3 $1.6 $1.5 $8.2 $3.7 $2.8 $5.3 $8.9 $7.9 $1.0 86$. 1. 1. 95$. 1. 72$. 1. 9. $9.0 193 $1.2 $2.5 $90.0 193 -$1.0 $12.3 $24.9 $11.6 186 -$0.3 $8.6 $4.4 $116.2 189 $0.4 $7.2 $3.5 $0.8 197 $13.8 $10.8 -$0.5 $2.2 187 $13.6 $7.6 -$2.0 $13.6 $4.2 170 $9.5 $1.0 $13.6 $2.9 157 $12.1 $0.4 $12.9 $1.4 $10.1 167 $11.0 $0.8 $3.0 $1.5 153 $10.7 $8.6 $2.1 $8.7 $1.4 $8.5 $1.3 $9.9

.612 .811 .312 .21.15 6.92 1.26 1.03 1.17 1.08 1.23 1.16 * * * 10* 9 8 567 34 2 1 REVENUE AND GOVERNMENT FUNDING NET COST OF SERVICES PER VISITOR

WORKS OF ART ACQUIRED WORKS OF ART ACQUIRED (COMMULATIVE)

2000-2001

ATTENDANCES Main Building

38 39 ART GALLERY OF NEW SOUTH WALES TRUST

STATUTORY FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001

ART GALLERY OF NEW SOUTH WALES TRUST STATEMENT IN ACCORDANCE WITH SECTION41C(1C) OF THE PUBLIC FINANCE AND AUDIT ACT, 1983

In accordance with a resolution of the Board of Trustees of the Art Gallery of New South Wales we state that:

(a) the accompanying financial statements have been prepared in accordance with the provisions of the Public Finance and Audit Act 1983, the Financial Reporting Code for Budget Dependent General Government Sector Agencies, the applicable clauses of the Public Finance and Audit (General) Regulation 1995, applicable Accounting Standards, other mandatory reporting requirements and the Treasurer’s Directions

(b) the financial statements and notes thereto exhibit a true and fair view of the financial position as at 30 June 2001 and the operations for the year then ended; and

(c) at the date of signing we are not aware of circumstances that would render the financial statements misleading or inaccurate.

D.M. GONSKI E.G CAPON PRESIDENT DIRECTOR

J.R. BROADBENT R. SENN HON. TREASURER GENERAL MANAGER FINANCIAL & MANAGEMENT SERVICES

40 41 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

STATEMENT OF FINANCIAL PERFORMANCE STATEMENT OF FINANCIAL POSITION For the year ended 30 June 2001 As at 30 June 2001

Notes Actual Budget Actual Notes Actual Budget Actual 2001 2001 2000 2001 2001 2000 $'000 $'000 $'000 $'000 $'000 $'000 ASSETS Expenses Current Assets Operating expenses Cash 6 1,347 279 126 Employee related 2(a) 12,948 12,737 12,142 Receivables 7 1,523 7,548 1,556 Other operating expenses 2(b) 11,543 9,852 9,299 Inventories 8 1,577 1,725 1,385 Maintenance 2(c) 1,372 750 1,393 Other financial assets 9 10,598 1,385 7,548 Depreciation and amortisation 2(d) 1,192 1,300 1,719 Total Current Assets 15,045 10,937 10,615

Total Expenses 27,055 24,639 24,553 Non-Current Assets Less: Property Plant and Equipment Retained Revenue - Land and Buildings 10 173,228 172,579 171,216 Sale of goods and services 3(a) 8,336 10,414 7,655 - Plant and Equipment 4,939 4,986 4,686 Investment Income 3(b) 145 55 165 - Collection Assets 587,647 529,138 524,181 Grants and contributions 3(c) 3,761 3,034 3,012 Total Property, Plant and Equipment 765,814 706,703 700,083 Other revenue 3(d) 9 - 7 Other financial assets 9 2,996 5,490 5,490 Total Non-current Assets 768,810 712,193 705,573 Total Retained Revenue 12,251 13,503 10,839 Total Assets 783,855 723,130 716,188

Gain(loss) on disposal of non current assets 426- 9 LIABILITIES NET COST OF SERVICES BEFORE BEQUESTS Current Liabilities AND SPECIAL FUNDS 14,778 11,136 13,705 Payables 12 1,946 2,614 2,460 Employee entitlements and other provisions 13 1,119 953 953 Bequests and Special Funds 14(b) (8,913) - (5,178) Total Current Liabilities 3,065 3,567 3,413

NET COST OF SERVICES AFTER BEQUESTS AND SPECIAL FUNDS 5,865 11,136 8,527 Net Assets 780,790 719,563 712,775 Government Contributions Recurrent appropriation 13,824 13,824 13,630 EQUITY Capital appropriation 2,978 7,420 2,320 Reserves 14 216,993 171,390 161,311 Acceptance by the Crown Entity of employee Accumulated funds 14 563,797 548,173 551,464 entitlements and other liabilities 5 1,396 1,217 1,153 Total Equity 780,790 719,563 712,775 18,198 22,461 17,103

SURPLUS/(DEFICIT) FOR THE YEAR FROM The accompanying notes form part of these statements ORDINARY ACTIVITIES 12,333 11,325 8,576

NON-OWNER TRANSACTION CHANGES IN EQUITY

Net increase(decrease) in asset revaluation reserve 55,682 - 62,352

TOTAL REVENUES, EXPENSES AND VALUATION ADJUSTMENTS RECOGNISED DIRECTLY IN 55,682 - 62,352 EQUITY TOTAL CHANGES IN EQUITY OTHER THAN THOSE RESULTING FROM TRANSACTIONS WITH OWNERS AS OWNERS 68,015 11,325 70,928

The accompanying notes form part of these statements

42 43 ART GALLERY OF NEW SOUTH WALES TRUST Liability toConsolidatedFund*[Total4] Amount drawndownagainstappropriation[Total3] transfer payments) Claim onConsolidatedFund[Total1](includes Total Appropriations[subtotal2]Expenditure/Net OTHER APPROPRIATIONS/EXPENDITURE EXPENDITURE ORIGINAL BUDGETAPPROPRIATION/ * * * * * * * * For theyearended30June2001 SUMMARY OFCOMPLIANCEWITHFINANCIALDIRECTIVES ART GALLERYOFNEWSOUTHWALESTRUST payments s26 PF&AA-Commonwealthspecificpurpose departments s24 PF&AA-transfersoffunctionsbetween s21A PF&AA-specialappropriations Additional Appropriations Appropriation Act Appropriation Act) Transfers fromotheragency(section26ofthe services Section 22-expenditureforcertainworksand Treasurer's Advance STATEMENT OF CASH FLOWS buildin The expenditure/netclaimonConsolidatedFundwaslowerthantheCapital Appropriation duetothelatecommencementofGal (except whereotherwiseidentifiedorprescribed). The summaryofcompliancesbasedontheassumptionthatConsolidatedFund moneysarespentfirst For the year ended 30 June 2001 g extensionpro

Notes Actual Budget Actual 2001 2001 2000 $'000 $'000 $'000 g

CASH FLOWS FROM OPERATING ACTIVITIES ram

Payments Employee related (10,777) (10,601) (10,031) Other (13,760) (14,976) (9,518) APPROPRIATION ------RECURRENT

Total Payments (24,537) (25,577) (19,549) $'000 389 384 ,2 298 341 341 ,2 2,320 1,520 13,451 13,451 2,978 7,420 13,824 13,829 389 384 ,2 298 363 363 ,4 2,320 3,348 13,643 13,643 2,978 7,420 13,824 13,829 389 384 ,2 298 363 363 ,4 2,320 3,348 13,643 13,643 2,978 7,420 13,824 13,829 Receipts ------Sale of goods and services 9,169 9,240 7,373 - Interest received 145 520 165 CONSOLIDATED FUND EXPENDITURE/NET ------Other 4,728 2,780 3,299 - CLAIM ON 14,042 12,540 10,837 $000

Total Receipts - 384 ,7 1,4 2,320 13,643 2,978 13,824

Cash Flows from Government Recurrent appropriation 13,824 13,824 13,630 2001 Capital appropriation 2,978 7,420 2,320 APPROPRIATION ------Cash reimbursement from the Crown Entity 514 361 376 - CAPITAL $'000 Net Cash Flows from Government 17,316 21,605 16,326

NET CASH FLOW FROM OPERATING ACTIVITIES 16 6,821 8,568 7,614 EXPENDITURE/NET 12 9 188 - 1,828 - 192 - - 192 - - - - CONSOLIDATED CLAIM ON CASH FLOWS FROM INVESTING ACTIVITIES FUND $000 Proceeds from sale of Land and Buildings, Plant and Equipment and Collection Assets 68 - 22 - -- Proceeds from sale of investments 29,739 - 20,919 Purchases of Land and Buildings, Plant and Equipment (5,112) (8,420) (5,072) and Collection Assets

APPROPRIATION ------Purchases of investments (30,295) - (24,498) - RECURRENT

NET CASH FLOWS FROM INVESTING ACTIVITIES (5,600) (8,420) (8,629) $'000 CONSOLIDATED FUND SupplementaryFinancialStatements EXPENDITURE/NET ------NET INCREASE/(DECREASE) IN CASH 1,221 148 (1,015) - Opening cash and cash equivalents 126 131 1,141 CLAIM ON

CLOSING CASH AND CASH EQUIVALENTS 61,347 279126 $000 2000 lery's APPROPRIATION ------The accompanying notes form part of these statements - CAPITAL $'000 EXPENDITURE/NET

CONSOLIDATED CLAIM ON FUND $000

44 45 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. THE YEAR ENDED 30 JUNE 2001.

(i) Parliamentary Appropriations and Contributions from Other Bodies 1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES Parliamentary appropriations and contributions from other bodies (including grants and donations) are generally recognised as revenues, when the agency obtains control over the assets comprising the appropriations/contributions. Control over (a) Reporting Entity appropriations and contributions are normally obtained upon the The Art Gallery of NSW Trust, as a reporting entity comprises all the activities receipt of cash. Under its control, including the Gallery's commercial activities of exhibitions, merchandising, venue hire, and catering. An exception to the above is when appropriations are unspent at year-end. In this case, the authority to spend the money lapses and Other entities associated with the Gallery but not under its direct control and hence generally the unspent amount must be repaid to the Consolidated not consolidated, include the Art Gallery Foundation, the Brett Whiteley Foundation Fund in the following financial year. As a result, unspent and VisAsia Foundation. appropriations are accounted for as liabilities rather than revenue.

The reporting entity is consolidated as part of the NSW Total State Sector and (ii) Sale of Goods and Services as part of the NSW Public Accounts. Revenue from the sale of goods and services comprises revenue from the provision of products or services i.e. user charges. User charges are recognised as revenue when the agency obtains (b) Basis of Accounting control of the assets that result from them. The agency's financial statements are a general purpose financial report which has been prepared on an accrual basis and in accordance with: (iii) Investment income • applicable Australian Accounting Standards; Interest revenue is recognised as it accrues. • other authoritative pronouncements of the Australian Accounting Standards Board (AASB); • Urgent Issues Group (UIG) Consensus Views; (e) Employee Entitlements the requirements for the Public Finance and Audit Act and Regulations; (i) Wages and Salaries, Annual Leave, Sick Leave and On-costs and • the Financial Reporting Directions published in the Financial Reporting Liabilities for wages and salaries, annual leave and vesting sick leave Code for Budget Dependent General Government Sector Agencies or are recognised and measured as the amount unpaid at the reporting issued by the Treasurer under section 9(2)(n) of the Act. date at current pay rates in respect of employees' services up to that Where there are inconsistencies between the above requirements, the date. legislative provisions have prevailed. In the absence of a specific Accounting Standard, other authoritative pronouncement of the AASB or UIG Consensus Unused non-vesting sick leave does not give rise to a liability, as it is View, the hierarchy of other pronouncements as outlined in AAS 6 "Accounting not considered probable that sick leave taken in the future will be Policies" is considered. With the exception of Land and Buildings and the majority greater than the entitlements accrued in the future. of Collection assets, the financial statements are prepared in accordance with historical cost convention. The outstanding amounts of payroll tax, workers' compensation insurance premiums and fringe benefits tax, which are considered All amounts are rounded to the nearest one thousand dollars and are consequential to employment, are recognised as liabilities and expressed in Australian currency. expenses where the employee entitlements to which they relate have been recognised.

(c) Change to Accounting Policy (ii) Long Service Leave and Superannuation There were no changes to Accounting policies during the 2000/2001 financial year. The Gallery's liabilities for long service leave and superannuation are assumed by the Crown Entity. The Gallery accounts for the liability as having been extinguished resulting in the amount assumed being shown as part of the non-monetary revenue item described as (d) Revenue Recognition "Acceptance by the Crown Entity of Employee Entitlements and other Revenue is recognised when the agency has control of the good or right to Liabilities". receive, it is probable that the economic benefits will flow to the agency and the amount of revenue can be measured reliably. Additional comments Long service leave is measured on a nominal basis. The nominal regarding the accounting policies for the recognition of revenue are method is based on the remuneration rates at year-end for all discussed below. employees with five or more years of service. It is considered that this measurement techniques produces results not materially different from the estimate determined by using the present value basis of measurement.

46 47 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. THE YEAR ENDED 30 JUNE 2001.

The superannuation expense for the financial year is determined by (i) Property, Plant and Equipment using the formulae specified in the Treasurer's Directions. The Land was valued by the Department of Public Works and Services at 30 June expense for certain superannuation schemes (i.e. Basic Benefit and 2000. The amount of the revaluation was brought to account in the books of First State Super) is calculated as a percentage of the employee's the Gallery. Land is valued on an existing use basis. The building was salary. For other superannuation schemes (i.e. State revalued as at 30 June 1997 at replacement cost by B.H. Hazelwood, Superannuation Scheme and State Authorities Superannuation Executive Quantity Surveyor, State projects, Department of Works and Scheme), the expense is calculated as a multiple of the employees' Services. Plant and equipment items are not revalued and are carried at superannuation contributions. depreciated original cost which is considered to approximate replacement cost.

(ii) Collection All works valued at $500,000 or more are revalued annually. All other works (f) Insurance are revalued on a rolling five-year basis, by identifying “sign post” works within The Gallery's insurance activities are conducted through the NSW Treasury each category to facilitate the allocation of related percentage valuation Managed Fund Scheme for self-insurance for Government agencies. The movement across that class/group of works. expense (premium) is determined by the Fund Manager based on past experience. (iii) Library Collection The Library collection is revalued on an annual basis using the four most (g) Accounting for the Goods and Services Tax (GST) valuable categories of the collection. The policy is to value all the remaining Revenues, expenses and assets are recognised net of the amount of GST, except: categories at least once during the five-year period.

• the amount of GST incurred by the agency as a purchaser that is not recoverable from the Australian Taxation Office is recognised as part of the In accordance with Treasury policy, the gallery has applied the AAS38 cost of acquisition of an asset or as part of an item of expense. “Revaluation of Non-Current Assets” transitional provisions for the public sector and has elected to apply the same revaluation basis as the preceding reporting • receivables and payables are stated with the amount of GST included. period, while the relationship between value and the existing valuation basis in the NSW public sector is further examined. It is expected, however, that in most instances the current valuation methodology will approximate fair value.

(h) Acquisitions of Assets When revaluing non-current assets by reference to current prices for assets newer The cost method of accounting is used for the initial recording of all acquisitions of than those being revalued (adjusted to reflect the present condition of the assets), assets controlled by the agency. Cost is determined as the fair value of the assets the gross amount and the related accumulated depreciation is separately restated. given as consideration plus the costs incidental to the acquisition. Conversely, where assets are revalue to market value and not by reference to Assets acquired at no cost, or for nominal consideration, are initially recognised as current prices for assets newer than those being revalue, any balances of assets and revenues at their fair value at the date of acquisition. Fair value means accumulated depreciation existing at the revaluation date in respect of those the amount for which an asset could be exchanged between a knowledgeable, assets are credited to the asset accounts to which they relate. The net asset willing buyer and a knowledgeable, willing seller in an arm' s length transaction. accounts are increased or decreased by the revaluation increments or decrements. Where settlement of any part of cash consideration is deferred, the amounts payable in the future are discounted to their present value at the acquisition date. The recoverable amounts test has not been applied, as the gallery is a not-for- The discount rate used is the incremental borrowing rate, being the rate at which a profit entity whose service potential is not related to the ability to generate net cash similar borrowing could be obtained. flows.

Revaluation increments are credited directly to the asset revaluation reserve, (i) Plant and Equipment except that, to the extent that an increment reverses a revaluation decrement in Plant and Equipment costing $5,000 and above individually are capitalised. respect of that class of asset previously recognised as an expense in the surplus/deficit, the increment is recognised immediately as revenue in the surplus/deficit. (j) Revaluation of Physical Non-Current Assets Each class of physical non-current assets is included in a five year revaluation Revaluation decrements are recognised immediately as expenses in the plan, based on the estimated written down replacement cost of the most surplus/deficit, except that, to the extent that a credit balance exists in the asset appropriate modern equivalent replacement facility having a similar service revaluation reserve in respect of the same class of assets, they are debited directly potential to the existing assets. Land is valued on an existing use basis, subject to the asset revaluation reserve. to any restrictions or enhancements since acquisition. The Art Gallery building is a heritage asset valued at replacement cost (not subject to write down) equivalent to Revaluation increments and decrements are offset against one another within a a building closely resembling the existing facility. Collection assets are also class of non-current assets, but not otherwise. heritage assets valued at replacement cost, which is current market buying price.

48 49 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2001. THE YEAR ENDED 30 JUNE 2001.

(k) Assets Not Able to be Reliably Measured The agency does not hold any assets other than those recognised in the (r) Bequests and Special Funds Statement of Financial Position. This note is considered to cover conditions of contributions and also covers restricted assets.

(l) Depreciation of Non-Current Physical Assets The agency receives monies and gifts in specie in a trustee capacity for various Depreciable assets include plant and equipment, permanent exhibition fit out and trusts as set out in note 14(b). As the Gallery is restricted in the use of these Motor vehicles. funds, they are not brought to account in the financial statements until after calculation of the Net Cost of Services before Bequest and Special Funds. The Depreciation is provided for on a straight-line basis for all depreciable assets so as aggregate of contributions received for the year has been recognised as revenue to write off the depreciable amount of each asset as it is consumed over its useful in the ‘Bequest and Special Funds’ Revenue and Expenditure Statement in Note life to the entity. Land and heritage assets comprising the Art Gallery building and 14(b). These revenues provide for expenditure in the current year and in future collection assets are not depreciable assets. years. Any revenues unspent in the current year have been carried forward for appropriate expenditure in future years. All material separately identifiable component assets are recognised and depreciated over their shorter useful lives, including those components that in (s) Trustee benefits effect represent major periodic maintenance. No Trustee of the Gallery has received or become entitled to receive a benefit because of a contract made by the Gallery or a related body with the Trustee or Depreciation rates are listed below. For Plant and Equipment each asset's with a firm of which the Trustee is a member, or with a company in which the effective life is assessed and a depreciation rate of 7%, 14% or 20% is applied. Trustee has a substantial interest.

Depreciation Rates for each class of depreciable assets are as follows: (t) Taxation status The activities of the Gallery are exempt of income tax. The Gallery is registered Rate for GST/ABN purposes and has gift deductible recipient status. Plant and Equipment 7-20% Motor Vehicles 20% Furniture and Fittings 20% (u) Services provided at no cost Office Equipment 33% Where material contributions are made to the Gallery at no charge an expense is Computer Equipment 33% recorded in the accounts to reflect activities at the Gallery and is offset by an Catering Equipment 20% equivalent revenue entry. Refer to notes 2a, 2c and 3c. Other Equipment 20% i. Volunteer Services Volunteers make a substantial and integral contribution to the operation of the Gallery. Volunteer guides provide guided tours of the Gallery's permanent and temporary exhibitions to the public and primary aged children. (m) Maintenance and repairs Additional assistance is provided to the Gallery's library and study room. The costs of maintenance are charged as expenses as incurred, except where they relate to the replacement of a component of an asset, in which case the costs ii. Building Maintenance are capitalised and depreciated. The Department of public works is undertaking a programme of restoring heritage buildings, including the Gallery. The cost of these works is being (n) Leased Assets borne by the Department of public works and the Gallery will not incur any The agency does not have any assets, which are subject to finance leases. costs.

Operating lease payments are charged to the Statement of Financial Performance (v) Payables in the periods in which they are incurred. These amounts represent liabilities for goods and services provided to the agency and other amounts, including interest. Interest is accrued over the period it (o) Receivables becomes due. Receivables are recognised and carried at the original invoice amount less a provision for any uncollectible debts. An estimate for doubtful debts is made when (w) Reclassification of financial information collection of the full amount is no longer probable. Bad debts are written off as As a result of applying AAS1 Statement of Financial Performance" and AAS36 incurred. "Statement of Financial Position", the format of the Statement of Financial Performance (previously referred to as the Operating Statement) and the (p) Inventories Statement of Financial Position has been amended. As a result of applying these Inventories are stated at the lower of cost and net realisable value. The cost is Accounting Standards, a number of comparative amounts were represented or calculated using the “latest purchase price” of each stock item. reclassified to ensure comparability with the current reporting period.

(q) Investments Marketable securities and deposits are valued at lower of cost and recoverable amount.

50 51 NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR ART GALLERY OF NEW SOUTH WALES TRUST THE YEAR ENDED 30 JUNE 2001. NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

(x) Budgeted Amounts The budgeted amounts are drawn from the budgets as formulated at the beginning of the financial year and with any adjustments for the effects of any additional appropriations, s21A, s 24 and/or s 26 of the Public Finance and Audit Act 1983. 2001 2000 $'000 $'000 2 EXPENSES The budgeted amounts in the Statement of Financial Performance and the (a) Employee related expenses comprise the Statement of Cash Flows are generally based on the amounts disclosed in the following specific items: NSW Budget Papers (as adjusted above). However, in the Statement of Financial Salaries and wages (including Recreation Leave) 9,568 8,803 Position, the amounts vary from the Budget Papers, as the opening balances of Superannuation 1,002 855 the budgeted amounts are based on carried forward actual amounts ie per the Long Service Leave 338 250 Workers' Compensation Insurance 173 265 audited financial statements (rather than carried forward estimates). Payroll tax and fringe benefit tax 678 644 Value of volunteer services (refer also Note 3c) 1,123 1,248 (y) Programme Statement Other 66 77 The Gallery operates one programme ñ Art Gallery of New South Wales. The 12,948 12,142 objective of the programme is to develop and maintain collections of art works for the benefit of the community and to increase knowledge and appreciation of art. (b) Other operating expenses Auditor's remuneration -audit or review of the financial reports 31 29 Cost of sales 1,849 1,828 Bad and doubtful debts - 2 Travel and Accommodation 689 442 Operating lease rental expense - minimum lease payments 145 64 Insurance 508 698 Consumables 1,712 657 Exhibition fees and related costs 1,410 549 Fees- General professional 700 490 Freight, packing and storage 589 418 Marketing and promotion 1,490 1,100 Printing/Graphics 301 796 Property Expenses 1,221 1,148 Other 898 1,078 11,543 9,299

(c) Maintenance Routine maintenance 723 897 Maintenance undertaken free of charge Refer Note 3c 649 496 1,372 1,393

(d) Depreciation and amortisation expense Plant and Machinery 794 943 Furniture, Fixtures and Fittings 49 367 Computer Equipment 193 206 Office equipment and other sundry 156 203 1,192 1,719

52 53 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

2001 2000 2001 2000 $'000 $'000 $'000 $'000

3 REVENUES 6 CURRENT ASSETS - CASH (a) Sales of goods and services Cash at bank and on hand 1,347 126 Sale of goods Merchandise, Book and Publication Sales 4,227 4,283 For the purpose of the Statement of Cash Flows, cash includes cash on hand, and cash at bank. Rendering of Services Admission fees 2,450 2,098 Cash (per Statement of Financial Position) 1,347 126 Venue hire and catering 793 672 Other 866 602 Closing Cash and Cash Equivalents (per Statement of Cash flows) 1,347 126 Total Rendering of Services 4,109 3,372

Total Revenue 8,336 7,655 7 CURRENT ASSETS-RECEIVABLES (b) Investment Income Interest 145 165 Sale of Goods and services 806 236 145 165 Accrued Income 319 365 Other debtors 249 373 Prepayments 164 597 (c) Grants and contributions Total 1,538 1,571

Sponsorship - cash 1,126 604 Less: Provision for doubtful debts 15 15 Sponsorship - in kind 643 495 Donations - cash 134 65 Total Receivables 1,523 1,556 Grants - Other 86 104 Value of Voluntary Services-Note 2(a) 1,123 1,248 Services provided at no charge-Note 2(c) 649 496 8 CURRENT- INVENTORIES 3,761 3,012 CURRENT INVENTORIES Stock on hand 1,577 1,385 (d) Other revenue 1,577 1,385

Workers compensation recovery 9 7 97 9 CURRENT/NON-CURRENT ASSETS- OTHER FINANCIAL ASSETS

Current 4 GAIN/(LOSS) ON DISPOSAL OF NON-CURRENT ASSETS Other Loans and Deposits 10,598 7,548 Property, Plant and Equipment Proceeds from Disposal 68 22 Non-Current Written down value of assets disposed 42 13 Other Loans and Deposits 2,996 5,490 NET GAIN/LOSS ON DISPOSAL OF NON CURRENT ASSETS 26 9 13,594 13,038

Reconciliations 5 ACCEPTANCE BY THE CROWN ENTITY OF EMPLOYEE Reconciliations of the carrying amounts of each class of non-current other financial assets at the beginning ENTITLEMENTS AND OTHER LIABILITIES and end of the current and previous financial year are set out below

The following liabilities and/or expenses have been assumed by the Crown Entity or other government agencies Other Loans and Deposits Superannuation 995 847 Long service leave 338 250 Carrying amount at start of year 5,490 2,500 Payroll Tax 63 56 Additions - 2,996 1,396 1,153 Disposals - - Other Movements-Transfer to Current Assets (2,494) (6) 2,996 5,490

54 55 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

10 NON CURRENT ASSETS - PROPERTY, PLANT AND EQUIPMENT 11 RESTRICTED ASSETS 2001 2000 2001 2000 $'000 $'000 $'000 $'000 Included in the cash and investments are restricted use assets (refer also note 14a) Land and Buildings Current Assets 7,961 1,841 Non-current Assets 2,996 8,238 Land - At Valuation 10,925 10,925 10,957 10,079 Buildings-At Cost 4,378 2,886 Buildings-At Valuation 157,405 157,405 These funds represent donations and bequests held by the Gallery to be used in accordance with Work in Progress 520 - the deed of trust or other documents governing these funds. 173,228 171,216

12 CURRENT LIABILITIES - PAYABLES Plant and Equipment At Cost 16,429 15,031 Accumulated Depreciation at Cost 11,490 10,345 Trade Creditors 1,943 1,513 4,939 4,686 Capital Creditors 3 947 1,946 2,460 Art and Library Collections At Cost 14,982 7,198 At Valuation 572,665 516,983 13 CURRENT LIABILITIES - EMPLOYEE ENTITLEMENTS AND OTHER 587,647 524,181 PROVISIONS

Total Property, Plant and Equipment At Net Book Value 765,814 700,083 Employee entitlements Recreation leave 807 657 The Gallery continues to derive service potential and economic benefits Accrued salaries and wages 312 296 from the following fully depreciated assets 1,119 953 Plant and Equipment 10,261 3,901

Reconciliations 14 CHANGES IN EQUITY Reconciliations of the carrying amounts of each class of property, plant and equipment at the beginning and the end of the current and previous financial year are set out below. Asset Bequests and Accumulated Revaluation Total (a) General Fund Special Funds Funds Reserve Equity Land & Plant and Collection of

2001 Buildings Equipment Artworks Total

Balance as at 1 July 2000 541,385 10,079 551,464 161,311 712,775

Carrying amount at start of year 171,216 4,686 524,181 700,083 Changes in Equity-other than Additions 2,012 1,487 7,784 11,283 transactions with owners as owners Disposals - (89) - (89) Net revaluation increment less revaluation decrements - - 55,682 55,682 Surplus/Deficit for the year 3,420 8,913 12,333 - 12,333 Depreciation Expense - (1,192) - (1,192) Depreciation written back on disposal of assets - 47 - 47 Increment on revaluation of Collection Assets - - - 55,682 55,682 Carrying amount at end of year 173,228 4,939 587,647 765,814

Other Increases/(Decreases) Transfer to/(from) General Fund 61 (61) - - - Land & Plant and Collection of Art Acquisitions 7,454 (7,454) - - - 2000 Buildings Equipment Artworks Total Other Capital Expenditure 520 (520) - - -

Carrying amount at start of year 164,995 5,950 460,532 631,477 Total 11,455 878 12,333 55,682 68,015 Additions 2,296 468 5,222 7,986 Disposals - (110) - (110) Balance as at 30 June 2001 552,840 10,957 563,797 216,993 780,790 Net revaluation increment less revaluation decrements 3,925 - 58,427 62,352 Depreciation Expense - (1,719) - (1,719) Depreciation written back on disposal of assets - 97 - 97

Carrying amount at end of year 171,216 4,686 524,181 700,083

56 57 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

Asset 16 RECONCILIATION OF CASH FLOWS FROM OPERATING Bequests and Accumulated Revaluation Total ACTIVITIES TO NET COST OF SERVICES AFTER BEQUESTS General Fund Special Funds Funds Reserve Equity AND SPECIAL FUNDS 2000 2000 2000 2000 2000 2001 2000 $'000 $'000 Balance as at 1 July 1999 533,297 9,591 542,888 98,959 641,847 Net Cash flow from Operating activities (6,821) (7,614) Changes in Equity-other than Net Gain/Loss sale of non-current assets (26) (9) transactions with owners as owners Depreciation 1,192 1,719 Gifts of Works of art (6,171) (2,914) Surplus/Deficit for the year 3,398 5,178 8,576 - 8,576 Recurrent appropriation 13,824 13,630 Capital appropriation 2,978 2,320 Increment on revaluation of Acceptance by Crown Entity of employees entitlements Land and Buildings - - - 3,925 3,925 and other liabilities 1,396 1,153 Collection Assets - - - 58,427 58,427 Increase(decrease) in accounts payable (514) 580 (Increase)decrease in receivables 33 (174) Other Increases/(Decreases) (Increase)decrease in inventories (192) (246) Transfer to/(from) General Fund (400) 400 - - - Increase(decrease) in employee entitlements 166 82 Art Acquisitions 5,090 (5,090) Other Capital Expenditure ----- Net cost of services after bequests and special funds 5,865 8,527 Total 8,088 488 8,576 62,352 70,928

Balance as at 30 June 2000 541,385 10,079 551,464 161,311 712,775 17 NON-CASH FINANCING AND INVESTING ACTIVITIES

The following non-cash transactions are included 2001 2000 in the financial accounts for the year (b) Bequests and Special Purpose Funds $'000 $'000 Revenue Donations of works of art - brought to account by creating Donations for purchase of works of art 2,064 1,368 an asset and crediting non cash donations 6,171 2,914 Donations of works of art 6,171 2,914 Capital bequests 253 203 The following items are brought to account as expenses in Expendable bequests 10 531 the operating statement and are credited as income in the 8,498 5,016 form of non-cash sponsorships, non-cash donations Interest received 657 545 or services provided free of charge Other income (11) 49 Total Income 9,144 5,610 Voluntary services provided 1,123 1,248 Advertising, freight, accommodation, travel Expenditure and similar expenses 643 495 Maintenance (Dept of Public Works) 629 496 Prizes and Scholarships 29 44 Other 202 388 231 432 Surplus for the year 8,913 5,178 18 FINANCIAL INSTRUMENTS

15 BUDGET REVIEW Cash Cash comprises cash on hand and bank balances. Interest is earned on daily bank balances Net Cost of Services and paid monthly at the normal commercial rate of such deposits. The actual net cost of services before Bequests and Special Funds was higher than budget by $3.6M This was due to lower than expected revenue from the Gallery's commercial activities including bookshop, functions and exhibitions and also due to increased expenses in relation to employee expenses and operating Receivables costs. All trade debtors are recognised as amounts receivable at balance date. Collectability of trade debtors is reviewed on an on going basis. Debts which are know to be uncollectible Assets and Liabilities are written off. A provision for doubtful debts is raised when some doubt as to collection Net Assets increased by $61.2M against budget due to increased income from Bequests and Special exists. The credit risk is the carrying amount (net of any provision for doubtful debts). No funds and revaluation of the Gallery's collection assets. interest is earned on trade debtors. The carrying amount approximates net fair value. Sales are made on 30 day terms. Cash Flows (a) Operating Operating cash outflows were lower than planned by $1.7M due largely to an under expenditure in Capital Works resulting in a decrease in the inflow of funds from Government.

(b) Investing Investing cash flows were $2.8M lower due to the late commencement of the Gallery's building extension program.

58 59 ART GALLERY OF NEW SOUTH WALES TRUST ART GALLERY OF NEW SOUTH WALES TRUST

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS

Other Financial Assets 20 EXPENDITURE COMMITMENTS The Gallery has placed funds in Trustee approved bank deposits and can be placed (a) Capital Commitments "at call" or for a fixed term. The interest rate payable on such deposits is negotiated initially and is fixed for the term of the deposit. Aggregate capital expenditure for building improvements and digitisation project contracted for at balance date and not provided for:

2001 2000 2001 2001 2000 2000 $'000 $'000 $'000 $'000 $'000 $'000 Carrying Net Fair Carrying Net Fair Not Later than on year 1,272 332 Amount Value Amount Value Later than one year and not later then 5 years - - At call - - - - Later then 5 years - - Less than one year 10,598 10,598 4,800 4,800 Total (including GST) 1,272 332 One to five years 2,996 2,996 8,238 8,238 Greater than five years - - - - Contingent Assets 13,594 13,594 13,038 13,038 The total "Capital Commitments" above include input tax credits of $115,000 that are expected to be The deposits at balance date were earning an average interest rate of 5.5% (2000 6.3%), recoverable from the Australian Taxation Office. whilst over the year the weighted average interest rate was 5.9% (2000 6.2%) on a weighted average balance during the year of $12,722,180 (2000 $11,193,942). (b) Other Expenditure Commitments

Aggregate other expenditure payable in relation to exhibition agreements and computer network Bank Overdraft outsourcing contracted for at balance date and not provided for: The Gallery does not have any bank overdraft facility

Trade Creditors and Accruals Not Later than on year 659 194 The liabilities are recognised for amounts due to be paid in the future for goods or Later than one year and not later then 5 years - 210 services received, whether or not invoiced. Amounts owing to suppliers (which are Later then 5 years - - unsecured) are settled in accordance with the policy set out in Treasurer's Direction Total (including GST) 659 404 219.01. If trade terms are not specified, payment is made no later than the end of the month following the month in which and invoice or statement is received. Treasurer's Contingent Assets Direction 219.01 allows the Minister to award interest for late payment. No Ministerial direction was given, nor did the Gallery incur any interest expense in relation to the late The total "Other Expenditure Commitments" above include input tax credits of $1,200 that are expected payment of invoices for the financial years ended 2001 and 2000. to be recoverable from the Australian Taxation Office.

(c) Operating Lease Commitments

OLYMPIC COSTS Future non-cancellable operating lease rentals (a) An $80,000 loan which was received from SOCOG to underwrite the Dead Sea Scrolls exhibition has not provided for and payable: been repaid as planned.

(b) During the Olympics, the number of overseas guests visiting the Gallery was higher than normal Not Later than on year 107 - Senior Gallery staff escorted these guests through the Gallery. This tour included a brief look Later than one year and not later then 5 years 160 - at the Exhibitions as well as the permanent collection. There was no additional cost involved other than Later then 5 years - - normal salaries. Some of these efforts will have a beneficial effect for the Gallery when we seek to borrow Total (including GST) 267 - works of art for future exhibitions. c) Additional staff were used on the information desk at a cost of $1,700. Three full time staff were Lease rentals (including GST) are payable to the lessor monthly in advance. The Gallery possesses seconded to the Games as volunteers during the Games period, at a cost of approximately $5,000. an option to renew the lease for a further two years. Additional payments made to Front of House and Gallery Security Offices was $1.50 per hour, with a total cost of $10,000 which was re-imbursed by the Ministry for the Arts. Contingent Assets

(d) Other Costs totalling $15,000 were incurred in relation to payments to Gallery Guides and The total "Operating Lease Commitments" above include input tax credits of $22,000 that are expected Multilingual guides to be recoverable from the Australian Taxation Office.

End of audited financial statements

60 61 APPENDICES

Long Tom Tjapanangka (Australia, Gowing Acquisition Fund for Gilbert and George (Italy/England Max Dupain (Australia, PURCHASES b.circa 1929), Kanpaarka (Centipede) Contemporary Aboriginal Art 1997 b.1943, England b.1942), Reaming, b.1911,d.1992), Illustration for Tjukurrpa, 1994 synthetic polymer Unknown (Australia), 2 string of 1982 Photo-piece: ink transfer on Kelvinator advertisment, 1936 gelatin paint on linen canvas. Patricia Lucille painted snail shells, (1996) snail paper [30 panels]. Purchased with silver photograph. Purchased with AUSTRALIAN ART black ink. Purchased with funds watercolour, gouache on heavy wove Wilson Lanydjura (Australia, b.1955), Bernard Bequest Fund 2001 shells, natural pigments. Mollie funds provided by the Art Gallery funds provided by the Photography provided by the Arthur Boyd buff paper; Landscape with houses, Morning Star Pole, 1997 wood, Earle Backen (Australia, b.1927), set George Tjungurrayi (Australia, Gowing Acquisition Fund for Society of New South Wales 2000 Collection Benefactors’ Program 2000 Acquisition Fund 2000 1907 pencil, watercolour on off white feathers, bark fibre string and natural of 9 states of one etching: b.circa 1945), Untitled, 2000 synthetic Contemporary Aboriginal Art 1997 Simryn Gill (Malaysia; Australia, Adam Fuss (England; United States of Janet Dawson (Australia, b.1935), 2 wove paper; Les Aiguilles, Belle Ile, pigments. Mollie Gowing Acquisition Composition, 1957 etching, aquatint, polymer paint on linen canvas. Unknown (Australia), Woven b.1959), Roadkill, 2000 found objects, America, b.1961), from the series My drawings: Italian landscape drawing, 1910 pencil, watercolour, gouache on Fund for Contemporary Aboriginal scraping out, burnishing, softground, Purchased 2000 pandanus sail, (1996) woven toy wheels. Purchased with funds Ghost, 2000 daguerreotype. 1960 charcoal on thick ivory wove off-white wove paper; Cliffs, Belle Ile, Art 1997 open bite, black ink on ivory wove Turkey Tolson Tjupurrula (Australia, pandanus spiralis leaves. Mollie provided by the Contemporary Purchased with funds provided by paper; Italian landscape drawing, 1906 pencil, watercolour on ivory John Mawurndjul (Australia, b.1952), paper; Composition, 1957 etching, b.circa 1938), Straightening the Gowing Acquisition Fund for Collection Benefactors’ Program 2001 Amanda and Andrew Love, Lisa and 1960 charcoal on thick ivory wove machine wove paper on thick card Mardayin ceremony, 2000 natural aquatint, burnishing, softground, red spears, 1999 synthetic polymer paint Contemporary Aboriginal Art 1997 Helga Groves (Australia, b.1961), Egil Paulsen, Mike Hawker, Michael paper Purchased with funds album page; Landscape, Matlock, pigments on eucalyptus bark. Don and yellow ink on cream wove paper; on linen canvas. Mollie Gowing Wanapuyngu (Australia), Coil-woven Flood, 1999 triptych: woven Magnus, James Erskine, David Coe, provided by the Arthur Boyd 1905 pencil, watercolour on ivory Mitchell Bequest Fund 2000 Michael and Katharine Hughes, Composition, 1957 etching, aquatint, Acquisition Fund for Contemporary basket with handle, (1996) coil- monofilament fishing line stretched Acquisition Fund 2001 wove paper; recto: View through Eubena Nampitjin (Australia, b.circa Maryanne Pagent, Photo Technica, softground, burnishing, blue, yellow Aboriginal Art 2000 woven pandanus spiralis leaves, onto wooden frames. Purchased with Ian Fairweather (United Kingdom; trees; verso: (Head of a woman in 1925), Untitled, 1999 etching. Mollie Photo King Professional Lab, Wheen and orange ink on ivory wove paper; Unknown (Australia), 3 coil-woven natural dyes, handle. Mollie Gowing funds provided by the Contemporary Australia, b.1891,d.1974), Chinese profile), 1919 recto: pencil, Gowing Acquisition Fund for Family, and the Photography Composition, 1957 etching, aquatint, baskets with bush string handle, (1996) Acquisition Fund for Contemporary Collection Benefactors’ Program 2000 mountain, (1933) oil and gouache on watercolour on ivory wove paper Contemporary Aboriginal Art 2000 Collection Benefactors’ Program 2001 softground, burnishing, red ink on coil-woven pandanus spiralis leaves, Aboriginal Art 1997 Geoffrey Kleem (Australia, b.1953), 2 cardboard. Purchased 2001 verso: watercolour on ivory wove Alice Nampitjinpa (Australia, b.1945), ivory wove paper; Composition, 1957 natural dyes, bush string loop handle. Rosie Wudarn (Australia), Twined light jet photographs, wood, steel from Henry King (Australia, b.1855,d.1923), Nicholas Harding (Australia, b.1956), paper. Jean Cameron Gordon Tali (sandhills) at Talaalpi, 1999 etching, aquatint, softground, Mollie Gowing Acquisition Fund for alternating open and closed weave the series International Trash, 2000: 35° 2 albumen photographs: Australian Margaret Olley, 2000 etching, Bequest in memory of her mother etching. Mollie Gowing Acquisition burnishing, orange and grey/green Contemporary Aboriginal Art 1997 dillybag, (1996) twined pandanus 09’ 53” S - 150° 34’ 35” E, 2000 light jet Aboriginal NSW (woman), circa roulette, black ink on white wove Mary Gordon 2000 Fund for Contemporary Aboriginal ink on ivory wove paper; Unknown (Australia), 1 twined tight spiralis leaves, natural dyes, bush photograph, wood, steel; 33° 36’ 52” S - 1870-1880 Australian Aboriginal paper. D G Wilson Bequest Fund 2000 Horace Trenerry (Australia, Art 2000 Composition, 1957 etching, aquatint, weave dillybag and 4 twined open string handle. Mollie Gowing 150° 16’ 05” E, 2000 light jet photograph, NSW (man), circa 1870-1880 Rayner Hoff (Australia, b.1894,d.1937), b.1899,d.1958), Morning mists, circa Narputta Nangala (Australia), softground, burnishing, red/brown, weave dillybags, (1996) twined Acquisition Fund for Contemporary wood, steel. Purchased with funds Purchased with funds provided by The kiss, 1923 plaster. Purchased 1945-circa 1947 oil on canvas on card- Karrkurutinytja, 1999 synthetic aquamarine ink on ivory wove paper; pandanus spiralis leaves, natural Aboriginal Art 1997 provided by the Contemporary the Photography Collection 2000 from the collection of Stanley board. Edward Stinson Bequest 2001 polymer paint on linen. Mollie Composition, 1957 etching, aquatint, dyes, bush string handle. Mollie Lucy Yukenbarri (Australia, b.1934), Collection Benefactors’ Program 2000 Benefactors’ Program 2000 Cecil Chamberlain with funds Brett Whiteley (Australia, Gowing Acquisition Fund for softground, burnishing, purple, Gowing Acquisition Fund for Untitled, 1999 screenprint. Mollie Vik Muñiz (Brazil; United States of Robert McFarlane (Australia, b.1942), provided by the 1000 Club b.1939,d.1992), Woman in bath IV, Contemporary Aboriginal Art 2000 orange, grey/green ink on ivory wove Contemporary Aboriginal Art 1997 Gowing Acquisition Fund for America, b.1961), 1 silver dye bleach Charles Perkins on bus home after visit Jennifer Keeler-Milne (Australia, 1964 oil, collage, tempera and Makinti Napanangka (Australia), paper; Composition, 1957 etching, Unknown (Australia), 4 closed and Contemporary Aboriginal Art 2000 photograph (Ilfochrome) from the to Tranby, Glebe, circa 1965 gelatin b.1961), Visibility/Invisibility, 2000 polyvinyl acetate emulsion on board. Untitled, 2000 synthetic polymer paint aquatint, softground, burnishing, open weave, fringed conical mats, series Pictures of Dust, 2000: silver photograph. Purchased with charcoal. Purchased with funds Purchased with funds provided by on linen. Mollie Gowing Acquisition black ink on ivory wove paper; (1996) woven pandanus spiralis SUB TOTAL 154 WORKS Richard Serra, Prop, 1968... (Picture funds provided by the Photography provided by the Art Gallery Society of the Art Gallery Society of New South Fund for Contemporary Aboriginal Composition, 1957 etching, aquatint, leaves, natural dyes, bush string. of Dust), 2000 silver dye bleach Collection Benefactors’ Program 2000 New South Wales 2000 Wales 2000 Art 2000 softground, burnishing, brown ink on Mollie Gowing Acquisition Fund for MODERN AND photograph (Ilfochrome). Don Tracey Moffatt (Australia, b.1960), 2 George W. Lambert (Australia, Walangkura Napanangka (Australia, ivory wove paper. Purchased with Contemporary Aboriginal Art 1997 CONTEMPORARY ART Mitchell Bequest Fund 2001 photo silkscreens, printed in colour b.1873,d.1930), The wool wagon, SUB TOTAL 44 WORKS b.circa 1938), Kutungka Napanangka funds provided by the Arthur Boyd Unknown (Australia), 6 ovoid closed Mike Parr (Australia, b.1945), 28 ultraviolet inks on textured Somerset (1921) pencil on ivory paper. D G at Papunga, 1999 synthetic polymer Marina Abramovic (Yugoslavia, Acquisition Fund 2000 and open weave, fringed mats, (1996) drawings: 26 drawings each titled satin paper from the series Wilson Bequest Fund 2001 ABORIGINAL ART paint on canvas. Mollie Gowing b.1946) and Ulay (Germany, b.1943), I. Earle Backen (Australia, b.1927), 7 woven pandanus spiralis leaves, Untitled self portrait from the series Invocations, 2000 Purchased 2000 Rosemary Madigan (Australia, Acquisition Fund for Contemporary A Performance Anthology 1975-1980 prints: Impression, 1967 engraving, Florence Ashley (Australia), 7 seed natural dyes. Mollie Gowing 26 Untitled self portraits 1981-1996, László Moholy-Nagy (Hungary; b.1926), 1 sculpture and 1 Aboriginal Art 2000 [volumes 1-3] II. Modius Vivendi sugarlift aquatint on copper plate, necklaces, (1996) threaded seeds. Acquisition Fund for Contemporary 1981 pencil on paper; Portrait of F, United States of America, sketchbook: Mnemosyne, 1976 Mitjili Napurrula (Australia, b.circa 1979-1986 [volumes 4-5] III. brown ink on ivory wove paper; Mollie Gowing Acquisition Fund for Aboriginal Art 1997 1995 pencil on paper; Portrait of C, b.1895,d.1946), An outline of the bronze with green patina on a slate 1945), Untitled, 1999 synthetic Continental Videoseries 1983-1986 Landscape with light construction, Contemporary Aboriginal Art 1997 Unknown (Australia), 8 circular 1995 pencil on paper. Purchased with universe, 1930 gelatin silver base; Sketchbook, (1981) bound polymer paint on linen canvas. Mollie [volumes 6-7], 1975-1986 7 VHS-PAL 1965 drypoint, engraving, open bite, Lucy Ashley (Australia), 6 seed closed and open weave, fringed funds provided by the Contemporary photograph. Purchased with funds sketchbook: 26 leaves, 26 life studies Gowing Acquisition Fund for videos. Purchased 1996 stopping out, aquatint, black and necklaces, (1996) threaded seeds. mats, (1996) woven pandanus spiralis Collection Benefactors’ Program 2000 provided by the Photography of male model in black fibre-tipped Contemporary Aboriginal Art 2000 Jean-Pierre Bertrand (France, brown ink on ivory wove paper; Mollie Gowing Acquisition Fund for leaves, natural dyes. Mollie Gowing Slave Pianos (Michael Stevenson, Collection Benefactors’ Program 2001 pen on white wove paper. D G Ningura Napurrula (Australia, b.circa b.1937), Bright yellow green no.1, 2000 London series - Smithfield, 1977 Contemporary Aboriginal Art 1997 Acquisition Fund for Contemporary New Zealand/Germany b.1964 and Jacky Redgate (England; Australia, Wilson Bequest Fund 2000 1938), Untitled (Wirrulnga), 2000 Flemish medium on paper, plexiglass, photo-etching, aquatint, coloured Judy Baypangala (Australia, b.1941), Aboriginal Art 1997 Danius Kesminas, Australia b.1966), b.1955), 2 type C photographs from Herbert McClintock (Australia, synthetic polymer paint on linen steel frame. Purchased 2000 inks on three plates on white wove 5 twined open weave dillybags, (1996) Unknown (Australia), Circular open Slave Pianos collectable: in memoriam the series Untitled Day, 2000: London b.1906,d.1985), Seated worker, 1957 canvas. Patricia Lucille Bernard David Bomberg (England, Arches paper; Ecce homo, 1960 twined pandanus spiralis leaves, weave, fringed mat, (1996) woven George Maciunas, 1999 framed c1965, 2000 London c1970, 2000 pen and black ink, watercolour on Bequest Fund 2001 b.1890,d.1957), The garden and tower engraving, scraping out, burnishing natural dyes, bush string handle. pandanus spiralis leaves, natural archive material. Purchased 2000 Purchased with funds provided by light grey laid paper. Purchased with (Australia, b.circa of the sacristy, Cuenca Cathedral, on copper plate, black, red and blue Mollie Gowing Acquisition Fund for Naata Nungurrayi dyes. Mollie Gowing Acquisition Fund Stephen Willats (England, b.1943), Cosway Australia on behalf of Bevan 1934 oil on canvas. Purchased 2000 ink on cream wove paper; funds provided by the Arthur Boyd Contemporary Aboriginal Art 1997 1932), Untitled, 1999 synthetic for Contemporary Aboriginal Art 1997 Pat Purdy and the glue sniffers and Bronwyn Towning, Rebecca Dee, Acquisition Fund 2001 polymer paint on linen canvas. Mollie Pierre Bonnard (France, Metamorphosis of the city, 1961 Bidingal (Australia), 2 coil-woven Unknown (Australia), Knotted string camp, 1981 12 photographic prints, David Bradbury, Robert and Judith b.1867,d.1947), Bust in profile, red engraving, black ink on ivory laid Sallie Moffatt (Australia, b.1968), baskets with bush string handles, Gowing Acquisition Fund for bag, (1996) spun string, natural dyes, photographic dye, gouache, Letraset Harley, Mark and Pam Rudder, John background (study), circa 1920 oil on paper; , 1987 Urban landscape II, 2000 charcoal on (1996) coil-woven pandanus spiralis Contemporary Aboriginal Art 2000 sheet bend knots. Mollie Gowing text, ink, felt tip pen and found and Simonetta Frey 2001 Contrasts/Obelisks canvas. Purchased with funds etching, aquatint, black ink on white paper. Purchased with funds leaves, natural dyes, bush string loop Tim Tjapangarti Payungka (Australia, Acquisition Fund for Contemporary objects from the Lurky Place. Stanislaw Witkiewicz (Poland, provided by the Art Gallery of New wove paper; , 1959 soft provided by the Art Gallery Society of handle. Mollie Gowing Acquisition b.circa 1942,d.2000), Tingari cycle at Aboriginal Art 1997 Purchased 2000 b.1885,d.1939) with Jozef Jan Thunder South Wales Foundation and the ground, engraving, aquatint, stopping New South Wales 2000 Fund for Contemporary Aboriginal Wilkinkarra, 1996 synthetic polymer Unknown (Australia), 20 string John Young (Australia, b.1956), Glogowski (Poland, b.1893,d.1969), Margaret Hannah Olley Art Trust 2000 out, open bite, deep etch, black and Sidney Nolan (Australia; United Art 1997 paint on canvas. Mollie Gowing looped bags with twined string Hermit painting #3, Winter-Spring Fright, 1931 gelatin silver photograph. Peter Callas (Australia, b.1952), 1 yellow ink on ivory wove paper. Kingdom, b.1917,d.1992), 3 paintings: Birraynu (Australia), 14 seed Acquisition Fund for Contemporary handles, (1996) bush string, natural 1999 diptych: vutak digital scan and Purchased with funds provided by digital print from the series Um Novo Purchased with funds provided by the Colonial head, 1947 synthetic necklaces, (1996) threaded seeds. Aboriginal Art 2000 dyes. Mollie Gowing Acquisition Fund oil on canvas. Purchased with funds Penelope Seidler, Josef and Jeanne Tempo (A new time), 1999: Fish Arthur Boyd Acquisition Fund 2000 polymer paint on hardboard; Fraser Mollie Gowing Acquisition Fund for Rusty Peters (Australia, b.1935), for Contemporary Aboriginal Art 1997 provided by the Contemporary Lebovic, Graham and Mary Beirman, Island, (1947) synthetic polymer paint Chinaman’s Garden Massacre at Market, Manaus 1999 digital print. George Baldessin (Australia, Contemporary Aboriginal Art 1997 Unknown (Australia), 13 back Collection Benefactors’ Program 2000 Michael Carr, Barbara Flynn and on hardboard; Boat, 1959 polyvinyl Springvale Station, 2000 natural Purchased with funds provided by b.1939,d.1978), George Baldessin, Guyula (Australia), 1 mat and 1 harnesses, (1996), bushstring, Mollie William Grounds, Paul and Becky acetate on hardboard. Purchased pigments on linen canvas. Purchased the Contemporary Collection 2000 (printed) six folded sheets with basket: Circular closed and open Gowing Acquisition Fund for SUB TOTAL 55 WORKS Urla, Roslyn and Tony Oxley, The with funds provided by the Art Gallery with funds provided by J.S. Watkins Benefactors’ Program 2000 additional cover sheet, six original weave, fringed mat, (1996) woven Contemporary Aboriginal Art 1997 Freedman Foundation, Rhonda Rose Society of New South Wales 2001 Memorial Fund 2001 Aleks Danko (Australia, b.1950), etchings on ivory Arches paper. pandanus spiralis leaves, natural Unknown (Australia), 13 headbands, PHOTOGRAPHY and the Photography Collection Margaret Olley (Australia, b.1923), Kutuwalumi Purawarrumpatu Department One: The drawing room, Purchased 2001 dyes; Coil-woven basket with handle, (1996), bushstring, Mollie Gowing Irene Bayer (United States of America, Benefactors’ Program 2001 Still life in green, 1948 oil on (Australia, b.circa 1928), 2 paintings: 1993-1994 Chinese linen, ink on paper, Robert Barnes (Australia, b.1947), (1996) coil-woven pandanus spiralis Acquisition Fund for Contemporary b.1898,d.1991), Portrait of Grit Kallin, hardboard. Jean Cameron Gordon Untitled, 2000 natural pigments on plywood column and photographic Bedroom, 1999 oil on canvas. leaves, natural dyes, coil-woven Aboriginal Art 1997 Bauhaus Dessau, 1928 gelatin silver SUB TOTAL 13 WORKS Bequest in memory of her mother paper; Untitled, 2000 natural floods. Purchased with funds Margaret Hannah Olley Art Trust 2001 handle, flat base. Mollie Gowing Unknown (Australia), 18 twined photograph. Purchased with funds Mary Gordon 2001 pigments on linen canvas. Don provided by the Contemporary Rupert Bunny (Australia, Acquisition Fund for Contemporary dillybags, (1996) twined pandanus provided by Jill Hawker 2001 John Peter Russell (Australia, Mitchell Bequest Fund 2001 Collection Benefactors’ Program 2000 b.1864,d.1947) Self portrait, 1890s Aboriginal Art 1997 spiralis leaves, brown synthetic Pat Brassington (Australia, b.1942), b.1858,d.1930), 7 watercolours: Timmy Timms (Australia, b.circa Lucian Freud (Germany; England, sanguine on buff wove paper with Helicopter (Australia, b.circa 1937), polymer paint. Mollie Gowing Lunch, 2000 pigment print. Purchased Storm, Belle Ile, 1905 watercolour, 1915,d.2000), Bedford Downs b.1922), Self Portrait: Reflection, 1996 blue fibre. Accessioned 2000 Yalkoora Soak, 1999 etching. Mollie Acquisition Fund for Contemporary with funds provided by the gouache on heavy wove buff paper; Massacre, 2000 natural pigments on etching on Somerset textured white Kevin Connor (Australia, b.1932), Gowing Acquisition Fund for Aboriginal Art 1997 Photography Collection Benefactors’ Landscape with houses in distance, canvas. D G Wilson Bequest Fund 2000 paper. Purchased 2000 Three figures, 1964 pen, brush and Contemporary Aboriginal Art 2000 Unknown (Australia), Bark food and Program 2000 circa 1907 pen and black ink, water container, (1996) bark. Mollie

62 63 ASIAN ART CAMBODIA / LAOS DING Yanyong (People’s Republic of design, late 17th century-early 18th 1996 charcoal, collage on white paper; Study for ‘The prediction’, (Artist’s book), late 1970s artist’s PETA PHILLIPS Khmer, 2 wine jars: 12th century-13th China, b.1902,d.1978), Guangdong, century, Edo (Tokugawa) period 1615 wove paper; Study for ‘Break-out’, 1998 charcoal, collage on white bound book: 1 leaf folded in the Janet Dawson (Australia, b.1935), CAMBODIA century stoneware with dark brown- The Eight Immortals, 1978 hanging – 1868 porcelain with underglaze 1996 charcoal, collage on white wove paper; Study for ‘Illusion ‘accordian’ style to form 26 pages, Study for ‘Foxy night’ series, 1978- Khmer, Hevajra mandala, 12th black glaze; 12th century-13th scroll; ink and colour on paper. blue, overglaze enamel and gold. wove paper; Study for ‘Evading the masters’, 1998 charcoal, collage, pen and black ink, wash, collage, 1979 pencil, black ink wash, white century-13th century bronze. Edward century stoneware with greenish- Purchased 2000 Purchased 2000 thought wardens’, 1996 charcoal, black ink on white wove paper; frottage on paper gouache on white wove paper, folded and Goldie Sternberg Southeast brown glaze. D G Wilson Bequest probably Shaanxi Province, Chinese collage on white wove paper; Study Study for ‘Where the weather lives’, Asian Art Purchase Fund 2001 NANCY GOLDFINCH THEA PROCTOR MEMORIAL FUND Fund 2001 Buddhist stele, late 5th century, VIETNAM for ‘An occurrence observed by day- 1998 charcoal, collage on white Khmer, Bayon style, Nimbus Nancy Goldfinch (Australia, b.1911), Theo Scharf (Australia; Germany, Northern Wei 386 – 535, Northern Hoi An, Dragon ewer, mid 15th night’, 1996 charcoal, collage, pencil wove paper; Study for ‘Time seed’, surmounted by a dancing ‘hevajra’, 2 paintings: From Vaucluse, 1939 oil b.1899,d.1987), 17 etchings from the CHINA dynasties 386 – 581 sandstone. century porcelain, moulded, with on white wove paper; Study for ‘A 1999 charcoal, collage on white late 12th century-early 13th century, on canvas; Merrigang Street, series ‘Night in a city’, circa 1923: Model of a horse and rider, 550 -577, Edward and Goldie Sternberg underglaze blue and white sybil travelling incognito’, 1996 wove paper; Study for ‘The watching Angkor period 802 – 1431 bronze. Bowral, 1937 oil on canvas Dusk, circa 1923 etching, black ink on Northern Qi 550 – 577, Northern Chinese Art Purchase Fund 2001 decoration. Purchased 2000 charcoal, collage on white wove eye of night’, 1999 charcoal, collage Purchased 2000 cream laid paper; Saturday evening, dynasties 386 – 581 China grey paper; Study for ‘An event in the on white wove paper; Study for ‘A PAM HALLANDAL Pam Hallandal (Australia, b.1929), circa 1923 etching, black ink on earthenware with some paint and JAPAN SUB TOTAL 9 WORKS Islands’, 1996 charcoal, collage on cool resonance’, 1999 charcoal, cream laid paper; Promenade, circa gilding. Purchased 2000 Arita ware, Shaving dish with flower GRAND TOTAL OF PURCHASED WORKS: 275 white wove paper; Study for ‘In the collage on white wove paper; Study My mother, 1979 (drawn on wood) 1999 (cut) 2000 (printed) woodcut, 1923 etching, black ink on cream laid eye of the beholder’, 1996 charcoal, for ‘The growing anvil’, 1999 paper; Closing time, circa 1923 collage on white wove paper; Study charcoal, collage on white wove black ink on thin white Korean mulberry paper etching, black ink on cream laid for ‘A sudden decision’, 1996 paper; Study for ‘The soft geometry paper; Railway station, circa 1923 charcoal, collage, wash on white of chance’, 1999 charcoal, collage on KRISTEN HEADLAM etching, black ink on cream laid GIFTS wove paper; Study for ‘On the verge white wove paper; Study for ‘The Kristen Headlam (Australia, b.1953), paper; Restaurant II, circa 1923 of becoming’, 1996 charcoal, collage cloak’, 1999 charcoal, collage on 10 prints from the The Blake suite; etching, black ink on cream laid on white wove paper; Study for ‘Exit white wove paper; Study for ‘The ‘Oh Rose’, 1996: O Rose I, 1996 paper; Cinema, circa 1923 etching, right, laughing’, 1996 charcoal, riddle of the clouds’, 1999 charcoal, drypoint, aquatint in black and pink recollection of Mazeppa’, 1985 for ‘The nest’, 1991 charcoal, collage, white wove paper; Study for black ink on cream laid paper; The AUSTRALIAN ART collage on white wove paper; Study collage on white wove paper; Study ink on ivory wove paper; O Rose II, charcoal, collage on ivory laid paper; white pastel on white wove paper; ‘Deposits in the sunbank’, 1995 music lovers, circa 1923 etching, for ‘The colonists arrive’, 1997 for ‘Connections’, 1999 charcoal, 1996 drypoint, aquatint in black and ANONYMOUS GIFT IN MEMORY OF Study for ‘The moonrise Study for ‘The equation’, 1991 charcoal, collage on white wove black ink on cream laid paper; The charcoal, collage on white wove collage on white wove paper; Study pink ink on ivory wove paper; O Rose LINA BRYANS sharpshooter’, 1985 charcoal on charcoal, collage on white wove paper; Study for ‘An unpredictable concert, circa 1923 etching, black ink paper; Study for ‘Compound echoes’, for ‘A haven for unemployed III, 1996 drypoint, aquatint in black Ian Fairweather (United Kingdom; white wove paper; Study for ‘Fort- paper; Study for ‘The beginning of evening’, 1995 charcoal, collage on on cream laid paper; Burglars, circa 1997 charcoal, collage, pencil on shadows’, 1999 charcoal, collage, and pink ink on ivory wove paper; Australia, b.1891,d.1974), West Lake, forms torn by skyquakes’, 1985 the rain’, 1991 charcoal, collage on white wove paper; Study for ‘What is 1923 etching, black ink on cream laid white wove paper; Study for pencil, black fibre-tipped pen on O Rose IV, 1996 drypoint, aquatint in Hangchow, (1933) oil and gouache on charcoal on ivory wove paper; Study white wove paper; Study for ‘Dawn the question’, 1995 charcoal, collage paper; Cabaret, circa 1923 etching, ‘Dictates of the Uncertainty Principle white wove paper; Study for black and pink ink on ivory wove paper on canvas on cardboard for ‘Depot for used shadows’, 1988 Toccata’, 1991 charcoal, collage on on white wove paper; Study for ‘At black ink on cream laid paper; After - even’, 1997 charcoal, collage, pen ‘Pandora’s gateway’, 1999 charcoal, paper; O Rose V, 1996 drypoint, charcoal, collage on white wove white wove paper; Study for the unfolding’, 1995 charcoal, collage the concert, 1923 etching, black ink NANCY BORLASE and black ink on white wove paper; collage on white wove paper; Study aquatint in black and purple ink on paper; Study for ‘The dance’, 1988 ‘Homeward returning’, 1991 charcoal, on white wove paper; Study for ‘Bird on cream laid paper; Restaurant III, Nancy Borlase (Australia, b.1914), Study for ‘Ambiguous evidence’, 1997 for ‘Meeting places’, 1999 charcoal, ivory wove paper; O Rose VI, 1996 charcoal, collage on white wove collage on white wove paper; Study calls at a fitful beginning’, 1995 1923 etching, drypoint, black ink on Night of the full moon, 1960 oil, charcoal, collage on white wove collage on white wove paper; Study drypoint, aquatint in black and paper; Study for ‘They arrived at for ‘Deployed energies’, 1991 charcoal, collage on white wove cream laid paper; Street girl, circa tempera on hardboard paper; Study for ‘Echoes from a lost for ‘Reinforcements’, 1999 charcoal, crimson ink on ivory wove paper; evening, not a moment too soon’, charcoal, collage on white wove paper; Study for ‘Checkpoint’, 1995 1923 etching, black ink on cream laid garden’, 1997 charcoal, collage on collage, black fibre-tipped pen, pen O Rose VII, 1996 drypoint, aquatint in FRED CRESS 1988 charcoal, collage on white paper; Study for ‘Re-articulations’, charcoal, collage on white wove paper; The lovers, 1923 etching, white wove paper; Study for ‘Within and white ink on white wove paper; black and pink ink on ivory wove Fred Cress (Australia, b.1938), The wove paper; Study for ‘Divisions’, 1991 charcoal, collage on white paper; Study for ‘Behind the curtain’, black ink on cream laid paper; The a waiting grove’, 1997 charcoal, Study for ‘Possible jeopardy’, 1999 paper; O Rose VIII, 1996 drypoint, visit, 1982 synthetic polymer paint 1988 charcoal, collage on white wove paper; Study for ‘The dark star’, 1995 charcoal, collage on white revelers, circa 1923 etching, drypoint, collage on white wove paper; Study charcoal, collage on white wove aquatint in black and red ink on ivory on canvas wove paper; Study for ‘Sea hints’, 1991 charcoal, collage on white wove paper; Study for ‘The vital mist’, black ink on cream laid paper; Dawn, for ‘Carnival’, 1997 charcoal, collage paper; Study for ‘Visitors’, 1999 wove paper; O Rose IX, 1996 SIR WILLIAM DOBELL ART 1988 charcoal, collage on white wove paper; Study for ‘Storm 1995 charcoal, collage on white circa 1923 etching, black ink on on white wove paper; Study for charcoal, collage on white wove drypoint, aquatint in black and purple FOUNDATION wove paper; Study for ‘A parley of warning’, 1991 charcoal, collage on wove paper; Study for ‘The irregular cream laid paper ‘Apprehended transitions’, 1997 paper; Study for ‘A session of the ink on ivory wove paper; O Rose X, Nicholas Harding (Australia, b.1956), Totems’, 1988 charcoal, collage on white wove paper; Study for ‘Games behaviour of a setting sun’, 1995 charcoal, collage on white wove secret court’, 1999 charcoal, collage 1996 drypoint, aquatint in black and SHIRLEY PURSLEY Eddy Avenue (3), 2001 black ink on white wove paper; Study for of the sun’, 1991 charcoal, collage on charcoal, collage on white wove paper; Study for ‘A guarded beach’, on white wove paper; Study for ‘An crimson ink on ivory wove paper A.H. Fullwood (Australia, , 1989 white wove paper; paper; two sheets on white wove paper ‘Guarding against euphoria’ Study for ‘Strange Study for ‘Parnassus 1997 charcoal, collage on white unclassifier resort’, 2000 charcoal, b.1863,d.1930), 2 prints: Cumberland charcoal, collage, wash on white , 1991 charcoal, collage on , 1995 charcoal, collage NORMAN AND DAPHNE MILLS LAURIS ELMS AM OBE visitation’ Interchange’ wove paper; Study for ‘A night- collage on white wove paper; Study Street, Sydney, 1920s etching, dark wove paper; white wove paper; on white wove paper; Ethleen Palmer (Australia, Shay Docking (Australia, Study for ‘Ludus Study for ‘The Study for ‘An attack’, 1998 charcoal, collage on for ‘A quorum of entities’, 2000 brown ink on brown paper; First , 1989 charcoal on white , 1991 charcoal, , 1995 charcoal, collage b.1908,d.1965), 1 drawing and 6 b.1928,d.1998), Ploughed fields at Electrica’ screen of seeming’ ordered flow’ white wove paper; Study for ‘An charcoal, collage on white wove Treasury Building in Australia wove paper; , collage on white wove paper; on white wove paper; prints: Study for ‘Burnt out, circa Mirboo North near Thorpedale, Victoria, Study for ‘Windgrids’ Study Study for unusual concurrence’, 1998 charcoal, paper; Study for ‘Three guardians - (Sydney 1823), 1923 etching, black ink 1989 charcoal on white wove paper; , 1991 , 1995 charcoal, 1952 pencil, watercolour, pastel, 1955 pencil, watercolour, gouache for ‘Caught in a lunar synthesis’ ‘Guardian posts’ collage on white wove paper; Study two active, one retired’, 2000 on ivory wove paper , 1989 charcoal, collage on white wove collage on white wove paper; gouache on ivory wove paper; Burnt Study for ‘Morning strategies’ Study for ‘Iphegenia in Aulis’, 1998 charcoal, collage on white wove Hilda Rix Nicholas (Australia, GWEN FROLICH charcoal on white wove paper; paper; , , 1995 out, 1952 colour screenprint on ivory Study for ‘Metamorphosis’ for ‘A trick of memory’ charcoal, collage on white wove paper; Study for ‘The home-coming b.1884,d.1961), Costume de Fête, Charles Blackman (Australia, b.1928), , 1989 charcoal, 1991 charcoal, collage on white charcoal, collage on white wove wove paper; Long reef, 1950 colour Study for ‘Estuary’ paper; Study for ‘The dream of of Agamemnon’, 2000 charcoal, Finistère, 1925-1926 coloured pastel (Sunbathers), circa 1953-circa 1954 collage on white wove paper; wove paper; paper; , screenprint on thick buff paper; The Study Study for ‘Threads in Study for ‘The judgement’ Galileo’, 1998 charcoal, collage on collage on white wove paper; Study on ivory wove paper charcoal on thin buff wove paper for ‘Study for ‘Sky divisions the pattern’, 1991 charcoal, collage 1995 charcoal, collage on white breaking wave, 1949 colour white wove paper; Study for ‘Cythera for ‘A beckoning terminus’, 2000 ALAN AND JANCIS REES gathering’, 1989 charcoal, collage on on white wove paper; Study for ‘The wove paper; Study for ‘The oration’, screenprint on ivory wove paper; ‘At HELEN GLAD IN MEMORY OF HER Revisited’, 1998 charcoal, collage on charcoal, collage on white wove Lloyd Rees (Australia, b.1895,d.1988), white wove paper; Study for ‘The chrysalis dreams of empire’, 1991 1995 charcoal, collage on white peace that eve...’, 1949 colour MOTHER JANE GLAD (LINDSAY) white wove paper; Study for ‘A paper; Study for ‘An invisible place 21 associated proofs and early states theatre’, 1989 charcoal on white charcoal, collage on white wove wove paper; Study for ‘A tentative screenprint on thick buff paper; The AND DAVID BRIAN guarded beach’, 1998 charcoal, made manifest’, 2000 charcoal, of the portfolio Tribute to light, 1987- wove paper; Study for ‘The Ear of paper; Study for ‘The waiting calm’, 1995 charcoal, collage on dead trees, 1949 colour screenprint David Brian Wilson (Australia, collage on white wove paper; Study collage on white wove paper; Study 1988: Western sky, 1987-1988 Dionysos’, 1989 charcoal, collage on garden’, 1991 charcoal, collage on white wove paper; Study for ‘A on cream wove paper; (Leaping b.1946,d.1998), (Dead) hawk, 1996 oil for ‘Aspiring echoes’, 1998 charcoal, for ‘Dramatis personae’, 2000 lithograph; Western sky, 1987-1988 white wove paper; Study for ‘The white wove paper; Study for ‘Fossils coded message’, 1995 charcoal, deer), circa 1944-1958 colour on canvas collage on white wove paper; Study charcoal, collage on white wove five-colour lithograph; The two time of the hammer’, 1990 charcoal of the devious air’, 1991 charcoal, collage on white wove paper; Study screenprint on thick buff paper JAMES GLEESON for ‘Headland’, 1998 charcoal, paper; Study for ‘Rising to the night’, peaks, Southern Tasmania, 1988 on white wove paper; Study for ‘The collage on white wove paper; Study for ‘The conference’, 1995 charcoal, James Gleeson (Australia, b.1915), collage on white wove paper; Study 2000 charcoal, collage on white TRANSFERRED FROM THE NEW lithograph; The two peaks, Southern green oracle’, 1990 charcoal, collage for ‘At the start of the long river’, collage on white wove paper; Study 142 drawings and 3 artist’s books: for ‘Arriving with the night’, 1998 wove paper; Study for ‘The citadel SOUTH WALES STATE Tasmania, 1988 two-colour on white wove paper; Study for ‘The 1992 charcoal, collage on white for ‘A disrupted cliff’, 1995 charcoal, Study for ‘Land fall’, 1982 charcoal on charcoal, collage on white wove attacked’, 2000 charcoal, collage on GOVERNMENT lithograph; The boat race, 1987-1988 cloud quarry’, 1990 charcoal, wove paper; Study for ‘The authority collage on white wove paper; Study light green laid paper; Study for paper; Study for ‘The gathering’, 1998 white wove paper; Study for ‘A (Australia, lithograph; The boat race, 1987-1988 squared with pencil on white wove of the shell’, 1992 charcoal, collage for ‘A coded signal’, 1995 charcoal, ‘Activated still-life’, 1983 charcoal on charcoal, collage on white wove discourse at Olympus’, 2000 b.1871,d.1955), The boatshed, four-colour lithograph; Sunshine in paper; Study for ‘Clouded answers’, on white wove paper; Study for ‘The collage on white wove paper; Study light grey-green laid paper; Study for paper; Study for ‘A memory bank’, charcoal, collage on white wove Narrabeen Lakes, 1942 oil on canvas Victoria, 1988 lithograph, umber ink 1990 charcoal, collage, squared with pool’, 1993 charcoal, collage on for ‘A decision of the clouds’, 1996 ‘Games in a bad-weather creche’, 1998 charcoal, collage on white paper; Study for ‘A congregation’, MARGARET HANNAH OLLEY on grey paper; Sunshine in Victoria, pencil on white wove paper; Study white wove paper; Study for ‘The charcoal, collage on white wove 1983 charcoal on ivory wove paper; wove paper; Study for ‘Enclave’, 1998 2000-2001 charcoal, collage on white ART TRUST 1988 lithograph; Sunshine in Victoria, for ‘The prepared grove’, 1990 onset’, 1993 charcoal, collage on paper; Study for ‘In the range of Study for ‘Locus Ganesa’, 1983 charcoal, collage on white wove wove paper; (Artist’s book), late (Australia, b.1961), 2 1988 lithograph; Tribute to Jørn charcoal, collage, pencil, squared white wove paper; Study for ‘Aurora memory’, 1996 charcoal, collage, Amanda Robins charcoal on ivory wove paper; Study paper; Study for ‘A darkness 1970s-1983 artist’s bound book: 15 drawings: , 2000 Utzon, 1988 lithograph; Tribute to with pencil on white wove paper; sapiens’, 1994 charcoal, collage on wash on white wove paper; Study Linen dress for ‘Lapsed exemplars’, 1984 constrained’, 1998 charcoal, collage leaves, 28 drawings on 30 pages, pen charcoal, black and white pastel on Jørn Utzon, 1988 two-colour Study for ‘An autumn incident’, 1991 white wove paper; Study for ‘Quasi- for ‘Reluctant Adam’, 1996 charcoal, charcoal on white wove Arches on white wove paper; Study for ‘A and black ink, wash, collage, frottage white Arches paper; lithograph; Tribute to Jørn Utzon, charcoal, collage on white wove recollections of a Venetian winter’, collage on white wove paper; Study Francisco Satine paper; Study for ‘Garden with memory mis-remembered’, 1998 on paper; (Artist’s book), late 1970s , 2001 1988 lithograph, black ink on cream paper; Study for ‘Genesis’, 1991 1994 charcoal, collage on white for ‘The fallacy of autumn’, 1996 Lezcano riding the unicycle excised maze’, 1984 charcoal on charcoal, collage on white wove artist’s bound book: 15 leaves, 28 black, grey, white and ochre pastel paper; Tribute to Jørn Utzon, 1988 charcoal, collage, squared with wove paper; Study for ‘The message charcoal, collage on white wove ivory wove paper; Study for ‘The paper; Study for ‘The seer’, 1998 drawings on 30 pages, pen and black on white wove paper, laminated onto lithograph, black ink on ochre pencil on white wove paper; Study arrives’, 1995 charcoal, collage on paper; Study for ‘Reliable evidence’, coast near Coolum augmented by a charcoal, collage on white wove ink, wash, collage, frottage on paper; canvas ‘Bemboka’ paper; Tribute to Jørn

64 65 Utzon, 1988 lithograph; Summer and brown ink on cream wove paper; paper; Standing figure of a woman Figure drawing, pencil on white wove paper; Cathedral (Notre Dame) with (recto) ‘The Hermitage’ (verso), black David Strachan (Australia; England, 290 gsm paper; Ithaca VII, 1997 soft- morning, Tasmania, 1988 lithograph, Homme entrant dans l’eau, pen and (recto) [chalk tracing] (verso), pencil paper; Head (recto) Abstract head scaffolding, 1952-1953 pencil on ball-point pen on cream wove paper; b.1919,d.1970), Printing plate for ‘The ground etching, hard ground etching, black ink on ‘Bemboka’ paper; brown ink on cream wove paper; and yellow chalk; Figure at window, (verso), pencil and conte crayon on cream wove paper; Woman with Woman next to bath, black ball-point Blind Man’, poem and vignette,1951 drypoint, black ink on white Fabriano Summer morning, Tasmania, 1988 L’homme et sons ombre, pen and back view, pencil on cream wove cream wove paper; Man behind bars Cathedral in background, 1952-1953 pen on cream wove paper; Three zinc plate 290 gsm paper; Ithaca VIII, 1997 soft- lithograph, black ink on ochre brown ink on cream wove paper; paper; Figure drawings (recto and (recto) Drawing of figure and of pencil on cream wove paper; figures, black ball-point pen on David Strachan (Australia; England, ground etching, hard ground etching, ‘Bemboka’ paper; Summer morning, Tête d’animale, pen and brown ink verso), pen and ink on cream wove hands (verso), (1950) blue ink on Woman and chair with cathedral in cream wove paper; Figure outside b.1919,d.1970), 2 paintings: Man in drypoint, black ink on white Fabriano Tasmania, 1988 lithograph, black and on cream wove paper; Plant forms paper (folded in half); Head of a man, Velin de Johannot paper (page from the background, 1952-1953 pencil on buildings (figure on a stage set?), singlet and hat (Study for figure in 290 gsm paper; Ithaca IX, 1997 soft- cream ink on ochre ‘Bemboka’ paper; (recto and verso), pen and black ink pencil on cream wove paper; Head Accent and Hazard); Sheet of various cream wove paper; Woman and pencil on cream wove paper; Hill End Landscape), 1966 synthetic ground etching, hard ground etching, Spring morning, 1988 lithograph; on cream wove paper; Portrait (recto of a man, pen and black ink on cream drawings, black ink on white wove chair, circa 1952 charcoal, ink on Abstract form, charcoal on white polymer paint and pastel on cream drypoint, black ink on white Fabriano Spring morning, 1988 five-colour and verso), blue pen on brown laid wove paper; Head of a man, brown paper; Row boats on beach (recto cream wove paper; Woman and wove paper; Flowers and abstract wove paper; Study for ‘Head of a 290 gsm paper; Ithaca X, 1997 soft- lithograph; recto: Veteran tree, Bruny paper; Plant forms (recto and verso), and black ink on cream wove paper; and verso), ink, watercolour and chair, circa 1952 pencil on cream form in a vase (recto and verso), girl’, 1947, circa 1947 oil on paper ground etching, hard ground etching, Island; verso: Veteran tree, Bruny gouache on black wove paper; Man’s Head (recto) Woman’s torso, sitting charcoal on thin cardboard; Drawing wove paper; Woman and chair, circa pencil on white wove paper; Vase Jacques Villon (France, drypoint, black ink on white Fabriano Island, 1988 lithograph; Veteran tree, reclining head with blindfold, etching (verso), pencil on cream wove paper; of villa, pencil on cream wove paper; 1952 blue ink pen, pencil and wash with abstract form (recto) Abstract b.1875,d.1963), Untitled (abstract), 290 gsm paper Bruny Island, 1988 lithograph on cream wove paper; Sleeping dog, Study of a young man, brown and Village (Kerdruc?) at the foot of a hill on cream wove paper; Woman and form (verso), charcoal on white wove colour lithograph ELLEN WAUGH Lloyd Rees (Australia, b.1895,d.1988), screenprint on cream wove paper; black ink on cream wove paper; (recto) Drawing of a woman (verso), chair, circa 1952 black fibre-tipped paper; Tree, pencil on cream wove PENELOPE SEIDLER Douglas Watson (Australia, Breezy day, Lane Cove River, 1980 Abstract, colour monotype on cream Figure and head studies, brown ink circa 1953-circa 1955 pencil, pen and pencil on cream wove paper; Flower study, charcoal Dick Watkins (Australia, b.1937), b.1920,d.1972), 1 lithograph, 2 lithograph, black ink on white wove paper; Fish, 1936 colour on white wove paper; Drawings of charcoal on cream paper; Church paper; drawing for An Angel bearing David Strachan (Australia; England, Untitled, 1970 synthetic polymer paint etchings and 14 drawings: Old age Johannot paper etching using two plates on cream man’s head and a fish, pencil on interior, Kerdruc Brittany, circa 1953- a palm branch, circa 1952 pencil on b.1919,d.1970), 2 sketchbooks: on canvas pensioner, London, lithograph, black wove paper; Still life (recto and cream wove paper; Three male circa 1955 pencil and watercolour cream wove paper; study for Angel Sketchbook (Thirty-four sketches of MRS VERONICA ROWAN SYDNEY ORGANISING COMMITTEE ink on ivory wove paper; Self portrait, Jean Bellette (Australia, verso), ink and gouache on cream nudes (recto) Writing (verso), blue wash on cream wove paper; Village bearing a palm branch (recto) study circus figures, female figures, etching, brown ink on buff wove wove paper; Still life (recto and ball-point pen on white wove paper; street with cathedral spire, Kerdruc, for etching ‘A hand holding dividers’ abstract landscapes), bound FOR THE OLYMPIC GAMES (SOCOG) b.1909,d.1991), 5 drawings: Four 8 prints from the portfolio The paper; Self portrait, etching, black ink figures, pencil and brown oil paint on verso), ink and gouache on cream Figure crouching, brown ink on white Brittany, circa 1953-circa 1955 pencil (verso), circa 1952 pencil on cream sketchbook: 31 leaves, 34 drawings, on ivory laid paper; (Young man’s wove paper; Still life, ink and wove paper; Two figures in front of on cream wove paper; Tracing of wove paper; Study for ‘Crossed mixed media on cream wove paper; Sydney 2000 Olympic Fine Art cream wove paper; Woman lying on Collection, 1998: Gordon Bennett head in profile), pencil on ivory her side, circa 1944 brown ink and gouache on cream wove paper; Still arched windows, black ink on cream church interior, Kerdruc Brittany (?), arms’, circa 1952 pencil on cream Album of sketches, circa 1937-circa machine wove paper; recto: (Seated life, ink and gouache on cream wove wove paper; Four Figures (recto) circa 1953-circa 1955 pencil on white wove paper; Drawing for ‘A 1938 bound album of twenty-eight (Australia, b.1955), Home decor wash on cream wove paper; Two (Counter composition) Black Swan, man) verso: (Portrait of a young drawings of a man’s head, circa 1944 paper; Still life, ink and gouache on Head of a man (verso), charcoal and wove paper; Abstract study of tree Kerosene lamp and two stars’, circa sheets with two loose sheets man), pencil on ivory wove paper; cream wove paper; Still life, ink and pencil on cream wove paper; Couple lined street, charcoal on white wove 1952 pencil and black pen on cream David Strachan (Australia; England, 1998 five colour lithograph from 5 pencil on cream wove paper; Three aluminium plates on white wove (Portrait of a young man gazing figures, circa 1944 pencil and ink on gouache on cream wove paper at window (recto) Study of man’s paper; St. Malos Church, pencil on wove paper; Torch and palm branch, b.1919,d.1970), 14 prints: Head of a upwards), pencil on buff wove paper; Sir Eduardo Paolozzi (Scotland, torso and hands holding pipe (verso), cream wove paper; St Eulalia Church pencil on cream wove paper; Study man, colour monotype on cream paper; Brian Blanchflower (England; cream wove; Landscape, charcoal Australia, b.1939), Nocturne, 1999 Frilled lizard, pen and brown ink, grey Rupert Bunny (Australia, b.1924), Untitled (abstract), lithograph charcoal and pastel on cream wove (?), Brittany, circa 1953-circa 1955 for etching ‘The fisher family’, circa wove paper; Untitled (bird flying over wash on pink wove paper; (Reclining on cream wove paper paper; Female nude back view, pen, black fibre-tipped pen and pencil; 1952 pencil on cream wove paper; pond with fish), etching and aquatint aquatint on steel, stencil on off-white b.1864,d.1947), Seated female nude, Magnani 300 gsm paper; Louise female nude), black conté on ivory black ink on cream wove paper B Rakoczi (active 1952), Untitled ink and wash on cream ruled wove Interior of a church, Kerdruc, circa Study for the etching ‘The fisher on cream wove paper; Christmas laid paper; recto: (Standing female (Man riding rooster), 1952 lithograph paper; Two male and a female nude, 1953-circa 1955 pencil on cream family’, circa 1952 pencil on brown card with figure and bird, etching Forthun (Australia, b.1959), The red Douglas Dundas (Australia, bridge, 1999 aquatint on copper in nude with robe) verso: (Group of b.1900,d.1981), Drawings of street on white laid paper pencil on brown wove paper; Figure wove paper; Study for ‘Concarneau’ wove paper; Drawing for ‘Two and aquatint; Christmas card with figures), pencil on ivory wove paper; Alan Reynolds (United Kingdom, studies, pencil on Johannot paper; (recto and verso), 1955 ink, wash, figures holding a block of stone’, vase of flowers in front of landscape, red ink on off-white Somerset 300 scenes (Balmain?) (recto and verso), gsm paper; Fiona Hall (Australia, (Standing female nude with chair), pen, ink and pencil on cream b.1909,d.1979), 2 prints: Untitled Portrait of a woman (recto) Still life charcoal on brown wove paper; circa 1952 pencil on cream wove etching and aquatint; Print based on pen and black ink, brown conté on (landscape), lithograph on white wove b.1953), Bloodline, 1999 four colour wove paper study (verso), pencil on brown wove Building (Kerdruc?), circa 1953 pencil paper; Man reaching for Axe (recto) the painting ‘Flowers with a face and buff wove paper; recto: (Male nude paper; Untitled (landscape) (recto) photolithograph from 4 aluminium Moya Dyring (Australia, b.1908,d.1967), paper; Male nude lying down, pencil on cream wove paper; Outlines of Hammer (verso), circa 1952 pencil on pheasant’, etching and aquatint; from rear, bending forwards) verso: Untitled (figures in landscape) (verso), plates on white Arches Satin 300 gsm 2 drawings: Two figures in boat on white wove paper; Two drawings figures and drawings of rowboats, cream wove paper; Figure and mule Christmas card with faces of three (View of the top of a tower), recto: lithograph on white wove paper paper; Bea Maddock (Australia, , brown ink and wash of a woman - one crouching, one pencil on cream wove paper; Study ploughing land, circa 1952 pencil on sailors, etching on cream wove fishing on lake b.1934), Gathering, 1999 coloured ink- pencil on buff laid paper verso: on cream laid paper; Len Reynolds (Australia), Portrait of resting head on arms holding flower, for painting ‘Kerdruc’, 1953 pencil cream wove paper; Hands holding paper; Christmas card with woman’s Man and woman wash stencil with letterpress, photo- pencil, watercolour on buff laid on back of cart, brown ink and wash man, pencil on cream wove paper pencil on white wove paper; Female and ink on cream wove paper; Street engraving tool, circa 1952 pencil on face, flowers and bird, etching on etching, engraving, roulette on zinc, paper; recto: (Young man in cap, on cream laid paper Ceri Richards (Wales, b.1903,d.1971), nude (possibly student life drawings), Scene, Kerdruc (?), circa 1953-circa cream wove paper; Figure drawing cream wove paper; Cathedral, on white Magnani paper; seated) verso: (Man in coat and top André Masson (France, 3 prints: Untitled (woman at piano), pencil on cream wove paper; Seated 1955 pencil on cream wove paper; (recto) Man carrying boxes on Façade of Notre Dame, (1953) hat from rear), pencil on ivory laid lithograph on cream wove paper; female nude (recto) Nude studies Three female figures, charcoal, shoulder (verso), circa 1952 pencil on etching and aquatint on cream wove Queenie McKenzie (Australia, b.1896,d.1987), Untitled (crayfish), b.1925,d.1998), Gija people, 1998 paper; (Head of a woman), pencil on aquatint on white wove paper Untitled (park and town square), (verso), pencil on cream wove paper; pencil and black fibre-tipped pen on cream wove paper; Man carrying paper; Cathedral, Façade of Notre ivory laid paper, with traces of lithograph on white Rives paper; colour etching on off-white Arches Godfrey Miller (Australia, Nude study back view (recto) Male cream wove paper; Study for the boxes on shoulder (recto and verso), Dame, (1953) etching and aquatint on sanguine; (Figure in a coat and two Untitled (interior), 1950 lithograph on 270 gsm paper; Imants Tillers b.1893,d.1964), 10 drawings: Ship, nude seated on chair (verso), pencil ‘Metamorphosis (the Dead Man)’ in circa 1952 pencil on cream wove cream wove paper; Cathedral, figures in background), reed pen and cream wove paper on cream wove paper; Male torso ‘Accent and Hazard’, (1950) pencil on paper; Drawing for the painting ‘The Façade of Notre Dame, (1953) (Australia, b.1950), The year two pencil on cream wove paper; Horse, thousand, 1998 colour woodcut and brown ink, wash on ivory wove pencil on cream wove paper; Michel Seuphor (France; Belgium, and legs, pencil on brown wove cream wove paper; Study for ‘Man fisher family ‘, 1945 pencil and black etching and aquatint on Velin de paper; (Study of a courtyard with b.1901) after Piet Mondrian paper; Woman lying on her side, holding a dead bird’ illustration for ink on cream wove paper; Drawing Johannot paper; Cathedral, Façade linocut, from four blocks, on Fabriano Abstract forms, pencil on cream 290m gsm paper; GUAN Wei (China; Gothic monument), pencil, carbon wove paper; Reclining figure, pencil (, b.1872,d.1944), Textuel pencil on white wove paper; Man the poem ‘The criminal’ in ‘Accent for the painting ‘The fisher family ‘, of Notre Dame, (1953) etching and pencil on thick ivory wove Manifesto, circa 1951 lithograph on and woman lying (recto) Figure lying and Hazard’, (1950) brown ink on 1945 pencil and black ink on cream aquatint on Velin de Johannot paper; Australia, b.1957); Under the on cream wove paper; Figure study - Southern Cross, 1999 colour (watercolour) paper; (Study of a back view, pencil on white wove cream wove paper (verso), pencil on cream wove paper; cream wove paper; Study for ‘The wove paper; Sheet of various Cathedral, Façade of Notre Dame, doorway), pencil on ivory machine Jeffrey Smart (Australia, b.1921), 3 Two figures one embracing the other, criminal’ in ‘Accent and Hazard’ drawings in three sections; Mother (1953) etching and aquatint on Velin lithograph, four colours on off-white paper; Figure study - back view, Somerset 300 gsm paper wove paper; (Japanese soldiers), pencil on white wove paper; drawings: Staircase with street lights blue ball-point pen on white wove (recto) Figure with outstretched arms and child, leaf and plant studies, de Johannot paper; Cathedral, pen and black and purple inks, Reclining figure (recto) Seated figure and dome in the background, black paper; Male figure crouching (recto) (verso), (1950) blue ink and pencil on pencil, pen and ink on cream wove Façade of Notre Dame, (1953) AIDA TOMESCU watercolour on ivory wove paper (verso), pencil on cream wove paper; fibre-tipped pen on Japanese cream Figure bending (verso), pencil on cream wove paper; Drawing for ‘The paper; Donkey, pencil on cream etching and aquatint on cream wove Aida Tomescu (Romania; Australia, wove paper; Staircase with figures, white wove paper; Seated male criminal’ in ‘Accent and Hazard’, wove paper; Dog, conte crayon on paper; Cathedral, Façade of Notre b.1955), 10 prints from the series FRED WILLIAMS Reclining female figure (recto) Fred Williams (Australia, Seated female figure (verso), pencil streetlights and dome in the nude, pencil on white wove paper; (1950) blue ink on white wove paper; cream wove paper; Donkey, pencil Dame, (1953) etching and aquatint on Ithaca, 1997: Ithaca I, 1997 soft- background, black fibre-tipped pen Male nude lying on his side, pencil Flower bouquet, Studies for ‘Accent on cream wove paper; Donkey, Velin de Johannot paper ground etching, hard ground etching, b.1927,d.1982), 2 prints: Hillock, 1978 on cream wove paper; Figure lithograph, black ink on BFK Rives drawing (recto) Top half of drawing on Japanese cream wove paper; on white wove paper; Male figure and Hazard’, (1950) pencil on cream pencil on cream wove paper; The David Strachan (Australia; England, drypoint, black ink on white Fabriano Explanation note of drawings, pencil (recto) Tonal washes (verso), brown wove paper; Tracing for ‘The Blind nativity, black ball-point pen on b.1919,d.1970) and Jacques Murray 290 gsm paper; Ithaca II, 1997 soft- paper; Murray River landscape, 1975 of female nude signed ‘A. Black’ lithograph, black and ox blood ink (verso), pencil on cream wove paper; on Japanese cream wove paper ink, wash and pastel on cream wove man’ in ‘Accent and Hazard’, 1951 cream wove paper; Female nude, (France), 4 prints: Proof for book ground etching, hard ground etching, David Strachan (Australia; England, paper; Male figure back view, brown pencil, pen and ink and scraping out black ball-point pen on cream wove cover of ‘Accent and Hazard’, colour drypoint, black ink on white Fabriano from two plates on Aquarelle Arches Reclining figure (recto) Drawing of Satiné paper (probably not by Miller) b.1919,d.1970), 120 drawings: Figure and blue ink and wash; Boy standing, on cream wove paper; Drawing of paper; Man leaning on lamp post etching on cream wove paper; Proof 290 gsm paper; Ithaca III, 1997 soft- (verso), pencil on cream wove paper drawing, pencil on cream wove brown and blue ink and wash; Head dividers with surrealist motif, 1952- with woman in doorway, black ball- for book cover of ‘Accent and ground etching, hard ground etching, BEQUEST OF THERESE WINTER Jacques Murray (France), 21 paper; Figure Drawing (recto) Figure of a man, pencil on white wove 1953 pencil on cream wove paper; point pen on cream wove paper; Hazard’, (1950) colour etching on drypoint, black ink on white Fabriano Francis Lymburner (Australia, drawings: Souvenir, pen and brown working on printing plate (verso), paper; Tracing of a man’s head Face behind divider with buildings in Man cooking, black ball-point pen on cream wove paper; Proof for the 290 gsm paper; Ithaca IV, 1997 soft- b.1916,d.1972), The fortune teller, ink on cream wove paper; Une blue fibre-tipped pen and pencil on (recto) Monotype of man’s head the background, 1952-1953 pencil on cream wove paper; Reclining male figure in ‘The Muse’ from ‘Accent ground etching, hard ground etching, pen and black ink, wash on ivory femme se des habitant, pen and cream wove paper; Male nude with (verso), pencil and colour monotype cream wove paper; Two faces nude with fig leaf, black ball-point and Hazard’, (1950) etching on Velin drypoint, black ink on white Fabriano wove paper boy, pencil on cream wove paper; on cream wove paper; Study of behind divider, 1952-1953 pencil on pen on cream wove paper; Two male de Johannot paper; The Fisher brown ink on cream wove paper; 290 gsm paper; Ithaca V, 1997 soft- SALVATORE ZOFREA Man holding shield and figure woman’s head, pencil on cream cream wove paper; Cathedral, nudes and woman in coat, black ball- Family (recto) Early proof for the Canard, pen and brown ink on cream ground etching, hard ground etching, Salvatore Zofrea (Australia, b.1946), 1 drawing of woman, pencil on cream wove paper; Portrait study of man, Façade of Notre Dame, circa 1952 point pen on cream wove paper; figure in ‘The muse’ in ‘Accent and wove paper; Vase (recto) Abstract drypoint, black ink on white Fabriano drawing, 2 prints and 2 prints block & wove paper; Woman with bowl of pen and black ink on cream wove pencil on cream wove paper; Large man in saloon, black ball-point Hazard’ (verso), (1950) colour etching drawings (verso), pen and brown ink 290 gsm paper; Ithaca VI, 1997 soft- plates: Self portrait, 1965 pencil on fruit and drawing of blacksmith, paper; Figure with arm shielding Cathedral, Façade of Notre Dame, pen on cream wove paper; Three (recto) on cream wove paper; on cream wove paper; Profile, pen ground etching, hard ground etching, pink laid paper on cardboard; The collage, pencil on cream wove head, pencil on white wove paper; 1952-1953 pencil on white wove women with babies at their feet etching (verso) on cream wove paper drypoint, black ink on white Fabriano

66 67 kiss, 2000 woodcut, black ink on white Japanese Hitachi paper; My woodblock; Working at Coles, 1994- AMANDA AND ANDREW LOVE CAZNEAUX FAMILY modelled with minimal harness detail 20th century , natural dyes; supplementary weft weave white hitachi paper; Stephanie, 2000 paintings on the chook yard shed, 1999 Jelutong woodblock; Love at John Young (Australia, b.1956), Harold Cazneaux (New Zealand; DR JOHN YU & DR GEORGE Flores, Lio people, Woman’s skirtcloth Sumatra, people, Trapping, woodcut, black ink on white hitachi 1994-1999 woodblock print; black ink the railway station, 1994-1999 Cloud and generic flower study #2, Australia, b.1878,d.1953), Getting SOUTTER (‘lawo redu’), 20th century handspun circa 1940 beadwork on cotton paper; Woodblock for ‘Stephanie’, on heavy white Japanese Hitachi Magnolia woodblock; Las Ramblas, Summer-Autumn 1998 NECO scan ready for bed, 1914 gelatin silver Longquan ware, Zhejiang Province, cotton, natural dyes; warp ‘’ stitched to leather with tassled and 2000 kauri pine woodblock bonded to paper; My first one man show, 1994- Barcelona, 1994-1999 Magnolia and oil on canvas. photograph Vase, 1368-1644, Ming dynasty 1368 – Lampung, Sumatra, Paminggir beaded edging strung on timber frame and decorated with shells and coins particle board; Woodblock for ‘The 1999 woodblock print; black ink on woodblock; The bordello, Barcelona, MARGARET OLLEY BRIAN AND NANCY FINCH 1644 celadon people, 2 ceremonial cloths kiss’, 2000 kauri pine woodblock heavy white Japanese Hitachi paper; 1994-1999 Magnolia woodblock; Lucian Freud (Germany; England, Henri Mallard (Australia, (‘tampan’), 19th century handspun Sumba, Man’s shawl or mantle bonded to particle board The watertrap, 1994-1999 woodblock Gaudi’s ‘La Sagrada Familia’, 1994- b.1922), After Chardin, 2000 etching b.1884,d.1967), 2 gelatin silver INDIA cotton, natural dyes; supplementary (‘hinggi’) with design of heraldic Salvatore Zofrea (Australia, b.1946), print; black ink on heavy white 1999 marine ply woodblock on Somerset textured white paper photographs: The black sail, 1952 BARBARA BEIBOER-ALLEN weft weave; early 20th century lions, circa 1975 cotton, dyes; warp 31 woodcuts from the suite Japanese Hitachi paper; Ironing at Salvatore Zofrea (Australia, b.1946), 2 Giorgio Morandi (Italy, Still life, 1959 Puri, Orissa, Circular painting of the handspun cotton, natural dyes; ‘ikat’ and supplementary warp weave Appassionata, 1994-1999: The boy the factory, 1994-1999 woodblock drawing books of preliminary studies Jagannatha trinity, early 20th supplementary weft weave Sumba, Woman’s skirtcloth, 20th b.1890,d.1964), Still life with five ALAN MATTHEWS frightened by the sea, 1994-1999 print; black ink on heavy white for the Appassionata suite, 1994- objects, 1956 etching century-mid 20th century gouache on Lampung, Sumatra, Ceremonial cloth century cotton, dyes; warp ‘ikat’ and woodblock print; black ink on heavy Japanese Hitachi paper; Working at 1999: Drawing book for Appassionata: Simone Mangos (Australia; Germany, cotton (‘pata’) (‘tatibin’), 20th century handspun supplementary warp weave white Japanese Hitachi paper; The Coles, 1994-1999 woodblock print; book no. 4, 1994-1999 42 pages of MIKE PARR b.1959), Well, 1986 cibachrome Puri, Orissa, Jagannatha, cotton, natural dyes; supplementary Sumbawa, Semawa people, brocade clock tower at Messina, 1994-1999 black ink on heavy white Japanese drawings 20 leaves/40 pages of white Mike Parr (Australia, b.1945), 4 type photograph Balabhadra and Subhadra, circa weft weave tube skirt (‘tembe’ or ‘kere’), 20th woodblock print; black ink on heavy Hitachi paper; Love at the railway Arches paper 2 buff fly leaves, one at C photographs: Blackleg 1880 gouache on paper with varnish Lampung, Sumatra, Kauer people, century cotton, dyes, metallic thread; white Japanese Hitachi paper; The station, 1994-1999 woodblock print; front, one at back of book; Drawing (Mama/Papa), 1993 (printed 2001) 4 SUB-TOTAL OF GIFTED PHOTOGRAPHY over Woman’s ceremonial skirt (‘tapis’), supplementary weft weave Arabs at Port Said, 1994-1999 black ink on heavy white Japanese book for Appassionata: book no. 5, type C photographs WORKS: 9 Puri, Orissa, Jagannatha, late 19th century-early 20th century Tenganan, Bali, Ceremonial cloth woodblock print; black ink on heavy Hitachi paper; Las Ramblas, 1994-1999 41 pages of drawings 20 Mike Parr (Australia, b.1945), 3 type TOTAL OF GIFTED INTERNATIONAL ART Balabhadra and Subhadra enshrined cotton, natural dyes, lead-backed (‘’), 20th century silk, white Japanese Hitachi paper; Barcelona, 1994-1999 woodblock leaves/40 pages of white Arches C photographs: Cathartic action: WORKS: 68 in a temple, circa 1930 gouache on mirror pieces (‘cermuk’); satin stitch natural dyes; double ‘ikat’ Through the Suez Canal, 1994-1999 print; black ink on heavy white paper 2 buff fly leaves, one at front, social gestus No. 5, 1977 (printed cotton (‘pata’) with varnish over and couched embroidery Tenganan, Bali, Ceremonial cloth woodblock print; black ink on heavy Japanese Hitachi paper; The one at back of book 2001) 3 type C photographs ASIAN ART Puri, Orissa, The Jagannatha trinity, Lombok, Ceremonial cloth, circa 1985 (‘geringsing sanen empeg’), 20th white Japanese Hitachi paper; The bordello, Barcelona, 1994-1999 Mike Parr (Australia, b.1945), 4 BHUTAN circa 1900 gouache on paper handspun cotton, natural dyes; century cotton, natural dyes; double Customs Chocolate Heart, 1994-1999 woodblock print; black ink on heavy SUB-TOTAL OF GIFTED AUSTRALIAN ART gelatin silver photographs: ALEX BIANCARDI Puri, Orissa, The Jagannatha trinity supplementary weft weave ‘ikat’ woodblock print; black ink on heavy white Japanese Hitachi paper; WORKS: 523 Intergration 3 (leg spiral), 1975 2 shawls (‘jangshem ’), 20th enshrined in a temple, early 20th Lombok, Man’s skirtcloth (‘kereng’), Tenganan, Bali, Ceremonial cloth white Japanese Hitachi paper; Gaudi’s ‘La Sagrada Familia’, 1994- (printed 2001) 4 gelatin silver century cotton, dyes; supplementary century-mid 20th century gouache on 20th century cotton, natural dyes; (‘kamben geringsing’), 20th century Catching the Manly ferry, 1994-1999 1999 woodblock print; black ink on INTERNATIONAL ART photographs weft weave cotton (‘pata’) with red gouache or supplementary weft weave cotton, natural dyes; double ‘ikat’ Mike Parr (Australia, b.1945), 3 woodblock print; black ink on heavy heavy white Japanese Hitachi paper EUROPEAN ART BEFORE 1900 lacquer on verso Palembang, Sumatra, Malay people, Tenganan, Bali, Waistsash, videos: Mike Parr performances, white Japanese Hitachi paper; My Salvatore Zofrea (Australia, b.1946), ACCESSIONED 2000 BURMA ‘kain ’ shouldercloth, breastcloth, circa 1900 silk, natural 1972-1975 colour and black and white BEQUEST OF ALEX BIANCARDI mother and father together again, 31 woodcuts for the Appassionata Rembrandt van Rijn (Netherlands, ALEX BIANCARDI skirtcloth, 20th century silk, gold dyes; weft ‘ikat’ video, sound 39 minutes 30 seconds Gujarat, made for the Indonesian 1994-1999 woodblock print; black ink suite, 1994-1999: The boy frightened b.1606,d.1669), 3 prints: The Virgin Amarapura, ‘Acheik’ design fragment thread, natural dyes; supplementary Toraja, Sulawesi, Dutch duration; Family under water, 1978 market, ‘patola’ shouldercloth, on heavy white Japanese Hitachi by the sea, 1994-1999 Kauri pine and Child with the cat and snake, of a , 20th century silk, dye; weft weave (‘songket’) manufactured for the Toraja market, black and white video, sound 30 9th century silk, natural dyes; paper; Selling vegetables door to woodblock; The clock tower at 1654 etching; Samuel Manasseh Ben interlocking tapestry weave Palembang, Sumatra, Malay people, sacred heirloom banner (‘sarita’), minute repeater; Pushing a camera double ‘ikat’ door, 1994-1999 woodblock print; Messina, 1994-1999 Kauri pine Israel, Jewish author, 1636 etching; Man’s headcloth (‘ikat kepala’; 20th century cotton, indigo dyes; over a hill, 1971 black and white Mumbai, Maharashtra, ‘tanchoi’ silk black ink on heavy white Japanese woodblock; The Arabs at Port Said, The Agony in the Garden, circa 1657 CHINA ‘tengkuluk’), 20th century silk, gold paste resist dyeing video, sound 30 minute repeater , circa 1950 silk, dyes; Hitachi paper; Painting the Mona 1994-1999 Jelutong woodblock; etching and drypoint BEQUEST OF ALEX BIANCARDI metallic thread, natural dyes; weft Toraja, Sulawesi, Shawl, 20th Mike Parr (Australia, b.1945), Portrait discontinuous supplementary Lisa at school, 1994-1999 woodblock Through the Suez Canal, 1994-1999 Manchu people, Open crown woman’s weft weave ‘ikat’, supplementary weft weave century cotton, dyes; block printed ANONYMOUS GIFT of M & F, 1996 (printed 2001) gelatin , late 19th century satin with cotton print; black ink on heavy white Jelutong woodblock; The Customs hat Pochampalli, Andhra Pradesh, ‘ikat’ Palembang, Sumatra, Malay people, Dame Elisabeth Frink (England, silver photograph lining decorated with coral beads on Japanese Hitachi paper; With my Chocolate Heart, 1994-1999 Magnolia sari, circa 1970 silk, dyes; warp ‘ikat’ Waistcloth; shouldercloth (‘kain JAPAN b.1930,d.1993), Horse and rider, Mike Parr (Australia, b.1945), 75 stiffened cotton appliqué and mates at Manly Dam, 1994-1999 woodblock; Catching the Manly ferry, with weft ‘ikat’ border limar’), 20th century, silk, natural KLAUS NAUMANN woodblock print; black ink on heavy 1994-1999 Jelutong woodblock; My 1985 bronze programs and investigations, 1971 embroidered ribbon edging dyes; weft ‘ikat’ HASEGAWA Yûichi (Japan, b.1945), , Auguste Rodin (France, b.1840,d.1917), type set text PUTLI GANJU white Japanese Hitachi paper; My mother and father together again J H MYRTLE COLLECTION Pasemah-Bengkulu, Sumatra, Three lights, 1998, Heisei period 1989 , 1994-1999 Magnolia woodblock; 5 sculptures: Masque d’Iris Moyen, Mike Parr (Australia, b.1945), 12 Putli Ganju (India, b.1977), Bihar, , 20th - colour woodcut with silver dream of painting with Leonardo Jingdezhen ware, Jingdezhen, Shouldercloth or waistsash 1994-1999 woodblock print; black ink Selling vegetables door to door, 1890-1891 (modelled) 1979 (cast) drawings each titled Untitled portrait Khovar/Sohrai, Hunting scene (with century silk metallic thread, natural Jiangxi Province, ‘Chicken coop’ SATÔ TAKUMI 1994-1999 Magnolia woodblock; bronze; Monument à Whistler, 1904 of G from the series 12 Untitled cattle and snake), 2000 ochre and on heavy white Japanese Hitachi water pot, circa 18th century, Kangxi dyes, lace edging, silver casing; SATÔ Takumi (Japan, b.1962), , (modelled) 1983 (cast) bronze; portraits of G, 1998 pencil on paper PVA glue on industrial MDF board paper; Working at Paddy’s Markets, Painting the Mona Lisa at school 1662 – 1722, Qing dynasty 1644 – 1911 supplementary weft weave Tsunami Boy 2000, 2000 five pieces; 1994-1999 woodblock print; black ink 1994-1999 Jelutong woodblock; With Invocation, 1886 (modelled) 1985 Mike Parr (Australia, b.1945), 12 Roti, , 20th century porcelain with ‘peach bloom’ glaze MICHAEL HOBBS Man’s textile stoneware with colour slips , 1994-1999 (cast) bronze; Second Maquette for photographs: The unword on heavy white Japanese Hitachi my mates at Manly Dam decoration Deccan, Girl holding a parrot, circa handspun cotton, natural dyes; warp paper; , Kauri pine woodblock; the Burghers of Calais, 1885 performance (11 female sexual MRS PHYLLIS WARNOCK IN Attending an opera - Aïda My dream of Jingdezhen ware, Jingdezhen, 1680, Deccani Mughal circa 1590 - ‘ikat’ 1994-1999 woodblock print; black ink painting with Leonardo, 1994-1999 (modelled) 1972 (cast) bronze, six organs), 1996 12 gelatin silver Savu, 2 , 20th MEMORY OF DR LEONARD I Jiangxi Province, Dish with floral circa 1800 album leaf; gouache with Men’s cloth (‘selimut’) on heavy white Japanese Hitachi Magnolia woodblock; Working at separate pieces; photographs century cotton, natural dyes; warp WARNOCK decoration, 1723-1735, Yongzheng gold on paper , 1994-1999 Kauri Mike Parr (Australia, b.1945), The Unknown (Japan), (Gold and silver paper; The windows of Amsterdam, Paddy’s Markets HENDRIK KOLENBERG 1723 – 1735, Qing dynasty 1644 – 1911 North India, Cyrus administering ‘ikat’ 1994-1999 woodblock print; black ink pine woodblock; Attending an opera wax bride, 1998 mixed media Sumatra, Batak people, mines in Sado Island), 18th century, Alphonse Legros (France; England, China porcelain with ‘rouge de fer’ justice, circa 1600, Mughal circa 1526 Carrying , 1994-1999 Jelutong Edo (Tokugawa) period 1615 – 1868 on heavy white Japanese Hitachi - Aïda b.1837,d.1911), Lord Frederick KEN UNSWORTH (iron red) decoration - circa 1857 opaque watercolour with cloth (‘ulos mangiring’), 20th century paper; , 1994-1999 woodblock; handspun cotton, natural dyes; warp hand scroll; ink and colour on paper My mother’s hands The windows of Leighton PRA, 1837-1911 etching Ken Unsworth (Australia, b.1931), Jingdezhen ware, Jingdezhen, gold on paper woodblock print; black ink on heavy Amsterdam, 1994-1999 Magnolia ‘ikat’ with supplementary weft weave Unknown (Japan), (Portrait of poet Propped stone piece, 1976 19 river Jiangxi Province, Tea bowl, 1796- DR. J MASSELOS white Japanese Hitachi paper; The woodblock; My mother’s hands, 1994- SUB-TOTAL OF GIFTED EUROPEAN ART Sumatra, Batak people, Headcloth, lio SÔGI), 18th century, Edo stones, wood and mirrors 1820, Jiaqing 1796 – 1820, Qing Rajasthan, Cloth painting, 19th dream - discovering the Psalms, 1999 Jelutong woodblock; The dream BEFORE 1900 WORKS: 10 20th century handspun cotton, (Tokugawa) period 1615 – 1868 dynasty 1644 – 1911 porcelain with century cloth 1994-1999 woodblock print; black ink - discovering the Psalms, 1994-1999 natural dyes; twill weave with hanging scroll; ink and colour on silk SUB-TOTAL OF GIFTED MODERN AND ‘rouge de fer’ (iron red) enamel on heavy white Japanese Hitachi Magnolia woodblock; Death of my MODERN AND supplementary weft design at centre Utagawa school (Japan), (Courtesan CONTEMPORARY ART WORKS: 48 decoration paper; Death of my mother, 1994-1999 mother, 1994-1999 Magnolia and at ends parading), early 19th century, Edo CONTEMPORARY ART BEQUEST OF ALEX BIANCARDI woodblock print; black ink on heavy woodblock; Self portrait with PHOTOGRAPHY JUDITH RUTHERFORD Sumatra, Malay people, Headcloth, (Tokugawa) period 1615 – 1868 GEOFF AND VICKI AINSWORTH Bali, Royal sarong, 20th century silk, white Japanese Hitachi paper; Self cigarette, 1994-1999 Jelutong Insignia badge for the wife of a 5th 20th century silk and gold thread, hanging scroll; ink and colour on silk Ernesto Neto (Brazil, b.1964), PATSY W. ASCH natural dyes, metallic thread; portrait with cigarette, 1994-1999 woodblock; Portrait of my mother, rank military official, 1723-1735, cotton backing; supplementary weft , 1999 Lycra tulle and Edward Weston (United States of supplementary weft weave woodblock print; black ink on heavy Seaforth, 1994-1999 Magnolia Untitled Yongzheng 1723 – 1735, Qing dynasty weave, tapestry weave border LAOS polystyrene America, b.1886,d.1958), Guadalupe Bali, Shouldercloth, 20th century silk, white Japanese Hitachi paper; woodblock; The lagoon, Papeete, 1644 – 1911 embroidery Sumatra, Man’s waistcloth, 20th BEQUEST OF ALEX BIANCARDI de Rivera, Mexico, 1924 (printed natural dyes; weft ‘ikat’ and Portrait of my mother, Seaforth, 1994- 1994-1999 Magnolia woodblock; My DOROTHEE ALTENBURG Insignia badge for the wife of a 6th century silk, silver and gold thread; Champasak Province, Shawl or scarf later) gelatin silver photograph supplementary weft weave 1999 woodblock print; black ink on first life class, 1994-1999 Magnolia Kasimir Malevich (Russia, rank official, 1736-1795, Qianlong supplementary warp weave (‘pha beang’), 20th century silk, cotton, Bali, Skirtcloth, 20th century silk, heavy white Japanese Hitachi paper; woodblock; The Crows Nest Bargain b.1878,d.1935), Untitled, circa 1915 JOAN BAINES 1736 – 1795, Qing dynasty 1644 – 1911 Sumatra, Sarong, 20th century dyes; supplementary weft weave natural dyes, metallic thread; The lagoon, Papeete, 1994-1999 Centre, 1994-1999 Kauri pine pencil Olive Cotton (Australia, b.1911), 4 embroidery cotton, metallic thread; Houa Phan, Ceremonial cloth, supplementary weft weave (songket) woodblock print; black ink on heavy woodblock; My paintings on the gelatin silver photographs: untitled supplementary warp weave possibly the end panel of a NICOLA COSTANTINO MR RONALD SHEN Bali, Skirtcloth or hanging with white Japanese Hitachi paper; My chook yard shed, 1994-1999 Kauri nude (back view), 1941 untitled nude Sumatra, Shouldercloth, waistsash ceremonial shawl, 20th century silk, Nicola Costantino (Argentina, Sichuan Province, A massive ‘’ figures, 20th century first life class, 1994-1999 woodblock pine woodblock; My first one man (standing on rocks), 1941 untitled (‘tengkuluk; pelung’), 20th century cotton, indigo, dyes; supplementary b.1964), Chicken-balls, 1999 polyester earthenware horse, 1st century-2nd cotton, natural dyes, supplementary print; black ink on heavy white show, 1994-1999 Jelutong nude (sitting on rocks), 1941 untitled cotton, metallic thread, natural dyes, weft weave resin century, Han dynasty 206 BCE - 220 weft weave Japanese Hitachi paper; The Crows woodblock; The watertrap, 1994-1999 nude (reclining), 1941 silk; supplementary weft weave Hmong people, Square textile, 20th CE buff-grey earthenware with a Cirebon, Java, Peranakan Chinese Nest Bargain Centre, 1994-1999 Kauri pine woodblock; Ironing at the Sumatra, Skirtcloth, 20th century silk century cotton, indigo dye; batik- chestnut coloured glaze and some people, 5 Shouldercloths (‘slendang’), woodblock print; black ink on heavy factory, 1994-1999 Kauri pine green glaze splashed on the mane; and gold thread; continuous resist dyeing

68 69 Northern Laos, End panel of a Sam Nua, Tai Nuea people, KARMA PHUNTSOK on handmade, yellow paper MUSEUM AND ART GALLERY OF THE Nora Heysen CITY GALLERY William Dobell ceremonial shawl (‘pha beang’), Meditation cloth with design of Karma Phuntsok (Tibet, b.1952), Imperial edict, [Edict to recognise NORTHERN TERRITORY Corncobs 1938 RESONATING: Denise Green Joshua Smith 1943 1960s-1970s silk, cotton indigo, dyes; snakes (‘nak’), circa 1900 silk, cotton, Chairman Mao, 2000 synthetic Deity of Uai Dung], 1888, Nguyen Garma oil on canvas Brisbane City Gallery 18/1/01 – 4/3/01 silverpoint supplementary weft weave dyes; supplementary weft weave polymer paint on canvas dynasty 1802 – 1945 calligraphy over 1st September 2000 - 15th November Nora Heysen AGNSW 31/3/01 – 29/4/01 Russell Drysdale Sam Nua, Tai Nuea people, 2 block-printed design of silver dragon 2000 Dr Lister Reid 1975 Denise Green Female nude 1937 Meditation cloths: circa 1900 silk, MALAYSIA UZBEKISTAN on handmade, yellow paper Trevor Nickolls red conte with some black chalk Vowel 1978 pencil, watercolour cotton, dyes; supplementary weft BEQUEST OF ALEX BIANCARDI BEQUEST OF ALEX BIANCARDI Garden of Eden 1982 oil and wax stick on canvas Russell Drysdale weave; 20th century silk, cotton, Sarawak, Iban people, Blanket ‘Ikat’ wrap or blanket, 20th century TOTAL OF GIFTED ASIAN ART WORKS: 81 synthetic polymer paint on canvas NATIONAL GALLERY OF AUSTRALIA Model, George Bell School (Wolf dyes; supplementary weft weave (‘pua’), 20th century handspun silk with cotton lining; warp ‘ikat’ GRAND TOTAL OF ALL GIFTED WORKS: 671 The Art of Tony Tuckson ART GALLERY OF WESTERN Cardamatis) (1939) Sam Nua, Tai Nuea people, cotton, natural dyes; warp ‘ikat’ S.H. ERVIN GALLERY National Gallery of Australia AUSTRALIA pencil Meditation cloth with border design VIETNAM ‘State of Waratah’ 4/11/00 - 11/2/01 Robert MacPherson Douglas Dundas of animals, 20th century silk, cotton, TIBET ANDREW AND ANN PROCTOR 1st September 2000 – 8th October Art Gallery of AGWA 25th The cosmopolitan (Kleber Claux) 1931 natural and synthetic dyes; BEQUEST OF ALEX BIANCARDI Imperial edict, [Edict to add 2000 23/3/01 - 20/5/01 January 2001 – 18th March 2001 pencil supplementary weft weave Scarf (‘kata’), 20th century silk; honorary titles], 1846, Nguyen Muriel Cornish Tasmanian Museum and Art Gallery MCA 1st April Brian Dunlop continuous supplementary weft weave dynasty 1802 – 1945 calligraphy over D’oyley with waratah design 1919 8/6/01 - 5/8/01 2001 – 21st November 2001 Nude 1962 block-printed design of black dragon embroided linen Ballarat Fine Art Gallery Robert Macpherson pencil Eirene Mort 7/9/01 - 21/10/01 Group 9 (Scale from the tool) Ian Fairweather Tablecloth with waratah design Hazelhurst Regional Gallery 1976-1977 Seated figure (1949) circa 1910 15/12/01 - 10/2/02 oil on canvas [seven panels] pencil, gouache on cardboard hand stencilled and embroidered Museum of Modern Art at Heide Robert Macpherson Rah Fizelle LOANS organdy 23/2/02 - 21/4/02 Mayfair: Summer farm, firty five Life study:seated female nude Madelaine King Tony Tuckson signs for Micky Monsour 1993 circa 1940 Curtain frieze with waratah, thistle, Untitled (pale yellow with charcoal synthetic polymer paint on masonite sanguine WORKS OF ART LOANED Ross Bleckner Loan of Rotraut Klein-Moquay and HISTORIC HOUSES TRUST OF NEW clover and rose motif 1910 lines) 1973 Robert MacPherson Cedric Flower TO THE GALLERY Red Flowers 1998 Daniel Moquay SOUTH WALES MUSEUM OF hand stencilled linen synthetic polymer paint on 20 Frog Poems 1987-1989 Portrait of Francis Lymburner 1947 oil on linen SYDNEY Unknown composition board metl-stik on wood, beehives pencil REN Xun Private collection, Sydney Christian Boltanski Harbour Jardiniere, N.S.W. native flora Tony Tuckson installation Donald Friend Mynas, pine tree and Monument to the Lycee Chases 5th August 2000 - 3rd December 2000 decoration circa 1892-1902 Number 44 drawing 1962 Head of a woman 1945 chrysanthemum 1884 Jason Martin 1987-1989 Melvin Vaniman porcelain oil on composition board HAZELHURST REGIONAL GALLERY pen and ink, wash hanging scroll; ink and colour on paper Interval 11 gelatin silver photographs in tin Circular Quay 1903 Ellis Rowan AND ARTS CENTRE Pam Hallandal On loan from The Isabella Bacon oil on aluminium? frames, electric fittings, cable platinum photograph Waratahs, New South Wales (1882) UNIVERSITY ART MUSEUM/ Bodyline Self portrait (1996) Collection Private collection, Sydney and bulbs David Moore watercolour, opaque white highlights BRISBANE CITY GALLERY 3rd February 2001 – 8th April 2001 charcoal, pastel Private collection, Sydney Children fishing on Vaucluse 76.1992 Lawrence Daws George Baldessin Weaver Hawkins Juan Davila Hiroshi Sugito waterfront circa 1949 (printed 1984) Margaret Preston 16/11/00 – 14/1/01 MM of Rue St. Denis 1976 Seated female nude 1921 Interior with waterlilies 1992 Elephant & Buckle 1999 Stephan Balkenhol gelatin silver photograph Waratahs circa 1949 Lawrence Daws charcoal, conté, sanguine pencil, watercolour oil, enamel and collage on canvas diptych: acrylic, pigment and Chickens on a screw David Moore colour stencil, gouache on thin black Night sea journey IV 1994 Annette Bezor Nora Heysen Private collection, Sydney graphite on paper on canvas wood, synthetic poloymer paint ‘Himalaya’ enters Sydney Harbour at card oil on canvas Rosie as Eve 1983 Standing female nude, Central Private collection, Sydney Private collection, Sydney dawn 2 1950 (printed 1984) Margaret Preston Lawrence Daws pastel School, London circa 1935 Mike Parr gelatin silver photograph Woodblock for ‘Banksia in a round The recluse 1996 Rupert Bunny sanguine Dirty Manna 2000 Yves Klein Jason Brooks David Moore vase’, Waratahs in the same round oil on canvas Female nude, seated on floor, back George Noel Johnston colour woodcut, 14 sheets ANT 75 1960 Cross 1999 Painting the ‘Himalaya’ 1950 vase view 1930s Self portrait 1931 Private collection, Sydney dry pigment in synthetic resin watercolour gelatin silver photograph woodblock ART GALLERY OF SOUTH AUSTRALIA pencil, pen and ink sanguine on canvas Private collection, Sydney Francois Ruh (after Henri Matisse) Modern Australian Women: paintings Rupert Bunny George Lambert Colin McCahon Loan of Rotraut Klein-Moquay and Polynesia 1956 MUSEUM OF CONTEMPORARY ART and prints 1925-1945 Self portrait 1890’s A Study of a trooper on horseback in The days and nights in the Daniel Moquay Patricia Piccinini tapestry 12/9/00 – 9/10/00 Art Gallery of South Australia sanguine full riding orders, for ‘The charge of wilderness showing the constant 100:613.3 1998 Judy Watson John Coburn 24/11/00 – 25/2/01 Jean Bellette the 4th Light Horse Brigade at flow of light passing through the wall Yves Klein type C photograph Red Tides 1997 Nourlangie NT 1989 Art Gallery of Western Australia Resting girl circa 1946 Beersheba’ (1918)-(1920) of death 1971 ANT 54 1960 On loan from the collection of pigment and pastel on canvas diptych: oil on canvas 12/4/01 – 3/6/01 pencil pencil synthetic polymer paint on canvas dry pigment in synthetic resin Michèle Asprey and Lindsay Powers Michael Johnson National Gallery of Australia Charles Blackman George Lambert Private collection, Sydney on canvas After Sirius 1987 - 1988 NEWCASTLE REGIONAL ART 14/7/01 – 26/8/01 Bather 1 1967 Study of soldier for ‘The charge of Loan of Rotraut Klein-Moquay and Leon Kossoff oil on canvas GALLERY SH Ervin Gallery 6/9/01 – 21/10/01 conté, charcoal the 4th Light Horse Brigade at Sean Scully Daniel Moquay Kings Cross, Spring 11 John D. Moore Robert Barnes Survey Exhibition Ballarat Fine Art Gallery John Brack Beersheba’ (1918)-(1920) Maesta 1983 oil on board Sydney Harbour 1936 7th October 2000 – 12th November 2/11/01 – 30/12/01 Study for ‘Nude with two chairs’ no 2 pencil oil on canvas Yves Klein Private Collection oil on canvas 2000 Margaret Preston 1957 Lionel Lindsay Private collection, Sydney Nouveau realist manifest 1960 Roland Wakelin Robert Barnes Implement blue 1927 charcoal Female nude 1917 dry pigment in synthetic resin WORKS OF ART LOANED Berry’s Bay 1919 Studio interior 1993 oil on canvas on paperboard Grace Cossington Smith pencil Leon Kossoff on canvas BY THE GALLERY oil on paperboard oil on canvas Grace Cossington Smith Margaret Smith, the artist’s sister Lionel Lindsay Kilburn Underground 1987 Loan of Rotraut Klein-Moquay and Jessie Traill The lacquer room circa 1935 circa 1917 Life drawing – standing male nude in NATIONAL PORTRAIT GALLERY oil on board Daniel Moquay Stars of heaven and earth, Sydney HAYWARD GALLERY, LONDON oil on paperboard on plywood pencil helmet, seen from behind 1917 Heads of the People Private collection, Sydney Harbour 1921 Know Thyself: The Art and Science Thea Proctor *first 3 venues only Noel Counihan pencil 1st July 2000 - 9th October 2000 Yves Klein etching and aquatint of the Human Body from Leonardo The picnic circa 1925 Seated figure III 1978 Norman Lindsay Tom Roberts Anselm Kiefer Relief IKB 16c (Maquette for the Brett Whiteley to Now pencil, watercolour, gouache on charcoal Bacchanal or The vintage festival Aboriginal head - Charlie Turner 1892 Left wing: Right wing 1991 Gelsenkirchen theatre) 1958 Sydney Harbour by night 1981 12th October 2000 - 7th January 2001 buff paper Fred Coventry (1905) oil on canvas on paperboard diptych: emulsion, red earth and dry pigment in synthetic resin on linocut (edition 3/20) François Sallé Self portrait 1927 pencil, pen and ink foxgloves on canvas in a glazed bronze mounted on primed board The anatomy class at the Ecole des UNIVERSITY ART MUSEUM pencil Francis Lymburner BUNDABERG ARTS CENTRE steel frame Loan of Rotraut Klein-Moquay and QUEENSLAND ART GALLERY Beaux-Arts 1888 Monochrome Painting in Australia Nude (the vulture) circa 1942 Fiona Foley Private collection, Sydney Daniel Moquay Urban Dingo:The art of Lin Onus oil on canvas 4th December 2000 - 18th February Composition study: seated female pen and ink Bundaberg Arts Centre 4/7/00 - 8/8/00 1948-1996 2001 nude (1932) Francis Lymburner Hervey Bay Regional Gallery Jason Brooks Yves Klein Museum of Contemporary Art, NATIONAL LIBRARY OF AUSTRALIA Ian Burn pencil Cedric Flower circa 1944 23/11/02 - /12/02 Natasha 1999 Drip painting 1957-1961? Sydney 11/8/00 - 30/10/00 Nora Heysen Retrospective Blue reflex 1966-67 William Dobell pen and ink, wash Fiona Foley synthetic polymer paint on canvas dry pigment in synthetic resin on canvas Queensland Art Gallery 25th October 2000 - 28th January 2001 auto lacquer, epoxy base, plywood Nude male, sitting back circa 1930 Frank Medworth Men’s Business 1987 Private collection, Sydney Loan of Rotraut Klein-Moquay and 24/11/00 - 4/3/01 Nora Heysen panel pencil Portrait of Weaver Hawkins 1940 crayon, charcoal Daniel Moquay Museum of Victoria 6/4/01-29/7/01 Self portrait 1932 1315.1990 William Dobell pen and ink, coloured Fiona Foley Ross Bleckner Lin Onus oil on canvas Self portrait 1937 Godfrey Miller Men’s Business 1987 Behaviour 1999 Roman Opalka Fruit Bats 1991 pencil,brush and ink Study for ‘Nude and the moon’ crayon, charcoal oil on linen Detail 3531681-3546420 1965 95 fibreglass polychromed bats, hills circa 1954-59 Private collection, Sydney synthetic polymer paint on canvas hoist, wooden discs pencil

70 71 Arthur Murch NATIONAL GALLERY OF AUSTRALIA MUSEO NACIONAL CENTRO DE Tom Roberts George W. Lambert William Dobell MOSMAN ART GALLERY Helen Stewart The mailman (Harry Tilmouth) 1933 EXHIBITION ARTE REINA SOFIA, MADRID Percy F. S. Spence 1896 Sweet July 1900 The sleeping Greek (1936) A Century of New Zealand Artists in Chrysanthemums pencil Monet and Japan Picasso: las grandas series y los oil on canvas on paperboard on wash, opaque white highlights oil on canvas on hardboard Australia oil on paperboard John Olsen National Gallery of Australia maetros del pasado (1953-1973) hardboard George W. Lambert William Dobell 9th June 2001 – 17th August 2001 Roland Wakelin (Copulating couple) 1993 10th March 2001 - 11th June 2001 26th March 2001 – 18th June 2001 Tom Roberts The letters 1901 Self portrait 1932 Frances Hodgkins Pastoral 1947 charcoal, pastel Art Gallery of Western Australia Portrait of Florence circa 1898 pencil, pen and black ink oil on panel Woman seated in a rocking chair oil on paperboard John Olsen 29th June 2001 - 16th September 2001 Femme nue dans un rocking-chair oil on canvas on paperboard George W. Lambert William Rose watercolour, wash, charcoal Adele Younghusband Seated female nude, back view 1993 Claude Monet 1956 Tom Roberts Mrs James Crockett 1927 February no.3 1957 James R. Jackson Gum trees 1937 charcoal, pastel Port-Goulphar, Belle-Isle 1887 oil on canvas Portrait of Mr T.P. Purves 1900 pencil pen and black and coloured inks on Morning, Middle Harbour colour linocut John Olsen oil on canvas oil on canvas George W. Lambert ivory machine wove paper oil on canvas Elioth Gruner Seated female nude from side, with a (AGWA ONLY) Katsushika HOKUSAI THE UNIVERSITY OF SYDNEY Tom Roberts She would remind him 1902 Godfrey Miller On the Murrumbidgee 1929 dog 1994 Shichirigahama in Sagami Province 18th and 19th Century Prints and Grey lady (Mrs Ince) circa 1910-1912 watercolour, opaque white highlights GEELONG ART GALLERY Unity in blue circa 1948-52 oil on canvas charcoal, pastel from the series Thirty-six views of Drawings from the University oil on canvas George W. Lambert William Buckley: Rediscovered oil, pen and ink on canvas Desiderius Orban Mt. Fuji circa 1829-33 Collection Tom Roberts Recumbent figure 1927 Geelong Art Gallery 11/5/01 –10/7/01 Godfrey Miller HISTORIC HOUSES TRUST / Male nude, seated on a chair 1907 colour woodcut 28th March 2001 – 11th May 2001 Self portrait 1924 pencil Mornington Peninsula Regional Nude and the moon 1954-59 MUSEUM OF SYDNEY pencil on brown paper Utagawa HIROSHIGE William Hogarth oil on canvas Gallery 20/7/01 – 26/8/00 oil, pen and ink on canvas Peter Kingston Mike Parr Full blossom at Arashiyama from the Time Smoking a Picture circa 1761 BRISBANE CITY GALLERY Jan Senbergs Kathleen O’Connor 22nd June 2001 – 25th November 2001 16 untitled self portraits 1981-85 series Famous places of Kyoto black chalk on white laid paper DUBBO REGIONAL GALLERY Thancoupie Otway night 1994 Nursemaids in the Luxembourg Peter Kingston pencil on sixteen sheets of circa 1834 William Hogarth People and Destiny: George Lambert Brisbane City Gallery synthetic polymer paint on canvas Gardens circa 1923 Shag shed resumption, Walsh Bay typing paper colour woodcut Time Smoking a Picture 1761 and Federation 3rd May 2001 – 24th June 2001 oil on paperboard 1998-1999 Perry engraving, mezzotint Dubbo Regional Gallery Cairns Regional Gallery MUSEUM OF MODERN ART AT HEIDE Chris O’Doherty charcoal on two sheets of white Portrait of John Passmore circa 1933 TATE GALLERY 4/5/01 – 11/8/01 14th July 2001 – 25th August 2001 Heidelberg to Heide Untitled group (Coogee; Hobart, wove paper pencil Stanley Spencer Exhibition POWERHOUSE MUSEUM Albury Regional Arts Centre Thancoupie 26th May 2001 – 5th August 2001 Tasmania; Princes highway between Adelaide Perry 22nd March 2001 – 24th June 2001 Visions of a Republic: The work of 4/1/02 – 27/1/02 Mosquito Corroboree Arthur Streeton Ballina and Grafton; Dunedin, New SUMMARY OF WORKS BORROWED BY Nude study – woman, back view Stanley Spencer Lucien Henry Bendigo Art Gallery 9/2/02 – 24/3/02 stoneware Still glides the stream and shall Zealand; Hume Highway between OTHER INSTITUTIONS 1930’s The Scrap Heap 1944 3rd April 2001 – 14th October 2001 Hazelhurst Regional Art Gallery Thancoupie forever glide 1890 Gundagai and Yass; Coogee Beach; • MUSEUM AND GALLERIES ASSOCIATION pencil oil on canvas Lucien Henry 6/4/02 – 2/6/02 Cammbel and Paour Exchange Teeth oil on canvas Invention, Princes Highway near OF NSW INSTITUTIONS = 105 Thea Proctor Self Portrait Bathurst Regional Art Gallery stoneware Mullumbimby) • OTHER AUSTRALIAN INSTITUTIONS = 55 Reclining nude, Dora circa 1961 DRILL HALL GALLERY oil on canvas 5/7/02 – 18/8/02 The Storm synthetic polymer paint on cardboard • INTERNATIONAL INSTITUTIONS = 4. pen and ink, wash Peter Purves Smith Lucien Henry George W. Lambert LAKE MACQUARIE CITY ART GALLERY oil on hardboard Maud Sherwood Hugh Ramsay ANU Drill Hall Gallery 8/3/01- 15/4/01 Devil’s Coach House, Fish River Equestrian group 1905 Well Connected E Phillips Fox Reflections circa 1919 (Standing male nude, back view) Lawrence Wilson Gallery Caves 1883 oil on canvas 5/5/01 – 10/6/01 Heidelberg watercolour circa 1897 1/5/01-15/6/01 oil on canvas George W. Lambert William Dobell oil on canvas on hardboard Maud Sherwood charcoal, white chalk Benalla Art Gallery 2/7/01 – 15/8/01 Lucien Henry Hugh Ramsay (circa 1902) Margaret Olley 1948 White and yellow flowers circa 1933 Oliffe Richmond Museum of Modern Art at Heide Waratah 1887 oil on canvas oil on hardboard oil on paperboard Seated nude III 1950’s 3/9/01 – 15/10/01 oil on wood George W. Lambert pencil Peter Purves Smith Sketch for ‘La croix de guerre’ Oliffe Richmond New York (1936) VICTORIA & ALBERT MUSEUM, circa 1922 Man with pole 1950’s oil on canvas LONDON oil on canvas (2 panels) pencil Peter Purves Smith Inventing New Britain: The Victorian George W. Lambert Tom Roberts Head 1937 Vision Across the black soil plains 1899 1886 pastel, charcoal, pencil on cardboard 5th April 2001 – 29th July 2001 oil on canvas pen and ink Peter Purves Smith Arthur Streeton George W. Lambert Dorothy Thornhill From a window in Pimlico (Battersea Fire’s on 1891 A bush idyll (1896) Figure on a chaise longue 1941 Power Station) 1940 oil on canvas oil on canvas pencil pencil, watercolour, gouache George W. Lambert Wendy Sharpe PERC TUCKER REGIONAL Sketch for ‘The mask’ circa 1911 Helen 1994 ART EXHIBITIONS AUSTRALIA ART GALLERY oil on canvas pastel, charcoal The Gold Exhibition Landscape as Metaphor George W. Lambert Wendy Sharpe National Museum of Australia, Perc Tucker 27/4/01-10/6/01 Self portrait Tania 1993 Canberra 13/3/01 – 24/6/01 Rockhampton Art Gallery oil on wood charcoal, pastel Museum of Victoria, Melbourne 18/6/01-22/7/01 George W. Lambert Joshua Smith 18/7/01 – 21/10/01 Toowoomba Art Gallery Miss Helen Beauclerk 1914 Standing male nude with robe and Julian Ashton 28/7/01 – 16/9/01 oil on canvas towel late 1920s The prospector 1889 Queensland University of Technology George W. Lambert pencil oil on canvas on hardboard Art Museum 8/11/01- 20/1/02 Still life (Pan) 1911 Eric Wilson Origin: China ANU Drill Hall Gallery oil on canvas Seated female nude, front view Seated Maitreya 14th Century February 2002 – March 2002 George Lambert circa 1938 gilt bronze Broken Hill City Gallery The shop 1909 conté 9/5/02 – 10/6/02 oil on canvas Eric Wilson NATIONAL GALLERY OF AUSTRALIA Flinders Art Museum 17/6/02 – 30/7/02 George Lambert Seated female nude, back view, Drawn to Painting. Leon Kossoff: Trevor Nickolls The white Glove 1921 London circa 1939 drawings and prints after Nicolas The Garden of Eden 1982 oil on canvas conté Poussin synthetic polymer paint on canvas George Lambert Brett Whiteley 17th March 2001 – 27th May 2001 The red Shawl 1913 Her 1978 Leon Kossoff INVERELL ART SOCIETY oil on canvas ink, oil, felt tipped pen, collage From Cephalus and Aurora by Tom Roberts Festival The following works on paper were Brett Whiteley Poussin no 3 1983 26th April 2001 – 6th May 2001 lent to the first and last venues only Bathroom drawing 1964 oil on board Tom Roberts George W. Lambert charcoal Aboriginal head – Charlie Turner 1892 Head of a man (William B. Beattie) oil on canvas on paperboard (1898) Tom Roberts pencil Adagio circa 1893 oil on paperboard

72 73 EXHIBITIONS VISITORS

2000/2001 EXHIBITIONS WHITELEY TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS TOTAL VISITORS DOMAIN STUDIO TOURING Date Department Exhibition Title Ticketed AGNSW AGNSW MONTH 1996/97 1997/98 1998/99 1999/2000 2000/2001 2000/2001 2000/2001 2000/2001 Tours Catalogue July 126,453 86,712 76,333 60,969 104,106 79,486 708 23,912 August 150,593 79,541 65,489 57,015 92,450 79,407 532 12,511 8.7.00 – 20.8.00 International British Collection – Works on paper • September 75,816 67,863 43,356 77,132 100,541 86,773 464 13,304 14.7.00 – 15.10.00 International Dead Sea Scrolls • • • October 90,945 76,853 48,226 86,532 74,843 66,100 559 8,184 16.7.00 – 20.8.00 Western – Contemporary Plastic Life: Patricca Piccinini and Christopher Langton November 81,647 74,083 58,774 56,432 67,265 59,176 516 7,573 4.8.00 – 31.01.01 Australian Australian Icons • • December 59,312 62,639 152,012 98,737 101,554 50,770 384 50,400 18.8.00 – 12.11.00 Aboriginal Papunya Tula: Genesis and Genuis • • January 124,466 109,782 220,369 151,067 129,619 82,405 757 46,457 26.8.00 – 8.10.00 Western – Contemporary Aleks Danko – Songs of Australia Vol.9: Uh-oh the Chinese • February 125,980 116.724 182,183 127,839 130,340 86,708 1,031 42,601 are coming (takeaway mix) March 81,649 102,436 92,777 97,926 120,651 109,284 915 10,452 2.9.00 – 22.10.00 Western – Photography My City of Sydney • April 92,476 100,478 100,271 90,537 118,141 103,356 554 14,231 2.9.00 – 5.11.01 Aboriginal Selected works from the Collection May 136,228 98,402 71,583 72,115 83,538 69,425 844 13,269 9.9.00 – 4.2.01 Australian Brett Whiteley Graphics • June 85,875 100,037 56,943 88,853 137,875 122,698 702 14,475 12.10.00 – 24.6.01 Western Masterpieces of Victorian Art from the John and Julie Schaeffer Collection TOTAL 1,231,440 1,075,550 1,168,316 1,029,730 1,260,923 995,588 7,966 257,369 14.10.00 – 3.12.00 Western – Contemporary Contemporary Collection • 24.10.00 – 5.11.00 Exhibition Operation Art 28.10.00 – 7.2.01 Asian Hanga: Japanese Prints • 2.11.00 – 1.4.01 Aboriginal Ochre: Bark Collection 15.11.00 – 4.2.01 Western – Contemporary Nigel Helyer, Metamorphoses • PAID EXHIBITIONS 15.11.00 – 7.1.01 Western – Contemporary Guinness 2000: Fun Story Fun Five • PREVIOUS YEAR TOTALS PROGRAMME FOR 2000/01 MONTH(S) TOTAL COMPARISONS 1.12.00 – 25.2.01 Western – Photography World Without End: Photography and the 20th Century • • Dead Sea Scrolls July – Oct 52,469 9.12.00 – 14.1.01 Western – Contemporary Stephen Birch – Woodsprites • 1991/92 1,047,967 Papunya Tula Aug – Dec 23,083 21.12.00 – 18.3.01 Asian Sanxingdui: Masks of Mystery • • 1.1.01 – 25.3.01 Australian Australian Collection Focus Series no 8: Colin Lanceley: • World Without End Dec – Feb 38,142 1992/93 748,455 The Dry Salvages 1963-64 and Gemini 1964 Masks Of Mystery Dec – Feb 10,693 1993/94 914,785 17.1.01 – 4.3.01 Western – Contemporary Contemporary Collection Benefactors Acquisitions 2001 Archibald, Wynne & Sulman Mar – May 98,349 Renoir To Picasso June (only) 57,146 26.1.01 – 25.3.01 Public Programmes Art Express 1994/95 988,527 26.1.01 – 18.2.01 Western – Contemporary Contemporary Collection TOTAL 279,882 29.1.01 – 27.4.01 Library Sydney Camera Circle 1995/96 1,155,216 10.2.01 – 8.7.01 Australian Affinities: Brett Whiteley & Lloyd Rees • 1996/97 1,232,440 19.2.01 – 9.9.01 Australian Decades: The Australian Collection 25.2.01 – 22.4.01 Western – Contemporary David Sequeira – Projects • 17.3.01 – 15.5.01 Australian Archibald, Wynne & Sulman Prizes • • 17.3.01 – 15.5.01 Australian Dobell Drawing Prize Visitors 1996/97 to 2000/01 31.3.01 – 24.6.01 Australian Australian Collection Focus Series no. 9: John Glover • Natives on the Ouse River, Van Diemen’s Land 1838 31.3.01 – 29.4.01 Western Denise Green • • 6.4.01 – 11.6.01 Asian Indian Painting • 29.4.01 – 3.6.01 Western – Contemporary John Meade – Propulsion • 7.5.01 – 20.7.01 Library Artist’s Books 11.5.01 – 2.9.01 Aboriginal Collection Exhibition 19.5.01 – 29.7.01 Asian Heroes and Villains from the Floating World • 1.6.01 – 29.7.01 Western Renoir to Picasso: Masterpieces from the Musée de l’Orangerie • 6.6.01 – 24.6.01 Western – Contemporary Contemporary abstraction from the Collection • 23.6.01 – 12.8.01 Western /Australian New Painting in Australia • • 30.6.01 – 23.9.01 Australian Australian Collection Focus Series no 10: Russell Drysdale • Sunday evening 1941

2000/2001 EXHIBITIONS TOURS

Date Exhibition Venue City/State Exhibition Title Attendance Figures

12.7.00 – 19.9.00 National Library of Australia Canberra, ACT Olive Cotton 21,519 8.7.00 – 27.8.00 Dubbo Regional Art Gallery Dubbo, NSW Archibald 2,909 * 6.9.00 – 8.10.00 Twee River Regional Art Gallery Murwillumbah, NSW Archibald 3,061 * 14.10.00 – 28.11.00 Lismore Regional Art Gallery Lismore, NSW Archibald 4,280 * 8.12.00 – 4.2.01 George Adams Gallery, Melbourne, Vic Archibald 33,651 * Centre for the Performing Arts 6.3.01 – 17.6.01 National Gallery of Victoria Melbourne, Vic Dead Sea Scrolls 50,791 Visitor numbers include visitors to private functions 11.9.00 – 6.1.01 Migration Museum Adelaide, SA Salvatore Zofrea: Appassionate 18,850 + 4.5.01 – 12.8.01 Dubbo Regional Art Gallery Dubbo, NSW People & Destiny: 2,540 # George Lambert and Federation

*Tour organised in association with the Museums and Galleries Association of New South Wales + Tour organised in association with New England Regional Art Gallery # Works drawn from AGNSW Australian Icons Exhibition for Regional Tour, Managed by Dubbo Regional Art Gallery

74 75 Bronwyn Oliver, Aida Tomescu, Gene Sherman, Fiona Sinclair-King, Review, Graham and Mary Beirman, Restaurant, Marque Restaurant, SPONSORSHIP AND PHILANTHROPY Judith Wright, amongst others. Gabrielle G Upton, Ivan Wheen, Karel Martin Browne, Ken Coles, Cheryl Poppy Industries, John Freida, Simon CONTEMPORARY COLLECTION Wheen, Michael Whitworth, Julie Collins Design, Patrick Corrigan, Johnson, Bistro Moncur, Aqua Luna Williams, Renee Williamson-Noble, Sally Dan-Cuthbert, Erin Flaherty, The Restaurant & Bar, Ristorante Riva, Support for the Art Gallery can be • Merrill Lynch HSBC was the NSW Mr Scott Walters, Chief Executive BENEFACTORS AS AT 30TH JUNE, VISASIA BENEFACTORS Ray Wilson, Virginia Zanarini. Freedman Foundation, Ginny and Bistro Lulu, Sean’s Panorama, provided as a cash contribution or in Sponsor for Officer, Merrill Lynch HSBC joined as Gordon Darling Foundation; Goldie 2001 WERE: Renoir to Picasso: Leslie Green, Amanda Harkness, Lynwood Stores, David Moore, Billy kind, or as a combination of both and new members of the President’s Sternberg. James Agapitos, Mathew Alderson, CONTEMPORARY COLLECTION Masterpieces from the Musée de Evelyn Hawkins, Michael and Jill Kwong, Just Jeans, Bills Darlinghurst is directed largely towards the Art exhibition. Council. John Armati, Kate Armati, Angela BENEFACTORS DINNER SPONSORS L’Orangerie Hawker, Lachie Hill, Naomi Kaldor, Gallery’s programme of temporary The Art Gallery of New South Wales COLLECTION BENEFACTORS Arnold, Michele Asprey, Dr David The 8th Annual CCB Dinner and Art SUPPORTING SPONSORS FOR Charles Latimer, Josef and Jeanne GRANTS / PARTNERSHIPS exhibitions. These exhibitions provide salutes the President’s Council Austin, Christine Banks, Richard Auction was generously sponsored 2000/2001 ASIAN COLLECTION BENEFACTORS Lebovic, Amanda and Andrew Love, Australia Council; Australia India high public and media exposure, members, not only for their financial Banks, Fiona Beith, Michelle by Macquarie Bank, and supported The following companies also Peter M Elliot Russell Mills, David Moore, Roslyn Council; Australian Research Council branding and awareness support but also for their guidance Belgiorno-Nettis, Dr Mark Bloch, by Bvlgari, ABSOLUT Vodka, provided invaluable support in cash and Tony Oxley, Lisa and Egil SPIRT (Strategic Partnerships with opportunities and client and advice. AUSTRALIAN COLLECTION Peter Briggs, Candice Bruce, Splitrock, Yerring Station, and kind throughout the year: Paulsen, Photo King, Philip and Industry – Research and Training) entertainment in a unique setting. BENEFACTORS Thomas Bucich, Stephen Buzacott, Greengrocer.com.au, Annandale JCDecaux, Hotel Inter-Continental PRESIDENT’S COUNCIL Lou Klepac Elizabeth Ramsden, Reg and Sally with the University of Western The Art Gallery of New South Wales Andrew Cameron, Joseph Galleries, Yuill Crowley Gallery, Sydney, Bass Hotel Group, CODY MEMBERSHIP AT 30TH JUNE, 2001 Richardson, Penelope and Harry Sydney; Cinemedia; Gordon Darling gratefully acknowledges the CONSERVATION COLLECTION Catanzariti, Mark Clark, David Gabrielle Pizzi, Roslyn Oxley9 Gallery, Outdoor, The Mode Group, The Mr Peter Young, ABN AMRO Seidler, Dr Philip and Kate Sharp, Foundation; The Ian Potter continuing support of its Corporate BENEFACTORS Dossetor, Dr Elizabeth Dossetor, Tim Olsen Gallery, Gitte Weise Seven Network, Bloomberg, Mr David Baffsky, Accor Asia Pacific Lisa Simons, John D. Swainston, Foundation through their Art Partners, who provide valuable links Geoff Ainsworth, Charles & Deidre Cameron Dunlop, Carmel Dwyer, Gallery, Martin Browne Fine Arts and Squiz.Net, McWilliam’s Wines, Lion Mr Roger Allen, Allen & Buckeridge Worling Saunders. Museum Collections Accessibility between the Art Gallery and the Aronson, Sir William Dobell Art Helen Eager, Peter English, Warwick Sherman Galleries. Nathan, Avant Card. Mr Chris Knoblanche, Andersen SUSTAINING BENEFACTORS Initiative (AMCAI); Japanese business sector. We also welcome Foundation, Sam & Susan Ballas, Evans, Paul Ferman, Sandra Ferman, Mr Chris Anderson, Cable & Wireless EUROPEAN COLLECTION Richard Bailey, Robert Dein, Barbara Commemorative Association; New several new corporate partners, Pamela Bell, Nicole Berger, Bill & Barbara Flynn, Allan Fraser-Rush, CENTENARY FUND Optus BENEFACTOR Flynn, John and Simonetta Frey, South Wales Centenary of Federation including Tower, the Sydney Morning Annette Blinco, Candice Bruce and Robert Gould, Dr Andrew Gowers, The Centenary Fund was launched Mr Pierce Cody, CODY Outdoor Mr & Mrs Binnie GrantPirrie, Michele Mossop, Janet Grants Programme. Herald, Westfield, The Australian, the Mr Michael Whitworth, Elizabeth Stephen Grant, Ginnie Green, Linda on 24 February 2000. Its first project Ms Deeta Colvin, Colvin LIBRARY COLLECTION Oakley, Ivan and Karel Wheen. Bass Hotel Group, Merrill Lynch Callanan, Adrian & Evan Cardiacos, Gregoriou, Giovanna Gromo, Evelyn is to build a new auditorium due to Communications International BENEFACTORS DONORS VOLUNTARY WORK HSBC and The Sunday Telegraph. Michael Carr, John & Rosemary Hawkins, Ian Hill, Doris Hobbs, be completed in 2001. The Mr Chris Gorman, Dentat Pty Limited Mr and Mrs Binnie, Jean Campbell, John Dymond, Gary Heery. Regular long-standing volunteers We look forward to a continuing Clarke, Gianni & Mrs Elena Cocco, Michael J Hobbs, Christopher auditorium is a critical facility for the Mr Ken Borda, Deutsche Bank AG Licia Cattani, Pat Corrigan, PHOTOGRAPHY COLLECTION most notably Mollie Gowing, relationship with these major Patrick Corbally Stourton, Noel Dan Hodges, Darryl Hodgkinson, Art Gallery to fulfil its role as a forum Mr Bruce Cutler, Freehills Michael and Mary Whealan Trust. BENEFACTORS SPONSOR Elizabeth Callanan and Patricia companies. and Mrs Adrienne Dan, Peter Katherine Hodgkinson, Peter Keel, for discussion and education. Mr Robin Dixon, Getronics (Australia) LKS Landor. James, provided greatly appreciated Debnam, Stella Downer, Peter Annette Larkin, Dr Colin Laverty, PHOTOGRAPHY COLLECTION PRINCIPAL SPONSORS FOR Centenary Fund patrons are an Pty Limited PHOTOGRAPHY COLLECTION and vital support to day-to-day English, Gwen Frolich, Ross Gibson, Elizabeth Laverty, Bruce Liu, Irene BENEFACTORS 2000/2001 exclusive group. Membership is Mr Ian Tsicalas, Howard Smith Limited BENEFACTOR DINNER SPONSORS operations of the Australian Art Eric Hawley Glen Weston, Robert Liu, Amanda Love, Andrew Love, INDIVIDUAL FELLOW • Westfield was Principal Sponsor of limited to 100 who have been invited Mr Greg Daniel, Issues & Images Tiffany & Co., McWilliams Wines, Department as well as special Gould, Bill Gregory, Mr Neville and Viviane Martin, Brenda May, Robert Kate Armati the Dead Sea Scrolls exhibition, to contribute $100,000 each over a Group LKS Landor, Pommery, Nikon, Kodak, projects. Mrs Margo Gruzman, Ken & Di May, Roger McIlroy, Fiona McIntosh, CORPORATE MEMBERS which was part of the 2000 Olympic specified period of time. Mr Peter Ivany, Ivany Investment Photo Technica, Tony Warrilow, Handley AO, Sally Hardy, Sue Hewitt, Ross McLean, A J Meagher, F M Getty Images Australia, Young & Arts Festival and later toured to the Membership as at 30th June, 2001: Group Roslyn Oxley9 Gallery, The Australian W Hinds, Alex Holland, Fraser Meagher, Tim Olsen, Lisa Paulsen, Rubicam National Gallery of Victoria Alex and Vera Boyarsky, Jillian Ms Angela Clark, JCDecaux Financial Review, Josef Lebovic Hopkins, Andrew Horsley, Pamela John Pearson, Bridget Pirrie, Lindsay CORPORATE BENEFACTORS • ABN AMRO Rothschild’s substantial Broadbent and Olev Rahn, David & Australia Gallery, Stills Gallery, Chapter & Jennings, Poppy & Iphy Kallinikos, Powers, Dr Dick Quan, Amber Photo Technica, Tiffany & Co. support for Australian art at the Art Michelle Coe, Kenneth Coles & Mr Fred Hilmer, John Fairfax Verse, Danny Dekker Photography, Colin & Elizabeth Laverty, Diana Richmond, Gary W Sands, Alyson FOUNDING BENEFACTORS Gallery culminated in the landmark Rowena Danziger, Jenny Ferguson, Holdings Limited Allen & Unwin, Getty Images, Macarther-Stanham, Greg MaInnes, Schoer, Harry Seidler, Penelope Sandra & Paul Ferman, David & exhibition, Australian Icons, which David Gonski, In memory of Aida Mr Scott Reid, JP Morgan GrantPirrie, Anonymous, Peter Jenny Manton, Robyn & Mitchell Seidler, Morna Seres, Serioso Pty Deirdre Greatorex, Richard King was part of the Art Gallery’s Gordon, Yvonne & Christopher Mr Daniel Gauchat, Korn/Ferry Cousens, The ARC Factory, Levi’s, Martin-Weber, Justin Miller, Paul Limited GGHA Investment Trust, SUPPORTING BENEFACTORS exhibition programme for the 2000 Gorman, Alex Holland, Peter & International Aria Restaurant, MG Garage Milliss, Michael Musgrave, Bruce Vivienne Sharpe, Brian Sherman, Dr Anonymous, Australian Financial Olympic Arts Festival. The Australian Sharon Ivany, Nettie & Peter Joseph Mr Peter Smedley, Mayne Nickless Newey, Tim Olsen, Michael Pascalis, also provided invaluable support as OAM, Anne Landa, John & Michelle Limited Theo & Mrs Marianne Penklis, Alex Media Sponsor for the exhibition. Landerer, Geoffrey & Deborah Levy, Mr Scott Walters, Merrill Lynch Popov and Mrs Chris Adams, • Qantas continued their support of Elizabeth Longes, David Lowy, John HSBC Australia Demetrios & Effie Prevedoros, Brian Aboriginal and Torres Strait Islander & Jane Morschel, Mrs Kerry Packer, Mr Neville Miles, MTM Funds Regan, Andrew & Andrea Roberts, art at the Gallery as Principal Bridget Pirrie & Stephen Grant, John Management Ltd PUBLICATION LISTINGS Greg & Elizabeth Sanderson, Peter & Sponsor of Papunya Tula: Genesis L Sharpe, Brian Sherman, Gene Mr Geoff Dixon, Qantas Airways Christa Satouris, Leo Scholfield, and Genius, also presented as part of Sherman, Geoffrey Susskind, Limited Andrew Shapiro, Peter & Cathy the 2000 Olympic Arts Festival Malcolm & Lucy Turnbull, Michael & Mr Richard J Lee, Rothschild 1999-2000 no. 6: George Baldessin: Occasional bibliography and checklist with black Crowley, Kathleen Caper, Melissa Snowball, David & Nikki Stein, Kevin • The final annual Guinness Eleanora Triguboff, Orli Wargon, Australia images from a city chamber 1975. 8 & white illustrations. Chiu, Felicity Fenner, Linda Michael, Troy, Carolyn Ward, Suzanne Contemporary Art project, Fun Five Phillip Wolanski. Mr Justin Miller, Sotheby’s ASIAN ART pages, duotone, published by the Caroline Butler-Bowdon, Benjamin Waterhouse, Richard & Shirley Fun Story, presented the work of 5 Mr Guido Belgiorno-Nettis, Transfield • Fragrant Space: Chinese Flower AGNSW, 1999. Author: Anne Ryan. INTERNATIONAL ART Gennochio, Maurice O’Riordan, Watkins, Eva & Mr Heinz Wicki, Ray international artists from Africa THE PRESIDENT’S COUNCIL Pty Ltd and Bird Painting of the Ming and • ’This Vital Flesh’: The sculpture of EUROPEAN ART BEFORE 1900 Jacqueline Phillips, Julianne Pierce. Wilson & James Agapitos. • Sanxingdui: Masks of Mystery was The President’s Council, established Mr Philip Coleman, UBS Warburg Qing Dynasties from the Guangdong Rayner Hoff and his school exhibition • Michelangelo to Matisse: Drawing • Voiceovers, 5th Guinness proudly sponsored by Tower in 1995, provides an excellent Australia Ltd CONTEMPORARY COLLECTION Provincial Museum exhibition catalogue. 111 pages, published by the Figure exhibition catalogue. 254 Contemporary Art Project, 48 pages, • The Sydney Morning Herald was opportunity to build business Professor Steve Burdon BENEFACTORS catalogue, 144 pages. Published by AGNSW, 1999. Author: Deborah pages, published by AGNSW 1999. colour, published by the AGNSW, Principal Sponsor of World Without networks and financial support for The Contemporary Collection AGNSW 2000. Authors: Edmund Edwards, with essay by Professor Editors: Terence Maloon & Peter 1999. Author Victoria Lynn. End: Photography and the 20th the Gallery’s exhibitions and VISASIA SPONSORS Benefactors (CCB) program, Capon and Liu Yang. Essays, Virginia Spate. Essays, biographical Raissis. Essays by Terence Maloon, • Uncertain Ground: essays between Century, presented as part of the publications programme. Ipoh Limited continued their 3-year launched in 1993, was established to bibliography and notated checklist notes, bibliography and checklist Louise Marshall, Jennifer Milam, art and nature, 192 pages, colour and 2001 Sydney Festival Membership is for 3 years and is by commitment as Founding Sponsor of support the development of the with full colour illustrations. with full colour illustrations. Peter Kohane, Barry Pearce & Peter black and white, published by the • The Colonial Foundation Charitable invitation only. It is extended to the VisAsia and the VisAsia Business Gallery’s permanent collection by • Australian Collection Focus Series Raissis. Artist’s biographies & AGNSW, 1999. Edited by Martin Trust was Principal Financial Chairman, CEO or Senior Executives Council was established. raising funds for the acquisition of AUSTRALIAN ART no. 7: Les Sauvages des la mer checklist with full colour illustrations. Thomas. Contributors: Victoria Lynn, Supporter for the 2001 Archibald, of major companies, some of which VISASIA BUSINESS COUNCIL contemporary Australian art. In • Australian Collection Focus Series Pacifique, 48 pages, published by Martin Thomas, Allen S.Weiss, Wynne and Sulman Prizes are also sponsors of the Gallery’s A VisAsia Business Council was return for contributing to the no. 5: Grace Cossington Smith: The AGNSW and National Gallery of INTERNATIONAL MODERN AND Virginia Madsen, Stephen Muecke, • The Sunday Telegraph became exhibitions. established in May 2001 to support Gallery’s collection, Contemporary Lacquer Room 1935-1936, Australia 2000. Authors: Vivienne CONTEMPORARY ART Susan Best, Frances Dyson, Michael Principal Sponsor of Fundays at the The President’s Council provides the aims and objectives of VisAsia Collection Benefactors are more 10 pages, full colour, published by the Webb, Roger Butler, Susie Bioletti, • Living Here Now: Art + Politics, Taussig, Jane Goodall, Julie Roberts, Gallery -a 5-year programme of high-level business advice to the and to provide companies with closely involved in the contemporary AGNSW, 1999. Authors: Deborah Ranson Davey, Rose Peel, & Martin Australian Perspecta 1999, 92 pages, Paul Carter, Jacqueline Millner. special events and activities Gallery on a wide range of issues access to business and cultural links art scene, allowing special access to Edwards & Vivienne Webb. Terry. Essays, biographical notes, colour and black and white, • Flow/Arus, Contemporary designed for younger children and and its programme of activities and in the region. Inaugural members of the most recent directions in the • Jeffrey Smart exhibition catalogue, bibliography and checklist with full published by the AGNSW, 1999. Electronic Media Art from Australia their families. events has proved to be a very useful the Business Council are: world of contemporary art and 212 pages published by the AGNSW, colour illustrations. Commissioned by Wayne Tunnicliffe, and Malaysia, 55 pages, colour, • The first of 3 annual exhibitions, environment in which to forge new IBM Asia Pacific, Qantas Airways culture. To date, CCB funds have 1999. Authors: Edmund Capon with • Salvatore Zofrea: Appassionata edited by Nicola Teffer and Wayne published by the AGNSW and the New Painting in Australia was business relationships. Limited, Sing Tao Newspaper Group, acquired important works by the contributions by Barry Pearce and woodcuts exhibition catalogue, 96 Tunnicliffe. Contributors: Wayne National Art Gallery, Malaysia, 2000. proudly sponsored by Andersen. The This year, Mr Justin Miller, General Stamford Hotels and Resorts, State following artists for the Gallery’s Peter Quartermaine. Essays, pages published by the AGNSW, Tunnicliffe, Nikos Papastergiadis, Authors Zanita Annuar and Wayne exhibition will also tour to the Ian Manager, Sotheby’s Australia, Mr of the Arts, University of Technology collection: Howard Arkley, Marion biographical notes, bibliography and 2000. Authors: Hendrik Kolenberg Hetti Perkins, Robert Schubert, Tunnicliffe. Potter Gallery in Melbourne. Robin Dixon, Managing Director, Sydney, Valiant Hire Borgelt, Janet Burchill, Adam Cullen, checklist with full colour illustrations. and Anne Ryan. Essay, artist’s Nicholas Tsoutas, Robyn Ravlich, • Passing Time, Moët & Chandon Getronics (Australia) Pty Limited and Jeff Gibson, Bill Henson, Tim Maguire, • Australian Collection Focus Series commentaries, biographical notes, Blair French, Amanda McDonald Exhibition 2000, 33 pages, colour,

76 77 published by the AGNSW, 2000. LIBRARY and ARCHIVES Editors: Hetti Perkins & Hannah Fink, published by the AGNSW, 2000. AGNSW PUBLICATIONS FOR SALE Author; Victoria Lynn • Guide to the Papers of Tony with essays by Paul Sweeny, Hetti Author: Russell Storer AGNSW Contemporary Projects Tuckson (1921-1973) AGNSW Perkins, Hannah Fink, Vivien • David Sequiera, Projects, 6 pages, Managing Curator and catalogue Manuscript Guides No. 2., 42 pages. Johnson, Geoffrey Bardon, colour and black and white, commissioner: Wayne Tunnicliffe Published by AGNSW 1999. Compiled R.G.Kimber, John Kean, Daphne published by the AGNSW, 2000. The following 32 AGNSW publications • Brett Whiteley Art and Life, Pearce • Hanga, Ajioka et al softbound $25.00 • Phenomena, Wardell softbound • Michael Goldberg, The Well-Built by Steven Miller. Williams, Fred R. Myers, Paul Carter Author: Dr Peter McNeil are available in the Art Gallery Shop. softbound $44.00 • Jeffrey Smart Retrospective, Capon $20.00 Australian, 6 pages, colour and black & Marcia Langton. Artists • New Releases - Recent • AGNSW Collections, Capon et al. • Classic Cézanne, Maloon softbound & Pearce softbound $45.00 • Pre-Raphaelites and Olympians, and white, published by the AGNSW, biographies by Ken Watson. International Video, curated by Emil softbound $60.50 hardbound $88.00 $15.00 hardbound $66.00 Beresford softbound $20.00 1999. Author Nicholas Tsoutas 2000-2001 Chronology, bibliography & checklist Goh, 2 pages, black and white, • AGNSW Handbook, James • Dancing to the Flute, Menzies • Lion among Painters, Yang • Raynor Hoff, Edwards softbound • Horst Kiechle and Margaret with full colour illustrations. published by the AGNSW, 2000. softbound $22.00 slipcased $33.00 softbound $44.00 softbound $27.50 $30.80 Roberts, Exit, 6 pages, colour and ASIAN ART Authors: Emil Goh, Leah Grycewicz, • Arthur Boyd Retrospective, Pearce • Dead Sea Scrolls, softbound $25.00 • Margaret Olley, Pearce hardbound • Rosalie Gascoigne, Edwards black and white, published by the • Hanga: Japanese Creative Prints INTERNATIONAL ART Panos Couros. softbound $44.00 • Dobell, Pearce & Kolenberg $55.00 softbound $27.50 AGNSW, 1999. Author: Anita Fricek exhibition catalogue, 111 pages. EUROPEAN ART BEFORE 1900 • John Meade, Propulsion, 6 pages, • Australian Art in the AGNSW, softbound $33.00 • Masks of Mystery, Liu softbound • Salvatore Zoffrea, Kolenberg & • Joan Brassil, The Breath of Psyche, Published by AGNSW 2000. Authors: • Victorian Watercolours exhibition colour and black and white, Pearce et al. softbound $68.00 • Donald Friend, Pearce hardbound $27.00 Ryan softbound $33.00 6 pages, colour and black and white, Ajioka Chiaki, Kuwahara Noriko, brochure, 11 pages, published by published by the AGNSW, 2000. hardbound $90.00 $60.50 • Olive Cotton, Ennis & Donohue • World Without End, Annear published by the AGNSW, 1999. Nishiyama Junko. Essays, Artists AGNSW 2000. Author: Peter Raissis. Author: Stephen Zagala • Australian Drawing, Kolenberg • Fragrant Space, Yang softbound $33.00 softbound $30.80 softbound $35.00 Author Dr Susan Best. notes, and checklist full colour Essay, checklist and full colour • Carsten Nicolai, snow.noise, 6 softbound $33.00 • From Music Hall to Landscape Fred • Orientalism, Prunster (ed) • Yiribana, Neal softbound $38.50 • Neil Emmerson, (surrender, penance, illustrations. illustrations. pages, colour and black and white, • Australian Prints, Kolenberg Williams Drawings and Prints, Ryan softbound $44.00 • 52 Views of Rudy Komon Raymond IWYS), 6 pages, colour and black and • Masks of Mystery exhibition • Dead Sea Scrolls exhibition published by the AGNSW, 2000. softcover $38.50 & Kolenberg softbound $33.00 • Papunya Tula, Perkins (ed) (ed) softbound $33.00 white, published by the AGNSW, 2000. catalogue, 110 Pages. Published by catalogue. 119 pages published by Author Sophie Forbat. • Australian Watercolours, Kolenberg • Gamarada, softbound $27.50 softbound $50.00 hardbound $90.00 Author: Robert Schubert AGNSW 2000. Authors: Edmund AGNSW in association with The softbound $33.00 AGNSW Contemporary Projects Capon and Liu Yang. Essays and Israel Antiquities Authority. Essays PHOTOGRAPHY Managing Curator and catalogue notated checklist with full colour by Michael E. Stone, Ayala • My City of Sydney, exhibition commissioner: Michael Wardell illustrations. Sussmann and Ruth Peled, Ada brochure. 8 foldout pages, published ART PRIZES AND GRANTS AWARDED • Patricia Piccinini and Christopher • Indian Painting exhibition poster Yardeni, Pnina Shor & Emanuel Tov. by AGNSW, 2000. Author: Michael Langton, Plastic Life, 6 pages, colour catalogue, full colour. Author: Haema Glossary, bibliography & catalogue Wardell. Essay, bibliography and and black and white, published by Sivanesan. Essay and checklist. listing with full colour illustrations. checklist of works with duotone THE WYNNE PRIZE Thomas, Stephen Eastaugh and the bequest provides grants to the AGNSW, 2000. Author Jacqueline • Heroes and Villains from Japan’s • Masterpieces of Victorian Art from illustrations ART PRIZES The prize of $15,000 for an Australian Peter Raissis. Australian art students who have Milner Floating World. Exhibition brochure, 8 The John and Julie Schaeffer • World without End: Photography The 2001 Archibald, Wynne and landscape or figure sculpture was already won travelling scholarships pages. Published by AGNSW 2001. Collection exhibition brochure, 6 and the twentieth century, exhibition Sulman Prize competitions, THE BASIL AND MURIEL HOOPER awarded to Aida Tomescu for her so as to enable them to better study PHOTOGRAPHY Author: Ajioka Chiaki. Essay, glossary pages, published by AGNSW 2000: catalogue. 182 pages, published by supported by the Colonial Foundation, SCHOLARSHIP work entitled Platra. architecture, sculpture or painting in • Light Pictures: the photographs of and checklist with full colour Author Edmund Capon. Essay, AGNSW, 2000. Editors: Judy Annear was held in March 2001. A total of These scholarships, valued at $6,000 countries other than Australian and Nakayama Iwata & Yasuzo Nojima 12 illustrations. checklist and full colour illustrations. and Erica Drew Authors: Judy 1891 entries were received, 82 of THE SIR JOHN SULMAN PRIZE each, are available each year to fine New Zealand. Awards of $5,000 foldout pages duotone, published by • Pre-Raphaelites and Olympians. Annear and Nicola Teffer. Essay, which were selected for display. The The prize, judged by artist Wendy art students attending recognised were made to Marcel Cousins and AGNSW 1999. Author: Judy Annear AUSTRALIAN ART Selected Works of Victorian Art from biographies, bibliography, timeline, Dobell Prize for Drawing, sponsored Sharpe, of $10,000 was awarded to schools in New South Wales to Kirsty Martinsen. • Olive Cotton, exhibition catalogue. • Australian Art in the Art Gallery of the John and Julie Schaeffer deskcase, checklist of works with full by the Sir William Dobell Art Euan Macleod for his work entitled assisted with the costs of fees, 64 pages, published by AGNSW, New South Wales, 304 pages, Collection and the Art Gallery of New colour illustrations. Foundation, was held in conjunction Exquisite Corpse with Fire. materials and general living BRETT WHITELEY TRAVELLING ART 2000. Editor: Judy Annear. Author: published by the AGNSW, 2000. South Wales, 64 pages, published by with the Archibald, Wynne and THE DOBELL PRIZE FOR DRAWING expenses. Three half scholarships SCHOLARSHIP Helen Ennis, Essay, biographical Introduction by Barry Pearce, with AGNSW 2001. Author: Richard EDUCATION Sulman competitions. Of the 541 The $10,000 prize, judged by were awarded to Samuel Smith, An annual scholarship was notes, bibliography, checklist of essays introducing 12 chapters by Beresford. Essays, full colour • Exhibitions and Events bulletin: four entries received, 40 were selected Margaret Olley, was awarded to Hayden Fowler and Izabela Pluta. established during 1998/99 to provide works and duotone illustrations. staff members Helen Campbell, illustrations with notated captions. quarterly editions. for display. Nicholas Harding for his work THE ELIOTH GRUNER PRIZE young artists with an opportunity to Deborah Edwards, Ursula Prunster, • Two six monthly Education Posters travel to Europe and further their THE ARCHIBALD PRIZE entitled Eddy Avenue 3. The prize of $1,500 for the best EDUCATION Anne Ryan, Vivienne Webb and INTERNATIONAL MODERN AND and a new collection focused artistic interests. The scholarship The prize of $35,000 for portraiture landscape in oil by an art student • Four quarterly editions of the Gallery’s Natalie Wilson. Biographical notes, CONTEMPORARY ART Education Programmes 2001 booklet includes a financial award and was awarded to Nicholas Harding for GRANTS AND was awarded for 2000 to Gina Bruce. Exhibitions and Events bulletin. artists’ quotes, extensive bibliography. • Fun Five Fun Story: The 2000 were produced for teachers. access to the Art Gallery’s Paris his work entitled John Bell as King SCHOLARSHIPS • Two six monthly Education Posters • Australian Collection Focus Series Guinness Contemporary Art Project • Education Kits were produced for THE ROBERT LE GAY BRERETON Studio for a period of three months. Lear. The Archibald Prize: People’s for schools. no. 8: Colin Lanceley: The Dry Video catalogue. Published by the major exhibitions including: The STUDIOS IN PARIS MEMORIAL PRIZE It is a memorial to the artist, the late Choice competition, asks the viewing • A new permanent collection Salvages 1963-64 and Gemini 1964, 12 AGNSW 2000. Compiled by Pascale Dead Sea Scrolls, Australian Icons, The Art Gallery allocates tenancy to This prize aims to promote and Brett Whiteley who in his youth was public to vote for their favourite education kit Adventures in Asia. pages, full colour, published by the Marthine Tayou Papunya Tula, World Without End, two art studios, the Moya Dyring encourage the art of encouraged in his artistic entry, was won by Paul Newton for • A second edition of Diversity: A AGNSW, 2001. Authors: Barry • Phenomena, New Painting in and the AWS, and Public Studio and the Dr Denise Hickey draughtsmanship, is available each endeavours by winning a similar his work Roy & H.G.. Newton Celebration of Art and Culture, the Pearce, Colin Lanceley, Deborah Australia I exhibition catalogue. 47 Programmes contributed to the Memorial Studio, it leases at the Cite year to art students. The 2000 prize scholarship. Special thanks are received $2,500 as did the Art Gallery collection education Kit for the Edwards. pages published by AGNSW 2001. development of the 2000 Biennale of Internationale des Art in Paris. The of $1,200 was awarded to Samuel given to Beryl Whiteley, the mother patron whose vote for the winning Gallery’s Indigenous collection, was • Australian Collection Focus Series Author: Michael Wardell. Essay, Sydney and Renoir to Picasso studios were occupied during the Wade. of the artist for providing the entry was drawn from a barrel printed to meet constant demand. no. 9: John Glover: Natives on the biographical & bibliographical notes education kits. All education year by Claudia Damichi, Virginia DYASON BEQUEST generous donation to fund the containing all votes cast. Adventures in Asia and Diversity Ouse River, Van Diemen’s Land 1838, and checklist with full colour publications were hosted on the Coventry, Deborah Porch, Susan Administered under the terms of the scholarship. The 2000 scholarship of were possible due to generous 8 pages, full colour, published by the illustrations Gallery’s website. Andrews, Andrew Cooks, Martin will of the late Miss Anthea Dyason, $25,000 was awarded to Alice Byrne. donations from Kate Anderson, the AGNSW, 2001. Authors: Vivienne AGNSW Contemporary Projects Public Programmes’ Benefactor. Webb, Paula Dredge. Managing Curator and catalogue BRETT WHITELEY STUDIO • Three education kits were • Australian Collection Focus Series commissioner: Michael Wardell • Brett Whiteley Graphics 1961-1992, 8 produced for major temporary no.10: Russell Drysdale: Sunday • Dale Frank, 6 pages, colour and pages, duotone, published by AGNSW, exhibitions including, Jeffrey Smart, evening 1941, 8 pages, full colour, black and white, published by the 2001. Author: Hendrik Kolenberg. STAFF LIST Michelangelo to Matisse and an published by the AGNSW, 2001. AGNSW, 2000. Author Blair French • Affinities: Brett Whiteley & Lloyd updated Archibald Prize kit. Author: Helen Campbell. • Aleks Danko, Songs of Australia Rees, 8 pages, full colour, published • A free children’s drawing activity • Colin Lanceley speaks at the Art volume 9: Uh-oh the Chinese are by AGNSW, 2001. Author: Lou Klepac. DIRECTOR HEAD CURATOR OF WESTERN ART CURATOR CONTEMPORARY AUSTRALIAN ART booklet was produced for the Gallery of New South Wales (video), coming (takeaway mix), 6 pages, Edmund Capon A.M., M. Phil CURATOR OF TWENTIETH CENTURY Wayne Tunnicliffe B.A. (Hons) M.A., M. Art Admin Michelangelo to Matisse exhibition. 4 hour/1 hour versions, published by colour and black and white, LIBRARY AND ARCHIVES EXECUTIVE ASSISTANT TO THE DIRECTOR INTERNATIONAL ART ASSISTANT CURATOR, CATALOGUING & the Art Gallery of New South Wales, published by the AGNSW, 2000. • Guide to the Papers of Arthur Margaret McLenaghan GENERAL MANAGER CURATORIAL SERVICES DOCUMENTATION BRETT WHITELEY STUDIO 2001. Produced by Deborah Edwards Author Melissa Chiu. Murch, AGNSW Manuscript Guides Anthony Bond B. Ed. (Hons) CURATOR EXHIBITIONS Judy Peacock B.A., Grad. Dip. App. Sc., M. Art Admin • Brett Whiteley’s Paris, 4 pages, full and Art Gallery of New South Wales • Nigel Helyer, Metamorphoses, 6 No. 3., 34 pages. Published by Terence Maloon B.A. (Hons), Dip. Art & Design STUDY ROOM COORDINATOR PROJECT OFFICER colour, published by AGNSW 1999. Audio Visual Services. pages, colour and black and white, AGNSW 2000. Compiled by Steven Denise Mimmocchi B.A. (Hons) Natalia Bradshaw B.A. Author: Barry Pearce. published by the AGNSW, 2000. Miller. CURATOR DIRECTORATE • Brett Whiteley nudes, 4 pages, full ABORIGINAL AND TORRES Author Michael Goldberg Michael Wardell B. A. SENIOR CURATOR EUROPEAN ART, PRE-1900 colour, published by AGNSW 1999. STRAIT ISLANDER ART AGNSW Contemporary Projects SENIOR CURATOR PHOTOGRAPHY Richard Beresford B.A. (Hons) MBA PhD Author: Barry Pearce. • Papunya Tula: Genesis and Genius Managing Curator and catalogue Judy Annear, B.A. • Whiteley with Words, 8 pages, full exhibition catalogue. 320 pages, commissioner: Wayne Tunnicliffe CURATOR INTERNATIONAL PRINTS ASSISTANT CURATOR, PHOTOGRAPHY colour, published by AGNSW, 2000. published by AGNSW in association • Stephen Birch, Woodsprites, 6 AND DRAWINGS Natasha Bullock B.A. (Hons), Postgrad. Dip (Art Author: Bruce James. with Papunya Tula Artists, 2000. pages, colour and black and white, Peter Raissis, B.A. (Hons) Curatorship & Museum Management)

78 79 HEAD CURATOR ASIAN ART MANAGER, INFORMATION ASSISTANT REGISTRAR PURCHASING AND EXPENDITURE ADMINISTRATIVE SERVICES GENERAL MANAGER, BUSINESS MANAGER, SECURITY SERVICES Jackie Menzies, B.A., (Hons), M.A. Jonathan Cooper Dip. Art Ed. Susie Quinn B.A. (Fine Arts), Grad. Dip. Art History SUPERVISOR OFFICERS DEVELOPMENT George Alamanos CURATOR JAPANESE ART MUSEUM EDUCATOR (TERTIARY/CONTEMPORARY REGISTRATION ASSISTANT Maria Gutzinger Michelle Berriman Dip.H.E., B.A. Jane Westbrook B.A. (Hons), M.A. DEPUTY MANAGERS, SECURITY Chiaki Ajioka B.A., M.A, PhD ART) Peter Duggan B. A. (Fine Arts), M.A. ACCOUNTING CLERK (Hons), Deborah Spek, Adrienne VENUE MANAGER SERVICES Vaughan-Smith Dip. Fine Arts CURATOR CHINESE ART George Alexander B.A. (Hons) Viva Chelvadurai James Vaughan B. Ec. Jacques Michel, Jeff Browne Yang Liu, B.A., M.A., PhD MUSEUM EDUCATOR (SECONDARY SCHOOLS) SENIOR PHOTOGRAPHER ACCOUNTING CLERK (CASUAL) COPYRIGHT OFFICER MEMBERSHIP SERVICES MANAGER SENIOR GALLERY SERVICE OFFICERS Jo Foster B.A., Dip. Ed. Jenni Carter Merle Passmore Cherith Devenish B. Juris., L.L.B., Jane Wynter, B.A. L.L.B. Christine Gracie, Peter Howlett, ASIAN PROGRAMMES COORDINATOR B.A. (Hons) Ann MacArthur B.A., MIM MUSEUM EDUCATOR (PRIMARY SCHOOLS) PHOTOGRAPHER CLERICAL OFFICER BUSINESS DEVELOPMENT Frank Flores Jennifer Keeler-Milne B. Ed., Grad Dip Fine Arts, Ray Woodbury Graeme Callaghan IMAGE REPRODUCTION OFFICER COORDINATOR GALLERY SERVICE OFFICER ASSISTANT CURATOR Alice Livingstone B. Ed, M.A. Haema Sivanesan, B.Arch. (Hons) M.A. (Art Admin) COPYRIGHT OFFICER - DIGITISATION Leanne Primmer Hilarion Aldaba, J.P., Freddi Alam, Arthur Boucas, Alan Boyd, Kevin PROJECT OFFICER MUSEUM EDUCATOR (PRIMARY SCHOOLS) Donna Brett BVA MANAGER INFORMATION AND DEVELOPMENT MANAGER Vickie Kalocsay B. Ed., B. A.(Fine Arts) TECHNOLOGY MERCHANDISING MANAGER Melissa Hankinson M.M.(Arts Callope, Anthony Caracoglia, George Akiko Takesui PHOTOGRAPHER - DIGITISATION GALLERY SHOP Caruana, J.P., Ashton Johnston, MUSEUM EDUCATOR Diana Panuccio Maurice Cirnigliaro Management), BCA PROJECT OFFICER M. Bus. (Information Technology) Brian Turner Steve Davies, Romeo Domingo, Tony Kathryn Gfeller Dip. Fine Arts Bronwyn Clark-Coolee Dip. Teaching, Post. Grad. CLERK - DIGITISATION Fletcher, Terry Forde, David Grech, Dip. Vis. Arts, M.V.A. ASSISTANT SHOP MANAGER MANAGER, MARKETING Deborah Jones Gillian Williamson, B. Sc. Cheryl Gross, Phillip Hill-Travis, Peter MANAGER HUMAN RESOURCES Belinda Hanrahan B.Comm. Humphreys, Janak Kadian, B.A., HEAD CURATOR AUSTRALIAN ART CLERICAL OFFICER Donna Grubb SUPERVISOR Nicholas Karydis, John Kavallaris, Barry Pearce Dip. Art Ed. Joan Radkevitch GENERAL MANAGER EXHIBITIONS AND PUBLICITY OFFICERS Sandra Christie B.A. (Hons). Grad. Rayson Light, Ramon Lozada, Patrick BOOKINGS OFFICER BUILDING MANAGEMENT HUMAN RESOURCES CO- Jan Batten, Claire Martin B.A. CURATOR AUSTRALIAN ART Dip. Elec. Imag. McBride, Jamil Mati, Ray Nguyen, Karin Kruger Anne Flanagan Dip. Int. Design, Dip. Ed., Dip. Ed. ORDINATOR (Hons), Dip Marketing, Deborah Edwards, B.A. (Hons), M. Phil. Trish Noonan, Judy O’Neil, Peter Vis Arts. Shirley Dunshea B. Bus. STOCK & SALES OFFICERS TOURISM COORDINATOR SLIDE LIBRARIAN/BOOKINGS OFFICER Rawlins, Sharat Sharma, Jason ASSISTANT CURATOR AUSTRALIAN ART HUMAN RESOURCES OFFICER Rita Briguglio, Bill Burke, Denise Janelle Prescott Meredith Williams B.A. EXHIBITIONS PROJECT REGISTRAR Simpson, Suzanne Slavec, Joan Vivienne Webb B.A. (Hons) Sean Foyel B. Bus. Faulkner B.A (Fine Arts), Dot Kolentsis Anna Hayes B.A., M.A. Dip. Vis.Art, Grad.Dip.Vis. Art. MARKETING COORDINATOR Standfield, Mary Thom, Peter ASSISTANT CURATOR AUSTRALIAN ART Cassandra Willis Kylie Wingrave B.A. (Vis. Arts), B. Tsangarides, Russell Ward, Paul Helen Campbell, B.A. (Hons), Grad. Dip. (Museum COORDINATOR BRETT WHITELEY STUDIO PROJECT OFFICER Barbara Konkolowicz, B.A. Dip. Ed. Erica Drew B.A. (Hons) MANAGER, ADMINISTRATION AND Comm Woolcock, Heifen Zhu, B. Eng. Studies) STRATEGY SALES REPRESENTATIVE SECURITY OFFICERS EXHIBITIONS ASSISTANT Trish Kernahan Joanna Knight SENIOR CURATOR AUSTRALIAN PRINTS WEEKEND COORDINATOR Tom Casey, Emilio Cruz, Craig Knott, DRAWINGS AND WATERCOLOURS AUDIO-VISUAL COORDINATOR Stefanie Tarvey Laurence Hall B.A. (Com) ADMINISTRATION SERVICES Jonquil Temple Brett Morris, David Paine, JP, Bob Hendrik Kolenberg Dip. Ed. TICKETING SUPERVISOR SUPERVISOR Partridge, Brian Reynolds, Peter AUDIO-VISUAL COORDINATOR Diana Curtis BOOKINGS/INFORMATION OFFICER ASSISTANT CURATOR AUSTRALIAN PRINTS Louise Fischer B.A., M.A. Kerri Coombes Rozario DRAWINGS AND WATERCOLOURS Alex Smythe B.A. (Vis Arts) TICKETING OFFICER Anne Ryan B.A. (Hons), M. Art Admin. Prue Watson ASSITANT CURATOR AUSTRALIAN ART HEAD OF CONSERVATION Natalie Wilson B.A. (Visual Arts), MA Alan Lloyd MANAGER ENGINEERING SERVICES CURATOR ABORIGINAL AND TORRES STRAIT ASSISTANT CONSERVATOR Don Alderson ISLANDER ART Mathew Cox MANAGER BUILDING SERVICES Hetti Perkins, B.A. ASSISTANT CONSERVATOR, MOUNT CUTTING Phil Johnstone ASSISTANT CURATOR ABORIGINAL & TORRES Bill Lamont MAINTENANCE OFFICER STRAIT ISLANDER ART SENIOR CONSERVATOR, PAINTINGS Rob Schumacher Ken Watson, B.A. (Hons) Stewart Laidler Dip. Con PLANT ASSISTANT STAFF PUBLICATIONS, PRESENTATIONS AND RELATED ACTIVITIES ASSISTANT CURATOR ABORIGINAL & TORRES CONSERVATOR, PAINTINGS Jan Krycki STRAIT ISLANDER ART Paula Dredge B. App. Sc. (Con), B.A. (Fine Arts) Cara Pinchbeck SENIOR CONSERVATOR, WORKS ON PAPER LIGHTING SUPERVISOR Chiaki Ajioka, (Curator, Japanese Art) Catalogue Essay for Victor Rubin’s Richard Beresford (Senoir Curator, MoS Lecture to Education COORDINATOR OF ABORIGINAL PROGRAMMES Rosemary Peel B.A. (Fine Arts) John Powis ‘Hanga’, Imprint vol.35, no.3, Print Reconciling Images of the European Art pre 1900) Department curriculum group 5/8/00 Angela Martin B.A, Dip. Ed. Council of Australia, Spring 2000 Indigenous (Boutwell Draper Gallery) “Getting better: A major painting by Interpretation/(re)presentastion: to SENIOR CONSERVATOR, OBJECTS ‘Hanga’, LOOK, Oct. 2000, AGS Two pieces for HEAT magazine (ed John Everett Millais”, LOOK, June theme or not to theme. COORDINATOR OF ABORIGINAL PROGRAMMES Donna Hinton M.A. Applied Science (Con) Dip. INSTALLATION OFFICERS ‘Hanga’, Across the Sea, no.38, Ivor Indyk) (Issue #7, Issue #11) 2001. Participated in Media City curators Lenoma Jackson Museum Tech. Brett Cuthbertson, John Freckleton, Alan Jobson, Japan Cultural Centre, Sydney, Oct. A collaboration for writer and “Images of Devotion”, LOOK, April, workshops Seoul and delivered a CONSERVATOR, OBJECTS Nickoulas Rieth, Simm Steel 2000 photographer (which was shortlisted 2001. paper Interpretation/ (re)presentation ‘Death and the samurai’ LOOK for the prize) in SIGLO magazine (ed. Taught a semester course on The 4/10/00 HEAD LIBRARIAN Jolanta Grzedzielska, B.A. (Cons), M.A. App. Sc. magazine, May 2001 Martin Ball & Cassandra Pybus) #13. Materials and Techniques of Old Chaired Biennale forum at AGNSW Susan Schmocker B.A., Dip. Lib. SENIOR CONSERVATOR, FRAMES STORES OFFICER Presentation Access Asia Program A series of five readings broadcast Master Paintings at the University of 18/9/00 Malgorzata Sawicki M.A. (Cons) Steve Peters, J.P. SENIOR LIBRARIAN/TECHNICAL SERVICES organised by UTS, July 2000 for the ABC ARTS TODAY Radio Sydney. Horizon Transcendant images from Kay Truelove, B.A., Dip Lib. CONSERVATOR, FRAMES Lunchtime talk ‘Seasons in Japanese National Program (prod. Michael at RLA Conference SENIOR DISPLAY TECHNICIAN (PAINTING) Turner to Turrell Basia Dabrowa, M.A. (Con) landscape prints’ for Cathcart) on territory, travel and Anthony Bond (Head Curator, University of Sydney 2/2/01. LIBRARIAN Michael Brown Monet & Japan Robyn Louey, B.L. Arch, Grad. Dip. IM (Lib) CONSERVATOR, FRAMES exhibition, NGA, April 2001 contemporary Australian art, called International Art) Curatorial strategies in collecting for SENIOR DISPLAY TECHNICIAN (CARPENTRY) Connecting Flights. (Weekly extracts Guest Curator for a retrospective of Kings school yr 12 students 7/2/01 LIBRARY TECHNICIAN David Butler Bill Viola George Alexander (Coordinator of broadcast 16– 20 May 2001) Peter and Lezlie Tilley at Maitland, Memory and things a lecture for Vivian Huang Assoc. Dip. Arts SENIOR CONSERVATOR ASIAN ART Contemporary Art and Tertiary An image and text work for ABADDON Muswellbrook, Taree and Newcastle University. 7/3/01 Sun Yu, B.A. (Art History) DISPLAY TECHNICIANS (CARPENTRY) ARCHIVIST Gary Bennett, Alan Hopkinson, Ram Mudaliar Programmes) magazine #2 (ed. Andres Vaccari) Campbelltown regional galleries in Contemporary collection Themes for Steven Miller, B.A. (Hons), B. Theol., Grad. Dip. IM ASSISTANT CONSERVATOR ASIAN ART Lecture at Hazlehurst Regional 2000/2001. teacher trainers AGNSW. 14/3/01 (Arch) Yang Yan Dong Gallery on Contemporary Art Judy Annear (Senior Curator AAANZ Conference papers To Theme or not…. A paper GENERAL MANAGER FINANCE AND Helped selection process for Art Photography) Published by Victoria University presented at the AAANZ conference MANAGEMENT SERVICES Express Co-editor (with Ewen McDonald) and Wellington NZ Dec. 2000. Brisbane Dec 9th 2000 HEAD PUBLIC PROGRAMMES HEAD REGISTRAR Rosemary Senn, B. Comm., FCPA, MAICD Dip. Brian Ladd Dip. Fine Art, Dip. Ed. Ljubo Marun B.A. (Hons) PhD Overview of Contemporary Art in co-ordinator (with Pluto Press & Metaphors of the earth, a paper Launch Refracting vision a Power PROJECT OFFICER LOOK Magazine, Sydney. UTS) of publication What is this thing presented at Echigo Tsumari publication on Michael Fried at Glebe MUSEUM EDUCATOR (CURATOR - SPECIAL REGISTRAR (STORAGE) Jackie Bullions Lecture for Christie’s group organised called photography? Australian Triennial in Japan on 24 July 2000 books 27/10/00 PROJECTS) Emma Smith B.A., Grad. Dip Decorative Arts by Robin Wallace-Crabbe photography 1975-1985 (book launch and at New England Regional Gallery Present a paper on curatorial themes Ursula Prunster B.A. (Hons), M.A. REGISTRAR (EXHIBITIONS) MANAGER ACCOUNTING AND SYSTEMS Steering Committee for AAANZ Sept. 1, 2000) 3rd September 2000. connecting British show, Boundary MUSEUM EDUCATOR (COORDINATOR Ross Clendinning B. Ed. Ray Lovat M.N.I.A. Conference, “Conducting Bodies” Guest curator, Ulay: Performing Light Newcastle University 14/7/00 rider, Body and Trace for High School Catalogue Essay for Rosemary Laing’s restrospective, De Appel, Amsterdam Lecture on German Art after 1945. teachers. Focus Fest. 11/11/00 PROGRAMMES) REGISTRAR – CATALOGUE & DOCUMENTATION Liz Gibson B.A. Ed, M.A. (Arts Admin) ASSISTANT ACCOUNTANT groundspeed (Gitte Weise Gallery) Oct. 2000 (also given to gallery society) Open Leslie and Peter Tilley survey Jesmond Calleja B.A. Bernadine Fong, B. Bus. (Banking & Finance)

80 81 show that I curated at Maitland Jesmond Calleja (Registrar, Article "La Erotiko de Desegnado" Louise Fischer (Administrative Opened the new Adelaide Perry to the students from Sydney bells and dance) Benefactors on ‘The Sydney Camera Region Gallery 29/10/00 Cataloguing and Documentation) (The Erotics of Drawing), in Monato Services Supervisor) Gallery (and an exhibition of her University, 13 Oct. 2000. Conducted visits to and consultations Circle,’ 27 March 2001 Opening address of Fun Five AGNSW Meet Me in St. Louis? – Or was it the May 2001 (FEL, Antwerp) Represented the Art Gallery at the work), Presbyterian Ladies College, Lecture on Sanxingdui Bronzes with Buddhist temples and societies Lecture to students of Museum 14/11/00 St. Louis blues, American conference of PAINT, a national Croydon 1 June 2001 dilivered to the Tasks Force of the Art as part of audience research for the Management Diploma, University of Open Tin Sheds exhibition on Association of Museums Annual Paula Dredge (Conservator, project to establish a uniform Opened exhibition ‘Salvatore Zofrea, Gallery of New South Wales, 20 Nov. exhibition BUDDHA Radiant NSW, on role of the Art Gallery’s spiritual in art 2/2/01 Meeting and MuseumExpo, Spirit of Paintings) recordkeeping system for Australian Appassionata Woodcuts’ Drill Hall 2000. awakening including Nantien Temple, Archive, 11 May 2001. Open the exhibition of the Tilleys at Community, Journal of the Australian Lecture to COFA Art History and art galleries and museums, Canberra, Gallery, Australian National Interview with SBS regarding the Wollongong; Dhammakaya Represented the Art Gallery as one Muswellbrook Registrars Committee, Vol. 37, Winter Conservation students on paintings 29 Nov. - 1 Dec. 2000. University 7 June 2001 exhibition Masks of Mystery, 13 Dec. International Society of Australia, of four members on the Advisory Open the exhibition of the Tilleys at Issue, June 2001, pg. 22-28. conservation. Co-hosted the steering committee 2000. Burwood; Wat Pa Buddharangsee, Panel for the New South Wales Taree Delivering Documentation: Changing A workshop with Richard Beresford’s meeting of PAINT at the Art Gallery Brian Ladd (Head, Public Interview with TVB (Australia) Leumeah; Cambodian Buddhist Centenary of Federation of Grants Dobell exhibition at Newcastle the Face of audience participation, Art History Sydney University of New South Wales, 23- 24 April 2001. Programmes) regarding the exhibition Masks of Society of New South Wales, Programme, administering the University Gallery 16/3/01 International Council of Museums, students on making pigments. Convenor, National Heads of Mystery, 5 Jan. 2001 Cabramatta; Phuoc Hue Temple, Archiving, Cataloguing and Open Bashir Makhoul exhibition at CIDOC – International Committee for Collaborative research with Richard Jo Foster, (Co-ordinator Secondary Education and Public Programmes Interview with REUTERS regarding Wetherill Park; Tien Hau Temple, Preservation of Historical Materials UTS Gallery July 2001-08-20 Documentation newsletter, Vol. 10, Wuhrer & M.R. Phillips Schools’ Programmes) Meeting, AGNSW, 1 September 2000 the exhibition Masks of Mystery, 10 Canley Vale; Wat Phrayortkeo Grants. Launch the Millenium gate by Phil- July 2000, pg. 8-11. Microstructural Analysis Unit, Presented lecture on ARTEXPRESS Member, Curriculum Committee for Jan. 2001 Dhammayanaram, Edensor Park; Made official visit to the James Yung Ahn at the 15th anniversary National Collecting – Managing the University of Technology, Sydney to members of Museums Australia new Bachelor of Visual Arts and Talk on Masks of Mystery presented Nantien Temple, Parramatta; Hwa Hardie Fine Arts Library, State Library celebrations for Kwachon city symptoms and side effects, looking at paint samples from Claude Education Group. Design Course, Australian Catholic at the Art Gallery Society’s function, Tsang Monastery, Homebush West; of Queensland, as part of a survey of 7/10/00. Museums Australia Conference, Monet, Port-Goulphar, Belle-Ile for Member of Museums Australia University. 22 Jan. 2001 Buddhanet; the Buddhist Library, Australian art libraries, Brisbane, M.C. opening of Whitely studio opening address for the Australian research for Belle-Ile exhibition. Education Group Tour Lecturer, Art Treasures of Spain Sydney Zen Centre; Vajrayana Institute July 2000. exhibition 8/9/00 Registrars Committee seminar, Paper presented at national Member of Art Education Society and Portugal, for Art Gallery Society, Robyn Louey (Librarian/Cataloguer) Represented the Art Gallery at the Prepared and served dinner for 100 Kamberra Wine Centre, Lyneham, conference of Scanning Electron Consulted regularly with Art Gallery 16 September –11 October 2000 Represented the Art Gallery in Jackie Menzies (Head Curator, conference of PAINT, a national guests at Echigo Tsumari Triennial's Canberra, 23 April 2001. Microscopy and invited for Focus Groups for Visual Arts and Regular Visual Arts Presenter, ABC Melbourne at Kinetica (National Asian Art) project to establish a uniform Australian night 24/7/00. Chaired Risk Management sessiont, publication in journal. History teachers. Radio 2BL Bibliographic Database) annual user Devised and implemented 26 week recordkeeping system for Australian Treasurer AICA, Australia Australian Registrars Committee Member, NSW Carnivale Council group meeting, 28 & 29 August 2000 lecture course 'The Arts of art galleries and museums, Canberra, (Association Internationale des seminar The Balancing Act: Access Deborah Edwards (Curator, Liz Gibson, (Public Programmes) Spoke on copyright issues at Buddhism' for VisAsia; involvement 29 Nov. - 1 Dec. 2000. critiques d'art) and preservation in Museums, Australian Art) Member, Museums and Galleries Museums Australia National Ann MacArthur, (Co-ordinator, Asian in the structure and launch of Co-hosted the steering committee Member of the executive committee National Gallery of Australia, 5 Oct. ‘Australian Sculpture (Aboriginal and Foundation of NSW Advisory Conference, Canberra, 23 April 2001 Programmes) VisAsia; member of Board of VisAsia, meeting of PAINT at the Art Gallery of AAANZ. 2000. European)’, 500 word essay, Fitzroy Committee Judge, Royal Agricultural Art Society Editor, 1. 'Studies of Asia Programs in as well as continuing membership of of New South Wales, 23- 24 April Chair of steering committee for President of the Australian Registrars Dearborn Dictionary of World Trustee, William Fletcher Trust for Art Exhibition the Arts, Literacy and Civics' at Nicolson Museum Committee and 2001. AAANZ conference 2001. Committee at the Annual General Sculpture, Chicago, 2001. Young Artists Judge, New Children’s Hospital, Linking Latitudes 2001 Studies of Asia Morrissey Bequest Committee, Represented AGNSW in Perth on the Industry Partner and investigator for Meeting, Melbourne, Nov. 2000. ‘Transported/Transplanted. Fiona Operation Art Awards in the School Curriculum Conference University of Sydney. President of The occasion of the visit of a major ARC project (SPIRT) in Hall. A Folly for Mrs Macquarie’, 2000 Donna Hinton (Conservator, Objects) Individual radio interviews about and Fieldwork, Shanghai China April Asian Arts Society of Australia Sydney’s Blake Prize to that city and conjunction with University of Helen Campbell (Assistant Curator, word article, Art and Australia, Conducted a series of series of Gallery exhibitions and events, 2001 (TAASA) until retirement in March 2001. gave two public lectures in Sydney, Macquarie University and Australian Art) forthcoming. specialist lectures at the University 2SERFM, 2SM, 2CH, 2MMM, 2JJJ, ' Culture' at National Gallery Opened various events and connection with the exhibition, 16 & NAVA. 'Out of Sydney: City and hinterlands', Obituary, , 1, 000 word of NSW course on Conservation and 2MBSFM, 2ESR. of Art, Canberra Lunchtime Lecture exhibitions including the Sydney 17 June 2001. Committee member of ARCO 2002 in Australian Art in the Art Gallery of article, Sydney Morning Herald, 20 Collection Management. Series International Antiques Fair at the Committee with Australia Council New South Wales, Art Gallery of June 2001; Assisted Campbelltown Art Gallery – Yang Liu (Curator of Chinese Art) Vice-President, The Asian Arts Showground; 'un-finished business' Barry Pearce (Head Curator, Audience Development Programme. New South Wales, Sydney, 2000, Obituary Robert Klippel, 1,000 word advice regarding cons of bark “The Discovery of Mass: A Footnote Society of Australia (Noelene Lucas and Debra Porch) at Australian Art) Member of Advisory Committee to pp185-186 article, Art and Australia, forthcoming; paintings. to the Stylistic and Iconographic Secretary, Australaian Institute of Casula Powerhouse Arts Centre; the Visited Tweed Heads Regional City of Sydney Sculpture Walk. 'Drysdale in focus', Look, July, 2001, Robert Klippel interview, Radio Innovation in Chinese Buddhist Eastern Music Oriental Painting Society of Australia. Gallery re exhibition loans from Assessor for ARC grants, Fine Arts. pp22-23 National, June, 2001. Vickie Kalocsay (Public Programmes, Sculpture”, Orientations, vol. 31, Associate Investigator, 'Museums, Hosted VisAsia luncheon for visiting Australian collection, 22 July 2000 Member of Bundanon Trust Russell Drysdale: Sunday evening Member: Sydney City Council Acting Children’s Co-ordinator) Sept. 2000. Cultural Diversity and Audience Vietnamese delegation from Danang. Couriered paintings back from Residency committee. 1941,brochure for Australian Collection Curatorial Committee, 2000-2001 Judged the 2001 Royal Easter Show “The Theme of Fo & Dao: New Development: A Case Study - Lectured to many groups at gallery Guggenheim Gallery, New York, Member of the University of Focus Series no. 10, Art Gallery of Australian art aural history/video children’s art competition Evidence in Northern Dynasties BUDDHA' Strategic Partnerships and elsewhere, including Gallery having given informal talk on 19th Newcastle Faculty of Arts Gallery New South Wales, Sydney, 2001 project: taped interviews with Judged the Gardeners Road Public Religious Sculpture in China”, paper with Industry - research and Training guides, COFA Museum Studies century Australian art to staff, 11 - 17 Committee. Public talk on Russell Drysdale: Jocelyn Plate, Robert Klippel, Ben School Art Competition. presented in Taoism and the Arts of Scheme Grant students, and Australia-Japan Group; September Member of Advisory panel for ISIS Sunday evening 1941, Australian Gascoigne, Diana Medworth, Colin Consulted regularly with years K-6 China, Art Institute of Chicago, 2-3 Consultant to Association of liaised with various community Opened Robert Barnes retrospective, Art and Science conference Sydney Collection Focus exhibition, 27 July Lanceley, Rosemary Madigan, Mrs Teacher’s Focus Group. Dec. 2000. Independant Schools on MUGHALS groups in regard to Buddhist Newcastle Region Art Gallery, 6 2001 through COFA NSW University. Jean Campbell, Corinne and Arthur “Images of Mystery: Chinese Bronze WARRIORS AND MONUMENTS, a activities; examiner of doctoral October, 2000 External assessor for RMIT, Sydney Bronwyn Clark-Coolee ((Education Cantrill 2000-01 Trish Kernahan (Manager Figures of the late Second teacher resource to support the thesis. Keynote lecture on Donald Friend for College of the Arts and COFA. Officer) Lecture ‘Master Sculptors: Bertram Administration and Strategy) Millennium BCE”, Craft Arts, No.50, implementation of Asia-related Industry partner team member for two-day Donald Friend conference to Advisor to Broken Hill City Council on Tutor and Lecturer, Theories and Mackennal and Robert Klippel’, Project Manager for the Visitor 2000. history and Civics and Citizenship Strategic Partnerships with Industry mark the publication of his diaries, feasibility of Sully building as a new Histories of Art Practice, Sydney Australian Icons, Sept.2000 Services Agencies joint e-commerce “Strange Faces from the Bronze Age units of work in junior secondary for Research and Training (SPIRT) National Library of Australia, Regional Gallery site. College of the Arts, University of Lecture ‘Modernism’, art students, Portal project. of China”, Carter’s Antiques & classrooms with the University of Western Canberra, 23 Feb. 2001 Sydney College of Fine Arts, Sydney, May 2001 Collectables, No. 6, Nov. 2000. Judge Dhammakya International Sydney, for research into audience Attended opening of new Museum of Natasha Bullock (Assistant Curator Lecture ‘Sydney Modernism’, Art Hendrik Kolenberg (Senior Curator, “The Symbolism of Flowers and Birds Society of Australia Children's development. Australia, Canberra, 11 March 2001 Photography) Johathan Cooper (Manager of Gallery Society Diploma series Australian Prints, Drawings & in Chinese Painting”, Oriental Art, Vol Painting Prize Attended and gave speech at official Co-curator (with Sarah Bond), Look Information, Public Programmes) ‘Engaging Australia’, May 2001 Watercolours) XLVI, No. 5, 2000. Coordinated Teacher Professional Steven Miller (Archivist) opening of Tom Roberts Festival, See: five contemporary painters at Interviewed Canadian tapestry artist Lecture ‘Picasso’s Large Bathers’, ‘A tribute to Hector Gilliland’ in Robyn “The False Face of an Ancient Development Days in Asian Art for “An Artist for all Seasons,” Look, Inverell, Inverell Art Gallery, 27 April Monash University Gallery, Sola for educational video Curator’s Choice lecture series; Martin-Weber (editor) Hector Society: Bronze Masks from the Association of Independent July 2000, p.14. 2001 and gave major public lecture Melbourne. 27 March to 12 May, 2001 production 17 Oct. 2000 ‘Renoir To Picasso: Masterpieces Gilliland Sydney: Beagle Press, 2000 Sanxingdui”, TAASA REVIEW, No. 9, Schools, the Catholic Education “The Sydney Camera Circle,” Look on the artist at the Gallery, 28 April and author of catalogue essay Spoke on panel at Microgroove from the Musee de l’Orangerie, Lecture, ‘Brett Whiteley’s prints’ Dec. 2000. Office, Sydney, the University of April 2001, p.15. 2001 ‘Moving through space’. Conference ("Inclusion and Access in Paris’, AGNSW, June 2001 Brett Whiteley Studio, Sydney 15 “Leaning upon an Armrest: Gu Western Sydney, Nepean and “Artists’ books,” Look May 2001, p.14. Visited Lake Macquarie Regional Art Co-curator (with Sarah Bond), In the the Arts", part of the Paralympic Arts Seminar paper, ‘Australian Women October 2000 Kaizhi’s Vimalakirti and a Popular Access Asia Network groups Public lecture on ‘The Rediscovery of Gallery with Premier's Department bag: a contemporary investigation at Festival), 25 October 2000 Sculptors’, Modern Australian Judged ‘Jeffrey Smart figure drawing Daoist Iconographic Formula”, paper Coordinated symposia 'Lands of Manuscripts and the Realignment of delegation to attend inaugural Platform, Spencer Street Station, Gave presentation on Dead Sea Scrolls Women exhibition conference, Art award’, National Art School, Sydney presented in The Admonition Scroll: Gold' for The Asian Arts Society of Thought,” as part of Dead Sea exhibition of the Gallery, 14 June 2001 Melbourne, 4 March to 5 April, 2001. exhibition and public programmes to Gallery of South Australia, Adelaide, 28 November 2001 Ideals of Etiquette, Art and Empire Australia and Dr Kapila Vatsyayan for Scrolls Lecture Programme, 6 Sept. ‘Cutting out the bad bits’, Kate staff at Auckland Museum, New February 2001 Judged ‘David Wilson award’, Julian from Early China, British Museum, 15 theTemenos Foundation 2000. Hetti Perkins, (Curator of Aboriginal Cotching, review, LIKE Art Magazine, Zealand, 3 November 2000 Supervisor: COFA Master of Arts Ashton Art School, Sydney, 30 – 24 June, 2001. Coordinated 62 Asian artist Public lecture on ‘Holman Hunt’s and Torres Strait Islander Art) Summer 2001 Consulted on professional students (2) November 2001 Interview with radio ABC in workshops for 1800 primary, Light of the World’ to celebrate ‘Covering Ground: The Corporeality ‘Rabbit Drawings (Drawings by Kirsty committee: Disability Awareness Supervisor: student intern Opened exhibition ‘George Davis’ Melbourne regarding the exhibition secondary and tertiary groups dedication of John and Julie of Landscape’, (with Hannah Fink,) Whitten)’, review, LIKE, Art Training for Arts & Cultural programme – COFA/ UWS (4) Salamanca Collection Gallery, Hobart Fragrant Space, 10 July, 2000. Directed performance programme Schaeffer courts at the Art Gallery of Art in Australia, Olympic Issue, Vol Magazine, Autumn 2001 Industries, organised by Accessible Preparatory research, Curator, 13 July 2000 “Chinese Flower and Bird Painting of with Chinese Dancing School of New South Wales, 20 Nov. 2000. 38 No 1, Sept. 2000. pp.75-83 Arts, February – April 2001 exhibition National Portrait Gallery, Opened exhibition ‘Australian the Ming and Qing Dynasties”, a Sydney in conjunction with the Lecture on ‘Christmas cards by ‘Papunya Tula: Genesis and Genius’ Judged Royal Easter Show Art Canberra 2002/3 identities in printmaking’ Wagga lecture delivered at the National exhibition Masks of Mystery from Australian artists’ to Art Gallery (with Ken Watson) Australian Art Competition (Miniatures division) 30 Wagga Regional Art Gallery, 20 Art School, 9 August, 2000. China's Ancient Shu Kingdom (18 Society, 27 Nov. 2000. Collector, Issue 13, July-Sept. 2000 March 2001 October 2000 Two floor talks on Chinese civilization performances of ancient Chinese Lecture to Photography Collection

82 83 Peter Raissis (Curator, European seminar on the Compensation of Theory research group, Faculty of Introduced René Block’s lecture Prints, Drawings & Watercolours) Losses in Gilded Surfaces: In-gilding the Built Environment, University of Fluxus Music – The everyday Event. ADMINISTRATIVE AND STATUTORY ITEMS Conducted tutorials for first-year art and In-painting Using Traditional and New South Wales. AGNSW, history students, University of Modern Materials and Methods, Images of Empire: the vision of the Television interview, ABC Coast to Sydney, on European Old Master Town Hall, Melbourne, 9 Oct. 2000. British Raj. Lecture in the Arts of Coast for their profile on Howard CODE OF CONDUCT monitored constantly to identify PAYMENT PERFORMANCE paintings at AGNSW. Oct. 2000 Research into Non-traditional Gilding Asia lecture series, Aug.2000. Taylor The Code of Conduct was reviewed usage anomalies. Ongoing AGED CREDITOR ANALYSIS AT THE END OF EACH QUARTER - 2000/2001 Lecture to Sydney Medieval and Techniques as a Substitute for Collection focus exhibition and Organised The Barbara Blackman in 2001 and an updated version is programmes for the building Quarter Current (ie Less than Between 30 Between 60 More than now in place at the Art Gallery. A full management control system are in within due 30 days and 60 days and 90 days 90 days Renaissance Society on European Traditional Matt Water Gilding member of the organising committee Temenos Foundation Lecture date) overdue overdue overdue overdue copy of the revised code appears as place to achieve savings in paintings at AGNSW. Nov. 2000 Method. – presented at the AICCM for the symposium Lands of Gold, Clement Salaman Marsilio Ficino: $$$$$ October 2000, held in conjunction AGNSW a separate appendix. consumption. However, power costs Gilded Objects Conservation Special Man of the Millennium September Quarter 619,649 - 17 - - Anne Ryan (Assistant Curator, Interest Group seminar on the with The Asian Arts Society of Selected successful applicants for COPYRIGHT have risen due to increased rates for electrical supply negating December Quarter 623,501 5,742 16,402 - - Australian Prints, Drawings & Compensation of Losses in Gilded Australia. The 2000 Dyason Bequest. August The Art Gallery clears copyright for March Quarter 642,248 3,077 3,135 2,063 - consumption savings. Watercolours) Surfaces: In-gilding and In-painting Co-ordinated Treasures from the Hoi 2000 hundreds of images every year, June Quarter 982,612 - 574 - - Australian prints for group of Using Traditional and Modern An hoard. Workshops on Vietnamese Member of judging panel for the which are reproduced in exhibition The monitoring and regular maintenance to the gas fired boilers American printmaking students 30 Materials and Methods, Town Hall, ceramics, held in conjunction with E- Moya Dyring Studio & Dr Denise catalogues, education kits, ACCOUNTS PAID ON TIME WITHIN EACH QUARTER and steam generators has kept gas Jan. 2001 Melbourne, 9 Oct. 2000. bay and The Asian Arts Society of Hickey Memorial Studio, promotional material and shop TOTAL ACCOUNTS PAID ON TIME TOTAL AMOUNT PAID consumption to contracted levels Australian prints for AGNSW Teacher Research into Non-traditional Gilding Australia. Oct. 2000. Cité Internationale des Arts, Paris. merchandise. Developing more of Quarter Target% Actual % $ $ Lecturers 6 March 2001 . Member of the Judging panel for The with no additional charges. Techniques as a Substitute for The intervention of ornament our exhibitions in-house has also September Quarter 100 100 3,510,205 3,510,205 Colonial Australian prints, drawings Traditional Matt Water Gilding Preliminary research paper for post- Basel and Muriel Hooper increased the volume of copyright GST IMPLEMENTATION December Quarter 100 100 3,166,450 3,166,450 & watercolours for University of Method. – presented at the graduate research group, Scholarship. clearances required. The increasing Training of staff and upgrade to March Quarter 100 99.68 3,864,301 3,876,707 Sydney Fine Arts Honours class 12 Conservation of Gilded Wooden Department of History, University of Member of the Judging panel for The use of the Internet and electronic systems were undertaken in timely June Quarter 100 100 2,064,328 2,064,328 April 2001 Objects course, the Te Papa Sydney. Nov. 2000 Eliot Gruner Prize. delivery of services will pose further fashion to enable a smooth cut-over There was no instance where penalty interest was paid Printmaking techniques for University Museum, Wellington, New Zealand, The life of the Buddha Shakyamuni. AGNSW representative in the challenges on copyright issues, on 1 July. All registrations for GST of Sydney Fine Arts Honours class 27 29-2 Feb. 2001. Lecture in the Arts of Buddhism Regional Consultation Group set up which will need to be addressed. A and related tax reforms were April 2001 Research into Non-traditional Gilding lecture series, March 2001. by the Museums and Galleries policy document covering copyright undertaken on behalf of all the Art PRIVACY MANAGEMENT PLAN AND magazines amongst those items Australian prints and drawings in the Techniques as a Substitute for “Indian Painting” in LOOK, March Foundation. and image reproduction activities Gallery entities as a group, although PERSONAL INFORMATION being recycled. Approximately 58% AGNSW collection 1st Year UNSW Traditional Matt Water Gilding 2001, p20-1. AGNSW representative in the Arts was developed within the Art Gallery. each one is registered individually. The Art Gallery has developed a of primary paper products are College of Fine Arts Art History & Method – PhD research project, Portfolio Centenary of Federation A licence initiative is being The Art Gallery submitted its Privacy Management Plan in recycled equating to 2.5 tonnes of Theory 11 May 2001 University of Western Sydney Kay Truelove (Senior Librarian, taskforce set up by the NSW Ministry negotiated with Viscopy covering Business Activity Statement response to Section 33 of the paper per year. Approximately 50% of Co-judge Waverley Art Prize 4 July Nepean – continuing. Technical Services) for the Arts. permissions use of images on our electronically. An audit of the GST Privacy and Personal Information packaging is recycled. The Art 2000 Interview for the Polish TV regarding Represented the Art Gallery in AGNSW representative in the website. compliance indicated a fully Protection Act 1998. This Act aims to Gallery purchases recycled general Judge, inaugural COFA Alumni Works 1999 Conservator of the Year award. Melbourne at Kinetica ( National Heritage Collections Committee set In the coming year, the Art Gallery satisfactorily implementation. protect individuals against the paper items and Envirocopy – Nov. 2000. Bibliographic Database) annual user up by the NSW Ministry for the Arts. inappropriate collection, storage, use photocopying paper. The Art Gallery on Paper Prize, UNSW College of together with other State galleries, INDUSTRIAL RELATIONS Interviews for the SBS Polish Radio group meeting, 28 & 29 August 2001. Steering Committee for AAANZ, and disclosure of personal has an arrangement with the Fine Arts 12 June 2001 will work towards national There were no major industrial on the Gallery’s exhibitions: Represented the Art Gallery at NSW Chapter, Conference, information by NSW Public Sector Children’s Cancer Council to collect Co-judge for ‘Emerging artists’ at the standardisation of copyright policy. disputes with minor issues being Providing training to Ms Anke Kinetica focus group meeting at . Agencies. The Plan outlines how the toner cartridges for recycling. The Sydney International Works on Conducting Bodies: Affect, & Memory ELECTRONIC SERVICE DELIVERY resolved satisfactory, one with the 12 June 2001 Schmitt, a third year polychrome State Library of NSW, May 2001. Art Gallery complies with the Act. For Conservation Department sends off Paper Fair The Art Gallery’s website assistance of legal counsel. No time Judge, Fairfield Art Prize – 21 June sculpture conservation student at the Represented Art Gallery at the Data information on the Plan, contact the cuts of wood and materials to Long Ken Watson (Assistant Curator of (www.artgallery.nsw.gov.au) was lost due to industrial disputation. 2001 University of Applied Science in Library (Library’s software) annual Privacy Contact Officer, Human Bay Gaol for use by prisoners in Aboriginal and Torres Strait Islander provides up to date information on Spoke at the Official Opening of the Hildesheim, Germany. user group meeting, 20.April 2001. INFORMATION TECHNOLOGY Resource Services, Art Gallery of recreational activity. The Gallery Art) exhibitions and events, publications, Hastings District Regional Art ‘Papunya Tula: Genesis and Genius’ During the year, the Art Gallery’s ‘help New South Wales, Art Gallery Road, Shop and the Research Library reuse organisation structure, annual report, Gallery, Port Macquarie, NSW 12 (with Hetti Perkins) desk’ and network management was The Domain, Sydney, NSW 2000, cardboard boxes for packaging for Susan Schmocker (Head Librarian) Wayne Tunnicliffe (Curator of Australian Art membership category details and Oct. 2000 Paper presented at ARLIS/ANZ , Issue 13, July- Sept. 2000 undertaken through an outsourcing phone (02) 9225 1795 or fax orders and interlibrary loans. Saff are Contemporary Australian Art ) Collector provides access to the Collection Opened conference in Canberra, 19-22 Oct. Curatorial Residency at the Tate agreement in conjunction with three (02) 9221 6226. encouraged to use the White and Canson Student Printmaking and Research Library databases. , UNSW College of Fine Arts 20 2000. Gallery, London and travelling until other government entities. Whilst the Yellow pages on the Internet which Award ’Security in Art Libraries: a Vivienne Webb (Assistant Curator, Search capabilities enables user RECORDS MANAGEMENT Nov. 2000 Nov. 2000. performance of the network has been has reduced our requirements for balancing act of access and Australian Art) ease of access to database The Art Gallery took an active role in Opened exhibition , Blue . Contemporary Australian Art, lecture, Lecturer for the course ‘Approaches satisfactory recently, its potential to telephone books by 50%. The Art Blueprint preservation’ information not previously available a national galleries and museums Mountains printmakers at Gallery Lecture to students of Library and Tate Britain, London, July 2000 to Australian Art’ at College of Fine significantly impact the productivity Gallery also functions as a venue to the public. Users can sign up to records management project Lane, Leura NSW 3 Feb. 2001 Information Management, Charles Nude Salon Art Prize Judging, Arts, University of New South Wales, of the Art Gallery, has prompted the with catering on-site. Soft drinks and received regular e-newsletters. The (“PAINT”), which during the year Sturt University, on role of Research Sydney Gay and Lesbian Mardi Gras, March – June 2001 decision to bring the function in-house juices are purchased in recyclable Art Gallery progressed a joint e- developed a standard thesaurus and Library and Archive, Oct., 2000. Feb. 2001 ‘Les Sauvages de la Mer Pacifique: when the contract expires in August glass containers and a number of Malgorzata Sawicki (Senior commerce portal initiative in will continue next year with the Chair of ARLIS/ANZ, NSW Chapter. Contemporary Collection lecture, an Australian view’ in 2001. suppliers already deliver products in Conservator, Frames) The wallpaper conjunction with the Royal Botanic development of a standard disposal Asprey/Powers, Feb. 2001 , 2001 With fast technological change, refillable containers. The catering The Visit of the Queen of Sheba to history review Gardens, Centennial Parklands and schedule. This initiative ensures the , Cite des Arts Paris Studio Judging, Member of judging panel for the there is a need to increase the level company, recycles all glass bottles. King Solomon’ by Edward Poynter Haema Sivanesan (Co-ordinator, Tourism New South Wales. This Art Gallery’s compliance with State 1884-1890. . – June 2001 Warringah Art Prize, 2 July 2000 of investment in the IT infrastructure. The frame revisited Centre for Asian Art Studies) system will be launched in Records Act, 1999 requirements. AICCM Bulletin. Member of Management and Events Sentimental flowers and amorous Supervision of student interns from The Art Gallery submitted its IT September, 2001 enabling our USE OF CONSULTANTS Research into Non-traditional Gilding committees, The Asian Arts Society bouquets, Renoir to Picasso Public COFA, University of NSW and the Strategy Plan to the Office of Internet customers to purchase In the past financial year, the Art Techniques as a Substitute for of Australia. Lecture, June 2001 University of Western Sydney Information Technology and is merchandise, book tickets for events, Gallery spent $140,816 engaging Traditional Matt Water Gilding Member, History and Theory working closely with them to secure apply for venue hire or join one of sixteen consultancies. No consultancy Method. - Preprints of the 13th Research Group, Faculty of the Built Michael Wardell (Co-ordinator of Natalie Wilson (Assistant Curator, funds to enable the implementation our membership programs. These firm was paid more than $30,000. Triennial Meeting of the ICOM Environment, University of New of the plan. Curatorial Services) Australian Art) initiatives also ensures compliance Committee for Conservation, Rio de South Wales. ‘Ailment, argot, and artifice in the Floor talk, ‘Melbourne art in the 1930s WASTE REDUCTION AND with the NSW Government’s OCCUPATIONAL HEALTH & SAFETY Janeiro, Brazil, Sept. 22-28, 2002. Co-ordinator, work of Farrell & Parkin’ Seminar and 1940s’, in conjunction with the PURCHASING STRATEGIES Arts of Asia 15th –20th Electronic Service Delivery No. of work related injuries: 9 , Feb.-Nov. 2000. paper for exhibition The Art Gallery’s commitment to the Compensation of Losses on Gilded century Liminal Body Symposium Albert Tucker: Australian requirements. No. of work related illnesses: 1 Surfaces – Review of Current Co-ordinator, Arts of Buddhism organised by Australian Centre of Gothic at S.H. Ervin Gallery, 4 March Prosecutions under the reduction of waste products has Methods and Practices – presented lecture series, March – Oct. 2001. Photography and the University of 2001 ENERGY MANAGEMENT OH&S Act, 1983: Nil seen paper recycling baskets at the AICCM Gilded Objects (Hi)stories in Indian architecture. NSW to be held at the College of Fine Energy management of both situated in every department with Conservation Special Interest Group Paper presented for the History and Arts. 9 Sept. 2000. electrical and gas supply is being general office paper, newsprint and

84 85 from the Gallery Shop. The Art FOI PROCEDURES Resource Manager, Art Gallery of them by contacting the Human EEO STATISTICS Gallery also publishes a bi-monthly Applications for access to Art Gallery New South Wales, Art Gallery Road, Resource Manager on telephone (02) bulletin and monthly calendar of documents under the Freedom of The Domain, Sydney NSW 2000. 9225 1795. events free of charge. Information Act should be made in Arrangements can be made to obtain REPRESENTATION OF EEO GROUPS WITHIN SALARY LEVELS writing and directed to: Human copies of documents, or to inspect (as at 30 June 2001) Numbers used reflect equivalent full time (EFT) staffing numbers.

Total Staff Respondents Men Women Aboriginal & Torres People from People whose People with a People with a (number) Strait Islander People racial, ethinic, language first disability disability requiring Ethno-religious spoken as a child adjustment at work minority groups was not English CODE OF CONDUCT

Below $26,802 0 0% 0% 0% 0% 0% 0% 0% 0% $26,802 – $39,354 85 93% 59% 41% 3% 35% 26% 1% 0% Staff of the Art Gallery of New South a deal” by offering gifts or benefits, nationality, ethnic or national origin, should only disclose other official $38,356 – $49,799 42 95% 40% 60% 2.5% 30% 28% 3% 0% Wales will perform their duties with which may include expensive physical or intellectual impairment, information or documents acquired $49,800 – $64,400 44 100% 34% 66% 2.3% 23% 23% 0% 0% the highest standards of personal function tickets or other expensive sexual preference, or religious or in the course of employment when Greater than $64,400 21 100% 57% 43% 4.8% 19% 14% 0% 0% integrity and honesty. gifts. political conviction when dealing required to do so by law in the (non-SES) Staff at all times will be aware of Solution: If such an offer is made, the with their colleagues and members course of duty, when called to give SES 1 100% 100% 0% 0% 0% 0% 0% 0% their responsibilities to: staff member must report the entire of the public. All staff should evidence in court, or when prior • Care for and ensure the safety of incident to the relevant General understand and apply Equal approval has been given by the Total 193 96% 49% 51% 3% 29% 24% 1% 0% the collections. Manager and action taken to exclude Employment Opportunity principles. Director. • Provide a timely and competent the supplier from further dealings FAIRNESS AND EQUITY USE OF OFFICIAL FACILITIES AND service to all members of the public. with the Art Gallery. REPRESENTATION OF EEO GROUPS BY EMPLOYMENT BASIS Staff should deal with all matters in EQUIPMENT • Support their colleagues and co- Example: Staff undertaking accordance with approved It is expected that staff will be: - (as at 30 June 2001). Numbers used reflect head count of staff. workers in a responsible and ethical negotiations involving overseas procedures, promptly and without • Efficient and economical in the use manner. governments or organisation may discrimination. There is an obligation and management of Art Gallery Total Staff Staff Men Women Aboriginal & Torres People from People whose People with a People with a experience the custom of gift • Support implementation of to treat every issue reasonably and resources. Responding Strait Islander People racial, ethinic, language first disability disability requiring exchange as part of a cultural government policy, effectively and fairly and with a view to meeting the • Scrupulous in the use of Art Gallery to EEO data Ethno-religious spoken as a child adjustment at work approach to business dealings. Under form minority groups was not English impartially. principles of natural justice. property and services and not permit Staff have the normal rights of most circumstances, it would cause GUIDE TO ETHICAL DECISION abuse by others. Permanent Full-time 155 98% 59% 41% 2% 30% 25% 1% 0% employees, under common law and offence to refuse to exchange gifts. MAKING Art Gallery facilities and equipment Permanent Part-time 14 100% 14% 86% 7% 14% 14% 0% 0% within the provisions of legislation. Solution: The local customs are The following five points should be should only be used for private Temporary Full-time 7 86% 14% 86% 0% 33% 17% 0% 0% CONFLICT OF INTEREST observed and all such gifts are purposes when official permission reported to the relevant General used by staff as a measure of the Temporary Part-time 17 76% 0% 100% 8% 31% 31% 0% 0% Staff should avoid private, financial has been given. Manager. Generally, gifts of ethical content of decisions. SES 1 100% 100% 0% 0% 0% 0% 0% 0% or other interest or undertaking that Is the decision or conduct lawful? OUTSIDE EMPLOYMENT could directly or indirectly significance become Art Gallery Casual 26 88% 33% 66% 0% 18% 12% 1% 0% property. Is the decision or conduct consistent The prior approval of the Director is compromise or conflict with the with government policy and in line required before staff of the Art Total 219 95% 47% 53% 2% 27% 22% 1% 0% performance of their duties. PERSONAL AND PROFESSIONAL with Art Gallery objectives and Gallery may engage in any form of Estimated In many cases, only the individual BEHAVIOR values? paid employment outside their Sub Group Total 208 103 116 4 59 48 2 0 person will be aware of the potential Staff should perform all duties What will the outcome be for the official duties. for conflict. The onus is therefore on associated with their positions decision maker, their colleagues, the In all cases when outside employment individuals to notify senior officers if diligently, impartially, Art Gallery and other agencies? is considered, staff should give their a potential or actual conflict of conscientiously, in a civil manner and Do these outcomes raise a real or Art Gallery employment first STAFF PROFILE interest arises. to the best of their ability. apparent conflict of interest or lead consideration, and no work for Average over 12 months Example: A staff member is selected In the performance of their duties to private gain at public expense? personal financial gain should be Numbers used reflect equivilent full time (EFT) staff numbers. to participate on a selection staff should: Can the decision or conduct be undertaken it if conflicts with the committee, knowing that a family • Act in such a way that the Art justified in terms of the public purposes of the Art Gallery or could EFT EFT EFT member has applied for the position. Gallery will be held in high regard by interest and would it withstand raise doubts over their professional 30/6/99 30/6/00 30/6/01 Solution: The staff member should the community. public scrutiny? integrity or could given rise to a declare their relationship regarding • Concern themselves with the safety Building and Security Services 58 63 61 situation of conflict of interest. the applicant to the Convenor of the of the collections at all times. PUBLIC COMMENT AND THE USE OF Curatorial Services Staff 42 42 43 panel, and if appropriate, withdraw • Provide all necessary and OFFICIAL INFORMATION POST SEPARATION EMPLOYMENT Curatorial Staff 26 26 25 from the Selection Committee. appropriate assistance to members Public comment includes public Staff members are advised that they Exhibitions / Display 19 19 20 speaking engagements, comments need to avoid offers of employment ACCEPTANCE OF GIFTS OR BENEFITS of the public, in particular, Corporate Services 19 19 18 on radio and television and that require the use of confidential Staff should not accept a gift or information about the Art Gallery and Commercial Services 14 15 13 its collections. expressing views in letters to Art Gallery information or intellectual benefit if it could be seen by the newspapers or in books, journals or property. Former employees are not Marketing 8 9 13 public, knowing the full facts, as • Treat members of the public and other staff members with courtesy notices or where it might be entitled to use confidential Total 186 193 193 intended or likely to cause expected that the publication or information gained while employed individuals to do their job in a and with sensitivity to their rights. • Keep up to date with advances and circulation of the comment will by the Art Gallery. Staff members particular way, or deviate from the spread to the community at large. must be careful in their dealings with proper course of duty. Common changes in their area of expertise. • Comply with relevant legislative, Whilst staff, as members of the former employees and ensure that no sense and a professional approach community, have the right to make confidential information is passed on, must be applied in all circumstances industrial and administrative FREEDOM OF INFORMATION – STATEMENT OF AFFAIRS requirements. public comment and to enter into particularly information that may where gifts, hospitality, public debate on political and social benefit former employees. entertainment or other benefits are • Maintain adequate documentation to support decisions. issues, there are some POLITICAL PARTICIPATION offered circumstances in which public The following Statement of Affairs is carried over from the previous public as is possible. The Art Gallery Policy; EEO Annual Report; Copyright • Strive to obtain value for Art Gallery Staff have the right to engage in All offers of gifts or benefits made comment is inappropriate. These presented in accordance with the financial year. One request was welcomes public interest and Policy; Filming & Photography Policy; money spent and avoid waste and political activity so long as this either directly or indirectly to a staff circumstances would be where there Freedom of Information Act, 1989, withdrawn and the second request participation in its activities. Corporate Plan; Financial reports; member are to be reported to the extravagance in the use of Art activity does not take place during Gallery resources. is an implication that the public normal working hours and Art Gallery section 14 (1) (b) and (3). The Art was completed. Both requests were DOCUMENTS HELD BY THE ART Human Resources Policies; relevant General Manager. The • Not take or seek to take improper comment, although made in a private policy is not violated or Gallery's (FOI Agency No. 376) classified as “other” requests. GALLERY Ministerial Correspondence General Manager is responsible for advantage of official information capacity, is in some way an official compromised. statement is correct as at 30 June The Art Gallery regularly receives Art Gallery of NSW Act, 1980; DOCUMENTS AVAILABLE FOR keeping a list of gifts accepted by gained in the course of employment. comment of the Art Gallery or the Participation in political matters 2001 representations from the public Accounts Manual; Agendas and PURCHASE staff at the Art Gallery. Staff should not harass or Government. should not bring staff into conflict The Art Gallery received two formal concerning its operations. The Minutes of Meetings; Collections The Art Gallery publishes a range of Example: There are frequent discriminate in work practices on the Staff can disclose official with their duties with the Art Gallery requests for information under the Gallery endeavours to make the Management Policy; Administrative catalogues and books. The attempts by suppliers of goods and grounds of sex, marital status, information, which is normally given and if such a conflict does arise, the Freedom of Information Act, 1989 collection and associated Procedures Manuals; Education publication prices are continually services to government to “sweeten pregnancy, age, race, colour, to members of the public. Staff staff member may have to either during 2000-2001. No requests were information as accessible to the Policy; Annual Report; Exhibitions reviewed and prices are available

86 87 cease political activity or withdraw REPORTING OF CORRUPT CONDUCT, Human Resources Manager – Donna Freedom of Information Act 1989; Mr Peter Raissis Mr Brian Turner Ms Ann MacArthur Ms Judy Annear from areas of duty where the conflict MALADMINISTRATION AND Grubb – 9225 1795 or Independent Commission Against 3 March to 15 June 2001 20 March to 10 April 2001 14 to 25 April 2001 27 May to 17 June 2001 of interest arises. SERIOUS AND SUBSTANTIAL The Director Edmund Capon. Corruption Act 1988; France and Austria UK and France China Japan and Europe THE GALLERY COLLECTIONS WASTE OF PUBLIC RESOURCES If a staff member would feel more Industrial Relations Act 1996; Undertake 3 month internship at the Attend Book Fair and buy in titles for Present paper at Linking Latitudes Resolve content and logistics of Man Staff with responsibility for the These issues are dealt with in a comfortable providing information to Occupational Health and Safety Act Musee du Louvre. major exhibitions. 2001: Shanghai and China. Ray exhibition. collections should ensure that all separate policy – “Corruption an external authority they may do so 1983; artworks accepted either temporarily Prevention Policy” – available on the to the following organisations: - Ombudsman Act 1974; Ms Erica Drew Ms Paula Dredge Mr Jesmond Calleja Mr Tony Bond or permanently, are acquired in common Policy directory network For corrupt conduct, the Independent Privacy and Personal Information Act 4 to 17 March 2001 20 to 30 March 2001 5 to 10 May 2001 5 June to 6 July 2001 accordance with the established site. If a staff member believes that Commission Against Corruption can 1998; UK, France, Singapore UK and France USA Europe and Thailand procedures of the Art Gallery and are they have information relating to be contacted on 02 9318 5999 or Protected Disclosures Act 1994 Courier return of vintage photos from Act as Courier for Fire’s on by Arthur Attend American Association of Accompanying Contemporary properly and fully documented. these areas, they may make a freecall 1800 463 909. Public Finance and Audit Act 1983; World Without End exhibition and Streeton to V & A Museum, UK and Museums Annual Meeting and Collection Benefactors to Venice Staff should allow scholars access to protected disclosure under the For maladministration, the NSW Public Sector Management Act 1988; discuss future exhibitions. inspect works for Belle Ile exhibition MuseumExpo. Biennale and Basle Art Fair. the collections of the Art Gallery, Corruption Prevention Policy. The Ombudsman can be contacted on State Records Act 1998; and in France. subject to there being no possibility nominated Disclosure Officers 9286 1000 or Freecall 1800 451 524. Art Gallery of New South Wales Act Ms Anna Hayes Ms Ursula Prunster Mr Alan Lloyd of damage being caused to artworks. include: - For serious and substantial waste of 1980. 6 to 14 March 2001 Mr Alan Lloyd 11 to 24 May 2001 12 to 22 June 2001 Staff employed to conduct scholarly The Disclosure Co-ordinator – public resources, the Auditor FURTHER INFORMATION USA 22 March to 3 April 2001 France Europe and Singapore research related to collections Rosemary Senn - 9225 1716 General’s Office can be contacted on For further information about the Courier return works of art on loan China To promote the Gallery’s forthcoming Courier Femme nue dans un rocking should recognise that there is an General Manager, Curatorial 9285 0155. Code of Conduct please speak to for World Without End exhibition. Condition check return of works on Belle Ile exhibition. chair by Picasso. obligation to make available to the Services – Tony Bond - 9225 1786 RELEVANT LEGISLATION your Manager, General Manager or loan for Masks of Mystery exhibition. Art Gallery the results of that research General Manager, Building and All staff should be familiar or at least contact Human Resources staff. Mr Stewart Laidler Ms Gillian Williamson Dr Liu Yang within a reasonable time after Exhibitions – Anne Flanagan – 9225 aware of the following legislation: 16 to 29 March 2001 Mr Edmund Capon 17 to 23 May 2001 15 to 24 June 2001 completion of the work, or during the 1799 Anti-Discrimination Act 1977; Spain and UK 26 to 28 March 2001 USA UK process of that research if appropriate. Crimes Act 1900; Courier delivery of Femme nue dans Hong Kong Attend Museum Store Association Present paper at symposium Taoism un rocking chair by Picasso to Negotiate major exhibition on Gusta. Conference. and the Arts of ChiGu Kaizhi’s Madrid. Vimalakirti.

OVERSEAS TRAVEL SUMMARY IMPLEMENTATION OF ROYAL COMMISSION INTO ABORIGINAL DEATHS IN CUSTODY Mr Richard Beresford Dr Chiaki Ajioka Mr Jonathan Cooper Ms Anne Flanagan Recommendation number 56 & 300 22 June to 14 August 2000 26 September to 5 October 2000 29 October to 5 November 2000 8 to 22 December 2000 The Art Gallery of New South Wales southern hemisphere. , concentrating mainly on secondary schools throughout New UK, France, Holland, Belgium, Japan New Zealand Europe Collection projects that introduce Aboriginal • During the year there were recent acquisitions, began in May South Wales on the theme of Germany, Switzerland, USA Condition check works of art for Attend ICOM/CECA Conference in Research current design methods and Torres Strait Islanders and exhibitions in Yiribana curated from 2001 and is currently on display. Reconciliation. Finalise negotiations for Claude to be exhibition Hanga: Japanese Creative Christchurch then to Auckland to and new ways with light in museums others to the history and culture of the Art Gallery’s Collection reflecting Works from the Aboriginal and Torres • NAIDOC Week in July 2000 was held in early 2003 Prints. give presentation on Dead Sea overseas. Indigenous peoples of Australia the diversity of Aboriginal and Torres Strait Islander collection were also celebrated by a programme of school Scrolls exhibition. included: Strait Islander art. Major thematic included in the exhibitions holiday activities held in Yiribana. A Ms Paula Dredge Mr Edmund Capon Mr Ross Clendinning Australian • The continued acquisition, exhibitions and . film program was organised as part 30 June to 12 July 2000 29 September to 4 October 2000 Ms Jackie Menzies 14 to 20 December 2001 Ochre: bark paintings Icons Decades exhibition, conservation of Aboriginal and • For the fifth consecutive year the of the NAIDOC Week activities. USA Hong Kong and Vietnam 7 November to 2 December 2000 Japan from the collection Title Deeds: art and commitment to making the Works from the Aboriginal and Art Gallery in conjunction with the • There was a continuing To act as courier for return of The To negotiate first exhibition of UK, Germany, Switzerland, USA Condition check works on loan for collection accessible to the widest Torres Strait Islander collection were Department of School Education, the consolidation of links with Widower by Tissot from Yale Centre medieval Vietnamese art to be sent Urgent research for Buddha Masks of Mystery exhibition. possible audience. collection based. The Olympic Arts Aboriginal Education Consultative Indigenous education institutions, for British Art out of that country. exhibition. • The growth of exhibitions Festival exhibition Group and the Board of Studies courses in Aboriginal Studies and Ms Emma Smith Papunya Tula: programmes and public programmes Genesis and Genius was the major staged the successful Aboriginal units and art courses at Mr Barry Pearce Mr Tony Bond Ms Erica Drew 9 to 20 January 2001 Reconciliation associated with the Yiribana Gallery, AGNSW exhibition for the Olympic exhibition. This exhibition featured tertiary level. 1 to 12 July 2000 3 to 8 October 2000 12 to 16 November 2000 UK one of the largest spaces for the period and was a critical success. artworks by Aboriginal and non- UK and Egypt Korea Germany Courier return of The Anatomy Class display of Aboriginal art in the The exhibition Paintings from the Aboriginal students from primary and Accompany Margaret Olley for To take part in an international Courier five vintage photographic at the Ecole de Beaux Arts. opening of her exhibition and curators workshop Curatorshop: works for World Without End research future exhibitions. Past, Present, and Future. exhibition. Ms Paula Dredge 11 to 20 January 2001 Ms Emma Smith Mr Peter Raissis Mr Alan Lloyd USA 7 to 14 July 2000 3 to 12 October 2000 28 November to 10 December 2000 Courier return of Head of Peasant by AGED AND DISABILITY PLAN Switzerland UK China van Gogh. Courier return of Drei Badande by Courier The Anatomy Class at the Condition check works on loan and Kirchner from Museo d’arte Ecole de Beaux-Arts by Salle to the oversee packing works for Masks of Ms Malgorzata Sawicki AGED AND DISABILITY PLAN visitors and welcome feedback chair users. lectures and films. An FM- Moderna. Hayward Gallery in London. Mystery exhibition. 29 January to 2 February 2001 The Art Gallery is developing an directly to staff and through regular DEAF AND HEARING IMPAIRED Microphone System for hearing-aid New Zealand updated Disability Plan that will surveys. VISITORS users is available on request for Mr Tony Bond Ms Judy Annear Dr Liu Yang Present a session at Conservation of incorporate strategies across six PHYSICAL DISABLED VISITORS Severely and Profoundly Deaf guided tours. 15 to 29 July 2000 11 to 21 October 2000 29 November to 11 December 2000 Gilded Objects course at the Te Papa major areas including physical Two dedicated Disabled Parking Visitors VISUALLY IMPAIRED VISITORS Japan Holland and UK USA Museum in Wellington. access, promotion of positive spaces are available at the rear of In 1997 the Gallery implemented free A major refurbishment of the elevator Present a paper at Echigo-Tsumari To participate in major retrospective Present paper at symposium Taoism community attitudes; staff training; the Gallery for visitors with monthly Auslan guided tours. We servicing Level 1, Ground Floor and Triennial Conference of Ulay’s photographic work, and to and the Arts of China. Mr Tony Bond information about services; disabilities. Special arrangements regularly book sign-language Upper Level has seen the installation negotiate works for major exhibition 9 to 26 February 2001 employment; and complaints. The Art are also made for bus parking. interpreters for advertised guided of voice notification of floor and Ms Jackie Menzies in 2002. Mr Hendrik Kolenberg Spain, France, UK and Austria Gallery’s commitment to equal Access to these spaces is via the tours, and particularly in association access details. 27 August to 19 September 2000 1 to 17 December 2000 Negotiate for ARCO 2002 Australia access for all people is reflected in service road on the southern side of with Deaf Awareness Week. Groups GENERAL Japan, Korea and Thailand. Attend Mr Edmund Capon France Focus. Follow up on Keifer and Self our policy as detailed below. the Art Gallery. From the rear of the of deaf people making bookings are Communications workshop on Korean Painting and 28 October to 22 November 2000 Visit owner (with Paris Dealer) of Portraits exhibition. GUARANTEE OF SERVICE Art Gallery access to all exhibitions, provided with sign-language The Art Gallery’s Internet website negotiate loans for Buddha exhibition USA, UK, France, Germany and Italy collection of drawings and The Art Gallery recognise that the displays, public and administrative interpreters free of charge. In 1996 (www.artgallery.nsw.gov.au) To negotiate loans for Buddha, Nolan watercolours by J P Russell and Mr Wayne Tunnicliffe public has the right to expect that areas is by way of ramps and lifts, the Art Gallery implemented at TTY launched last year has capacity for Mr Barry Pearce Retrospective and Late Picasso further research Lloyd Rees’ French 2 to 6 March 2001 services will be provided without suitably signposted. telephone number (9225-1711). This large print screen versions of all 10 to 18 September 2000 exhibitions and hold discussions on sketchbook drawings for exhibition. New Zealand discrimination. In particular we will There are two public Disabled number is listed in the Telstra TTY information. USA Papunya Tula show for . Research NZ Contemporary Projects provide access service for visitors Parking spaces available at the front directory. Staff Training Courier return of loans to Guggenheim exhibition and attend 1st Auckland with special needs, including the of the Art Gallery. Hearing Impaired Information and awareness sessions Museum and to negotiate works for Triennial of Contemporary Art. disabled. We will seek to The Art Gallery’s Domain Theatre has Our Domain Theatre provided Audio- are held for staff and Volunteer major exhibition Romanticism. continuously improve our service to access space designed for wheel- Induction Loop facilities for all Guides, with particular reference to

88 89 servicing visitors with special needs. exhibitions, helpers accompanying Employment Practices by the Heritage Council and a further Some Volunteer Guides and staff visitors with disabilities are admitted The Art Gallery ensures equal scheme was developed which was ETHINIC AFFAIRS PRIORITIES STATEMENT have undertaken introductory free of charge. opportunity principles are used for then rejected by Art Gallery Trustees. courses in sign-language. We have Information and Publicity recruitment and general employment The design process proved that it designated an Education Officer to Our information publication practice. was problematic to layer a The Art Gallery is committed to the assist Gallery staff and visitors via entry was free of charge at all ETHNIC AFFAIRS PRIORITY GOALS manage the Art Gallery’s exhibitions / events is freely available contemporary ramp to the heritage principles of cultural diversity as the Community Language Allowance venues. FOR 2001/02 NEW STRATEGIES TO IMPROVE outlined in Section 3 of the Ethnic Scheme. As at 30th June, 2001 the • Dead Sea Scrolls (14 July 2000 – 15 • Continued encouragement of staff programmes and facilities for people from our Information Desk. This SERVICES building and the Art Gallery Trust with disabilities. booklet contains information for recommendation was to develop a Affairs Commission Act, 1979. The Art Gallery had staff officially October 2000). The most controversial participation in the Community Ramp Access Government’s three Key Result areas recognised as able to offer assist archeological discovery of the 20th Language Allowance Scheme and Helpers visitors with special needs. Currently The Art Gallery engaged heritage second entrance that provided for General entry to the Art Gallery is the Bulletin is posted to over 4,000 disabled access, schools and/or a are: Social Justice; Community Polish, German, Hindi, Cantonese century, the Scrolls provide us with a extend range of languages currently architects to design wheel chair Harmony; and Economic and Cultural and Italian. much deeper understanding of the represented. free to all visitors. However, where interest individuals or organisation. ramp access to the front of the second entry and improved visitor charges are made for special facilities. Opportunities and to this meet these • Due to the on-going staff freeze, various approaches to Judaism • Develop new General Information Gallery. These plans were rejected objectives the Art Gallery has the Art Gallery did not increase current at that time and of their Brochure in several community developed an Ethnic Affairs Priority membership of recruitment selection relevance to the history of religious languages including Italian, Spanish, Statement (EAPS) which includes panels with a person from a cultural traditions in the Western World. French and German. two main objectives: diverse background to the • Hanga: Creative Japanese Prints • Continue the reflection and • Integrate EAPS principles into the targeted 60%. (28 October 2000 – 14 January 2001) promotion of cultural diversity and WOMEN’S ACTION PLAN Art Gallery’s policies, plans and • Circulated the annual calendar of This exhibition focused on the harmony in the Art Gallery’s procedures significant religious and holy days to Creative Print, a new concept of exhibitions and associated • Build the Art Gallery’s Collection all supervisors to enable scheduling ‘prints as art’ that emerged at the educational programme. The 2001/02 The Annual Reports (Statutory (26 May Memorial Prize for order to effectively balance • Biennale of Sydney 2000 Newnham Pring and Services to reflect and promote of staff commitments to meet beginning of the 20th century which programme will included the Bodies) Amendment (Women’s 2000 – 30 July 2000) The work of ‘the best landscape executed in workplace priorities with family and cultural diversity and harmony religious obligations. is not familiar outside Japan following exhibitions:- Action Plan) Regulation 1997 requires woman artists featured prominently watercolours by a women artists’ personal commitments. The Art The Art Gallery’s statement is • The Art Gallery’s Guide Map is • Fun Story Fun Five: Five • Buddha: Radiant Awakening As that agencies provide information in this preeminent contemporary art and a capital fund in the name of Gallery as a whole benefits in the incorporated by the Ministry for the available in Japanese, Mandarin and International Artists from Africa (15 Buddhism has evolved over time about their implementation of the event. Yoko Ono’s work Ex It was a Viktoria Marinov with income used to long term by being adaptable and Arts, as a key agency, into a Ethnic Korean, languages. November 2000 – 7 January 2001) among different cultures, there Government’s Action Plan for focal piece in the Art Gallery’s main purchase works of art for the responsive to changing community Affairs Agreement on behalf of the • The exhibitions and associated Celebrating the young and vibrant emerged a multitude of Buddhas. Women. court and the Biennale also featured permanent collection ‘by female need and expectations. entire arts portfolio. educational public programmes street culture across Africa, the This exhibition of sculptures, work by Louise Bourgeois, Sophie artists under the age of 35 years.’ * Promoting the position of women in A) WHOLE OF GOVERNMENT ETHNIC AFFAIRS PRIORITY reflected and promoted cultural exhibition included wild fashion paintings and textiles with images APPROACH Calle, Rosemary Gascoigne, Tracey C) ACHIEVEMENTS UNDER KEY all aspects of society diversity and harmony. This year the design and performance, film, from the three main schools of Moffatt and Mariko Mori The Art Gallery of New South Wales: OUTCOMES The Art Gallery is firmly supportive of OBJECTIVES IN THE ACTION PLAN • In May 2001, VisAsia was launched programme included:- photography and installation art. Theravada, Mahayana and Vajrayana a whole of government approach in • Piccinini and Langton: Plastic Life FOR WOMEN • has maintained a general free • Papunya Tula: Genesis & Genius (18 • Sanxingdui: Masks of Mystery: (or Tantric) will stress the pervading (15 July 2000 – 20 August 2000) admission policy to ensure the to promote and cultivate a better meeting the broad policy outcomes The following achievements have understanding and enjoyment of August 2000 – 12 November 2000) A (22 December 2000 – 18 March 2001) universality of Buddha across all of the NSW Government’s Action Patricia Piccinini is a young been made under the two key broadest range of the community, highlight of the Sydney Olympics arts This exhibition featured Bronze times and across geographical, Melbourne artist whose including the financial disadvantaged Asian Visual Arts and Culture. The Plan for Women. It is recognised that objectives that are relevant to the Art Gallery recognises the crucial festival, this Aboriginal art exhibition Masks from the Sacrificial pits of the cosmic and virtual space. all areas of NSW Public Sector have photographic work focuses on her Gallery in the Government’s Action often being women, have access to traced the phenomenon of the kings of Ancient China discovered • Belle Isle. Works by Claude Monet, concern with the natural and the the State’s fine art collection and role which our understanding of a role in improving the economic and Plan for Women: Asian culture will play in the Papunya Tula movement from the when local farmers digging a well hit Henri Matisse and the Australian social participation of women by artificial in contemporary society. • Promoting workplaces that are associated education programmes. early 1970s to the present. upon these relics. Impressionist John Peter Russell, all • Australian Icons – (4 August 2000 – • delivers an exhibition programme development of Asian Australian integrating the needs and concerns equitable, safe and responsive to all relations in the 21st century. • Biennale of Sydney 2000 (26 May • Visasia conducted regular of whom met, became friends and of women as part of normal business. 29 October 2000) Margaret Preston, aspects of women’s lives that is representative of women 2000 – 30 July 2000) Forty-nine lunchtime lectures as a part of the painted on the storm-tossed island of Grace Cossington Smith artists’ contribution to the history of • 22% of Art Gallery staff are from non The Art Gallery is committed to the The Art Gallery’s performance under English speaking backgrounds. This artists from twenty-nine countries Gallery's ongoing commitment to Belle-Île, off the coast of Brittany, advancement of women in all forms • My City of Sydney (2 September this key objective is documented in art and reflects the lives and participated in this pre-eminent cross cultural arts education. France. 2000 – 22 October 2000) Christine achievements of women in society. compares favourably with the national of cultural and artistic life and is the equal employment opportunity population figure of 15.5% (Australian contemporary art event of the Cornish, Viva Jillian Gibb Christine • administers awards and aware of the need to identify and (EEO) statistics listed in a separate Bureau of Statistics 1996 Census). southern hemisphere. All five redress discrimination against Godden, Fiona Hall, Tracey Moffatt appendix of this report which scholarships which are open to continents were represented and to • Papunya Tula: Genesis and Genius women that are designed to assist in • Increased the number of women in delivering services and provides information of EEO groups community languages available to make the exhibition more accessible, programmes to the public. From an (18 August 2000 – 12 November 2000) within salary levels and employment the professional development of organisational perspective, the Art In this first major exhibition of the basis. The Art Gallery is committed to Australian artists. Gallery acknowledges the needs and Papunya Tula movement, a section employment of staff based on • recognises the traditional gender interests of women as a direct was devoted to representing woman selection on merit principles and the imbalances on decision-making occupational group and is supportive artists and their important Art Gallery workforce is currently bodies and the implications of PLEDGE OF SERVICE of strategies and initiatives that contribution to this movement. made up of 53% women. Under representation on strategic assist the advancement of women in • World without End Photography employment on merit the employees outcomes. There are three women the workplace. and the Twentieth century (2 benefit by having their capabilities on the nine member Board of OUR CUSTOMERS The Art Gallery recognise that the CUSTOMER SERVICE simpler printed guides. December 2000 – 25 February 2001) Trustees. The Art Gallery of New South Wales public has the right to expect that The Art Gallery aims to provide the Telephone enquiries are addressed B) WOMEN’S INTERESTS AND fully utilised and their skills Diane Arbus, Zoe Beloff, Pat endeavours to provide each of our services will be provided without highest levels of service to all promptly within two working days, THE ARTS expanded. Of the four General D) SPECIFIC COMMITMENTS UNDER Brassington, Nancy Burson, Rineke visitors with an experience that discrimination. In particular we will visitors. Visitor feedback provides wherever possible. While the majority of exhibitions Manager positions, three are THE ACTION PLAN FOR WOMEN Dijkstra, Wendy Ewald, Sue Ford, exceeds expectations and inspires provide access service for visitors management with valuable Visitors can offer suggestions and staged by the Art Gallery include currently filled by women and 66% of There are no specific commitments Florence Henri, Carol Jerrems, Grit repeat visits. with special needs, including the information to improve Gallery provide feedback at the Information works of art created by women middle management positions are in the plan which refers to the Art Kallin-Fischer, Dora Maar, Tracey disabled. We will seek to procedures and services. Desk at the main entrance to the Art artists the following exhibitions occupied by women which is Gallery of New South Wales. GUARANTEE OF SERVICE Moffatt, Yva (Else Simon) continuously improve our service to Written complaints are handled Gallery. related to women’s lives and history indicative of the Art Gallery's E) FURTHER INFORMATION ON We aim to ensure that all visitors • Denise Green (31 March 2001 – 28 visitors and welcome feedback promptly and professionally and are and/or featured work by specific commitment to the advancement of WOMEN’S STRATEGIES enjoy themselves, will want to return April 2001) This was the second directly to staff and through regular responded to within two weeks. women artists: women based on merit. Further, For further information on women and will recommend the Art Gallery survey exhibition of the Australian surveys. Visitor suggestions have also led to • (13 May 2000 – 2 July approximately 13 % of women took specific and other programmes to friends and relatives as a world Olive Cotton born artist who lives in New York. the introduction of new services, 2000) Olive Cotton is recognised as advantage of the Art Gallery's managed by the Art Gallery of New standard venue for the enjoyment such as improved signage and one of Australia’s leading twentieth flexible work practices such of part South Wales, please telephone 9225- and study of art. The Art Gallery also administers two time work, job sharing, working from century photographers, well know for bequests which conditions stipulate 1700. such images as the compelling home, part time leave without pay are only open to women. These and the career break scheme in modernist Tea cup ballet and Glasses. bequests are the John and Elizabeth CUSTOMER COMPLAINTS

The Art Gallery had over 995,000 visitors (up from 900,000 last year) to the Domain site during 2000/2001. During the year we received 508 comments from Art Gallery visitors (223 complaints 1999/2000). The Art Gallery has revised our calculations of complaints incorporating a broader view of visitor comments as well as formal complaints. The bulk of the complaints concerned visitor facilities, such as the lack of EFTPOS / ATM facilities within the building and difficulties associated with access at the front entrance to the Art Gallery for visitors with special needs. These issues are being addressed as part of the Art Gallery’s Strategic Plan. Complaints can be recorded in the visitor’s complaint journal available to the public at the ground level information desk. These records are regularly reviewed by the Director and referred to relevant Department Managers for action, if required.

90 91 INDEX ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION access 93 ethnic affairs priorities statement 91 Pledge of service 91 ACCESS Thursday 10am to 12 noon (excluding EXHIBITIONS / EVENT PARKING acquisitions of works of art exhibitions president’s council 24,76 The Art Gallery of New South opens valuations). INFORMATION There is limited metered parking australian 8,62,64 australian 14,74 president’s foreword 2 every day except Easter Friday and The Study Room for Prints, Drawings The free tri-monthly publication, outside the Art Gallery and additional aboriginal & torres strait islander 10,62 aboriginal & torres strait islander 15,74 privacy management plan 85 Christmas Day between the hours of and Photography is on Level 2, exhibitions/events, is available in the metered parking down Mrs asian 10,64,69 asian 15,74 publications available for sale 79 10am and 5pm. General admission is adjacent to the Prints, Drawings and Art Gallery. This booklet details Macquarie’s Road. The Domain international 11,63,68 international 17,74 publications by staff 19,77 free. Entry fees may apply to a Watercolours gallery. Open to the current exhibitions, public Parking Station is open daily with a public weekdays from 10am to 4pm, photography 12,63,68 photography 18,74 public transport 93 limited number of individual major programmes events including a film Special Discount Rate of $11 per day temporary exhibitions. excluding public holidays. The Study programme and school education (on weekdays) for visitors to major administrative and statutory items 85 financial summary 38 records management 85 Room Assistant will attend to and activities being staged by the Art exhibitions with admission charges, aged and disability plan 89 financial statements 40 risk management 34 GUIDED TOURS supervise visitors. Appointments are Gallery. Also, now online – artmail an just have your parking ticket stamped aims and objectives 26 freedom of information 86 research library 93 The Volunteer Guides of the Art advisable but not essential. School email newsletter covering exhibitions, at the entrance to the exhibition. appendices 62 gallery shop 25 regional contact 22 Gallery Society of New South Wales groups are welcome. Enquires courses, lectures, special events, art gallery foundation 35 grants received 77 royal commission into offer a range of free guided tours of telephone (02) 9225-1758. films and workshops. Registration is CONTACT INFORMATION art gallery society 24 gst implementation 85 Aboriginal deaths in custody 89 the Art Gallery’s collection and major via the Join Us section of the Physical and postal address: art prizes, grants and scholarships 79 guided tours 93 senior management profile 34 exhibitions. PHOTOGRAPHY website www.artgallery.nsw.gov.au Art Gallery of New South Wales audiences 20 highlights 5 staff list 79 General Tours: Daily, one hour tours Photography of the Art Gallery’s or email [email protected] and Art Gallery Road audit opinion 40 industrial relations 85 staff activities 81 revealing highlights of the collection permanent collection, with the let us know you want to subscribe. The Domain NSW 2000 building 25 information technology 85 sponsors 23,76 and the Art Gallery. Monday 1pm and exception of works in the Yiribana Electronic communications: brett whitely studio internal audit 34 support 22 2pm; Tuesday to Friday 11am, 12 gallery, is allowed by members of the VISITORS WITH SPECIAL Administration switchboard centenary fund 2,24,76 insurance 34 trustees 32 noon, 1pm and 2pm; Saturday 1pm public providing no flash or tripods NEEDS (02) 9225-1700 code of conduct 85,86 investment 34 venue hire 25 and 2pm; Sunday 11am, 1pm, and 2pm. are used. A limited number of wheelchairs are Information Desk (02) 9225-1744 Quality photographs of Gallery’s collection benefactors 76 letter of transmission 4 visasia 6,24,33,76 Yiribana Tours (Aboriginal and Torres available at the Gallery’s rear Recorded What’s On Information Strait Islander Gallery) Tuesday to collection including works from the entrance, where there is a ramp and (02) 9225-1790 commercial facilities 93 life governors 34 visitors 75 Friday 11am; Saturday 1pm; Sunday Yiribana gallery or a photograph of an elevator giving access to most TTY number (02) 9225-1808 consultants 85 loans to the gallery 70 visitors with special needs 93 11am and 1pm. works not in the Art Gallery’s parts of the Gallery. Two parking General facsimile (02) 9221-6226 customer conplaints 91 loans by the gallery 70 waste reduction 85 Asian Gallery: Wednesday and permanent collection can be spaces for the disabled have been Website: www.ag.nsw.gov.au contact details 93 membership 24,93 women’s statement 90 Saturday 2pm. obtained from the Gallery’s Image designated in the Gallery’s car park e-mail: [email protected] copyright 85 occupational health & safety 85 year in review 8 Private Groups: Tours tailored to the Reproduction Officer. Photography close to the rear entrance but it is corporate governance 32 olympics 60 needs of groups during the Art for publication or other commercial advisable to confirm availability by BRETT WHITELEY STUDIO cultural bequests / taxation incentives 34 organisation structure 36 Gallery hours or with private evening purposes is allowed only after telephoning (02) 9225-1775. The Brett Whiteley Studio, located at digital imaging project 22 other gallery entities 34 functions are also available. written application to the Art Gallery. The Domain Theatre is fitted with an 2 Raper Street Surry Hills, and is director’s report 4 overseas travel 88 Enquiries telephone (02) 9225-1800. Enquires telephone (02) 9225-1798. audio induction loop system and an open Saturday and Sunday 10am to electronic service delivery 85 parking 93 FM-transmitter system used for 5pm except Christmas Day. On equal employment opportunity 86 performance measures 26 MEMBERSHIP COMMERCIAL FACILITIES guided tours if requested. Sign Thursday the studio is open by energy management 85 photography 93 You are invited to join the Art Gallery The Gallery Shop is opened daily Language Tours are now conducted appointment for education tours Society of New South Wales and from 10am to 5pm. The finest range for deaf people, using Australian sign groups. Admission is $7 and $4 share in the many pleasures of of art books in Australia is available language, on the last Sunday of concession. Enquires telephone (02) membership. Stay informed about at the Gallery Shop, which also every month at 1.30pm (excluding 9225-1740. what’s on in the Art Gallery, choose specialises in school and library December/January). The service is from over two hundred special supply. The Gallery Shop stocks an free apart from entry fees to NUMBER OF COPIES / COST events and enjoy membership extensive range of art posters, cards, exhibitions, if applicable. 500 copies printed at an average privileges and priorities all year long. replicas and giftware. Enquires cost of $48 per copy. Enquiries telephone (02) 9221-1878. telephone (02) 9255-1718. PUBLIC TRANSPORT The Art Gallery’s Harbour Café is Bus Service: The 441 Bus route 2001 ANNUAL REPORT ART RESEARCH LIBRARY situated on Lower Level 1 and is includes the Art Gallery as a stop en Coordinator - Trish Kernahan The Art Gallery’s Research Library is open daily from 10am to 4pm. The route through to the Queen Victoria Design - Ward Walker Design open Monday to Friday between Brasserie, located on the Upper Building in the city. The service is Editor - Jill Sykes 10am and 4pm, excluding public Level, is open each day between every 20 minutes on weekdays and Art Photography - Jenni Carter holidays. The Library is located on 12pm and 4pm. For Brasserie every 30 minutes on weekends. Ground Floor Level and has the most bookings phone (02) 9225-1819. Please call the STA on 131 500 for comprehensive collection of Fine Art Art Gallery facilities are also details. books in New South Wales. available for private exhibition Trains: Closest train stations to the Enquiries telephone (02) 9225 1785. viewings and functions in the Art Gallery are the St James or An Opinion, Conservation and evening. Enquiries telephone the Art Martin Place stops. Identification Service, operating from Gallery’s Venue Manager on (02) the Library, is provided free every 9225-1836.

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