Annual Report 2017 Contents

Section One 03 Who we are 05 Year in Review 06 Chairman and Director’s Message 08 2017 Highlights 10 Curatorial and Digital 30 Audience Engagement 42 Development and Enterprises 52 Finance and Corporate Services

Section Two 58 Financial Report

Cover: Rose Nolan, Big Words – To keep going, breathing helps (circle work) (detail), 2016–17, Left: Gary Carsley, D.100 Wave installation view, The National Hill – A Tree Struck By Lightning, 2017: New Australian Art, Museum 2014, installation view, The of Contemporary Art Australia, National 2017: New Australian Sydney, synthetic polymer paint, Art, Museum of Contemporary hessian, velcro, steel, supported Art Australia, Sydney, Lambda by the Victorian Government unique state print applied to IKEA through Creative Victoria, image PAX wardrobe, IKEA GILBERT courtesy the artist, Anna Schwartz chair and IKEA FROSTA stool, Gallery and the Museum of image courtesy the artist, Torch Contemporary Art Australia © Gallery and Margaret Thatcher the artist, photograph: Jacquie Projects © the artist, photograph: Manning Jacquie Manning

Annual Report 2017 — Who we are

Taking a leadership role The MCA exists because contemporary art Our Values matters: it stimulates the imagination, engages in shaping an Australia our aesthetic senses and has the power to Connecting a broad and diverse public that values contemporary transform lives. Contemporary artists address with the work of living artists, the art and artists. The MCA complex ideas, they challenge us to think and Museum of Contemporary Art Australia see the world differently to inform our outlook pursues curatorial excellence and is Australia’s Museum on life and society. Located on one of the innovation in audience engagement. of Contemporary Art, world’s most spectacular sites on the edge of Sydney Harbour, opposite the Sydney Opera The MCA embodies the following key values: dedicated to exhibiting, House, the Museum presents vibrant and collecting and interpreting popular exhibitions and learning programs that — Artists are central to all our activities continually inspire people. With an entire floor — Making challenging and complex the work of today’s artists. dedicated to the MCA Collection and two floors work accessible featuring changing exhibitions showcasing — Fostering creativity and critical thinking Australian and international artists, the Museum — An entrepreneurial outlook offers a major national resource for education — Collaboration is key and interpretative programs. — Sustainable and resilient

The National Centre for Creative Learning including a library, digital and multimedia studios, a seminar room and lecture theatre, provides spaces for people of all ages to create and connect with art and artists.

Site-specific commissions take art outside the galleries, and the MCA continues to engage with audiences beyond its harbourside home through a program of touring exhibitions and C3West, a collaboration with both arts and non-arts partners in Western Sydney.

Barayuwa Munungurr, Manbuynga, 2015, installation view, MCA Collection: Today Tomorrow Yesterday, Museum of Contemporary Art Australia, 2016, purchased with funds provided by the MCA Foundation, 2016, image courtesy and © the artist, photograph: Anna Kučera

2/3 Annual Report 2017 Annual Report 2017 — Year in Review

1,061,311 54,349 Total onsite visitors Visitors attending public programs 152,286 114,879 Visitors to touring exhibitions Visitors to Pipilotti Rist: Sip my Ocean 119,204 1,185 Facebook followers Artists in the MCA Collection 87,972 74.2% Participants across Audience Revenue raised from Engagement programs Non-government sources $10,254,448

Raised through Development Khadim Ali, The Arrival of by the Museum of Contemporary Demons (detail), 2017, installation Art Australia, 2016, supported by and Enterprises view, The National 2017: New Veolia Environmental Services, Australian Art, Museum of image courtesy the artist and Contemporary Art Australia, 2017, the Museum of Contemporary ink, gold leaf, synthetic polymer Art Australia © the artist, paint, gouache, commissioned photograph: Tim da-Rin

4/5 Annual Report 2017 Annual Report 2017 Chairman’s Foreword Director’s Welcome

The MCA continues to emphasise the importance of working together to 2017 proved to be another busy year for the MCA with the Museum create a more inclusive and vibrant Australia – especially important in our again achieving all the ambitious goals we set for ourselves. current global environment where division and polarisation dominate the media. The MCA produces and champions exhibitions, events and activities Eight new exhibitions opened in 2017, six featuring Australian artists where artists can contribute to and lead debates that shape our world. including two major solo shows by woman artists and two showcasing the work of major internationals artists. MCA exhibitions (and artists, curators Collaboration and relationship development with artists, audiences, and artist educators) travelled to 14 venues in four states across Australia supporters, industry and colleagues were key strategies underpinning the and New Zealand. For the first time an artwork commissioned for the success of the MCA throughout 2017. Museum’s Bella Room for visitors with access requirements went on tour.

On-site visitation continued to exceed one million people, driven by an A number of new acquisitions augmented the MCA Collection, some with engaging program of exhibitions and events showcasing the work of funds provided by the generous benefactors of the MCA Foundation and local and international artists. These programs involved partnerships others gifted through the Australian Cultural Gifts Program by artists and and relationships across organisations and industries, communities, the donors. We were particularly delighted to acquire the preparatory painting country and continents. The inaugural presentation of The National 2017: for Khadim Ali’s extraordinary wall piece The Arrival of Demons 2016, New Australian Art, a collaboration between the MCA, Art Gallery of NSW a work that has generated a huge response from visitors. and Carriageworks, was the culmination of a number of years’ dedicated work across the three organisations, at all levels. Off-site collaborations Staff undertook a major project aimed at deepening engagement with touring and presenting partners took MCA exhibitions, programs, with our audiences: a brand new website. This is intended to be more curators, staff and artists around the country and to New Zealand to dynamic, interactive and flexible. Behind-the-scenes work also continued reach new audiences. on developing and implementing the MCA’s customised finance, administration and relationship management system, an important tool for An important focus for 2017 was creating more opportunities for staff to the future sustainability of the organisation. develop cultural competency by engaging with the indigenous community around Sydney. This was accomplished through an extended program Nearly 88,000 people took part in MCA programs throughout 2017. of guest speakers, tours and events that covered diverse subjects. This Conversation Starters, a new program encouraging conversation about highly successful trial program, attended by the majority of MCA staff, will difficult topics, proved popular and thought-provoking. In September continue in 2018 as an important part of the implementation of the MCA’s visitors both at the MCA and online described their MCA through the groundbreaking Aboriginal and Torres Strait Islander Policy. #whatsyourMCA campaign, with some responses emblazoned on t-shirts and even across the building’s Circular Quay windows. The MCA raised nearly 75% of revenue from non-government sources in 2017. Support from corporate partners, the MCA Foundation, MCA The MCA’s annual fundraising Bella Dinner again surpassed expectations Ambassadors and the new MCA Young Ambassador Plus program in with generous benefactors ensuring the success of the Museum’s learning The MCA produces and champions addition to essential core State and Federal government support helped 2017 proved to be another busy and access programs. I would like to extend a heartfelt thank you to all the Museum realise its ambitious goals during the year and develop new our private patrons and foundations, government partners/supporters and exhibitions, events and activities projects. I would also like to acknowledge the significant and forward- year for the MCA with the Museum corporate partners who truly value the ideals and goals of the MCA and where artists can contribute thinking support of those benefactors who have included a pledge to again achieving all the ambitious support us in exhibiting, collecting and interpreting the work of today’s to and lead debates that shape the MCA in their will, helping to ensure the Museum’s important work goals we set for ourselves. artists for future generations. continues to benefit future generations. our world. Elizabeth Ann Macgregor OBE For their work and commitment, I want to thank my fellow board members, the Museum’s Director, Elizabeth Ann Macgregor, the leadership team, staff members and volunteers. Their dedication and creative endeavours ensures that the MCA continues to thrive and provide opportunities for our audiences to connect with living artists.

Simon Mordant AM

Simon Mordant AM, featured Dani Marti, Portrait of John Sneddon (alias John Connery) with his pet dog Rocco (take 1) (detail), 2011, photograph: Angus Mordant Elizabeth Ann Macgregor OBE

6/7 Annual Report 2017 Annual Report 2017 Highlights —

Celebrating Contemporary Australian Art In March, The National 2017: New Australian Art was presented concurrently at the MCA, Art Gallery of New South Wales and Carriageworks – three of Sydney’s premier cultural institutions. Focused solely on contemporary Australian practice, this new large-scale, multi-venue exhibition featured the work of 48 emerging, mid-career and established artists. The exhibition attracted 286,631 visitors across the three venues, with interstate and overseas visitors representing 40% of total audiences and contributing $3.3m in revenue to Sydney’s economy. An entrepreneurial outlook Each year, nearly #WhatsyourMCA

The MCA is a not-for-profit, charitable 75% of income Mind Changing Art, Merrily Celebrating Artists, organisation. Each year, nearly 75% of its income is raised from My Culture Antidote: in September, a major Left: Gary Carsley, D.108 Moon/ Stargate (Sydney/Suzhou), 2009–17, is raised from non-government sources such as non-government partnership with award-winning advertising installation view, The National 2017: donations, corporate sponsorship, venue hire, agency Ogilvy led to a successful brand and New Australian Art, Museum of Contemporary Art Australia, Sydney, ticketed exhibitions and events. In 2017, the sources digital campaign called #whatsyourmca, which Type C Lambda monoprint mounted to 4mm D-bond and IKEA GILBERT MCA expanded relationships with private donors encouraged visitors to play with the MCA acronym chair, image courtesy the artist and through the launch of a successful Major Gifts and express what the MCA means to them. The the Museum of Contemporary Art Australia © the artist, photograph: and Bequest program, as well as achieving the campaign drove significant audience engagement Jacquie Manning highest year on record for MCA Venues (over onsite and online, culminating in a week-long Below: Assumptions Roulette workshop participants, Conversation $3.6M) through a range of marketing and celebration which saw the best acronyms Starters, 2017, Museum of PR activities. projected on the MCA building façade at night. Contemporary Art Australia, photograph Jacquie Manning Conversation Starters MCA Touring

In June, the MCA launched Conversation Starters: 2017 was a busy year for MCA Touring, with the A Program of Art & Ideas. Inspired by the work continuation of two exhibitions from 2016 (Being of Kader Attia, this exciting new public program Tiwi and Primavera at 25: MCA Collection), the set out to create a safe space for a wide range of addition of two new touring exhibitions (Louise audiences to engage in meaningful conversations Hearman and Energies: Haines & Hinterding), around difficult ideas. It included artist talks, Bella Room commission (David Capra, Teena’s hands-on workshops, films, artist performances Bathtime, 2015) on tour, two exhibitions and cultural experiences – attracting over 2,200 presented in partnership (Kader Attia and Jenny participants over a weekend and generating Watson: The Fabric of Fantasy), and the signing significant digital engagement. of the MCA’s inaugural Touring Partner, Red Energy. Together, these exhibitions attracted over 150,000 visitors in 14 galleries across Australia and New Zealand.

Top left: Quayside Terrace, Museum of Contemporary Art Australia Top right: Projections on the MCA Circular Quay façade windows during the What’s Your MCA? Campaign, photograph: Nathan Moraza Left: IMCA technicians installing Highlights Primavera at 25: MCA Collection, Gallery at Home of the Arts, Gold Coast, 2017, featured left to right: from across Rebecca Baumann, Automated Colour Field, 2011; Constanze Zikos, I Travel Your Dreams, 1991, the Museum image courtesy and © the artists

8/9 Annual Report 2017 Annual Report 2017 AN —Celebrating Art and Artists CURATORIAL D DIGITAL

The Curatorial and Digital In 2017 the MCA’s artistic programs included Highlights from 2017 temporary exhibitions of international and Division celebrates art and Australian artists, Collection displays, touring — The inaugural iteration of the new artists through generating exhibitions, and off-site artist projects through collaborative exhibition series The National: and delivering the MCA’s C3West. The curatorial and digital team also New Australian Art took place at the MCA, continued to build, care for and interpret Art Gallery of NSW and Carriageworks core artistic programs. a comprehensive Collection of Australian — Survey exhibitions of Australian mid-career contemporary art, produced significant artists Jenny Watson and Hilarie Mais publications, and used digital platforms to — Installation of the dramatic wall mural engage with audiences both close and distant. The Arrival of Demons 2107 by Khadim Ali — Venues in four states across Australia and In addition, a second round of artworks were in New Zealand hosted an MCA exhibition acquired with Tate as part of the MCA/Tate joint — Eight new publications were produced acquisition program, contributing to the overall — An international visitors program brought acquisition of 47 works for the MCA Collection six overseas curators to Australia including 11 by Aboriginal and Torres Strait Islander artists.

The first iteration of a new biennial survey of new Australian art – The National 2017 resulted from working with the Art Gallery of NSW and Carriageworks and collaboration with Blacktown Arts continued towards a further project with Aboriginal artists at the Blacktown Native Institution site.

The digital team led the Museum through the conceptualisation, development and production of an entirely new MCA website that will function as a unique online art destination engaging visitors with the full range of MCA activity and opportunities, to be launched in early 2018.

Pipilotti Rist, Pixelwald Motherboard (Pixelforest Mutterplatte), 2016, multi- channel video installation with sound, installation view, Pipilotti Rist: Sip my Ocean, Museum of Contemporary Art Australia, Sydney, 2017, courtesy the artist, Hauser & Wirth and Luhring Augustine © the artist, photo: Anna Kučera

10/11 Annual Report Annual Report 20172016–2017 Top: Tatsuo Miyajima, Pile Up reinforced plastics, electric wire, Museum of Contemporary Art Top: Gordon Hookey, Wall-a-roo Museum of Contemporary Art aluminium foil, courtesy the artist Life No. 2, 2009/2016, installation transformer, image courtesy Australia, 2016, image courtesy (detail), 2017, installation view, Australia © the artist, photograph: and Galerie Nagel Draxler, Berlin/ Exhibitions view, Tatsuo Miyajima: Connect wand © the artist, photograph: and © the artists, photograph: — The National 2017: New Jacquie Manning Cologne, image courtesy the artist with Everything, Museum of Jacquie Manning Sam Whiteside Australian Art, Museum of Bottom: Kader Attia, Ghost, and Museum of Contemporary Art Contemporary Art Australia, Bottom: Installation view, Contemporary Art Australia, 2007/2017, installation view, Kader Australia © the artist, photograph: 2016, waterproof LED, IC, fibre- Primavera at 25: MCA Collection, Sydney, synthetic polymer paint, Attia, Museum of Contemporary Anna Kučera image courtesy the artist and the Art Australia, Sydney, 2017, Tatsuo Miyajima: The National 2017: Connect With Everything New Australian Art Sydney International Art Series Curator (MCA) Blair French Curator Rachel Kent The National 2017: New Australian Art was One of Japan’s most renowned contemporary a new initiative featuring the latest ideas and artists, Tatsuo Miyajima is known for his forms in contemporary Australian art, curated sculptures and room scale installations across three of Sydney’s premier cultural incorporating light and numbers. This, the institutions – the Art Gallery of New South artist’s first major survey exhibition in the Wales, Carriageworks and the Museum of Southern Hemisphere, encompassed his Contemporary Art Australia – and featuring the sculptural works, rooms and environments, work of 47 artists (17 at MCA). The curatorial and performance videos. Time and its vision for the exhibition represented a mix passage were explored through the works of emerging, mid-career and established and represented visually by multiple, small artists drawn from around the country and digital counting devices. Australian artists practicing overseas. New and commissioned works encompassed a diverse range of mediums including painting, video, sculpture, installation, drawing and performance.

Dates 3 Nov 2016 – 5 Mar 2017 Dates 30 Mar – 18 Jun 2017 Major Supporter Supporting Partners Ticketed Ticketed Entry Free Strategic Partners Presenting Partner Major Partner Media Partner Supported by Duration 122 days Duration 81 days Total visits 80,252 Total visits 99,750

Primavera at 25: Kader Attia

MCA Collection Curator Rachel Kent Curator Megan Robson French Algerian artist Kader Attia works Primavera at 25: MCA Collection celebrated across diverse media including collage, 25 years of the Museum of Contemporary Art photography, video, sculpture and installation. Australia’s Primavera exhibition and brought This survey exhibition – his first in the Southern together works from the MCA Collection by 22 Hemisphere – encompassed over a decade artists and artist groups, who have previously of the artist’s practice, focussing on major exhibited in Primavera. Exhibited works installations that were contextualised by video explored ideas of transformation, time and and sculptural works. Attia explores ideas around history. One of the longest-running exhibition cultural exchange and the complex relationship series in the country, Primavera has become between non-Western cultures and Europe, after a significant platform for early career artists. decolonisation. ‘Injury and repair’, emptiness and the void have long been central themes in Attia’s art, offering a means to examine the impact of history and its legacy today.

Dates 19 Dec 2016 – 19 Mar 2017 Dates 12 Apr – 30 Jul 2016 Entry Free Entry Free Duration 90 days Duration 110 days Total visits 179,198 Total visits 179,319

12/13 Annual Report 2017 Annual Report 2017 Top: Curator Anna Davis speaks at of Contemporary Art Australia, Contemporary Art Australia © the view Hilarie Mais, Museum Top: Elena Papanikolakis, courtesy and © the artist, Sip my Ocean, Museum of the exhibition opening, featured: Sydney, 2017, synthetic polymer artist, photograph: Tim Levy of Contemporary Art, 2017, Unbound (detail), 2017, installation photograph: Jacquie Manning Contemporary Art Australia, Exhibitions Jenny Watson, White Horse paint on rabbit-skin-glue-primed Bottom: Curator Manya Sellers image courtesy the artist and — view Primavera 2017: Young Bottom: Pipilotti Rist, Pixelwald Sydney, 2017, courtesy the artist, with Telescope (detail), 2012, cotton, courtesy the artist and speaks at the exhibition opening, Kronenberg Wright Artists Australian Artists, synthetic Motherboard (Pixelforest Hauser & Wirth and Luhring installation view, Jenny Watson: Anna Schwartz Gallery, image featured: Hilarie Mais, Nomad Projects, Sydney © the artist, polymer paint, marker, binder Mutterplatte), 2016, multi-channel Augustine © the artist, photo: The Fabric of Fantasy, Museum courtesy the artist and Museum of (detail), 2006-12, installation photograph: Jacquie Manning medium, pigment inkjet prints video installation with sound, Anna Kučera on Hahnemühle paper, image installation view, Pipilotti Rist: Jenny Watson: Primavera 2017: Young The Fabric of Fantasy Australian Artists Curator Anna Davis Curator Sophia Kouyoumdjian

Jenny Watson is a leading Australian artist Primavera 2017: Young Australian Artists whose conceptual painting practice spans brought together artworks by eight artists that more than four decades. This survey exhibition questioned natural and human-made archives, featured works from the period 1972–2016, from the physical to the digital. Participating including examples of Watson’s early realist artists explored the theme of ‘Ancient Futures’, paintings and drawings, and a number of considering the relationship between existence key series of works on fabric. Inspired by in the present, and the past, in relation to both punk and feminism, Watson’s work uses archives and collections. distilled imagery and abbreviated text to create an intimate interior world. The relationship Primavera is the MCA’s annual exhibition of between text and image is central to her work, Australian artists aged 35 years and under. Since which frequently includes a small panel of hand 1992, the series has showcased the works of painted text that sits alongside a larger image, artists in the early stages of their career, many undercutting or changing its meaning. of whom have gone on to exhibit nationally and internationally.

Dates 5 Jul – 2 Oct 2017 Dates 23 Aug – 19 Nov 2017 Supporting Partner Entry Free Entry Free Duration 83 days Duration 89 days Total visits 95,129 Total visits 117,731 Primavera was initiated in 1992 by Dr Edward Jackson AM and Mrs Cynthia Jackson AM and their family in memory of their daughter and sister Belinda, a talented jeweller who died at the age of 29.

Hilarie Mais Pipilotti Rist: Sip My Ocean

Curators Blair French and Manya Sellers Sydney International Art Series Curator Natasha Bullock The work of Sydney-based artist Hilarie Mais is characterised by a deep interest in the grid The most comprehensive exhibition of the and its expressive possibilities. She makes artist’s work ever to be staged in Australia and abstract constructions and paintings that one of the MCA’s most popular exhibitions, merge the formal structure of the grid with an Pipilotti Rist: Sip My Ocean attracted huge interest in more organic forms found in nature. crowds to the MCA over the summer. Over the This exhibition brought together a range of key past thirty years, Swiss artist Pipilotti Rist has works by Mais made between 2006 and 2017, achieved international renown as a pioneer highlighting how she brings together formal of video art and multimedia installations. Her geometry with biological and cellular structures dazzling, large-scale installations incorporate to generate subtle visual experiences that are video, sculpture and performance and broadened expressively through the highly often envelop viewers in vibrantly coloured personalised application of paint. projections of light and music to create sensual and immersive environments. Key installations and objects shown at the MCA exemplified the broadness of Rist’s artistic practice.

Dates 23 Aug – 19 Nov 2017 Dates 1 Nov 2017 – 18 Feb 2018 Strategic Sponsor Presenting Partner Major Exhibition Patrons Supporter Media Partner Entry Free Entry Ticketed Duration 89 days Duration 109 days Total visits 76,058 Total visits 114,879 Catriona and Simon Mordant AM

14/15 Annual Report 2017 Annual Report 2017 Top: Installation view, Word: Bottom: Installation view, Jon MCA Collection, Museum of Campbell: MCA Collection, Exhibitions Contemporary Art Australia, Museum of Contemporary Art — Sydney, 2017, image courtesy Australia, Sydney, 2017, image the artist and Museum of courtesy the artist and Museum Contemporary Art © the artist, of Contemporary Art © the artist, photograph: Daniel Boud photograph: Daniel Boud Word: MCA Collection MCA Collection:

Curators Natasha Bullock, Anna Davis Today Tomorrow Yesterday and Rachel Kent Curator Natasha Bullock

Word: MCA Collection alongside Jon Campbell: The MCA Collection consists of 4,363 works (representing 1,185 artists) MCA Collection showcased works from accessioned since the establishment of the Museum of Contemporary the Museum’s Collection that engage with Art in 1989, including photography, sculpture, painting, barks, etchings, language and text. A large suite of political video works, and installation. Collecting is a vital part of the MCA’s support posters, including prints from artists and for Australian artists and is crucial in terms of endorsing the importance poster collectives addressed land ownership of preserving Australian art for future generations. In 2017, the MCA and Indigenous rights, gender and equality, accessioned 47 works into the Collection. and uranium mining and anti-nuclear protest. Largely created during the 1970s and 80s, they Acquisition highlights in 2017 included three new paintings by Helen set the scene for debates that continue today. Johnson addressing Australia’s colonial history and its ongoing impact Paintings by Robert MacPherson and Richard on the country’s political and social realities. As with Johnson’s paintings, Bell, an installation by Raquel Ormella, and Joan Richard Bell’s Embassy (2013-ongoing) was acquired in partnership with Ross’s animated video The claiming of things Tate. Bell’s installation centres on a large military-style canvas tent with (2012), which explores European colonisation of painted placards bearing proclamations of Aboriginal land rights and the Australian landscape, were also featured. dispossession and within which programs of screenings, talks and other activities may be programmed. Through the support of the MCA Foundation the MCA also acquired Kathy Temin’s Memorial Project: Black Wall (2015), Dates 4 Dec 2017 – 18 Feb 2018 one of the artist’s large-scale monochromatic indoor monuments in fur Entry Free engaging with her family history of persecution and displacement, and acting Duration 76 days as a site for personal and collective remembering, as well as Zanny Begg’s new film collaboration with Paris-based film director Elise McLeod, The City Total visits 151,186 of Ladies (2016) – a 20-minute non-linear film installation inspired by the fifteenth century proto-feminist novel of the same name by France’s first professional female writer Christine de Pizan.

The MCA Collection features across the Level 2 galleries of the Museum. In 2016, the MCA unveiled a major new presentation of works from the Jon Campbell: MCA Collection. Today Tomorrow Yesterday continued through 2017, with periodic changing of selected works on display. Today Tomorrow Yesterday MCA Collection considers the impact of the past and the influence of history on artistic Curators Natasha Bullock, Anna Davis practice today. As well as reflecting on the passing of time, the title refers and Rachel Kent metaphorically to the Museum’s challenging role in shaping a collection of contemporary Australian art that is simultaneously of its moment and Words and word play are central to Jon Campbell’s hinged to history. Above all, this presentation symbolises the guiding installation Stacks On (2010). Comprising stacked, principles of the MCA Collection. It is focused on contemporary practices illuminated Perspex boxes and suspended fabric by Australian and Aboriginal and Torres Strait Islander artists, embraces all banners, Campbell’s colourful work employs media and is motivated by a respect for the creative process and vision of Australian vernacular – common sayings and today’s artists. aphorisms – in its realisation. Informal ‘pub talk’, Top: Mikala Dwyer, Untitled Bottom: Kathy Temin, The MCA Collection Partner slogans and slang appear on the light boxes A feature of the MCA Collection galleries is the Artist Room, dedicated (detail), 1992–94, installation view Memorial Project: Black Wall Today Tommorow Yesterday: (section 2), 2015, installation view and banners, recalling Australian suburbia, to six-month concentrated displays of work by a single artist featured MCA Collection, Museum of Today Tommorow Yesterday: Contemporary Art Australia, 2017, MCA Collection, Museum of adolescence, sports culture and the independent within the collection. In 2017 the MCA presented dedicated Artist Room plastic, aluminium satellite dish, Contemporary Art Australia, 2017, music scene. Alongside this installation the MCA exhibitions of the work of Linda Marrinon, carrying on from 2016, followed wood, cloth bandage, synthetic wood, steel, synthetic fur and polymer on canvas, wool, filling, Museum of Contemporary also commissioned Campbell to create a major by Lena Yarinkura from Ankabadbirri near Maningrida, a small coastal town polyester, glass, jelly, detergent, Art, purchased with funds provided wall painting. The MCA’s – and the artist’s – largest in North East Arnhem land. The Marrinon display, curated by Many Sellers, Museum of Contemporary Art, by Sue Rose and Alan Segal, 2017, purchased with the assistance image courtesy and © the artist, ever wall painting, Absolutely Disgusting stretched included both painting and sculpture, highlighting how Marrinon’s practice of Dr Edward Jackson AM and photograph: Jacquie Manning frieze-like around the entire gallery, measuring is informed by feminism and an interest in art history. Curated by Clothilde Mrs Cynthia Jackson AM, 1995, image courtesy and © the artist/ 2.5 × 65 metres. Bullen the display of the work of Yarinkura highlighted the manner in which Licenced by Viscopy, 2017, the artist innovates from within tradition, having in the early 1990’s moved photograph: Ken Leanfore Dates 4 Dec 2017 – 25 Feb 2018 away from creating purely functional, domestic objects out of pandanus Entry Free fibre and started making sculptural forms that represent both the physical Entry Free embodiment of ancestral beings and also animals observed in daily life, Duration 83 days Duration 364 days such as camp dogs, bandicoots, spiders, bush pigs and bush mice. Total visits 109,441 Total visits 500,727

16/17 Annual Report 2017 Annual Report 2017 Touring Exhibitions —

2017 was a busy year for MCA touring exhibitions with the continuation of two touring exhibitions from 2016, the addition of two new touring exhibitions, a touring commission and two exhibitions presented in partnership. Being Tiwi David Capra, Teena’s Primavera At 25: Louise Hearman Energies: Haines &

A total of 14 venues in four states Being Tiwi, prints and paintings by nine artists Bathtime: MCA Bella MCA Collection This exhibition was the first major museum Hinterding across Australia plus New Zealand from Australia’s Tiwi Islands continued its tour Room Commission survey of Australian painter Louise Hearman, hosted an MCA exhibition, experienced throughout 2017. Programs included opening Primavera at 25 celebrated the silver jubilee and featured painting and drawings from The first comprehensive survey of David by a total of 152,286 visitors. events with MCA Curators, MCA Artist Educator The MCA exhibition and learning teams worked of the MCA’s annual Primavera exhibition across her more than 25-year practice. Haines and Joyce Hinterding’s work finished led workshops, co-programming with Adelaide’s together to tour the unique Jackson Bella showcasing the work of 19 Australian artists Programs included artist, curator and industry touring in 2017 to great acclaim. The opening Spirit Festival and NAIDOC week celebrations in Room Commission Teena’s Bathtime, a playful and artist groups from the MCA Collection. panel discussions, co-programmed with the event at Christchurch, ‘Good Vibrations’, was a Port Macquarie. artwork that invites audiences to assist in Programs included opening events with MCA TarraWarra Festival featuring the Australian finalist in the 2017 Museums Aotearoa Awards giving the artist’s sausage dog a bath. The Curators, MCA Artist Educator-led workshops, Chamber Orchestra and regional QLD students for the Most Innovative Public Programme. Venues Dates accompanying Bella Program of activities was and site-specific installations with regional career and study pathways focus day. Programs at Perth included Curator and artist Tandanya National Aboriginal 18 Nov 2016 – also made available. Drawing on animal assisted local professionals and artist talks. The performances and talks along with learning Cultural Institute, SA 22 Jan 2017 therapies, the installation encouraged physical exhibition will continue to tour in 2018. workshops utilising the MCA’s online resources. Moree Plains Gallery, NSW 10 Feb – participation and exploration using multiple 26 Mar 2017 senses in the gallery space and through the facilitated programs. Murray Art Museum 28 Apr – Albury, NSW 25 Jun 2017 Venues Dates Venues Dates Venues Dates Glasshouse Port 8 Jul – Murray Art Museum 28 Apr – TarraWarra Museum 18 Feb – Christchurch Art Gallery, 25 Nov 2016 – Macquarie, NSW 3 Sep 2017 Venue Dates Albury, NSW 25 Jun 2017 of Art, VIC 14 May 2017 Te Puna o Waiwhetu, NZ 5 Mar 2017 Lawrence Wilson Art 7 Oct – Maitland Regional 4 Feb – 28 Gold Coast City Gallery, 14 Jul – QUT Art Museum, 3 Jun – Perth Institute of 2 Sep – Gallery, WA 16 Dec 2017 Art Gallery, NSW May 2017 QLD 3 Sep 2017 Brisbane, QLD 6 Aug 2017 Contemporary Arts, WA 29 Oct 2017 Total 2017 attendance 30,648 Total 2017 attendance 20,725 Total 2017 attendance 12,453 Total 2017 attendance 15,001 Total 2017 attendance 48,227

Top left: MCA Lead Artist Bottom: Kader Attia, Top left: Nell and Robert Forster Gallery, Sydney © the artists, Educator, Ella Condon, delivering Asesinos! Asesinos! (detail), Kader Attia Jenny Watson: the Fabric in conversation at the Gold Coast photographer: Cam Campbell a professional development 2014, installation view, Kader City Gallery, 2017, featured: Nell, Bottom: Installation view, Jenny workshop for teachers at Attia, Australian Centre for Unlimited Radiance (detail), 2001, Watson: The Fabric of Fantasy, Lawrence Wilson Art Gallery, Contemporary Art, Melbourne, This major survey of the work of French of Fantasy sequins, pins, synthetic polymer Heide Museum of Modern Art, 2017, featured left to right: Pedro 2017, 129 wooden doors, 47 paint on cork mounted on MDF, Bulleen, 2017, featured: The Horse Wonaeamirri, Timothy Cook, megaphones, Vehbi Koç Algerian artist Kader Attia – his first in the This major survey of the work of Australian Museum of Contemporary Art, Hospital, 1983, oil, synthetic installation view, Being Tiwi, Foundation Contemporary Southern Hemisphere – featured a range of painter Jenny Watson spanned more than four gift of Dr Edward Jackson AM polymer paint, pastel, charcoal Lawrence Wilson Art Gallery, Art Collection, Istanbul, image and Mrs Cynthia Jackson AM, and glass beads on unstretched Perth, Western Australia, 2017, courtesy the artist and Australia diverse media including collage, photography, decades and featured works from the period 2006, image courtesy the artist canvas, National Gallery of image courtesy and © the artists, Centre for Contemporary Art © and Gold Coast City Gallery, © the Australia, Canberra, purchased licensed by Copyright Agency the artist video, sculpture and installation, encompassing 1972 – 2016, including examples of Watson’s artist, photograph: Isaac Purcell 1987, image courtesy the artist 2018, photograph: IKKA K over a decade of the artist’s practice. early realist paintings and drawings, and a Top centre: The Australian and Heide Museum of Modern Top right: David Capra and his Chamber Orchestra performing Art © the artist, photograph: sausage dog Teena delivering a Kader Attia was presented in partnership with Australian Centre for number of key series of works on fabric. in response to Louise Hearman, Christian Capurro Contemporary Art, Melbourne and Melbourne Festival floor talk at Maitland Regional Presented at Heide Museum of Modern Art, Melbourne: in partnership TarraWarra Museum of Art, Art Gallery, Maitland, New South with the host museum. Healesville, Victoria, 2017, image Wales, 2017, featured: David courtesy the Australian Chamber Capra, Teena’s Bathtime 2015/17, Orchestra, photographer: Zan 3-channel video, sound, synthetic Wimberley fur, vinyl, scent, bubbles, rubber Venue Dates Venue Dates Top right: David Haines and flooring, cardboard, wood, foam, Joyce Hinterding, installation wire, found objects, originally Australian Centre for 30 Sept – Heide Museum of Modern 4 Nov 2017 – view, Energies: Haines & commissioned by the Museum of Hinterding, Perth Institute of Contemporary Art Australia for Contemporary Art, Melbourne 19 Nov 2017 Art, Melbourne 4 Mar 2018 Contemporary Art, Western the Jackson Bella Room, 2015, Australia, 2017, image courtesy image courtesy and © the artist Total 2017 attendance 12,095 Total 2017 attendance 15,223 the artists and Sarah Cottier

18/19 Annual Report 2017 Annual Report 2017 Commissions —

Jackson Bella Room MCA Foyer Wall Commission Artist Kate Beynon Artist Khadim Ali

For the 2017 Bella Commission, Kate Beynon For the work, Beynon developed a series of 11 Khadim Ali’s massive wall mural, The Arrival fiery red, licked with gold flame. Above them created a space filled with good luck charms symbols with personal, spiritual and cultural of Demons (2017), featured a group of larger- hung a canopy of golden eucalypt foliage. drawn from her mixed Chinese and Welsh significance, referring to Buddhist, Taoist and than-life figures appearing to congregate on heritage. Taking the form of soft sculptures, Celtic designs and beliefs. Many of the symbols the stairs leading up to the MCA Galleries. This work drew on Ali’s training in both more than 500 charms lined the walls of the refer to plants and animals, such as the gingko miniature painting in Pakistan and mural Bella Room, reminiscent of hieroglyphs or leaf, orange, lotus bud and ‘happiness bat’; or to Similar to the demon-like figures that populate painting and calligraphy in Iran, and created ancient Chinese pictograms – early forms of the human body through eyes, heart, lips and much of the artist’s work, these characters, in paint and gold leaf applied directly to writing based on drawings of real-world objects. hands. Beynon painted the 11 symbols, each based on the hero Rostam from the tenth- the wall over a number of weeks with the with a reverse side featuring calligraphic text or century epic poem Shahnama/The Book of aid of assistants, the viewer is positioned Visitors were invited to engage with Room of characters, in vibrant watercolour and gouache, Kings, can embody both good and evil but here looking out upon the wall from the public Lucky Charms (2017) by selecting, placing and which were scanned and printed on fabric. appeared without wings, giving them a more space of the Museum foyer, confronting rearranging the symbols – encouraging Bella sage-like presence. Most stood, hands crossed the figures at the fringes, massive and participants to create patterns, messages over bellies, stroking beards or leaning on the impossible to miss as they wait. The artist in front of Khadim Ali, and their own associations of meaning. stairs. One appeared to sit, elbows on thighs, The Arrival of Demons (detail), 2017, installation view, The Beynon also created a series of floor cushions looking out to the entrance of the Museum and National 2017: New Australian featuring the lucky symbols, as well as an Circular Quay beyond, the site of the first British Art, Museum of Contemporary Art Australia, 2017, ink, gold animation which played on a screen outside Kate Beynon, Room of Lucky colony, the arrival of the first ‘boat people’. leaf, synthetic polymer paint, Charms, 2017, commissioned by gouache, commissioned by the the Bella Room. The soft objects and bright the Museum of Contemporary Art Museum of Contemporary Art colours created a space for reflection and Australia for the Jackson Bella Flanking a staircase, the 15-by-7-metre mural Australia, 2016, supported by Room, 2017, image courtesy the Veolia Environmental Services, relaxation, while the symbols and icons offered artist, Sutton Gallery, Melbourne depicted the figures on a threshold, in some image courtesy the artist and positive energy, healing and protection. and Milani Gallery, Brisbane and form of in-between space, backed by a wall of the Museum of Contemporary The MCA Foyer Wall © the artist, photograph: Art Australia © the artist, Commission is supported by Anna Kučera photograph: Ken Leanfore Veolia Environmental Services

20/21 Annual Report 2017 Annual Report 2017 C3West Digital

During the year, C3West Civic Actions: Artists’ Food Fight: The Battle developed a major Practices Beyond the for Food Security publication and began Museum Building on the 2016 project of the same name development of three by Branch Nebula (Lee Wilson and Mirabelle Published in 2017 and expanding on the 2015 Wouters) and Diego Bonetto, in 2017 C3West major new projects across conference of the same name, Civic Actions: commissioned the Food Fight: The Battle for Western Sydney to be Artists’ Practices Beyond the Museum considers Food Security publication. It will continue the the intersections of socially engaged and public public conversation around food security – realised across 2018–19. art practices within a global context, with a the ability for people to access affordable, focus on Australia and the MCA’s ground- nutritious and culturally appropriate food – Importantly, the year allowed C3West breaking C3West program. The book delves and demonstrate the role that art can play in to lay the groundwork for successful into crucial questions about the social and changing attitudes and lives. The book will socially engaged projects through public projects, and the possibilities of art reflect the multi-faceted approach taken by the considered relationship building with practice in public space. It is international in project, with contributions from participants partners and communities over time. focus and features formal essays and critiques including advocates in the food relief sector, along with conversational reflections by high- home cooks and young people, as well as In addition to publishing a book building on profile artists, curators, academics and cultural creative learning activities, recipes and a the learnings from a past collaboration, 2017 practitioners from across Australia, the Asia- curatorial text. The majority of books printed provided a vital opportunity to assess the Pacific, Europe and North and South America, will be distributed to food relief organisations, future direction of the program, strategically who work with communities in the public realm. to be shared through their networks and, in identifying new projects and partners. particular, to those experiencing food insecurity. The publication discusses the work of a range of leading artists, including: Héctor Zamora (Brazil and Mexico), Theaster Gates Branch Nebula and Diego Blacktown Native Bonetto, Food Fight: The (USA), Ivan and Heather Morison (UK), Battle for Food Security, 2016, Institution Project performance documentation, Tony Albert (Australia), Paul Chan (USA), Liverpool, NSW, event Suzanne Lacy (USA), Kara Walker (USA), C3West is once again partnering with Blacktown infrastructure designed in collaboration with Future Method Sylvie Blocher (France), Angelica Mesiti Arts and Blacktown City Council for a new Studio, co-commissioned by (France and Australia), Jeanne van Heeswijk iteration of the Blacktown Native Institution C3West on behalf of Museum of Contemporary Art Australia and (Netherlands), and Lara Thoms (Australia). Project, responding to the historical and cultural Liverpool City Council, image C3West is supported by Crown significance of this important site. Artists Tony courtesy and © the artists, Resorts Foundation and Packer Preparing the New Digital Learning – Programs photograph: Anna Kučera Family Foundation Albert and Sharyn Egan, along with Moogahlin Performing Arts, began working with Aboriginal MCA Website and Resources communities in the Blacktown area to create Throughout 2017 the Digital Team scoped, commissioned and developed 2017 saw substantial growth within the MCA’s onsite digital learning major new works for presentation in June 2018. a complete redesign of the MCA website working toward a launch in early offer including art and technology focused professional learning 2018. The team engaged with many MCA departments and with external programs and student programs. The physical refit and upgrade to contractors to plan, redesign, rethink the role and purpose of the website. onsite technology in the NCCL in 2016 was critical to enabling this and Mount Druitt Project situating the MCA as a leader in this growing field. There was also great A microsite was created for the MCA’s Sydney International Art Series improvement in the creative use of technology in learning programs Working with St Vincent de Paul Society NSW, exhibition Pipilotti Rist: Sip my Ocean, containing rich information about across Early Learning, Schools, Bella, Adults, and Kids and Families. C3West developed a project intended to increase the artist, the exhibition guide, other different types of interpretation understanding between young people of diverse such as a short video and all the public and learning programs. The 15 new learning resource activities and encounters were produced cultural and faith backgrounds in the Mount site had high levels of engagement rates with 178,000 unique views. to support exhibitions and visits to the MCA learning resources Druitt area. Led by artists Dean Cross and portal have increased again by 10% over the previous year receiving Hannah Brontë, this project will have community The touring exhibition Primavera at 25 was supported by a bespoke more than 23,000 page views. The MCA led the collaborative outcomes on Harmony Day 2018, and a major digital interpretation installation. development of online resources to support The National 2017 presentation of works in August 2018. working with partners from Carriageworks and AGNSW. The online For The National 2017 the MCA worked in collaboration with the Art course Hello Big Institution for high school students, produced Gallery of New South Wales to produce a dedicated, accessible website with artist Lara Thoms, had its second iteration, reaching 267 Sydney Metro North to grow and develop across a six-year period. The MCA took the lead participants and achieving high rates of student retention. in directing and producing a series of 15 artist interviews specifically for West Project this website. C3West is in negotiation with Landcom, to commission two artists who will respond to issues facing communities along the new Sydney Metro North West corridor, with a focus on the communities around the new Bella Vista and Cudgegong stations. The new MCA website

22/23 Annual Report 2017 Annual Report 2017 Publications —

Primavera at 25 The National New Australian Art 2017 Hilarie Mais Civic Actions: Artists’ Practices

Curator Megan Robson Curators Anneke Jaspers & Wayne Tunnicliffe (AGNSW); Lisa Curators Blair French and Manya Sellers Beyond the Museum Design Alex Torcutti Havilah & Nina Miall (Carriageworks); Blair French (MCA) Design Formist Edited by Blair French and Anne Loxley Description 172 pages, hard cover, full colour, coated paper Design Claire Orrell Description 148 pages, hard cover, full colour, coated paper Design Alex Torcutti Edited by Megan Robson Description 176 pages, soft cover, full colour, uncoated paper Edited by Blair French and Manya Sellers Description 238 pages, soft cover, full colour, uncoated paper Print Run 500 Contributors Anneke Jaspers, Nina Miall, Blair French, Sunil Contributors Anthony Bond, Victoria Lynn and William Wright Contributors Nato Thompson. Hetti Perkins, Brook Andrew, Michael Badami, Daniel Browning and Helen Hughes RRP $29.95 Print Run 800 Tuffery, Zanny Begg Print Run 2,000 RRP $49.95 Print Run 750 RRP $34.95 RRP $34.95

Primavera 2017: Young Australian Artists Kader Attia Jenny Watson: The Fabric of Fantasy Pipilotti Rist: Sip my Ocean

Curator Sophia Kouyoumdjian Curator Rachel Kent Curator Anna Davis Curator Natasha Bullock Design Claire Orrell Design Alex Torcutti Design Claire Orrell Design Alex Torcutti Description 96 pages, soft cover, full colour, uncoated paper. Description 160 pages, hard cover, full colour, uncoated paper Description 188 pages, hard cover, full colour, coated / uncoated paper Description 506 pages, hard cover, full colour, coated / Edited by Megan Robson. Edited by Rachel Kent Contributors Anna Davis, David Pestorius, Rosemary Hawker and uncoated paper. Essay by Natasha Bullock Contributors Sophia Kouyoumdjian, Leigh Robb, Gemma Weston Print Run 500 Louise Neri Print Run 2,000 and Lisa Radford RRP $39.95 Print Run 1,250 RRP $59.95 Print Run 500 RRP $49.50 Shortlisted for the Cornish Family Prize for Art and Design Publishing RRP $29.95 Longlisted for the 66th Annual Australian Book Design Awards Shortlisted for the 66th Annual Australian Book Design Awards

24/25 Annual Report 2017 Annual Report 2017 Gifts and Purchases —

MCA Collection Simon Yates Tesselated 2006 MCA Collection Operation Hurricane #2 2016 Laurie Nona Jenny Watson Nonggirrnga Marawili Brain Scapes 2006-2016 vinyl metallic and synthetic Badhu Habaka 2016 Rock Star 2014 Lightning 2017 Gifts 2017 cardboard, paper, wire, synthetic Museum of Contemporary Purchases 2017 polymer paint on paper linocut on paper oil, synthetic polymer paint enamel paint on aluminium Alick Tipoti polymer paint, pen, synthetic Art, donated through the Richard Bell Museum of Contemporary Art, Museum of Contemporary Art, and Japanese pigment on composite board (CHECK Girelal 2011 polymer glue Australian Government’s Embassy 2013 purchased with funds provided purchased with funds provided rabbit skin glue primed when received) linoprint mounted on canvas Museum of Contemporary Art, Cultural Gifts Program by canvas tent with annex, alumninium by the MCA Foundation, 2017 by the MCA Foundation, 2017 french damask; found toy Museum of Contemporary Art, Museum of Contemporary Art, donated through the Australian the Ferrier Hodgson, 2017 frame, rope, synthetic polymer Museum of Contemporary Art, purchased with funds provided donated through the Australian Government’s Cultural Gifts paint on board, digital video, colour, Operation Hurricane #4 2016 Matthew Bradley purchased with funds provided by the MCA Foundation, 2017 Government’s Cultural Gifts Program by Henry Ergas, 2009, Tim Silver sound; archive metallic and synthetic Vessel no.27 from the series by the MCA Foundation, 2017 Program by the artist and Di remade 2016 Untitled (killing me softly) Museum of Contemporary Art polymer paint on paper One Hundred Vessels 2016 Jon Campbell Kershaw, 2017 version 4 2005-2006 Australia and Tate, purchased jointly Museum of Contemporary Art, aluminium Hilarie Mais Absolutely Disgusting 2017 Nicole Foreshew archival ink on archival with funds provided by the Qantas purchased with funds provided Museum of Contemporary Art, Feather 2017 synthetic polymer paint on wall Aleks Danko Cultural Drift 2016 paper, framed Foundation, 2017 by the MCA Foundation, 2017 purchased with funds provided oil on wood Museum of Contemporary DAY IN DAY OUT (homily single-channel video, sound Museum of Contemporary by the MCA Foundation, 2017 Museum of Contemporary Art, Art commission, purchased version) 1996 Museum of Contemporary Art, Art, donated through the Zanny Begg, Elise McLeod Matthew Bradley purchased with funds provided with funds provided by the galvanised steel, shellac, graphite, donated through the Australian Australian Government’s City of Ladies 2016-2017 Vessel no.16 from the series Vessel no.28 from the series by the MCA Foundation, 2017 MCA Foundation, 2017 cast aluminium, laser print, frame Government’s Cultural Gifts Cultural Gifts Program by the single-channel video, wall paper One Hundred Vessels 2015 One Hundred Vessels 2016 Museum of Contemporary Art, Program by the artist, 2017 Ferrier Hodgson Trust, 2017 Museum of Contemporary Art, bronze, plaster and sand aluminium Jonny Niesche donated through the Australian purchased with funds provided by Museum of Contemporary Art, Museum of Contemporary Art, Mutual Vibration (address Government’s Cultural Gift Khadim Ali Aleks Danko the MCA Foundation, 2017 purchased with funds provided purchased with funds provided the body whole) 2017 Program by the artist, 2017 The Arrival of Demons A SING SONG OF NEVER by the MCA Foundation, 2017 by the MCA Foundation, 2017 dye-sublimation print on (preparatory painting) 2016 SEVEN EVER/EVER 2004 Hilarie Mais polyester voile, acrylic mirror Louise Hearman gouache and gold leaf colour and duotone photo- Broken Ghost 2016 Matthew Bradley Vessel no.29 from the series Museum of Contemporary Art, Untitled #1234 2007 on wasli paper lithograph embossing, oil on wood Vessel no.23 from the series One Hundred Vessels 2017 purchased with funds provided oil on masonite Museum of Contemporary Art, aquatint and etching Museum of Contemporary Art, One Hundred Vessels 2016 aluminium with white patina by the MCA Foundation, 2017 Museum of Contemporary Art, donated through the Australian Museum of Contemporary Art, purchased with funds provided by aluminium Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts donated through the Australian the MCA Foundation, 2017 Museum of Contemporary Art, purchased with funds provided Nicole Foreshew Government’s Cultural Gifts Program by the artist, 2017 Government’s Cultural Gifts purchased with funds provided by the MCA Foundation, 2017 ngayirr (sacred) 2015-2017 Program by the artist, 2017 Program by the artist, 2017 Peter Maloney by the MCA Foundation, 2017 minerals, salt, wood Richard Bell Operation Hurricane #5 2016 Vessel no.31 from the series Museum of Contemporary Art, Alick Tipoti Walk On (Bell’s Theorem) 2007 Judith Wright metallic and synthetic polymer Stephen Bush One Hundred Vessels 2017 purchased with funds provided Adhikuyam 2008 synthetic polymer paint on canvas The Ancestors 2014 paint on paper Pin Cord 2016 aluminium by the MCA Foundation, 2017 hand-coloured linoprint on paper Museum of Contemporary Art, acrylic on cedar panels, found Museum of Contemporary Art, oil and enamel on linen Museum of Contemporary Art, Museum of Contemporary Art, donated through the Australian frames; bronze; leather purchased with funds provided by Museum of Contemporary Art, purchased with funds provided Peter Kennedy, John Hughes donated through the Australian Government’s Cultural Gifts Museum of Contemporary Art, the MCA Foundation, 2017 purchased with funds provided by the MCA Foundation, 2017 On Sacred Land 1983-1984 Government’s Cultural Gifts Program by Michael Eliadis, 2017 donated through the Australian by the MCA Foundation, 2017 single channel, sound Program by the artist 2017 Government’s Cultural Gifts Operation Hurricane #1 2016 Ghost from the series One Museum of Contemporary Art Raelene Kerinauia Program by the artist, 2017 metallic and synthetic polymer Matilda Nona Hundred Vessels 2017 Australia and Tate, purchased Brian Blanchflower Kayimwagakimi Jilamara 2006 paint on paper Araw Warul 2016 aluminium jointly with funds provided by Canopy 1 (Long Man’s View) ochres on linen Guan Wei Museum of Contemporary Art, linocut on paper Museum of Contemporary Art, the Qantas Foundation, 2017 1982-1985 Museum of Contemporary Art, Feng Shui 2004 purchased with funds provided by Museum of Contemporary Art, purchased with funds provided acrylic, asphaltum, sand, oil donated through the Australian acrylic on MDF the MCA Foundation, 2017 purchased with funds provided by the MCA Foundation, 2017 Teelah George on laminated hessian Government’s Cultural Gifts Museum of Contemporary Art, by the MCA Foundation, 2017 Sky Piece 2016-2017 Museum of Contemporary Art, Program by Dr Robert Guaran donated through the Australian Operation Hurricane #6 2016 Jenny Watson thread, linen, bronze and oil paint donated through the Australian and Adrienne Carlson, 2017 Government’s Cultural Gifts metallic and synthetic polymer Sawur 2016 60s dolly bird 2014 Museum of Contemporary Art, Government’s Cultural Gifts Program by Cromwell Diversified paint on paper linocut on paper Japanese pigment tinted purchased with funds provided Program by Jenna Price and Caroline Rothwell Property Trust, 2017 Museum of Contemporary Art, Museum of Contemporary Art, gesso and synthetic polymer by the MCA Foundation, 2017 John Kavanagh 2017 Bird World 2007 purchased with funds provided by purchased with funds provided paint on 10gsm cotton duck nickel plated metal the MCA Foundation, 2017 by the MCA Foundation, 2017 Museum of Contemporary Art, Kathy Temin Jenny Watson Museum of Contemporary purchased with funds provided The Memorial Project: Black Self-portrait as a little girl 1987 Art, donated through the Operation Hurricane #3 2016 by the MCA Foundation, 2017 Wall (section 2) 2015 synthetic polymer paint Australian Government’s metallic and synthetic polymer wood, steel, synthetic fur and filling and oil on Indian cotton Cultural Gifts Program by paint on paper Museum of Contemporary Art, Courtesy the artist and the Ferrier Hodgson, 2017 Museum of Contemporary Art, purchased with funds provided by Galerie Transit, Mechelen purchased with funds provided by Sue Rose and Alan Segal, 2017 the MCA Foundation, 2017

26/27 Annual Report 2017 Annual Report 2017 Outward Loans —

National Museum Heide Museum Jan Nelson Ian Potter Janet Burchill Untitled (woman on bed/ hand Michael is sleeping on the Margaret Gindjimirri Strange Days 2013 Aporia 1987 behind neck) 1976-78 bed [A beginner’s guide Mindirr (Pandanus palm collecting of Australia of Modern Art high-density foam, MDF, leather, Museum of Art, vinyl and enamel paint on 9 silver gelatin photograph to Gilbertese] 1983 bag) c. 1984 Tjanpi Desert Weavers Julio Le Parc oil paint, plastic The University aluminium sheets J W Power Collection, University woodcut ochres on pandanus palm, (Nyurpaya Kaika, Ilawanti Ken, Continuel mobile 1966 Museum of Contemporary Art, of Melbourne J W Power Collection, University of Sydney, managed by Museum of J W Power Collection, University hand spun bark fibre string Niningka Lewis, Mary Pan, synthetic polymer paint on donated through the Australian of Sydney, managed by Museum of Contemporary Art, purchased 1978 of Sydney, managed by Museum of J W Power Collection, University Tjungkaya Tapaya, Carlene aluminium sheet and wood, Government’s Cultural Gifts Program Tracey Moffatt Contemporary Art, purchased 1987 Contemporary Art, purchased 1986 of Sydney, managed by Museum of Thompson, Yaritji Young) synthetic fabric on cardboard, by the artist, 2015 Invocations #1 - #13 2000 Untitled (woman in tub) 1976-78 Contemporary Art, purchased 1984 Minyma Punu Kungkarangkalpa nylon monofilament, acrylic sheet photo silkscreen, framed Bridget Riley silver gelatin photograph The maneaba [A beginner’s (Seven Sisters Tree Women), 2013; and aluminium Museum of Contemporary Art, Static 3 1966 J W Power Collection, University guide to Gilbertese] 1983 Mindirr (Pandanus palm collecting native grasses, found fencing wire, J W Power Collection, University Queensland Art donated through the Australian synthetic polymer paint on linen of Sydney, managed by Museum of woodcut bag) c. 1984 aviary mesh, textile, acrylic pilow of Sydney, managed by Museum of Government’s Cultural Gifts J W Power Collection, University Contemporary Art, purchased 1978 J W Power Collection, University ochres on pandanus palm, stuffing, yarn, string, twine, raffia, Contemporary Art, purchased 1967; Gallery/Gallery of Program by the artist, 2013 of Sydney, managed by Museum of of Sydney, managed by Museum of hand spun bark fibre string plastic bagging, feathers, wool, Modern Art Contemporary Art, purchased 1967 Untitled (woman seated on Contemporary Art, purchased 1986 J W Power Collection, University tree branches, foam, piping Frank Hinder headboard, hand on mouth) 1976-78 of Sydney, managed by Museum of Museum of Contemporary Art, Fugue 1969 Noel McKenna University Jenny Watson silver gelatin photograph The name of this girl is Contemporary Art, purchased 1984 purchased 2013 perspex, aluminium, light Country Rail Network of Australia Dream Palette 1981 J W Power Collection, University Florence [A beginner’s guide globes, electrics, steel 2005 of Sydney oil, synthetic polymer paint, crayon, of Sydney, managed by Museum of to Gilbertese] 1983 Elizabeth Gamalanga Museum of Contemporary Art, synthetic polymer paint and Lindy Lee pastel, pencil, charcoal on 36 Contemporary Art, purchased 1978 woodcut Mewini (sedge grass collecting National Gallery gift of the artist, 1991 enamel on canvas Untitled III (after Antonello da canvas boards J W Power Collection, University bag) c. 1984 Museum of Contemporary Art, Messina) 1987 J W Power Collection, University Untitled (woman in bed wrapped in of Sydney, managed by Museum of sedge grass and hand of Victoria Richard Dunn purchased 2005 synthetic polymer paint and of Sydney, managed by Museum of sheet) 1976-78 Contemporary Art, purchased 1986 spun bark fibre string Gareth Sansom 1919 1984 photocopies on paper on 16 cotton Contemporary Art, purchased 1986 silver gelatin photograph J W Power Collection, University My sin for Norman 1985 synthetic polymer paint on canvas mountboards J W Power Collection, University Ada Balayarra of Sydney, managed by Museum of oil and enamel on linen Museum of Contemporary Art, Shepparton J W Power Collection, University Barbara Kruger of Sydney, managed by Museum of Mewana (sedge grass Contemporary Art, purchased 1984 Museum of Contemporary Art, donated through the Australian of Sydney, managed by Museum of Untitled 1985 Contemporary Art, purchased 1978 collecting bag) c. 1984 gift of John Firth-Smith, 1990; Government’s Cultural Gifts Program Art Museum Contemporary Art, purchased 1987 photo-lithograph and silkscreen sedge grass and hand spun Rosie Rodji by Ann Lewis AO, 2009 Super Critical Mass on paper Untitled (woman on bed in smock, bark fibre string Mewini (sedge grass collecting Jack’s Back 2008 Moving Collected Ambience 2014 Helen Frankenthaler J W Power Collection, University holding arms) 1976-78 J W Power Collection, University bag) c. 1984 oil and enamel on linen participatory sound work Spoleto 1972 of Sydney, managed by Museum of silver gelatin photograph of Sydney, managed by Museum of sedge grass and hand spun Museum of Contemporary Art, Art Gallery of Museum of Contemporary Art, screenprint Contemporary Art, purchased 1986 J W Power Collection, University Contemporary Art, purchased 1986 bark fibre string donated through the Australian purchased with funds provided by J W Power Collection, University of Sydney, managed by Museum of J W Power Collection, University Government’s Cultural Gifts New South Wales the MCA Foundation, 2015 of Sydney, managed by Museum Hannah Wilke Contemporary Art, purchased 1978 Judy Baypungala of Sydney, managed by Museum of Program by the artist, 2013; Mikala Dwyer of Contemporary Art, gift of Andre Drawing (Flower Collage) 1973 Mewana (sedge grass Contemporary Art, purchased 1984 Square Cloud Compound 2010 Emmerich Gallery, 1972 pencil, pastel, collage on paper Untitled (woman crouched in collecting bag) c. 1984 Looking for God in abstract art 1985 fabric stockings, glass, beer, Australian J W Power Collection, University shower) 1976-78 sedge grass and hand spun Mewini (sedge grass collecting oil on canvas champagne, plastic, ceramics, found Martha Boto of Sydney, managed by Museum of silver gelatin photograph bark fibre string bag) c. 1984 Museum of Contemporary Art, things, wood, rocks, lights, paint, Centre for Labyrinthe diagonal (Diagonal Contemporary Art, purchased 1974 J W Power Collection, University J W Power Collection, University sedge grass and hand spun gift of Loti Smorgon AO and acrylic, cat and bird ornaments Contemporary Art labyrinth) 1965 of Sydney, managed by Museum of of Sydney, managed by Museum of bark fibre string Victor Smorgon AC, 1995 Museum of Contemporary Art, aluminium sheets, electric motor, Cindy Sherman Contemporary Art, purchased 1978 Contemporary Art, purchased 1984 J W Power Collection, University purchased with funds provided Linda Marrinon light unit, synthetic polymer sheet, Untitled Film Still 130 1983 of Sydney, managed by Museum of Brook Andrew by the MCA Foundation, 2015 Sorry! 1982 synthetic polymer paint and wood c-type photograph Robin White Julie Djelirr Contemporary Art, purchased 1984 White word I 1993 synthetic polymer paint on canvas J W Power Collection, University J W Power Collection, University The canoe is in the bareaka [A Mindirr (Pandanus palm vinyl letters on velvet Museum of Contemporary Art, of Sydney, managed by Museum of of Sydney, managed by Museum of beginner’s guide to Gilbertese] 1983 collecting bag) c. 1984 Heide Museum of Modern Art Museum of Contemporary Art, National Gallery purchased 1990 Contemporary Art, purchased 1967 Contemporary Art, purchased 1984 woodcut dyed pandanus palm and (also touring to: Benalla Art gift of the artist, 1995 J W Power Collection, University hand spun bark fibre string Gallery; Cairns Regional Gallery; of Australia Ulay/Marina Abramovic Untitled Film Still 131 1983 of Sydney, managed by Museum of J W Power Collection, University Anne & Gordon Samstag Museum Stephen Birch Saturday 1987 c-type photograph Contemporary Art, purchased 1978 of Sydney, managed by Museum of of Art; Caloundra Regional Art Untitled 2005 colour polaroid J W Power Collection, University Contemporary Art, purchased 1984 Gallery; National Art School polyurethane, synthetic polymer J W Power Collection, University of Sydney, managed by Museum of I am doing the washing in the Gallery; Western Plains paint, fiberglass, acrylic hair and eyes of Sydney, managed by Museum of Contemporary Art, purchased 1984 bathroom [A beginner’s guide to Rosie Rodji Cultural Centre) Museum of Contemporary Art, gift of Contemporary Art, purchased 1988 Gilbertese] 1983 Mindirr (Pandanus palm the Estate of Stephen Birch, 2008 Mary Ellen Mark woodcut collecting bag) c. 1984 Michelle Nikou Marisol Escobar Untitled (woman lying on bench) J W Power Collection, University ochres on pandanus palm, A 2004 Self-Portrait 1973 1976-78 of Sydney, managed by Museum of hand spun bark fibre string Bronze etching silver gelatin photograph Contemporary Art, purchased 1986 J W Power Collection, University Museum of Contemporary Art, J W Power Collection, University J W Power Collection, University of Sydney, managed by Museum of Library Collection, gift of of Sydney, managed by Museum of of Sydney, managed by Museum of Contemporary Art, purchased 1984 Peter Fay, 2011 Contemporary Art, purchased 1974 Contemporary Art, purchased 1984

28/29 Annual Report 2017 Annual Report 2017

Pipilotti Rist: Sip Ocean my becoming around difficult ideas around creating a safe a safe Art of & Ideas creating A Program of audiences to a wide range for space engage in meaningful conversations 2,424 programs took place, with a total participants 87,972 of visitorsIncreased regular frequency visit with making four visits on average annually audience media social MCA’s the Extending with ever show Instagrammed most MCA’s the (reaching 10 million over people online) A gallery world-first Kids Opening for kids 370 and families in the presence the of artist Creation the of MCA Aboriginal and Torres Strait Islander Cultural Learning Framework, that underpins the organisation’s approach to teaching about and engaging with the work of StraitAboriginal Islander and Torres artists Starters: The launch of Conversation Highlights from 2017 from Highlights —  —  — — — —  Administrating Administrating Connecting people with contemporary art, Connecting people with contemporary of events, a range and ideas through culture to and opening times created programs Audience groups, audience different reach a place provides the MCA Engagement at engagement, and creativity, experiencing for part is a key space The digital critical exchange. providing of connecting with audiences, be it by audio-guides learning resources, information, sharing stories, telling or by and interpretation; conversation. ideas and inviting Engagement teams the Audience In 2017 both international artists, with exhibiting worked to artist-educators as well as and national, that learning and public programs deliver emphasised collaboration, scope for provided knowledge and than imparted dialogue rather bring their own stories audiences to supported art. with contemporary encounters to and such as the provoking programs Public and and stimulating ARTBAR popular MCA activities mind-changing Starters; Conversation people of all abilities in the multi-sensory for development Bella professional Room; Jackson of guided tours regular teachers; for workshops exhibitions Collection and temporary the MCA Guides; and images and stories Volunteer by meaningful on social media all provided shared connect with to audiences opportunities for art. contemporary Pipilotti Rist, Eternity, 2011, four-channel video colour, sound, with installation Guggisberg, Anders by sound Pipilotti Rist: installation view, of Museum Sip my Ocean, Contemporary Art Australia, the courtesy 2017, Sydney, artist, Hauser & Wirth and Luhring Augustine © the artist, photograph: Kučera Anna

Annual Report 2017Annual Report The MCA’s Audience The MCA’s Engagement division encompassing Public Engagement, Student Engagement, and Teacher Experience Visitor and and Marketing Communications, provides ofenriching experiences broad art for contemporary audiences. and diverse Deepening Audience Engagement Audience Deepening

AUDIENCE 30/31 2017 Annual Report Report ENGAGEMENT Public Engagement —

Engaging audiences with contemporary ­­— Over 250 young people came to Genext Goes West, an offsite event created in collaboration between MCA Youth Committee art and ideas through diverse and vibrant and Parramatta Artist Studios. 80% of the attendees were programs for all ages MCA’s public attending a cultural event in Parramatta for the first time programs provide a range of ways for ­­— The MCA Indigenous Advisory Group welcomed Uncle Ray different audiences to explore and learn Davidson into the newly appointed position of Gadigal Member through contemporary art. ­­— 13 staff presented at 15 seminars and conferences nationally Programs including workshops, talks, mini-festivals, after-hours and internationally on the impact and engagement of the events and hands-on family activities, brought new audiences to MCA’s learning and public programs including a presentation MCA events and saw new programs connect deeply with visitors. on the notions of ‘risk’ at MuseumNext, highlighting the flexibility, diversity and impact of the ARTBAR program 2017 Highlights —­­ The first Artful: Art & Dementia professional development ­­— ARTBAR, the unique and unexpected over-18s event turned 5 in evening was sold out with 50 attendees from a diverse range of 2017, with over 190 artists contributing throughout the year professional fields. This event offered an important entry point into the impact the arts can have in providing life enhancing ­­— The free hands-on family space Sundays with Pipilotti, experiences for people living with dementia and their carers engaged over 7,600 kids and families on weekends throughout the exhibition Pipilotti Rist: Sip My Ocean

­­— Eva Franch, Director and Chief Curator of Storefront for Art and Architecture in New York delivered the 6th Lloyd Rees Memorial Lecture, exploring the contemporary role of art and architecture, and reflecting on the production of alternative spaces

­­— MCA Young Guides worked with MCA staff to create audio resources for MCA exhibitions Jenny Watson: The Fabric of Fantasy and Pipilotti Rist: Sip My Ocean

—­­ The inaugural Conversation Starters: A Program of Art & Ideas weekend, including artist talks, participatory workshops, Top left: Assumptions Roulette workshop participants, films, artist performances and cultural experiences, Program Type Number of Number of Conversation Starters, 2017, attracted 2,219 participants over the two days Programs Participants Museum of Contemporary Art Australia, photograph: Adult Public Programs 156 21,417 Jacquie Manning ­­— Over 600 visitors and creative professionals celebrated ‘Our Top right: Sanggar Tari ARTBAR 11 7,300 Bali Saraswati, Dance Language Matters’ at MCA NAIDOC Week programs Installation, 2017, performance Kids and Families 189 19,029 documentation, ARTBAR – curated by Caroline Garcia 27 ­­— Internationally acclaimed artist and film maker George Young Creatives 81 5,830 October 2017, image courtesy and © the artists, photograph: Gittoes presented a new immersive virtual reality work Artful: Art and Dementia 44 773 Leslie Liu Fun Fair Jalalabad, filmed in Afghanistan highlighting Bottom: Handfed, MCA Total 481 54,349 Conversation Starters 2017, children’s desire to find enjoyment within a war zone photograph: Anna Kučera

32/33 Annual Report 2017 Annual Report 2017 Student and Teacher Engagement —

Through the National Centre of Creative Learning (NCCL), Student Program Type Number Number of Participation in early and Teacher Engagement provides tailored creative learning programs of Groups/ Participants and online resources to support engagement with the MCA Collection, Programs learning programs Exhibitions and Touring Exhibitions, at home and in the classroom. Early Learning 27 795 increased by 75% and The MCA’s teacher professional development program supports professional development a community of practice, focused on sharing ideas, resources and Primary 105 5233 inspiration for creative learning through contemporary art. Secondary 341 9447 programs saw an increase Tertiary 128 2876 of 300% in attendance 2017 Highlights Teachers 30 861 from 2016 ­­— Participation in early learning programs increased by 75% and Digital Programs 11 547 professional development programs saw an increase of 300% ESL; Community & Social Groups 33 561 in attendance from 2016 Bella and Bella Plus 119 2961 ­­— The Teachers Advisory Group was reformed, with representatives Together: School Access 24 682 from all key learning areas, including teachers from the public, catholic Total 818 23,963 and independent sectors, regional NSW and Western Sydney

­­— Two new programs, the Winangali student workshop and Namuru Teacher Professional Development workshop, encouraged 375 students and 65 teachers to make personal connections to Indigenous artworks and perspectives and emphasised the continuity, diversity and uniqueness of Aboriginal and Torres Strait Islander artists

—­­ As part of The National 2017: New Australian Art, MCA, AGNSW and Carriageworks collaborated for the first time to present an educator conference for 60 teachers held across all three institutions. New initiatives within the school access program included a student-led tour for families delivered in students’ own languages, and strategies to support families to attend other MCA programs and exhibitions

­­— A pilot research project Art & Wonder: Young children and contemporary art developed in collaboration with Macquarie University and Mia Mia Child and Family Study Centre

­­— National conference presentations in 2017 highlighted the development and delivery of the ‘MCA Together: School Access Programs’ and the Art & Wonder project

­­— Working with Liverpool Girls High School students on Top right: MCA Creative Studios, Bellfield College 2017, photograph: the C3 West program highlighting food security Yael Stempler Bottom right: MCA Together Program, Fairfield Public School 2017, photograph: Jacquie Manning

34/35 Annual Report 2017 Annual Report 2017 Art is for Everyone: Visitor Experience For Visitors with Access Requirements

The MCA works to connect people with disability and access requirements The Visitor Experience team interpret, guide, communicate and of all ages with contemporary art. In 2017 this commitment to access and engage with visitors to deliver a world class standard of customer inclusion, was embedded across the MCA, integrating a more inclusive experience; and help connect visitors to contemporary art through approach across all exhibitions, programs and events. The development information and conversation. The team comprises dedicated, of the pioneering Access Support initiative provides free tailored support knowledgeable and passionate Gallery Hosts, Volunteer Guides to reduce barriers for individuals, families, school and adult groups across and Ticketing Hosts who ensure that all visitors to the MCA are all programs, exhibitions and events the MCA offers. welcomed warmly and treated respectfully. The MCA’s Librarian and team of Library volunteers offer visitors deeper insights into the 2017 Highlights Museum’s permanent Collection through specialist library services and activities including archival exhibitions and research assistance. ­­— 179 visitors came to the Kate Beynon Bella Room Launch and Open Day in June. Guests were invited to meet artist Kate Beynon over afternoon Many MCA Gallery Hosts are practicing artists themselves, working across tea, enjoy the new interactive Bella room and take part in drop-in diverse disciplines – painters, sculptors, illustrators, photographers, sound artmaking activities for all ages artists and curators. The expertise they develop in their artistic practice enhances their knowledge of MCA artists and exhibitions, and shows in ­­— Presentations by staff at national and international conferences the quality of their conversations with visitors from across the globe. highlighted MCA’s access programs and shared MCA’s sensory creative learning strategies 2017 Highlights

­­— Seven Auslan tours for over 75 individuals who identify as deaf or ­­— 55 of the Spotlight Talks delivered by MCA Gallery Hosts on hard of hearing were held – developing new ways to connect with deaf an artwork of their choice focused on Aboriginal and Torres audiences Strait Islander artworks, appreciated by 446 visitors

­­— 112 visitors celebrated International Day of People with Disability, attending ­­— Volunteer guides offered 25 Aboriginal and Torres Strait Islander Art- workshops developed by the MCA in partnership with Studio A focused guided tours, attended by 122 international and local visitors

­­— Professional development was a strong focus in 2017 with ­­— In May, the Visitor Experience cluster participated in National Guided Tour, featured front: of Dr Edward Jackson AM and opportunities for Bella participants, teachers and service providers Volunteers Week by offering an evening of Art + Conversation Mikala Dwyer, Untitled (detail), Mrs Cynthia Jackson AM, 1995, within the disability sector to attend the MCA’s 6th annual Engaging The staff at the MCA were to 15 volunteers from across Sydney’s cultural organisations 1992–94, installation view image courtesy and © the artist/ Students with Disability forum, held in partnership with the Sydney Today Tommorow Yesterday: Licenced by Copyright Agency, so passionate and engaged MCA Collection, Museum of 2017, featured rear: Dale Frank, Opera House ­­— In June, MCA Volunteer Guides hosted visiting Guides from Contemporary Art Australia, 2017, Every time I glance it’s just not plastic, aluminium satellite dish, me, 2014, varnish, lighter fluid in the process and dedicated the Art Gallery of New South Wales and National Gallery of wood, cloth bandage, synthetic on anodised plexiglass, wood, ­­— The Bella team was nominated for an Advancement Award for Australia for UNESCO’s International Museum Day. Tours polymer on canvas, wool, Museum of Contemporary Art, to implementing changes. polyester, glass, jelly, detergent, purchased with funds provided dedication to supporting people on the spectrum at the Autism focused on the day’s theme of ‘contested histories’ Museum of Contemporary Art, by the MCA Foundation, 2014 Spectrum Australia’s Recognition Awards 2017 ceremony purchased with the assistance photograph: Sam Whiteside ­­— Eight Aboriginal and Torres Strait Islander secondary students from ‘The staff at the MCA were so passionate and engaged in the process various Sydney schools on work experience at the Sydney Opera Program Type Number of Number of and dedicated to implementing changes. This demonstrates their strong House received a tailored two-hour guided tour of the MCA Programs Participants commitment and contribution to the artistic and autistic communities, removing barriers to people on the spectrum participating in a Guided Tours 861 7,867 mainstream environment and keeping a focus on inclusion for all.’ Spotlight Talks 264 1,793 Autism Spectrum Australia’s Recognition Awards Judge’s comments MCA Bella Program, 2017, Total 1,125 9,660 photograph: Jacquie Manning

36/37 Annual Report 2017 Annual Report 2017 Communications and Marketing —

The MCA’s Communications and The Tatsuo Miyajima: Connect with Everything print advertising campaign for the Sydney International Art Series reached a total of 7.7M readers for Marketing team create integrated a total campaign value of $252K, contributing to boosting awareness of campaigns to engage with audiences. the exhibition and Sydney International Art Series brand. The exhibition also generated strong PR coverage across a range of media segments, In 2017, the team actively contributed to deepening audience engagement with 239 stories reaching over 28M people for a combined ad value of both onsite and online, driving overall attendance, supporting revenue- $4.7M. The #TatsuoMiyajima hashtag generated over 5,000 posts (a 200% generating activities and further positioning the MCA as a leading cultural increase on Grayson Perry last year) for a total reach of over 6.8M people. destination and industry thought-leader through the following initiatives: The MCA’s social media footprint continued to grow across all platforms, ­­— Campaigns on key commissions and exhibitions, including especially on Instagram (82K followers) and Facebook (116K followers The National 2017: New Australian Art which generated by end of year, up 10% annually). SnapChat and Instagram stories were over 240 media stories across all three institutions for a activated at each ARTBAR, and dedicated digital campaigns were rolled combined reach of 23.9M and an ad value of $7.1M out for SIAS exhibitions (#Pipilotti Rist hashtag reached over 10M), Valentine’s Day #HeartsforArt, Conversation Starters, #whatsyourMCA, ­­— Campaigns on key public programs, including Lights on Later Twitter #MuseumWeek (June) and World Emoji Day (July). (successfully repositioned from Thursday to Wednesday nights through the Create NSW ‘Culture Up Late’ campaign), the newly created The MCA’s recently relaunched magazine for Members and Supporters, Airbnb Experience, and the inaugural Conversation Starters program Art Matters, won Best Magazine at the prestigious Museums Australia Multimedia and Publications and Design Awards. ­­— Support of revenue-generating activities including special menus at MCA Café, the summer pop-up bars, and a Christmas campaign for the MCA Store

­­— Promoting visibility of partnerships such as the second round of Joint International Acquisitions with Tate supported by Qantas, the announcement of a Sydney Airport partnership and major commission, launch of the new Ruinart Deluxe Sketch Club series, and the popular Young Henrys’ Sounds on the Terrace series

­­— Highlighting philanthropic activities including the launch of a

Major Gift strategy, the Annual Appeal campaign and a new Top: T-shirt activation during video to promote MCA Young Ambassadors program the What’s Your MCA? campaign, photograph: Anna Kučera Bottom left: Algerian special In September, a major partnership with award-winning advertising menu at the MCA Cafe, photograph: Anna Kučera agency Ogilvy led to a successful brand and digital engagement Bottom right: Tatsuo Miyajima, Life (Rhizome) No. 3 (detail), campaign called #whatsyourmca, which encouraged visitors to play 2012, installation view, with the MCA acronym and express what the MCA meant to them. The Tatsuo Miyajima: Connect with Everything, Museum of campaign drove significant audience engagement onsite and online, Contemporary Art Australia, culminating in the spectacular projection of audience-generated 2016, LED, microcomputer, electric wire, passive sensor, acronyms on the MCA building façade over a couple of nights iron, Schweizerische Mobiliar Genossenschaft Collection, image courtesy and © the artist, photograph: Jacquie Manning

38/39 Annual Report 2017 Annual Report 2017 Research and Evaluation —

Audience Research — the MCA’s culture segment profile is dominated by Research Programs community-focused and artistic ‘Expression’ (35%); by Throughout 2017, the MCA continued to work with award-winning arts intellectual and culturally sophisticated ‘Essence’ (23%); The MCA is are increasingly working with University partners to deepen management consultancy Morris Hargreaves McIntyre (MHM) to help and by experimental and fun-loving ‘Stimulation’ (15%) engagement and understanding of contemporary art in a museum context. gain an understanding of who the MCA visitors are in order to develop new audiences and transform existing relationships. The audience ­­— A quarter of MCA visitors are aged 25-34 (29%), and New and ongoing research program partnerships in 2017 were: research investigated people’s motivations and behaviours onsite, two thirds of MCA visitors are aged 35 and under enabling MHM to identify and articulate the MCA’s key cultural segments. ­­— Evaluating the impact of art on neuroplasticity with the University ­­— 26% of visitors are ‘blown away’ by their visit; a further third of Sydney Brain and Mind Institute and Alzheimer’s Australia MHM’s Culture Segments is a leading international standard segmentation are ‘gratified’, 35% are ‘content’, and 86% of visitors ‘definitely ­­— A pilot program looking at museum-based visual arts pedagogy system used by arts and culture organisations such as the Sydney Opera will’ or ‘probably will’ recommend a visit to friends or family­­ for children in the Early Childhood years with Macquarie University House, Tate Modern, British Museum, Shakespeare’s Globe, Melbourne Department of Educational Studies and Mia Mia Child & Family Arts Centre, Australian Chamber Orchestra, National Gallery Victoria and — Visitors are hungry for digital engagement during their visit (especially Study Centre Queensland Art Gallery to drive audience development. It is based on when the Sydney International Art Series exhibition is on), with over ­­— Looking at visual and cultural awareness for medical students with people’s deep-seated cultural values and their beliefs about the role that 6 in 10 visits including taking a photo or video on a mobile device. the University of Sydney Medical School culture plays in their lives, getting to the heart of what motivates them. Sydney-siders are more likely to take selfies or photos of the people they’re visiting with, further highlighting the social nature of this group Key findings are: Visitor Research - The National 2017 This research shows that people trust the MCA, are willing ­­— First-time visits accounted for nearly half of visits overall (46%), to take risks that the MCA recommends and are impressed Additional visitor research took place between March to July with 1,635 with overseas visitors most likely to be making a first-time visit with the MCA’s professionalism and customer service. face-to-face interviews carried out with visitors to The National 2017: New Australian Art at the three sites: Museum of Contemporary Art (MCA), ­­— Visit frequency is increasing with regular visitors Art Gallery of NSW (AGNSW) and Carriageworks. The reaserch showed making four visits on average over 12-months Jackson Bella Room Evaluation that the exhibition was an extremely successful first-time event with strong brand recognition created that delivered large numbers of visitors ­­— A significant decrease in lapsed attenders (from 19% The MCA commissioned an evaluation of the Jackson Bella to each site with a high level of cross-institutional visitation. Each site in July-Sept to 10% in Oct-Dec), indicating successful Room in March 2017 to understand its impact on a range of attracted new audiences and at theMCA, 49% of visitors were aware of retention and conversion into regular attendees audiences and stakeholders. The findings looked at individual, The National and it was the main reason for visiting the MCA for over 28% organisational and artistic impact, and highlighted significant of visitors. 48% of visitors to the exhibition were under 35 years of age. ­­— Making a general visit is the most common reason for visiting positive impacts and with exciting potential for the future. the MCA (65%), followed by seeing the MCA Collection (22%)

­­— The MCA Collection enjoyed a high onsite conversion (over This should be the norm. When you 4 in 10 visits included the MCA Collection), especially for overseas tourists, and 64% of visits included the Collection get an organisation like this who treats people with disability the same ­­— Visits made with the intention of seeing the MCA Collection Left: Art & Wonder: Young as everyone else – it seems wonderful. Children and Contemporary doubled in the last quarter (40%, up from 20% last quarter 2016) Art Research Project focus group, featured: Esme Timbery, It should be normal. Shellworked slippers (detail), ­­— The MCA attracts a good balance of local (43%) and overseas (teacher) 2008, shell, glitter, fabric, cardboard and glue, Museum of visitors (38%), which is unusual and highly desired­­ Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008, photograph: Anna Kučera

40/41 Annual Report 2017 Annual Report 2017 ENTERPRISES AND DEVELOPMENT Supporting Creativity

As a not-for-profit The MCA relies on the support of its generous Highlights from 2017 private donors, corporate partners and independent organisation, members, as well as income earned through — Over $680,000 was raised at the annual income generated through commercial activities such as Venues and the Bella Dinner non-government sources MCA Store to deliver its exhibitions, programs — The MCA Benefactors Circle was launched and operational activities each year. In 2017, with a group of generous individuals who have represents nearly 75% of the MCA raised more than $14.24 million via pledged to support the MCA in their Will the MCA’s annual revenue. sponsorships and philanthropy, membership — $74,907 was raised through the MCA programs and fundraising events, as well as Annual Appeal venue hire and MCA Store sales. — Works acquired through the International Acquisition Program supported by Qantas were A dedicated team in the Development and shown to an international audience at Tate Enterprises division work in collaboration — A new initiative, the Young Ambassadors Plus with colleagues across all divisions to create program, was launched for young patrons special experiences and opportunities for our — MCA Venues hosted over 700 events and supporters. Strong relationships were fostered generated more than $3.6million in revenue with a number of new corporate partners and we — The Colour Fields Pop-Up Bar attracted over welcomed new Ambassadors and Foundation 13,000 visitors over the summer Donors to the MCA family. Membership had an — The MCA Store was recognised as one of exceptional campaign during the Pipilotti Rist: the eight best museum stores in the world Sip my Ocean exhibition, beating all weekly sales records of previous Sydney International Art Series exhibitions. MCA Venues hosted over 700 private and corporate functions, the highest number of events held in one year and our annual Bella Dinner fundraiser exceeded all previous years, with an extraordinary $681,158 raised.

Colour Fields Bar, photograph: Daniel Boud

42/43 Annual Report Annual Report 2017 Philanthropy Membership and Young Ambassadors

Philanthropy at the Museum continued to be a major contributor MCA Membership and the Young Ambassadors program provides to the MCA’s ability to deliver ground-breaking exhibitions people with the opportunity to engage with contemporary art and programs and to grow the MCA Collection. and artists across a range of enriching informative and social experiences while supporting the activities of the Museum. Key activities and initiatives in 2017 included: In 2017, more people than ever before took part ­­— The acquisition of 16 works for the MCA Collection through the generosity of the MCA Foundation, including works by ­­— 2017 saw steady growth for MCA Membership and much improved Stephen Bush, Matilda Nona, Laurie Nona, Matthew Bradley, retention statistics with 3,544 Memberships signed up or renewed Peter Maloney, Jonny Niesche, Kathy Temin, Zanny Begg, Hilarie —­­ During Pipilotti Rist: Sip my Ocean 2,621 Memberships Mais, Teelah George, Nicole Forshew and Jenny Watson were sold with Members taking advantage of unlimited ­­— Special access to the Museum, its programs and curators for over free access to the exhibition over the summer 420 Ambassadors through this bespoke engagement program, with ­­— 26 Members’ exclusive events were offered in 2017 with over private donations providing 11% of MCA’s overall income in 2017 1,000 Members attending. Member attendance at programs ­­— A number of generous patrons committing to multi- including ARTBAR, workshops and artist talks averaged 25% with year Major Gift donations to support a range of MCA up to 80% Member attendance at our most popular events programs, staffing positions and exhibitions ­­— The MCA Young Ambassadors Program, supported by Ray ­­— The 2017 Annual Appeal with $74,907 raised towards White, also grew steadily in 2017, welcoming 50 new Young providing students from low socio-economic areas with Ambassadors to the group now totalling 145 people free access to the MCA’s creative learning programs ­­— The Young Ambassadors Plus program was launched in 2017. ­­— The 2017 Bella Dinner which raised over $680,000 towards the This initiative bridges the Ambassador and Young Ambassador MCA’s Access and Creative Learning programs. All funds raised Programs and includes a fully tax-deductible donation of go to providing an enriching engagement with contemporary art $1,000 in addition to Young Ambassador’s Membership and the MCA for children and adults with access needs, and we are extremely grateful to everyone who supported us on the evening

Support from trusts and foundations is essential to ensure the ongoing development of key MCA projects, including publications; exhibitions; community projects; and access programs. Charitable grants from The Balnaves Foundation, Campbell Edwards Trust, Vincent Fairfax Family Foundation, Swiss Arts Council Prohelvetia, Linnell/Hughes Trust, Crown Resorts Foundation and Packer Family Foundation have each contributed to an enriching engagement with contemporary art and the Museum for a broad and diverse audience.

2017 saw the launch of the MCA Benefactors Circle, a group of generous individuals who have pledged to support the MCA in their Top: Young Ambassadors with funds provided by the MCA Young Ambassadors Will. Bequests are vital to ensure the ongoing success of the Museum Top: Muskan Nazari and Sulaiman Bottom left to right: Laurie Nona, purchased with funds provided tour at Sydney Contemporary, MCA Foundation, 2016, Program supported by Dawood from Merrylands East Badhu Habaka, 2016; Matilda by the MCA Foundation, 2017, photograph: Sam Whiteside featured rear: Lena Yarinkura, and will help us to develop the MCA Collection; support artists Public School talk about their Nona, Sawur, 2016; Matilda Nona, image courtesy and © the artists, Bottom: New Member tour Yawkyawk, 2002, ochre pigments through exhibitions, commissions and public programs; and enable experience of ‘MCA Together’, Araw Warul, 2016, installation photograph: Jacquie Manning of MCA Collection, featured on twined pandanus palm a fully subsidised program view Today Tommorow front: Lena Yarinkura, Ngalyod (pandanus spiralis), Museum future generations to access and engage with contemporary art. providing access to the MCA and Yesterday: MCA Collection, (Rainbow Serpent) (detail), of Contemporary Art and Creative Learning for primary Museum of Contemporary Art 2016, pandanus, natural dyes Maningrida Arts and Culture, school children, at the 2017 Bella Australia, 2017, linocut on paper, and feathers, Museum of purchased 2003, photograph: Dinner, photograph: Daniel Boud Museum of Contemporary Art, Contemporary Art, purchased Sam Whiteside

44/45 Annual Report 2017 Annual Report 2017 Venues and Events Retail

2017 was the most successful year to date for MCA Venues with over In 2017 the MCA Store was recognised 700 events taking place across our spectacular rooftop venues and prestigious Foundation Hall. Eighty couples celebrated their special by online design journal The Week as one days at the MCA with friends and family, and over 600 corporate of the eight best museum stores in the events including gala dinners, product launches and media events, world, ranking alongside The Victoria took advantage of the MCA’s iconic location and stunning harbour views. Private and corporate hire of the MCA’s venues generated and Albert Museum London and the more than $3.6million in revenue for the Museum in 2017. Guggenheim in New York. Highlights included: The MCA Store continues to delight visitors with merchandise that ­­— The MCA’s inaugural Venues Showcase event where 200 MCA Collection Partner celebrates the creativity of our local artists and designers, while providing industry representatives and event planners enjoyed a them with a platform to showcase their work to a diverse range of visitors. private viewing of the MCA Collection galleries ­­— The media launch for 2017’s City of Sydney Vivid festival The MCA Store continued to produce appealing merchandise ­­— Commemoration of 30 Years of the Qantas Frequent Flyer program based on MCA collection works and exhibition programming. —­­ Bastille Day celebrations Highlights included Pipilotti Rist fans and Jon Campbell tote bags ­­— The LG Signature Brand launch event which proved to be very popular with the MCA visitors. All revenue earned supports MCA programming, events and exhibitions. The MCA continued to work in closely with event partners, Fresh Catering, Culinary Edge and AV1 to provide exceptional food and beverage offerings, as well as sound, lighting and staging to enhance event experiences.

The Colour Fields Pop-Up Bar attracted over 13,000 visitors over the summer and acted as a backdrop to 15 private functions. Special thanks to our partners: Scoundrel Projects, AV1, Culinary Edge and Future Classics.

Top: Harbourside Room, image courtesy Wanda, photograph: Elise Hassey Bottom: Colour Fields Bar, MCA Store merchandise, photograph: Anna Kučera photograph: Anna Kučera

46/47 Annual Report 2017 Annual Report 2017 Partnerships Our Partners

Partnerships with leading brands Government Partners and companies provide a significant source of revenue for the Museum and extend the MCA’s reach to new audiences and markets. Communication Partner Strategic Sponsor Lecture Theatre Partner Official Airline Partner Highlights from the year included:

­­— Continued support from long term Strategic Partners: Telstra, Veolia, Destination NSW and Qantas ­­— The first of the works acquired through the International Acquisition Program supported by Qantas being Major Partners shown to an international audience at Tate ­­— Welcoming new partners including ­­— A two-year partnership with Sydney Airport to commission the work of Kamilaroi Aboriginal artist Archie Moore for the Airport’s T1 International terminal to be unveiled in mid-2018 ­­— AMP Capital as Program Partner for Lights On Later ­­— Red Energy as inaugural MCA Touring Partner ­­— Ruinart and Young Henrys as new beverage partners

Media Partners Hotel Partner Beverage Partners

Supporting Partners Corporate Members Trusts and Foundations Technology Services Partner

Aesop Bloomberg The Balnaves Foundation AV1 Brookfield Bradcorp Community Partnership Fund Cafe Sydney Harrolds Campbell Edwards Trust Top: Archie Moore, United Coleman Greig Jardine Lloyd Thompson Crown Resorts Foundation Neytions, 2018, composite Culinary Edge Scoundrel Projects Gordon Darling Foundation visualisation of installation for T1 Deloitte Panasonic The Ian Potter Foundation International Terminal, Sydney The Linnell / Hughes Trust Airport. Composite image: Neilson Foundation Sebastian Adams, photograph: Packer Family Foundation Sofia Freeman, courtesy The Swiss Arts Council Pro Helvetia Commercial, Sydney © Archie Moore Vincent Fairfax Family Foundation Bottom: Sounds on the Terrace, in collaboration with Young Henrys, photograph: Jacquie Manning

48/49 Annual Report 2017 Annual Report 2017 MCA Supporters —

John B Reid AO & Lynn Ann & David Bennett Erin Flaherty & David Maloney AM & David B Liddy Gillian Simon & Darren Kindrachuk MCA Foundation MCA Life Members Rainbow Reid AM John Beresford Barbara Flynn Harvey Light Fiona Anne Sinclair & Peter King International Major Benefactor Neil Balnaves AO & Diane Balnaves Suzanne Rose & Alan Segal Berg Family Foundation Matthew & Kristina Foster Agnes Lingane & James Gow Gary Singer & Geoffrey Smith Ambassadors Simon Mordant AM & Catriona Mordant Andrew Cameron AM & Cathy Cameron Sandi & John Szangolies Richard & Jill Berry Paul & Debra Foulkes Robert Linnegar & Randi Linnegar Michael Sirmai & Rebecca Finkelstein Visionary Major Donor Judy Friend OAM Lorraine Tarabay & Nick Langley Daniel & Danielle Besen Wendy Fraser Dr Kathryn Lovric & Dr Roger Allan Merilyn Sleigh & Raoul de Ferranti Lachlan & Sarah Murdoch Sally Breen & Kate Mills Ginny & Leslie Green Malcolm Turnbull & Lucy Turnbull AO Teresa Biet Eva Galambos Kim Maloney Lawrence Smith & Anthea Williamson David & Michelle Coe Dr Edward Jackson AM Isaac Wakil AO & Susan Wakil AO Christine Bishop Sophie Gannon Jenny Manton Ezekiel Solomon AM Futurist Ari & Lisa Droga & Mrs Cynthia Jackson AM Stewart Wallis AO & Gwenyth Wallis Judith Blackall Sam Gazal Mark Phibbs & Nikki South Philomena & Andrew Spearritt Dr Peter Farrell & Olivia Farrell Richard Elmslie & Leslie Tilly John Kaldor AM WeirAnderson Foundation Patricia Blau Tim Gerrard Alexandra & Carina Martin Adam Spencer Contemporary Dr Colin Laverty OAM & Fraser Hopkins Annette & William Blinco Dr Martin Gold Paul & Anne Masi Bianca Spender & Samuel McGuinness Ben & Pensiri Scott Mrs Elizabeth Laverty Futurist John & Frances Ingham Foundation Ellen Borda Ryan Gollan Prof Michael McDaniel & Paul Galea Maisy Stapleton Linda Thompson Ann Lewis AO Brian Abel Anthony Medich Timothy & Stacey Bishop Luisa & Kyp Bosci David Golovsky AM & Jan McDonald Jane Stark Simon Mordant AM & Catriona Mordant Beverley Golovsky Andrew & Andrea Roberts Julia Champtaloup & Andrew Rothery Jan & Kelvin Boyd Peter McGovern AM & Jan McGovern Ross Steele AM Roslyn Oxley OAM & Tony Oxley OAM Christina & Maurice Green AM Benefactors Circle Greg & Kathy Shand Victor & Chrissy Comino Roslynne Bracher AM David & Roslyn McGovern Hephzibah Rebecca Stehli John B Reid AO Robert Green & Maria Johnson The Museum of Contemporary Art Nick Langley & Lorraine Tarabay Patrick Corrigan AM Natalia Bradshaw Julia McGrath Coleman Nigel & Penelope Stewart Reg Richardson AM would like to thank the members of Richard Weinberg & Monica Michael Bremner & Elizabeth Mackenzie Phillip & Vivien Green Caroline Pidcock & John McInerney AM Jaclyn Strelow Sandy & Jane Dawson the MCA Benefactors Circle who have Saunders-Weinberg Loti Smorgon AO & Victor Smorgon AC Lucy Greig & Josh Black Doug Dean AM & Cathy Dean Catherine & Phillip Brenner Ross McLean & Fiona Beith Tony Sukkar AM & generously pledged to support the Stewart Wallis AO Rachel Griffiths & Andrew Taylor Josephine Sukkar AM Wheen Family Foundation Robert & Jasmine Dindas Jane Bridge Antoinette McSharry future of the Museum via a gift in Julie & Garry Grossbard Ursula Sullivan & Joanna Strumpf Shannan Whitney Helen Eager & Christopher Hodges Brad Buckley Tony & Fran Meagher their Will. Nicholas & Elizabeth Wright Madeleine Grummet & Associate Paul Sumner MCA Ambassadors Richard & Jane Freudenstein Dr Bruce Caldwell Josh & Danielle Milani Susanne Z de Ferranti Carla Zampatti Foundation Professor Jeremy Grummet Irene Sutton Judy Friend OAM & Jim Friend Robert & Janelle Cann Justin Miller Lawrence Harding Visionary Suzanne Hampel & Fran Clark Rowena Talacko & Andrew Finckh Donor Deborah Fullwood Anne-Marie Casey Christina Milson & Guy Milson Michael King Geoff Ainsworth AM Pamela Hanrahan Eric Tang MBE & Eileen Tang Jennifer Stafford & Jon Nicholson Stephen Grant & Bridget GrantPirrie Tim Casey Angus & Brielle Mordant Carole Lamerton The Balnaves Foundation Kate Harper & Jack Whelan Georgie & Alastair Taylor Lisa & Egil Paulsen Scott Perkins & Yael Heynold Adam Casselden Maryrose Morgan & Michael Morgan Antoinette McSharry Anita Luca Belgiorno-Nettis Foundation Alexa & David Haslingden Victoria Taylor Dr Dick Quan & Mr John McGrath Gordon Jackson Luisa Catanzaro Sarah Morgan Nizza & Max Siano Andrew Cameron AM & Cathy Cameron Jan Hatch & Dr Peter Sheridan AM Drew Pearson & Liam Thomas Suzanne Rose & Alan Segal Kate Jerogin Duncan Chappell & Rhonda Moore Sean Mungovan Gillian Simon & Darren Kindrachuk David & Michelle Coe Angelo & Despina Hatsatouris Peter & Maree Thomas David Seargeant Vivien Knowles Peter & Susan Checketts Jan Murphy Noel Cressie Bruce Hawker Itay & Jana Tuchman And all those who wish to Anonymous Eugenia Langley Leo Christie OAM & Marion Borgelt Beverly Ng remain anonymous Crown Resorts Foundation Dr Garry Helprin Julie Green & Frans Vandenburg Supporter Dr Devora Lieberman & Nichola Clutterbuck Dr Clinton Ng Geoff & Dawn Dixon Richard & Diana Herring As at 10 Aug 2017 Dylan & Nicolette Farrell John van der Wallen Susan Colless April & Phil Nicholls Alison Veness-McGourty Ginny & Leslie Green Jennifer Hershon & Rebecca Khoury Kerry Gardner & Andyinc Foundation Rhonda McIver Stephen Collier Jennifer Stafford & Jon Nicholson Dr Edward Jackson AM John Hirschfield Peter Vogliotti & Angela McHugh Carole Lamerton & John Courtney Monika Tu & Jad Khattar Anna & Garry Connery Peter Nottle & Wendy Maddox Bequests & Mrs Cynthia Jackson AM Michael Hobbs OAM Rhianna Walcott David Fite & Danita Lowes Mark & Louise Nelson J. Andrew Cook Belinda Piggott & David Ojerholm Phillip Keir & Sarah Benjamin Andrew L Horsley Anna Waldmann Bequests are vital to ensure the Chips Mackinolty Louise Olsen & Stephen Ormandy Phillip Cordony & Helen Dalley James & Michelle Paterson Nelson Meers Foundation Judy & Peter Howarth John S Walton AM ongoing success of the Museum The Mayo Group Timothy Olsen Philip & Caroline Cornish Lisa & Egil Paulsen Ian & Wendy Macoun Paul & Diane Howarth Shaun & Kati Watson of Contemporary Art Australia. Vicki Olsson Geraldine Palmer Sarah Cottier & Ashley Barber Zoe Paulsen Anthony & Suzanne Maple-Brown Sir Barry Humphries Penelope Weir By choosing to support the MCA Penelope Seidler AM Dr Timothy Pascoe AM John & Dawne Cox Greg Peirce Simon Mordant AM & Catriona Mordant Diane Ipkendanz David & Kate Wenham in your Will, your gift will create a Bernard Shafer in memory Neilson Foundation Susan Rothwell Silas & Kath Creel Associate Professor Jonathan Theresa Jackson & Ian Iveson Phillips AM & Irene Sniatynskyj Dan & Samantha White legacy that helps us to develop the of Anna Shafer Packer Family Foundation Alan Schwartz AM & John Curtis AM Erika Jumikis Chloe & Andrew Podgornik Kathy White MCA Collection; support artists Victoria Taylor Katie Page-Harvey Carol Schwartz AM Joan Dale Barry Keldoulis Belinda & Bill Pulver Sonia Whiteman & Paul Middleditch through exhibitions, commissions Nick Tobias & Miranda Darling Tobias The Bill & Patricia Ritchie Foundation Anna Schwartz & Morry Schwartz AM Sally Dan-Cuthbert Gabriella Kennard OAM Steve & Belinda Rankine Professor Ian Wilcox Jacki Vidor & Phil Staub Loti Smorgon AO & Victor Smorgon AC Kate & Julian Sexton Gordon Darling AC CMG and public programs; and enable & Marilyn Darling AC Dr Dave Kennedy & Jane Hanks Fay Raven Ray Wilson OAM Paul & Sue Taylor Sheila McGregor & John Arthur future generations to access and David Friedlander & Deborah Woodrup Angela & David Kent Peter Reeve & Jaycen Fletcher Angela & Andrew Wood Anonymous Dr Gene Sherman AM & engage with contemporary art. Mr Brian Sherman AM Suzanne Davies & Prof. Richard Dunn Associate Professor John Keogh Carolyn Rendle Vera Yakimenko & Professor Nadia Badawi AM Innovator Ann Sherry AO & Michael Hogan Susanne Z de Ferranti Sarah & Andrew Rennie Di & Ali Yeldham For further information, John Kiley & Eugene Silbert Steven Alward & Mark Wakely James Sullivan & Judy Soper Sophia de Mestre Alison Renwick Angela & Con Yiannikas please contact: Karen & Nigel King Chum Darvall AM Nick Tobias & Miranda Darling Tobias Roderick & Gillian Deane Michael & Dizzy Robinson Matthew Yovich Michael King Hannah Dickson Ari & Lisa Droga Michael & Eleonora Triguboff Andy Dinan Wendy L. Robinson Maria-Teresa Zamora Tim & Skye Klingender Bequest Manager Richard & Harriett England Wheen Family Foundation Micheal Do & Tony Kerridge Justine & Damian Roche & Victoria Sweetie Zamora Beverly Knight & Anthony Knight OAM Kerry Gardner & Andyinc Foundation Jane-Marie Whiston Shannon Dolan Kalli & Brian Rolfe Brian Zulaikha E [email protected] / The Hansen Family Darren Knight & Suzie Melhop Dr Terry Wu Beverley & Robert Dommett Michael Rose AM & Jo D’Antonio Anonymous (12) [email protected] Catherine Harris AO PSM Doug & Sue Knox Anonymous (2) Dr David Dossetor & Professor Claudia Rossi Hudson & Roger Hudson P +61 2 9250 8474 Michael Hawker AM & Jill Hawker Elizabeth Elliott AM Kate Irvine & Sarah Knox James Roth & Susan Acret The Howarth Foundation Contemporary Daniel & Lyndell Droga Simeon Kronenberg & Hilarie Mais Rae Rothfield Mark Hughes Lindy Ainsworth Paul & Saadia Durham Christopher Kuan Louise & Paul Rush Peter Ivany AM & Sharon Ivany Antoinette Albert Naomi Elias Carole Lamerton & John Courtney Graeme & Trudy Russell Keith & Maureen Kerridge Joy Anderson Henry Ergas Ron & Rhonda Langley Jay Ryves & Nathan McLay Elizabeth Laverty Aranday Foundation Tim Etchells Mark & Danielle Langsworth John & Rosalinda Sample Amanda & Andrew Love John Armati OAM & Kate Armati Nick & Sandra Fairfax Michael & Alison Lawless Eva & Mark Scott David Fite & Danita Lowes Jane Barnes Mark Ferguson Sonia Legge & Greg San Miguel Tina & Roy Melick Julian Beaumont OAM & Vivienne Sharpe Michele Ferguson Antonia Leigh & Chris Dent The Myer Foundation Annie Beaumont Maryanne Shearer Susan & Penny Field Jill & Tim L’Estrange Vicki Olsson Larissa Behrendt & Michael Lavarch AO Glenn & Jo Shorrock Luke Fildes Christine McNamee Liddy AO The Penn Foundation Steve & Carrie Bellotti Andrew Silberberg & Michelle Katz

50/51 Annual Report 2017 Annual Report 2017

on show in the MCA Library on show in the MCA An outstanding financial result with a with a financial result An outstanding surplus strong consumption energy in Continued reduction building usage increased despite Awareness The launch of a Cultural all staff for Program in infrastructure A significant reduction footprint energy design 568 graphic of over The completion major publications jobs including seven archives the MCA from displays new Two Highlights from 2017 from Highlights —  —  —  —  —  — 

The division is made up of the Finance, The division is made up of the Finance, Technology, Information Human Resources, Building Services, Design and Records Studio of the MCA. Management departments The Services Division keeps and Corporate Finance running in an efficient of the MCA the core a strong to create in order way, and effective the whole organisation supports that foundation ambitions. its achieve to core, this transform to The division also works the organisation’s increase modernising it to support the strongly efficiency and more of the organisation. vitality on environmental saw a continued focus 2017 of energy and reduction sustainability with the organisation throughout consumption conditioning lighting and climate changes to of IT equipment and and an upgrade systems significantly to contributing infrastructure this reduction. and Awareness Disability Awareness, Cultural programs training Health Awareness Mental all staff to and made available developed were an engaged, for platform a strong providing team. and resilient informed support the to evolve continued to Systems supporters and with visitors relationships MCA’s designed and produced were and new materials engagement audience support exhibitions, to campaigns and, notably, fundraising programs, in six years. brochure Venues MCA the first Photograph: Anna Kučera Anna Photograph: Providing the Tools Providing Annual Report 2017Annual Report The Finance and Services Corporate the Division keeps of the MCA core running in an efficient way. and effective

FINANCE AND CORPORATE

SERVICES 52/53 2017 Annual Report Building and HR Archives and IT

Building a number of on-site and off-site events taking place throughout Archives the year including lunchtime talks and cultural tours. The aim of 2017 has seen a continued focus on environmental sustainability the Cultural Awareness Program is to enable MCA staff to meet the 2017 saw the consolidation of the major archiving and records and reduction of energy consumption throughout the organisation. aims and aspirations in the Museum’s Aboriginal and Torres Strait management project that commenced in 2016. A new Archive and Total energy usage reduced by 1.5% on prior years, reflecting a Islander Policy. In December 2017, the Aboriginal and Torres Strait Records Management Framework was introduced, which presented a positive downward trend despite increased events and trading Islander employment rate was at 2.49%, above the MCA’s 2% KPI. holistic approach to managing the organisation’s records and archives. hours, due to efficiencies made throughout the building. The The Framework informed the significant amount of work completed changeover to LED lighting and implementation of IT efficiencies As part of the MCA’s Access Plan 2016-2017, the organisation in 2017 on appraising, arranging and describing archival records, led to a reduction of 3.5% in office energy consumption. Mechanical delivered Disability Awareness and Mental Health Awareness with a focus on materials relating to the MCA’s exhibition history. consumption reduced by 0.5% on 2016, water usage reduced by 8% training sessions to all staff. In addition, two roles were and waste to landfill remained at only 2% of total waste generated. created specifically for people identifying as deaf. The Archives & Records Management Department also supported organisational research projects such as the digital timeline for the A major upgrade to the climate condition plant serving the level Primavera at 25 exhibition, and creating two displays of archival 3 gallery space was completed in 2017 with fine tuning to be material in the MCA Library throughout the year. The Archives and done in 2018. New fans, supply vents, coils and pipework were Records Management Coordinator presented a well-received paper at fitted to increase cooling capacity and airflow in these areas, the 2017 Australian Society of Archivists Conference titled Exploring resulting in significant improvement in climate conditions. archives through contemporary performance. The paper used the performances by Lyndal Jones and Jess Olivieri commissioned for Restoration and repair of the Scagliola tiles in Foundation Hall the MCA’s 25th Birthday Weekend to discuss what artists can bring started in late 2017. This will bring the surfaces back to a mirror to conversations about collecting, interpreting and using archives. like finish and also protect them from further damage. A total of 685 damaged tiles, or 22% of the total number of tiles in the space, will have successfully been replaced by March 2018, with the IT remaining tiles all having restoration work completed on them. The significant work on upgrading and consolidating the MCA Information systems that commended in 2016 continued during Human Resources 2017. The ultimate goal, due for realisation at the end of 2018 is the complete consolidation and migration of all systems into a 2017 continued the strong improvement in policies and procedures fully integrated environment with Ungerboeck at its core. This throughout the organisation and saw an increased focus on training, will enable the organisation to generate deeper relationships with professional development and wellbeing for the MCA team. MCA supporters and visitors, while also ensuring all programs are delivered in the most efficient and effective way possible. The MCA acknowledges the enormous contribution that Aboriginal and Torres Strait Islander artists, staff, educators, arts professionals The IT department also contributed to the MCA’s sustainability and guests have made to the fabric of the Museum since its inception. goals, by rolling out a major refresh of hardware across the Contemporary Aboriginal and Torres Strait Islander art practice has building, including the core servers and Wi-Fi infrastructure. Older long been central to the MCA Collection and exhibition programs. In equipment was phased out and replaced with a variety of more addition, the MCA offers a number of important programs that focus efficient equipment, such as LED lighting in the Lecture Theatre and on enhancing the engagement of visitors, including Aboriginal and improved switching hardware. These changes have enabled the MCA Torres Strait Islander audiences, with contemporary art and ideas. to reduce its infrastructure footprint by 25%. The organisation also As part of a whole-of-museum commitment to Aboriginal and Torres commenced a process of actively leveraging cloud solutions where Strait Islander employment and public programs, the MCA delivered a feasible in order to further reduce electricity and cooling costs. Cultural Awareness Program for all employees. The program included MCA Archives Storage

54/55 Annual Report 2017 Annual Report 2017 Design Finance

The Design Studio touches every area of operation at the MCA, The MCA delivered yet another including supporting the delivery of exhibitions and events, enhancing the visitor experience through signage and wayfinding, outstanding financial result in 2017. and creating collateral to encourage and acknowledge support. 7 65 The year ended with an operating surplus of $244,641, exceeding the In 2017 the diversity of design projects included Exhibition catalogues Different ad designs ranging from 96 across print, digital budgeted result by more than $170,000. ­­— Creating the visual identity, communication campaign and catalogue for the first iteration of the The National 2017: New Australian Art, the to 506 pages and transport media The strong result was driven by increases in income across multiple landmark collaboration with Art Gallery NSW and Carriageworks areas, with ticketing income associated with the start of the Pipilotti —­­ Completion of the Primavera at 25 publication and design and Rist exhibition being particularly impressive. Rigorous cost control production management of the 160-page catalogue for the thought- throughout the organisation also brought a number of expense provoking Kader Attia exhibition, both featuring case binding lines under budget. Income diversity is a strength of the MCA, with a flush finish, a first for MCA publications with the organisation generating nearly 75% of its revenue through ­­— A new design for the Museum Map, providing adequate 37 28 commercial operations, corporate partnerships and philanthropy. and useful guidance for visitors ­­— Striking new t-shirt designs for MCA Hosts and for the Logo blocks Assorted postcards The annual audit was again overseen by Crowe Horwath and the detailed Youth Committee annual financial statements commence on page 58 of this report. ­­— Development of a campaign identity and materials to promote Conversation Starters a new annual weekend program of art and ideas ­­— A major catalogue featuring the comprehensive archive of the conceptual painter Jenny Watson, cleverly referencing the artist’s materials and techniques with a fabric cover and translucent 11 2 page of gold stars ­­— A bespoke teenage girls diary with space for Jenny Watson exhibition Rubber stamps Paper fans visitors to record their thoughts and responses to the works ­­— Translating drawings of Kate Benyon’s amazing soft sculptures from the Bella Room into rubber stamps for kids’ activities ­­— A sleek and innovative new brochure promoting the MCA’s award-winning Venue spaces ­­— Designs for a range of merchandise to accompany the Pipilotti Rist: Sip 12 my Ocean exhibition including a set of beautiful and practical paper fans featuring the artist’s vibrant video and installation works New building ­­— Reproducing the scagliola tile patterns of the MCA’s opulent banners Foundation Hall in vinyl sheets to camouflage essential restoration works

At the time of writing, the colourful 502-page catalogue accompanying the Pipilotti Rist: Sip my Ocean exhibition, designed by Alex Torcutti, has made the shortlist for the Cornish Family Prize for Art and Design Publishing, a major international publishing prize honouring excellence and innovation within art and design publishing. Visitors queueing to enter the Museum during summer, photograph: Yael Stempler

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Statement of Profit or Loss Otherand Comprehensive Income Statement ofFinancial Position Statement of Changes in Equity Statement of CashFlows Notes tothe Financial Statements Photograph: Brett Boardman power to amend and reissue thefinancial statements. The financial statements are presented in Australian currency. MUSEUM OF LIMITED CONTEMPORA ART RY 517) 765 003 15 (ABN CONTENTS Directors’ Report The financial statements were authorised FINANCIAL REPORT FOR 31 201DECEMBER Auditor’s Independence Declaration Financial Statements Directors' Declaration Directors' Independent Auditor’s Report Annual Report 2017Annual Report

FINANCIAL

REPORT 58 Annual Report SHORT-TERM AND LONG-TERM OBJECTIVES DIRECTORS’ REPORT Connecting a broad and diverse public with the work of living artists, the Museum of Contemporary Art Australia pursues curatorial excellence and innovation in audience engagement. The directors of the Museum of Contemporary Art Limited (MCA or the Company) present their report for the year ended 31 December 2017. The MCA has six key goals that underpin all its activities: — Excellence in organisation wide programming — Build, care for and engage audiences with a significant collection of contemporary Australian art DIRECTORS — Deepening engagement and extending reach The names and details of the Company's directors in office during the financial year and until the date of this — Influencing the Influencers report are as follows. Directors were in office for this entire period unless otherwise stated. — Unlocking organisational potential — Integrating Aboriginal and Torres Strait Islander perspectives Simon Mordant AM (Chairman) Elizabeth Ann Macgregor OBE Doug Dean AM STRATEGIES Geoff Dixon (Leave of absence: 1 November – 31 December 2017) The Museum has adopted a number of strategies to achieve the above objectives: Ari Droga — Deliver exceptional programs through collaboration; develop and maintain deep relationships with Kerry Gardner artists; and place Australian artists in an international context Joyce Hinterding — Acquire outstanding artworks in accordance with the Museum’s Collection and Acquisitions Policy; Michael McDaniel develop and present programs and campaigns about the MCA Collection to increase audience Lisa Paulsen (Retired: 15 January 2017) engagement; maintain and develop Collection records; and secure a new storage facility with a plan Scott Perkins for the long-term care and conservation of the MCA Collection in accordance with best museum Ann Sherry AO practice Lorraine Tarabay — Maintain and build the National Centre Creative Learning as a leader in creativity and learning; Ivan Wheen provide enriching and inspiring programs which reach a broad and diverse spectrum of visitors; increase access and understanding; leverage the museum’s digital platforms; convert visitors to Company Secretary: Anh Thi Do supporters; build local, national & international partnerships; and create impactful collaborative marketing campaigns across all platforms showcasing the breadth of the MCA's visitor offer — Capitalise on the uniqueness of the MCA’s voice and position through the implementation of a MISSION STATEMENT communications strategy; articulate MCA’s vision to the business community; leverage relationships The MCA’s mission is to take a leadership role in shaping an Australia that values contemporary art and with influential arts industry and government bodies; position the MCA as a key authoritative voice on artists. We exist because contemporary art matters: it stimulates the imagination, engages our aesthetic issues around contemporary art and artists; and undertake research to determine the social impact senses and has the power to transform lives. Contemporary artists address complex ideas, they challenge and effectiveness of MCA programs us to think and see the world differently to inform our outlook on life and society. — Develop and implement an information governance framework; underpin activities with a robust financial plan including the generation of additional funds; ensure highly efficient and effective business practices including organisational planning and staff development & support; and develop VALUES sustainability initiatives The MCA embodies a number of key values: — Deliver the objectives as set out in the MCA’s Aboriginal and Torres Strait Islander Policy; undertake — We value artists and place them in the centre of all our activities targeted programs and creative learning projects with and for First Peoples and non- First Peoples — We make complex and challenging artworks accessible audiences; create programs that encourage visitation by First Peoples audiences; increase access to — We foster creativity and critical thinking First Peoples works; create employment, Board and Advisory Committee opportunities for First — We have an entrepreneurial outlook Peoples; apply Cultural Learning Framework and Awareness program across the MCA — We see collaboration as key to our success — We embrace diversity and inclusion PRINCIPAL ACTIVITIES The principal activities of the Company undertaken during the year in pursuit of the short and long term objectives were: — Delivery of 10 contemporary art exhibitions (2 continuing from 2016 and 8 new), with 1,061,311 on- site exhibition visitors — Delivery of 7 touring exhibitions in partnership with 14 venues in 4 states of Australia and 1 international tour to New Zealand, with a further 147,128 visitors to MCA exhibitions on tour — 11 new artist projects & commissions — An international visitors program bringing 6 overseas curators to Australia 2 3

Annual Report 2017 — 8 new books created and published DIRECTORS' QUALIFICATIONS AND EXPERIENCE — 925,299 unique users of the MCA website, and a completely new website was created for launch early in 2018 DIRECTOR QUALIFICATIONS EXPERIENCE — 2,424 public programs with a total of 87,972 participants (including 23,963 in student & teacher Philanthropist, Corporate programs, 55,218 in public programs, 5,830 in youth programs and 2,961 in disability & access adviser and member of programs) Fellow, Institute of Chartered Simon Mordant AM numerous Boards and — 328,547 people were connected to the MCA through social media platforms on 31 December Accountants Councils locally and (Facebook, e-news, Twitter, Instagram & YouTube) internationally — Over 75% of total revenue is earned by the MCA from outside government sources to support the Company's objectives Elizabeth Ann Macgregor MA History of Art (Hons), Post Dip Director, Museum of — 47 works for the MCA Collection were acquired, including 11 by Aboriginal and Torres Strait Islander OBE Mus and Gal Studies Contemporary Art artists. — The second round of artworks were acquired with Tate as part of the MCA/Tate joint acquisition Bachelor of Commerce, FCPA, Doug Dean AM Chairman, Veolia Environment program funded by support from Qantas FAIM — A new collaborative exhibition, a biennial survey of new Australian art - The National 2017 - was Company Director and created in association with the Art Gallery of NSW and Carriageworks Geoff Dixon Chairman of the Garvan

Research Foundation There were no changes in the principal activities of the Company throughout the year. BA U Syd, LLB U Syd, LLM Partner, Global Infrastructure Ari Droga KEY PERFORMANCE INDICATORS Cambridge University Partners Australia Strategies have been developed across the MCA to ensure the organisation will deliver its goals. Each of these strategies has a number of clear Key Performance Indicators, which will be used to measure progress Kerry Gardner MA Film & Television, UMELB & Non-Executive Director against the realisation of these aims. Each division within the organisation also has detailed Operational Grad Dip Marketing, RMIT Plans with measurable outputs that clearly outline how it will contribute to achieving each of the Contemporary Artist and organisation’s broader KPIs. These implementation plans will consider resources, objectives, time frames, Joyce Hinterding Grad Dip Visual Arts U Syd Lecturer at University of deadlines, budgets & performance targets. Sydney

Professor in Indigenous A summary of activities that have Key Performance Indicators for the Company are: Professor of Indigenous Education and Director of — Numbers and mix of exhibitions, commissions and acquisitions to the MCA Collection, including Michael McDaniel Education, UTS Jumbunna Indigenous significant and consistent representation of Australian and Aboriginal and Torres Strait Islander House of Learning at UTS content within all programs — Expansion of digital engagement with audiences through infrastructure improvements, collaborations Lisa Paulsen Bachelor of Arts, UNSW Art collector with other organisations and targeted digital activity — Numbers and mix of creative learning and public programs, including those embracing new technologies and their success in connecting more people with artists Bachelor of Commerce and a Scott Perkins Company Director — Numbers and mix of touring and innovative external projects, and their success in reaching new Bachelor of Laws (Hons) audiences — Strong visitor attendance figures and positive feedback of the visitor experience onsite, offsite and BA UQLD, Grad Dip Industrial Executive Chairman, Carnival Ann Sherry AO online Relations QUT Australia — Sustainable financial results and the continuing exploration of new income streams and deepening engagement with stakeholders Bachelor of Business Finance & Lorraine Tarabay Senior Investment Banker — A strong management team and Board, with clear succession arrangements in place, engagement Economics UTS (Hons) with and of artists, positive staff satisfaction rates and low turnover — Governance and business practices, including the ongoing identification and management of risk Bachelor of Commerce (Hons) Ivan Wheen Company Director UNSW

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Annual Report 2017 DIRECTORS' RESPONSIBILITIES MEETINGS OF DIRECTORS The number of meetings of the Company’s Board of Directors and of each Board Committee held during the DIRECTOR RESPONSIBILITIES year ended 31 December 2017 and the number of meetings attended by each Director were:

Chairman of the Board, Member of the Simon Mordant AM Nominations Committee DIRECTORS' MEETINGS

Member of the Board, Member of the FINANCE COMMITTEE FULL MEETINGS OF DIRECTORS Elizabeth Ann Macgregor OBE Nominations Committee, Member of the Finance MEETINGS Committee NUMBER NUMBER NUMBER NUMBER DIRECTOR ELIGIBLE TO ELIGIBLE TO Member of the Board, Chairman of the Finance ATTENDED ATTENDED Doug Dean AM ATTEND ATTEND Committee Simon Mordant AM 6 6 Member of the Board, Member of the Geoff Dixon Elizabeth Ann Nominations Committee 6 6 6 5 Macgregor OBE Member of the Board, Member of the Doug Dean AM 6 4 6 5 Ari Droga Nominations Committee, Chair of the MCA Foundation Council Geoff Dixon 6 1

Kerry Gardner Member of the Board Ari Droga 6 6

Member of the Board, Chair of the Artist Kerry Gardner 6 5 Joyce Hinterding Advisory Group Joyce Hinterding 6 4 Member of the Board, Chair of the Indigenous Michael McDaniel Advisory Panel Michael McDaniel 6 4 Member of the Board, Member of the Scott Perkins 6 4 6 3 Lisa Paulsen Nominations Committee, Chair of the Director's Circle, Ambassador recruitment Ann Sherry AO 6 4 Member of the Board, Member of the Finance Scott Perkins Committee Lorraine Tarabay 6 6

Member of the Board, Member of the Ann Sherry AO Ivan Wheen 6 5 6 4 Nominations Committee

Member of the Board, Chair of the Director’s Lorraine Tarabay Circle INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS During the financial year, the Company paid a premium in respect of a contract insuring the directors of the Member of the Board, Member of the Finance Company against a liability incurred as such a director, secretary or executive officer to the extent permitted Ivan Wheen Committee, Member of the MCA Foundation by the Corporations Act 2001. The contract of insurance prohibits disclosure of the nature of the liability and Council the amount of the premium. The Company has not otherwise, during or since the financial year, indemnified

or agreed to indemnify an officer or auditor of the Company against a liability incurred as such an officer or

auditor.

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Annual Report 2017 OPERATING AND FINANCIAL REVIEW The operations of the Company during the financial year were the exhibition, collection and interpretation of contemporary art.

The Operating Result for the year ended 31 December 2017 is a surplus of $244,641 [2016: surplus of $365,412].

The Comprehensive Result for the year ended 31 December 2017 is a deficit of $291,161 [2016: surplus of $384,289].

MEMBERS' GUARANTEE The Company is a company limited by guarantee and as such does not have authorised or issued capital. Every member of the company undertakes to contribute to the property of the company, in the event of the Company being wound up during the time that the member is a member, or within one year of the cessation of membership, for payment of the debts and liabilities of the Company contracted before the time at which the member ceased to be a member, and of the costs, charges and expenses of winding up the same, and for the adjustment of the rights of the contributors amongst themselves, such amounts as may be required not exceeding twenty dollars ($20.00). There were 13 members in 2017 [2016: 14 members].

AUDITOR’S INDEPENDENCE The Directors have received an independence declaration from the auditor. A copy has been included with this Annual Report.

This Directors' report is signed in accordance with a resolution of the Board of Directors.

Simon Mordant AM Chair Sydney, 30 April 2018

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Annual Report 2017 FINANCIAL STATEMENTS STATEMENT OF FINANCIAL POSITION As at 31 December 2017 Note 2017 ($) 2016 ($) STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME CURRENT ASSETS For the year ended 31 December 2017 Note 2017 ($) 2016 ($) Cash and cash equivalents 1(D) 8,483,737 8,798,355 REVENUE FROM OPERATING ACTIVITIES Trade and other receivables 3 1,641,016 1,450,321 Exhibition and Creative Learning income 2,349,757 2,059,445 Inventories 4 230,803 358,833 Corporate and Individual Support 4,609,343 3,896,132 Prepayments 5 62,895 4,393

Grant income 13 5,177,914 5,221,805 TOTAL CURRENT ASSETS 10,418,451 10,611,902

Commercial income 9,637,563 9,537,716

Interest received 73,817 168,473 NON-CURRENT ASSETS REVENUE FROM OPERATING ACTIVITIES 21,848,394 20,883,571 Property, plant and equipment 6 47,144,117 48,602,942 Works of Art 6 20,858,333 19,579,330 EXPENSES FROM OPERATING ACTIVITIES Intangibles 7 995,035 694,262

Depreciation & amortisation expenses (573,465) (454,778) TOTAL NON-CURRENT ASSETS 68,997,485 68,876,534 Employee benefits expense (10,911,532) (9,960,212)

Exhibition, creative learning and commission project costs (5,084,045) (5,027,558) TOTAL ASSETS 79,415,936 79,488,436

Repairs & maintenance, insurance, security and utilities (3,114,164) (3,080,666)

Cost of goods sold (1,094,317) (1,140,404) CURRENT LIABILITIES Other expenses (826,230) (854,541) Trade and other payables 8 3,149,172 2,211,521 EXPENSES FROM OPERATING ACTIVITIES (21,603,753) (20,518,159) Provisions 9 402,806 367,687 Income in advance 10 5,057,207 5,849,473

NET SURPLUS/(DEFICIT) FROM OPERATING ACTIVITIES 244,641 365,412 TOTAL CURRENT LIABILITIES 8,609,185 8,428,681

REVENUE FROM OUTSIDE OPERATING ACTIVITIES NON-CURRENT LIABILITIES Gifts of works of art, acquisition and foundation fund 1,670,645 2,203,979 Provision for long service leave 9 307,971 269,814 Capital building fund 192,243 60,000 TOTAL NON-CURRENT LIABILITIES 307,971 269,814 REVENUE FROM OUTSIDE OPERATING ACTIVITIES 1,862,888 2,263,979

TOTAL LIABILITIES 8,917,156 8,698,495 EXPENSES FROM OUTSIDE OPERATING ACTIVITIES

Building depreciation & amortisation (1,778,363) (2,080,436)

NET ASSETS 70,498,780 70,789,941 Foundation, Gift, Bequest and acquisition costs (620,327) (164,666)

EXPENSES FROM OUTSIDE OPERATING ACTIVITIES (2,398,690) (2,245,102) MEMBERS' FUNDS

Retained Surplus NET SURPLUS/(DEFICIT) FROM OUTSIDE OPERATING ACTIVITIES (535,802) 18,877 70,498,780 70,789,941

TOTAL MEMBERS' FUNDS 70,498,780 70,789,941 The above statement of financial position should be read in conjunction with the accompanying notes. TOTAL NET SURPLUS/(DEFICIT) BEFORE INCOME TAX (291,161) 384,289

Income tax from operating activities 2 - - STATEMENT OF CHANGES IN EQUITY Income tax from outside operating activities - - For the year ended 31 December 2017 Note 2017 ($) 2016 ($) SURPLUS FOR THE YEAR AFTER INCOME TAX (291,161) 384,289 Total equity at the beginning of the financial year 70,789,941 70,405,652 Other comprehensive income - - Total comprehensive income/(loss) for the year (291,161) 384,289 TOTAL COMPREHENSIVE INCOME/(LOSS) (291,161) 384,289 TOTAL EQUITY AT THE END OF THE FINANCIAL YEAR 70,498,780 70,789,941 The above statement of comprehensive income should be read in conjunction with the accompanying notes. The above statement of changes in equity should be read in conjunction with the accompanying notes.

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Annual Report 2017 STATEMENT OF CASH FLOWS NOTES TO THE FINANCIAL STATEMENTS For the year ended 31 December 2017 Note 2017 ($) 2016 ($) 1 SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES CASH FLOWS FROM OPERATING ACTIVITIES

Funding and operational receipts (inclusive of goods and services tax) 23,180,132 23,751,149 The principal accounting policies adopted in the preparation of these financial statements are set out below. These policies have been consistently applied to all the years presented, unless otherwise stated. Payments to suppliers and employees (inclusive of goods and services tax) (21,702,650) (22,230,326)

Interest received 122,662 158,442 (A) BASIS OF PREPARATION NET CASH INFLOW FROM OPERATING ACTIVITIES 1,600,144 1,679,265 These general purpose financial statements have been prepared in accordance with Australian Accounting

Standards – Reduced Disclosure Requirements, other authoritative pronouncements of the Australian

Accounting Standards Board and the Australian Charities and Not-for-profits Commission Act 2012. CASH FLOWS FROM INVESTING ACTIVITIES

Capital building funding 192,243 60,000 New and amended standards adopted by the Company Payments for Foundation, Gift Transfer, Bequest and Collection None of the new standards and amendments to standards that are mandatory for the first time for the (620,327) (164,666) Management costs financial year beginning 1 January 2017 affected any of the amounts recognised in the current period or any Payments for property, plant & equipment (1,050,750) (1,463,092) prior period and are not likely to affect future periods. Payments for intangibles (435,928) (391,166) NET CASH OUTFLOW FROM INVESTING ACTIVITIES (1,914,762) (1,958,924) Early adoption of standards The Company has not elected to apply any pronouncements before their operative date in the annual reporting period beginning 1 January 2017. NET DECREASE IN CASH & CASH EQUIVALENTS (314,618) (279,659) Historical cost convention These financial statements have been prepared under the historical cost convention.

Cash & cash equivalents at the beginning of the year 8,798,355 9,078,014 Critical accounting estimates CASH & CASH EQUIVALENTS AT THE END OF THE YEAR 8,483,737 8,798,355 The preparation of financial statements requires the use of certain critical accounting estimates. It also requires

management to exercise its judgement in the process of applying the Company's accounting policies. Where The above statement of cash flows should be read in conjunction with the accompanying notes. significant accounting estimates and judgement have been used, they have been included in the relevant section.

(B) REVENUE RECOGNITION Revenue is recognised when it is probable that the economic benefit will flow into the company and the revenue can be reliably measured. Amounts disclosed as revenue are net of returns, trade allowances, duties and taxes paid. Revenue is recognised for the major business activities as follows:

(i) Government Grants Grants from the government are recognised at their fair value where there is a reasonable assurance that the grant will be received and the Company will comply with all attached conditions.

Government grants relating to costs are deferred and recognised in the profit and loss over the period necessary to match them with the costs that they are intended to compensate.

(ii) Sponsorship and Donations Income received is recognised as revenue when MCA obtains control of the sponsorship/donation or the right to receive the sponsorship/donation.

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Annual Report 2017 (iii) Function Room Hire & Fundraising Event Income (G) INKIND/PRO-BONO SERVICES Income is recognised when services are rendered. Some services may be received by the organisation for no cost in the form of pro-bono services and contra agreements with suppliers and sponsors. The value of such contributions are not recognised in the financial (iv) Rental Income report as the fair value for these contributions cannot be reliably measured. Rental income is recognised on a straight-line basis over the related lease term.

(v) Entrance Fees Income 2 INCOME TAX Income from entrance fees is recognised upon the sale of the ticket as long as the ticket is not transferrable The Company has been granted an exemption from paying income tax under section 50-5 of the Income Tax or refundable, otherwise income is recognised upon the expiry of the ticket which is generally after the date Assessment Act (1997). of admission on the ticket.

(C) EXHIBITION INCOME AND EXPENDITURE 3 CURRENT ASSETS - TRADE AND OTHER RECEIVABLES The Company's core activities include organising exhibitions and other projects of contemporary art, both Note 2017 ($) 2016 ($) from Australia and overseas, and providing enriching creative learning and public programs for broad and Trade Receivables 892,175 795,614 diverse audiences. The Foundation fund, bequests, gifts of works of art and capital fund contributions are Other Receivables (*) 748,841 654,707 activities outside of the Company's normal operations. TOTAL RECEIVABLES 1,641,016 1,450,321

(*) These amounts generally arise from transactions outside the usual operation activities of the Company. These exhibitions and other projects may incur costs and expenses in years prior to them being held. In addition, the Company seeks sponsorships and grants to offset those expenses and these may also be Trade receivables are recognised initially at fair value and subsequently measured at amortised cost, less received prior to the realisation of the exhibition or other project. provision for impairment. Trade receivables are generally due for settlement within thirty days. They are

presented as current assets unless collection is not expected for more than twelve months after the reporting The exhibition income is recognised in line with note 1(B) above. The expenditure is recognised as it is incurred. date.

(D) CASH AND CASH EQUIVALENTS Collectability of trade receivables is reviewed on an ongoing basis, taking into account probability of collection. For the purpose of presentation in the statement of cash flow, cash and cash equivalents includes cash on Debts which are known to be uncollectible are written off by reducing the carrying amount directly within other hand, deposits held at call with financial institutions, and other short-term, highly liquid investments with expenses. original maturities of three months or less, that are readily convertible to known amounts of cash and which are subject to an insignificant risk of changes in value.

4 CURRENT ASSETS – INVENTORIES (E) J W POWER BEQUEST AND THE UNIVERSITY OF SYDNEY Note 2017 ($) 2016 ($) The MCA entered into a management agreement with the University of Sydney on 31 December 2001, in Finished goods 1(N) 380,803 508,833 which the University appointed the Museum as manager of the JW Power Collection. At that time the

University also waived all outstanding loans and interest owed by the Museum to the Bequest in return for an Less: Provision for Stock Write-down and Obsolescence (150,000) (150,000) on-going agreement to provide Services to the Collection. The value of those works is not reflected in the TOTAL INVENTORIES 230,803 358,833 financial statements. Inventories are valued at the lower of cost and net realisable value. Net realisable value is the estimated (F) GOODS AND SERVICES TAX (GST) selling price in the ordinary course of business less the estimated costs necessary to make the sale. Revenues, expenses and assets are recognised net of the amount of associated GST, unless the GST incurred is not recoverable from the taxation authority. In this case it is recognised as part of the cost of 5 CURRENT ASSETS – PREPAYMENTS acquisition of the asset or as part of the expense. Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the taxation Note 2017 ($) 2016 ($) authority is included with other receivables or payables in the statement of financial position. Other Prepayments 62,895 4,393 TOTAL PREPAYMENTS 62,895 4,393 Cash flows are presented on a gross basis. The GST components of cash flows arising from investing or financing activities which are recoverable from, or payable to the taxation authority, are presented as operating cash flows.

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Annual Report 2017 6 NON-CURRENT ASSETS - PROPERTY, PLANT & EQUIPMENT AND WORKS OF ART Reconciliations of the carrying amounts of each class of plant & equipment at the beginning and end of the current financial year are set out below: Works Capital NSW Management Works Equipment Equipment Publications Fittings Improvements Leasehold Plant Motor &E PP Books& Furniture& Computer Note 2017 ($) 2016 ($) Total

&

Leasehold Improvements, at cost 58,264,845 58,263,495

of Art of Vehicle –

Place

Less: Accumulated Depreciation (12,341,264) (10,564,844)

Net Book Value 45,923,581 47,698,651

Plant & Equipment, at cost 1,299,693 1,016,720 $ $ $ $ $ $ $ $ $ Less: Accumulated Depreciation (871,406) (677,954) Balance at Net Book Value 428,287 338,766 the beginning 47,698,651 338,766 - 280,161 271,772 - 13,592 19,579,330 68,182,272 of the year Books & Publications, at cost 113,822 113,822 Less: Accumulated Depreciation (113,822) (113,822) Additions at 1,350 282,973 - 15,380 280,212 - 177,933 1,279,003 2,036,851 Net Book Value - - cost

Furniture & Fittings, at cost 480,443 465,063 Disposal ------Less: Accumulated Depreciation (236,968) (184,902) Net Book Value 243,475 280,161 Depreciation/ Amortisation (1,776,420) (193,452) - (52,066) (191,947) - (2,788) - (2,216,673) expense Computer Equipment, at cost 883,583 603,371 Less: Accumulated Depreciation (523,546) (331,599) Carrying Net Book Value 360,037 271,772 amount at the 45,923,581 428,287 - 243,475 360,037 - 188,737 20,858,333 68,002,450 end of the Motor Vehicle, at cost 73,936 73,936 year Less: Accumulated Depreciation (73,936) (73,936) (A) DEPRECIATION & AMORTISATION Net Book Value - - Depreciation is calculated using the straight-line basis to allocate the cost of assets net of their residual values, over their estimated useful lives, as follows: PP & E – Place Management NSW Capital Work 192,244 14,310

Less: Accumulated Depreciation (3,507) (718) Plant and Equipment 3 - 5 Years Net Book Value 188,737 13,592 Motor Vehicles 5 Years Books and Publications 5 Years TOTAL PROPERTY, PLANT & EQUIPMENT 47,144,117 48,602,942 Furniture and Fittings 2 - 9 Years Computer Equipment 3 - 5 Years Works of Art, at cost 20,858,333 19,579,330 Works of Art Refer (C) below Less: Accumulated Depreciation - - Building 40 Years IT project 8 Years Net Book Value 20,858,333 19,579,330 Website project 5 Years

TOTAL PROPERTY, PLANT & EQUIPMENT AND WORKS OF ART 68,002,450 68,182,272 Amortisation of the leasehold improvements is calculated on the straight line basis so as to write off the net cost over the shorter of its useful life or the remainder of the lease term ending in 2039.

(B) LEASEHOLD IMPROVEMENTS The MCA entered into a lease agreement with Property NSW (formerly Sydney Harbour Foreshore Authority) for a term of thirty-three years, seven months and fifteen days from 1 August 2005 to 15 March 2039. The expenditure on Leasehold Improvements has been recognised as an asset of the Company. Leasehold Improvements are amortised over the shorter of their useful life or the remaining period of the lease.

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Annual Report 2017

The MCA entered into an agreement to lease storage facilities with Arts NSW for a term of ten years from 1 Note 2017 ($) 2016 ($)

August 2003 to 31 July 2013. The Company is currently leasing the premises on a casual month-to-month Website Project, at cost – in progress 227,596 - basis, while negotiation for the next term progress. Less: Accumulated Depreciation (23,237) -

Net Book Value 204,359 - (C) WORKS OF ART The Company acquires and is gifted art from time to time. Such works when acquired are capitalised at their TOTAL INTANGIBLE ASSETS 995,035 694,262 acquisition cost. Works of Art gifted to the Museum have been recognised at fair value at the time of the gift.

Expenses relating to the acquisition, including freight and packaging where applicable, are written off in the Reconciliations of the carrying amounts of intangible asset at the beginning and end of the current financial year are set year in which they are incurred. out below: Website Total IT Project The Company also, from time to time, holds in trust, works of art belonging to various other bodies. These Project works are not reflected within the financial statements of the Company. $ $ $ Balance at the beginning of the year 694,262 - 694,262 The directors estimate that the total residual value of works of art in the aggregate, is at least equal to the Additions at cost 208,332 227,596 435,928 cost. As a result, works of art are carried at cost and not depreciated. The total residual value and Disposal - - - recoverable amount of work of arts is based on the directors' view of the appreciating value of the MCA Depreciation/Amortisation expense (111,918) (23,237) (135,155) collection. The collection is revalued by a qualified valuer at periodic intervals subject to prevailing market Carrying amount at the end of the year 790,676 204,359 995,035 conditions.

Gifts of works of art are recognised as income at their fair value at the time of the gift. Fair value is Intangible assets are initially recognised at cost and subsequently measured at cost less amortisation and determined based on the average of two independent valuations from external approved valuers. any impairment. The amortisation method and useful lives of finite life intangible assets are reviewed annually. Changes in the expected pattern of consumption or useful life are accounted for prospectively by changing the amortisation method or period. (D) BOOKS AND PUBLICATIONS Books and Publications acquired for the Library are capitalised at their acquisition cost. Books and 8 CURRENT LIABILITIES – TRADE AND OTHER PAYABLES Publications gifted to the Museum are brought to account if of value. The books and publications are Note 2017 ($) 2016 ($) depreciated in accordance with note (A) above. Trade Payables 1,752,180 678,311

Other Payables 771,637 956,208

(E) PROPERTY, PLANT AND EQUIPMENT Provision for annual leave 625,355 577,002

All other property, plant and equipment is stated at historical cost less depreciation. Historical cost includes Total Current liabilities 3,149,172 2,211,521 expenditure that is directly attributable to the acquisition of the items. These amounts represent liabilities for goods and services provided to the Company prior to the end of the Subsequent costs are included in the asset’s carrying amount or recognised as a separate asset, as financial year and which are unpaid. The amounts are unsecured and are usually paid within thirty days of appropriate, only when it is probable that future economic benefits associated with the item will flow to the recognition. Trade and other payables are presented as current liabilities unless payment is not due within Company and the cost of the item can be measured reliably. The carrying amount of any component twelve months from the reporting date. They are recognised initially at their fair value and subsequently accounted for as a separate asset is derecognised when replaced. All other repairs and maintenance are measured at amortised cost using the effective interest method. charged to profit or loss during the reporting period in which they are incurred.

Employee Benefits and Short-Term Obligations Liabilities for wages and salaries, including non-monetary benefits, annual leave and accumulating sick leave 7 NON-CURRENT ASSETS – INTANGIBLE ASSETS expected to be settled within twelve months after the end of the period in which the employees render the Note 2017 ($) 2016 ($) related service, are recognised in respect of employees' services up to the end of the reporting period and IT Project, at cost – in progress 957,445 749,113 are measured at the amounts expected to be paid when the liabilities are settled. The liability for annual Less: Accumulated Depreciation (166,769) (54,851) leave and accumulating sick leave is recognised in the provision for employee benefits. All other short-term

Net Book Value 790,676 694,262 employee benefit obligations are presented as payables.

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Annual Report 2017 9 PROVISIONS 12 SUBSEQUENT EVENTS Current Note 2017 ($) 2016 ($) There has not been any matter of circumstance that has arisen since the end of the financial year that has Provision for sponsor benefits 10,000 10,000 significantly affected or may significantly affect the operations of the Company, the results of those Provision for long service leave 392,806 357,687 operations or the state of affairs of the Company in subsequent years.

Total Current Provisions 402,806 367,687

13 INCOME IN ADVANCE Non-Current Note 2017 ($) 2016 ($) (a) Income in advance Provision for long service leave 307,971 269,814 This amount includes the Qantas Foundation support for the International Joint Acquisition Program with Total Non-Current Provisions 307,971 269,814 Tate in the UK, Trust & Foundation income and private support for 2018 projects; rental, sponsorship and venue income in advance. Employee Benefits and Long-Term Obligations The liability for long service leave and annual leave which is not expected to be settled within twelve months (b) Income in advance: Grants 201 6 brought forward from Unexpendedgrants after the end of the period in which the employees renders the related service, is recognised in the provision 201 7 Grant income received in ($) 201 Grant expenditure in ( to forward carried Unexpendedgrants $)

for employee benefits and measured as the present value of expected future payments to be made in 7

($) ( grantincome) (net respect of services provided by employees up to the end of the reporting period. Consideration is given to $) expected future wage and salary levels, experience of employee departures and periods of service. Expected future payments are discounted using market yields at the end of the reporting period on national Grant Details corporate bonds with terms to maturity and currency that match, as closely as possible, the estimated future 201 8

cash outflows.

The obligations are presented as current liabilities unless payment is not due within twelve months from the reporting date. They are recognised initially at their fair value and subsequently measured at amortised cost Arts NSW Core Funding - 4,068,000 4,068,000 - using the effective interest method. Core Funding - Key 739,505 372,780 Australia Organisations & 150,000 962,285 Council VACS 10 CURRENT LIABILITIES - INCOME IN ADVANCE Australia 56,160 77,933 Other grants 134,093 Note 2017 ($) 2016 ($) Council

4,556,430 Department of 151,659 4,827 Income in Advance 5,325,928 Visions of Australia 156,486 Income in Advance: grants 13 500,777 523,545 Communications

Total Income in Advance 5,057,207 5,849,473 Department of 20,000 - Foreign Affairs & 20,000

Trade

Trusts & 142,590 45,237 11 RELATED PARTIES TRANSACTIONS 62,966 124.861 Foundations (a) Directors The names of persons who were directors of the Company at any time during the financial year are as TOTAL: INCOME follows: Simon Mordant AM, Elizabeth Ann Macgregor OBE, Doug Dean AM, Geoff Dixon, Ari Droga, Kerry IN ADVANCE 523,545 5,155,146 5,177,914 500,777 Gardner, Joyce Hinterding, Michael McDaniel, Scott Perkins, Ann Sherry AO, Lorraine Tarabay and Ivan GRANTS Wheen. Lisa Paulsen was director until her retirement on 15 January 2017.

(b) Key management personnel 14 CONTINGENT LIABILITIES Key management personnel compensation for the years ended 31 December 2017 and 2016 is set out The Company does not have any contingent liabilities at 31 December 2017. below. The key management personnel are the Executive Director of the Company and the five executives with the greatest authority for the strategic direction and management of the Company.

Note 2017 ($) 2016 ($)

Key management personnel compensation 1,159,026 1,140,610

There were no other transactions with key management personnel during the year ended 31 December 2017 (2016: nil).

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Annual Report 2017 15 LEASING ARRANGEMENT Company as lessor DIRECTORS' DECLARATION Operating leases For the year ended 31 December 2017

Future minimum lease payments expected to be received in relation to non-cancellable operating leases

are as follows:

Note 2017 ($) 2016 ($) In accordance with a resolution of the directors of the Museum of Contemporary Art, I state that: Within one year 3,830,210 3,257,948

Later than one year but not later than 5 years 15,088,941 12,683,435 In the opinion of the directors:

Later than 5 years 30,712,052 33,471,180 TOTAL 49,631,203 49,412,563 1. The financial statements and notes, as set out on pages 10 to 22, are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 and: Leases in which a significant portion of the risks and rewards of ownership are not transferred to the Company as lessee are classified as operating leases. Payments made under operating leases (net of any (a) comply with Australian Accounting Standards - Reduced Disclosure Requirements; and incentives received from the lessor) are charged to profit or loss on a straight-line basis over the period of the lease. (b) give a true and fair view of the financial position of the Company as at 31 December 2017 and of its performance for the year ended on that date. Lease income from operating leases where the Company is a lessor is recognised in income on a straight- line basis over the lease term. 2. In the directors' opinion there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable.

16 FINANCIAL RISK MANAGEMENT The Company's financial instruments consist mainly of deposits with banks, accounts receivable and payable. On behalf of the Board Note 2017 ($) 2016 ($) FINANCIAL ASSETS Cash and cash equivalents 1(D) 8,483,737 8,798,355 Loans and receivables 3 1,641,016 1,450,321

TOTAL FINANCIAL ASSETS 10,124,753 10,248,676

Simon Mordant AM FINANCIAL LIABILITIES Chair Financial liabilities at amortised cost:

- Trade and other payables - current 8 3,149,173 2,211,521 - Trade and other payables - provisions 9 402,806 367,687 Sydney, 30 April 2018 - Trade and other payables - non-current 9 307,971 269,814 TOTAL FINANCIAL LIABILITIES 3,859,950 2,849,022

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Annual Report 2017 Annual Report 2017 Inside Back Cover: Kader Attia, Art Australia © the artist, J’Accuse, 2016, installation photograph: Jacquie Manning view, Kader Attia, Museum of Back Cover: Kate Beynon, Contemporary Art Australia, Room of Lucky Charms, 2017, Sydney, 2017, teak, steel rebar, commissioned by the Museum of single-channel digital video, Contemporary Art Australia for projection, colour, sound, the Jackson Bella Room, 2017, courtesy the artist and Galerie image courtesy the artist, Sutton Nagel Draxler, Berlin/Cologne, Gallery, Melbourne and Milani Annual Report 2017 image courtesy the artist and Gallery, Brisbane and © the artist, Museum of Contemporary photograph: Anna Kučera 140 George Street, The Rocks NSW 2000 mca.com.au @mca_australia PO Box R1286, Sydney NSW 1223 Australia T 61 2 9245 2400 F 61 2 9252 4361 mca.australia @mca_australia